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jasontoddssoulmate · 3 years

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I made an account for the sole purpose of this TUA fic concept

I’m a sucker for those “the characters read the books/watch the series” fics and I’ve read a little for TUA but I just had the idea:

The Hargreeves kids watching the two seasons but instead of just the seven of them, their birth mothers are brought in to watch as well

Maybe have the birth mothers family (if they have any) watch it with them

This happens before everything. Before Ben’s death, before Five’s disappearance, before they even have their names. The kids, One through Seven, are brought in. Maybe when they’re old enough to get the gist of what’s going on, but before they’re 13.

These 6 young women are brought in (because I adore that Luther and Five being twins is canon in the comics and I love the mention of it), and they’re confused because maybe The Umbrella Academy isn’t internationally well known so the kids are familiar but they can’t put the name to the face. Not until they introduce themselves, anyways, and suddenly they’re face to face with the baby that they gave away years ago.

Maybe a few of them regret it, maybe they tried to forget it, maybe they spend so much of their time thinking about it or maybe they’re overjoyed that their baby seems to be doing so well.

But their names.

There’s just so much about them that doesn’t feel,,, so right? Maybe that’s not the word for it but they’re too polite sometimes, their casually cruel treatment towards their sister isn’t normal and the way that they simultaneously act entitled and inferior towards each other isn’t suppose to be as normal as the kids make it out to be.

All in all, the women are confused and maybe a bit wary of their casual usage of powers among each other that’s normal to the siblings as much as it is abnormal to the birth mothers.

But communication is easy since each child learned their own mother language as well as the language of their siblings birth place and then some which only seems to remind the women that holy shit these kids are technically rich because of their father

The Hargreeves though? They’re confused and wary as hell. They may not have been introduced as The Inaugural Class of The Umbrella Academy yet (or maybe they have considering what your timeline is) but they’ve been training for most of their life and the situation is baffling. Here are these random people that they’ve never met before (at least to their knowledge) and they’ve never had to go outside to interact with others, not really at least.

So it makes sense that they go for polite but threatening. They maybe decide unanimously that the weaker willed ones like Four, Six and Seven are discreetly protected behind their older (in spirit) siblings, One, Two, Three and Five.

But they’re no real threat, its obvious in the way that the Hispanic woman uses such an endearing term like “mijo/a” and the way that the Russian woman has an ever present smile on her face and such a sweet disposition that reminds them of their littlest sibling and hey her eyes look just like Seven

So after a while, they’re more open to being relaxed. Not Five though, he’s always been just a little paranoid and being a 58-year-old in a 13-year-old body never had anything to do with it. So he’s got a harsh personality but the Danish woman doesn’t seem to be deterred. He kind of reminds her of her older twin brother who acts so harshly, but who she knows loves her so much.

So here are 7 siblings and 6 women and maybe family that was there for the women when they needed them the most. And maybe the person(s) behind this decide to be kept anonymous but they oh so want the children to get to know what being cared for is like. Maybe these women get to know the consequences of their actions or the children learn that the one who birthed them had their reasons. And it’s no excuse but it’s also not their fault. Both parties should be able to feel what they feel because it’s a complicated and maybe painful situation.

The children lose their respect for their father every episode. Even One, who they all know cherished the favoritism but it doesn’t get in the way of his horror when he finds out that he used to lock Four in the mausoleum, still does if the flashbacks are anything to go by because not Four, not the kindest and brightest of their siblings.

And when they learn of Seven’s powers and the reason why they are never present, they are understandably upset. They feel rage and disbelief that she had such a crucial part of herself ripped away at such a young age, because they know that their powers are like another limb. They’re born with it and they grow up with it and they were able to live their life with it so they feel rage. Rage that Seven had been so violated. Rage that the Seven they know isn’t really the Seven she was suppose to grow up to be. The Seven they knew as toddlers was sweet towards them but had a mean protective streak a mile wide that could never be controlled, not even by their father. The Seven they know now is so meek and desperate for attention. The Russian woman looks the most devastated as she thinks of the baby girl she got to hold for only a few hours before she was whisked away by a rich old man who is turning out to be the monster that one often hears about in television.

But the women? They watch as the children in front of them, maybe a little damaged and emotionally constipated but so obviously protective and caring for each other, grow to be the grow ups in the screen above them that grow up and grow apart after so much tragedy.

They watch as seven eventually becomes five.

How Luther is sent to isolation for years and he goes along with it in a bid to continue to please their father.

How Diego continues to rebel because he wasn’t able to growing up but also maybe because he wants to spite his father, no matter how much he protests that he could care less what his father thinks.

How Allison goes through a divorce and loses her parental rights to even see her daughter due to her dependence of her powers that leaves her devastated.

How Klaus is an addict who desperately wishes to get rid of the ghosts that have followed him all his life.

How Five disappears only a little while after their current timeline.

How Ben was brutally killed by his own powers, never getting to grow up and become his own person.

How Vanya can’t seem to do anything but go through the motions of her life, maybe having a little hope that she’ll be seen this time around, but is quickly squashed from Diego’s disparaging comments and the casual dismissal of her from her living siblings.

They watch all this, and feel sadness and rightful anger that their babies lead the life of ex-child superheroes. The life of abused children. The life of children who had only each other.

But was it really enough? Was it enough to know that they loved each other but had a hard time showing it and owning up to it due to fear of their father? Due to the constant comparisons and the way Sir Reginald had them turn on each other.

But they knew it was enough. They see it in how Diego waits for Klaus to drive him around even after he had expresses annoyance beforehand, in the joy on Allison’s face when she sees Klaus again after so long, in how Five makes sure to check up on Klaus after his kidnapping, on Luther’s face when he apologizes to Vanya after realizing his own misgivings, in Ben’s task of continuing to follow his brother around even when it pains him and in Klaus trying to comfort Luther after he finds the unopened correspondents. They see it in the support they show Vanya as she goes to check on Harlan.

It had to be enough to know that after all they went through, they still care for one another and at the end of the day, would protect one another just as they were as One through Seven.

So they watch what would be the Hargreeve’s kids misadventures, they watch as they grow together and grow apart just to grow together again, much stronger than before.

They express sadness and disbelief when they see where Five ends up, they get mad when Leonard throws Vanya’s pills away, they grieve when they learn that Ben is dead, they’re embarrassed but find it hilarious whenever Klaus cracks an inappropriate joke, they become protective when there’s allusion to Vanya having sex, and are rightfully ready to throw down with Leonard as they watch their littlest sibling get gaslit into believing her family hates her as he nitpicks all of her interactions with her family.

But just as they express their feelings over what happens to their family, they feel an immense amount of exasperation towards their older selves because so much could be fixed if they only talked to each other.

They watch and despair over the missed opportunity that is Leonard in the same house as them just as they find out what his role is in the apocalypse.

Four tears up as he watched Klaus and Dave’s reunion be undone after all the heartache.

Seven cringes when Vanya dismisses Five’s claims that he had been stuck in an apocalyptic wasteland and suggests that he’s gone crazy after his stint with time travel.

Three feels her heart drop to her stomach as the flashback shows what becomes the moment that she faces the hard truth that come with her use of her powers.

Five feels himself flush in embarrassment as he watched two version of himself in the future, one that looks not much older than he does currently, go through paradox psychosis.

Six feels frustration and a fierce grief that leaves him confused because he’s still alive he’s not dead, but I don’t have much longer.

One feels horror as he watches himself hurt his siblings one after the other with a sense of helplessness because this isn’t me, I wouldn’t do this but I already did, why would I hurt my siblings, I’m Number One I have to be the one who protects them-

The women, on the other hand, see themselves in their children.

The French woman sees how her daughter and granddaughter, it seems, both look like a carbon copy of herself and her own mother.

The Danish woman sees herself and her twin brother in Luther and Five. Sees her own personality reflected in Luther and her brothers personality in Five. Sees how her twins care just as much for each other and their siblings as herself and her brother do each other.

The Hispanic woman sees Diego’s fierce sense of justice that leaves others in the dust, and sees herself as she fought to keep her boy but ultimately lost him just as Diego loses Eudora. She thinks to herself like mother like son and bitterly laughs to herself but she’s so grateful that Diego had a mother who cared for him just as she cared for him because she often though about him and always made sure to commemorate his birthday.

The German woman can’t help but see herself in her boy. Can’t help but see her little brother in him. Can’t help but see her older brother in him. Because Klaus is so joyful but he hides his pain behind a mask like her younger brother, he’s so loving towards his siblings like her older brother, and so nonsensical like herself. So like herself, down to the curly hair and the addiction. Even if she was able to overcome it with support from her family, it pains her and leaves her in despair to see Klaus and can’t find fault in those he had around him because she sees how much they try and sees how hard the Hargreeves find expressing emotion is to others.

The Asian woman sees how sweet and shy her youngest is and thinks only of her oldest, who reminds her so much of him and can only despair in seeing that he didn’t live as long as her oldest had. She can only ask herself why her children don’t seem to be able to see themselves to adulthood but can only be grateful that even in death he has someone with him.

The Russian woman knows that her husband sees her in little number Seven, in Vanya, no matter how little that is. Maybe their personalities aren’t so similar because Seven is shy but she’s got the sweetest heart and so clearly loves her siblings. She has the same smile that she has and her little doe eyes remind her of herself when she was younger. She’s so small next to her siblings, just like herself.

So they see themselves in these kids, these grown ups. But so do the Hargreeves.

They see how Luther looks like what the Danish woman would look like as a man and how Five looks exactly like a younger version of the Danish man who introduced himself as the woman's older brother.

They see how Two has the same skin tone and facial structure as the Hispanic woman.

They see that Allison looks exactly like the French woman and see the same in Claire.

They see Four’s curly hair and slim build in the German woman.

They notice how Six shares the same dark hair and lower facial features.

They see Seven’s eyes and smile and short stature in the Russian woman.

So maybe they don’t know them well enough to see what the women see, but they grow to see it overtime because they spend so much time there, in this suspended room in time.

The women insist on getting to know them and vice versa. They insist that they have to talk about their feelings and assure them or gently scold them, depending on the reason, for what they feel because god do these children need to learn how to talk more about their emotions in a healthy way.

They get closer to the children and start to really see their childish side. They all fight over the silliest things, and become pouty when attention isn’t being drawn over to them. They crave physical affection, even Five who won’t admit that his maternal uncle patting him and One of the head made him feel all gooey inside. They make faces towards foods that they don’t like and still prefer junk food over real food.

So maybe it’s harder to let themselves act like children because they’re being conditioned to not “be childish” but even then they have their lapses in control. Four enters a state of panic after being reminded of his time in the mausoleum. One feels overwhelming guilt when he sees how Luther hurts Klaus and reminds himself that he’s the one that needs to protect them, as the leader and self proclaimed older sibling. Five feels himself cry for the first time in a long while when he sees how his siblings act towards him in the future and realize it hurts him deeply because he knows that he’s messed up their lives a lot but can’t they see that he only want to keep them alive, he doesn’t want to see them die again, he can’t-

But instead of being shamed into controlling their emotions, they are comforted and reassured. Four’s birth mother helps ground him and counts his breathing with him to keep him from falling further into his panic. One get’s reassured by his birth mother that his future self isn’t his current self. That everyone in the room has seen just how much he cares for his siblings and knows he would do anything for them. The twins uncle gives into his urge and hugs Five, whispering in a hushed tone that it’s okay to cry, to let it all out. He whispers that his older siblings are being idiots and if they knew just how much their actions were hurting you, they wouldn’t hesitate to apologize and hug you too. His words only make Five cry harder.

So they are cared for and allowed to be themselves fully and can be childish to their hearts content. And their birth families watch on in amazement and adoration.

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I have so much more that I’ll probably add later, but basically I want them to be cared for, allowed to care for each other and learn to express themselves better. I want to see them get to have a good relationship with an adult and if possible their birth mothers.

Pls share links and stuff if you get inspired, I’m not much for writing fanfic but I really do want to see something like this. I’d read the shit out of it. I have so much more that I want to add but I’ll probably do something about it later.

#i just think it's neat #they deserve to be cared for #Luther and Five are twins #they may all be the same age but there's definitely an older sibling/little sibling vibe among them all #i love the idea of each of the kids and the women seeing family traits in each other #i headcanon Vanya as a feral protector of her siblings before Sir Hardass took away her powers #Vanya was the epitome of i've only had them for a day but if anything happened to them i'd kill everyone in this room then myself #except she was raised with them but my point still stands #they watch the series #i have mixed feelings about the Hargreeves birth mothers #protectiveHargreeves #protectivesiblings #lutherhargreeves #allisonhargreeves #diegohargreeves #klaushargreeves #tua five #five hargreeves #fivehargreeves #benhargreeves #vanyahargreeves #spaceboy #thekraken #therumor #theseance #the horror #the boy

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otp-armada · 4 years

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I am not looking forward to these flashbacks.

To date, we’ve had four onscreen kisses shared between Bellamy and Echo with additional, smaller moments of other forms of intimacy. I’d rather the show refrain from adding more tally marks to the count.

If humans were gifted with the capacity for purging unwanted memories, then all this discomfort would be a moot point. I suppose there’s always alcohol as a fallback option, but not even the prospect of temporary amnesia is worth destroying my liver. Turning to alcohol to drown my B/E-related sorrows would probably qualify more as self-harm than self-help.

I’d much prefer to cut directly to an imminent breakup scene without the pomp and circumstance of an agonized Echo’s trip down memory lane.

If anything, supplying us with visual evidence on how happy they were together is an even sadder remark on the state of B/E’s fragility, knowing it took 0.001 seconds for the mere mention of Clarke’s name to bring it all to ruin. No collection of past happy moments shared on the Ring erases the fractures in their relationship that occur between them afterward, originating with the revelation of a still-living Clarke. I'd be an absolute fool to believe otherwise.

But if Jason deems a tour of their greatest hits as necessary to the story, I trust his judgment. Showing us B/E's origins as their romantic relationship begins to fall apart in real-time brings it full circle, and it lends gravitas to the story he's telling with Echo. With this particular arc, the bigger picture is still Echo's evolution. It's not about B/E.

Once season 7 started, there was a visible shift in how Jason utilized B/E. Whereas seasons 5 and 6 primarily used B/E as the third leg in a love triangle designed to keep a pining Bellarke apart, season 7 uses their master-spy dynamic to bolster Echo's development almost exclusively. Post-season 6, Bellarke is so primed to get together, one honest admission of mutual feelings without Echo as an obstacle and BOOM. Canon couple.

Echo has a more extensive role than girl-to-be-dumped, and I'm not upset over it. She gets to stand up as a character after the majority of her life has been marked by slavery for her crown, and I'm not upset over it. As indemnification for the loss of her relationship, this orphan-turned-soldier is finding her place in a supportive, loving family while developing a sense of identity and independence, and I'm not upset over it.

I would’ve preferred Jason found a way to take her on this path without B/E remaining intact this far into the final season and theoretically for the foreseeable episodes. I would always choose to end them sooner rather than later, given a choice. But I understand why Jason didn't.

Echo can’t very well outgrow a master-spy complex if there is no master to her spy. And as much as I hate it, the romantic aspect of B/E is a believable, convenient tool to keep this complex in place until her story comes to fruition. Would Echo act so extremely in service to a recent ex-boyfriend who left her for another woman? Probably not. As far as I can tell, the pinnacle of her arc is the moment she realizes she has to break free from Bellamy. So narrative structure demands B/E stay together, however technically, long enough for her to break those chains.

I was initially excited about the flashbacks, if only because I took them as a sign of an impending breakup. But the timing doesn't pan out. Aside from the logistics of Echo and Bellamy presumably on separate worlds, and with her thinking him dead, we've only just reached the point where Echo might start to ask herself those hard questions she's been avoiding. She must have noticed a change in her relationship. Between Psychosis!Emori, B/E's 6x04 fight, and Anomaly!Roan, she's had enough cause for doubt. But I think she's suppressed any urge to reflect upon it for a number of reasons. Love. Continued hope they'll last. War. A mission to save him. It took a lot of meticulous maneuvering to corner Echo to this point. Now that we're here, I don't think Jason would pull a reverse Uno card in a 40-minute episode. It seems more likely that he will let her continue to stew in her emotions. Either she'll keep sinking until she hits rock bottom, or she'll start learning how to swim.

Jason could always prove me wrong. And if I am, I'd never be happier for him to do so. If I'm not? It's at times like this when I am reminded of the resolution I made at the end of season 6- rest easy in the comfort of knowing B/E will meet its inevitable end but do not try to speculate when that might be. Attempting to discern the specifics of "when" brings one only misery.

Jason’s signature sometimes-too-fast, other-times-too-slow pacing, is often liable to tempt one into ripping their own hair out. That being said, I’ve seen enough of this show to trust in his ability to tell a damn good story. Faith in his competency for the craft just requires on our part, the patience of a saint.

If nothing else, it isn’t my story to tell, so I’ll just have to suck it up and find a way to deal with any disappointments I may feel. Or I can try to find the value within the story told. It's a better alternative than to be left bitter. No promises, though.

Maybe Echo’s actions against the Disciples aren’t reprehensible, considering the people she’s killing are those complicit in kidnapping and torturing her people. But Orlando was a good, honorable man whose naïveté convinced him to play for the wrong team, yet helped our heroes when he didn’t have to. Not unlike Shaw, whom Echo sold to Diyoza to fulfill her mission. But I assume “We are not his people” is residual mistrust leftover from Ryker’s betrayal of her. She miscalculated the feelings of one possible defector before, she won’t make the same mistake twice.

If she was able to save Bellamy in the end, I’m sure she’d be able to justify the spilled blood it took to get there. But Orlando suffered at her hands for nothing, and she may not be overly concerned with morality, but she cares for the people she grows close to. Unless the episode proves otherwise, I’d like to think Orlando’s fate will weigh heavily on her.

They may not have been close. But five years in close quarters with only a few people akin to friends for comfort, it'd be hard not to feel the slightest bit attached.

Those of us who believe in Bellarke know Echo is the third-party obstacle in a love triangle. But what is far more interesting is the role she played in the seasons-long Blake siblings struggle.

Echo was persona non grata to both siblings following her and Octavia's mountaintop fight. Six years later, she highlights the difference in the siblings' maturities. Whereas Bellamy has learned to embrace empathy and forgiveness with open arms, Octavia is cold and unyielding. On a more personal note, B/E represents Octavia's persistent unwillingness to respect Bellamy as his own person, with needs and wants independent of her.

After her soul searching on Skyring, I thought she had buried the hatchet, as per her lack of vitriol in her 6x12 conversation with Bellamy, and enthusiastically joining forces with Echo in 6x13. Maybe she did. But Octavia has also proven herself an unreliable narrator, and Hope feels indignation on her aunt's behalf. Whatever the case, there's a reason why the dialogue keeps referencing Echo and Octavia's hostile history. And I think it's building to a head in 7x07.

I think mutual love for Bellamy is healing the divide between them when Echo is at her most fractured. She's isolated from Bellamy and the rest of Spacekru. Left in pain and seeking retribution as Octavia did, which, as we know, is where it all went wrong for the latter. Octavia, more than most, is in the best position to empathize with what Echo is currently feeling and how pain can destroy her if she lets it consume her.

If Octavia can remind Echo she's not alone, if a former enemy can convince her she belongs and welcome her with open arms- as her brother did before her- it might do well in healing some broken piece inside of her. And it would be a roundabout display of Octavia's newfound maturity. This is good for both of them. This spiral she is in will require her to look inward. Since her fixation with Bellamy is partly what landed her in this mess, absolution cannot come from him. She can only find it in herself if she wants it. But I'd be glad if Octavia can help see her through it. This is what I mean about seeking value in the story told. We're so concerned about Octavia calling Echo family, about the possibility of it legitimizing B/E, it doesn't occur to us that it's about the characters themselves. And B/E is only a vehicle used to bring us there. It's easier to see when not consumed by automatic seething rage, as typical of our fellow Bellarke compatriots, for anything remotely associated with Echo.

If my heart and mind weren’t chanting “BELLARKEBELLARKEBELLARKE,” there’s a good chance I’d be able to better appreciate the complexities B/E gives to the development of the four characters it directly impacts.

Our side of fandom has made lots of accusations about B/E since 5x01. It’s a forgettable, physical relationship worth little to Bellamy. B/E is unhealthy for reasons x, y, and z. We generate a different example in every episode. Click slideshow for more details. But the fact of the matter is, much of this isn't true. Until Echo went postal, B/E wasn’t unhealthy. Bellamy just had a greater love for Clarke. Up until their ending scene in 6x04, there was nothing they couldn’t come back from together, if both committed themselves fully, no more walls. It's not a particularly popular train of thought among us, but Jason absolutely could've written B/E as an endgame pairing. And all it would take to deliver a final killing blow is the inclusion of a single damning scene.

We can gripe over the length of time they've stayed together. But, in spite of what most people think about every new B/E development and Bellarke separation, Jason has never actually dropped an ax on Bellarke. Hope persists.

Jason is responsible for the development of dozens of characters, major plots, and dozens of smaller subplots. But our fandom reduced the story chiefly to Bellarke's romance. Our villains are those who stand in their way. Namely Echo, the only outside love interest to be an official obstacle. We fashioned Echo as our enemy. In lieu of removing her from the narrative (which is not in our power to do), we've done everything within our purview to diminish her. If Jason won't treat B/E and Echo as the jokes we know they are, we'll do it ourselves. Minimizing her role in the story makes it a hell of a lot easier to erase a character we'd rather didn't exist for our preferred ship to advance.

Lord knows how many times we've claimed she has no story. That absent relevance or substantial bearing, she's there simply because Jason is partial to her for some elusive reason. But the reality is, we never looked for her story because we wanted to be able to claim its inexistence. We wanted to be able to say she's frivolous to the story, and by extension, to Bellamy. We want to be able to dismantle B/E when it appears Jason doesn't. Except he is and has been doing so since day one.

Months ago, on a whim, when I was feeling benevolent towards Echo, I wrote a long post HERE giving her the benefit of the doubt, and I said:

In the grand scheme of the story, I think this is the purpose Echo serves, to represent the part that says, “We’re all human. No matter what tribe we belong to, we fight for the same reasons. We love the same way. When you leave allegiances aside, when you see someone for who they are at their core, an enemy today can become a friend tomorrow.”

True peace, a series-long running theme for our heroes, begins with embracing former outsiders like Echo and Emori. Easy to lose sight of this when focused on ship wars.

It is perfectly acceptable not to love all the components of a story. It is understandable to focus your attention on those select segments you find appealing. But a tunnel-visioned mindset lands you in trouble when you become resentful at the reminders that a story is a composite of more moving pieces than just the parts you like. And when you forget that screentime allotted to developing those pieces ahead of what you favor is permissible. Everything on a show has its time, all in due course.

On the other hand, B/E shippers overinflate their ship's significance. They take canon and twist it to say, "Look at how strong B/E is, Bellarke could never. B/E is endgame, and Blorkes are delusional." Their conclusion of an epic love is another bias-based fandom interpretation that doesn’t hold water, either.

I think the reality of B/E lies somewhere in a muddled middle of these two extremes.

One last point, and I'll get off my soapbox. Despite what the melodramatic diatribe in my opening paragraph suggests, B/E is never as atrocious as fandom makes them out to be. Greater fandom treats anything remotely associated with B/E as the next great catastrophe. And as it turns out, it never really is.

Tagging @sometimesrosy, because I think, after years of combating opinions you don’t agree with, it might be a refreshing change of pace to know some of us do have more balanced views regarding B/E. If I do say so myself.

#hmmm how i tag this in a way that will land me in the least amount of hot water?#the 100 meta #with a side order of #fandom wank #long post #the 100 #bellarke #b/e #c/b/e #the 100 season 7 #my post

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ziracona · 5 years

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😮 Oh man, with the insight on Frank, it has me so curious. What's going on in the heads of everyone in the Legion lately? I'm especially curious about Joey, after the quality time spent with the survivors (well, in the back seat with Susie driving) during "She's Like the Wind". Or, if you're tired of the Legion, what about Michael in "The Tower"?

I’m totally happy to do the Legion (and I actually wrote up a bunch of stuff on them before deciding p best to wait), but there’s a lot of Legion stuff in the chapter I’m posting in the next couple days with some sort of big status-quo changes, so I feel like I should wait until after that to give Legion updates, or it could be kind of a waste, so I’ll do Michael.

Oh boy Mikey. Let me see. Buckle up, because this is a long one. So, let me start by saying in this fic, the way I write him is based on the canon portrayal in the first film (and some influence from the others—especially 2 and H20), but with my honest best attempt at an accurate psychological take on his situation. Horror’s a great genre, but it does a really shitty job about using mental illness as some kind of blanket excuse for being evil. John Carpenter literally came up with Michael after seeing some 12 year old schizophrenic kid in a mental institution when he was on a field trip that he thought had really dead, evil looking eyes, like he didn’t have a soul. Which is a pretty fucked up way to treat mental illness. And, since there’s no reason I should accept ‘He’s got psychosis and the devil’s eyes and has nothing in him but evil” as an accurate take on an actual human being, I’m not. I’m taking what is canon, and interpreting it (to the best of my ability) like a normal psychologist or person who isn’t Dr. Sam Loomis would. Usually I wouldn’t give as much on a character psych take (because I really, really like seeing how people interpret things), but it’s kind of specifically important for Michael and me doing my best to write him responsibly that while he’s a lot of things, and a lot of them bad, he’s not a mindless wall of walking evil.

Canonically, Michael’s had psychosis since he was at least five, and heard voices that told him to do bad things, like hurt people. He told his parents, in an attempt to get help, and was ignored. When he was six, he did what the voices told him to in an attempt to get them to stop, and killed his sister (without looking at what he was doing while he did it as much as he could [canon]), and then went downstairs to wait for his parents to get home (probably in the hopes that they could fix it, because he was six years old, and when you’re six, your parents can fix everything). Instead of anything getting better, he got sent to court, sentenced (to be tried for murder as an adult in fifteen years when he turned 21, which is absolute bullshit because by no stretch of human logic can a 6 year old child have committed a crime as an adult), and then left in an asylum for the next fifteen years of his life. His psychosis worsened, and he gained other symptoms, such as mutism and catatonia. His mom only visited a few times, with his little sister, and then she vanished off the face of the planet from his point of view. Completely abandoned by his family and everyone he knew, the only human contact he had from ages 6-21 was Doctor Sam Loomis, his psychiatrist, who had decided within a couple of months, that Michael was the human personification of evil, faking his mental illness like the evil genius six year old he was, and a demon in human form hellbent on murder. Now, the human brain doesn’t stop developing until the mid 20s, and it sure as hell isn’t done when you’re six. Kids that age don’t even really have a fully developed understanding of mortality and only a basic grasp on ethics. Emotional empathy doesn’t start really forming well until age seven, and abstract reasoning isn’t until preteen years. When you’re six, you’re not old enough to be evil. You just aren’t. But, if you grow up from age 6-21 with only one constant in your life, isolated in a tiny white room, hearing over and over from said only constant, an adult and the source of authority in your life, that you are evil, and soulless, and you are a killer waiting to kill again, you are dying to get out and commit murder, and they’re onto you, how exactly can you expect a human being to turn out?Especially when they’re already dealing with violent psychosis. You’ve basically convinced a mentally ill child that they are the bad voices in their head, not the person, and their goal in life is to commit lots of murder.

Michael’s personal goal, as much as he has one left, has pretty much solidly always been to do what the voices want so they’ll stop and he can be at peace. What they want is for him to kill his family, meaning his sister, Laurie. Kill Laurie, be at peace. That being the case, ending up in the Entity’s realm is about as shitty for him as it is for her, because no matter how many goddamn times he kills her, he can never, ever kill her for real, so he will never be able to stop the voices. He’s about as tired of being here as she is, which is saying a lot. But it’s been forty years of shit for him too.

I think Michael forgot he was a person a long time ago, because nobody’s treated him like one since he was baby. Since he was six. If you treat someone like a monster their whole life, that’s what they’re almost certainly going to become. In the Entity’s realm, it hasn’t really been any different. I don’t think he thinks about things very complexly, because he’s sort of too tired to, and he doesn’t have a real reason. He never learned a lot of normal human behaviors, including any attempt at even the most basic social contact. It’s like that really depressing scene in Lilo & Stitch when Jumba’s commenting on what it must be like to have nothing, even memories, to visit at night. He has memories, but they’re basically all the same—white room, fifteen years of Dr. Loomis. None of that’s a real human experience. Dr. Loomis didn’t even think he was a human—called him “It” instead of “Him.”

With Laurie suddenly acknowledging he’s her brother, it’s weird to him. Canonically, every time someone in a film reminds Michael he’s related to them, it’s like he gets smacked in the face (it’s actually kind of hilarious. He even takes his mask off for his niece in 5 when she calls him “Uncle”). A family member doing this always metaphorically suckerpunches him with the reminder that he has a name and an existence outside of killing people and there are human beings who know who he is and are related to him and have a lasting concept of him as a person. It’s not like he ever forgot they were siblings, but he didn’t remember to think about it. He spends all his time being the Shape, because Michael hasn’t really existed since he was six years old (not in a Dissociative Identity Disorder way, just, it’s an aspect of who he is that no one has been willing to acknowledge since he was a baby. He puts on the mask and kills because that’s what he’s supposed to be. It doesn’t really matter if he wants to, or if he likes it, or even if he still doesn’t have a completely developed concept of mortality, because he’s known for years now that it’s just what he does. It’s what he is). I don’t think he really knows how to think or feel (which he’s not used to doing period) about his sister or about that and being spoken to. He was definitely relieved at the prospect of having a way out of this, and since then it’s been kind of agonizing that she reneged on him and won’t commit joint suicide, but she’s also just been…weird. Been different. She talks to him like a person, which no one has ever done, and he does remember her from when they were little. I think it’s very confusing. He really doesn’t have the normal human skillset to be able to emotionally understand this. Which doesn’t mean he’s some emotionless zombie, just, he didn’t learn how to properly interpret or respond to things. He doesn’t have a normal human emotional or social skillset, because he never got to develop one. He didn’t get the chance. He hasn’t had a positive physical interaction, a hug, a handhold, a pat on the shoulder, since he was six--he hasn’t had any kind of social contact outside of the hostile psychological hatred and threats from Dr. Loomis period. There’s just not a normal set of human understand-the-world mental structures developed in him at all. Instead he’s got like…just all this shit—this really fucked up way of understanding the world built from fifteen years in isolation with just Dr. Loomis that’s completely separate from a normal human experience or mental scape, and the mental set of tools he would use to try to understand his sister is like, the dusty old normal human set that stopped growing when he was six years old that he kind of forgot about.

Michael’s also never done anything he wasn’t supposed to in the Entity’s realm, and I don’t think this has been explicitly stated in the fic, but he’s been punished now, for trying to break the rules with Laurie these past few trials. I don’t think he knew how to handle that or feel about it or think about it either, because it was a new experience for him. It’s very hard to hurt him at all, and it’s never happened with the Entity before this.

During The Tower, Michael wanted what he’s wanted since it was on the table (a way out by killing her), and when she said she couldn’t do it yet, genuinely misinterpreted that as her meaning she had to help the others finish the trial first. I don’t think he entirely understood why she kept running away from him, but he’s used to that kind of behavior, so it wasn’t that strange. What was extremely weird to him was getting jumped by two kids (when usually survivors wouldn’t touch him with a fifty-foot pole if it was up to them), who proceeded to tell him be was being a really crappy brother and should be nicer. It was. Surreal. I think when Laurie showed up and told him she hadn’t meant ‘in twelve minutes’ when she said later, he didn’t just attack her because he was mad she didn’t want to do suicide yet, I think it also kind of hurt his feelings that she made fun of him when he genuinely was trying to understand and thought she meant something else. Since what he wanted was off the table, he was upset (which was especially volatile becaus he doesn’t often experience hugely strong emotions) and on instinct just did what has been programmed to come naturally instead and went fucking lethal on them all, but got a surprising amount of resistance.

When she came back to fight him alone, I don’t think he completely understood everything she said, but he got a lot of it, and he didn’t like it. He didn’t like losing the chance to get out of the realm for good with her, but I think he also didn’t really like being basically told that he was dead to her from here on out. I don’t think he’d exactly think of it that way, or put it into words—I don’t think he’d had long enough or the emotional growth enough to appreciate her caring about him, or to want it, but at the same time, he’d had someone treat him like a person for the first time in fifty some years, and I think it was probably briefly nice to be called by his own name and talked to like a person—I think it would be hard for that not to mean a little bit, even if you didn’t understand way. And then he had it reaffirmed by her before their fight that what Dr. Loomis had always said was true, and he’d fucked up so bad with her that he wasn’t ‘Michael’ anymore to her either, and even if he wouldn’t really think of it like that, I think subconsciously, that kind of had to hurt.

At the end of their fight, when he was out on the floor, and Laurie didn’t kill him, while he was genuinely unconscious for some of that, he was awake for some of it too—the bulk of it, actually. Michael in film canon routinely not only has genuine resets where he passes out and heals and gets back up, but plays dead as well, to protect himself. So, he did hear a decent chunk of what Laurie said to him. She kind of poured her heart out, and some of it was pretty complicated stuff, and a lot of it was stuff he doesn’t really have the emotional complexity developed to understand right now, but he understood some of it. I don’t think he expected things to end like they did (and not just him getting his ass kicked by her). She basically flipped on him, and said she was wrong, and even like this he was still her brother, and because she remembers how he was when he was six she can’t make herself not love him, even if she knows she shouldn’t, and that she wasn’t going to kill him like that, even if it meant he was going to come after her again and kill her. I don’t think he gets why she would say those things, but it did make him want to know, and I think he’s aware that it should mean something to him, regardless of if it does or not on an emotional level, and it is at least something that interests him. Probably his most intact human emotion is curiosity (and it’s no wonder—he’s basically never seen anything, or been anywhere, or done anything—he’s barely gotten a chance to live, period. Any social interaction where someone isn’t running from him screaming or threatening him and telling him he’s a monster is uncharted territory). What that would mean for him going forward as far as Laurie is concerned is very complicated, though. Laurie interests him and there are things he wants to understand, but he’s just got so little ability to function like a normal human being. So much of him is so awfully mangled and maladapted, and the rest has been stagnating since he was 6 and he’s so very, completely, depressingly isolated. He’s a serial killer, but he’s really also kind of a tragic character. It’s fucked up what happened to him, and most of it isn’t really his fault. It didn’t have to be like that.

#In Living Memory #In Living Memory (fic)#Michael Myers #Ask #Long Post #(Super long I'm so sorry ToT)#dead by daylight #He held his hand out because he was curious and thought she might come back

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callistawolf · 7 years

Text

How Prometheus became my favorite Arrow villain

It’s no secret that for 2/3 of this season, I’ve wanted either Billy or Tommy to be Prometheus. I admit, I fell for the whole “Adrian Chase is Vigilante” thing that the show’s writers wanted me to fall for. But even more than that, I felt that Adrian was a bit obvious in a way. The way Chase came across those first 14 episodes was pretty heavy on the smarmy quips. It was a situation of “I know Adrian is Vigilante but it really seems like they want me to think he’s Prometheus.” It was obvious in a way that made me discount it entirely.

Then I felt the reveal in 5x15 was a bit... anti-climactic. They kept Prometheus’ identity a secret from everyone for 15 episodes to reveal it like that? It was frustrating to me. Like @jbuffyangel, I thought the only way they could “pull off” Adrian as Prometheus was if they made the how bigger than the who. I will admit I was a little unsure if Arrow could pull that off, because at least for me, it was a tall order.

For what it’s worth, I didn’t hold the fact that he wasn’t Tommy or Billy against Adrian that much. I’ve learned, in my time as a fan of this show, not to get too caught in my own speculation. This show rarely ever does what I think it should, when I think it should, how I think it should. Rather than suffer disappointment after disappointment after disappointment (seriously... so much disappointment), I learned to let go of what I want and just... be open to the story the writers are telling. It doesn’t mean I don’t still love my ideas (and often love them better), but it means that I can compartmentalize my wishes and look for the value in the story the writers are choosing to tell. I guess, in a way, it’s all fanfic in my head. The show’s creators vision for the story is an AU on the vision I have in my head, and vice versa. It’s all just story and once I let go of my vision being the best/only/etc avenue, I find I can enjoy those other avenues for what they are.

Long story short? I love my speculation but I’m not married to it. I like to give canon the benefit of the doubt, since canon is why I’m here at all in the first place.

So, I gave Adrian a shot. And I’m really glad I did because everything from 5x16 and on, so far, has been incredible. He truly is a different sort of villain. I’ve seen a lot of people comparing him to Slade but I think that comparison is missing the mark a bit. Slade was vengeful, like Adrian. He was violent, like Adrian. He was fixated, like Adrian. But Slade sought to destroy Oliver from the outside first, counting on that outward destruction to eventually seep inward. Adrian has been working from the inside out. In fact, we haven’t really seen a whole lot of “out” yet... save for the kidnapping of Susan and then Oliver. But kidnapping Susan wasn’t about destroying Oliver. It was about setting him up so he could be taken.

I’m getting ahead of myself.

Slade also was motivated, at his core, by love. His love for Shado, which was twisted into hate and anger and vengeance through her death and the Mirakuru in his system. And that’s another thing. He was influenced externally in his vengeance. The Mirakuru took hold of him, warped his mind. Adrian’s psychosis is all-natural. No Mirakuru here. Also, Adrian murdered his own wife. His wife. That is a line Slade would never have crossed. This is part of what I feel sets Adrian apart from Slade. From Damien Darhk. From Ra’s? Maybe not so much. Ra’s exhibited the same disregard for his “loved ones”, but Ra’s wasn’t a psycho. Or at least not the same sort of psycho. Ra’s was deliberately pragmatic in everything he did, never exhibiting any heightened emotion. Adrian is calm and collected... until he’s not. Think that moment where he brutally stabbed that federal agent over and over and over with a pen.

Adrian is unpredictable. You don’t know what he’s going to do, how he’s going to swing in any given situation, where his mind is at. How far will he go? There is no telling until he gets there and that’s absolutely thrilling for me, as a viewer. I’m not even sure this man has a line... his morality is off the map and non-existent. A man who would kill his own wife clearly has lost any sort of morality he might have once had. And I think that’s rather the point.

Adrian Chase is what Oliver Queen could have become. Adrian took up his cause after the death of his father, just like Oliver did. He believes he is the hero of his own story, seeking justice for what has been done to him and his family. But he’s lost touch and that probably because he has isolated himself from outside influences. What am I getting at here? Adrian doesn’t have the team Oliver has. He has Talia, who is also fueled by bitter vengeance. He has Evelyn who, again, is fueled by bitter vengeance. I don’t believe either of these women have the same damage as Adrian, but they aren’t anchoring him. They aren’t inspiring him to find good. They’re feeding his anger.

Oliver has Diggle and Felicity. Two people who do anchor him, who inspire him to find good, who feed his hope and love and morality. Morality. That thing that Adrian doesn’t have any more. That thing that Oliver still struggles with, even nearly five years post-Island.

I think Adrian wants so badly to paint Oliver as a reckless murderer for (at least) two reasons: justice for his father’s death and to cover his own penchant for reckless murder. He basically forced Oliver to confess that he kills because he wants to, because he likes it. Anyone who has spent the last four and a half seasons knows that Oliver has struggled with killing off and on. A man who struggles with it, who makes vows against it, who sheds tears over accidentally killing his ex-fiancee’s boyfriend... does not enjoy killing. It’s plain for us to see. It’s not so plain for Oliver to see, for whatever reason. He hates and questions himself like no one else on this show. So it was very easy for Adrian to plant that suggestion in his mind.

But who is the one who enjoys killing here? A man who kills a single mother just because her name makes a clever anagram? A man who kills his wife as though she means nothing to him? A man who brutally attacks and kills a man and then, still wearing his blood, sings along with a chipper song on the radio? Yeah, I think we know the answer here. Adrian Chase wants to kill, he likes to kill.

I rather want to see Adrian be confronted with this truth in the finale (like he forced Oliver to confront that “truth” in 5x17). I’m curious to see what he’ll do with that revelation. Will he kill himself, like his comic counterpart did? I think that tease we got from the EPs before the start of the season, about Adrian Chase following his comic counterpart’s destiny closely still means something.

But make no mistake: I do not think Oliver will kill Adrian. He can’t. Oliver has to make a hard line with his morality. The lying. The killing. To be a hero in the light, he can’t allow slips into the darker side of his own self. Adrian is probably going to do some messed up things to Oliver and those Oliver cares about going into the finale and I think, like with Slade, Oliver will have more than enough reason to want to kill this man. He does already! But he won’t. And I’m going to be so proud of him.

Adrian is my favorite Arrow villain because he’s challenging Oliver. He believes he’s breaking down Oliver from the inside out but what he’s doing is exposing the things that Oliver has hidden from for five years. No... ten years. And once those things are exposed, they will be dealt with, conquered, solved. The reason Oliver won’t succumb the way Adrian expects him to is that Oliver is so much stronger than Adrian believes. And so are Diggle and Felicity. He doesn’t expect those bonds of friendship, teamwork and love to be as strong as they are and that Oliver isn’t just Oliver. He’s his team too. He’s his brother. And his lover.

Adrian doesn’t expect any of them. This villain who expects everything isn’t expecting the power of OTA.

I think that’s kind of gorgeous, don’t you? Arrow respects and admires and honors OTA and they’re showing it this year with this villain and this climax.

Oliver will come out of this a more complete and whole hero. The show will circle back on itself, reminding us of where we began, showing us how our hero has grown. And we have Adrian Chase to thank for that.

#arrow meta #adrian chase #arrow season 5 #my meta #character: Adrian Chase #character: Oliver Queen #show: Arrow

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asagimeta · 7 years

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It occurred to me that we can look at the second half of AHS 6 as an example of what to expect in the show from here on. It revisited a location, characters, lore, and it was NOT a private, isolated incident. The situation spiraled uncontrollably into the public eye and concluded in a MASSIVE public incident.

This is a good point Anon, and it could be a canon explanation for why there were only ten episodes instead of thirteen*, since the first five represented seasons 1-5 and the second five represented 6-10**, he might have wanted it to be an even half-past-seasons, half-future-seasons

*We know the real life explanation is most likely because Ryan Murphy had alot less time to work, with him having done The People VS O.J. Simpson in 2016 and him starting to work on Feud: Bette & Joan in 2016 as well, the fact that Sarah Paulson was also doing O.J. probably influenced it too

**Technically, we could also look at episodes 6-10 being seasons 7-11, because it’s questionable weather or not season six should count as it’s own plot, in fact that was my original thought, but because of what episode six was, I decided season six probably IS representing it’s self in episode six

It’s important to note before we start that it was recently stated that, wile season seven’s theme has been completely decided, seasons eight and nine “Are still being hammered out”, and anything that MIGHT represent eight and nine is up for either changing, modifying, or elimminating completely, I’m sure Murphy has a few vague ideas set up but they’re probably not developed well enough for definitive information yet

Let’s look into some things that happened in episodes 6-10 that could possibly be references to future seasons:

Chapter Six: I’m starting here so I can explain why I think this is meant to represent season six, episode six was the big reveal, showing us what the rest of the season’s format would be, revealing to us that only one person gets out alive, revealing who the actors actually are and what really happened between the real people (IE: Shelby and Matt splitting) and finally reveiwing some of what had happened earlier in season six (The nurses killing Rory and completing “Murder” for example, going back to the house for the first time during the blood moon, starting a new TV series etc) If there is a way to reveiw a show half-way through and give hints to the theme/plot of the rest of the season wile keeping it part of the actual show (IE: Not making it a clip show)? Then Chapter Six is hands down the way to do it

Chapter Seven: This is where the majority of our themes are going to come from, and they include:

-Cannabilism-Inbred hillbillies (I cannot think of a polite way to say that)-Infidelity-Alchoholism-The Woods-Insanity/becoming someone else-Witches-Ghosts-Rage*

Of these, the following have NEVER been explored on AHS before:

-Cannabilism-Inbred hillbillies-The Woods

The following could easily be references to past seasons (Again) OR could be repeated in future seasons

-Infidelity (season one)-Alchoholism (season two)-Insanity/becoming someone else (season two)**-Witches (season three)-Ghosts (seasons one and five)

The thing is, that these are all themes that are shaded in other seasons as well as the ones they’re featured primarily in, take ghosts for example, they may be a major theme of seasons one and five but they also appear in season four (Edward Mordrake), witches may be primarily season three’s property but Queenie comes into season five for a stint, insanity may be primarily featured in season two but it plays into other seasons as well, such as Pepper’s backstory in season four, etc etc, so they might still come in to play later but because they ARE old themes they’re really on the fence

*I don’t know how to describe this, but there was alot of blind anger in this episode, Shelley, who is usually pretty quiet and stable, flies into a murderous rage and brutally murders Matt, that stands out as being massively unique to me for some reason, I just don’t know how better to describe it…

**I specifically stated “becoming someone else” because Agnes’ psychosis is specifically related to becoming the Butcher, season two shows alot of people “becoming” other people, from Judy becoming Sister Jude (a transformation, albeit not one caused by insanity or becoming an actual different identity) to Ann Frank being labotimized into becoming a docile housewife, it’s pretty prominant

Chapter Eight: There really aren’t any unique themes in this episode, I’m afraid, the only ones that are different from Chapter Seven are:

-Japanese horror-The Piggy Man-Suicide-Wrongfull blame

We know The Piggy Man is a reference to season one, and wrongfull blame is a pretty common theme throughout AHS (Kit in season two, Pepper in season four, The Geep in season four, etc etc etc) so I’m not sure that either of those are going to play into season eight, thus the only two new themes are have are Japanese horror and *intentional* suicide

Chapter Nine: Chapter Nine only has a few themes, but they’re very very unique, potentially very telling themes, and virtually none of them have been done before, they are:

-Found Footage-Possession-Police involvement

Possession has obviously been a big theme before, namely in seasons two and five, police involvement was prominant in season five, but that still leaves us with “Found footage”

Chapter Ten: The last episode has the least themes overall and especially the least unique ones, wich makes sense, if this is going in order then it’s obvious why each episode has less information than the last, the later the season, the least likely it is to be fully developed, but that doesn’t mean that what we have isn’t worth mentioning, our themes are:

-Reality TV-Court-Interveiws-Ghost hunters-Children-Sacrifice

Obviously reality TV has been a theme before, mostly in season six but also in season five (Billie Dean’s show) and interveiws have been a theme too (seasons two, three, five, and six, all featuring Sarah Paulson by the way) children (mostly seasons one and five, but arguably every season has a relation to childen in some way) sacrifice has also been featured in the past, most noteably in season four where it was a primary theme

So to boil it down, the themes we have that are most likely to play into future seasons are as follows:

Season Seven- Cannabilism, inbred hillbillies, the woodsSeason Eight- Japanese horror, intentional suicideSeason Nine- Found footageSeason Ten- Court, ghost hunters

So far, all we know about the future of AHS for sure are these facts:

-Seasons seven, eight, and nine are already greenlit and will air in 2017, 2018, and 2019 respectively-Season seven will begin in September-Season seven’s theme is set to remain a secret like Roanoke-Season seven will be “connected to Freak Show but set in the modern day”-Season seven will feature Sarah Paulson and Evan Peters-Ryan Murphy announced that there will be a season that’s a “Coven and Murder House crossover” but that it is NOT season seven-A teaser was released for season seven in November that featured ocean waves and a flash to the stick dolls with “Sweet Dreams” written over it, a scream heard in the background, and the caption “The monsters are all gone” beneath it

Let’s start with season seven:

Everyone assumes “The monsters are all gone” is sarcastic or a lie, but… what if it isn’t? What if season seven, like seasons two and four, are more about HUMAN threats instead of monsters? After all, we know that this season is connected to Freak Show, the only non-human creature in the entire season of Freak Show was Edward Mordrake, who was a ghost of another freak, add to that what we have in terms of themes for episode seven of Roanoke, wich are: Cannbalism, inbred hillbillies, the woods

In addition, a very interesting matter, Freak Show took place in Florida, wich is near the ocean (thus the “Sweet Dreams” teaser)

Based on this, we have a potential theory for season seven:

Taking place in or around Jupiter Florida, our charectors include the next generation of freaks (Jimmy and the Tattler Twins’ child(ren) perhaps, or maybe Dandy isn’t the last Mott after all? Or, ofcourse, there might not be any blood relations at all to the people of season four, they might just be a new generation who don’t know about Elsa’s cabinet, or who were even inspired by them) as well as the child(ren) inbred through generations of hillbillies who may hunt the freaks… or join them, and a cannibal (or a community of cannibals maybe) who want to kill and eat the freaks due to having a taste for human oddities, wich is a creepier twist on the collection aspect of season four

The woods could just be where the cast is mostly going to be located, but the reason I keep mentioning The Woods as a theme is because it’s a classic horror movie trope, something being “in the woods”, the only problem with this that I have is usually the “something” in the woods is supernatural, and specifically, in Roanoke, the “something” is indeed some sort of ghosts/monsters (I don’t honestly remember if we were shown what attacked Audrey and Lee in episode seven) If season seven is about human monsters then this doesn’t fit

Obviously we don’t have enough to go on for the other seasons yet, but…

Season eight could include intentional suicide and Japanese horror, the latter of wich I’m REALLY excited about, can you imagine an entire season of stuff like the Chens? Creepy movement, strange animal sounds, weird and terrifying urban legends… I’m in love (plus it could be a good chance for there to be some more diversity for the mains of a season *cough*)

Season nine could be a found footage thing- and why I bring this up is because I’m talking specifically about the Blair Witch kind of found footage, amatuar stuff, not the reality TV stuff wich we keep seeing, a Blair Witch kind of thing could really be interesting and could easily involve the police too (even though we’ve already seen that before, we haven’t seen it MUCH and it could come out to play as a more prominant theme later)

Season ten gives us court and ghost hunting wich is obviously a weird combination, and to be honest? I’m not sure they could be connected, if they are, I feel like one would be ALOT more prominant than the other… but wich one?

Anyway, this gives me alot to think about Anon, I wish we had a little more info from the episodes theme wise but I realize also that any plans for seasons eight and beyond, at this point, are so loose that giving more info would be unreasonable of them, as unfortunate as that is

#American Horror Story

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