#from s1 to 4 already

[cobbssecondbelt]

I know we are sad that Cobb Vanth did not return.

HOWEVER!

With what the finale teased us about the future of Din's journey and his new role, Cobb fits perfectly into the narrative.

#We are not beaten yet #Din working on eliminate Imperial remnants and elements of ROTNR being transferred to Mando #makes it a much better setting for Cobb and Co. to come back a play major roles than season 3 #And if season 4 does the same trick as s3 connecting with s1 it would connect with elements from s2 #the theories and speculations are already broiling I love it #There's hoping!! #din djarin #the mandalorian #cobb vanth

[bitimdrake]

tried to find your opinion on this by searching young justice show but couldn't find anything so anyways what's your opinion on the show if you've seen it?

I personally love it as an elseword story (idk if I'm using that right) and think it was very creative and well done. I don't really like how Linda was left out but oh well you win some you lose some. (Also hate Cass backstory change so much ughhhhh)

I don't think I've talked about it before! Honestly, I don't think about the show much. I watched uhh three and a half seasons maybe? And then just kind of slipped off it. (I literally don't remember if I watched the episodes with Cass or just heard about them, so I won't comment there.)

I think it's valuable to judge these things both as adaptations and as independent pieces of fiction, so:

as an adaptation

YJTV is not a faithful adaption of the comics universe, but it never purported to be. Dubbing it an Elseworld seems spot on to me. It takes a lot of elements and characters from the original, but thoroughly remixed in a show that is a new story at its core--centering on a team that never existed in comics. And that's fine!

I would have preferred they called the show something else. It's really not a young justice adaptation, and that’s just confused branding. But that's a minor point.

It does bug me the way they utterly changed some characters. Like, why chose to "adapt" comics villain Artemis Crock just to make her a hero with supervillain parents instead of, you know, adapting any of the existing teen heroes who already fit that story? Why "adapt" Cheshire just to make her central story about a family she's never even been related to in comics? Why "adapt" Superboy to make him grumpy angry boy with angst over being unable to fly?

Just. I will never ever understand adaptations using characters in name only. Who is that for?? It means nothing to people who don't know the character already, and it's a disappointment to people who do. You can just make an OC! You're allowed to do that in your new show!

That said, the only thing about YJ as an adaptation that I truly, utterly resent it for is the dynamic with Conner and Clark that has since polluted every fan space, I hate it, the end.

Otherwise, as an adaptation, it's fine! I got some issues with it, but I think it's perfectly legitimate to make an elseworlds type thing with its own narrative identity rather than a strict adaptation.

as a show

i think it sucks. Sorry.

I should say, the first season was solid. With a limited focus on a team of six-ish, it did really well. Good character and team building, good plot work, just generally enjoyable. I liked it a lot!

And then it went off the rails. I am hardly the first person to say it but: this show has too many characters. And imo that problem is so pronounced that it’s not a flaw in an otherwise good show, but completely destroys the whole thing. It has way too many characters. It’s not even in the realm of the right number of characters. And, iirc, it's worse and worse every season.

The other huge flaw in the show became really obvious to me in season...3 I think? And that is absolutely baffling decisions on what to tell and what to show.

This is tied into the too many characters thing--there simply isn’t enough time to show even half of what needs to be shown. But I also remember regularly wondering why on earth one event was deemed irrelevant enough to be a brief slideshow-with-narration sequence, or even glossed over in one line of dialogue, while something seemingly way less important would be played out on screen.

Huge character and relationship development? Eh, throw it in the time skip and reference it later. Key progression that would have gotten the audience invested in a dynamic? Idk say it happened off screen and assume viewers will fill in the blanks themselves. Super cool event where the characters made major plot progression? Just reference it in dialogue so we can jump ahead to this other scene that the creators actually care about.

I just. I couldn’t do it. I’m willing to give leeway to a show and fill in gaps, but I can’t handle being expected to wholesale create attachment to characters and relationships and plotlines and twists all on my own, while the show puts no work into it.

The thing about this show being an adaptation--and I almost put it in the above section--is that it wants all the benefits of being a unique story and all the benefits of being comics-based, and that just doesn’t work. This show expects everyone to have knowledge across the entire DC universe just to watch it, and lazily falls back on that rather than explain things or introduce characters itself. (And I’m saying this as a dedicated comics reader!!!) And it also expects you to read that show-specific tie-in comic, or look up the backstory for this event, or read that one blog post from that one guy that totally explains the important thing that they never bothered to give any time to on the show.

If I were going to try to boil the problems with this show down to one thing, I would say this:

YJTV wants to be its own, unique, massive, sprawling superhero universe, but it’s a fucking half-hour TV show. And there is no stretch of the imagination in which that works.

#* #ask #anon #*dc #dc #yjtv #take two of trying to write this without tumblr erasing it all ughhh #for the sake of keeping this post focused i'm dropping misc examples in the tags: #(1) #so many characters being barely introduced or not introduced at all #(most of the s2 additions but even going back to rocket in s1) #but then the show expecting you to still care about and invest in them as if they were treated like real characters #(2) basically every single important development and event in the conner/mgann relationship after s1 happening?? off screen???? #(3) a scene i cannot remember the details of (at the end of a season i think) that is supposed to be a big victorious moment- #showing how well connected and respected nightwing is and what a good leader he is #except the show literally never did anything to build to it or show it or even make that a real part of dick's character #they just expect you to project it over from comics #(4) every vague reference to jason todd where you're required to already know the story to glean anything from it #(5) some line of dialogue where bart (?) offhandedly references a funeral for a character and i had to literally rewind- #to realize that he was talking about a side side character who was never on the show and no one without additional comics knowledge would kn #*know #but they still thought just dropping funeral without explanation was a good writing choice somehow #(6) oh!! speaking of the terrible i hate it thing they did to clark and conner!! #having conner spend all s1 angsting over wanting clark to be his dad and then at the start of s2 be like #wow we're brothers now and it's great! this off screen development was totally fulfilling and meaningful! don't worry about seeing it! #(i mean no wonder people who ONLY watched yjtv think them being brothers is disappointing. it was in the show.) #(but yes i still resent the show for pushing the father/son thing in the first place because them being brothers is great actually) #(and how dare you do clark like that. he doesn't deserve it.) #ok so maybe i should have put this in the post because that's a lot #whatever i leave it to the judgement of peer review

[sinningsprinkles]

It's a shame ABC didn't bother finishing The Neighbors. It wasn't popular on network tv (especially when given the time slot that killed firefly) but that shit would've done numbers on a streaming service. Truly just not handled properly by advertising/distribution.

#ramblings #i know nobody cares #but this show is from 2012. #imagine if it was actually advertised #and not given the time slot from hell #the writers thought they'd get canceled in s1 and explicitly asked to have at least 4 seasons #then they were moved to the worst night for broadcast television #and then canceled #they could've really done something truly great #and they already have but imagine 4 seasons of this show instead of the cliffhanger ending after only 2 #im sad for these writers that clearly put a lot of heart into this show and the actors that seem to really care about the characters #t.t #the neighbors #abc the neighbors #the neighbors abc #the neighbors tv

[jimothyhalperts]

Okay, so I’m on my second watch of s2 and I think people are really being too harsh on Aziraphale. Here’s the receipts:

1 - He said to Metatron that he didn’t want to go back to heaven, he only accepted the job after Metatron said he could take Crowley with him

2 - When Crowley says “If Gabriel and Belzebu can go off together, then we can [...].We need to get away from them, just be an us. You and me.”, Aziraphale answers “Come with me to heaven. [...] We can make a difference.[...] We can be together, angels, doing good.” He is not rejecting Crowley nor the idea of them being together, he is rejecting the idea of doing nothing to make things better. He’s saying “let’s be an us in heaven, where we can be together and look after this planet that we both love instead of abandoning it”

(Of course that he is seeing heaven through rose-tinted glasses, but this is a whole different rant)

3 - The dialogue in the book shop is very similar to S1 when Crowley say they can go off together and let the Armageddon happen: While Crowley wants to run away and save them both, Aziraphale wants to try saving Earth, the only difference is that now Aziraphale recognizes that he needs Crowley and wants to be with Crowley.

4 - Just before EVERY, Crowley says “You idiot, we could have been us”, Aziraphale turns away from him to cry. In this scene I believe they are both thinking the same thing “He might even want to be with me but only on his terms.” 

5 - The “I FORGIVE YOU” scene, he meant “I forgive you for not wanting to come with me and trying to change my mind, instead breaking my heart even more”

Aziraphale LOVES Earth and will try to do everything to save it and he knows Crowley loves Earth too, they are not Gabriel and Belzebu who never cared for Earth nor humans. He knows Crowley didn’t want to work for Hell anymore and that he is good and he can finally do good without being punished.

Crowley (and the viewers) has a much clearer and realistic vision of how things work, because heaven has already betrayed him. He doesn’t want to go back there because he already knows all of its flaws. 

Crowley is a realist (and a bit of a pessimist), he believes Earth will end because heaven and hell cannot be trusted, so the best solution is to run away while they can.

 Aziraphale is an idealistic, he is going to heaven, he is going to fix the system, Earth will be happy and safe forever, Crowley will realize that and go to heaven after him and they will live happily ever after. 

SO WHEN Metatron said about the second coming Aziraphale REALIZED Crowley was right about heaven, but he still had to try to save Earth instead of taking the easy way out.

SO STOP TALKING SHIT ABOUT THE ANGEL, HE LOVES CROWLEY AND LOVES EARTH AND IS JUST TRYING TO SAVE EVERYONE

#good omens #good omens spoilers #go2spoilers #gos2spoilers #ineffable husbands #it's 4am im tired #michael sheen will prove me right soon you will all see

[neil-gaiman]

Hi Mr. Gaiman! My girlfriend & I just finished the second half of GO S2, and we loved every second of it. I showed her the first episode of S1 when we first started dating, and by the time I saw her at the end of that day, she’d already finished the whole thing. So thank you for bringing these characters back into our lives (and for giving us a chance to watch the show together this time.)

I had a question about something Mr. Fell says are the beginning of episode 4. When he asks for the Bentley to play some modern music (but not bebop), according to the captions, he calls the Bentley “Lesi”

I Googled around, but I’m assuming he wasn’t calling it a lumbar epidural steroid injection. Would you mind explaining this term/name?

He says "Let's see." I'm really sorry about the appalling closed captions.

You won't find out that Shax is "plenipotentiary" from those captions either.

#sorry

[fuckyeahisawthat]

If you see Good Omens s2 as a bridge between the end of s1 and a s3 plot that, it seems, will revolve around [spoilers below]

Aziraphale and the second coming (in a parallel to s1 being about Crowley and the Antichrist) then a lot of things make sense, and actually I think this is one of the only routes they could have taken that would seem remotely plausible.

Because how the fuck do you get Aziraphale back in Heaven after the events of s1? Both you (a writer who wrote s1 as a self-contained adaptation of an existing work, having no idea if there would be future seasons) and you (Heaven within the world of the story).

In the book verse, I could see this playing out as a sort of “you thought you were happily retired and then they pulled you back in for one last job” situation, and I think that could have worked. Because book Heaven and Hell seem to end the story basically agreeing to forget Aziraphale and Crowley’s numbers out of sheer embarrassment, and that works in the world of the book because Heaven, in particular, seems to forget Aziraphale exists at least 80% of the time anyway. Book Heaven is mostly notable for its absence. We recognize their hypocrisy in claiming to be the good guys while mostly doing the exact same shit as Hell with better PR, but in the book Hell seems like the side that’s more dangerous and actively intrusive in Crowley’s life.

But TV Heaven and Hell are terrifyingly, oppressively present in Aziraphale and Crowley’s lives, and both of them very recently (in immortal being terms) tried to execute their respective agents for treason, and still don’t understand why they failed. This raises the stakes and the threat to their relationship enormously, which works great in a television drama where their relationship is much more of a focus than it is in the book. But it also makes it much more difficult to imagine either of them going back to their respective sides after the events of s1. They made that choice already.

So what do you (writer now trying to solve this problem for s2 and potentially s3) and you (Heaven, trying to come up with a way that Aziraphale would walk back into his former prison willingly) do?

You offer Aziraphale the one thing he can’t refuse, the thing he still doesn’t have, even now after Armageddidn’t and surviving the trials and 4 (?) years of living more or less openly with Crowley around. You offer him safety. Safety for himself and Crowley, together.

We know it’s a trap. We know what Heaven is offering is not safety, but control. But Aziraphale hasn’t gotten there yet. We understand why Crowley sees it as a rejection and an insult. But to Aziraphale it’s an offer better than he ever thought was possible to receive.

He thought, all of s1, that he would have to choose between following Heaven’s orders and saving the world and his relationship with Crowley. And he made his choice. Now someone is telling him he can have both? Love and acceptance from Heaven for him and Crowley, and the power to make things better? And when he realizes Crowley won’t come with him…well, maybe at least from Heaven he will still be able to protect him, even if he’s not by his side.

And you know what? I bet, in the short term, this is going to only make him double down on his “it was just a few bad angels” justification for the way Heaven behaved. Because this offer is coming from the literal voice of God. Maybe it even reinforces the idea that God didn’t want Armageddon to happen at all, that Aziraphale and Crowley and Adam and the Them actually were doing her will by stopping it. Because now Aziraphale is being invited back in, with more authority than he ever had before. And they invited Crowley (who he always believed was Good) back in too.

He doesn’t get it yet, that Crowley is right. That you can’t reform Heaven from the inside, because it is not and never was the good side. Because there is no good side.

Aziraphale hasn’t figured that out yet. But he will.

#good omens #good omens s2 #good omens s2 spoilers #aziraphale #heaven

[blindmagdalena]

Guilty Pleasures ( chapter three )

18+ 7.3k homelander x plus size f!reader. workplace harassment, stalking, voyeurism, assault (not perpetrated by HL), violence, smol murder, manipulation/gaslighting, hurt/comfort. nebulously takes place post s1. part 3/4. AO3 link. CH I CH 2

Homelander will do whatever it takes to convince you that he's the hero you need.

a.n: hello, friends! hopefully this chapter being longer than the first two combined makes up for the fact it took me three months to write it. as you can tell, it sort of spiraled out of control from being two chapters, then three, and now four. the good news is that chapter four (the last one! i promise!) is complete, and i'll be posting it next week. i hope you enjoy it! 🖤

It’s shortly after one o’clock when Homelander knocks a whimsical melody against your office door, deciding he shouldn’t be precisely on time, lest he look as eager as he feels. He can already smell your perfume wafting through the doorway–the same scent he feverishly pumped his cock to the night before–as a teaser of what’s to come.

“Come in,” you call from the other side.

Homelander takes in a deep breath, squaring his shoulders. He screws his eyes shut, pinching his expression in a tight squeeze before he replaces it with a flashy grin, squaring away his anticipation in favor of his showman persona.

“Goooooood afternoon,” he drawls, strolling in with the same feigned level of confidence he’s entered every other moment of your life since stumbling across you, whether you knew it or not. He’s taken aback almost immediately, slowing in how he closes the door behind him.

You look nicer than usual. Your hair is styled with more conscious effort, and he’s been in show business long enough to recognize the makeup on your face. The shine of your blouse is a quality silk blend, and he can’t hear the scrape of cheap cotton underneath it anymore. No, you’re wearing something nice below, too. His lips slowly spread into a self-satisfied smile. 

You dressed up for him. 

Homelander takes the seat set across from you, sweeping his cape to the side with a flourish. He watches you tuck an empty container–your lunch, presumably–into a side drawer of your desk. His eyes closely track the way you lift your thumb to the corner of your mouth and swipe residue from it, sucking the mess from your digit. A distinct pang of arousal hits him just watching your cheeks hollow.

Imagine what she could do with that mouth.

“And good afternoon to you, Homelander,” you respond, straightening up in your seat. His gaze briefly dips to the swell of your breasts as you adjust yourself, casually dusting away any remnants of your lunch. Saliva gathers on his tongue at the instant memory of you scantily clad in your sleep wear, nothing but a thin sheet of worn fabric between you and his hunger. His eyes snap back up before you can take notice of how they wandered.

Lucky for him, you’re busy splaying out the folder he brought you the day before, scanning over the list of bullet points he’d slapped together for the sake of having enough talking points.

“I wanted to start with your concerns regarding the marketing for your upcoming miniseries,” you say, glancing up at him.

He clicks his tongue. “Wow, alright. Straight to business then,” he says, absently rolling his palms over the ends of the armrests on either side of him.

“I’m very bad at small talk,” you say. Probably to diffuse any notion that you were being rude on purpose.

“Ch’yeah, I’ll say,” he says, smiling thinly. “Lucky that you’re good at your job.”

“Shockingly, I was actually a personality hire. I don’t know what any of this means,” you say, matching his thinly veiled snark while gesturing to the spread of documents in front of you. He snorts softly. You have a knack for using that sharp wit to diffuse, but he doesn’t feel manipulated. You actually are funny. “I was hoping you’d explain your concerns.”

Smooth segue, he thinks, his eyes narrowing appraisingly. He’s worked enough interviews to know when he’s being led, but he takes the bait anyways, widening his smile.

“Sounds great.”

Homelander knows that you’re sharp, good at your job, but he needs to needle you into giving him what he wants. He wants to understand you, and the stack of his films he found hidden in your apartment. What he gets in the meantime is ample taste of your silver tongue, parrying his every jab with an equally sharp counter.

He can’t keep the smile from his face.

Gradually a level of familiarity slips into the air between you. He can see some of that tension in your shoulders easing. He’s steadily wearing down the walls you’ve managed to construct.

“I still think audiences will be confused,” he says, feigning a profound concern, stretching out the time of your little appointment.

“Well, audiences are a lot like celebrities,” you say, the hard candied shell of your professional exterior thinning with every back and forth, poised to crack at any second.  “They’re smarter than we think they are.”

“Oohh, ouch,” he purrs. “Nice backhand you got there.”

A twitch at the corner of your mouth. He knows you’re fighting a smile of your own, and pride blooms warmly in his chest. He likes sparring with you, but he likes pleasing you even more.

“I disagree about market confusion. Your diehard audience will already be up to speed, your broader target audience will show up for anything with your face on it, and anyone more casual than that likely won’t have seen the miniseries anyways, so there’s nothing to confuse it with,” you say, scanning down through one of the pages of the document he gave you.

Perfect opening.

“And which audience is it you fall into, exactly?” He asks, cocking his head a degree. “I mean, given your position, I have to imagine you’ve seen my range of film and television.”

“I’ve done my due diligence,” you say vaguely. You’re good at answering without answering. Normally it would irritate him, but your forced aloofness combined with your closely guarded–and inexplicably secret–veneration of him makes it into tantalizing bait begging for the sharp sink of his teeth.

“So you’ve seen all my movies, then?” He extrapolates, setting a line of his own.

You chuckle, gaze flickering to him before back down to the pages. Too brief a glance to even come close to satisfying his hunger. “I didn’t say that.”

He scoffs lightly. “But you’re a fan of mine?”

“I definitely didn’t say that.” He can sense he’s hit a vein, and like any good predator would, he’s eager to bite into it.

“C’mon. Don’t tell me you’re shy,” he continues to prod, leaning forward slightly in his seat.

You inhale a breath that you barely prevent from sounding too obviously irritated. His grin remains untarnished by the scrutiny of your unwavering stare. There it is, that’s what he wants. The weight of your gaze upon him, evaluating, taking him in fully. He doesn’t care how he gets it, he just knows he wants it.

“You are shy,” he accuses, knowing you aren’t.

“I’m not shy, I’m a professional,” you say curtly, the scratch of your pen scathing while you write notations on the document.

Good, he thinks. More likely to slip up now.

“Jeeze,” he laughs. “You’re wound up tighter than my fictional manager in Darkest Day.”

“You didn’t have a manager in Darkest Day, that was Origins,” you correct. After a beat, your hand stills.

Homelander’s gaze slowly slides to meet yours. He watches your face fall and clicks his tongue. He positively relishes how your mask of indifference slips into subtle dismay at your misstep. Such a simple bit of trivia, and yet it spoke volumes.

Got’cha.

“You do watch my movies,” he said, tone dropping to a near whisper. He revels in the quiet way you groan, leaning back in your chair. 

“Only the ones I was paid to,” you say, straightening up in your chair, but he can hear the defeat in your voice.

“Liar,” he says through his perpetual grin. “Don’t be embarrassed. How long have you been a fan?”

“Stop,” you say, burying your face in your hands. Oh, this is good. Was he your first crush? Your favorite hero? He must be still, judging by the flush of heat moving through you. All that pretense, all that haughty glowering, and beneath it all you’re a fan girl. He almost laughs at the thought of the face you’d make if he called you that. 

��Which was your favorite?” He asks, burying the knife deeper, eager to cut through flesh and muscle and bone to get to the heart of truth beneath. “Bright World? Rise of a Hero? Justice Dawning?”

“I despise you,” you say melodramatically, digging your thumbs into your temples. “Also, Justice Dawning was cheesy, I’m offended you’d even offer it.” You try not to smile, but it happens anyway, and as soon as that secret little smile sneaks onto your lips it brightens Homelander’s eyes, reflecting your amusement back to you. Not just that, but amplifying it.

“You’ll learn to love me,” he tells you with confidence. You drop your hands, looking at him with subtle surprise. He holds your gaze. The earnestness of his words seems to dispel your mortification and replaces it with something more difficult to define, but he likes the shine it brings to your eyes.

The taste of your defeat is sumptuous. He’d prefer licking it straight from your tongue, but he’ll settle for this for the time being. An easiness settles into the air between you, deeper even than before your hackles rose with the lurking reality of your hidden opinion of him. It’s like a bubble has popped, dissipating uncomfortable tension, replacing it with something warmer.

He has every intention of turning up the heat even further.

The meeting moves forward. You work your way through his folder, and during a natural lull in conversation, he finally broaches the topic that’s been plaguing him since he stepped into your office.

“So,” he begins, interlacing his gloved fingers in his lap. “Gonna tell me what you’re all dressed up for?” He asks, wearing the same smile and speaking in the same tone he had when he baited you into admitting your secret love affair with his cinema.

He wants to hear you say that it’s for him, but he’ll settle for a flustered deflection. They’re as good as the same.

“Oh,” you huff with an airy little laugh, the sound like silver bells chiming. “I have a date tonight.”

You say something else, but Homelander doesn’t hear it over the tidal-like rush in his ears. He watches your pretty lips form words that he can’t understand. Everything falls out of focus as he tightly reins in the white hot rush of furious jealousy that floods his gut and erupts up the back of his throat like bile. He swallows the burn of it, jaw tight, and manages a tense smile.

“Great,” he barks, not realizing–or perhaps not caring–that he interrupted you. “First date?”

“First date,” you confirm, your tone less conversational than it had been a beat ago. The walls are going back up, but he’s too fixated on what feels like a stabbing betrayal.

“Exciting,” he says, adjusting his tone and mannerisms until they once more resemble something genuine. Something civil, despite the hostility in his gut. “Someone you know? Going anywhere special?”

“No, and not really,” you say evasively. He loathes how withdrawn you’ve become. You should be pleased he’s put off. Gloating even. It’s proof he cares, isn’t it? “It was his suggestion.” His. The leather of Homelander’s glove creaks subtly in the fist he makes. “I forget the name of the place,” you say, avoiding his gaze.

His right cheek tics. Liar, liar, pants on fire. People always underestimate his ability to read them.

You’ll learn not to lie to him.

“But you have an out if you need it, don’t you? Someone to bail you out in case he turns out to be some kind of freak,” he says, huffing the word with a lick of venom. It takes significant effort to keep the disdain from his face to imagine you as you are now sitting across from some nobody schmuck, lit by candlelight and smiling sweetly for them instead of for him.

“I always do,” you say, smiling thinly. He curates his own tone often enough to hear it in yours, and it pierces his ears like a thistle. He taps his fingers on his thigh, scrounging for something, anything else to needle you for, but your responses don’t give him much to work with.

“Well. If you did need someone–”

“I’m a big girl,” you interrupt, surprising him. He’s rarely interrupted. “I can take care of myself.”

At that, a thought strikes him. The slack line of his lips curls into a thin smile, and his hands relax on the armrests of the chair.

“I’m sure you can.”

Shaking off the aftermath of your one-on-one with Homelander proves to be more difficult than you’d anticipated. You replay it nearly moment for moment in your mind while freshening up after work. 

Homelander has an uncanny knack for moving through demeanors as though he’s trying hats, determining which one best suits the situation. One moment he’s a slick carnivore licking his chops in anticipation of his meal to come, and the next he’s every ounce the hero they market him as. He’d been relentlessly charming during the meeting, his charismatic smile becoming one you’d wanted to earn again and again. 

Then came the news of your date, and all at once Homelander possessed the ominous calm of a sentient statue. The moment still sends an eerie chill down your spine, even in recollection. How radically his appearance can change with mood or thought alone. You’d hate to ever see him truly angry.

“Get a hold of yourself,” you say to the bathroom mirror. You have a date tonight, and the last thing you need is to bring this kind of nervous energy to it. Powers or not, the commonality of man is easy to rely on, and you’ve developed the tactical mindset of an aloof cat. Never beg for what can be given freely. Never give more than you get. Never settle. “Be the cat,” you tell yourself affirmatively. 

A directive which, unfortunately, winds up being exceedingly easy to follow through the course of your date. James, bless his heart, struggles to wring more than the occasional piteous chuckle from you. Conversation with him is akin to drinking seltzer water–he is neither offensive nor particularly exciting, being only a step above plain water.

Perhaps James’ blandness isn’t entirely his own fault, but rather the basis of comparison he is subjected to. Throughout the night, you find yourself critical of the way he looks at you–or rather, the way he fails to look at you. Your thoughts keep drifting back to your meeting with Homelander and the way he looks at you. The intense ocean-blue caress of his eyes summons a blush to your cheeks even in hindsight.

He looks at you in a way that no one else does. It's as if he's trying to memorize the smallest details in your skin, to uncover every secret trapped behind your guarded gaze. He has a stare determined to lay you entirely bare to him.

James’ wine dulled ogling could hardly hold a candle to that. Looking into his eyes, you see only the planning for whatever dullard comment he was going to make next.

Still, it’s not until the end of your date–an exceptionally long two and a half hours thanks to a mishap with your order–that James displays a behavior unsavory enough to elicit a truly unpleasant feeling in you. He’s quite clingy after a few too many glasses of wine. He walks you out of the restaurant with an arm around your waist, and more than once you have to bat his hand away from the seam where your blouse is tucked into your skirt.

“You in the parking garage or the back lot?” He asks, smiling in a way he must mean to be salacious, eyes half-lidded like he’s lost control of them.

“The back lot.” Parking was a nightmare with how late you arrived after work. “Is that where you are?” You ask, hoping it isn’t.

“No, no, I actually took an Uber in,” he says, and you know immediately by the way he starts tapping your hip with his index finger why he chose to do that.

“Want me to wait for you here until your Uber arrives, then?” You ask, turning out of his grasp to stand face to face with him outside of the restaurant. It’s late enough now that the streets have calmed some, at least by New York’s standards.

James’ expression falters, but he tries for a recovery with a hopeful smile. “Well, you know, I was sort of hoping we might continue this elsewhere,” he says, slipping his hands into his pockets. Is he trying to look suave?

“Oh, no,” you say, putting forth your very best sympathetic head tilt, matched with a well placed brow furrow. “No thank you.”

This time his expression doesn’t recover. His hands lift from his pocket and he makes a helpless gesture with them, very nearly pleading. “Really? I thought we were having a nice time.”

“And I’m so glad for that,” you say, and even you can hear the corporate edge sliding into your tone, which doesn’t seem to soothe him any. “But it’s for the best that we part ways here, James. Thanks for your time.”

“But–” Your inarguable dismissal staggers him. He gropes for recourse. “I paid,” he blurts out, which proves to be his final mistake.

Your polite facade drops. “For what?“ His booze addled panic shifts into confusion. “F…For dinner, but I didn’t mean–”

“And that entitles you to fuck me?” No sense in mincing words now.

His expression morphs again, this time into mortification. “No! No, but–”

“You thought this would be a transaction? God, and here I was thinking your gravest flaw would be how mind-numbingly boring you are. But to be boring and stupid?” You scoff, waving a dismissive hand. “Goodnight, James,” you say, the kindest dismissal you can muster. You turn on your heel before he can sour the evening any further, and luckily for him, he doesn’t pursue you further.

Unbelievable. As if you hadn’t offered to split the check. As if he expected it to be a transaction that he cashed in your bed. As if the cost of dinner was worth anything more than a polite smile from you. As if.

New York doesn’t sleep, but it does grow very, very dark. You’re on a narrow street, not an alley exactly, but not a main road, either. Still riled up, you bring up the parking app on your phone as you walk, swiping through to get ready to pay for your crummy back lot space. A clatter brings your attention up, and that’s when you see them—two men. One wearing a black leather jacket, the other with a kerchief slung around his throat. 

You stop walking, caught between turning around, which would mean putting your back to the men up ahead, or continuing forward, which would mean passing within arm’s reach. They haven’t noticed you yet, or at least they’re pretending not to, but now they look right at you and smile.

The men don’t look dangerous, not like they do in the movies, but you know that means nothing—plenty of the worst people in the world looked safe. Yet the longer you stay put, the more you sense the ill intent wafting off of them like cheap cologne. “Hey, baby,” says one of them, moving toward you. “You lost?”

“No,” you say curtly, taking a step back. “Not lost. Excuse me.”

“You sure? We’re real good with directions,” says the second man, leering. Your eyes snap between them, phone clutched tight in your hand. “Y’look like you could use some.”

“No,” you say again, louder. How loud would you need to be for anyone to hear you over the sounds of the streets? Panic swells in your throat.

You don’t know how they got so close so quickly, but as you turn to run, a hand catches your collar. The guy in the leather jacket wrenches you back against him, one arm wrapping around your shoulders. Your phone clatters to the ground. 

“Hey now, what’s the rush?” He asks, yanking you backwards. “Get off me,” you snarl, but he’s squeezing you tightly across the chest, making it hard to think, let alone breathe. You struggle until you feel something hard dig into your hip. A knife? No. You realize coldly that it’s a gun, the handle of it jutting out from his waistband and digging into you. In a desperate bid, you twist in his grip, trying to grab it.

“Careful,” says the other one, moving in front of you, closing in. “She’s got spirit.”

You kick out at the other guy but he jumps back, laughing at you. They’re both laughing, relishing in your fear. Your fingers skim the gun, but you can’t quite get it.

The first man’s breath is hot and sour on your cheek. “Come on, now, let’s have some fun.” You slam your head back into his nose—or try to, but you only manage to clip his chin. Still, you hit bone, hear the crack of a tooth, and just like that you’re free, stumbling to your hands and knees as the man reels. You hit the ground hard, the shock of landing lancing pain through your arms and legs. The gun tumbles from his waistband. Without thinking twice you lunge for it, fingers successfully closing around the grip right before one of the men grabs your ankle and pulls.

The street bites into your elbows and scrapes your knee bloody as you twist around and raise the gun, barrel leveled at the man’s heart. “LET GO!” You scream, heart hammering against your chest. “Oh shit,” says the man in the kerchief, eyes wide at seeing you armed, but the other one sneers at you, blood spilling from his mouth. There’s fury in his eyes, and the unmistakable intent to hurt you. “You ever held a gun that big, baby?”

“Let go,” you say again, voice firmer than the tremble of your hands. Your finger flexes on the trigger.

“You even know how to use it?” He asks, using his grip on your ankle to pull himself over you, his other hand falling to your thigh. He gives a pointed squeeze as he lifts himself up to tower above you. He reaches to take hold of you again, but you won’t let him. Can’t let him.

“Yes.” You squeeze the trigger as you say it, bracing for the recoil, the bang. It’s always so loud in the movies.

Nothing happens. You panic, looking at the weapon in your hands in dull shock. The safety isn’t on. You pull the trigger again, but the chamber rings hollow. It isn’t loaded. You look up at the man as his shadow falls over you. He bares his teeth at you, painted an ugly dark red with the blood spilling from his mouth. The man laughs, a short barking sound, and knocks the gun from your hands with a harsh slap. It goes skidding away.

“Stupid bitch,” he says, raising his boot as if you were an oversized bug, something to crush. You close your eyes and scream as he brings it down hard.

Or at least, he started to, but his leg locks up halfway, and then he topples, a single horrifying sound leaking from his clenched teeth. Your eyes open just in time to see his body hit the ground, a smoldering wound smoking from his chest. An instant later, the second man falls. This time you see the flash of crimson light that drops him.

Homelander’s cape billows in the wind with all the majesty of the flag it’s designed after as he descends from the sky. He lands in front of you, backlit by the distant street lights that give him an artificial glow. He’s beautiful, a perfectly manufactured angel delivered straight from some market tested Heaven.

“Hey, you hurt?” He asks, reaching for you.

Awestruck, all you can do is stare at his outstretched hand. Tears well in your eyes. Shock is setting in the aftermath of all that adrenaline in your veins crashing your system. Through the blur of your tears, Homelander’s expression shifts from concern to that of determination.

“It’s alright, I’m here now. They can’t hurt you,” he says, bringing your arm around his neck while he slips his own around your waist, effortlessly lifting you from the ground. Before your gaze can drift to the corpses–whose burning flesh you can smell mingling with the acrid city air–Homelander rotates, taking them from your line of sight. 

With a flourish, he unhitches his cape from his shoulders and swings the fabric over yours. It settles on you heavier than you expected it to be, and impossibly warm. Moving back in, Homelader readily takes you back into his arms. He cradles you in his embrace, one hand cupping the back of your head, the other drawing lines up and down your back.

You try to choke out a sound, to ask him, how? How did he find you? How did he know you needed him? But none of the noises you make form any actual words. Your throat is too tight, and your tongue feels too big for your mouth, gnarled silent by panic. Everything is just too much. Your breaths only grow sharper as tears burn hot streaks down your face.

“Sssshhhhhhh,” he shushes by your ear, lifting you just enough to keep you on your feet, but take the weight of your body from you. His hold is compressive, but not oppressive. It takes everything you have left to lift your other arm around his neck while the sobs overtake you. He continues to hush you, whispering a menagerie of honeyed assurances in your ear, the core sentiment always the same.

I’ve got you. You’re safe now. I won’t let anyone hurt you.

You cry harder, coiling your arms tighter around his neck. He lets you cling to him, lets you sob away your makeup and soak the collar of his suit with the mess of it.

You don’t know how much time passes in your addled state of panic, but eventually your breaths begin to even out, though your heart continues to thunder. Your body isn’t convinced that the danger has vanished yet, eager to turn to flight now that your fight has gone.

“That’s it, just like that,” Homelander praises. “Breathe. Breathe. Good… Light as a feather now, okay? Like you can fly,” he tells you. The weightlessness you feel in his arms helps the idea, helps you to feel like you aren’t being crushed by the terrible weight of such a moment of horror. That’s all it had been, a moment–two at most–and yet the torment of it had felt hours long. Exhaustion falls over you in the wake of adrenaline, and you’re glad for Homelander’s arms around you. You doubt you’d be standing without them.

“Home,” you manage to croak. “Please.” You can still smell the man’s sour breath, the memory even more powerful than the stench of reality.

“I can take you home,” he coos, maintaining that same soothing tone of comfort. “Is that what you want?”

You nod, focusing instead on the vetiver fresh smell of him. You’ve never been near enough to him before to notice it, but now you fixate on it. Anything to drown out the stink of the alley. He smells so much cleaner, like fresh linen drying over green grass in the summer sun.

His arms flex around you before he adjusts them, lifting you smoothly into his arms. Your stomach flips the way it does when you go down a hill in the backseat of a car, gravity loosening its hold on you. You can feel the motion all around you, the wind ghosting over you, but Homelander himself feels motionless against you.

Flying. He’s flying. And so are you.

His cape shields you from the night air bite, pulled snug around you and secured where your bodies are pressed together. You haven’t felt like this since you were a child, cradled with such care and strength that feels beyond your comprehension. Homelander serves as both place and person–somewhere safe, someone kind–and you tuck yourself closer into the sanctuary of his arms, hands fisted in the protective fabric of his cape.

“I’ve got’cha,” he assures you, voice warm in your ear. 

Without a shadow of a doubt, you believe him.

Homelander doesn’t need to ask where you live. It’s an easy detail to brush off if you question him. He doubts you will with the way you’re clinging to him, though. You feel good in his arms, settling so naturally against the contours of them he might convince himself you belong here. He doesn’t mind your weeping when it comes with your arms around him, fingertips brushing the nape of his neck.

A small shiver rolls down his spine.

Of all the ways Homelander expected the evening to unfold, he hadn’t properly anticipated you. While he cradles you, he replays again and again the moment you were snatched. You fought without hesitation. You wrenched the gun free. The fierceness in your eyes as you aimed it had been exquisite. The resolve in your gaze as you fired it even more so.

He’d known you were confident, but that kind of clawing survival can only be learned of a person in action. He’s known many supposedly strong people–supe and human alike–who walk as stone giants, but shatter like glass when faced with any real danger.

You couldn’t have known that you weren’t in any real danger. You couldn’t have known that he’d told those thugs to scare you, but not hurt you. You couldn’t have known he’d ensured the gun wasn’t loaded. You fought as though it was for your life, and it enthralled him.

He hadn’t planned on killing them in front of you. They would have been loose ends to tie up after his heroic rescue, but somewhere along the line that stupid bastard lost the thread. He hurt you, bloodied those pretty knees of yours, and he moved to strike you. To grind you beneath his heel as if you were the vermin instead of him. For that–and for so flagrantly going against Homelander’s own direct order–you witnessed his downfall.

As far as he’s concerned now, everything happened precisely as it needed to. You’re in his arms now, and he’s still half hard from witnessing you choose fight when your instincts kicked in. You’re too fragile to choose it so readily. Your bones feel bird-like compared to the scope of his strength. Hollow and brittle. You would make for a hell of a supe, though.

Still, he won’t break you. He’s spent his entire life learning what it takes to snap bones like party favors, and more crucially, what it takes not to. Yours are safe from him. In fact, you’re the safest person in the whole world now.

Homelander glides down to a soft landing on your driveway. Your car will be an issue for another time. For now, he walks you to your front door before gently placing you on your feet.

“Believe this is you, young lady,” he says, leaving space for plausible deniability. If it occurs to you to interrogate him about it, it doesn’t show on your face. With hands still softly trembling, you fish your keys out of your purse. He watches you fumble with them for only a moment before he steps in behind you, one hand gripping your upper arm to steady and pause you while the other covers your shaking hand, helping you to slide the key into the lock and turn it.

Your hand fits nicely in his.

“Thanks,” you whisper. It’s the first thing you’ve said since asking him to take you home. He takes the liberty of opening the door for you while he’s at it, swinging it wide to allow you in. You grab his forearm, and he thinks you’re only balancing yourself, but when you don’t let go he steps with you, letting you lean on him as you guide him into your home. He closes the door behind the two of you, smiling to himself.

He may not need an invitation to enter, but it’s charming to have one.

Your movements are stiff, a slight limp to your gait. You fell hard, and the delicate flesh of your knee had ripped apart against the concrete when you were dragged. You hesitate at the stairs, but Homelander doesn’t. You inhale sharply  when he scoops you back up into his arms with ease and starts up the stairs. He keeps his gaze ahead, but he can feel yours on him.

“Thanks,” you say again, the word barely more than a hiccup, adjusting his cape over yourself like a blanket.

“It’s what heroes are for.” He smiles. It’s a party line, one he’s said a hundred thousand times before, but you make him mean it. This is what heroes are for. To be worshiped and loved, understood deeper than pop stars and false idols like them. There’s a reverence in your stare that transcends the vapid starstruck way most people look at him. You understand now. You know how much more he is.

He brings you to your bedroom and sets you on the edge of the bed, adjusting his cape back up over your shoulders. You’ve scarcely let go of it since he wrapped you in it. Will you sleep with it tonight? He bets you will. The thought sends a pleasant tingle through him. 

“Alright, let’s get a look at those knees,” he says, crouching in front of you. There’s blood running down your left shin. He lifts the edge of your skirt hem just enough to catch a glimpse of shredded skin. It looks rough, dirty and embedded with bits of debris. He blows out a breath. “Got a first aid kit?”

You nod numbly. “Under the bathroom sink.”

It’s odd to see you so subdued. He forgets sometimes that you humans can be as emotionally fragile as you are physically. Surely the death of two measly thugs isn’t enough to break you.

Rising, he moves to your bathroom. He feels slightly unbalanced without the sway of his cape behind him, the garment as integral to his physicality as any limb. He rummages through until his hand lands on a bright red fabric pack with a zipper. He gives it a little toss and catches it, bringing it back to you, alongside a wetted towel. He gives the pack a victorious little shake.

“H’okay, down to business.” Homelander kneels before you, splaying open the kit and placing it on your lap. He’s never used one of these before, but he’s pretended to do it on set. How different can it be? He cups your leg, thumb absently smoothing back and forth on your skin while he uses the towel to gently wipe up the blood, dirt and debris from your shin and knee.

You flinch, tense a moment before you relax. “Homelander, you really don’t have to–”

“Am I doing a bad job?” He asks, glancing up at you through his lashes. There’s a playful lilt to his voice.

“I didn’t mean it like that,” you say, the smallest hint of exasperation in your voice. He’s pleased to hear it. Perhaps you’re less wilted from the encounter than he thought. “I just mean that I can–”

“I know you can,” he says, and this time he definitely sees a flare of annoyance. You don’t like being interrupted any more than he does, but you don’t protest further. He smiles, triumphant, and focuses back on the task at hand, petting you the same way one might soothe a wild animal.

There’s a novelty in doing this for real that he hadn’t anticipated. It’s entirely unlike wiping away congealed red corn syrup from an actor. Your skin is sweeter, softer. He suddenly resents his gloves for the barrier they provide, despite his usual reliance for that very thing. He’s meticulous in flicking out the little stones embedded in your skin, spotting each one with ease.

Next, he tears open the alcohol wipes with his teeth and uses them to disinfect, rubbing at the sores. You flinch, sucking in a loud breath through your teeth. “Oopsy-daisy,” he says, switching to gently patting. He has no real concept of what you’re feeling right now. He’s never had a scraped knee before. The scientists at Vought had to get much more creative in order to gauge his capacity for healing.

He imagines they were disappointed to realize that, once damaged, he healed as slowly as a human.

“How’d you find me?” You ask, snapping him out of his unpleasant reminiscence. Your shock seems to have worn off entirely. You look more present, alert to his every move.

“Heard you scream,” he answers simply, unraveling a roll of gauze. That much is true.

“But how? How did you know where I was?” You push, watching him wind the white material around your knee.

“I didn’t,” he lies smoothly. He’s followed enough scripts in his life to do so very well. “If I’d known exactly where you were, I would have been there sooner. I was minding my business on 5th Avenue when I heard you. Familiar voices can…” He makes a vague gesture. “Cut through the din. Voices I want to hear.” 

He thinks he catches you flush at that. Just a touch. He bites back a smirk, pleased with himself. Does it matter if it’s true when it makes you look at him like that?

“I didn’t know your hearing worked like that,” you say, fidgeting with the hem of his cape.

His gaze flickers up every so often to watch your finger pick at the seam, inexplicably charmed by it. “Well, there’s some things not even a super fan can glean,” he teases, securing the gauze with tape. He expects to see a familiar indignation in your expression, but when he looks up, he’s caught off guard by the unmistakable fondness in your eyes.

“I was over the moon when I got my job at Vought,” you say quietly, like you’re whispering in a confessional. “I always wanted to work with heroes.”

“With me?” He pushes, lifting his brows.

Very slightly, you smile. “Yeah. With you.”

“Busted,” he says, his own voice equally soft.

You give him a little nudge with your foot. “Gauze won’t stay by itself. Need to use a roll of self-adhesive wrap,” you say, plucking the beige roll from the kit. He likes the shy warmth in your voice. He would have done much worse to see this side of you. Have the intimacy of your pain, fear and relief all to himself. This glowing affection you’re so full of. He feels drunk on the cocktail of it all.

“Right, obviously,” he says, taking the wrapping from you. “I knew that.”

“Probably should have put a gauze pad under it, too,” you continue, eyes heavily lidded, expression soft.

“Everyone’s a critic,” he laments, affixing the textured bandage around the gauze. You laugh, and the sound of it feels like a space he could belong in.

He checks your other knee, your elbows and your palms, but nowhere else on you calls for anything more than some antiseptic and a few bandaids. With the wrappings secure, he shuffles the mess of supplies haphazardly back into the kit, zipping it up much more bulging and misshapen a state than he found it in. He pushes it under the bed with the towel atop it, standing.

“Good as new. Or close to it,” he says, making a small show of dusting off his hands for a job well done. 

You stand, letting his cape slide off of your shoulders for the first time since he put it on you, the fabric pooling on the bed. You step forward, and of all the things he expects in this moment, you blow them out of the water by suddenly wrapping your arms around him, the soft curves of your body slotting against his in a way that trips something primal and needy in him. He puts his arms around you the second the shock wears off, holding you with the barest fraction of his strength.

Tension drains from your body. Were you nervous he wouldn’t reciprocate? It’s an endearing thought. He gives a deeper, brief squeeze. He can’t remember the last time someone held him.

“Thank you,” you say after a long beat, drawing back. He reluctantly loosens his grip, but not by much. He’s loath to relinquish you so soon after he’s gotten hold of you. “It’s not enough, but I don’t know what could ever be.”

I could make a few suggestions, he thinks, but he doesn’t give voice to the lewd thoughts that follow.

“I’ll never forget what you did for me tonight,” you say. Your face is so near to his, it makes it difficult to focus on anything other than the curve of your lips as you speak.

Instead of responding, Homelander leans in, eyes falling shut.

“Oh,” you say sharply, your soft body suddenly going tense in his arms, stopping him in his tracks. Both of your hands are braced against his chest now, creating a distance that feels craterous. 

He blinks, brows furrowed in confusion. “What?” 

“I’m really tired,” you say, tone shifting to mild diffusion. It reminds him of the way you spoke to James, and his ego stings with both the rejection and the comparison. He’d laughed listening to you reject that pathetic, simpering man. It seems less funny now. 

He scoffs an incredulous little huff. But I saved you, he thinks, indignant panic flaring in his chest. To his dismay, however, the thought doesn’t sound like his own voice. It sounds like James’.

But I paid!

Repulsed, Homelander swallows the thought like bile. If the comparison comes so readily to his own mind, there’s no way you won’t make the connection yourself. He feels his skin prickle like there are fire ants crawling beneath his suit. The memory of James’ pathetic begging is the only thing that keeps his composure together.

“Of course you are,” he says tightly. His smile is forced, slightly too wide. “You should sleep. Rest up. Take the day off tomorrow,” he says stiffly, rattling off lines like they’re pre-recorded. Only then does he surrender his hold on you, hands moving to his hips instead. You take a step back, and he stands straighter to disguise the sting of rejection.

“Thank you,” you say, tone indecipherable. It’s full to the brim with something, but nothing Homelander can parse in his current state. “I–”

“No need,” he dismisses, jumping on the opportunity to end the conversation on his terms. “Really. Just doing my job,” he says, tossing you a little two-finger salute off of his brow, already moving towards your balcony door. You don’t move, watching him from the foot of your bed, arms wrapped around yourself.

“Catch you at the office,” he says. He knows he’s speaking too quickly, but it’s all he can do to keep himself in check. Anger and misery broil in him like vinegar and baking soda, the caustic brew threatening to erupt.

“Okay,” you say, which isn’t particularly what he wants to hear. He turns his back to you, and his smile drops, his ego violently stung. With a force that billows wind through your bedroom, he takes off into the night sky.

You just weren’t ready, he tells himself, gritting his teeth. It’s easier to be angry than embarrassed. He wants to make as much distance between himself and your rejection, flying higher and higher until frost begins collecting on his lashes. He flies until there’s no sound, no oxygen, no life but his own. He flies until gravity releases him and he can finally relax, suspended by cold, vast space.

The earth glows beneath him, reflecting the light of the sun where it illuminates a distant portion of the globe.

Closing his eyes, he tips his head back.

He’ll fix this.

#heavy breathing #icb i actually did it #tysm to everyone who let me scream and cry at them about this fic as i wrestled nonstop with it #homelander x you #homelander x reader #x reader #homelander fanfiction #yandere x reader #my writing

[doublebladedbitch]

10 Reasons why I think tech is alive and well…and evil

1. The looks

Besides the similar front part of their helmets, their stances and movements show a resemblance.

2. Fight movements

Right when I saw this scene it felt familiar to me and then I remembered this very moment of season one. It’s the same attack…

If Tech was forced through the clone x/assassin program, he would’ve been robbed of most of his individuality, like fighting with two blasters for example, while clone x was shown fighting with all obvious choices of weapons of his 99 brothers : sniper rifle, knife and hand to hand combat. They also could’ve shown him with a usual blaster…

3. Relying on Technology

There were multiple moments where clone x checked on his arm data pad, even after it was broken after the building collapsed and his reinforcements had already arrived.

4. Voice / Noises

Sounds familiar? Tech is the only clone that has a visible British accent and there were definitely hints of that in clone x voice. Also the voice modulator seemed to be a little stronger than with the other clone assassins we’ve seen before, I wonder why…

And when you compare the grunts, they literally sound the same!

5. The height change

A few days into the third season of tbb Star Wars officially changed the height for tech and we all wondered why…. my theory is that they did that because tech's legs got injured after the fall and when the empire put him into the shadow assassin program his height went down to his new height.

Changed the height from 6’4 to 5’10

6. “But crosshair would know if it was tech”

Probably, but would he tell them? It took him a good while to tell anyone about the information he has gained in his imprisonment..he is still hiding things and if he knows I believe he doesn't want them to know, fearing they would try to get him back and he has realised that there is no chance to do so...the program these clones go through is so much stronger than what the inhibitor chip was.

Also this scene hits a lot different, if it's actually techimplicating this could be a reference to crosshair choosing to stay with the empire instead of the batch at the end of s1

There is also a scene in tantiss where he looks back at clone x...

7. THE PARALLELS

There were multiple parallels to significant moments and situations that

Tech went through.

- THE FALL sry to remind yall of plan 99, but clone x fell in that tower after crosshair shot his explosive and also in the waterfall fight.

- LIMPING after clone x got injured when the base collapsed, it was like the scenes in season 2 after a crate fell onto techs leg. Also important quote from this episode " I'm a survivor. Remember?"

8. This exact shot

the similarity of these specific shots is undeniable. And both when they come out of the water? Like?!

9. He’s too pretty to die

No but for real, storytelling wise IT HAS TO BE someone important.my other guesses are Cody, another 99 clone or (brace yourself) a clone of crosshair, like an evil twin

10. Maybe I just miss him

#bad batch #clone force 99 #tbb #sw tbb #tech #technology #bad batch season 3 #bad batch tech #tbb tech #tbb theory

[plantsjustwannahavefun]

A lot of people are surprised Izzy already wanted Ed to "talk it through" as early as episode 2, but here's the thing: throughout S1 Izzy's always been the one who favoured clear and open communication.

1) He was the one who kept asking Ed for a plan in E4. He wanted Ed to communicate to him what they were going to do. (Yes, he came off as dismissive to Ed's feelings in that episode, he brushed him off when Ed opened up about his depression, but in fairness to him, they were literally going to get ambushed by the Spanish any minute. There wasn't any time for the ol' heart-to-heart.)

2) He told Ed straight up exactly what the problem was and how he's feeling at the end of E4. He held absolutely nothing back. From Ed's POV as Captain, this was incredibly insubordinate and dickish of Izzy, of course, but from Izzy's POV, he was witnessing what he thought was Ed completely losing his fucking mind and getting them all killed. Which was the logical conclusion to draw since Ed deliberately kept him in the dark about having a plan. I think, if only Ed took him seriously and explained himself then, Izzy would have listened this time. But Ed played it for a laugh and mocked him for it, and that's when Izzy finally lost it and flipped him off.

3) When Izzy was about to leave in E4, he apologised to Ed. He was still trying to get some closure. I'm not sure he was being honest there, but he clearly didn't want to leave on bad terms, so on his part this was still an effort to "talk it through".

4) Izzy tried having another honest conversation with Ed in E6, this time with the support of Ivan and Fang.

5) He was venting to Jackie about Stede. Venting. Seriously, why do people keep saying Izzy doesn't talk? The man loves ranting about his feelings and giving others a piece of his mind. (It's the listening part he struggles with, admittedly, but still).

6) Another honest, heartfelt monologue in E9 when Izzy tried to explain himself to Ed, make him understand why he chose to betray them to the Navy. Tbh, I don't blame Ed for punching him - but even Izzy herself didn't, he acknowledged that he deserved the punch.

Point is, as unlikeable as Izzy's made out to be in S1, when you take a closer look, he's actually been very reasonable and had been (mostly) acting in good faith, all the way up until the end when he felt he had no other choice. And even then, betraying them to the English was the only time we've seen Izzy being deliberately dishonest (ok, the second time - the first was manipulating Stede into staging the Fuckery). Even when he practically kicked Ed while he was already down, he was still being very honest and speaking his heart out, as cruel as it was.

So it's really not even remotely surprising that Izzy would have been up for sitting Ed down and talking to him. I'm not saying he'd been very good at it. Not yet. But he absolutely did want to try.

#Izzy hands #our flag means death #ofmd #ofmd s2 #ofmd s2 spoilers

[bylerween2023]

Announcing the daily themes for Bylerween!

Each day has three themes: one horror theme, one in-show theme, and one fluff theme. Feel free to use inspiration from just one, two, or all three themes for each day!

Day 1, October 26:

Ghosts & Hauntings

Trapped in the Upside Down

Haunted House

Day 2, October 27:

Slashers, Gore & Body Horror

Demogorgon & Flesh Monster

Halloween Party

Day 3, October 28:

Demons, Devils & Exorcisms

Will’s S2 Possession

Pumpkin Patch & Apple Orchard

Day 4, October 29:

Psychological Horror

Attacked by Vecna

Sweater Weather

Day 5, October 30:

Came Back Wrong

Flayed!Mike/Flayed!Will

Carnival Night

Day 6, October 31:

Supernatural Creatures

Trick or Treat, Freak (2x02)

Trick or Treating

Day 7, November 1:

Witches, Wizards & Necromancers

D&D

Renaissance Festival

***

Rules and guidelines for posting can be found in our intro post here.

Extra prompts and ideas for these themes are under the Read More cut! Also, look below to see which themes are Double Date Night themes. For Double Date Nights themes, we encourage other ships to be featured along with Byler (but it's not required)!

amazing art by @light-lanterne!!

Here are some additional ideas that you can use as inspiration for each day's themes! You don't need to follow these prompts at all, but feel free to jump off of these ideas.

Day 1 - Ghosts & Hauntings, Trapped in the UD, Haunted House:

Ghosts & Hauntings - Mike and Will move into their first home together... but it's haunted. Ghost!Will haunts Mike, or Ghost!Mike haunts Will. Ghost movie AU. Young Mike and Will hide from a scary ghost in the closet or under the bed. A midnight stroll through a graveyard goes wrong.

Trapped in the UD - “It’s like home, but it’s so dark. It’s so dark and empty. And it’s cold!” Mike, Will, or both are trapped in the Upside Down this Halloween.

Haunted House - Creaking floors, spiderwebs, skeletons, and spiders! Mike and Will break into the scary, abandoned house down the street, only to run away when there's a creepy noise coming from the attic. Did Mike and Will get part time jobs as monster actors at the Hawkins Haunted House this October, or are they just going to the Haunted House as guests? Double Date Night: we encourage you to feature other ships with this theme!

Day 2 - Slashers, Gore & Body Horror, Demogorgon & the Flesh Monster, Halloween Party

Slashers, Gore & Body Horror - Slasher movie AU’s. Serial killer Byler, cannibalism Byler, or Frankenstein Byler.

Demogorgon & Flesh Monster - Looking back at our S1 and S3 monsters! The demogorgon or flesh monster are on the prowl and looking for victims this Halloween.

Halloween Party - What costumes are Mike and Will wearing to the party? Who has a few drinks, gets a little extra silly, and starts some drama? What feelings bubble up at the party? Loud music and dancing, spilled drinks, drunken confessions, and kissing in the dark corner of the room. Double Date Night: we encourage you to feature other ships with this theme!

Day 3 - Demons, Devils & Exorcisms, Will’s S2 Possession, Pumpkin Patch & Apple Orchard

Demons, Devils & Exorcism - Will and Mike make a deal with the devil. Demon x Exorcist enemies to lovers AU. Exorcism movie AU.

Will’s S2 Possession - Looking back the scenes of Will saying ominous things, not remembering the names of his loved ones, Mike sitting by Will’s bedside in the hospital, and the shed scene. What if Mike had been possessed instead of Will? What if Mike and Will were already dating in S2 when Will was possessed?

Pumpkin Patch & Apple Orchard - Picking out the biggest pumpkin at the pumpkin patch, carving pumpkins, baking pumpkin treats, and wearing ugly pumpkin sweaters. Getting lost in the apple orchard, climbing trees together, picking apples, drinking apple cider. Riding the hay bale and sneaking kisses.

Day 4 - Psychological Horror, Attacked by Vecna, Sweater Weather

Psychological Horror - Ramp up the horror, terror, paranoia, and fear! Psychological horror movie AU.

Attacked by Venca - Looking back at our S4 villain, and the horror filled visions he uses to attack his prey. Vecna returns on Halloween this year.

Sweater Weather - Everyone wants to cuddle up once the weather gets colder! Mike and Will start wearing their cozy sweaters and flannels. Falling leaves, hot cocoa, bonfire nights, smores, and camping.

Day 5 - Came Back Wrong, Flayed!Mike & Flayed!Will, Carnival Night

Came Back Wrong - Resurrecting your beloved childhood friend and sweetheart from death comes with a price... they're not the same now as they were before. A call back to good ol' Phineas Gage.

Flayed!Mike & Flayed!Will - Rethinking S3 if Mike or Will were flayed. Suspicions are raised and fear mounts: Mike or Will aren't quite acting like themselves and it's a fight to rescue them from their gruesome fate!

Carnival Night - Will and Mike play carnival games and go on rides. Bobbing for apples, getting lost in the corn maze, face painting, and feasting on carnival food. Double Date Night: we encourage you to feature other ships with this theme!

Day 6 - Supernatural Creatures, Trick or Treat, Freak (2x02), Trick or Treating

Supernatural Creatures - Vampires, and werewolves, and monsters, oh my! Mike and Will encounter a supernatural creature this Halloween, but is it friend or foe? Will as a werewolf, Mike as a vampire, Will as a goblin, Mike as a centaur? The options are endless! Monster x Monster Hunter AU.

Trick or Treat, Freak (2x02) - A look back on our beloved Halloween episode. Mike is complaining about Max, Will sees the Mind Flayer looming in the sky, and Mike takes Will home. Crazy together, right?

Trick or Treating - Mike and Will take Holly out trick or treating. Adult Mike and Will hand out candy. The early years of Mike and Will trick or treating with the party, TP-ing a bully’s house, and swapping candy afterward at home.

Day 7 - Witches, Wizards & Necromancy, D&D, Renaissance Festival

Witches, Wizards & Necromancy - Witch covens, a trickster wizard, or a necromancer raising zombies from the dead! A witch hunter falls in love with a witch, or Zombie Boy comes back to life.

D&D - Paladin Mike and Will the Wise celebrate the spooky season! Redecorate the Will the Wise costume with some Halloween vibes, or alter Will's S4 painting of the party to give it a spooky twist.

Renaissance Festival - Dressing up as knights, fairies, wizards, and more! The knights are jousting, everyone is eating a turkey leg, and Mike and Will are playing ax throwing games. Entertainers are juggling swords, fire eating, and putting on raunchy comedy skits. Are Mike and Will attending as guests, or working at the Renaissance Festival this fall? Double Date Night: we encourage you to feature other ships with this theme!

#byler #bylerween2023 #themes #mod post #day 1 #day 2 #day 3 #day 4 #day 5 #day 6 #day 7 #d&d

[embracing-the-ineffable]

Ineffable discontinuity and the Bentley's roadtrip transformation: new back doors and other changes (after it was yellow), and Crowley... didn't notice?!*

*Also, as a side observation, did he leave the Bentley window open during the ball and everything that happened after? Why?

Have you been longing to be even more perplexed by the ineffable discontinuity of Good Omens season 2? Do you love endless data in the form of screencaps? If so, then please join me on this wild ride! Here are some highlights:

Top photos: Season 1, episode 6, after Adam reboots reality; S2e2, before Aziraphale's e3 road trip. The Bentley is a gray and black 2-tone car with 2 doors (only 1 handle is visible on each side).

And on the bottom is s2e5, while Crowley is driving, it's a solid black car with 4 doors and smaller silver hubcaps.

(edit: For those of you thinking about the different Bentley models used in s1 vs s2 (discussed in detail below), or the difference between the full car and half car set, just those three full car pictures above demonstrate that the new s2 Bentley model is NOT the reason for this mid-season shift. For more details about the half car set plus other ways to tell the Bentleys apart - without talking about color - see my newer post with handy diagrams, here.)

And the s2 interior?

Here's e1, after Crowley talks to Shax, and e3, as Aziraphale arrives in Edinburgh (which is also when the Bentley debuts as a 4-door). And look at this blocking - how both characters are posed so similarly with their backs to us in these shots!! It's so deliberate! :

And look at the seats! In e2, Crowley is talking to Shax again, and in e5, Crowley just parked the Bentley before the ball:

When Crowley, who is so tuned in that he senses the car is yellow and driving too slow even from a distance, sees the "new" Bentley in e4, he doesn't act as though anything has changed, he just happily and purposefully walks up and opens the back door that was never there to put his plants inside.

THE BACK DOOR THAT WAS NEVER THERE

For that matter, Crowley and Aziraphale both seem to be unaware of the changes! This feels like both a metaphor and a functional plot device for season 3. There's more discussion at the end of this post!

Thanks to comments and observations awhile back from @bbbitchvibbbez , I did some careful searching for s2 scenes featuring the Bentley, and this post is the labor of love and irrational obsession result!

If you want to see lots more Bentley screencaps and discussion, including Crowley nonchalantly using the new back door, and possibly also leaving the Bentley window open during the ball and everything that followed, please keep reading:

Some background and context:

Ok, so there was a different Bentley "actor" for s2. The s1 actor was a 2-door, the s2 actor is a 4-door. If you look carefully, you'll see that in s1 the backseat side windows are smaller than the front side windows. In s2, they're the same size. I talk more about the windows - with handy diagrams! - in my newer Bentley post, here.

There's also been some controversy about the interior color of the s2 Bentley, black vs brown, and how that could relate to the s2 body swap theory; here are details about that from @lonicera-caprifolium and @picturesque-about-it. I don't think my findings support (or disprove) that theory, but take a look at what I found and see what you think!

(*Please don't ask Neil about any of this, he's already given us the answers he wants to give, and he's not going to spoil the surprises in s3 now by telling us what's really going on!*)

Here's the episode/scene breakdown:

S2e1 on the street with Shax - gray, two toned, two doors (one visible door handle on a side), brown interior - both the seats and the inside panel of the door. Notice how the door is hinged at the back, and opens opposite the way most modern cars do (this is called a suicide door):

More s2e1 photos, the Bentley is in a lot of scenes this episode and as far as I can tell it stays the same gray 2-door for the whole episode, but it's frequently in dark lighting to make it harder to tell it isn't actually black (I've brightened most of these shots). It also has larger silver hubcaps, and I notice consistent brown seats (these interior pics are from three different scenes):

In s2e2, the Bentley is only in two scenes, and it's the same as s2e1. Now, you can see in the larger photo below that it's obviously not the SAME as s1 - the backseat side windows are too long - but the production team DID try to make the new Bentley "actor" look the same as in season 1. It's a gray 2-tone car with 2 doors (1 handle visible on each side) with larger silver hubcaps. As an aside, what's with the red lights on the car in this shot?? I mean, yes, it's a reflection of another car's brake lights, but why put that onscreen?

Also, in case it's relevant, Crowley is wearing his turtleneck throughout this episode, and still has the silver-sided glasses from e1:

Ok, now we have s2e3, and as Crowley meets Muriel and gives Aziraphale his car keys, we see he's no longer wearing the turtleneck, AND this is when his glasses change to black-sided ones:

Outside, we see the Bentley looks the same as the rest of s2 thus far, as Aziraphale sets off for Edinburgh. Gray 2-tone, brown interior (with window bullet hole decals very visible), with larger silver hubcaps. There's only one handle visible, so it's still meant to look like a 2-door:

Ok, here's where things start to change! Azi is driving and the Bentley is yellow. The seats might (?) be black, there's still only one door handle on the side, the silver hubcaps are still larger. But when he "changes it back", NOW it's black:

And by the time he pulls into Edinburgh, Transformation Complete. (Did Something Else Happen?? Or is this an effect of Aziraphale finally being welcome to take care of this extension of Crowley? More speculation at the end!) It's a black 4-door, two handles clearly visible on the side, with smaller silver hubcaps:

And the interior? The door panel, at least, is black now - and it has a texture that wasn't there when it was brown. Here's e1 next to e3 (and appreciate, again, this very intentional parallel blocking of the two actors!):

In s2e4, we see the Bentley in two scenes; at the beginning when Aziraphale meets Shax-as-hitchhiker, where we see the bullet holes and the black door lining, and at the end when the Bentley is reunited with Crowley:

When Aziraphale parks the Bentley back at the bookshop, we see the bullet hole decals and that it's still a black 4-door:

So he goes to meet Crowley, they come back with the plants. We can see that the camera is to the rear of the car, and the front of the car is to their left. They're standing on the left side of the car. If Crowley opens the door, we won't see the interior door panel, right? Because the Bentley doors are hinged on the back, instead of the front, so the door will open towards us:

WELL. Mx "I can feel when you drive below the speed limit" and "change it back!" Crowley very eagerly walks up to the BLACK car, greets it with some sweet baby talk, and then opens the suddenly-existing BACK door with a hinge on the front (so it opens away from us) as if this is All Perfectly Normal, and we can (barely) see the door lining and it's BLACK and textured:

A few more shots of Crowley, standing at the brand-new back door of the Bentley, still wearing those black-sided glasses:

And in case you're wondering, in s1e2 when Anathema gets a ride in the Bentley, she climbs into the backseat from the front driver door, and she climbs out through the front passenger door. There wasn't a back door on either side. Here she climbs into the Bentley, and you can see Crowley fold down the front seat, and there's clearly only one door on that side, and it's hinged at the back. (When she gets out on the passenger side, it's harder to see, but you can tell that door is also hinged at the back.) :

In s2e5, Crowley drives the Bentley to the bookshop, and then we only catch a few small glimpses of it while Aziraphale is recruiting shopkeepers to the meeting/ball. Here's Crowley driving the black 4-door Bentley with small silver hubcaps, and here he is getting out of the car with black seats. The front door is still hinged at the back, as it always has been. The window is open - his hand is reaching through to open the door - so we can't see the bullet hole decals:

The next time we see more than a hint of the Bentley, it's the end of s2e6 and Crowley is standing next to it, watching Azi leave with the Metatron. It's still black, with 4 doors and black seats and smaller hubcaps. We don't see the bullet hole decals, but perhaps the window is still open from when he parked it in e5? (And WHY would he leave the window open? Was someone supposed to come by after he parked it to deliver something to the Bentley, or take something out?) Emotional photos ahead:

I over exposed that last picture, to make the colors really easy to pick out. The seats are absolutely, definitely black.

So... what does it mean? Why did it happen, and why didn't Crowley notice or react?

I love the metaphor that Aziraphale subconsciously created a back door for - or into - Crowley, especially with all those references to the "back channels" of communication between heaven and hell. I'm thinking it could represent - or actually be - another way for them to communicate, or like another entrance to his heart; it's something that Aziraphale doesn't realize he changed or added and that Crowley hasn't noticed yet either, even if he's making use of those changes on some level. I'm sure other metaphors could also fit!

And I'm reminded of something @theeminentlyimpractical said, "Crowley, despite his whining, fully accepts the idea of "our car," which fundamentally transforms the Bentley". That post was liked by Neil, so there could definitely be something to this "our car" transformation line of thinking.

So, was the transformation a subconscious effect of Aziraphale finally being welcome by Crowley to drive the Bentley, and caring for and taking responsibility for this part of Crowley? Or did Aziraphale consciously do this, or did Crowley? Or maybe the Bentley is sentient, and it chose to be bigger/different now, to accommodate both of them. Or did the change happen in response to Something Else We Didn't See?

Is Crowley's (and Aziraphale's) apparent non-reaction another example of an unreliable narrator or some memory tampering? Is manipulation of the Book of Life involved? Are there multiple timelines? Is someone time traveling? Or is it just that Aziraphale and Crowley already discussed the changes off screen, before Aziraphale left Edinburgh?

If Crowley noticed the changes, I would have expected a comment about them. Either, "change it back!" or a reluctant, "those are changes I can live with", or... Something. But instead, the production team went to some trouble to make sure the hints are there, but hard to spot (you can review the similar, careful s1 hints about the appearance swap here, from @fuckyeahgoodomens); as opposed to, for one example, the way they very clearly pointed out Maggie's mysterious spelling mistake, both on screen and in the dialogue. So I feel reasonably certain the Bentley's transformation is a careful, subtle hint about a Secret Something Important That Will Be Revealed In Season 3. I think it's both a metaphor and a plot device*.

What are some of your favorite metaphors? Your most reasonable theories? What about some of your biggest, wildest, most improbable theories?

*And if you enjoy Good Omens metas, theories, clues, etc, I have a big pinned collection of those from the fandom, here!

#Ineffable discontinuity #the mystery deepens #good omens meta #good omens analysis #good omens bentley #bentley #Bentley transformation #Good omens Bentley transformation #good omens theory #Clue with a capital C #good omens screencaps #crowley good omens #aziraphale good omens #good omens #good omens season 2 #good omens 2 #good omens spoilers #renew good omens #love #ineffable lovers #ineffable partners #ineffable soulmates #ineffable husbands #Good omens mysteries #Good omens clues

[nipuni]

OHHHHHHHHH MY GOD ARE YOU KIDDING ME!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! I'LL NEVER BE THE SAME AFTER THIS!!!!!! THIS ENDING?? THIS WHOLE EVERYTHING!!!!! WHERE DO I EVEN START I'M SO STUNNED!!!! WHAT!!!!!

"The end of time" was the most incredible ending I could have asked for!!! We finished watching it all at 3am last night and we spent all of today yelling about it, I can't believe just how good this was!!! I'm so glad we've never watched this show before while this was airing so that we get to watch it all fresh for the first time because we are having the time of our lives now

It was completely devastating and so so inspiring, just exactly how I was hoping for it to be, I already want to rewatch S1 to S4 all over again 😭 the sheer comfort I get from the character of the doctor is insane, I've never rooted for a character so hard and wholeheartedly in my life, he really is the most wonderful being in the universe I'm in tears I'm Wilfred rn what the fuck man I'll never recover from this!!! I feel like a ten year old kid with a new superhero GOD IT WAS ALL SO GOOD I CAN'T ARTICULATE I'd yell about each scene but I'm aware that pretty much everyone has watched this ages ago so you know and I still wouldn't want to spoil anyone that hasn't just in case because going into this unspoiled and knowing nothing about it has been the most satisfying experience ever and I hope more people get to have it too!!! please if you haven't watched this before go do that!! and if you have and it's been a while do it again!!! the acting?? INSANE!! the writing!! incredible!! I have only good things to say!!! I only wish we had 1000 more seasons with RTD and David Tennant I really love this man, I'm so sad to see him go!!! and so happy to get him back for the 60 special!!

When we got to the last episodes of season 4 I was expecting pain and instead I got an unexpected fix-it device that was rather strange but cute so I was somewhat relieved and confused, then the holidays specials were pretty standard and lighthearted AND THEN THE WATERS OF MARS? INSANE EPISODE, I loved it so much, that whole part at the end FANTASTIC they went there and I LOVE them for it!! another favourite episode for sure, and THEN THE END OF TIME?? by this point Nicolas and I were twisted into a single pretzel on the couch bracing ourselves, it went from extremely intense to SO FUNNY to heartbreaking and just...amazing!!! AAAAAA anyway!! I had to get all that out of my system, now onwards to S5!!! I'm curious to meet Matt Smith's doctor 😊

#doctor who #I'm so sorry in advance for the person I'm becoming I WILL be (more) insufferable about it #rotating the doctor in my mind at 9000 rpm while I work #I wonder what will change from S5 onwards!! will the writing be different!! will I like the new doctor!! I'm scared #personal #DW report

[love-byers]

it’s been a year, mike. (MAJOR BYLER REVELATION INCOMING---MUST READ)

mike and will constantly saying "a year" or "all year" when talking about the time since the move when it's only been six months keeps me up at night

i saw people talking about how they say a year when it was only 6 months because they’re idiots in love and are being dramatic. as cute as that is, i didn’t really buy it until RIGHT NOW. i just saw it as a cute headcanon, but now i see that the writers could be enabling you to make this realization by use of subtext.

allow me to explain

^ these are the three times they say it

at first i thought the writers may have just used year because that’s less confusing for the audience because 1 year time jumps have been used before in stranger things and are super popular in books/movies/tv shows. BUT, it clicked for me that that doesn’t make sense. the timeline in stranger things has always been acknowledged. throughout s1 we hear the amount of time will has been missing several times (as far as i remember). in s2, mike counted the days el had been gone. he called her every night for 353 days. when el and hopper argue in s2, el uses specific numbers to tell us how long she’s really been with him. in s3 hopper specifically says ‘6 long months’ when talking about how long he’s been dealing with mike (lol). that's the same amount of time between s3 & s4, yet mike and will don't say 6 months, they say year. there’s a date at the start of every season. and in s4, el says this in her letter to mike. 

185 days = 6 months (almost on the dot)

the writers have specifically told us how long it’s been since they moved, down to the amount of days. and it’s 6 months, not a year. this makes it very hard for me to write off mike and will saying ‘year’ as just the writers slipping up. also in el’s letter, she says this:

this is INSANE. 

mike and will are saying the wrong amount of time. the writers aren’t stupid, they know how much time has passed since season 3. THEY WROTE IT. i’m a writer as well, and i know how much time is passing between what im writing because I CREATED IT. IT CAME FROM MY BRAIN. and like i said, the stranger things writers have proven to be very keen on dates and time. all of this happening in the same season is not a slip up, its on purpose. stranger things 4 had a 30 million dollar budget PER EPISODE. do the math--that’s 270 MILLION DOLLARS. and yes, i know they supposedly forgot will’s birthday, but that’s different. his birthday is a date that was mentioned one time and served no purpose aside from creating emotional tension in that one scene. none of their birthdays are important to the plot, hell, will’s is the only one mentioned in the show and it wasn’t even on his birthday. one date that was mentioned one time and never brought up again is NOT the same as continuous attention given to timelines/time jumps over the course of all four seasons. and some fans theorize that they’re lying about forgetting his birthday anyway. either way, its not the same.  

so....the writers want us to know that emotions can make time speed up or slow down....and that el’s week has felt very fast because of her emotions....and then show us mike and will SPECIFICALLY deviating from the timeline established in the SECOND LINE OF EPISODE ONE “yeah, but you knew she was having problems for months and didn’t tell me.” “its been six months, mike.”, or “it’s been months, mike.” or not even including that line at all, or “the past couple months have been weird” would’ve worked and stayed in check with the timeline we’ve already established. but when writing those scenes, they chose to say year. which is flat out wrong and way off from the actual time they’ve been apart. 

and what did el say makes time speed up or slow down? emotions? oh, okay got it 

the first two times mike and will say it’s been a year are in the same scene: the rink o mania fight. emotions are high. they’re in a pretty serious fight. its not about something dumb, it’s about their ten year friendship and how they’ve grown apart. their friendship is VERY important to both of them. (remember when mike said asking will to be his friend is the best thing he’s ever done?) the third time it’s said is when mike is opening up to will in episode 4. it’s a very emotional scene. mike is being honest and vulnerable with his feelings. in this conversation he apologizes and admits that will didn’t deserve how mike had been treating him, which mike never does to anyone else. he admits his relationship with will is different and home isn’t the same without him, and that he feels like he lost will and wants to be best friends again. 

and the obvious: emotions making time speed up or slow down doesn’t just apply to in the heat of the moment occasions. (in theory) mike and will are in love. the six months they’ve been separated felt like a year to them because of their emotions, just like el said in the letter. and mind you, will is canonically in love with mike, yet they’re both acting the same way about this. it’s not just will. it makes sense for six months to feel like a year to will because of his emotions, because he is in love with mike, right? well, mike feels the exact same way. this isnt even about the characters as people. narratively speaking, mike and will both doing this doesn’t make sense if it’s unrequited. one way writers show how characters aren’t on the same page about something, a relationship for instance, is whether they’re on the same emotional page about different plot points. something major and emotional happens to all the characters---now we watch how they react to it. and i don’t mean small disagreements & such, characters are allowed to feel differently about things. i mainly mean when whatever happened is painful and important to one or more of the characters. for example, steve and nancy. steve and nancy didn’t feel the same about barb, barb’s parents, and everything that happened in general. steve wanted to keep on like nothing happened while nancy was literally eaten up with grief, guilt, and trauma. jonathan was the one who was on the same page as her and made her feel better about carrying that baggage around all the time. they understood each other. and who was nancy in love with? jonathan. narratively, that makes perfect sense and even further sways the audience into understanding they’re in love.

so...what? the emotions that made mike and will’s six months apart feel like a year to them is....friendship? not a fucking chance. mike and el are a couple, and according to mileven fans, they’re the main couple of the show who are in love and are going to be an endgame couple. why save this incredibly romantic coded trope for will and mike, the best platonic bros? idk, you tell me. and the fact that the line about emotions came from someone in the love triangle?? and it was said to someone else in the love triangle?? not a coincidence.

edit: someone reblogged and pointed out how el said 185 in her letter to mike that we SEE him reading. there is no reason for him not to know how long it's been. so either he isn't paying attention to a damn thing el says in her letters or he is just extremely in love with will

another edit: i keep seeing reblogs of people saying they're probably referring to the time since mike and el started dating, which i used to think too. but the context when mike and will say a year makes it hard for me to believe.

"but you knew she was having trouble for like a year and you didn't tell me"

here mike is specifically talking about el's bullying problem which has only been going on since the byers have been gone and she enrolled in school. what he's talking about is something very strictly related to the time since they moved, and it's been six months, not a year.

"you called maybe a couple times. it's been a year, mike. meanwhile el has like a book of letters from you."

will is again, very specifically talking about something that strictly happened between the time since the byers left and the start of s4. he's saying how crazy it is that it's been a whole year and mike has barely called. but it hasn't been a year, it's only been six months.

"the last year has been weird, you know? and you know, max and lucas and dustin, they're great, they're great, it's just..it's hawkins it's not the same without you. and i feel like maybe i was worrying too much about el...i don't know maybe i feel like i lost you or something."

this one i will cut some slack, i think he could be talking about literally the last year, as in since the beginning of 1985. but immediately after he starts saying how home hasn't been the same without will (and separates his relationship with will as being different than his relationship with max dustin and lucas and even el), something specific to the time since they byers have been gone, six months, not a year:

in conclusion: mike and will referring to their time apart as a year when it’s only been six months is not a mishap on the writer’s part. they go out of their way to make sure you know exactly how much time has passed, down to the number of days, and they put this much attention on time in every season. and in the same season mike and will do this, there is a line in the SECOND LINE OF THE OPENING SCENE OF THE SEASON about emotions making time go by faster or slower.

byler is going to be a s5 surprise, but its not coming out of nowhere. there’s piles of subtext in every single season---enough that when you look back, it all makes sense. small details like this aren’t outlandish because this is without a doubt the length writers will go to keep something hidden, and in byler’s case and many other tv show plots case, to keep something a surprise. and for christ’s sake, WATCH THE SHOW! the amount of attention to even the TINIEST details in stranger things is insane. they put so much thought into everything---not just ships, and not just byler. idk how many times the writers are going to have to say details matter and that there are no coincidences until people believe them. 

anyways, byler is endgame. thanks for reading :) 

#another day of proving byler endgame done #all in a day's work #they are in love and they are dramatic #byler #will byers #mike wheeler #byler s4 #byler s5 #byler endgame #byler is endgame #byler is canon #mileven is bones #milkvan is bones #stranger things #byler analysis #stranger things analysis #stranger things 4

[steveharrington]

can you elaborate more on steve being abandoned by the narrative?

yes <3 so i think there are two very unfortunate circumstances surrounding steve's character that have led to the current state of his plotline: 1. after not killing him in s1 like they originally planned, the duffers have never really had a plan for steve and 2. they are extremely influenced by audiences. when they were conceptualizing steve to fit in among the ensemble cast, the duffers were picturing him as a douchey boyfriend who unceremoniously dies. lonnie was originally going to come back to the byers house to save jonathan and nancy. there was no need to picture where he'd be 4 seasons down the road, so they just didn't account for that. then joe keery charmed them so hard that they literally couldn't bear to kill him, so steve ends season one still somehow alive.

but we've already established the nancy/jonathan plotline, because jonathan was once the duffers' self-insert who must defeat the evil jock and win over the girl. they couldn't just backpedal on that right away, so they needed to give nancy and jonathan a plotline alone, away from steve. but steve only ever functioned as an extension of nancy until this point, so what do we do with steve now? in an accidental stroke of genius that the duffers have admitted was a last second decision, they pair him with the children and make him into a babysitter. it almost instantly boosts steve into being tied with hopper and el for most popular character from the show, potentially even beats them both out. in 2017 when s2 aired, you could not escape mom steve jokes. it was everywhere, steve was everywhere, joe was everywhere, it was arguably the second coming of #justice for barb, which, in netflix business-y terms, was the exact viral meme type situation that the show wanted and needed to sell merch and remain relevant and say "see we still got it!!!"

you know who has the 2nd most lines in the entirety of season three? directly behind hopper? ahead of winona ryder? steve. think for a second about how absolutely insane that is. the character who was written specifically to die in season one. joe keery's name wasn't even in the season one credits, because he wasn't considered a series regular. and now he has the 2nd most spoken lines in the big blockbuster season because he rocketed up in popularity so intensely. season three marketing features the mall so heavily, creates a literal physical shrine to 80s nostalgia, and when the very first promo is released an entire year before the season airs, who's the star of that teaser trailer? and who, pray tell, is featured in the main brand sponsorship ad that plays in movie theaters worldwide? thats right its america's little darling steve harrington.

but here is the issue. the duffers look at what made steve popular and they see: funny exasperated babysitter, heartthrob action hero. they're like oh okay so we should keep putting him directly in the center of the action, bang him up every season to give him his classic bloodied aesthetic, but. he still needs to be funny. we can almost kill him, but we can't actually kill him because he's profitable. we can let him get horrifically injured because it's badass, but we still gotta let him crack jokes. it creates this very weird tone to steve's role in the story starting in season 3 because he's both the action hero and the comedic relief and protected by plot armor, so we get scenes where he's being literally tortured until he's begging for his life and gasping for breath but the tone is still.......fun? comedic? light and goofy? i think the duffers also forgot he's supposed to be a teenager.

now this is partially me making educated guesses but i feel pretty confident about this: once again, like gollum, joe keery uses his big shiny eyes and manages to evade death again in season four by being so likable and charming and marketable that netflix execs or shawn levy or maybe even the duffers themselves were like oh fuck we just can't do it. they were obviously tossing around the idea of taking mom steve all the way by letting him die sacrificially for dustin, so in season four they make eddie, transfer steve's relationship with dustin directly onto him, ctrl f steve's name in the death scene and just type in eddie instead, and once again steve is alive but he's directionless.

so what does he have now, in season four? i think the duffers have a whiteboard somewhere with steve's name and around it are little circles that say "funny" "cool" "DO NOT KILL" and steve is now stuck in this endless cycle of getting beaten up, popping back up somehow unharmed like a looney tune, saying something cute and oblivious, rinse and repeat. because that's what worked, that's what made him popular all the way back in season two. that's what the duffers are obviously keeping in mind when they're writing steve: popularity. not realism, not depth, not growth, just literally how to continue making him popular. meanwhile, other characters get to be part of the actual story. other characters get to serve a purpose other than selling merch. when el is bitten by a monster, she gets to actually feel pain and need help because that's realistically what any human would need. when hopper is tortured, he gets to suffer and ponder his existence and reflect on the relationships in his life. steve never gets any of that, because the writers just don't see steve as the 19 year old boy on his 4th straight year of traumatic events that he actually is.

they literally just see him as a money maker, there for cool viral moments and witty lines and maybe the occasional emotion experienced but only if it's about his romantic prospects. and the narrative that other characters get to have and be apart of just kinda runs parallel to steve. he's there, technically, but he's not really in the story. and it's like actually crazy because you'd think after all the funko pops he sold, he'd have earned an actual storyline!!!

#sorry this is So long im just tb the history of steve...... #know your stevestory #anon #answered

[king-zacharyy]

IF YOU HATE HELLUVA BOSS, HAZBIN HOTEL, AND/OR STOLITZ, DO. NOT. INTERACT. (WITH THIS POST OR MY PAGE)

Okay, I am currently rewatching Helluva Boss, and I just finished S1 Ep7: OZZIE'S, and... How do some people genuinely believe Stolitz is one-sided?

From what I've seen, Blitzø absolutely returns Stolas' feelings, even if he refuses to acknowledge/accept that he does. A lot of people, from what I've seen, have been using Blitzø' words to Stolas in OZZIE'S and his words about Stolas to Fizzarolli in OOPS as arguments for why Blitzø "clearly" doesn't love Stolas back, but my question is, do some of y'all not have basic media literacy?

Sorry if that’s rude, but seriously. There are plenty of clues to how Blitzø is actually feeling during and after these scenes.

1. Blitzø was literally holding back TEARS as he said that in the van scene.

2. He says that Stolas has made it very clear that all it is is Stolas wanting to be fucked. That wording is very distinct and, honestly, says that Blitzø does NOT want it to just be a Fuck Buddies things.

2.5. May I remind everyone that Stolas literally calls Blitzø his "Impish little plaything" in Truth Seekers? And that that likely just confirmed the insecurities we know he was already feeling? (We know he was feeling insecure about his and Stolas' relationship already because of how he reacted in S1 Ep5 to Striker goading him)

3. Literally ALL of what happens after the van scene. Including all of Episode 8. He goes home and cries himself to sleep, and then goes and self-destructs at a party. Bee said it herself that he wasn't drinking to have fun.

4. In S2 Ep6: OOPS, His face when he said it was nothing more than Stolas being horny gives away how hurt he actually is. He is desperately trying to convince Fizz and remind himself that Stolas doesn't want anything more.

Honorary mention that I'm not sure is really a fifth point is him calling Fizz and Ozzie hypocrites.

Moving on from those scenes and onto Blitzø's insecurities about love and his self-worth issues. Blitzø does not believe he deserves love. He does not believe anyone does or can love him. We can see this in how he acts with the people in his life. He pushes them away. He is obsessed with M&M's relationship because they're the only model of a healthy relationship he's ever had, and he wants that with someone. We also can tell because of how he reacts to what Fizz and Verosika say in OZZIE'S.

Blitzø hates himself. He crosses out his face in the pictures hung up in his apartment. He blames himself for an accident that caused his mother's death, his best friend to lose his limbs, and his sister to hate him.

No one was truly there for him after the accident. Fizz may have been crippled, but he had a support system. Blitzø did not, and no one was there to tell him it wasn't his fault.

Not to mention the fact that up until the accident, he was CONSTANTLY being put down and told Fizzarolli was better than him. Even his own father cared more for Fizz than him. Honestly, I'm surprised there isn't any actual animosity towards Fizz on Blitzø's part.

Speaking of the fire and Fizz, Blitzø was planning to confess romantic feelings to Fizz that night before the accident (We know this because of the letter and flower he was holding before the fire started). That likely made it difficult for him to confess his love to someone because if you think his brain wouldn't connect love confessions to the greatest trauma of his life, you're dead wrong.

Brains make weird ass connections when it comes to trauma/traumatic events.

In conclusion, Blitzø loves Stolas, Stolas loves Blitzø, and they both need to heal and get their shit together. Stolitz forever.

Kloveyoubye ❤️

#haters dni #helluva boss antis dni #Hazbin haters dni #hellaverse #helluva boss #helluvaverse #stolas #blitzø #stolas x blitz #helluva boss blitz #stolas helluva boss #stolitz #rants n rambles #rant post

[eternalfics]

hii, can i request a saiki x gn!reader who can change fate? ty! :3

saiki x gn!reader who can change fate

a/n: like I said on 2 hc posts ago, I kinda left my requests in my inbox, so if u made a request it’s kinda gonna take a while since u got 2-4 in front of you..

summary: saiki with a reader who can change the future and stuff! 🥳

HOW YOU GUYS MET

when you guys first met, you guys were paired up for a school trip. it was.. decent, slightly awkward but it was fine! you were going to get through this with this quiet, silent man. of course you could have changed partners, but you decided to see how life is without your powers! (which was going.. well 🥲)

(this is based on s1 ep 12 btw)

when you guys got at the airport, everyone was so excited! of course, saiki looked the same. maybe he’s one of those people with a rbf? 😇

but all of a sudden, just one announcement about the flight getting delayed and the class looks like zombies. people who were jumping around had their heads on their hands.

yumehara had a lot of snacks in her bag? but now you could just see her blank expression and her stuffing them in her face.. not even hairo could have cheered them up. maybe you could just have a cheat day?

yeah that would sound good. all of sudden, the tv showed that the hurricane is gone! somehow, everyone’s back in a good mood. who knew that a trip could make everyone depressed? everyone’s better, but that guy who you were paired up with saki- sekai? saiki! yeah him, it seems that he’s looking at you. do you think he knows?

HEADCANONS

when saiki needs help or suspects something, your the first person he goes to! I mean, who else would he go to?

I’m just gonna assume that saiki already knows that you can change fate and you already knows that he has psychic powers!

out of all of the psychics in their class, saiki would say your the best one. well, your kinda not a psychic but your the best one he works with 😋

sometimes when your feeling playful or mischievous, you like to threaten saiki when he’s in certain situations😈

“what happened?”

“I finally got away from teruhashi. I swear nobody leaves me alone these day-“

“gimmethat200yenthatyouowemeori’llmakehercomeback,”

“..let’s talk about thi-“

sometimes saiki likes to annoy you too! it’s a playful relationship. but that dosen’t mean that you guys aren’t serious at times

overall, maybe your not a nuisance after all 😘

#kusuo saiki #kusuo saiki x reader #kusuo saiki x y/n #saiki fluff #saiki k x reader #saiki kusuo fluff #saiki kusuo x male!reader #saiki kusuo x reader #saiki kusuo x female!reader #saiki kusuo x gn!reader #the disasterous life of saiki k #saiki x you #saiki x reader #saiki kusuo x you #saiki kusuo x y/n #saiki imagine