#how can you hate s1 mickey look at him | Explore Tumblr Posts and Blogs

dramaticviolincrescendo · 3 years

Note

Okay, what are your thoughts on Ian's relationships? With his family, his boyfriends, and Mandy (since I think that's the only friend he's had)

Oh, no. Ohhhhhhhh, no. Now you’ve done it. You’ve asked about my dear, darling favorite character on the show. My love for one Ian Gallagher runs deep, which means this answer is going to run super long. The good, the bad, and everything in between—Ian Gallagher lives rent free in my brain and always will. I derive so much satisfaction from seeing Ian interact with other people, in whatever capacity that might be. I admire and aspire to the compassion he has shown for others over the years, even and perhaps most especially those who arguably haven’t earned it. He tries so hard to be good to people, and seeing their love for him manifest when he’s reached such lows where he can’t even fathom why the love of his life would want to be with him forever? That’s powerful.

So, yeah. I said I could write essays on these characters, and that’s exactly what you’re about to get: five hours and 6k words’ worth of my thoughts. (I am so sorry. There will be text walls.)

Let’s dive into Ian’s many and multifaceted relationships—his family, his friends, and his romantic pursuits.

Ian and Family

Ian told us where he stood on this in the very first season, and it set the standard for his character for eleven years to come. Faced with a prospect that others in his position could only dream of—not being Frank’s son and having a wealthy father with a functional, prosperous lifestyle mere miles away—Ian refused to buy into it. He refused to do what might have been objectively better for his future by seeking a relationship with Clayton. In that household, he would have had access to a better public school, more financial resources, a tutor to help him where he was struggling, and less urgency for him to work so that he could enjoy being a kid. When he got sick, he would have had access to better healthcare, too. Perhaps he would have had a better shot at West Point from that background than he did at home. But that’s just it: home was with his family, and he was very clear that they didn’t live in that nice house. All he wanted—all he wanted—was to be with his brothers and sisters. He has never referred to them as only half-siblings or half-cousins; he has never even used the words, “you’re not my dad,” on Frank. That’s his family, the people he loves most in the world, and he’s always been at his best when he’s with them and at his worst when he’s not. Let’s look at each of them:

1. Frank: It is so striking to me that Ian doesn’t appear to hold the outright contempt for Frank that Fiona, Lip, and Debbie have exhibited at different points over the years. Aside from the handful of instances where they’ve gotten into physical altercations (which Frank always initiated) and kicking him out of the house on occasion, Ian is simply indifferent to him. But there are these moments, these brief glimmers of mutual attachment and loyalty, if those are the right words. In the scene where Ian famously doesn’t count to three before using the pepper spray on him, Frank starts saying how his New Gallaghers weren’t his real kids—that Ian is his real son, and Frank is his real father. It’s a passing thought uttered while trying to manipulate his way into the house that neither of them think much of, nor does the audience…until you remember that biologically, Frank isn’t his father, and he certainly hasn’t behaved like one either. Ian has more right than anyone to comment on that, but he doesn’t because Frank is his father. He’s the father that Ian idly hoped wouldn’t come to his wedding yet sat joking about with Debbie rather than getting pissed off that he was making out with some lady in front of everyone. He’s the father who sat at the table with them eating breakfast in 11x03 and claimed Mickey was the man in their relationship without Ian saying a word to him about it, and who Ian saw no issue with taking Franny to school when no one else could. In s4, as far removed from his family as he’d been for a while, Ian still went straight to the hospital when he heard that Frank was at death’s door. We focus so much on his attitude towards Monica because of how obvious it was that we frequently miss these tiny moments and their implications. It would take an awful lot of patience, compassion, and love not to write Frank off completely after all he’s done. Not necessarily our standard definition of love between a son and his father, perhaps, but a loving soul.

2. Monica: I have actually written a pretty lengthy post about his relationship with her because while their shared mental illness definitely plays a role in his feelings toward her, that grew complicated far earlier than his diagnosis. The first time we meet her, we see that he has a visceral reaction to news of her presence. He runs. When Ian can’t process strong emotions, that’s what he’s done in the past. I happened upon an interview Cameron did just after the end of s1 where he mentioned something I had already been thinking: Ian’s age when Monica left is extremely important. He was a kid in s1, but one who could roll with the punches, sometimes literally. She left them two years before that. Ian would have been in middle school, roughly as old as Debbie was when she still called Frank “daddy” and forgave him for everything he did. It’s an awkward age that once again set Ian in something of a danger zone—too old to accept an excuse or no explanation at all, but not old enough to process the situation in a healthy way. And then she’s back all of a sudden with no warning. Ian doesn’t cry like Debbie, and he doesn’t typically get explosively angry like Fiona. He can’t deal, so he runs. He hangs back. He only speaks when he has to and compartmentalizes: Monica wants to take Liam, and they need to stop her. It doesn’t have to be about her leaving. They have a goal—he can focus on that. And then she’s back a year later, saying she’s here to stay while Fiona seems to take her at her word and Lip isn’t there to ground everyone. Ian tries so hard to behave like Lip would with his biting sarcasm and attempts to stay emotionally distant in a way that seemed pretty exaggerated for Ian, but he’s also dealing with a fresh wave of guilt over Mickey going to juvie—and Monica gets it. She’s the only person to acknowledge that he’s in pain and actively try to make it better. She’s the only one who really knows at the time, but that hardly matters. This poor kid, whose mother left him when he still needed her, has her standing in front of him and saying she’s sorry and listening when he speaks and taking him dancing—just the two of them. Embarrassing as it was and harmful as it could have been, she tried to facilitate his dreams when no one else wanted him to go into the military. She was there for him when he went AWOL. She came for him when he was arrested and even wanted to make a place for him in her new life, unrealistic as it was. This goes so much deeper than them both being bipolar. Ian’s comment about her parachuting into their lives in s7 wasn’t about Mickey or her role in them breaking up. He trusted her. He wanted her. He needed her. And she’d convinced him that she would be there—until she left. Over and over again. She was there for him and unintentionally took advantage of how desperately he still needed his mother. She made him keep loving her, and that’s both a blessing that has him crying into a voluminous man’s arms when she passes and a curse that wrecked him more than once.

3. Fiona: The trust these two have for each other cannot be understated. Fiona has discussed things with Ian that she never brought up around any of the other kids throughout the entire series. In the pilot episode, she tells him about feeling needed and takes his opinion on the matter to heart. At the end of the season, he’s the one she talks to about the car because she can trust him to give her an answer even without speaking. In s2, she tells Lip that the two of them are her rocks, and we see that time and time again. That’s part of what makes their falling out over the church hit that much harder: it’s Ian and Fiona. The only time they’d been on the outs in any serious manner up to that point was when Ian was adjusting to his new reality and they were trying to find a balance between sister and caretaker. Otherwise, that bond of trust had never been severed—not until Ian literally sold himself only for it to amount to nothing in the end because she had no idea the lengths to which he’d gone to get that building. That damage gets mended, thankfully, but what a powerful period of time when those two were the only ones who’d never really been at each other’s throats. There is a downside to that trust, though. As I mentioned before, Ian was so responsible and put together when he was younger that Fiona didn’t think twice about his situation with Ned or that he ran away. Not even seventeen yet, and she was telling Debbie that she didn’t like his decision to leave but trusted him. That is one of the things I love about this show—even something like trust that we always prop up as an important factor in our relationships can betray us in the most unexpected ways.

4. Lip: I won’t go into it here, but the relationship they share is something that means a lot to me on a personal level. It’s part of how I knew that Ian would become my favorite character pretty early on. The way he simultaneously admires and envies Lip, loves and is annoyed by him, relies on him and is desperate to pave his own path in the world—what a beautiful and accurate depiction of what it means to be a younger sibling. Lip is the first person to discover that he’s gay and openly accept him for it. (I think what he tried with Karen came from a well-meaning place even if it was horribly, horribly misguided.) Lip is the one who tries to get him into West Point, hate it as he does. He helps Ian when Terry is after him, takes care of him in the aftermath of the wedding when he realizes just how deeply Ian feels for Mickey, searches the whole damn city for him when he finds out that Ian is in trouble, gets him a job, leans on him in his own time of need… He’s not perfect. He slips up, just like Ian does. Some things break my heart, like Lip insisting that he’s earned his own space when his little brother is asking him for safe harbor or Ian thanking him for being his brother outside the prison. But they love each other so much, and I just… I can’t possibly put into words how much I love their dynamic.

5. Debbie, Carl, and Liam: I’m grouping these three together because they’re further separated from Ian in age, so we see a lot of the same trends with them as a whole. Ian loves taking care of people. We know this. We also know that Fiona and Lip don’t typically want him taking care of them—they’re the ones who take care of him when he needs it, specifically Lip. With the younger three, however, Ian can be the Big Brother. He can shake his head in utter bafflement at Debbie’s obsession with holding her breath for two minutes, walk Carl through what he needs to go camping, and promise his baby brother postcards when he leaves. The difference here is that his relationship with them is so much less fraught with conflict. We don’t see him fight with Debbie, Carl, or Liam the way he has with Fiona or Lip. While Ian tends to be the voice of reason during conflicts overall, I think it’s also because he relies on his older siblings in a way that he doesn’t with his younger siblings, and the latter don’t tend to rely on him as much as Fiona or Lip as well. There’s a lack of tension in most of their interactions growing up because that pressure isn’t there. Perhaps this is where Ian’s age and standing in the family is a bit more beneficial: young enough to have people he can rely on while too young for anyone to really rely on him for more than his share of the squirrel fund.

Ian and Friends

I’ve seen it mentioned that Ian (and Mickey) not having more friends is bad or lazy writing. I tend to believe that that fails to take something into account that, admittedly, most of us don’t really have to think about: having friends is a luxury. It requires time and effort to cultivate friendships, especially lasting ones. As a kid, Ian spent a lot of his free time working or helping to manage one family crisis after another. Going AWOL, losing his health, struggling to acclimate to his illness, trying to find a new career path, spiraling into the Gay Jesus movement, going to prison, adjusting once again to normal life, getting married, a pandemic… I’m sure he’s had plenty of acquaintances over the years, but having a family to support and constant upheavals would have made it extremely difficult to really forge strong relationships with them. I think that’s part of what makes his relationship with Mandy so special and valuable to him: she’s sort of the same way.

When we met Mandy in s1, she had other friends. We saw her meet up with them and go shopping; she told Ian a story about how one was mad at her for not sharing her make-up. As the trauma in the Milkovich household reached its zenith for her in s2 and she started thinking seriously about getting out of there, we saw those friends fall by the wayside—all except Ian. He saw her and let her see him early on. That’s a level of trust and respect that nobody else in their neighborhood would have displayed, certainly not to her. But then there’s this guy who defended her against their creepy, perverted teacher and treated her like a human being, not an object. It’s no wonder she developed an obvious, unrequited crush and sought physical comfort from him occasionally. It’s no wonder she tried to repay the favor by giving Mickey a hard time in s3 and s4, misguided and rather uninformed as we know it was at the time. (It’s also no wonder that she went for the closest Gallagher to Ian, either, but that’s for another meta.)

And Ian… Ian is loyal to a fault. We have watched Ian cut out his own heart and let the blood drip down his arm to pool on the floor at his feet if it would make a damn bit of difference for the people he loves. Like Fiona and Lip, Mandy immediately accepted him for who he is and suggested an arrangement that would protect him as well as benefit her. That is enormous where they came from. To him, that had to feel like the ultimate sign of friendship: he could trust her with a part of him that he hadn’t even entrusted to most of his family yet. From that point on, she was on the List of People Ian Gallagher Would Do Anything For. Finding out about Terry and what had happened? He held a bake sale, of all things, to fundraise for her. Seeing that his brother—his best friend—was treating her like garbage? He put him in his place. Her boyfriend was beating her? He brought her home and made it his goal to find a safe place for her to stay, even if it ultimately didn’t work. She was going to move away from all of her meager support with that boyfriend? He didn’t just rally his own arguments—he brought in outside help with Lip, who he thought might tip the scales. It’s usually just a saying that true friends will help each other hide a body, but Ian literally tried to do that. Lucky for him, he has a good head on his shoulders and used it.

No, Ian doesn’t seem to have a lot of friends. We’ve seen that he has spheres of influence, if you will, and acquaintances that he can call upon when he needs them. (For example, the guys that helped with the preacher.) However, Ian has always struck me as a “quality over quantity” type of person. Being a soldier or an EMT isn’t lucrative, but they’re meaningful for someone who sees them as vehicles for helping people. Seeing more parts of the world than just Chicago has appealed to him in the past, but he seems perfectly content to carve out a spot for himself right here at home. Having only three best friends—Lip, Mandy, and Mickey—doesn’t seem like much of a hardship for him.

Ian and Romantic Pursuits

I hate to say that there were five, but from Ian’s perspective, there were. So, let’s talk about all five. Even though…there weren’t five. There was only one. We’ll save the best for last.

1. Kash: The first of Ian’s perceived romantic pursuits that really wasn’t. I hope it goes without saying that I hate this man with the passion of a thousand burning suns. I hate him so much. However, their interactions taught me a whole lot about how kind and compassionate Ian really is—and how naïve. Of course, he would believe that Kash loved him. The man was buying him all sorts of expensive gifts, and that’s what we see on all the commercials and in so many movies, isn’t it? Grand gestures of affection through expensive gifts. Poor as they were, Ian still scraped together the money to buy him baseball tickets and CDs, convinced as he was that that was all part of what you did in a relationship. That desire to do things like a “normal” married couple in s11? Yeah, that starts here. Ian has always been a planner, and he’s always bought into certain stereotypes. We can see that here. What we can also see is Ian’s compassionate, kind, loving soul. He cares so deeply for other people, even ones that he doesn’t know very well, especially if they are living in circumstances that mean something to him. (For example, the mentally ill woman they tried to help at work and the shelter kids whose situations were so similar to Mickey’s.) Kash being a closeted gay man living in misery with a wife he didn’t love and two children he never meant to have clearly tugged at Ian’s heartstrings. Even after everything that happens, even though Ian behaves as though they’re awkward exes who just happen to work together, he still covers for Kash. He gives him that head start and takes it upon himself to break the news to Linda that he’s gone. He defends Kash to Lip when the latter finally says exactly what we all know: he was a pedophile who deserved to rot in prison for what he did. As with Fiona’s trust, Ian’s loving soul, compassionate heart, and desire for love outside his siblings are virtues that have done him harm in the past. This is one such instance.

2. Ned: The second of Ian’s perceived romantic pursuits that really wasn’t. To be honest, I don’t believe that Ian would even characterize it that way. He seemed very aware that Ned was a distraction from his problems—from Mickey being in juvie, Monica falling into a depressive episode, the money in the squirrel fund being gone, Lip moving out, losing his shot at West Point, and getting denied for service due to his age. Again, though, Ian has always wanted to feel valued, and this rich dude was letting him stay in a fancy hotel room with anything he wanted readily available. This (disgusting predator) guy was giving him attention and a distraction with no strings attached. Then the complications roll in, and he’s once again faced with being the mistress to a closeted, married man. The difference here is that he’s not comfortable with it. He tries to tell Fiona twice, which is enormous for Ian when he has never been very good at communicating if it means burdening others with or even merely facing his own problems. But he tries to tell her. He rejects the GPS unit and tells Ned that he has a boyfriend, boxing him into a strictly sexual arrangement. (This, unfortunately, makes sense. It aligns with how Fiona viewed things: where Jimmy was concerned about it, she told him that it was “just sex.”) He is also visibly embarrassed to admit to Lip and Fiona what has been going on with Ned. By that point, Ian is a year and a half older and, while still scarred and warped in his views because of Kash, perhaps a bit wiser. Emotionally, he kept Ned at arm’s length most of the time. He used Ned not just as a distraction, but as a way to galvanize Mickey into taking their relationship a step forward. But Ian is still Ian, and Ian is compassionate to a fault. Ned played that card by asking if he could have a little understanding for a man whose life was falling apart. Sure, he can. He’s Ian, the Gallagher too empathetic for his own good at times. We know how that spirals out of control. It just goes to show that even when Ian was trying to maintain some emotional distance, his heart is simply too big and his perceptions too heavily impacted by the grooming he’d experienced with two different people by then, and so he [SPOILER ALERT] still feels enough of a connection to Ned after all these years to be mildly bothered that he passed away.

3. Caleb: The third of Ian’s perceived romantic pursuits that really wasn’t. Ian’s relationship with Caleb strikes me as being similar to what he had with Ned. While more age-appropriate, Ian was very much using Caleb, just as Caleb was using him. That’s why it was so easy for both of them to walk away. Ian was in a difficult spot when they met. He was grateful to the firefighters who saved his life, but he had also just saved someone else at a moment when he was perhaps at his absolute lowest. That’s what he’s always wanted, isn’t it—to be a bit of a hero and help people? So, he’s understandably drawn there, first out of gratitude and then to be surrounded by very attractive gay firemen who helped people, saved his life, and invited him to be part of a function they were holding. But he made himself pretty clear from the start: he was interested in sex with Caleb. That was the draw. He still hasn’t come to terms with being bipolar and losing Mickey, but Ian has never not been with anyone for any extended length of time. That’s just who he is: he’s always sought some level of outward validation—from the army, Kash, Monica, Mickey, and so many others. We’re seeing him struggle with that now as he deals with the opportunities available to him as a mentally ill ex-con felon. So, he pursues Caleb as a distraction just like he did with Ned, only Caleb is a predator in his own right and can smell that his interest is coming from a place of weakness. He immediately (and initially unintentionally) preys on Ian’s desperate need for structure and order by insisting on a traditional date where Ian is very much out of his element and even goes so far as to instruct Ian on how to be intimate. It’s no wonder he mentions Mickey in these moments, as Mickey never wanted him to change, and Ian leans heavily (even slightly hyperbolically) into the fact that Mickey wasn’t a paragon of order and stability like Caleb outwardly appears.

And I think why Ian puts up with it so long—being taught like a child, being used to upset Caleb’s parents, being paraded in front of his friends to make them jealous—is because he was getting something out of it too, just like with Ned. A stable place to live when their home ownership was in flux, a place away from his family when they weren’t providing the support he needed as he adjusted to his disorder, someone who validated his desires to help people regardless of their ulterior motives, and a physical distraction from his own problems. All of these parallel his relationship with Ned very closely. It was never going to last, of course. Ian is a strong person who temporarily forgot how strong he was because he forgot who he was, and Caleb didn’t want to be cared for—he wanted a project, like all of his sculptures. Being a project, being something that others see as needing to be fixed? That’s a hard no for Ian. It always has been. There’s a moment I love later in their relationship where Caleb tells him to turn off the lights when he goes out and lightly reprimands him for leaving one on the day prior. Ian is in a better place at that point, having regained a lot of his sense of self, and stares after him with indignation at being treated like a kid. He’s then lied to and cheated on, but I think that to mention those things to Caleb when they break up is to admit weakness on his own part—that he stuck with Caleb knowing that he was being mistreated, and Ian is not one to be called a victim. So, while we know from his discussions with Lip and Sue that the cheating and distrust bothered him most, he merely focused on Caleb lying about his sexuality, which removed a lot of the emotion from the situation—just like he did with Ned. It ultimately turned out to be a bad move since Caleb, being a skilled predator, made him question even his own sexuality in return, but we’re starting to see that Ian isn’t here to be someone’s toy anymore. Not an older, married man like Ned, but definitely not anyone his age either. I’m glad this pseudo-relationship happened because it showed Ian how strong he really was and that he could be in control of his own life. Sure, it destabilized him a little in the aftermath, but he worked through it. He leaned on his family, specifically Lip, who has always been his rock without the blurred lines that Fiona represented between sister/mother-figure/caretaker. Caleb is a garbage person, but Ian was the one who pulled the treasure from the trash, not him.

4. Trevor: The fourth of Ian’s perceived romantic pursuits that really wasn’t. Trevor is perhaps the first relationship where we don’t see Ian dive in. Whether that’s because of his confusion over Trevor’s gender identity or the fact that he was really beginning to fully mature as an adult by that point (ostensibly finishing his education, getting a career, being fully self-sufficient, etc.), he tried to take his time and not jump right in. They hung out, talked around the neighborhood, and yes, engaged in some casual intimacy at the club. Again, Ian might not be in a full relationship, but he’s never without someone for long. At that point in the series, all he was missing was a relationship when it comes to traditional, “normal” goals for people to have. But Trevor posed a situation he’s never been in before since, while gay himself, Ian has never been very interested in activism or engaging in the LGBT community. It’s just not in his culture or environment, so to be faced with someone he’s interested in that challenges a lot of his views of gender and sexuality is something he takes his time with. Unfortunately, Trevor is younger than him and not quite as mature, not quite as experienced. He tells Ian he has plenty of friends and doesn’t need another, which is an ultimatum that has never really sat very well with me personally because I’m generally of the mind that if a person needs time and you really care for them, you’ll let them have that time. I’m not unsympathetic to Trevor: he’s been burned before and has his own trauma stemming from responses to his identity, so it makes complete sense for him not to be patient in this regard. He shouldn’t have to be—but then, Ian shouldn’t have to rush into anything he’s not 100% certain he wants either. That’s exactly what he does, though, because Ian does for others without thinking of the implications for himself a lot of the time. They make great friends, but they don’t make great partners. Trevor treats Ian similarly to Caleb in that he’s a bit of a project. Trevor educates him on the LGBT community and incorporates him into his ventures for the shelter without ever really showing much interest in Ian’s life or family, which suits Ian just fine because for as interested as he is in helping with the shelter and as attracted to Trevor as he is, he seems to know they’re not compatible. Ian, who has been having sex since he was far too young, takes a step back from it when they run into compatibility issues. (And pushes back on the pressure to bottom with some of his own—neither of them were in the right on that.) He doesn’t ask much about Trevor’s family or try to be part of his personal life. They sort of embody the “friends with benefits” stereotype: they hang out, they have sex, and that’s really all there is to their relationship.

The reason Ian doubles down on trying to make it work isn’t because there was a future for them before Mickey broke out. It’s because he thinks he’s lost Mickey forever, he knows he’s lost Monica forever, and he’s not going to get the support he needs from his family when they couldn’t stand Monica and Fiona told him what he already knew to be true, namely that Mickey being an escaped convict would destroy everything Ian worked so hard for if he got involved. So, he does what Ian does. He needs that distraction—he needs to run from these strong emotions he can’t process, so he bottles them up and unfairly hopes that Trevor will provide some of that comfort after cheating on him with Mickey. (Had Mickey been released, I think they would have broken up. Instead, that was the first match Ian lit, but certainly not the last.) Now, the thing is, Trevor said at the start that he didn’t want to be Ian’s friend. He’s also younger and less mature in a relationship, which means he threw the concept of love out there prematurely, just like Ian thought what he had with Kash was love. The death throes of their relationship were a back and forth where Ian was spiraling and seeking comfort, and Trevor was providing some while keeping their relationship pretty amorphous. (Were they exes? Were they friends? Were they people who shared interests and danced around each other? Were they going to get back together? They never officially broke up—it fizzled and resurged, then fizzled for good.) Ultimately, whatever it was that they had couldn’t survive Mickey, Monica, or Gay Jesus. Trevor wasn’t prepared to deal with a full-blown manic episode, and based on his hands-off approach with involving himself in Ian’s life even before the Mickey-shaped bomb got dropped on them, it doesn’t seem like he really wanted to anyway. He did what he’s always done: prioritized his shelter, which I’m not deriding in the slightest. By that point, Ian was too far gone to care that he disappeared anyway. Had the situation been different and he was getting the support from his family that he needed, it doesn’t seem like he would have cared much there either.

5. Mickey: Finally. Only took over five thousand words to get here. I’ll preface this with something that anyone who knows me from other fandoms is already well aware of, namely that I don’t do romance. Ever. Never been interested. The relationships I’ve always been most passionately interested in are platonic ones, especially “found families” and siblings, which is probably obvious from the other five thousand words here. Ian and Mickey are the first relationship I’ve actively shipped or written for in a fandom. They’re the first I’ve been invested in to this extent. As such, one of the biggest pet peeves I had when I first joined this fandom was the saying, “Ian fell first, Mickey fell harder.” These two wonderful dumbasses face planted on the concrete in front of the Kash and Grab in s1 and never recovered. I could go on forever about these two, but that particular wall of text would probably be too daunting for even the most avid Gallavich stan to traverse, so I’ll keep it fairly brief. As we can see above, Ian has a very strict sense of what he “should” want in a partner. Someone who is moderately successful in their chosen field, makes enough money to at least live comfortably, and typically does something that helps other people (a doctor, a fireman, a youth counselor). These aren’t passionate people. They’re not men who operate on instinct the way most of the people in his life have always had to by virtue of their social standing. They have life goals and opportunities that he envies, and Ian has a great deal of compassion for them when they hit a roadblock or things don’t work out. The amazing dichotomy of Ian Gallagher is that he straddles a line most people can’t between the rough neighborhood that has instilled in him all of his values/behaviors and the middle-class mentality of pulling yourself up by your bootstraps and aspiring to more. Ian has always aimed for what Lip said wasn’t possible for poor people: being successful without having to scam or steal. But as I said way back at the beginning of this manifesto, the South Side is his home. His family is his family. And none of the people he’s been with personify the South Side quite like Mickey—they don’t personify home like Mickey.

And I think that’s where the initial draw for Ian is. (I’m going to focus on Ian’s side since he’s who your question focused on.) The other guys look great on paper, and Ian’s brain says that that’s what he should aim for. We know better, though. We know that Ian has an enormous heart that belongs first and foremost to his family and their home. His heart says that this person—this dirty, rude, mean, violent person—is home. His heart says this person is everything about himself that he denies having, just like Ian was everything about Mickey that the latter declined to openly acknowledge for so long. I don’t like relationships built on “making each other better.” I really don’t. The wonderful thing about this is that it’s never been that way. Ian didn’t change Mickey. He’s exactly who he’s always been, but he’s grown past the fear of his own emotions and Terry’s response to them. He’s still a thief, a con artist, violent, and rude. Mickey didn’t change Ian either. He’s still rigidly conforming to certain stereotypes of what he thinks he should want, seeking structure (to his own detriment at times), and not a great communicator. The point for them is that they complement each other, not that they make the other a better person—not even that they bring something out of each other that wasn’t already there. That’s what Ian’s other relationships did. They made him shave off his edges so that he could fit a square peg into a round hole, and that’s not happiness. It’s simply what he thought he was supposed to do—what “normal” people did.

With Mickey, he doesn’t have to worry so much about what is normal or acceptable. He doesn’t have to worry about whether or not his life is objectively “on track,” not until fairly recently. Mickey is the only person he’s ever been with who has accepted him for who he is, faults and strengths alike, without the underlying insinuation that he should be aiming for something else or pretending to be whatever the other person needs him to be in order to care for them. Kash needed an escape—Ian provided it. Ned needed a very specific brand of toy—Ian played that role. Caleb needed a project to feel fulfilled—Ian went along with it for a bit. Trevor needed someone who accepted him as he was but did things his way—Ian did that. To care for Mickey has only ever meant being himself because all Mickey ever really needed was him. Mickey didn’t need an escape from his home—his relationship with his family is more complicated than that. Mickey didn’t need to be saved from his upbringing—it’s what made him the person Ian fell in love with and who he is happy to be. Mickey didn’t need someone to change who he is on a fundamental level because unless it is going to get him into trouble and separate them, Ian never wanted him to. (Even then, it’s about what he does, not who he is.) And yes, I’m sure that there’s a level of excitement that Ian finds exhilarating where Mickey is concerned, but I tend to believe it goes a lot deeper than that. What he finds exciting about Mickey is what Mickey embodies about the South Side—about home. About his own upbringing, but also Ian’s. About Frank and Monica, his siblings, school, work, ROTC—existing and surviving in an environment where it’s not guaranteed that you’ll have money to keep the heat on this winter or feed your family. They spent the early seasons living in a constant state of fight or flight. They couldn’t afford not to. And there’s excitement in that. Look at how many people say that the first seasons are their favorite! There hasn’t been a huge shift in the quality or direction of the writing, just the trajectory of the characters. They’ve gotten older, and their problems have been different. It’s not about survival so much of the time anymore, but those are the storylines that excite us. For Ian, that exhilaration in the constant battle of survival in their neighborhood is sewn into the fiber of his being just like it is Mickey’s. He saw his home in Mickey before they truly fell in love, and when that followed, Mickey became home.

In Conclusion

Ian has spent his entire life looking for the “right” path only to realize that it was laid before him: his family, his small circle of friends, and Mickey. I love that that is coming full circle this season, where [SPOILER ALERT] marriage has almost made him regress a bit to that place where there must be a right way of doing things going forward, and slowly but surely, we’re seeing him loosen up.

Good morning. It’s Ian Gallagher loving hours.

#shameless #ian gallagher #it's ian gallagher loving hours #shameless meta #well that took six hours #and I didn't get more writing done #but I feel accomplished

90 notes · View notes

evakuality · 3 years

Photo

Mia, episode four

1. Hanna staring deep into Mia’s face as she talks = not loosening my conviction they should be together. But either way, I like this little scene. One thing I think Druck does well is translating the ideas of all the russ-stuff from the og into its own thing that makes sense in its own context. These suggestions really are all terrible, though. I’m not at all surprised that Jonas and Matteo are taking the mickey out of it (side note - I missssss themmmmmm). I know I’m seriously anti Alex and so I’m not feeling even remotely charitable, but I really dislike the way he’s walking in all ‘I have a much better idea than you guys’ and acting as if he’s better than them. Plus, then they ended up using it and... ugh. I just... I really hate William and poor Alex is bearing the brunt of that. It’s probably not his fault; I just brought a whole lot of baggage into this viewing.

2. I do love that Leonie is still ‘in charge’ in this way. It’s a nice continuity from s1. And she’s not perfect in any way; a lot of her little mannerisms and the way she acts and speaks from s1 are still here, but she’s mellowed a bit. It’s not as directed and petty; she just likes being in charge and running stuff.

3. Wow a lot is going on in this first clip. Amira is getting her voice heard like a boss here! (sidenote #2: she is stunning in this outfit with this makeup etc). It’s obvious that she’s pretty used to Mia and her very set opinions (a bit like Leonie but she does it in a different way) and knows the only way to get what she/they need is to basically steamroll over every attempt Mia makes at speaking. I like the point that Mia’s principles aren’t as important as the people who wouldn’t be able to pay the larger price. Like, I get it - she’d rather not have anything to do with Alex (me either tbh) but Amira is also right. Excluding him on principle isn’t fair to the bulk of the students. However, ‘he shows up with all his money and his damn poster and now he’s a nice guy?’ - I mean, exactly. Still. There are other considerations and it shouldn’t be black and white.

4. Oh, this walkway/ramp thing again. My beloved setting returns! Honestly, I really really love this school building. It’s got so many little corners and changes and different spaces and this space in particular is used to really good effect. Like rn, Alex has the high ground and while Mia is trying to stand up to him, it’s ineffectual because they’re having to use high angles on her vs low on him. He still has the power. And even when they come together, and there’s a seeming meeting of equals, he’s still got the high ground, even if just barely. And as he walks away with his insufferable smirk, he regains that high ground even more (do I like this plot at all? No, but I do like the film techniques used to explore it). I just really really love the way the camera works in these spaces. Unlike a ‘normal’ school, this one has so much depth and variety even when they reuse the same spaces. None of the times this thing is used is the effect exactly the same even when it seems similar. Hmmmm, now part of me wants to look at every time it’s used and see how it’s done. Somebody stop me.

5. Yikes - I’m only 6 minutes in and I already wrote an essay. Okay, let’s try to be more brief as we continue. Oh. Mia alone and in a nice space with warm tones around her (unlike the other two scenes this episode). I do like these moments when we hang out with our mains and I’m glad we’re starting to get that more with Mia. Very interesting that she chooses to fold and iron her clothes as a reaction to the ‘mega geil’ comments about Alex. Clearly she’s starting to feel out of control about the whole business with Alex and the things he’s saying to her, and this is one way of her reasserting her control. She likes having things under control and we see it coming out in these odd ways now that she’s found something that is out of her control. She clearly gets some peace out of it, but it’s so rigid that you can tell it must be about to crack soon. Nice touch with Hans bringing the comic relief. I love him so much!!

6. Lol, Matteo looks super disgusted by this chirpy conversation about Hans’ affliction. I like that his characterisation is still traceable. He’s not AS low and isolated as he seems in his season (the benefit of perspective I guess), but he’s still slumped and isn’t as engaged in the things around him - here and even with Jonas earlier. It’s just nice to see because I know his season came pretty close after Mia’s so it’s good that it doesn’t seem to come out of nowhere. Continuity - Druck is good at it. Also how uncomfortable he is when the discussion turns to what gay penises look like - clearly he already has some ideas about how himself and equally clearly he doesn’t want to talk about ‘gay’ anything when it might be connected to him. Little does he know, his phone already gave them ideas. But I do like him already being the biggest Hanna/Jonas shipper - like, he’s so determined to make up for his interference that he’s fully trying to interfere again, and it’s a nice segue into ‘why does anyone spend a whole evening stalking someone’ - yeah, we see you Mia. You’re more intrigued by Alex than you care to admit. I enjoy these little seemingly unimportant clips of them just hanging out that actually advance the plot or characterisation.

7. Hanna: Mia, please come to this place to save me from being alone with Jonas. Mia: I’m on my way (despite not wanting to go at all) - are we seriously telling me she’s not at least a little bit in love with Hanna? Seriously. The need to help Hanna out is strong in this one. But also... more mirror reflections, but this time she’s more centered (not entirely but more so) and her whole face is in shot. Things are ‘coming together’ so to speak. And ion hindsight, I can’t even seem to spot Jonas? Is he even there? Was Hanna trying to get Mia there through stealth????

8. Yikes, this thing they’re doing where they say stuff about each other is a bit brutal. Amira’s ones are mostly pretty awful, and targeted at her religion. Very interesting that for the others, they seemed more focused on who they are rather than ‘what’ they are, but it’s not the same for her? Like, I know we explore this a bit in her season but there’s been so much through the whole 2 seasons so far that I feel even more like we lost the opportunity to truly explore that more. RIP the s4 she deserved!

9. I don’t like Alex still (he’s still too arrogant and irritating for me) but I do like the quiet slow way Mia is warming up to him. She doesn’t want to, but you can see her re-evaluating him and starting to recalibrate her thoughts. Like it’s not rushing and he is at least a little more interesting than William and has more charisma so I can see why she would become intrigued once she shifted her perspective. Unlike William, who remained gross through the entire thing.

10. So Mia’s desperate need to be in control and have everything perfect even extends to Alex’s place and his stuff? Considering she still thinks she doesn’t like him, she’s taking a lot of trouble with his space. Suuuuuper awkward alone times here though I do like this shot of Mia exploring Alex’s place and the camera just sort of following along with that and taking in what she sees. Being this tight on her really plays up how ‘tight’ her PoV is and how she’s not seeing outside the bounds of what she wants to see.

11. This is a very very long clip, but there’s something charming about it too. Alex is... hmmmm, not exactly a good guy as yet (he’s still doing some quite douchey things), but he’s starting to open up and be real while still trying to protect some stuff that’s and that’s a lot more believable than William was. I know he was supposed to be like that, too, in a lot of ways, but I never found him convincing. Not the way Alex is. I don’t like him (this is genuinely not a type of guy that appeals to me at all) but I can see why he might win Mia over. Which I never did understand with Noora. We shall see - there are things from later in Noora’s season that fill me with incandescent rage, and if those happen then I can’t warm to Alex properly at all. But for now, I can see why Mia might be won over. Even if I can’t forgive him for the way he treats Kiki and acts like he’s the only one with all the right answers.

Lots of long clips in this one with a whole heap going on. It would have been something to go through this live, I’m sure. I found lots of little moments in this one to like, and I like how Druck has managed the characters and the interactions to make it feel natural. Considering that I really cannot stand the og of this and that one was very long, I think they’re doing a fairly good job of keeping this one engaging and a decent pace even if I still dislike one of the characters.

#druck #mia - episode 4 #wow this got long again #update on feelings about Alex - still don't like him

9 notes · View notes

bellafarella · 3 years

Note

Do you think Gallavich is still relevant beacuse Mickey decided to come back everytime. What if he decided it's not his problem when Ian went AWOL, or escape jail and not contact Ian, or didn't snitch on that cartel so that he can get locked up with Ian, or didn't care if Ian wants to get married right now or later. I hate the writers because i know Ian loves Mick so much, but its like every time its Mickey who has reached out first. Sure Ian missed Mickey but it was Mickey who seeked out Ian.

i see what you’re saying but like yall realize that if mickey wasn’t there then that would mean there is no gallavich right? lol

gallavich is the smooshed word for gallagher and milkovich, like this fandom created that word as a couple name FOR ian and mickey... loool

so obviously if mickey didn’t bother then there would be no gallavich

yes the writers like to show us how mickey does so much for ian, but ian loves mickey too, or he wouldn’t have continued to choose him. he wouldn’t have proposed. we have to remember that ian has a mental illness. yes he is stable and takes his medication, but he wasn’t always like that. he wasn’t on meds until like what mid s6?? whenever mickey tried to help him he didn’t want to admit that he needed help or that he needed to be medicated. thats really common for people with bipolar disorder. you’re in denial that you have the mental illness. once ian got stable though, he continuously chose mickey.

ok yes i know he didn’t choose him and go to mexico with him but like COME ON. that was an impossible position to be put in. yes, mickeys the love of his life but going on the run with a fugitive, leaving your entire family behind - a family that has done everything to help you. how could he just leave?? he still chose to help mickey by giving him everything he had. he still chose mickey even though he couldnt go be with him.

mickey didn’t always choose ian. not until he came back in s4. lots of people like to point out how mickey does everything for ian but like..... do yall not remember s1-3? lol

mickey was so deeply in the closet, so deep into his own internalized homophobia. he almost killed frank because he caught ian fucking him. he continuously put himself in situations to get caught to be thrown into juvie so he wouldnt have to face his feelings for ian.

once he finally came out then it was all ian, all the time. ian’s the only man mickey has ever loved. i honestly believe that its the same for ian. mickey’s the love of his life. sure, ian has had other boyfriends and lovers, but thats because he’s never hid who he was, he never had that same internalized homophobia and fear that mickey grew up with. but thats because of how they grew up. frank didnt give a shit who ian fucked, he was always drunk, monica was never there. terry is a nazi homophobic racist piece of shit who tried to kill mickey multiple times for being gay.

also for your last comment about it was mickey who went looking for ian... well yes, lip went to mickey.... mickey wouldnt have done shit had lip not gone asking him if he saw ian. once mickey knew ian could potentially be in trouble he went looking for him. but ian is the one who left in the first place... shit got tough so he ran. it wasn’t mickey’s fault that he married svetlana. he was literally forced to, if not terry would have killed him. do we forget that terry literally held a gun to ian and made mickey fuck svet/ knock her up then marry her????

sorry wow i went off on a tangent. i just hate the whole discord of like mickey loves ian more or mickey does more for ian. LIES.

yes, mickey loves ian and does a lot for him, but so does ian!!! we need to stop pitting them against each other like they are LITERALLY married.... lol

#anon #reply #ian x mickey #gallavich #shameless us

18 notes · View notes

crossovereddie · 4 years

Text

Thoughts on S10xE12: THE WEDDING

Okay so y’all know how this is gonna go. A lot of tears. A lot of screaming via caps lock. And of course it wouldn’t be complete without a lot of “I LOVE YOU SO MUCH” and pet names for Mickey. Enjoy.

Let’s get non related gallavich things out of the way because I don’t wanna finish this on a downer

I actually love Liam/Frank scenes

Debbie finally getting what she deserves? Good

Tami is a fucking bitch

Entitled little brat

You won’t change my mind about this

Don’t even try defending her

You NEVER use someone’s child against them.

Don’t threaten to take Fred away then be shocked that Lip ruined his sobriety

I just kept repeating “please no” when he paused before taking that first sip

It fucking hurt so much

Lip deserves BETTER

Tami is toxic. End of. Period.

Now let’s bring up the mood!!

Liam looking at the tuxes was so cute

He’s so confused

Mickey actually chose a white tux for himself :((((((

My snow angel🥺

Everyone checking on Ian is so sweet

Carl’s toe nail clippings “you picking those up” 😂😂😂

Ian really hates that shit doesn't he

I'm so proud of him for taking his meds

GIVE ME THOSE PHOTOS

"Savings" lmao

Baby got fancy for his wedding

HIS FACE I CANT😂😂😂

They shower together :((((

“Those are nice right?”

Fashionista Mickey making another comeback

Unpopular opinion but I love seeing his Ian tattoo on his chest ON THEIR WEDDING DAY

chin touch :(

So soft. So sweet.

THE WAY IAN GRABS HIM YES BITCH

THE GRUNT 🤤🤤🤤

HEIGHT DIFFERENCE FUCK

MICKEY IS T I N Y!!!!

TOWEL

NECK KISS

FUCK

I fucking hate terry

I need him dead because my baby isn’t safe until he is

His little “what?” 😩

HE DESERVES SO MUCH BETTER

GET HIM BABY

But like don’t because I need you free

Can sandy poison terry or something?

Sandy 😂😂

This scene was sad because my poor baby but so early shameless I love it

Carl and the beer trilogy 😂😂😂

“I don’t wanna get married where my shoes stick to the floor”

GIVE THE PRINCE HIS ROYAL WEDDING

The spinal cord line 😂😂😂

Mickey’s a Gallagher I don’t care what their last name is

HERE COME THE TEARS AGAIN

“Why is Mickey handcuffed?”

“Terry fucking wins again” NO BABY

MY FUCKING HEART

ILL GIVE YOU ALL THE HALLOWEEN CANDY TO FILL YOUR LITTLE TUMMY BABY BOY

I WANNA BUY YOU ALL THE CHRISTMAS GIFTS YOU WANT

LET ME ADOPT YOU

IM SO FUCKING SAD FOR HIM

HE DESERVES SO MUCH BETTER

“I love you. I love you” 😭😭😭😭😭

“This son of a bitch is never gonna let me be happy” IM SOBBING ALL OVER AGAIN

In so little words Lip really said “Mickey Milkovich deserves the wedding of his dreams and we’re gonna make it happen if it’s the last thing I do”

Did anyone else start singing Carrie Underwood when Ian said “Louisville slugger”

The Gallagher’s love Mickey so much

I LOVE MICKEY SO MUCH

IAN FUCKING LOVES MICKEY SO MUCH

“Mickey might have to marry Debbie instead of Ian”

“Nice polish boy named Michael” LMAO

I love Lip

OKAY THIS SCENE KILLED ME

The way Mickey is looking at Ian melts my heart

Again their height difference murdered me

YOU WANT KIDS?

K I D S

IAN WANTS KIDS WITH MICKEY BUT WE ALREADY KNEW THAT

FUCK HIS DREAM FROM THE ICONIC DELETED SCENE IS COMING TRUE

IF THEY DONT HAVE KIDS NEXT SEASON IM RIOTING

I like when they make fun of each other because they are literally best friends forever

THEIR SMILES

MILKOVICH

GALLAGHER

BUT WHICH ONE IS IT NOW

Ian is obsessed with holding mickey’s neck

THUMB

MY BOYS LOOK SO HANDSOME IN THEIR TUXEDOS

Mickey trying to be nice to this lady 😂😂

I LOVE HIS VOICE

They have mutual friends and I’m fond

I told y’all it’s the little things that get me

“Chiavari chairs look nice” “I like how the gold catches the light” DONE

The cake topper I NEED IT

I HATE TERRY I HATE TERRY I HATE TERRY

The lip and Ian scene made me cry again

THE SONG

IAN YOU SAP

HE LOVES MICKEY SO MUCH

As soon as I heard the first cords of the song I IMMEDIATELY bursted into sobs

IM CRYING AGAIN

MY LONELY DAYS ARE OVER 😭😭😭

Once again I’m beyond jealous of sandy

I wanna walk my baby down the aisle 😭😭😭😭😭😭😭😭

HES SO CUTE FUCK

IM HONESTLY NOT OKAY

THE NIGHT I LOOKED AT YOU

I DIDNT KNOW THIS SONG WAS GONNA HURT SO MUCH

HEIGHT DIFFERENCE AGAIN IM SO BLESSED

It’s like even more noticeable this episode right?????

TINY AND TALL

BLACK HAIR AND RED HAIR

BLUE EYES AND GREEN EYES

WHITE TUX AND BLACK TUX

TOUGH AND SOFT

THEY COMPLIMENT EACH OTHER IN EVERY WAY POSSIBLE

Kev was so funny finally

GET HIS HOMOPHOBIC ASS GAY JESUS SQUAD

When they kept singing even after he pulled his gun I cried so hard

I’m crying again wtf

THE VOWS FUCK

TO BE MY HUSBAND

IM FULL ON UGLY CRYING I CANT EVEN SEE THE SCREEN

I IAN TAKE YOU MICKEY TO BE MY HUSBAND

FUCK THIS HURTS SO MUCH

AFTER ALL THE SHIT THEYVE BEEN THROUGH THEYRE GIVING THEMSELVES TO EACH OTHER IN THE PUREST WAY POSSIBLE

“Now?” “Yes now” HE WAS SO EAGER AND SHOCKED THAT THE LOVE OF HIS LIFE SINCE HE WAS A KID IS NOW HIS HUSBAND

We got to see the smitten lovesick Ian Gallagher from s1 again

HES NEVER STOPPED BEING SMITTEN AND LOVESICK BY MICKEY

Honestly same

Not gonna lie, seeing frank emotional made me even more emotional

MICKEYS SMILE COULD LIGHT THE WORLD

MY SON IS ACUALLY MY SUN

THE HAND HOLDING IS SO CUTE

THEYRE ACTUALLY MARRIED

HUSBANDS!!!!!

IAN SO PROUD HAVING HIS BABY ON HIS ARM

YES MICKEY IS IANS BABY FIGHT ME

IM SO FUCKING HAPPY

MICKEY DANCING IS THE CUTEST THING IVE EVER SEEN IN MY LIFE

“I miss mom” that hurt a lot more than I thought it ever would

I’m glad they mentioned Monica. Ian loved her so much

YOURE REALLY GONNA PLAY PERFECT RIGHT NOW FUCK YOU

“I should probably go dance with my husband” THATS YOUR HUSBAND CAN YOU BELIEVE IT

The head neck tuck 😭😭😭😭😭😭😭

THE WAY THEYRE HOLDING EACH OTHER LIKE THEY NEVER WANNA LET GO

“We were just kids when we fell in love not knowing what it was I will not give you up this time” FUCK WHOEVER PICKED THIS SONG YOU WIN

I actually hate this song with a passion but suddenly I love it

LIKE THEYRE ACTUALLY SLOW DANCING

SLOW DANCING AT THEIR OWN WEDDING

IAN REALLY HAD TO DO THE NECK GRAB WITH THE THUMB RUB COMBO JUST TO KILL ME DIDNT HE

THEYRE SO IN LOVE IVE NEVER SEEN A LOVE THIS DEEP BEFORE (and I’m fucking married to the love of my life/high school sweetheart lmao)

Liam getting the car for them was the sweetest thing

He opens the car for Ian :((((

HE HOPS INTO THE CAR MY LITTLE BUNNY

Frank is genuinely happy for them and that fucks me up so much

THEY REALLY HAD TO USE RED SHEETS HUH

THEY KNEW IT WOULD FUCK US ALL UP EVEN MORE THAN WE ALREADY ARE

The soft touches are always my favorite

They make my heart flutter

“Morning Mr. Gallavich” OKAY SAY WHAT YOU WANT BUT THAT WAS ACTUALLY REALLY FUCKING CUTE

“Morning Mr......Millogher?” THE CUTENESS WONT STOP

Mickey physically cannot stop caressing Ian

THE THUMBS ALWAYS GET ME

Like I actually look for them knowing they’re gonna be doing the thumb rub

Fucking terry

BUT THEY LOOK SO CUTE COVERED IN FEATHERS

There Mickey goes again with the Ian caressing

in case you forgot: THEYRE MARRIED

HUSBANDS

I can’t believe this actually happened. They’re actually MARRIED. After everything they/we have been through....wow. I’m still in shock. I’m still crying my eyes out. Now I’m gonna go cuddle up with my husband and make him watch the episode with me since he finally has time. I’m over emotional. It’s not fair that they wait until I’m pregnant to let Mickey be happy. It’s like they enjoy my uncontrollable sobs. Leave me your thoughts! I wanna talk about this episode forever.

128 notes · View notes

mai-fanblog · 4 years

Text

Ducktales Season Finals: S1 vs S2

While we're still waiting for season three and Huey's arc; I thought about the two finals of the two seasons of "The Shadow War" and "Moonvasion"

I know they are different, however there is something that one is better than the other. And here I would like to mention the points.

(Clarification, I don't mean that the other ending is bad, if you like both ends and have a different opinion it's fine)

-----------------------------------------------------------------------------------------------------------

The first point is the plot of the episodes:

Obviously the plot of both endings has a different beginning, however, "The Shadow War" shows a marked consequence of the previous chapter to this, which generates an internal pain to the characters and the internal and external fight to save Scrooge from his greatest enemy and apart from its end (at that time) left a great mark that would be the strong start for the second season.

In "Moonvasion!" wanted to generate a bigger scale than the attack of the shadows, but there are certain things that didn't work out (I'll explain later), the familiar moments are quite bipolar in some moments and its end if I leave the highest expectation for everyone and another pretty good plot twist (and I mean Funzo's costume)

At this point I'll give one to each.

“The Shadow War!” 1 vs “Moonvasion!” 1

Second Point: Its Villain and impact on the plot:

Here the difference is more pronounced, it will sound like favoritism, but Magica played a better role of Season's Final Boss than Lunaris.

Magica has proven to be more cruel and manipulative than any villain, she has some comic touches and yet is charismatic and endearing in her own way. During the beginnings of the first season we knew that she had a plan in her hands and Lena was her accomplice in this, as the plot progressed, Magica showed her more evil side by psychologically torturing Lena threatening her with freedom and being seen as a traitor when Lena already had an affection for Webby. Her revelation that she was inside Scrooge's dime and that Lena was her shadow was very good and gave a fresh air to the character.

Another advantage she has is her direct relationship with Scrooge as a moral enemy (although this has not yet been revealed in detail, but will soon be) that makes the end of the first season masterful to all that it gives. The loss of her powers seems to me to be a good closure and a new beginning for her new goal (which has already been expressed in the episode "A Nightmare on Killmotor Hill")

To Lunaris...Personally I hate this guy (I think most of them, I don't know), his concept isn't bad, that is, the leader who has two faces and wants to conquer in order to be strong, but his execution is mediocre. And when he wanted to be the intimidating one, it didn't work because of the image gave us of moonlanders (easy to impress and soft beings, except for Penny), his plan to kill Scrooge's nephews is forced and has no solid base, since it doesn't have a direct relationship with him unlike the witch of the shadows. Besides his army is pathetic (sorry, but let's be honest), they don't intimidate anybody and that defeat of Scrooge's allies against them is so forced that it's didn't know how it happened and the redemption that moonlanders have at the end is ridiculous, in other words, the invasion would have been good, if moonlanders weren't soft.

At least the end of Lunaris makes me happy (getting stuck in the earth's orbit)

So at this point he gets "The Shadow War!" because Magica in her role is excellent and Lunaris is a bad villain and an asshole (in a bad way)

“The Shadow War!” 2 vs “Moonvasion!” 1

The third point is the participation of the characters:

In "The Shadow War" the main participants shine a lot in this episode, highlighting Donald, who was the star of the episode (along with his new voice which is sexy, we have to accept it), each character was used well, especially Lena.

In "Moonvasion" there were many characters in this episode, however, it wasn't handled as well as in the first season, especially with the secondary characters that some did contribute or that appeared for convenience. Only Della and Louie stand out in this episode.

I will give a point to each of you, because despite the mistake at the end of the second season, it still kept the main focus which was the family in general. But I'll give the first one a tenth for maintaining the balance.

“The Shadow War!” 3.5 vs “Moonvasion!” 2

The fourth and final point: the memorable moments

Some episodes tend to leave a mark to be remembered by the fans, in "The Shadow War!" it has several moments that are remarkable, especially the parts of Donald and his artificial voice, the first appearance of Magica, her fight with the children, the sacrifice of Lena and the appearance of Della in the end.

In "Moonvasion" there are also incredible moments, which I won't deny are good, the parts of Della, Mickey Melon (the best), the meeting of the cousins with the others (which left a plot hole), the family in a spaceship to stop Lunaris, Flintheart's plan and the final scene with F.O.W.L.

I'll give you each a point, because each one deserves it

“The Shadow War!” 4.5 vs “Moonvasion!” 3

Finally, "The Shadow War" is a little better than "Moonvasion", although the latter wanted to make it bigger and more epic, unfortunately it failed in only one thing: its main villain. Lunaris in concept is fine, what got him less points is that his execution makes him look like a guy with no self-love for a badly made excuse. Both season finals are good, however "The Shadow War!" had a well deserved closing in season one.

If you have a different opinion, you can comment (as long as it's with respect)

Another clarification, I liked both endings, but we must be honest and realize what were their virtues and cons in both endings

Thank you for reading :D

#ducktales #ducktales 2017

16 notes · View notes

papermoonloveslucy · 3 years

Text

ORSON WELLES RADIO ALMANAC

March 9, 1944

“Orson Welles Almanac” (1944) is a CBS Radio series directed and hosted by Orson Welles. Broadcast live in California and Arizona via CBS West Coast studios, the 30-minute program was heard Wednesdays at 9:30pm beginning January 26, 1944. Its last broadcast was July 19, 1944. Orson Welles Almanac presented readings from classic works, drama, music, sketch comedy, magic, mindreading, and personal commentary by Welles. Many of the shows originated from US Army camps where Welles entertained the troops. Welles had an ongoing battle with the program's sponsor, Mobil Oil, which shortened the life of the series. Twenty six broadcasts were produced; all but four shows have survived.

This is the seventh episode of the series, aired on March 9, 1944. Previous guests were Groucho Marx, Lionel Barrymore, Ann Sothern, Robert Benchley, Hedda Hopper, and Victor Moore. Lucille Ball would return to the series to guest star on May 3, 1944. Unfortunately, this is one of the four lost episodes.

CAST

Lucille Ball (Guest Star) was then filming Ziegfeld Follies for release in 1945. Her films Best Foot Forward and Thousands Cheer (both released in 1943) were then in local cinemas. Ball was in her fourth year of a rocky marriage to Desi Arnaz, who she would divorce in September 1944, although the papers were never officially filed. The week prior to this broadcast, Ball guest starred on Bing Crosby’s radio show “Music Hall”.

Orson Welles arrived in Hollywood in 1939 when Ball was a contract player at RKO Studios. To squelch rumors that he was a homosexual, the studio sent Lucy to escort him to a premiere to be photographed. He later recalled,

“We went to see the opening of some movie or other—I simply picked her up at her house and we went to the movie and got photographed and came home and I said ‘Good night,’ and that was the end of that. That was the end of that romance, but it was the beginning of a long friendship.”

A veteran of the theatre, in 1941 the actor / director completed his magnum opus film Citizen Kane. In the 1950s he was under contract to Desilu to film a pilot for an anthology series called “The Fountain of Youth,” which wasn’t aired until 1958 and did not result in a series. Despite that, it won a Peabody Award, the only pilot to ever do so.

On February 5, 1956 Lucy and Desi appeared with Welles on Ed Sullivan’s “Toast of the Town.” They were there to promote their film Forever Darling. Welles was there to promote his revival of his King Lear at New York’s City Center, which he initially performed in a wheelchair due to injuries to both ankles. By the time he performed it on “Toast of the Town” (aka “The Ed Sullivan Show”) Welles was using a crutch.

When the Oscar-winning actor and director was down on his luck he was invited to stay in the Arnaz guest cottage. Notorious for his drinking and rude behavior, Lucy had to find a way to politely get rid of her guest so she decided to have an episode of “I Love Lucy” written for him so she could pay him a salary. With that in mind, Desilu paid him the exorbitant sum of $15,000! Ball’s memories of Welles were mixed. “I had a real love-hate relationship with Orson,” she said towards the end of her life. “His mind was awesome…but he was also a pain in the ass.”

At the time of this broadcast (March 8, 1944) Welles’ film Jane Eyre was playing in cinemas.

Ella Mae Morse (Musical Guest) was signed by Jimmy Dorsey at the age of 14 (she lied about her age and said she was 19) and was subsequently fired after discovering the truth about her age. Her recording of "Cow Cow Boogie" was the first million-selling single for Capitol Records in 1942. Her biggest hit was "The Blacksmith Blues" released in February 1952. The song she sings here, “Shoo-Shoo Baby” (written by Phil Moore), would be heard in the about-to-be-released film South of Dixie in which she played Barbara Ann Morgan.

Agnes Moorehead (Prudence Pratt / Miss Grimace / Swoon Club Girl) was a member of Welles’ Mercury Theatre on stage and radio as well as starring in Welles’ films Citizen Kane and The Magnificent Ambersons. She is best remembered as Endora, Samantha’s mother-in-law on TV’s “Bewitched”.

Hans Conried (Colonel Peabristle / Hotel Operator / Frenchman / Dr. Snake Oil / Flat Top) first co-starred with Lucille Ball in The Big Street (1942). After being a recurring guest on her radio show “My Favorite Husband” (1948-51), he appeared on “I Love Lucy” as used furniture man Dan Jenkins in “Redecorating” (ILL S2;E8) and later that same season as Percy Livermore in “Lucy Hires an English Tutor” (ILL S2;E13) – both in 1952. The following year he began an association with Disney by voicing Captain Hook in Peter Pan. On “The Lucy Show” he played Professor Gitterman in “Lucy’s Barbershop Quartet” (TLS S1;E19) and in “Lucy Plays Cleopatra” (TLS S2;E1). He was probably best known as Uncle Tonoose on “Make Room for Daddy” starring Danny Thomas, which was filmed on the Desilu lot. He joined Thomas on a season 6 episode of “Here’s Lucy” in 1973.

The All-Star Jazz Group: Mutt Carey (trumpet), Kid Ory (trombone), Jimmy Noone (clarinet), Buster Wilson (piano), Bud Scott (guitar), Ed Garland (bass), and Zutty Singleton (drums).

John McIntire (Announcer)

EPISODE

Orson Welles introduces the episode, opening with a Household Hint by Prudence Pratt and a Wonders of Science fact by Colonel Peabristle. After the opening music and Mobil Oil sponsorship message, Welles summons his secretary Miss Grimace to tell him who is on the show tonight. She reports that it is Miss Lucille Ball, although she hasn’t arrived yet. Welles says she is filing her tax forms.

WELLES: “Can you imagine. The Government wants Lucille Ball to fill in HER form!”

Miss Grimace admits the three members of The Orson Welles Swoon Club. Welles interrogates them as to their whereabouts during his public appearances. He wants new members, promising them nylons.

Oops! Welles mis-reads the script, saying “nylon baby socks” instead of “nylon bobby sox”. He corrects himself with a laugh and says “For me, it’s booby socks!” Bobby soxer is a term for the wildly enthusiastic, teenage female fans of 1940s music, particularly Frank Sinatra.

Orson wants to know if they have gotten the new photographs he sent them. One of the Swoon Club compliments him on how he looks in his sarong - mistaking him for Dororthy Lamour in a Bob Hope / Bing Crosby picture.

Dorothy Lamour was nicknamed ‘The Sarong Girl’. In 1936 she donned her soon-to-be-famous sarong for her debut at Paramount, The Jungle Princess (1936), and continued to play similar parts through the war years and beyond. The most famous of these was in the popular Bob Hope / Bing Crosby "Road" pictures - a combination of adventure, music, and slapstick.

The Swoon Club feel sorry for Orson that he hasn’t won an Oscar, so they knit him a tie - which started out as a pair of socks.He dismisses the club.

When the 16th Academy Awards were distributed at Grauman's Chinese Theatre on Thursday, March 2, 1944, neither of Welles’ 1943 motion pictures were among the nominees: Jane Eyre and Journey Into Fear, which he also co-directed and co-wrote. Welles shared a 1942 Oscar with Herman Mankiewicz for writing Citizen Kane, a bone of contention between them, since Mankiewicz later claimed he wrote the entire script. The backstory is explored in the modern film Mank (2020).

Miss Grimace reports that the Hotel Carlton is suing him. After he did a magic show there, the two rabbits ran rampant and did damage! Orson calls the hotel operator (Hans Conried) and learns that the hotel is now called the Carlton Rabbit Farm and the manager’s eyes have turned pink! Welles asks Miss Grimace to send Lucille Ball roses. Miss Grimace says they are too expensive and he should send her something simpler, like phoenicia vulgaris. Welles says no because it sounds too dirty.

Here Welles ad libs, causing Agnes Moorehead to break character and laugh. He mentions Lewis Titterton, the NBC censor and says “If you had a name like Louis Titterton anything would sound dirty. Let’s get back to the script.” They try, but it takes a moment for their laughter to subside.

A Frenchman from a reducing salon (Hans Conried) approaches him for an estimate on a new body. He measures Welles’ body with a tape measure. He was once the girdle coordinator at Bullocks basement for 15 years.

FRENCHMAN: “If a size 44 tries to get into a 38, I help push!”

Announcer John McIntire does a live commercial for Mobilgas with some driving tips.

PART 2

Before a musical introduction, Dr. Snake Oil (Hans Conried) gives a tip about dislodging a fishbone caught in the throat.

The All-Star Jazz Group plays "Bésame Mucho" ("Kiss me a lot"), a song written in 1940 by Consuelo Velázquez. It is now considered one of the most popular songs of the 20th century and of all times. It is also the most recorded and covered song in Spanish of all time.

Welles welcomes Lucille Ball to the show to studio audience applause. Welles says he’s written a sketch full of romantic love scenes. Orson improvs a commercial for a sponsor Krunchies, a noisy breakfast cereal that gets soggy in milk. He introduces...

“THE CASE OF THE BLUE BLOOD STAIN”

Orson plays Mickey, a detective on his night off, reading the evening paper. Lucy plays his adoring wife, Dora.

DORA: “Mickey, where were you last night?” MICKEY: “Don’t be silly, you know how I feel about you. You’re the eighth wonder of the world.” DORA: “Yeah, well, just don’t let me catch you with the other seven, bub!”

Lounging in bed, Dora feels a cold hand which doesn’t belong to Mickey. She screams! There’s a dead man in their bed.

MICKEY: “You know how difficult it is to find a room these days.”

Detective Mickey notes that the dead man has 18 knife wounds in him and no holes in his shirt.

DORA: “Must have been an inside job.”

They push the body off the bed and decide to turn out the lights and go to sleep. In the darkness, they hear a squeaky door.

WELLES (aside): “Fine thing, a squeaky door in an oil program!”

The audience loudly applauds this ad-lib by Welles, and even Lucy chuckles.

Dora insists there’s someone in the closet. A body falls out of the closet and onto the floor with a loud thud. Someone throws a rock through their bedroom window with a note on it.

Except the sound effect of broken glass does not happen. Welles laughs a bit but forges ahead.

MICKEY (reading the note): “Keep your mouth shut and throw a thousand dollars out of the window or you’ll never get another sounds effect...no, excuse me... or they’ll be four bodies in your room.”

Another rock comes through the window - with a sound effect this time!

MICKEY (reading the note): "PS: I’ll settle for $950.”

A knock at the front door.

MICKEY: “That must be the murderer. Come in! I’ll take that line again: That must be the murderer. Come in!”

The man, Flat Top (Hans Conried), pulls a gun on them and threatens to shoot.

DORA: “Where’s your patriotism? You can’t shoot him. Don’t you know the government is trying to save waste fats?”

During World War II, the US government urged Americans to save excess fat rendered from cooking and donate it to the army to produce explosives. Fats are used to make glycerin, and glycerin is used to make things blow up.

As gunfire rings out, Welles does a Krunchies commercial, extolling their virtues with strawberries and cream.

WELLES: “You can have strawberries and cream. What do you need Krunchies for?”

Mickey is bleeding. During the commercial, Mickey has hit Flat Top on the head and called the police!

John McIntire does a commercial for Mobil Oil. He urges motorists to keep their car oil clean to avoid repairs.

PART THREE

Welles introduces Ella Mae Morse, who sings “Shoo-Shoo Baby” backed by the All-Star Jazz Group.

The song was also heard in the 1944 film Follow The Boys aka Three Cheers for the Boys sung by the Andrews Sisters.

Welles then takes a serious tone, dedicating the show to the premise that ‘every man belongs to all men.’ He reads from “Meditation 17″ by John Donne (1572-1631).

Nunc Lento Sonitu Dicunt, Morieris. Now this bell, tolling softly for another, says to me, Thou must die.

All mankind is of one author, and is one volume; when one man dies, one chapter is not torn out of the book, but translated into a better language; and every chapter must be so translated; God employs several translators; some pieces are translated by age, some by sickness, some by war, some by justice; but God's hand is in every translation, and his hand shall bind up all our scattered leaves again for that library where every book shall lie open to one another. And therefore the bell that rings to a sermon calls not upon the preacher only, but upon the congregation to come, so this bell calls us all; Who bends not his ear to any bell which upon any occasion rings? But who can remove it from that bell which is passing a piece of himself out of this world?

No man is an island, entire of itself; every man is a piece of the continent, a part of the main. If a clod be washed away by the sea, Europe is the less, as well as if a promontory were, as well as if a manor of thy friend's or of thine own were: any man's death diminishes me, because I am involved in mankind, and therefore never send to know for whom the bell tolls; it tolls for thee.

Welles bids the audience goodnight.

#Orson Welles #Lucille Ball #1944 #Hans Conried #John Donne #Ella Mae Morse #Agnes Moorehead #Besame Mucho #Shoo-Shoo Baby #John McIntire #CBS Radio #Dorothy Lamour #Mobil Oil

0 notes

fleurdelisgigi · 7 years

Text

Wine fueled rant about Shameless that spiraled out of control

Ok so it has been a long while since I’ve made a Gallavich post, I’m still salty and I don’t plan on watching this new season, though as it grows near I am looking forward to reading @koganphrancis ’s scathing episode reviews that gave me life through Season 7.

So here is the thing that really bothers me and I think it is one of the main reasons the writers think they can get away with their bull shit and it comes from the seasonal promotional posters. For the past, Imma say, 3 or 4 seasons the main posters for them only include 3 characters (the ones shown on everything), the three characters that the shows creators some how think are the most popular. Lip, Fiona and Frank.

Lip.

Fiona.

Frank.

And where they are fucking wrong is that these aren’t actually the most interesting characters in this fucking show.

Lip is an arrogant asshole, Fiona… to be honest I don’t even know who she is anymore but all of her plots are “I’m going to take care of myself for a change” and revolve around which ever hot dick shes fucking, then there’s Frank who hasn’t had an interesting or relevant plot since Season 4 (where I would argue they should have fucking KILLED him, but he’s William H. Macy…so, you know, they cant?)

* Also random side note, if they and him were locked into some kind of 7 season contract I would have fucking saved the whole LIVER FAILER plot for the seventh season! For real cuz if anyone knows anything about hospital politics a LIFE LONG ALCOHOLIC would not have gotten a new liver. Period. I mean just watch some House episodes and you can see how the whole fucking board of directors have to come together and debate about the god damn donor list, if a person shows signs of heavy alcohol/ drug abuse or suicidal tendencies they are not given a top spot. ALSO WHERE THE FUCK DID THE HOSPITAL BILLS GO????

SO anyways, I’ve been reading stuff, sleuthing in the fandom like a phantom and I have some opinions.

Firstly about how Mickey and Ian’s break up and how its totally and completely fucking out of left field. I think that the negotiations, like last year, were going on during filming/around the time editing and filming was being wrapped up. I’m not sure what went down but that scene is so disjointed and the aftermath and the Sammi thing, I think that was all thrown together last minute as a way to write Mickey/Noel off (in a terrible, poorly written, petty way).

In some previous interview, JW stated that Gallavich was endgame and that he thought they were going to be the sort of “Stable” couple on the show.

I think the original intention was going to be that Sammi was dead. Boom.

*That would have probably been either a main plot point in season 6 or it would have been sort of fleetingly mentioned as a thing then it would have gone away.

I think that Ian was supposed to come back from his field trip to insanity with Monica and have a sort of heart to heart with Mickey

*Ian shows up at Milkovich house

M: Where the hell you been?

I: with Monica…

M:…You ok?

I: ‘Nods with teary eye’

Gallavich hugs

then they would just have one of their nonverbal moments with the tone of “We’ll figure this shit out together” and that would have been that. Episode ends.

And then the train wreck that is 6, 7 and most likely 8 was spawned with Noel being gone. Cuz here is the THING. Fiona ISNT INTERESTING, her plots ARNT INTERESTING. In the UK version Fiona left with Jimmy/Steve Season 1 (not that I am saying the US version should stay true or that the UK version is better, to be honest I don’t really enjoy the UK version). I don’t think she should have but I feel like if you are going to keep this character you should at least have a FUCKING PLAN of where you want her to FUCKING end up. Cuz season 1 Fiona, she was fucking great, I liked her, she was on my list of people I liked. I stilled liked her in Season 2, then Season 3 she started to annoy me, then FUCK season 4 Fiona and now she is just…..terrible. Season 5 Fiona I could tell they were really loosing touch with who she was.

*Another side note tid bit – her opening scene in Season 5 told me all I needed to know, her plot was going to revolve around some new fucking dick. We get this random ass scene with some guy we don’t know as a way of introducing him and letting us know that Fiona’s plot this season was going to be her desire to date this guy. Then her plot was literally, Ooooo this foreign lead singer is hot, My boss is hot, The lead singer is an asshole but his friend and base player is hot, my boss thinks I’m a Chaos junky, let me marry this base player I don’t know etc. etc. etc. There is no growth of character, there is no resolution, its just….. bullshit, its BULLSHIT

Then there is Lip who they fucking lost touch with…. Man I don’t even know because I never really liked Lip, he’s an arrogant piece of shit and to me has never redeemed himself AT ALL. To be honest I rather enjoyed watching him spiral out of control but that’s not my point. My point is that Lip has the same character/ plot issues as FUCKING FIONA its just reversed. Lip’s plots revolve around what ever new fresh PUSSY he’s fucking. And it took me a little while to figure that out, figure out that that’s why he isn’t interesting, not just because I don’t like him, not just because he’s an entitled arrogant douche, but because he has no PERSONAL GROWTH PLOT ITS ALL ABOUT THE GIRL HES FUCKING.

I could argue that with Fiona maybe it was hard to find a plot for her, what is she doing if not caring for the kids or fucking some new guy? Do I agree with that notion? No, but I can see it. With Lip, though? No, I don’t fucking buy it, he could have just had a “Stuggling in college” plot…there was just, no need to make it about some girl, Now I… don’t hate Amanda but for real? S1 Lip -Karen, S2 Lip – Karen and Him being an idiot/Pregnancy, S3 Lip – Mandy, S4 Lip – Amanda, S5 Lip- Amanda/Helen, S6 Lip- Helen, S7 Lip- Sierra. Now I am not saying that there shouldn’t be any romance, I’m not advocating that Lip and Fiona should always be single. What I am saying is that Amanda and Helen and Sierra are totally unnecessary. Lip’s spiraling out of control plot could have just been him realizing he isn’t as much of a genius that he fucking thought he was, hes fucking failing in college BOOM that is an interesting fucking plot, the girls don’t think hes the shit anymore BOOM that is some build up to a persons fucking identity crisis. It just never made any SCENSE to me that Amanda would just suddenly be like… fuck my boyfriend I like his roommate cuz he has a little brother he takes care of. It just came out of left field for me and I didn’t get it. I really just…. didn’t get it, still don’t even with the weird plot with her wanting to piss off her dad, I NEVER GOT IT. Season 4 could have been the beginning of the end- it could have been him feeling lost, failing classes- no friends- no girls- shitty roommate, the struggle, then instead of him using Liam like a Chick Magnate they could have showed how FUCKING difficult it is to try and go to school and having a FUCKING child with you (a struggle that many women and men actually fucking face while trying to get a degree with out being able to afford child care). The whole Helen thing, ok maybe, that could have stayed as the catalyst that drives Lip to his rock bottom but…. Sierra? No, she just….. GOD, Season fucking 7 could have been about him attempting to GET SOBER WITH OUT ANY PUSSY.

Any-fucking-way, lets move on to Frank. Oh Franky-Franky-Frank. S1-4 Frank had something he did, and when they gave him Liver failure that should have been the end but no, they got him a liver and now his plots are just… comical stupidity? Season 5 Frank is… just making beer? Then meets Bianca who dies, Then Season 6 Frank is just a fucking asshole and that Queenie chick shows up, Season 7 Frank is…. making a new family of homeless people? Then Monica shows up? Its just random shit. I will be totally honest here, I stopped paying much attention to Franks shit Season 5, it was just so damn BORING. HE IS BORING. HIS PLOTS ARE ALWAYS BORING EVEN FROM THE BEGINGING. He is just this looming piece of shit in their lives and that’s all well and good, he sort of keeps them together in a way and I’m fine with his shitty boring plots because they were the sort of “comic relief to the show” and I’m not saying they need to kill him off or make him have better plots, whatever, my point is HE IS NOT INTERESTING, he should not be a MAIN that the show revolves around. As the random drunk father who comes in and out and is comic relief he is great but he is not the most interesting character in the show and he should not be who they focus all of their plot attention to.

So, with this in mind though. The writers act and think that these three are the show, the MAINS of the show and they for some reason think that LIP, FIONA, and FRANK are the reason people watch. So they put their energy into thinking of SHITTY plots for those three and then the other characters got tossed to the side and their plots are some how EVEN worse. Carl for example finally got a decent plot I guess with the whole military school thing (but he seems to be around for season 8 and this Meth bullshit sooooooooo, I guess he’s not doing that anymore????? I really only watched S7 for Mickey’s return and payed little to no attention to ANYONE else besides Ian, and I’ve not been all over the new promos and stuff, haven’t even watched the trailers or anything) but I hated his whole….drug lord thing is S6 HATED IT, I was SO PISSED WHEN THEY SENT HIM TO JUVIE OH MY GOHD.

Anyways, Debbie’s fucking baby plot…. I could see it, ok. I could. She has been one of those girls who wants to be older and that had been building for a while, the whole dad’s family wanting to take the baby thing I could have really lived without, though. But I’m….. not…… mad……….I………guess. I’m not happy with it…..but……I could see how it went that direction. Not a fan of so much of her plot though, it went really weird in S5. The whole Matty thing was just…… I hated that they decided to make Debbie into like…. what they did season 4. It really fucked her up and the direction they took her while believable I really wish they went a different route. Also I wish they hadn’t made her a fucking RAPIST. That would have been great.

Then poor fucking LIAM who they obviously have NO FUCKING CLUE what to do with. I mean…..he never fucking talks. Hes supposed to be like 7 now and he just says random cliché tocken black shit????? I just can’t even. Coming from a Biracial girl who grew up with her white mom mostly….um no. I’m not sure what I would have done with him, but I would hope the writers would put some kind of fucking effort into his character and plot, give him a quirk besides that fact that hes BLACK. Cuz that was his quirk when he was a baby, now he needs a fucking PERSONALITY. Like in the beginning when Carl and Debbie were young. Debbie was the sweet on and Carl was the kind of a sociopath weirdo. GIVE LIAM A PERSONALITY QUIRK THAT AS HE AGES YOU CAN GROW FROM. Like make him super good in school, or like the new Debbie in that he is really sweet ( I could really see that being a good direction to go in, in that, there are no 'sweet’ Gallagers anymore) and comforting. I don’t fucking know just give him something to fucking BE. I swear S1 Carl had no plot besides him being kind of weird and violet but they WORKED with it and made him one of my FAVS, fucking loved Carl’s development.

The Balls and the Thrupple was some bull shit. I’m not even going to break that down.

Now we move on to sweet sweet Ian and I have ranted about him before so I’ll try to keep this bit short and sweet. THERE IS SO MUCH FUCKING POTENTIAL WITH IAN. I SWEAR TO FUCKING GOD. But because they didn’t know how to write him with out Mickey anymore and how to write him dealing with his FUCKING BIPOLAR they decided to let him fall into the same fucking pit that Lip and Fiona are in where his fucking plot revolves around SOME NEW DICK. You see in S4 the fucking point of view shifted from Ian to Mickey and they had a fucking ROUGH time figuring out how to shift it the fuck back. Now Ian’s plots haven’t been all about him either, in Season 1 it was about him being gay and Kash and Mickey but, just like the rest of them, he actually had a personality that we were being introduced to, then S2 we didn’t see Mickey much but we knew they were together and we got more of just Ian and we got to know him more, same in S3 (this doesn’t just go for Ian btw, in S1-S3 we got a lot more growth and understanding of the characters beyond the dick/pussy they were fucking, there was just a lot more good meaty shit going on plot wise) Anyways, Ian got reduced to the “token gay” and just….. it just fucking sucked man. Everything sucked. I mean fuck, I can’t even explain how much I hate the jail scene. Or the fucking SHIFT OF GAY FIREFIGHTERS. UM FUCKING SERIOUSLY?????

*fucking side note tid bit! Fucking NO ok that isn’t a thing that exists in reality ok. I can totally buy the Gay baseball game thing, I can see that being a thing that happens (though making Tony gay….I really didn’t think that was super funny???? I don’t know, I can see him discovering that he was gay mainly because he had been a virgin for so long buuuuut his whole “Your sister made me gay” thing? I just wasn’t amused), you know, the gay firefighters and gay cops doing a thing like that, just like I can imagine female firefighters and female cops doing something like that. But the shift? WHO thought that was funny?WHO I WANT TO KNOW WHO

I think they had a whole plot lined up for Ian and Mickey. I think S6 was going to be them working on getting Ian medicated and on the right path and dealing with that.

THEY HAVE SO MUCH POTENTIAL WITH THESE CHARACTERS but they are ignoring it in favor of OTHERS. They make Fiona and Frank’s boring ass plots the main fucking focus along with Lip and there is so much potential in EVERYONE ELSE but they just…. don’t do anything good with them.

I’m drinking wine and this has gotten out of control, I don’t even know what the main point to this is supposed to be besides I think the writers focus too much on 3 boring characters and thus make ridiculous shitty plots for everyone else and they have totally lost touch with what the show is supposed to be about! It used to be about a family living SHAMELESSLY they were proud of their heritage and their life. They loved who they were! Fiona was a shameless hood girl taking care of the family and trying to keep them all afloat, Lip was the genius who would rather stay where he was then be the “golden goose”, Ian was the responsible middle child who wanted to go into the army- in love with the neighborhood thug and loved his life, Debbie was sweet and the shining beacon of goodness and innocence in their life, Carl was the wild one with sociopathic tendencies, Liam was the baby (haha), Frank was the shitty alcoholic father and Monica was the bipolar mother who abandoned them. But there was still family here, here was connection and strength and love. Loyalty and Shamelessness. SHAMELESSNESS. That was the fucking point.

Now whats the point? SHAME? They're all trying to become some kind of middle class bullshit? I just……. I don’t know what this show is anymore and it makes me sad.

#shameless us #shameless #ive had a lot of wine #this got out of control #demon show #i have no idea what i'm saying #this is super all over the place #gallavich #was there a point to this post?#maybe i don't fucking know #i just have opinions and feelings #mickey deserved better #i miss noel #i miss how good this show used to be

22 notes · View notes

cheekybluefox · 7 years

Text

160 Prompt List

1. Why are we at a strip club? 2. I’m sorry, you said what to your teacher? 3. Am I dead? 4. Its always been you. You and always you. 5. Stay with me. 6. How about we put the gun down, and we talk about this? 7. I came here to kick ass and chew gum, and I’m all out of gum.. 8. Whatever it is, I didn’t do it. 9. Am I supposed to be impressed? 10. Don’t tempt me. 11. Is that mine? 12. I can’t do this anymore. 13. Go to hell. - Already been there, but thanks for the invite. 14. Look at me. 15. Where did you get that? 16. Here, take my hand. Everything is going to be fine. Just hold onto me and keep moving. 17. You don’t need to protect me. 18. I had a nightmare about you, and I just needed to make sure you were okay. 19. I told you not to fall in love with me. 20. You know it’s okay to cry, right? 21. I just want to be left alone right now. 22. Those things you said last night, did you mean it? 23. Promise me you come back, just..I need you to promise me. 24. I could tell it was your favorite book by all the notes in the margin. 25. Where do you think you’re going? 26. Despite what you may think, I can look after myself. 27. Just please, be my best friend right now and not the person they I confessed my love to. 28. Well, if you insist. 29. I can’t believe you don’t like Disney films. 30. You’re lucky you’re so cute. 31. Sometimes I really dislike you. 32. Hold my hand, we need to make this look convincing. 33. I’m like 20% sure this plan will work There’s like an 80% chance that it could end in violence and Gore, but this plan is solid, I swear. 34. If I die, I’m coming back to haunt you. 35. If you don’t want to talk about it then just say so; but do not say you are fine, when you so obviously are not. 36. I made cupcakes because I know you like them. 37. My parents asked me about you again. 38. Wait, this is your handwriting? This chicken scratch? 39. I didn’t know you could play. 40. Things don’t always turn out the way you want them to. 41. You two sure you aren’t married? 42. You can’t sit on the sidelines all your life. 43. You deserve so much better. So much more. 44. You haven’t each touched your food, what's going on baby girl? 45. Stay the night. Please. 46. Please pretend to be my boyfriend/girlfriend. I’ll owe you big time. 47. Its midnight. What do you want? 48. You’re strangely comfortable. 49. Don’t fuck with mama bear. 50. I just need you here. 51. How long have you been standing there? 52. Is that what you call an apology? 53.I’ve loved you since I laid my eyes on you. The very moment, I first saw you, and I…oh, fuck it! 54. Just hold me. 55. Can I hold your hand? 56. I just don’t know how to look forward anymore. 57. She’s still alive, she has to be. 58. Get that pretty little butt over here. 59. Is there a special reason as to why you’re wearing my shirt? 60. You’re cute when you’re angry. 61. I didn’t realise I needed your permission. 62. I’m not jealous. 63. Forever is a long time. 64. This is seriously sketchy. 65. I lost the baby. 66. Rude! 67. Let’s blow this joint. 68. Oh, bite me. 69. I haven’t slept in four days. 70. Stop being such a baby. 71. Hey, calm down, its okay. They cant hurt you anymore. 72. I’m too sober for this shit. 73. You can’t banish me! It's my bed too! 74. Good thing I didn’t ask your opinion. 75. Its six in the morning, you’re not drinking vodka. 76. You work for me. You’re my slave. 77. The kids! They ambushed me! 78. You may have to buy my silence. 79. There’s a herd of them. 80. You smell like wet dog. 81. Just smile, for me. Please? I really need to see your smile right now. 82. Just show me what’s behind your back. 83. Take one more step in that direction, and I’ll murder you. 84. I’m proud of you. I’m proud of us. 85. Everyone deserves a second chance. 86. Please don’t cry, I can’t stand to see you cry. 87. You can’t keep pretending that it didn’t happen, cause guess what? It did! 88. I think I’m falling in love with you and it scares the shit out of me. 89. Its cold, take my coat. 90. I’m such a fool for not seeing this earlier. 91. I’m not blind, I’ve seen the way you look at her. 92. Never let them die, they’re the soap opera of my life. 93. Could you just, IDK, stop murdering people for shits and giggles? - Did you just say IDK in a verbal conversation? 94. Sleep in your car if you don’t want the sofa. 95. We bet on it. You lost. Now you have to do it. 96. Let’s get wasted, and go piss on his grave. 97. This is all your fault. - I hope so. 98. Did you just agree with me? No, you said it now, no take backs. 99. Stop doing that thing with your face, its making want to vomit. 100. You’re a psychopath. - I prefer creative. 101. You look… - Beautiful, gorgeous, like a Goddess walking upon the earth. Yes, I know. Now let’s move on. 102. I know, all you want is to go home but you know what? I want to go to Mars. Know what though? It’s never going to happen. Accept it. 103. Nope, can’t go to hell. Satan has a restraining order against me. 104. Get over it. Pussy. 105. It’s three in morning. - yes. Why are you here? - I live here. No, on the floor. With me. 106. I don’t hate you, but if you were on fire and I had water I’d drink it and piss on the ground. 107. You’re judging me. - Yea, its a hobby of mine. 108. FBI! OPEN THE DOOR! -But its so much more fun when you break it down. 109. I’d rather be pecked to death by a flock of woodpeckers. 110. How drunk are you on a scale of one to ten? - Yes. 111. Are you stalking me? - Not in a creepy way. 112. Focus on me. 113. Please don’t waste your tears on him. 114. Ice cream is a good start. 115. Did you just slap me? 116. All is fair in love and war, darling. 117. My vote is on the lemon cakes. 118. Get your dirty ass boots off my nice, clean sheets. 119. I like night time. It's quiet. I can think. 120. Look, there goes my last fuck to give. 121. Why are you walking around naked? 122. Stare at the stars all you want, but you won't find the answer to your problems up there. The real world is down here. 123. I underestimated you. - Classic mistake. 124. How did you manage to get frosting on the lampshade? 125. What’s the worst that could happen? - Famous last words. 126. You want it? Beg. 127. Yes, I heard you. I just don’t care. 128. Eat a bag of dicks. Dick. 129. You’re special to me. 130. If we get caught I’m blaming you. 131. Do not try me right now. 132. You give the best hugs. 133. I swear you love your hair more then me sometimes. 134. Tell me a secret. 135. Shut up or I’ll choke you. - I could be into that. 136. Let’s start with the real questions, tits or ass? 137. You make me nervous. 138. Don’t give me that look. 139. Maybe I did? So what! I don’t have to run everything by you! 140. Tell anyone and I’ll kill you, chop up your body and sell the parts. 141. That’s not your name. 142. Oh, well done. What do you want? A gold star? 143. You like sunflowers right? 144. You game? 145. Just get in the fucking blanket fort. 146. Sorry isn’t gunna help you when I’m kicking your ass. 147. Were you born a dick? Or do you go put of your way to be one? 148. Break her heart and I’ll break your face. 149. Well that was unsettling. 150. Only I can touch you. 151. Don’t tell me to shut up. You shut up. 152. Your mother/father would be so proud. 153. You stole his wallet? - I prefer borrowing without permission. 154. You going to kiss me or what? 155. Die quietly will you? 156. You’re my one. 157. You want it? Come and get it. 158. Why are you wearing Mickey mouse ears? 159. Lock the door next time. 160. Have kids, they said. It’ll be fun, they said.

Hi guys! So I love writing. So I thought I’d try this. I’ll be posting things I’ve thought of myself but I would also love to write things for you guys too. These are the fandom’s I’m happy to write for : - Harry Potter - Game of Thrones - X men - Avengers - Criminal minds - Guardians of the galaxy - Star wars - The hobbit - Lord of the rings. - Once upon a time (s1 - s3A) - Teen Wolf (s1 & s2) - Walking dead ( I watched s1 - s3, then s6 & s7) - Naruto

62 notes · View notes