#anyway yeah the sort of classic tragedy of these two is super interesting since like...clearly the show knows what's up | Explore Tumblr Posts and Blogs

knowlesian · 2 years

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my last post and the shameless mountain goats reference i threw in there got me thinking about one of my favorite story beats, because it combines a lot of character work and thematic oomph in one: ed being a victim of his own legend and ability to protect himself by hiding in plain sight + codeswitch into the version of himself that best suits the company/situation he’s in, in many ways but often most visibly through his interactions with izzy.

my take on “is blackbeard real or fake” has always been “yes”; blackbeard is pieces of ed filtered and strained and assembled and pruned down in ways that scarred him even as they kept him safe, in ways that are very sad and often stretching the definition of safe as far as ed’s personal definition of murder. nonetheless: it got him to the place he's at, still alive. could he have done it another way? who knows! that was the way he did it, it's the way he knows will work because it did work.

or: he thinks he knows that. but the legend was never all of ed and in fact demanded he spotlight pieces of himself he doesn't like so much a lot and repress a lot of the things that make him feel good, it’s not helping/hurting anymore. it’s just dragging him down.

so ed is sick of the blackbeard schtick; and here’s the rub. if he’d been worse at the art of personal fuckery alongside the pirate type, maybe none of this is happening. the world never knows his name; or worse, once he gets spotted as a man who won't kill they mock it.

that version of ed does not attract izzy ‘ask me about my boner for the sunk cost fallacy’ hands, or does not keep him. because izzy has built his identity around ed’s legend; who is blackbeard’s first mate, if there is no blackbeard? who the fuck even is izzy hands, if he’s not seated at the right hand of edward teach?

now. you would hope, in a better world, that izzy would be like you know, edward, the thing here is: you wanting something different involves emotional consequences for me. i would have to figure out my whole life over again and i am simultaneously con o’neill’s age and emotionally sixteen like the real world me was, so you can see that would be super complicated. i have so fucking much baggage and you are just adding to it, and i do not like that. also: this fucks up my work situation and my home life at once, it makes me feel sad and abandoned and itchy in ways i do not wish to label with words because they would be gay ones like ‘please don’t leave me, i love you and i thought it was mutual’ so like... world rocked, thoroughly and in ways that make me want to rant until past last call, in conclusion this sucks and i think it's twenty mistakes in a trenchcoat, some of them maybe life threatening! i wish you would not.

and then he would step back and let ed make his own fucking choices anyway and either do the work to figure himself out in the same space or finally grab those cds from the car and find his own place to do the same, because a shitty fact of adult life is sometimes people cannot be what we want or need. sometimes that is because they suck: sometimes, it’s just because they can’t or don't want to, and that isn't them being mean or withholding. they don't owe us more than the basic kindness and dignity we all owe to each other just because we put in our hours longing for them to do so. that’s some toxic, entitled shit. understandable! an impulse i share at times! but we should never be That Guy (gender neutral) because the friendzone doesn’t actually exist and nobody deserves to win someone else as a prize for hanging around long enough and driving them to the airport. that’s just called being friends, etc.

izzy is sadly currently stuck on being That Guy. so instead of realizing ed is an adult man and can make his own choices, even if izzy thinks they're bad ones, he fucking panics and starts swinging around and finally runs to big daddy england to make stede bonnet stooooooooop (messing with ed’s brain).

and of course he does something like that! he thinks a relationship is when you metaphorically own each other and when you can only be tender after putting your right foot in and then putting it out before once again putting it in and then proceeding to shake it all about, violent rituals unlock love style. he’s a desperate man in a hell entirely of his own making.

and so is ed, in this entirely different way but stuck in his own fucking orbit as firmly as izzy, only ed is trying to claw his way up and out to see what else he can be, while izzy would do juuuust about anything (including lick the king’s boots) to stay the same forever.

that’s some tragic shit. i love this writing team, the end.

#what if i staple no children to their heads when they're together what then #truly this is some good writing #like: i find izzy fascinating because he was written by the same team who wrote everybody else #he sucks in ways that i want to think about because they sometimes allow me to examine myself #and then sometimes let me laugh at his dumb ass or talk about serious thematic shit #he bears a lot of weight in the narrative because that's in part what a good antagonist should do #anyway yeah the sort of classic tragedy of these two is super interesting since like...clearly the show knows what's up #i maintain izzy is gonna figure his shit out and become a productive member of this pirate society tho #because okay like: in real life i know the best i can often hope for is somebody knocking a specific behavior off #and often they won't ever do that #but if they did the world would be better and they would be better and i would have another comrade #i will always settle for one less enemy if that is my only choice #but i'd rather make a new ally i can trust #and my fantasy is often that the izzys of the world in all their forms don't just knock it off #it's that they start fighting alongside me or become someone i don't mind being around because i CAN trust them now #(hey: i did say it was a fantasy)#so i kind of ask myself: what makes life better in this fictional world #an izzy who can't hurt people because he is no longer around or an izzy who has started to figure his shit out #anyway yes: this shit is sad and well-crafted

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spacejellyfish3 · 3 years

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So I watched—and loved—Fear Street on Netflix. It’s fun, it’s scary, it’s very well directed, impressively shot, and delightfully queer. I’m also really excited to see where it goes next, since it is a trilogy of films that are APPARENTLY COMING OUT ONE AFTER THE OTHER IM BEING FED VERY WELL

Um…

Ahem…so anyways…I’m super stoked to foray into the 70s for the obviously Friday The 13th homaging next installment. But I as I’m wont to do, I have thoughts, I have theories, I have several analyses bursting out of my brain for zombies to eat.

And so without further ado; here’s my Fear Street theory (and yes, all of the spoilers apply):

So…yeah.

Sara Fiers is not the villain. She most definitely is not.

That’s pretty unlikely given the intensely unsubtle foreshadowing in the opening credits ALONE.

No…the witch isn’t the villain at all.

Sunnyvale is.

It’s particularly interesting to me how much the high key in your face opening credits establish very clearly the dichotomy between Shadyside and Sunnyvale; one town full of murder, mayhem, and misfortune, the other prosperous, picturesque, and peaceful. It’s the difference between Killer Central USA and The Sunniest Place On Earth. And that, in my opinion, is—forgive the pun—shady as all hells.

In fact, it’s so very much and exceedingly reeking with suspicion…

It’s stated extremely plainly throughout the film how Shadyside has continuously descended into a pit of death and suffering as the years pass by, while Sunnyvale remains rich and pleasant and as safe as can be. That cannot be a coincidence—especially in a horror movie, a genre where almost nothing is ever coincidental.

And if Buffy the Vampire Slayer has taught me anything at all, it’s that supposedly idyllic towns that market themselves as “sunny” are never ever to be trusted at all costs.

Ever. Never ever ever.

The main reason I find Sunnyvale sus is pretty obvious, however: if they weren’t, why even mention the difference in the towns’ wealth and safety? Why bring up that conflict? Why even have two towns in the first place? What would be the point if there’s no relation? Sunnyvale’s entire existence within the story, and their relative prosperity in comparison to Shadyside, seems very much like a clue that they’re involved in some freaky deaky dealings and possible black magic. They wouldn’t bring up these details if they weren’t gonna matter in the long run; you don’t spend that much time and effort just to set up a red herring.

Unless it’s just bad writing, which might be probable but seems unlikely for this specific property at least…

Another big indication comes in the witch’s supposed motivations…which don’t seem to exist beyond “muah ha ha murder” and “generic revenge” if we’re being completely honest here. But that flimsiness made me take a closer look into the visions Sam got after her blood seeped into Sara’s grave and as she got closer to death: a swarm of bees, red tinted almost like blood got splashed onto the camera, a girl screaming into the ether, an image of the Witch’s Mark, and who I presume to be Sara yelling “YOU! IT’S YOU!” over and over again. But when I look at that and put it in context with the motives the 1994 cast comes up with, there’s not much cohesion, is there?

Revenge as a motive wouldn’t explain why Heather was killed in the cold open. It also wouldn’t explain the weekly tragedies that befall Shadyside. If Sara wanted revenge on the town that tortured and killed her, why all the drama? Supposing she can possess the dead, why not just necromance an army of unkillable zombie monstrosities to raze the town in one go and get all over with? Why is this bitch out here doing the most? It doesn’t add up and it doesn’t make sense.

And if you take all that in tandem with the various tragedies of Shadyside—the ways people were murdered, the consistency of the massacres over the years, etc—it starts to paint an intriguing picture:

These deaths aren’t passion filled or emotive or generalized, they’re targeted (at those whose blood has mixed with the witch’s grave) and more importantly: they’re low key ritualistic. It screams of the classic sacrificial deaths and equivalent exchange. Sunnyvale’s peace and prosperity is very likely rooted in a demonic ritual that both feeds on the suffering of Shadyside as well as directly cause it as a sort of feedback, taking the brunt of the bad luck, poverty, and decay meant for Sunnyvale only heightened and magnified to insane degrees. It’s why so many deaths have happened over the years: it’s a clear method of perpetuating that state of perfect, suburban idyllia.

And honestly if this theory does turn out to be the case, it’d serve as an excellent metaphor for wealth inequality, possibly gentrification, and most definitely exploitation of the lower classes of the socioeconomic hierarchy by the upper crust elite WASP 1% so as to perpetuate the status quo of the rich getting richer and the poor getting poorer and continuing to suffer. That itself is kinda sorta already supported by the text of Fear Street too in that Sunnyvale is made up of mainly privileged white suburbanites who live in antebellum architecture style houses and manors blanketed by green grass and white picket fences whereas in contrast Shadyside is home to a clearly diverse and multiethnic population that is disenfranchised, poor, low in prospects, high in death and suffering, and living in relative squalor…

So imma leave that here and I hope y’all add your own theories and observations if you can and want to. I’d love to read them so please don’t hesitate to reblog with your additions and stuff!

#fear street #fear street 1994 #fear street 1978 #fear street 1666 #netflix #horror #horror movies

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radramblog · 3 years

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Radiohead Retrospective Part 5: I forgot what I was gonna call this one

The previous few entries in this retrospective have had a big old lead-in, about where the band was and how the next album came to be. This gets somewhat awkward now, as we discuss Radiohead’s fifth album, Amnesiac.

The issue is, this tracks on this album were recorded in the same session as Kid A, and it was released just over half a year later, so there isn’t as much to talk about. Kid A was, obviously, huge, but its success wouldn’t affect Amnesiac that much. I guess it got a bunch of music videos? Like, Kid A didn’t have singles, so it didn’t have either those or B-sides.

Regardless, despite being recorded simultaneously, Amnesiac is not truly cut from the same cloth as Kid A. It’s a titch more traditional and less electronic, bringing in jazz influences and classical stuff in addition to the electronica the previous album debuted. It also apparently has krautrock influences, but I don’t really know what that means, so perhaps we should just dive into it and find out.

Much like Kid A and Everything In Its Right Place, Amnesiac opens on an electronic line, albeit one that is slightly less iconic. Packt Like Sardines In a Crushd Tin Box (the spelling errors are not mine) is a substantially more muted introduction, driven by a scattered electronic percussion and a very low melody. The lyrics are pretty simple, but “I’m a reasonable man, get off my case” is kind of just a great, memeable line I’m sure people have had fun with.

Packt Like Sardines does unfortunately introduce us to a problem surrounding Amnesiac, and the discussion surrounding it. It is extremely often considered an outtakes album, a smattering of disconnected tracks, and I consider that completely unfair to the album’s design. However, Packt does inevitably invite comparisons to Everything, and it doesn’t compare favourably. I still really like the song, it’s soft and somehow comfortable in its coldness, but Everything is, well, everything.

This theme may continue.

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It is exceptionally frustrating that a higher-quality copy of this video isn’t available, because it’s really good.

There was a solid period where I considered Pyramid Song my favourite Radiohead track. It is impossibly deep, and beautiful, and above all else evocative. I have no idea why it’s called the way it is, a name echoing either geometry or the ancient past, but the little piano loop Pyramid Song is built upon is just…so much. The lyrics aren’t especially complex, but they manage to capture a very specific emotion of loss and grief, but of absolution, and just hnnng.

If you didn’t watch the video, by the way, go fucking do that. It might have the graphics of an early 00s video game cutscene, but it is genuinely as evocative and tragic as the song itself. Although according to the comments, Pyramid Song was apparently in Cyberpunk 2077, which on the one hand is cool it exposed a bunch of new people to this baller song, on the other hand it deserves so much better than being in that of all games.

I’m just going to say this ahead of time, I don’t think Radiohead captures beauty so well again until two albums from now.

We go from the utterly iconic Pyramid Song to the significantly less so Pulk/Pull Revolving Doors. I…really don’t know what there is to say about this one. It’s kind of an electronic soundscape more than a piece of music. It technically has lyrics, but they’re so heavily affected that it’s hard to see them as separate from the tune itself. I’ve spoken before about songs that are driving towards a point, that have a clear sense of forward motion from a repeating instrumental that feels like the consistent rattle of a train car. This song sort of has that, but without as much of the energy as those songs often have- it’s like a ride you have no control over. It’s basically fine, but I have no idea when I’d ever go out of my way to listen to this.

Also, what the fuck is a Pulk? That’s actually a word, I’m not getting a red underline like with Crushd, but I’m not sure if it’s an intentional misspelling or not.

The next song, You and Whose Army?, is something I remember as being way less subtle than it is. I mean the lyrics are very clearly directed at a person, and spoilers, it’s UK Prime Minister Tony Blair, but if you don’t know the period, or the band’s politics in general, it’s probably going to go right over your head.

It’s a song with two clear halves. One of them is quiet, muted even, subtle instrumentation over muffled vocals, and the second is swelling, and triumphant, powerful instrumentation over muffled vocals. The second half is a lot of fun, but it wouldn’t feel as paid off were it not for the first, so fair enough. I think I used to like this song a lot more than I do now, unfortunately.

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I Might Be Wrong is probably the most traditional song we’ve seen from this band in a minute, huh. A bass-driven track that is unquestionably a rock song, even with more electronic percussion and effects on it. Try listening to this with headphones, by the way- it’s extremely heavily panned, something I picked up on in high school since every pair of earphones I’d get would break in one ear eventually.

Despite the previous track’s eventual energy, I Might Be Wrong conveys the general mood of the album- that is, it’s pretty mellow? Even as the bluesy groove keeps going, the track never gets as intense as even say No Surprises. It’s a bit of a vibe, isn’t it? I especially enjoy the little Afterword the song has, it’s not much but I feel like it really adds to the track as a whole.

Wait how the fuck is You And Whose Army? more popular than this? What 23 million people pop that song on the reg? I don’t understand.

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Considering the subject matter of this song, and that I’d never watched it before, I was somewhat apprehensive clicking this music video. And…..yeah………..it sure is like that…..

Anyway so Knives Out is about eating people. Probably? That’s the text of it, the subtext is probably a fair bit deeper than that. Like taking advantage of what people leave behind in their absence in a more general, non-cannibalistic sense. Maybe.

I think this song is the most acoustic/least electronic song on the album? Save for one we’ll get to later, maybe. Its lyrics are kind of gross, but that’s allowed.

I’m somewhat frustrated by the lack of things I can think of to say, because I really like this song. It’s a lot like I Might Be Wrong, in that it’s a more chill rockier song than most of the album, but with a different sort of vibe. Uhh…yeah? Shrug? 8/10, would listen to again.

Anyway, we now hit Morning Bell/Amnesiac as track number 7, and it’s the least subtle reference to Kid A I guess you can think of. I mean, it’s a different version of the same song, much louder and more discordant. Bits of it sound like they could be comforting, but juxtaposed with some of the more distressing elements it’s a bit of a whirlwind.

I can comfortably say that Morning Bell/Amnesiac is A Good Song. However, I can’t really appreciate it as such, for a very silly reason. Since I thought the pun would be good, I had this track as my morning alarm for a very long time, and as a result, I cannot stand listening to it. Let this be a warning, never use a song you like to try and get out of bed, if you want to keep liking it.

Dollars and Cents is another sparse, low rock track that eventually builds into a bigger deal as it goes on. Honestly, it’s kind of hard to make out the instruments, a low cymbal line and loose guitar folding in on each other in the background. It, regrettably, doesn’t quite land on the same stick as many of the other tracks on the album, being basically fine but not really notable? And I think that’s the biggest difference between Amnesiac and Kid A, Amnesiac actually misses. Like, I always forget about In Limbo, but it’s unquestionably a good song. Between many of Amnesiac’s more experimental tracks not living quite up to snuff, and Dollars and Cents being largely okay, it’s no wonder why the album is often seen as the inferior follow-up.

This is not particularly helped by the ninth track, Hunting Bears, a loose guitar instrumental that doesn’t work nearly as well as Treefingers. It doesn’t have the vibe, and it doesn’t fit as cleanly in the middle of the album like that one does. It’s just, kind of, there. I genuinely usually skip it when I listen to this album, but I figured it wouldn’t be fair to do that here. It’s just, kind of, a miss. Pretty short, though- I could believe this originally having been part of Dollars and Cents, like a longer version of the end bit from I Might Be Wrong.

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While I know this is a video for both Pulk/Pull and Like Spinning Plates, I associate it more with the latter. Not only is the version of Pulk/Pull very different from the album, well, you’ll see why I think the LSP bit is more memorable.

I think Like Spinning Plates is extremely cool. If nothing else, it’s super interesting how they got this to work. The vocal effect for the first verse was achieved by getting Thom to sing the lyrics, reversing that recording, having him memorise how that sounded and perform that, and then reversing that into the final results. How cool is that? I think it’s cool. Also at some points in the second verse, they’re playing a forwards and backwards vocal track simultaneously, which is a really neat effect.

The instrumental is…hard to describe. Apparently, it was a result of trying to make I Will (which would release one album later), which they reversed and played with to get this track. If you’re very familiar with that song, I suppose you could hear that, but I can’t. I just sit back and appreciate the music.

Amnesiac’s final track is Life in a Glasshouse, easily its most bombastic and jazzy. This sounds like a cabaret closer, a swaggering tragedy, an exploratory rehearsal of a final track. It also kind of sounds like a mental breakdown, which, mood.

There’s like, a whole band on this thing. Horns and woodwinds, a piano and probably more than one percussion element. The clarinet (?) noodling on the song is incredibly fun, giving it an almost playful edge, undercutting the downtempo mood of the song, and keeping it from being such a dirge. Especially as the track builds towards its finale, it’s clear that there was a bit more fun going on here. Of course, it can’t end on such a climax, as that little stitch of paranoia that ends up being the album’s closing word manages to sneak through.

And that ends Amnesiac. Now, obviously, it isn’t as good as Kid A. It’s less consistent, it doesn’t have Idioteque, et cetera. But I don’t actually think the comparison is as one to one as often it appears people do. The styles of the albums are completely different- Kid A incorporating so much ambient and electronic noise while Amnesiac has more of the acoustic and jazzy stuff going on. The two albums may have released closely, and recorded even moreso, but they are extremely different beasts at the end of the day.

It’s far from my favourite album of Radiohead’s, but I wouldn’t fault anyone for having it as theirs, you know.

We’ll get to my favourite album next week, where we will also see if I can either defend or maintain that opinion. Hail to the Thief beckons.

#ramble #music #radiohead #amnesiac

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littlehollyleaf · 5 years

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Name ten favourite characters from ten different things (books, tv, film, etc.)

Then tag ten people

Tagged (ages ago, whoops!) by @castiel-saved-me-from-myself

(I’m sorry, I got distracted!)

1.Supernatural. Castiel.

Obviously. I may be out of the fandom now, but I’ve never loved a character as much as Cas, and probably never will.

2. Good Omens. Aziraphale.

Thought I’d put both my darling angels at the top :) I suspect that without Zira there to pave the way Castiel may not even have existed, so I love him double - for himself and for Cas as well :p

While really quite different when it comes to their personalities (just think how Zira would SHUDDER at Cas’ trenchcoat), they share a lot of character traits and tropes (mini-series!Zira anyway, maybe less so in the book, or less obviously anyway), so, no surprise that I should adore them both. I’ve also said before, and I stand by it, that Aziraphale is sort of a combination of my favourite aspects of both Cas and Dean in one, with Cas’ struggle with Heaven/god and trying to be a good angel and finding he loves humanity/earth more, plus Dean’s whole ‘performing Dean’ thing and repression of queer feelings he is scared to admit to (out loud) because he believes they are somehow ‘wrong.’

...just to give a little insight into my feelings about these two that was neither needed nor asked for...

4. Hellblazer. NBC Constantine. Legends of Tomorrow. John Constantine.

Aaaand the other guy I love twice because Cas, and indeed spn in general, kinda owe their existence to him. Though in turn his fabulous live action portrayal by Matt Ryan probably owes its existence to spn and Castiel’s popularity. So... there’s a weird ouroboros situation happening with my favs here that makes my head spin whenever I think about it, but I love it - stories within stories built on stories feeding off stories, which connects to wider themes of story and storytelling being vital and intrinsic to life and stuff.

Anyway, despite his wardrobe, Johnny is NOTHING LIKE CAS. He is, in fact, a lot like Dean. But I like him more. Maybe because he’s British :p He has the whole ‘repressing his feelings’ things, a bit like Zira, but it’s not because he thinks they are wrong, it’s more of a coping mechanism to deal with the constant tragedy/trauma his life/lifestyle/fate causes him to suffer. But whatever the reason, I like my characters facing that struggle :) (actually the British element is probably way more significant to my enjoyment of him than I’ve been fully aware of... that’s probably why I loved Zira so fast as well... obviously they are both a completely different class of British, literally, but the fact they ARE British is INTRINSIC to both their characters, and I guess a little, vaguely patriotic part of me is excited by that... :p)

4. Gotham. Edward Nygma.

Since I’ve started giving explanations - I love Eddie because he’s also got the whole ‘emotionally repressed’ / out of touch with (his) emotions thing going on (as seen in Zira and Cas), but with the addition of various geeky / ‘tech guy’ character traits that I also love.

5. Doctor Who (Classic). Vislor Turlough.

I waxed poetic once about how I liked Gotham’s Edward Nygma because he reminded me a bit of Turlough. That was early on in my Gotham days though and given how Eddie developed I don’t see as many similarities now. Turlough shares some of Eddie’s ‘dark’ traits however - self-centered, often lacking in empathy for others and nonplussed (sometimes even happy) to see them get into trouble or hurt. But ultimately his attempts to be self-serving and cowardly end up thwarted by him developing feelings for specific individuals despite his best efforts, which is what I enjoy about him (and actually that’s a lot like Eddie still, huh... their endgame’s are opposing though ofc - while Eddie goes on to embrace being a villain, Turlough gives up on villainy and even becomes a bit of a hero, now and then). Plus, Turlough is the ONLY Companion (IIRC?) to have joined the Doctor specifically in order to MURDER him and... idk, I just think that’s cool :P

6. Doctor Who (New). Donna Noble.

(I’m trying not to double up on fandoms/shows so I can cover more, but New and Classic Who count as different things, kinda, right...?)

Donna doesn’t really fit any of the character traits I’ve talked about above, though I guess her low self-esteem is something that all my other favs share in various ways (though it’s not such an EXPLICIT aspect of their characters and story arcs as it was for Donna I’d say). What I first loved about her was that after YEARS of New companions (and other randoms) being literally in love with the Doctor, she had a strictly platonic relationship with him. Yeah, I think maybe the show was a bit heavy-handed about it, but even so it came as a huge breath of fresh air and frankly a RELIEF to me. Not that I’m opposed to the Doctor having romantic/sexual relationships, it was just that... coming from a childhood love of the Classic series where that just... didn’t happen (save a fleeting kiss in the TV Movie - which I actually enjoyed fyi!), it just... idk, was starting to stretch my credulity that EVERYONE seemed to be falling for him maybe? Or at least for me it was growing tiresome. So the fact she didn’t have that element to her character/story was a plus. Then I just adore how loud and brash she is when calling anyone, including the Doctor, out on their shit (I envy her that maybe). Plus I like the way she isn’t... traditional TV pretty, you know? (ie. young and slim, like a lot of other companions).

...or maybe I just like redheads *shrug emoji*

7. Spartacus. Naevia.

(she has two actresses okay? and they both deserve kudos!)

Truth is I love FUCKING EVERYTHING AND EVERYONE IN THIS SHOW. Spartacus is like... my PERFECT SHOW. There isn’t a single moment, a single plotline, a single character that I don’t enjoy. I have never even CONSIDERED looking up or writing fic because the finished product is completely satisfying exactly as it is. God. But I wanted it represented in this list so I had to pick someone!

Considering the time period there couldn’t really BE a ‘geeky, emotionally repressed with low self-esteem’ character :p BUT nearly ALL of the characters have the whole ‘struggle to understand/discover who they are’ thing and the ‘who I am and want to be is counter to who I’ve been told I am / should be’ arc, on account of the main cast being rebelling slaves (though the other characters are equally complex and compelling and I love them too - Lucy Lawless in particular is incredible!). Anyone who’s seen me blog about the show before might have thought I’d pick either Agron or Nasir as my favs, since I do like to squee over their romance. But whenever I think about the show it’s usually Naevia who I remember first, because her character arc/development just BLEW ME AWAY. She went from someone I’d kinda dismissed at first as a typical het love interest to a WARRIOR GODDESS and you SEE all the key moments of that growth, you FEEL it, it makes ALL THE SENSE. And her romance with Crixus, which again I was initially a bit dismissive of as a typical, sudden, weak het romance, grows into, imo, one of the deepest, most developed, most believable love stories in the show. So yeah. Naevia. Amazing.

8. Due South. Ray Vecchio.

(he’s the guy not the dog - gifs were limited! ...also the dog is actually a wolf, it’s a whole thing... that doesn’t need exploring at this juncture)

Ray was my first TV crush :P He had a bit of a sidekick vibe to him I guess, which I like (lead characters tend not to interest me as much). He wasn’t ‘geeky’ exactly, but he def had the ‘trying to look/act cooler than I am’ thing going on... also an obsessive attachment to his vintage car... meanwhile his partner Benny was the stoic, ‘British, stiff upper lip, keep emotions in check’ one who was always trying to live up to the ideal persona dictated by his people/employers, in this case the Royal Canadian Mounted Police... HUH, so... it’s actually SUPER WEIRD that I ended up loving Cas and Zira over Dean and Crowley when it seems pretty clear suddenly that my first big fictional fav was CLEARLY the Dean-Crowley to Benny’s Cas-Zira......?? Ray was FUNNY in a way Dean and Crowley aren’t though, I think? He def filled a ‘comic relief’ slot on the regular and I liked that a lot (it also made his serious, angsty moments EXTRA serious and angsty, and extra angst is something I always love!)

9. The Librarians. Eve Baird.

Remember this little show? It was... is... sorta ridiculous. Not amazing. Based on some... very cheap, very OBVIOUS Indiana Jones rip-off films, that were also ridiculous and... not... great (the third one is the best, with an awesome performance by Stana Katic aka Kate Beckett as a vampire, but I digress). But... idek, I am EXTREMELY FOND of the series for some reason :p

There are a WHOLE BUNCH of characters that fit my ‘type’ more than Eve tbh... in fact... probably every.single.other.main.cast.member (save perhaps Jenkins?) shares the traits above that typically make a character my fav. But... EVE! I just... think she’s neat! ...maybe it’s BECAUSE all the others are main/lead characters that makes me gravitate towards her? In a cast where ‘geeky, socially awkward, struggles with emotions’ is the norm, Eve being the no-nonsense, socially competent, badass soldier type therefore becomes different and thus more interesting to me? Also, much like with Donna, I appreciate that she’s an older woman who gets to have a full character and plot of her own. There’s also something about her romance with Flynn that... makes me feel warm and fuzzy.

10. Buffy the Vampire Slayer. Jonathan Levinson.

(tumblr gif search failed me so I had to grab from elsewhere...)

Listen. Look. Okay. Buffy is pretty old school these days so, for anyone not in the know, as a character, originally, Jonathan... he wasn’t even a side character, he wasn’t even REOCCURRING, he was barely a background character. For several episodes he didn’t have a name and it wasn’t until several seasons after he became ‘Jonathan’ that he actually got a surname. Danny Strong was just an actor who happened to be occasionally on-hand when the script called for a random to have a line, until eventually that happened often enough for Joss to think ‘hey, you know what, let’s make this guy an actual part of the show...’

He got a couple of episodes focused on him in S03 and S04 respectively, but didn’t become a regular until S06 (and wasn’t in S05 AT ALL). Other than that he had a HANDFUL of ‘blink and you’ll miss it’ moments here and there, not even full scenes for the most part, usually lasting no longer than the above gif.

I tell you all this so that when I say childhood me (well... somewhere between 12 and 14 years anyway) was OBSESSED with this character in the show, and I mean O B S E S S E D (to the point of spending hours painstakingly making VHS recordings purely of the episodes he was in), you understand how UTTERLY BIZARRE that was. Because this obsession pre-dated S06. Was, in fact, in full swing during the airing of his S04 episode - which was, like, a fucking DREAM COME TRUE for freakily obsessed me fyi, because the whole episode was constructed with him as the LEAD CHARACTER, because he’d performed a spell to make him super awesome. They even changed the title sequence to read ‘Jonathan’ instead of Buffy! And while other fans were no doubt just lol-ing at the random I was bouncing about on my sofa all ‘MY TIME HAS COME!’ and fucking SWOONING over seeing MY CHARACTER suddenly in the spotlight and getting to do crazy fun OOC shit like this -

Then when S06 rolled around and HE WAS A LEGIT REGULAR, omg, I was in HEAVEN! First TV boxset I ever bought that - Buffy S06 :P

So... yeah. A bit of a fav. Geeky. Outcast. Slowly grows more morally grey, what with that spell I mentioned and also the fact he was teamed with the ANTAGONISTS in S06. I guess you could say he was the beginning of a lot of my fav fictional character traits/tropes (though looking back - I think his ‘villainous’ teammates in S06, Andrew and Warren, are more my ‘type’ these days, and I did end up loving Andrew especially a whole damn lot, but at the time I’d been a Jonathan fangirl for so.fucking.long. there was just no chance anyone else in the show was ever gonna come close to my heart!)

THE END.

Sorry not sorry for the tmi. I got a bit too into this one.

Actually sorry I have so few women on the list :( Internalised misogyny/sexism is a real thing and I spent a lot of my life being... somewhat unfairly dismissive of female characters or at least prioritising male ones over them. I’m working on it.

Ten people is SO.MANY. to tag. But I might as well do this right this time, since I’ve come so far. But if you’d rather not play, no worries! <3

@enchantersnight @momecat @bold-sartorial-statement @vampirebillionaire @edwardnashtons @miss-olivia-cellophane @knightinpinkunderwear @supes9 @leaper182 @hamburgergod

Honourable mentions (because I CAN):

Gotham. Lucius Fox.