the structure in mac and dennis break up
this is gonna be a short post tbh, I just rewatched the episode and I have a couple of thoughts.
if you need a refresher on what I think the structure is in general, I talk about it here.
I think Mac and Dennis Break Up shows us an example of Mac and Dennis (and Charlie and Frank) working properly in regards to the structure, let me explain why:
First... I don't think there's a need for me to describe the plot of the episode, we all know.
What I want to focus on, is that at one point Mac moves in with Frank and Charlie, and starts bringing his way of life to them.
At first, Frank is thrilled.
"I could use a little structure in my life here." he says.
This reminds me of dialogue from Carries a Corpse.
"Nobody admit this to Mac, but... I feel like he was carrying a ton of weight."
"That would be another one of his annoying identities... the man who could carry stuff."
He's been shown carrying Dennis, on top of generally being inclined to micromanage, take care of others so they're safe, and make decisions or at least demand to be consulted in them (like which movie to watch on movie night).
That's when Mac works best, so I assume that Mac generally brings structure (or is a man of action, as he describes it).
Later on, we see Mac take this too far, and Frank doesn't like it anymore. To me, this is because what this episode tells us is that Charlie and Frank don't work well with a set structure, the way that Mac provides. They're more free.
I think this reading is important because it shows me why The Gang Gets Romantic fundamentally fails in its objective (not as an episode god forbid, I mean in the narrative, especially for Mac and Dennis).
It applies the romcom structure to Charlie and Frank, while it doesn't to Mac and Dennis, when it should be the opposite. Throughout the episode we see that Mac and Dennis keep fitting the tropes to the romcom structure, but they refuse to follow it, and thus it crumbles. It can't work.
Here's another thing.
Dennis' back broke in the S15 finale.
That is funny, yes, but what does this mean when I say that Mac is the (his) structure, then?
Well... Carries a Corpse implies that Mac was carrying most of the weight of the corpse, and the corpse is meant to be the show... and most show meta is basically the same as Dennis meta (most meta lines seem to relate to him, whether the fact he left for north dakota and came back, or the fact he's a dad, being between life and death, breaking his back aka the structure, and so on), as I have discussed better in my other post.
Point being, Mac carries Dennis. That's what he's meant to do, and what he does best in their relationship.
This makes me think of another recent scene that I think is emblematic of their dynamic... but in an interesting way.
So, in 2020: a Year in Review, Mac and Dennis work together on a song.
They seem to be in harmony, but eventually start disagreeing and stop altogether to focus on something else. Why?
Because Dennis is working on the backup vocals, and Mac is working on the words. Which means their roles are reversed. Mac is supposed to be carrying the song, like the wind beneath his wings that he is, and Dennis, like the man of words that he is, should be responsible for the lyrics. They're doing each other's job, which means any harmony they reach is still bound to crack a bit the moment the song doesn't work for them.
Their seating position on their sofa reflects this.
Compare it to Mac and Dennis Break Up, which is supposed to be our ideal.
They're in each other's places, in 2020.
This isn't new, they've been sitting in each other's places ever since Break Up. Mac was sitting in Dennis' place in MFHP, Dennis was sitting in Mac's place in Gets Romantic.
So tl;dr... Mac and Dennis work well under structure, when Mac is the one to bring it and carry Dennis. They fit a proper couple structure after all. Charlie and Frank don't work as well under structure, since their relationship is more unique and doesn't quite abide by normal rules because of that.
This does bring me to one last consideration though...
They're back in their right spots, in season 16! Only problem is... couch is different. I would argue an inflatable couch doesn't offer the same amount of support (structure) that a normal one would...
Now that Dennis' structural essence broke, is he gonna feel what it's like when Mac is absent?
Perhaps this is why in Cursed we get Mac as the lucky one while the others as so unlucky they start to believe they're cursed (according to the synopsis...).
So the whole gang needs Mac?
Well...
In Goes To Hell pt2, when they build the human pyramid, it's both Mac and Dennis that end up at the bottom, as its structure.
So maybe... Dennis needs Mac as his structure, and the gang needs them to be in sync so they can both, together, support them (or shut the hell up about it, as both madbu and s15 would argue). Maybe this realization could be what brings the gang to work together in order to get them together. But that's getting into just speculation so imma end it here.
I like these thoughts though... Mac and Dennis being the foundation, the structure of the whole thing :)
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Gremlin rights tbh
Carlos & Mal, ~1200 words, TW for food issues in this one. (unspecified food issues because I'm not sure how to further tag this)
*
“What's for dinner?” Mal demands, walking into the sunroom of the fucking gorgeous mansion that they live in now, because life is weirdly good sometimes, and people like to pay Evie for her work nowadays, which means that she can do things like buy an entire house just because she wants one, and not have to worry about spending the summer at Auradon Prep again like they did last year.
Carlos, who is lying on the couch with his feet tucked up and under the blanket draped over the back, looks up from his game at the dramatic entrance.
Mal looks back at him, somewhat expectantly. She absolutely reeks of magic, the sort of burning woodsmoke smell that always happens when she does experiments with her powers. It doesn’t happen when she’s using familiar spells, which Carlos thinks privately, in the space of his own brain where Mal will never hear him, means that the woodsmoke smell is actually just the smell of Mal’s brain cells dying as she flash-cooks them with the effort it takes for her to learn new things.
“Hey,” Carlos says, in greeting. Because that’s what you’re supposed to do when you see someone you care about and also live with. “My day was fine, thanks for asking.”
Mal snorts. “Yeah, okay, mine was too. Don’t be a princess about it.” she pauses, and walks more fully into the sunroom, which is mostly an early-evening shade room at the moment. “S’there dinner?” she adds hopefully, like somehow saying it again will make food appear somewhere in the immediate area.
They’ve had this fight before. Carlos takes a moment to assess the color of Mal’s eyes, and then promptly decides that it’s going to be a fine night to have it again.
“Chips.” he says, gesturing at the bag he’s got balanced on his chest.
It’s been–
Well.
It’s been a long day.
Mal stares at the bag like it’s done her some sort of personal injury. “That’s not dinner,” she says, sounding almost horrified with herself. Or possibly she’s horrified about the chips. Carlos truly cannot be fucked to figure out why Mal’s upset about eating junk food for dinner. “Dinner is something better than that.”
Chips are delicious, and anyone who thinks otherwise does not deserve a place on Carlos’s couch. He sticks out a foot, just in case Mal gets any bright ideas about sitting down. “It’s what I’m having for dinner tonight. What’re you having?”
Mal sighs. “I was gonna eat whatever you’re having,” she says slowly, kicking the corner of the couch. “But if you’re not making anything….”
It’s mean. And rude, and wholly unnecessary. But sometimes they all must give in to their baser villainous impulses, and Carlos is no exception. He reaches slowly into the bag on his chest, and pulls out a single, unbroken chip to hold out to Mal. “Chip?” he offers brightly.
Mal growls. “I’m getting takeout,” she grumbles, kicking the couch again, with more force this time. “And I’m not going to share it with you, dumbass.”
Carlos sticks his tongue out at her, because it seems like the thing to do. Not sharing is fine by him. There’s a reason why he’s not eating real food for dinner tonight, and it’s not just the lazy summer energy that seems to have spread through the house like an invisible fog. Sometimes, the very thought of eating actual food is too much, and the idea of anything more substantial than salt and air makes his stomach churn and ache like it used to back home when things were really bad. Not starvation-bad, when he’d eat anything that didn’t look like it was growing its own set of teeth to eat him back, but the kind of bad where everything felt sharp and bright and awful, and mother was more lucid and able to keep track of the supplies in the house, and sneaking anything more than what she’d determined was his fair share meant a punishment that would leave him wishing it was the other kind of bad times.
At least when they all starved on the isle there was a sense of camaraderie about it. The barges would stop, and everyone would ration as best they could until the boats picked back up again. A lot of people on the isle understood that sort of hunger, but not a lot of people understand the sort that comes from being hungry, and having food in the house, and knowing that if you take any, it’ll be worse than if you haven’t.
The feeling now isn’t quite the same as it was back home, but the result is the same. Evie’s house, Evie’s rules, Evie’s money that pays for the groceries, so even if Carlos did want to cook dinner tonight, which he doesn’t, there’s no way of knowing how much he’s supposed to have without Evie here to lead, so the uneasy almost-queasy feeling wins out and dinner remains a thing to do when there’s other people around. And sure, Mal is here now, but she’s more of a horrible creature than a human anyway, and once the feeling of persistent unease has started, it’s easier to keep riding the wave of it and ignoring food than it is to force himself to get up and make something to force down.
The whole messy business of it all seems too impossibly complicated to explain to Mal. “Have fun trying to get delivery out here!” Carlos calls instead, as she’s stomping out of the room to find the drawer full of takeout menus that Evie likes to keep around for when she’s feeling especially rich and luxurious.
Mal waves a middle finger back. “Fuck you!”
*
Five minutes later, give or take, Mal comes stomping back into the sunroom with a paper menu in her hand and murder in her eyes.
Right.
“Where’s a phone.” Mal growls, and it’s not a question.
There’s an aesthetically pleasing midnight blue rotary phone on the wall in the hallway that nobody ever bothered to hook up. There’s also another one, creamy white faded with years of use and poor upkeep to a brownish-yellow, in the little closet upstairs that they’ve all been calling the phone closet and refusing to use for anything more practical than the phone and the much-worn armchair shoved inside it. If Carlos is being entirely honest, there’s also a cell phone in his hand, although that one is currently playing a game that he’s not exactly willing to pause in order for her royal purpleness to make a phone call.
There’s also a glossy purple cell phone on the counter in the kitchen, which has been sitting there for the better part of a week, uncharged.
“Your phone’s dead,” Carlos says, trying not to sound too snotty about it. “Mine’s occupied.”
Mal growls.
Carlos shakes the bag of chips at her. “Dinner,” he sing-songs, shaking the bag enticingly in her general direction, eyes still on his phone. “I’m not cooking tonight.”
“I’m feeding myself.”
Mal is categorically hopeless at everything except for baking.
“Great, go for it,” Carlos says, eyes still glued to the game. His armies aren’t doing well in the eternal fight against the forces of space. It’s a little frustrating. “Have fun, don’t burn the house down.”
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