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ghosthan · 3 years

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what would you say are the differences between 616 Tony and MCU Tony? 🤔

Hi anon! Many people have talked about this and I'm certainly not the authority on the topic, but I’ll try my best to explain some of the major differences that I have noticed! Thank you for asking and I’m sorry it took me so long to answer you.

Important to note: neither version of Tony has had a totally consistent characterization. Depending on who you ask and which comics/movies they've consumed, they might give you a different answer here and not be wrong.

616 Tony is even harder to put into one box because his character has been around since Tales of Suspense in the 1950s. That’s a long time. Things have changed over time, under different writers, changing political atmospheres, and outside pop culture influence (including influence from the MCU, unfortunately, in recent years.) You get the picture. So I’ll be making some generalizations and try to be clear about which eras I’m speaking when I make these comparisons, but ultimately, if someone wanted to be contrarian, you could probably refute a lot of what I say here if you cherry pick canon. Which is fair enough! That’s sort of the fun of comics, there’s so much to choose from and something for everyone.

So here are some observations from me, under the ‘read more’.

1. Physical Appearance

This is sort of an easy one, but worth mentioning!

MCU Tony does not look like 616 Tony. RDJ is great, but he would not be most 616 fans’ casting choice on looks alone. MCU Tony is tan, a Malibu man, with brown hair and brown eyes, and RDJ has sort of round facial features (a funny sloped nose, big, round eyes, round forehead, not a particularly sharp or classically “superhero masculine” face.) As you may know, this lends well to certain fanworks and tropes, such as Tony having Bambi eyes.

Or Tiny Tony. He is not actually canonically small, but he's smaller in the MCU than in 616 and from what I can tell, a portion of fandom has latched onto that. He’s a grown man, but RDJ is pretty short, and of slighter build than 616 Tony. RDJ is 5′9, but they make him act in heels, and I believe his canon MCU height is 5′11. Another popular trope I’ve seen is shrinking Tony in fanfic/fanart for a dramatized height difference with Steve, making him weak or fragile; this is fine because everyone has their own taste, but for the official record, he’s a capable, strong guy! Especially in earlier stages of the MCU, in which he’s a bit younger. Tony isn’t just a brain; he carries out his plans with his own two hands! He builds his armor, he remodels his lab, he survives hand to hand combat when he doesn’t have the armor. Muscles!

616 Tony is 6′1 without armor and 6′6 in armor (making him taller than his 616 Steve counterpart in armor and very close to the same height out of armor!) 616 Tony is generally paler with black hair (sometimes the classic blue-black I love so much) and blue eyes, and it obviously depends on the artist, but he has a pretty typically ‘masculine’ face and build. Generally he is drawn with a squared jaw and a high bridged nose (such as in the Extremis storyline, or drawn by Marquez), but again, this varies from artist to artist! Here's some examples of 616 Tonys.

Wait, you might be saying, but I have seen comic panels where Tony has brown hair/brown eyes!

Yep. Due to a combination of forgetfulness, inconsistency, and the MCU bleeding into the general consciousness of the comics, sometimes Tony is randomly depicted in the image of RDJ, or if not in his image, at least visually inspired by the MCU-- hair color and style, eye color, dialogue, etc.

616 fans don’t typically love this; he’s very handsome when drawn this way, of course, (look at him!) But it isn’t really the same character.

Also, MCU Tony has (at least for some of his movies) a reactor built into his chest. While 616 Tony has, at times, been more or less physically connected/dependent to his tech, he doesn’t have the built in reactor (most generally speaking, there are times in comics when he temporarily has the tech built in, but this isn’t really the status quo.)

2. Relationship with parents/ family history

While it is definitely implied in the MCU that Howard was not a good father to Tony, (such as in Iron Man 2 when Tony says “You're talking about a man whose happiest day of his life was shipping me off to boarding school” and “He was cold, calculating, never told me he loved me, never even told me he liked me”), Tony has a different sort of attitude toward Howard in MCU than in 616. It’s kind of weird, and hard to discuss. To me, it seems implied that MCU Howard was emotionally abusive to Tony based on what Tony does say about his childhood, and yet, the films kind of randomly give Howard weird moments of “Well, he tried his best and deep down he loved me the whole time!” forgiveness. MCU has a Howard kink and I'm very cringe-face emoji about it.

For example, Iron Man 2 shows that old film reel of Howard talking about how Tony is the greatest thing he ever created, and in Endgame, when Tony goes back in time, he meets Howard and has a very weird interaction with him in which Howard declares he would do anything for his son, (to his deeply damaged son who is a new father himself.) Yet, for all his talk, it's his actions that speak, and his actions left Tony damaged, traumatized, and emotionally inept at forming healthy relationships. So.

Sorry. I’m a little bitter. I'm just uncomfortable with how they sort of set up an abuse history but then treated it kind of lightly and Howard gets off the hook as "well, he tried his best" without really acknowledging the hurt he caused.

Avengers: Endgame 2019

I won't go super in depth into the abuse stuff because it's a little touchy and could take up a lot of this post. But.

I’m not against any reconciliation and I do appreciate the fact that a lot of times, victims of abuse feel a desire to forgive and reconnect with their abuser-- my issue with the MCU depiction of Tony and Howard is that Tony never really gets the vindication of his abuse being recognized for what it was before he forgives Howard. To me, that’s not forgiveness as kind of... gaslighting himself that it wasn't as bad as he remembered his own experience being, because of a sense of nostalgia and grief. It’s not the same, and I have issues with it.

However, a lot of my opinion is based on subtext and it is just my opinion; with depictions of abuse, different people are going to react differently, and other people may have found these scenes touching and gotten something positive out of them, and that's totally fine too!

It’s also a bit difficult to talk about Tony’s relationship with Howard in 616, for a few reasons: shifting timelines, lots of canon that I have not read all of, and the fact that it really is difficult to sum up such a complicated relationship.

Right off the bat, I’ll address the basics. I used the same scene in another ask, and I think it's frequently cited in any meta regarding Howard, but in Iron Man Vol. 1, we see more into Tony’s childhood and see Howard verbally abusing his family, drunk, at the dinner table.

Iron Man Vol. 1 #285

We get this scene with adult Tony’s retrospective commentary on how his own issues that he blamed himself for were actually a cycle starting with his father, the insecurity and abuse and alcohol, and that he realizes how much this has influenced him. Both MCU Tony and 616 Tony have some form of “stop the cycle of shame” arcs, but I don’t really see how this works narratively in the MCU because Tony makes excuses for Howard and continues to blame himself for a lot of his own personal struggles, whereas I think there’s just a bit more nuance in 616.

But uh. This isn’t totally true, and in recent years, things got real weird. I choose to ignore this chapter of canon, but in the Dan Slott run, Tony Stark: Iron Man, Tony’s whole backstory gets imploded. For one thing, the little of Tony’s childhood it shows in a flashback is uh. Uh. Well, it’s certainly out of character compared with previous 616 material, depicting Tony as an overly confident poor sport.

Basically, Tony is adopted. Tony has an evil brother. Tony’s biological parents make an appearance, as do his ‘classic’ parents, Howard and Maria. It’s just weird. It’s kind of out there. I’m honestly not a huge fan of this and ignore a lot of it, but it is certainly a difference between MCU and 616.

3. Personality

I’m going to be very general. Both Tony’s have an outer self which they present to the public and an inner self, but they’re a bit different. Both Tony’s have struggled with self loathing, but I think MCU Tony’s actual self worth is a bit higher, even just at some points in time. Even if his ego is part of his facade, I think he does believe some amount of the “I’m awesome”, even if just when it applies to his own work/inventions/saving people. Not to say that these moments of fluctuating self esteem make him egotistical, but this combined with his egotistical act and snarky, non-stop sassy dialogue, he’s quite different in general personality from 616 Tony, who is much more reserved.

Some more recent iterations of 616 Tony have been adapted to reflect the snark of the MCU, but he’s not so snarky and he tends to approach things more seriously. This is not a dis on MCU Tony; I think MCU Tony uses false ego and excessive sassy jokes as a means to deflect and control, which I think is very interesting and it’s nice to see this explored more in depth in fic where you get to see the thought process behind the bravado. MCU Tony is a partier, a good times guy, especially during Iron Man 2, in which he really does disregard consequences to have fun (driving his race car, partying drunk in his suit, letting pretty girls play with the armor, shooting off repulsor blasts for fun in a crowded room); I’m not bashing MCU Tony-- I think he had psychologically understandable reasons for behaving this way, the man was dying-- but 616 Tony really doesn’t act this way generally, and I think it’s a personality difference more than a difference of one being “better.”

616 Tony handles his stress differently, and they just have different psychological patterns, I think. I’m coming up kind of blank trying to think of a good comparable 616 arc, (sorry, I’m brain dead) but a less-than-perfect example might be Tony’s brain delete arc; he’s “dying”, like in Iron Man 2 he knows his expiration date, (circumstances are quite a bit different), but he throws himself more into work, into a cause, and as he really fall apart, we see him spiral into self doubt, remorse, fear, and insecurity, sort of falling into himself with lots of manly tears and calling himself pathetic.

(Some things happen in this arc that a lot of people find Gross. I also find these events gross. But. I don’t count the sex in “World’s Most Wanted” as partying to cope with personal mortality, because I think both character involved are in “end of the world” mode, and it’s more seeking intimacy for comfort than partying to numb the hurt. Does this distinction make sense? No? Perfect, moving on.) 616 Tony is generally much more humble.

Whereas MCU Tony, I think, tries to outrun those feelings via parties or making dozens of new suits, or seeking comfort by comforting others! Gifting things to people, building things for people, highly personalized individual living quarters, teaching Nebula games and trying to show her a fun time when they were in peril together.

They have some traits in common, for sure! But canon being inconsistent both in the MCU and in 616, my observations aren’t the rule, because I’m kind of cherry picking and going based on limited memory. But off the top of my head, they’re both extravagant gift givers! Recall Tony gifting Pepper the giant bunny in Iron Man 3, and compare this with Tony carrying a mile high pile of Christmas gifts after shopping with Rumiko in Iron Man Vol. #3.

I would say that while both Tony Starks are considered humanitarians, this is much more fleshed out and supported by canon in 616. Some examples of his philanthropy in the MCU: Tony makes charitable donations of art and money, Tony has an organization which provides disaster relief/cleanup which is referenced in Spider-Man Homecoming, Tony has an MIT grant for students and staff members. But to be honest, a lot of his MCU philanthropy is only mentioned in passing, or is largely handled by other people on his behalf and on his dollar.

In 616, we see Tony using charity almost as a means of therapy: it’s something he does very privately, not in the public eye (at least, not always), and it’s something deeply personal to him. One example that immediately comes to mind is Tony’s home for disadvantaged girls in Iron Man Vol. 3, and we see scenes of Tony basically driving the streets at night, picking up underage prostitutes, feeding them and listening to their stories before bringing them to a home he’s established where he knows all the residents, and provides educational opportunities and protection.

Another more recent example in canon that the Tony fandom loves is that Tony canonically holds babies at an orphanage. Sorry I don’t have panels for all of this, this section got long and I have been working on answering this ask in a very scattered way for a very long time.

Both Tony’s are romantics, I literally could write a whole other post about their canon love life similarities and differences, but I will briefly say that while MCU Tony does the long on and off, and eventual ultimate commitment, to Pepper Potts, 616 Tony is a serial monogamist; he is always falling in love, and he’s definitely not a playboy, but the hero-ing, self loathing, and lifestyle make it very hard for him to keep anyone in his life, and most of his partners fuck his life up and betray him. Needless to say, 616 Tony is not married, and certainly not to Pepper Potts.

Oh, and I guess this is so obvious I almost forgot to include it, but a huge similarity between both iterations of Tony is that they both constantly use their own life as a bargaining chip, and will pretty much die for anything. Or be the bad guy for a good reason (at least, in his own mind... see Civil War, or Hickmanvengers; 616 Tony, especially, does not shy away from making the hard decisions, and this leads to a lot of guilt and tension in his relationships-- often with Steve because 616 Steve/Tony angst fans are well fed, I guess)

Remember that time Tony had Steve’s mind wiped because Tony felt that Steve’s inflexible morality might hinder the Illuminati’s ability to save the world? And it eats Tony up inside and erupts into a homicidal fight when Steve finally gets his memory back? Me too.

Tony Stark as a character is defined by sacrifice, both of his own life but also of his own happiness and reputation and conscience, I think, in a lot of ways, and we see this in many universes. I could go on about Tony’s propensity for sacrifice in the less obvious ways, because I think in terms of heroic sacrifice, Tony has done a lot that other heroes wouldn’t be able to do because of moral inflexibility and conflicting philosophical schools of thought; Tony really is the “whatever it takes” type, and often believes the ends justify the means if he deems a threat worse than the potential wrong that could be done in preventing the threat. We see this a little bit in the MCU in the creation of Ultron, and in Civil War with the Accords. But there’s a whole lot more going on there I don’t want to get into.

4. Alcohol

MCU Tony’s alcoholism is never really explicitly explored. He is shown drinking in Iron Man 1, and in Iron Man 2 he drinks a lot and makes a fool of himself publicly, but MCU Tony doesn’t get any specific narrative arc focused on his drinking, and if I recall correctly, I don’t think he ever refers to his drinking as alcoholism in the movies? Also, while his binge drinking and embarrassing behaviors ostensibly stop after the events of Iron Man 2, he is shown drinking on screen at least one other time after that which I can remember, and it wasn’t a “falling off the wagon” moment, and an alcoholic in recovery such as 616 Tony would not take a drink casually. This article sheds a little light on some decisions made about Tony and alcohol in the MCU.

Alcoholism is a huge part of 616 Tony’s personality, which I went a bit more into depth about in this post, so I won’t repeat myself too much.

5. Their relationships with the Iron Man armor

A few points here: MCU Tony is famous for the “I am Iron Man” line being repeated throughout the franchise after he blows his own secret in the end of the first movie. MCU Tony sees himself as one with Iron Man, and the suit is the tech that enables him to be this version of himself. He sees Tony Stark and Iron Man as inextricable: you cannot separate them, and his identity is public. He, as Tony Stark, is an Avenger.

You may remember MCU Tony’s induction into the Avengers; in Iron Man 2, Nick Fury is forming the Avengers and tasks the Black Widow with going undercover to assess Tony to be a part of a hypothetical initiative. “Iron Man yes, Tony Stark no” and the comments about Tony as a narcissist may be funny, but the fact is, the snark and erratic personality of MCU Tony at the time of the formation of the Avengers in the movies is not at all like the Tony of the comics, at the time of the Avengers being formed.

In 616, things are quite a bit different! Tony invents the Iron man armor to save himself (like in the MCU) and uses it for hero-ing, but in secret. He works very hard to protect his identity as Iron Man, and for a long time, as far as the world is concerned, Iron man is a mystery man piloting armor built by Tony, hired as Tony’s personal body guard, (hence the 616 Steve/Tony fandom’s proclivity for identity porn as a trope!) When the Avengers form, Iron Man is the Avenger, close friends with the Avengers, (particularly Steve!) and Tony Stark is just the benefactor of the Avengers, providing them with a place to live and finances with which to operate.

In the very early days, Tony did not have the “reactor” like in the MCU, but his chest plate did keep him alive, leading to some very dramatic shots of Tony charging up using a wall socket, lamenting the plight of a secret hero.

616 Tony, generally, and especially in some of these earlier comics, was quite reserved, rather serious, and very angsty, (in private of course.) He may be wealthy, but speaking generally, he’s much less ostentatious than MCU Tony, less of a show off, less into flashy things and grand gestures. Of course, this isn’t always true in the comics, and some iterations of Tony are more like this than others, but MCU Tony is showier, sillier, and more of a fun-times guy. Any MCU fan would find those panels quite contrary to the Tony Stark you know:

Iron Man 1

Iron Man 2

I think I would say that while MCU Tony sees himself and the Iron Man identity and the armor as all being inextricably connected, we see a bit more compartmentalization with 616 Tony, who pretends that the armor is a whole separate person for years when his identity was private, and we see instances in older and newer comics, in which Tony is uncomfortable with some aspect of himself as Iron Man (for instance, during the second drinking arc, Tony temporarily swears off being Iron Man entirely, or for another example, when Tony is in a comma and Tony AI exists during Secret Empire, Tony “lives” in the Iron Man suit, and I think this could be interpreted as a meta parallel to Steve during this arc; Steve has had some core aspect of his character inverted, Captain America becoming Captain Hydra, so Tony experiences a similar inversion-- Tony Stark and Iron Man are forcibly merged, in a way that Tony seems deeply uncomfortable with, if his digital drinking relapse is any indication. But I digress; sorry for the tangent.)

Okay this post is inexcusable long, and very, very tangential, and I don’t feel like I’ve really covered everything I wanted to. But it has been sitting in my inbox for too long and if I don’t post it now I never will, so I hope this long, rambling thing has been a little bit helpful to you! Thank you so much for asking, I had a lot of fun rambling about this.

If you want to read a similar post, but well written and organized, with other insights, this post by Sineala answers a similar question!

#Anonymous #han reads comics #han meta #meta #iron man #tony stark #616 tony stark #616 #mcu #long post #han speaks #ask #sorry this definitely gets more incomprehensible as it goes on but i have been writing and rewriting and editing and fretting about this #for so long that if i dont just post it i probably never will and i sunk too many hours into it #to throw it away now 😅#abuse tw #abuse #alcoholism tw #alcoholism

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percydarling · 3 years

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I'll be honest,if the weasley kids had a tv show I would have percy as my favourite. Bill aand charlie arent in it so I wouldnt have an opinion (they're obviously hinted at but never there) Arthur's gonna annoy me kinda, molly is really nice but she always compares her kids. Ron (as lovely as he is) can be really mean to percy and just sucky to him. I love Ginny but everyone knows jk made her because "girl power= not feminine traits!1!1!1!" I love her,I love her love for quidditch but I feel like I still clearly see what she represents and that's jks sentiments (like cho for example, as an asian it's never gonna leave my mind). The twins would be great in theory but 2 twins insulting their older brother, burning a hole through their brothers tongue? Pranking everybody ALL THE TIME? I say I love them but seriously if I studied at hogwarts I would loathe them because hey, were in class- prank somebody in a more boring one or after. Also they're way too mean to percy.

Percy is the kinda dude I'd identify with, I hate how his family shames him alot. Sure hes ambitious but at the same time I hate when they bully him for his pride in his prefect badge and his head boy badge, like CMON! Gryffindor traits??? PRIDEFUL like yeah hes gonna be happy because he feels accomplished. I remember getting into model un and I talked about it at dinner time,my siblings got kinda annoyed but did they insult me abt it? No! They understood that this was a big part of my pride. They teased me a little "Haha model un-er" or "your rooms the country your representing right? Oops I dont have my passport" regular happy sibling stuff. You dont insult your brothers pride and joy, it's obvious hes so happy about it.

If there's gonna be a show on the Weasley family, the only interestee Weasley I would be watching is for Percy. Now let's go through every Weasley.

Arthur- at work, never home, if at home in shed exploring muggle things instead of probably bonding with his children.

Molly-would do chores, help children and maybe chat with next door neigbour. A slight chance of bonding with kids. Not very entertaining really.

Bill and Charlie- I mean depends whether they're even there or gone. If they're there they'd probably argue with each other. Maybe we'll get the Bill earring story and Charlie dragon obsession. Other than that maybe sibling bonding which is always good.

Twins- I cannot emphasize enough as to why I wouldn't watch the twins, if there was such a tv show. Each episode they'll probably prank someone most probably Ron and Percy. And then these pranks would get violent and physical and they would still be the saints and Percy the villain.

I mean the twins cause Ron's phobia, almost make him take the Unbreakable Vow (Ron was 5!) and then beat his Puffskein to death.

AND PUFFSKEIN IS AN ANIMAL.

And that's only Ron. If I start on Percy the jokes are endless but let's just end with the twins tried to locked Percy in a pyramid( God knows how old!). Enough said.

Ron- We already have Ron content in the book. Do we really need more? Yes we do but not if it's Ron insulting Percy. And if this show was before Harry and Hogwarts then Ron would be a young child like 9-10 years old and I personally wouldn't be interested. I love Ron but he loses absolutely no moment to insult or bitch about his brother. Plus Ron is whiny. Sometimes.

Ginny- They'll probably make her a Mary Sue who can do no wrong. They would seriously do that and make her a female version of the twins. Sorry not interested in watching her.

When we come to Percy there are so many things we can do. We can see bonding with Bill or Charlie. Percy being a good older brother and helping with nightmares. Percy being his mother's support system. Percy helping Arthur with his work. Percy teaching Ron chess. Percy planning a prank with twins. Percy playing dolls with Ginny.

With Percy you can relate him to everyone in some way or another. We know Molly loves Percy and probably considers him her favorite. Probably. Arthur with the Ministry so Percy and Ministry. Percy going to Bill with help for studies. Percy helping Charlie research about dragons.(Percy telling Charlie his dormmate is crazy about quidditch and asking if Charlie could give him tips and an autograph)

Percy playing chess with Ron. We know Percy is protective over Ron and Ginny. So we can assume that Percy teaches Ron chess and helps him read. Percy reading to Ginny about Harry Potter.(Really though who else would have? Molly would be busy and Bill and Charlie wouldn't)

Or we can have Percy writing stuff. Short stories and articles. Percy being a writer. Percy singing , dancing or drawing. Percy sneaking to Muggle town and talking to them.

Percy finding Scabbers.

Percy going to the Lovegood residence and talking with Luna's mother because she is such an amazing person.

(And taking her death the hardest)

Also Percy bonding with Luna.

Percy bonding with Uncle Billius or Great Aunt Muriel. Also reminsing time with Uncle Gideon and Fabian.

Percy having babysitter called Lily Potter who looked just like him but with bright green eyes. She reads to him about adventure stories and tells him she loves him very much and once brought her husband with her(who's an animagus!)

(While his brothers rejoiced the fall of You Know Who, Percy cried because Miss Lily and Mr James were dead. That was the time Percy realised that bad things happen to good people)

Well to put it in short there are so many angles with Percy which makes him interesting in my opinion.

If they do make let's hope they don't screw Percy over like they did with him in that damn game.

Also for that Percy interacting with Muggles there's an interesting fanfic called Percy's Diary.

https://m.fanfiction.net/s/7542632/1/Percy-s-Diary

☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆

Percy is the only Weasley who I can relate to which makes me love him more. I am an elder sibling, have been constantly insulted by family and friends for following rules and very rarely been put down for being excited for something.

And the whole making fun of Percy is bullying when they're laughing at him and not with him.

These 2 prepositions make all the difference when it comes to teasing and bullying.

And the twins are bullies. They are.

"Oh, are you a prefect, Percy? You should've said something, we had no idea."

This is one of the lines they say.

How much do you want to bet that the twins didn't say something like this to Bill when he became prefect and HeadBoy?

Percy was a constant butt of their jokes and pranks, including bewitching his prefect and Head Boy badges to read Pinhead and Bighead Boy respectively, and sending dragon dung to his office at the Ministry.

This is from the official wikia. People can try to make the twins saint and say it was all good natured and everything. But I will always see the twins as bullies.

And the thing is the twins and Ron never bothered to praise Percy and that just feels wrong. Everytime they talk about Percy it's qn insult. When I talk about my brother to an acquaintance I don't insult him unlike Ron.

I feel that as Percy fans we love him because he is complicated. He isn't like the rest of the Weasleys. He isn't charming or funny. He's just a normal guy trying to do better and Percy fans get it because it's relatable. We can relate to being ordinary. He doesn't have earrings or pranks or a saviour best friend. He's just a guy who follows rules and wants to be successful. Who wouldn't relate with that?

And maybe some of us have been ridiculed just like Percy so we understand. We also understand that this is Harry's biased view and all he has been told about Percy is usually by Ron or the twins who insult him on a regular basis. And Harry is no better! He uses words like pompously like he understands how a person talks pompously?

So I love Percy a lot because I relate to him and I would never in my life apologise for loving such a complicated character.

#percy weasley #percy weasley deserves better #ask in a box #thanks for the ask!#twin weasleys criticism #all weasleys except for Percy criticism #but not much

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iheartbookbran · 3 years

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Anthony, Penelope, Marina and Colin deserved better...

Beware, rant ahead

Ok I wish I didn’t feel such strong need to continue beating this dead horse but oopsie, I will very much be beating it some more.

Like, my fave books of the Bridgerton series are Anthony’s and Colin’s books, so I’m seething about what they did with their characterizations, Anthony and Penelope in particular, because Colin’s only real sin was being boring, and if you remember how funny he’s in the books it makes me wanna fall on my knees and ask Chris Van Dusen whyyyy omg why would you do something like that to such a dynamic character. So yeah, Colin is boring af and a moron but at least he isn’t an asshole the way show Anthony and Penelope are, and I’ve seen people say that they can always be redeemed in future seasons, if we get them, but that’s exactly my problem, because they never had to be redeemed in the books, to begin with. Penelope more so than Anthony but let me begin by defending my boy.

Is he a jerk sometimes? Sure. Is he actively awful and uncaring towards those close to him, especially his family? Hell no, quite the opposite, in fact. Not to be controversial on main but in the books... he was right in not wanting Daphne to be courted by a man who he knew damn right had no intention of marrying her and as far as he was aware was only making her waste her time, and he was right in demanding Simon pay for compromising her honor. Could he have been more mindful of what Daphne had to say and listened to her wishes? Of course, but considering Simon and Daphne (both in the show and in the books) aren’t exactly masters in communication themselves, Anthony doesn’t come off as the biggest offender in that situation.

What he never did was force Daphne, or any of his sisters really, to do anything; if they didn’t like a guy then that guy was out of their lives no question asked, and he loved them enough to always have their best interests at heart, for his sisters and his brothers, to the point that even though he’s traumatized and thinks he’s gonna die young he’s still willing to get past that to do his duty and marry, because he doesn’t want to pass that burden on to his little brothers (so him deciding to leave all his responsibilities to Benedict so he can fck off with his mistress is... like, a choice lmao). In fact all the subplot with Siena felt like a choice on the writers part, like they truly liked Benedict and Sophie’s story so they just slapped it on Anthony so he could act all sad and sexy while they gave us foreshadowing with the subtlety of a warharmer that he’s ending up with Kate anyways (and that Benedict is ending with Sophie anyways too, so they would be using that storyline twice, unless they do make him bi and fall in love with a man, but maybe that’s too much of ask for this show), so what was Siena’s purpose in the story? Who tf knows not me.

Now Penelope, my god. Yes I know I joke Penny has never done anything wrong in her life, and I still love her, but she was wrong. Very much so. What she did was significantly worse than what Marina did, which I still don’t condone at all. Like yes, I still maintain that Marina tricking Colin into marriage was wrong (and I’ll go later on why that whole subplot was racist af), but what Penelope did could have not only ruined Marina and herself and her sisters reputations, but it was basically condemning an innocent unborn child to a life in the streets, that’s messed up. Even if Marina was rose-coloring her potential life with Colin and he might have grown to resent her, at least the baby would’ve been alright. And my problem with that whole subplot is that all of it was resolved so neatly, with Sir Phillip sweeping in to save the day so we don’t have to actually see what Penelope’s actions could have caused, but the implications are still very much there.

And I’m cracking my mind trying to figure out whether the showrunners just... really hate Colin’s book and Penelope as a character so they’re trying to inflict some kind of character assassination on her so they can get away with writing him off with another person without causing much outrage, or if they just thought there wasn’t enough ~drama~ or stakes on their book so they have to add them, and give him some kind of bullshit tragic romantic past to explain why he doesn’t want to marry, whereas in the books, the reason he doesn’t marry anyone is because he doesn’t feel like it, and that’s ok, there’s no need for every character to have a tragic backstory and to be riddled with angst; Colin is that character, he’s an easy going guy who’s just not interested in marriage until he falls in love with Penny AND THAT’S VALID, just because he doesn’t have the most complex motivations out there doesn’t mean he isn’t a compelling character. The stakes in his story after he discovers Penny is Whistledown are, as he points out, that she has insulted so many people there’s no way some of them wouldn’t want to retaliate if word came out, and he cares for her and doesn’t want her to get hurt (there’s also a dumb part about him being secretly jealous of her accomplishments as Whistledown, but thankfully he gets over that pretty quickly).

But while I am on that, it is true that Penelope wrote some uncharitable things about the mean people around her, but she never ever ruined someone’s reputation, let alone endanger the future of a child. Was she a bitch sometimes? Yeah, but she was also kind to a lot of people and her criticism was never unwarranted and never did more damage than maybe annoy a couple of girls like Cressida. I just hate the idea of this needing to turn into some sort of ~redemption arc~ for Penelope because, again, in the books she really didn’t have to make up for anything, definitely not to Colin, who was actually the one who had to do much of the heavy lifting in their relationship when he realized that he literally slept on her for years.

And now regarding Marina, like yes, she was wrong and I stand by that statement (but not as wrong as Penelope), but tbh I find it hard to be mad at her when they gave her such a racist storyline, as the scheming woc who gets pregnant out of wedlock and then tries to seduce the innocent white man, until the virtuous white girl needs to step up to save him. At least that’s what I thought initially as the writers intention, but honestly I’m not so sure anymore, I doubt they will continue to write her and Colin as a couple otherwise they would’ve bothered to show them interacting outside of her manipulating him and him acting like a bumbling idiot, the most sincere moment they had together was when he comforted her about the lie, but by that time this bitch (me) was empty and didn’t give a shit anymore. Literally all their other interactions where shown through Penelope’s POV to let us know she was sad, and Colin’s most significant scenes where again... with Penelope (because it isn’t as if he has a family and his own moments in the books outside of being an object for Penelope to pine after).

And as I said before, Marina had a—relatively—happy ending: married to a man she doesn’t love (just as she didn’t love Colin) but who will treat her right and care for her and her child in comfort. Is arguably a better ending than if she’d married Colin because now she doesn’t have to go through the trouble of explaining things to her new husband and run the risk of him resenting her forever. Phillip may not love her but he knows who he’s marrying and why he’s marrying her. That’s literally the same fate Marina had in the books, and it makes me wonder why, oh why would the writers do that.

Why create such a contrived plot to give a character who appears in one(1) chapter of an 8 books series then promptly dies, all at the expense of the characterization of one of the most beloved heroines of said books series? Why would you write this racist storyline for a character whose fate is dying? And now I’m horrified at the repercussions that can come with Marina committing su*cide like in canon, because the implications would be that Penelope would be responsible for it (and I hate the idea of blaming one person for the su*cide of another, fictional or otherwise, is harmful and we need to be careful with making such implications), which would make her even less redeemable or like, likable in general. Not to mention that would be like putting the final racist nail in Marina’s coffin by giving her that ending.

It makes me wonder, seriously, if Chris Van Dusen hated Romancing Mister Bridgerton that much, if he loathed the idea of writing a fat character finding love and getting sex that much. I just wanna know why lmfao.

#rant over #if i sound salty is because i am #like there actually were a lot of aspects i did enjoy but i just cannot get past this #though this rant helped me a lot to feel better so there’s that #tellmewhy.gif #anthony bridgerton #penelope featherington #marina thompson #colin bridgerton #polin #tagging them bc i rant quite a lot about how they ruined their relationship #enjoy the salt uwu #bridgerton #bridgerton netflix #bridgerton spoilers #meta #my meta

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walkingtaetrash · 3 years

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THOUGHTS ON GILMORE GIRLS:

i have so much to say y’all regarding gilmore girls. I LOVE this show. i have a very tension filled hatred for some parts but most of all LOVE.

after watching seven whole seasons of these girls lives, i have to say i truly understand the complexities of these characters. we’re not even gonna get into the years of a our lives thing, no this is about the freaking original. god, the amount of shit that rory did, lorelai did, chris did, luke did, emily and richard, I MEANNNN god it’s a lot

1. Rory.

gosh this girl was so frustratingly annoying. a perfect gem and pearl in the first year, and then later she becomes a nuisance. but what i truly see is her finally getting out of that naivety/handholding/dewy eyed phase and onto things like being a teen. this girl really stole a boat and got it on her record and what i hated about the show is that they never bring it up again. like that def affected her getting into places bUT NOOOOO. they wanna paint her out as some saint. i think the only sympathy i have to her behavior is that she was growing into who she was. i thought thank goodness Jess screamed at the girl to go back to yale because Logan wasn’t gonna do it!! gosh the whole relationships this girls gone thru, ruining deans marriage, cheating on logan with jess and making jess sad, going back to logan again and again after he treated her like crap? like NO honey that’s toxicityyyyyy. anyways she was annoying but at the end i love her.

2. lorelai.

I LOVE THIS WOMAN. no matter how many times she screwed up i could never stop loving this woman. does this mean i have bias ? YES. sorry y’all. i just related so much to these two. the dynamic of a single mom and her kid spoke so much to me and my mom. but also i am not like lor and rory, i’m more like lor and emily. i have the same mommy issues, caffeine addiction, and a incessant need to ramble on about god knows what. i do not have the sexy, charming wit she has, but i do think i’m funny and i talk a lot (i mean look at this long ass text post) BUT she’s just so beautiful and wonderful. she went thru so much for rory and made her into the kid she is today and just was so understanding. i wish she gave emily grace but at the end like i truly get why she was always so frustrated. there were times where she was excessive but damn it i get her. i love her and luke. why tf did jason happen. also the chris marriage so nasty, but all in all she deserves love and to be cherished.

3. luke

this man holds my heart gosh damn it, i love him. i don’t know why april came into his life, maybe to add some spice. i think he never would’ve forgotten to wear a condom lowkey he’s so responsible. but hey, whatever the show includes. i think he handled that part so well tho , and only fighting for partial custody , i truly loved that. he didn’t wanna make it a big thing cause he knows that april needs her mom, but i thought it was rude that Anna (ew), someone who knew Luke’s character, and knows what kind of guy he is, would not tell him he had a kid. and then expects him not wanna be a dad? like he is the ultimate “i wanna make sure everything’s done right on my end, i’ll always do what i think is right” type of guy. he did that with jess i mean come on. i love his anger about things cause it reminds me of my own dad, and like i wish there was more complexity to him, but i think he repetitive nature suited him. he had a lot of chaos in his life and tranquility in the small things in life like routine and filling the salt shakers really helped him feel grounded and have a sense of control. i love him, the most caring dude in the world, and i would want him on my side in a war.

4. dean

we gotta start somewhere for rory’s boyfriends. i think he was a good first boyfriend, treated her right, but goSH DAMN IT HE WAS SO FUCKING ANNOYING LATER ON. see i even started watching gilmore girls cause jared padalecki was in it, and i was so awestruck by it cause of the characters but DAMN if a character could be even more annoying. dean was not into the things rory was into and they had no spark, but they had comfortability and it was sweet and he helped lorelai out a lot and treated her good, but he legit was so clingy and all that shit later on. and like he wasn’t even trying wiyh life with her in it either and it just frustrated me. he messed up a marriage for her, it’s so wrong man. like ugh.

5. jess

if i could hug someone i would hug him omg. he looks like he smells like those manly colognes, books, and hair products but the fruit scented kind like coconuts and berries that he’s embarrassed to tell you about. gosh he is such a character. i love him so much and he went thru so much as a kid and i wish he never had that scene of pressuring rory cause that was a HUGE ick but all in all, he just had to go to therapy and know he could make it big. i wish they input his story more and that whole outfit at the poetry house thing was vomit, the hair and goatee made me choke i was like this aint you bby boy, but alas they had to make him look like those 2000 poet guys (i mean it was in the 2000’s but i digress) it just wasn’t his leather jacket and jeans look i missed. he was the one who understood rory in all her creative mess. he was the one to spark up that drive for yale again and told her to pursue whatever she wanted (granted i didn’t like how he showed up at her dorm and was like let’s run away together) but he was there for her in the ways he could. he had so much trauma tho that i think it was best they let go of each other and i think if they found each other again later and pursued it it would be beautiful.

6. logan.

i hated him at first yall. i’m so sorry i really did. he was a player, immature, immoral, and annoyingly right about things. rory did not need his influence. they stole a boat together, he wanted her to be out of her comfort zone yes but damn to what extreme? i think after he matured up, it was so beautiful tho. i hate to admit it but i love him now. he grew on me, he truly started caring for rory in a responsible way, he started working, he started realizing he could lose rory, and in the end it was sad she didn’t accept but he took it like a champ. i think he was so ready for it cause he loved her but he couldn’t have expected her to drop all her career options and just go with him to san francisco. i think he should’ve known her well enough but i also get why he didn’t wanna do long distance. i think he connected with her very well. in the way that pointed out her ICKS she never knew she had. she also was a trust fund baby with a rich family and is at Yale and doesn’t have to work through college. i hated that she never acknowledged that and thought she was some fucking hard worker. like yes you study a lot ma’am but you don’t work you’re not someone who knows what it’s like to worry about rent the next day. like damn she had a mom and she had her pool house shit and i also think it was so ungrateful the way she acted towards emily and richard. like they did so much shit for her and she took it for granted. yes they can be extreme but rory needs to be nicer. she is literally another pompous kid who attended an ivy league and she acted so high and mighty in that article ugh. anyways logan was able to show her that hey you have flaws too don’t think you’re perfect but also showed her her TRUE potential. he wanted her on a newspaper and wanted her things to excel and was there with her every step of the way. paid for an apartment, dor a car, and i feel she never really acknowledged that. it was frustrating. but he was frustrating in ways too with the bridesmaid things and the player things and the gambling with Colin and Finn (why did they exist) and yeah. but anyways 9/10

7. christopher hayden.

can i say i fully loathe this man? HATE. i despISE this man. the amount of times he messed up? the amount of times he broke rory and lorelai’s heart?? TOO MANY. he’s a dumb dad and he acts stupid with GG too and i stand by it and sherry is a bitch but damn oh damn did chris get himself in shit. lorelai was ready to marry him and be with him and he went to sherry. SHERRY DIDNT EVEN WANT THE KID. well she did and then it came by and she didn’t and then she left and that was confusing asf. cause she was over here talking rory’s ear off about chris and kids she was the most annoying character ever. hated her . BUT I HATE CHRIS MORE. then lorelai dated luke and pushed her and expected her to be with him and it to be fine. no. and thank god they split but damn the hurt lorelai went thru? it’s embarrassing when luke is the one at the hospital for lor’s dad instead of the husband. anyways it was stupud of him to always try. and then like mess it up between him and rory and act like a dad when he was barely there for her, but either way i’m happy he paid for yale and he’s out of their lives as much as he was in it.

8. emily.

EMILY MY LOVE. you are so stubborn and so conceited but damn do you love your family to the moon and back. this woman was a wife through and through and i have so much respect for her and it’s so weird because i’d never want that for me and it’s so traditional but she’s such a caring woman. only for her blood tho it’s so funny the way she could care less about those around her. um, i hate the rich things ya know the “status, and being poised” thibg but i have to realize it’s becaus of how she was raised and what she was taught was correct. i think lorelai never deserved that uobringing but i think emily tried her best in what she knew. and she tried to be better and wanted to be included in rory and lorelai’s life. even if she was always annoyed by lorelai’s jokes, she knew that was their dynamic and i loved that lorelai agreed to friday night dinners even after rory left it meant so much to her. and i love emily. she loves lorelai so much in her weird and twisted way, she does. that girl would kill for lorelai. i’d move mountains for this woman

9. richard

i needed time to get used to him at the beginning of the season but later on i found that i loved him too. the loving at first about the rory cryibg about yale thing was cute cause it was his first “i’m your grandpa i’d do anything and spoil you silly” event he ever experienced but it was so intense and i totally understood why he coddled her. i wish he didn’t cause it caused all the problems but it was necessary to see his love for her was strong.

they had to find ways in connecting in the beginning with the golf and the hat and books and all that but rory and richard were so close and i love that man. at the end, he saw no use in fighting with lorelai and even laughed at her jokes and was a mediator between emily and lor and the heart attack def did shit to him for him to say he knew lorelai was adored because she turned out to be a great person and that’s why the town loved her, it wa all so cute. i think at the end of the seasons we grow to love richard and emily so much so that we forget all the bad things they did.

kirk.

100000/10 he’s amazing i never would give him up.

enough daid, this show is great i love the complexities and i love the dynamic, the jokes, (some are problematic like the body shaming, r word, culture stereotyping, and sexuality jokes) i think that it was a great show focused on plot. i hated the first episode of the life thing the spin off i forget what it’s called, but you know. they made a lot of “spanish i don’t speak spanish” jokes and there’s barely still any diversity in the cast, and the jokes are so bad like they’re trying to be accepting of the lgbtq+ community but they made jokes so many times in season 7 that it can’t be ignored and like the amount of times they are so stereotypical to the asian community like “rory’s trip to asia”? like that whole episode was so rude with the hello kitty sign, but like idk

it’s a complicated show, i loved it and hated it, i have a love relationship with it that includes such tension it’s toxic. like i’m even hispanic and the whole bit of them not knowing soanish nor thinking they can learn a bit (idk as a inn owner maybe pick up a language/trade?) is not even that effecting to me cause i know them as characters on the show and the girls we grew to love are not like that at all. idk it’s so weird. idk y’all. anyways i finsihed it thank goodness now someone pls recommend new shows :))))

#gilmore girls #rory gilmore #lorelai gilmore #luke danes #logan huntzberger #jess mariano #me rambling #there’s no end to it #i apologize but i had to let it out #enjoy this lol

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voidofwords · 3 years

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hopelessly devoted

here’s a short wlw story i wrote! ngl i came up with everything, including the characters, as i went, but i ended up pretty happy with it!

Her grin is so bright when she looks at me. “Syd,” she says, beaming. “You won’t believe it!”

He said yes. I smile at her and tell the sinking feeling in my stomach to fuck off. “What?” I ask, with as much excitement as I can muster.

Jasmine turns her phone screen towards me so I can see the messages between her and Brandon, but she’s waving the phone around excitedly and it’s impossible to even get a glimpse of what the messages say. Fortunately for me, and I would like my sarcasm here to be noted, she is kind enough to also tell me the news herself:

“He said yes!” She squeals, grabbing me by the arm and shaking my whole body. “Brandon said yes to go on a date with me! I’m going on a date with Brandon.”

For a moment, my brain is so fixated on the fact that Jasmine is touching my arm, it forgets how to do anything else. But I manage to kick it back into action and plaster on my most convincing I’m-so-happy-for-you-and-not-at-all-screaming-inside smile. “Jas, that’s great! That’s amazing!”

She nods eagerly, her deep brown eyes looking into mine. “You have to help me prepare for the date. I don’t even know what to wear!”

That actually makes me grin for real. “Come on, Jas, we both know you have way better style than me.”

She giggles and shakes her head. “Shut up, I love your whole, like, tomboy thing. Your style is amazing. But I just meant I want you there for emotional support.”

“Oh. Right.” Did Jasmine just tell me she loves my style? I am fighting so fucking hard to keep my brain from going into overdrive. I try to smile, but I think it’s more of a grimace. “Of course I’ll be there,” I tell her. “That’s what friends are for.”

I don’t want to move. I don't want to get up. The alarm on my phone went off five minutes ago to let me know it was time to go to Jasmine’s house, but I think I might just lie here forever. What’s the point? She probably won’t even care if I come. She’ll be too fixated on her date with Brandon later to even notice if I’m there or not.

Brandon is popular and has abs and is apparently super hot and charming - I don’t get it, but sure - and I’m just Syd, the tragic gay idiot, in love with my best friend. If this was a movie, Jasmine would be the main character. Of course she would. And I’d be the edgy queer-coded friend who’s mostly there for comic relief and emotional support. My life is a fucking joke.

Because I might as well give the merciless gods watching my tragedy unfold something to laugh about, and because I’d be an asshole if I stood up my best friend right before her big date, I get up. There’s no point wallowing in my self-pity any more than necessary.

Jasmine’s arms are around me the second she opens the door. It’s a signature Jasmine hug, tight and squeezy and enthusiastic, the kind that leaves me out of breath for more than one reason.

“Syd! I was starting to worry you wouldn’t come.” She takes a step back and looks at me with her puppy-like eyes and I ask myself how the hell I’m going to get through today.

I shoot her what I hope looks like an apologetic smile. “Sorry. But I’m here!” I take in her worn-in sweatpants and oversized Mickey Mouse t-shirt. She still looks fucking amazing - this girl could literally wear anything and still look like a goddess - but I highly doubt this is what she’s planning on wearing for her date with Brandon.

“I take it you haven’t found out what to wear yet,” I say. “Or is the date more of a Disney-themed pyjama party?”

That makes her laugh. “No you silly goose! Brandon is taking me to dinner, and then to see a movie.” She takes my hand, and I freeze up as she pulls me inside the house and toward her room. “I need your input on what to wear.”

“You’d probably be better off without it, you know.” I smile as I imagine Brandon’s face if Jasmine showed up to their date in my battered jeans and too-big flannel. But I quickly chase the image away, because the thought of Jasmine wearing my clothes is too much to handle right now.

Jasmine picks up two dresses from her bed and holds them both out to me. “Which one do you like the best?”

I have seen her in both of them before, but they’re usually what she wears around her older conservative family members, not when she is out having fun. Both of them are very modest, while still being pretty.

“What happened to the other ones?” I ask, because I know her favourite dress is either the sleeveless floral one or the cute flowy one.

Jasmine shrugs and smiles a smile that doesn’t quite reach her eyes. “Brandon texted me saying he doesn’t want me wearing anything too revealing, since we’ll be out in public.”

What the fuck. “Brandon is telling you what to wear?”

“No. He’s just giving me some pointers on what not to wear!”

I stare at Jasmine, who is still smiling like she actually thinks this is fine. “Jasmine, that’s still shitty behavior. He doesn’t have the right to do that!”

She shrugs again. “It’s fine. I don’t mind! It narrows down my choices, and you know it’s hard for me to decide what to wear. Besides, I like these dresses too!”

“Jas.” I sigh. “Are you sure you wanna go out with this guy?”

Jasmine laughs, as if in disbelief. “What? Of course I do! It’s Brandon.”

“I just…” I’m definitely overstepping here, but I can’t stop myself. “I don’t get what you see in him.”

“Oh, well, you know. He’s handsome and funny and… popular and…” She trails off for a second before looking up at me. For once she isn’t smiling. “I just like him, okay? I’m sorry your standards are so impossibly high. I’ve never even seen you express interest in a guy!”

Is she kidding me right now? “I don’t…” Now it’s my turn to be speechless.

Jasmine sighs, like she is giving up on me, and picks up one of the dresses again. “I’ll just go with this one.”

I’m worried she will change in front of me like we did when we were younger, but she goes to the bathroom to change. Thank fuck; there’s only so much I can handle in one day.

When she comes back out, her brilliant smile is back. Her eyes look a little red, but it’s impossible to tell if it’s because she has been crying. I open my mouth to say something but before I can, she spins around to show off her dress.

“What do you think?”

“It’s nice.” It is nice, of course it is, that’s not the problem. The problem is, it isn’t the kind of thing I know Jasmine likes to wear. But this time, I don’t say anything.

She grabs a box of her nicest makeup stuff and sits on the bed. “Will you help me with my makeup?”

“You want my help with your makeup?” I let out a laugh. “Jas.” I know how to do makeup decently, but I never wear it, so I don’t have anything close to the kind of practice she has.

“Syd.” She laughs too. “It’ll be fun! Just like old times!”

That is true. When we were kids, Jasmine used to “borrow” her mom’s makeup, and we would take turns making each other look “beautiful”. It was a disaster, but the best kind.

“Alright,” I say. “But I hope Brandon won’t be upset when you show up to the date with lipstick smeared across your face like a clown.”

I sit down on the bed with her and help her pick out what I think would look good with her dress.

It goes smoothly, until I have to do her eyeliner.

“This is a bit tricky,” I say, moving closer. “Please don’t be mad if I do a bad job.”

“I’m sure you’re doing a great job, Syd.” She smiles with her eyes still closed.

“Stop talking, I’m trying to concentrate.”

By some miracle, I manage to make it look good and symmetrical. I’m actually kind of proud of myself. “Okay, you can open your eyes now.”

But I’m not prepared for when she actually does, and I realize how little space there suddenly is between us.

Our faces are so close I can smell her minty breath. Her eyes are locked with mine, and I have officially forgotten how to breathe. I think time might have stopped, just for us. And then, she fucking looks at my lips. There’s no mistaking it. She is looking right at my lips, with her own slightly parted.

And that’s when I make the stupid, idiotic, wonderful mistake of kissing her. Fucking hell, it may be a mistake but it’s the best one I’ve ever made. Her lips are so, so soft. Holy shit. Is this how I die? Am I actually going to die kissing Jasmine? I think I’m okay with that. I think that is how I want to go.

But before I even have time to register what a bad idea this is, she breaks the kiss and moves away from me on the bed. She is staring at me with a mix of shock and betrayal. Well, shit. She reaches up to touch her lips, like she can’t quite believe they were actually touching mine just a moment before. “Why would you do that?” she whispers, her brown eyes as puppy-like as ever. Though this time, it’s more like a puppy that has been kicked by its owner.

“I… I don’t know,” I choke out. “Fuck. Jasmine-”

She shakes her head and stands up abruptly. “I have to go.” Her voice is shaky. “My date is waiting.”

Fuck this shit. Fuck the universe and fuck Brandon and most of all, fuck me and my lack of impulse control.

I have successfully ruined everything. Yay. Not only have i completely screwed up my relationship with my only real friend, I have also probably ruined her date with the guy she likes.

At this point, all I can do about it is go outside and touch some grass. There is an old park in our neighborhood that no one visits anymore, and it’s the perfect place if you want to be alone with your misery and self-loathing. I guess you could say I come here often.

I sit down against the trunk of a tree and look up at the sky. It’s cloudy, but the kind of cloudy where the clouds look like bunnies and hearts and shit. I guess looking at clouds is a better use of my time than replaying the events of today over and over and hating myself more with every passing second.

I don’t even know how much time passes but suddenly, I feel another person close to me. I start, convinced I’m about to be murdered or kidnapped, but when I turn, I see Jasmine.

She sits down next to me and offers me a shaky smile. This time she definitely has been crying. She kinda still is.

I don’t know whether I should say something, so I just sit there and look at her. She looks down at her own hands, and doesn’t speak for a long time. I’m about to open my own cursed mouth, when she finally speaks.

“I’m so sorry, Syd.”

I stare at her, my brain not computing. “You’re sorry? What the hell do you have to be sorry for?”

“I was a total… a total dingus earlier!” If I didn’t feel so fucked right now, I would have smiled at Jasmine’s adorable inability to swear, maybe even gently teased her about it. But I don’t. I sit quietly as she continues: “I have been for years, haven’t I? Completely clueless.”

“What?” I don’t know what she is on about, but if she means clueless about my embarrassing crush on her, then yes, she has been. I can’t blame her, though. I mean, I did try to hide it, and for good reason.

“I left the date with Brandon early.”

I feel like an ass for it, but I’m happy to hear that. Not because I’m naive enough to think it means anything for me, but because Brandon is such a punchable fucking idiot, and definitely not good enough for Jasmine. “Oh,” is what I say. “Did you not have a good time?”

She finally looks at me. “I left because of you, Syd.”

Fuck. “Jasmine, I’m so fucking sorry. I never should’ve-”

“Stop,” she says, and I do. “I left because I realized you were right. I don’t like Brandon.” She lets out a shaky laugh. Her eyes are brimming with tears. “It probably shouldn’t have taken you kissing me to realize it, but… Yeah, well, I’m an idiot.”

My heart and brain seem to have made a collective decision to stop functioning. I stare at her, not sure if any of this is really happening. Maybe I’m misinterpreting what she is saying. Yeah, that seems like the only logical-

My half-panicked thoughts are cut off by Jasmine leaning forward and pressing a soft kiss to my lips. She is still teary-eyed, but she is also smiling softly as she moves close enough that our shoulders are touching. “I don’t think I even like guys at all,” she whispers. “And… well. I’m pretty sure I like you. A lot.”

She is looking at me expectantly, but I am stunned into silence. My brain short-circuited long ago and left me useless and unable to do anything other than stare at her in disbelief.

“Syd.” She nudges me with her shoulder. “Please say something, I am freaking out over here!”

“Shit. Yeah. Sorry.” I shake my head, slowly kicking myself back into action. “I like you a lot too. But I probably made that pretty obvious earlier, didn’t I?” I chuckle nervously, meeting her eyes. My heart is still going haywire, has been since she fucking kissed me. I don’t think I’ve fully processed that yet. “Sorry, this is… a lot.”

Jasmine grins. “Yeah, tell me about it. Twelve hours ago I thought I was the straightest person ever and that I liked Brandon? And now it turns out I’ve been a lesbian the whole time! God, that feels weird to say, but… Also like such a relief? Like part of me has known for way longer.”

I almost don’t have the courage to do it, but I reach out and take her hand. Our fingers interlock. When she puts her head on my shoulder, I almost start to tense up, out of habit I guess, but I tell myself to relax.

The moment feels so precious, so uniquely ours, that I’m afraid I’ll ruin it if I speak. So I close my eyes and savour the way Jasmine’s soft body is pressed against mine, and I pray that this moment never ends.

#full discloser: halfway thru writing this i realized it has a lot of similarities to the series 'i am not okay with this'#i promise no similarities are intentional!#original writing #queer fiction #lgbt fiction #short story #lesbian #lesbians #lgbtq+#writing #writeblr #queer #queer short story #comphet #wlw #i rly hope i didnt accidentally call brandon 'brad' somewhere in this asdfgh i did that while writing oops

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jalapeno-princess · 4 years

Text

More Than Friends

(I was gonna say he looks so good in here but who am I kidding, he always looks so fucking good)

Mark Tuan X Reader

Genre: Angst (but mainly fluff I can’t write angst to save my life)

Word Count: 5K

Summary: You and Mark have a very interesting relationship. The two of you are not exactly dating, but you’re not just friends either. Because of who he is, he isn’t able to take things further in your relationship no matter how badly he wants to. However, something causes him to feel the need to put a label on what exactly is going on between you both.

A/N: (It’s kind of repetitive lol idk how I feel about this story) This was requested by another one of my favorite followers on here @safetypineapples Thank you for all your love and support with my stories and I love reading all of yours! I hope you enjoy this one! Based on the song “At my weakest” by James Arthur.

It's a long night and a big crowd Under these lights looking 'round for you Yeah, I'm steppin' outside under moonlight To get my head right, lookin' out for you, yeah

Could it be your eyes Didn't know that I've been Waitin', waitin' for you When your by my side, everything's alright Crazy, I'm crazy for youOh, here I go, down that road Again and again the fool rushin' in But I can't help when I feel some kind of way Do you feel the same? 'Cause And I fall, I fall for you You caught me at my weakest And I fall for you

“Pick up—fuck—please pick up.”

Mark was pacing back and forth in the hallway; he must’ve looked like a crazy person to all the staff and security guards at the event, but he didn’t care. He wasn’t too sure why it was happening, especially because he was right about to go on stage, but he was currently going through a panic attack. Just a couple of minutes ago, he was sitting in the dressing room with Yugyeom and Jinyoung, waiting for the rest of the guys to finish getting their makeup and hair done. He was playing a couple of games on his phone when he decided to scroll on Instagram and Twitter for a little while when he stumbled across of a few negative posts that crawled under his skin.

Being a KPOP idol had its perks; he got to do what he loved, making music, writing songs, touring and traveling around the world, meeting new people and learning of their cultures and getting to perform on stage in front of thousands of their fans alongside his six best friends. Unfortunately, pros also came with cons. With the large amount of love he received all around the world, he also got a lot of unnecessary hate. He never understood what he did to be hated so much.

Mark was a very kind-hearted, soft-spoken, generous, humble and hardworking person. Sure, he might not have been the best rapper in KPOP, but he gave his all in each and every one of his performances, practices, recording sessions and even when it didn’t have to do with the music; whether it was modeling or being on a reality tv show, he made sure to try his best in order to please everyone he was around. That’s all Mark really wanted to do, but it just wasn’t enough for some people. To the people who weren’t fans of him, if he was too generous, they would consider it as him showing off his wealth and social status.

There were so many different organizations Mark would donate to and speak up for to show his support but so many antis would claim he was doing it just to look good to the public. However, once he went silent to stop all the loathing and hatred, people called him stingy and claimed he didn’t care about others. These days, it seemed as if Mark was the main target for hate within their group and that says a lot seeing as how Got7 were constantly hated on and ridiculed on a daily basis for no reason at all. Whenever something like this happened, his members would constantly tell him to stay away from social media and told him that all the negative people were just jealous of what an amazing person he was.

Normally he would do quite the good job with ignoring the hate, and the rumors that were made up about him that made no actual sense at all; but for some reason there was one comment about how Got7 would be much better off without Mark in the group because apparently “Mark doesn’t do anything to really help the groups success in any way.” Or so the comment read. He tried his best to ignore it and he wanted to find something to take his mind off of the comment, but he couldn’t.

Not even the funny video Yugyeom showed him could prevent him from overthinking and he really didn’t want to show that he was bothered to the other members. As much as he loved them like family, the last thing he wanted to hear was to ignore the hate which is what they always told him. One can only ignore something so much until it actually eats away at them to the point where they feel like screaming and since Mark wasn’t in a place where he could verbally or physically let out his frustrations, he excused himself from the room and walked throughout the arena looking for a quiet and empty place to call the only person he knew that could calm him down.

The only person whose been on his mind and clouding up his thoughts for the last two months since the tour started. Mark considered every single member of Got7 to be his best friend; from day one the seven of them have been through so much together. So many ups and downs, so many trials and tribulations that only made them stronger as individuals and a whole group. Each member had their own way of cheering Mark up; whether it was Jackson making silly jokes, Jinyoung reciting lines from a show he was acting in, Youngjae bringing coco over for Mark to play with her or BamBam buying him a bunch of luxurious items because in his words “a little Gucci never hurt nobody.”

However, the only person who could really get Mark out of the deepest funk was you. You, in more or less words were the only other best friend Mark had apart from his members. He told you every single secret, worry, doubt and insecurity he had because he trusted you with his entire being. On the fateful day the two of you met over a year and a half ago, Mark knew you were going to be someone special in his life and that was an understatement. If he was being honest, you were his entire life; Mark never believed in soulmates before meeting you.

The idea of two people out of the billions of people in the world being destined together was so cliche and he didn’t understand why so many people would claim they met their soulmate. As the days went by and he spent more and more time with you, Mark realized that he got more than he bargained for when he became friends with you and that’s when he knew he was in trouble. Your relationship with Mark was hard to explain; for the first few months, you found confidants in one another. He was your escape from reality just as much as you were his. When your education and work got too much for you to handle, Mark would do whatever he could in his power to get you to focus on better things. Further down the line of being friends, it then blossomed in to something more. Even when Mark was still getting to know you, he found himself developing a little crush on you, but it was inevitable.

You had a beauty that Mark couldn’t even put in to words to describe. He may have been surrounded with so many beautiful idols, actresses and models on a weekly basis, but there was just something; actually many things about you that stood out from everyone else. Mark was sure he’d be able to spot you in a crowded room because his eyes were always looking for you and because you just radiated such a positive and spirit lifting energy that was so contagious. He always wanted to be around you. Around four months in to your friendship, Mark confesses his feelings for you, but he knew he couldn’t act on them. Dating was taboo in the KPOP industry and most idols who were in relationships did their best in hiding it.

There was nothing Mark wanted more than to be the lucky guy you called yours, but it was selfish of him to want to take things further with you knowing that he’d be holding you back from so many things. And it wasn’t like the two of you could have a normal relationship. He wouldn’t get to take you on all these cute dates he was sure you wanted to go on, he wouldn’t get to post about you nor would you be allowed to post anything about him, he couldn’t hold hands, hug you, hold you and kiss you unless it was behind closed doors.

He wouldn’t be able to give you the love and attention you deserved and never failed to show him every single day and that’s what bothered him the most. You were so close, yet so far away and Mark was afraid that you’d get tired of being just friends with him and decide that you didn’t want to wait around for him. Especially since you requited his same feelings and made it aware that you were willing to do whatever it was that he asked of you. You were aware of how hectic his life was and you had a feeling a relationship would be something he wouldn’t be able to give you and you respected it completely.

As long as you had Mark in your life, it didn’t matter what he was to you. But you were only human. You were still so young and had a great head on your shoulders. You had so much going for you yet you were always at his beck and call whenever he needed you. To both his delight yet dismay, you were willing to drop anything and everything for him. While he was away, you’d wake up in the middle of the night to talk to him and stay up till the wee hours of the morning to listen to him talk about his day even if you had an early morning shift or class.

When he got sick, you’d pick up some medication and make some soup to help him feel better. If you were out with friends or colleagues and he asked to hang out, you’d give them some lame excuse and made your way over to him. Mark could never come up with the right words to say to show you and tell you just how much you meant to him and how afraid he was to lose you. All he could do, was show you through his actions; his gentle kisses on your cheeks, your forehead and your lips, how he would always need to be touching you whenever the two of you would spend time together, the way he would always check up on you to make sure you’ve eaten all your meals and that you were taking good care of yourself and doing all these little things for you like blowdrying your hair for you when you were too tired or helping you study for an exam even if he had no clue what he was reading.

He could only hope you understood his nonverbal signals of love. Being on tour was always so fun; it seemed as if more fans came out with every new tour and tonight in London, there were at least 40,000 people at the Wembley stadium waiting for Got7 to perform. Over the years, his nerves slowly calmed down and performing on stage was such an indescribable feeling that he was so grateful for being able to do. The only thing he hated about touring, was being away from you.

Mark made sure to FaceTime you whenever he got the chance, but it wasn’t the same as seeing your breathtaking smile and contagious laughter that he loved so much in person. He’s asked you to go along with them many times, but because you were a full time student with a full time job, and Mark’s company didn’t think it would look good for some random girl to join them on tour and follow them around the world, you stayed back in Korea. As the phone line kept ringing, anxiety built up in his chest the longer he waited. He checked his phone to see what time it was in Korea and he let out an exasperated sigh.

It was currently six in the morning and since Mark knew your schedule like the back of his hand, there was a chance you were either getting ready for school or for work and he tried his best not to be upset. Just like how his work was his main priority, you had every right to make your studies and your work ethic your main concern. However, you had a tendency to put Mark at the top of your priorities and sometimes he wished you didn’t think so highly of him. He wanted to give you the same amount of attention and praise you’ve shown him over the years and you were his second main focus right after his job.

He hated putting you second, he was sure you must’ve loathed having to be his second priority but you never complained nor would you make it known that it bothered you and Mark didn’t know what higher power it was that brought you two together nor did he know what he did to deserve someone so patient and understanding, but he would do it time and time again if it meant having you in his life for as long as he possibly could. With one more sigh, he began walking back towards the corridors where their waiting room was located when he felt his phone vibrate. He didn’t even miss a beat, once he saw your name on the screen he answered and he didn’t care how desperate he sounded. He was sure he didn’t have much time to talk to you, but it didn’t matter. All Mark needed was to hear your voice and he knew he’d feel so much better.

“Hey baby, I’m sorry I missed your call. I was washing my face and brushing my teeth. Aren’t you going on stage here soon? Is everything okay?”

Just hearing your soft little giggle through the speaker was enough to get him to forget of his problems and all he focus on was the sound of your gentle and extremely soothing voice. The term of endearment made him feel even more giddy and he was sure if the guys were to see the effect that you had on him, they wouldn’t let him live it down.

“Yeah I just—I just wanted to talk to you. I’m sorry if I’m bothering you, I just really miss you. That’s all.”

By the hesitant tone of his voice, you could tell there was something more that he wasn’t telling you, but you weren’t going to pry at him. You never forced mark to go in to detail about what was worrying him and wanted him to confide in you at his pace. But you hated knowing that something was currently on his mind not knowing exactly what it was. Even if Mark was a couple of years older than you, you always felt the need to protect him from any evil. His happiness and well being was all you ever cared about and sometimes you’d put it before your own.

“I miss you too Mark and you’re never a bother, you know that. You know if something is wrong, you can tell me right?”

Although you couldn’t see him, you could tell he was nodding in agreement. The two of you had a mutual understanding; you’d wait for each other to find solace in one another but when you did, you’d let it all out. “I know, thanks y/n. I read something so shitty earlier, but hearing your voice makes it all the more better. Don’t worry about me babe, I’m okay. I’m sure the guys are probably looking for me. I’ll call you after the show, have a nice morning and don’t forget to eat a hearty breakfast. I’ll talk to you soon love.”

Once you both said your goodbyes, Mark felt energized and ready to go on stage. He didn’t think it was possible for someone to change him for the better but here you were, making his heart feel as if it was about to bust out of his chest and he never wanted that feeling to go away. As soon as he made his way back to the dressing room where all the guys were dressed up and waiting for him, they were all confused seeing the huge grin on his face after he left so abruptly as if something was wrong; but none of them were going to question it. They were all aware of who you were to Mark and all six of them approved of you.

They loved the effect you had on the eldest boy; they loved the way you made him laugh and smile on his darkest days. You were the light Mark needed and they knew you were put in his life to save him from himself. Once they all walked out onstage and heard the thousands of screams and chants echoing throughout the arena, anything that was bothering Mark no longer mattered to him. All he could think about was making the fans happy, putting all his energy in to each and every song they performed and getting to call you again later. The concert went off without a hitch and honestly it had to be one of the best concerts they’ve done since they started touring.

For the rest of the week, Got7 finished the Europe leg of the tour and as much as Mark loved exploring the many different cities, trying the different foods they had to offer and taking a well deserved rest from all his other work, he couldn’t wait for the two week break the guys were allowed back in Korea. He couldn’t find it in himself to sleep the night before, he was just so excited to have you in his arms again and he came up with the plan to surprise you about coming home earlier than expected. Everyone seemed to know of Mark’s plans because as soon as they landed, they hailed him a taxi and gave the driver your address which he was extremely grateful for. While he was away, he’d find himself overthinking your relationship.

He wanted—no, Mark needed to set things straight between the two of you. Even if you told him that you were willing to wait for him for as long as he needed you to, humans could only be patient for so long and he was afraid you’d find somebody while he was away. Somebody who could take care of you in ways Mark could only wish he’d be able to. Somebody who would love you freely; out in the open without having to worry about a rumor breaking out. Somebody worthy of all your love and admiration.

It was late when they arrived back and he could only hope you didn’t log on to social media and saw that Got7 were back in Korea. He quickly stopped by a cute little hole in the wall florist shop and purchased you a dozen of your favorite flowers. No matter how jet lagged he was from the ten hour flight and how much he wanted to go to sleep, the desire and urge to hold you in his arms was stronger than any exhaustion he felt. He knew he should’ve texted you to ask what you were doing in case you were out to dinner with your friends, but he was just too excited to finally see you that it slipped his mind that there was a chance you weren’t home.

As soon as he buzzed your doorbell, there was an odd feeling that crashed over him and he couldn’t put his finger on it. However, once you opened the door and he saw you dressed so prettily, the numbness he felt in his chest only grew more.

“Oh my God—Mark! What are you doing back so early?!”

You didn’t give him any time to answer before you practically jumped on him; wrapping your arms around his neck and your legs around his waist. You began leaving chaste kisses on the sides of his face and finally left a sloppy kiss on the corner of his mouth before jumping down.

“Hello to you too baby. I wanted to surprise you. God y/n, I’ve missed you so much.”

You looked up at him with an adoring look in your eyes before cupping his cheek. These last three months without him was just as hard and if not more difficult on you than it was for him. Mark had all his members, friends, staff, family and fans by his side but all you really had was him. Although he never failed to lean on you whenever he needed to, you didn’t want to bother him and handled most of your problems by yourself. Even if he told you to tell him when something wasn’t going your way; you just never wanted to burden him. Just getting a text of encouragement was enough to help ease your negative thoughts.

Seeing him, with his fluffy, brown hair down to his neck, his face more healthier and fuller than the last time you’ve seen each other and his biceps more prominent, it was an overwhelming feeling and you had a hard time believing he was actually back and at your apartment.

“Mmm, I missed you too handsome. Let’s get you settled in. Did you eat? Are you hungry? You look exhausted Mark.” You reached for his hand as he held the bouquet of flowers under his arm and dragged in his luggage with his free hand. Since you were ahead of him, you didn’t get to see the way his cheeks turned bright pink at your sudden movement. He was so whipped for you. Once you walked in to your living room, he was quick to notice the box of chocolates on your coffee table and the flowers in a vase sitting on your counter. There was that weird feeling again and he was soon growing curious with what exactly it was that seemed to be eating away at him. You had him take a seat on the couch as you hurriedly brought his luggage in to your room and made your way back to him.

“I uh—these are for you.” You gave him a toothy grin; excited at the idea of him thinking to stop by somewhere and get you flowers. The soft peck on his lips was your token of appreciation and you walked in to your kitchen to find another vase to put his flowers in. Although he felt as if he could practically knock out right there, he got up from the couch and walked over to you. He wrapped his arms around your waist and placed his chin on top of your shoulder. You’ve always adored the height difference between you and Mark. You weren’t the shortest person ever, but you weren’t blessed with height. You shivered at the feeling of him pressing a kiss against your neck and leaned back in to his chest to give him more access to your nape.

“Where’d you buy the flowers from?” When he felt you tense up at his question, he knew something was up and he had a gut feeling he wasn’t going to like the answer.

“I just came back from a double date—but it’s not what you think. One of my coworkers really likes this guy, but she didn’t want to go out with him on her own just yet so she asked me to tag along with her. Honestly she’s been trying to set me up with all these guys but I’ve told her I’m unavailable more times than I can count on my hands. I think she used that as an excuse for me to go out on a date, but I really wasn’t interested. He gave me these flowers and those chocolates, but I didn’t really give him any of my attention and if I’m being honest, the entire thing was so awkward and I gave an excuse to leave early. I’m glad I did though.”

You were facing him at his point and ran both your hands through his hair. So that’s why you were all dolled up; Mark knew he wasn’t overreacting for no reason. You just came back from a date. It didn’t matter that your friend set you up, for all he knew you could go on multiple dates and he couldn’t do anything about it. The two of you were untitled. He didn’t have the right to stop you from looking for a genuine relationship. All he could do was hope and pray that the feelings you harbored for him were enough to get you to stick around.

The way his brows furrowed made you nervous and you didn’t think he cared for you in that way to get bothered at the idea of you seeing someone else. You and Mark may have acted like a couple, but because he wasn’t able to be in a relationship nor did he make it verbally known that he wanted to be one with you, you didn’t think it was possible for him to grow jealous at the thought of you dating someone else.

“I see. Have you been on any other dates? Met anyone worth your while?”

“No. Just the one tonight. Why would I look for anyone else when I have you Mark? Or I mean—actually I don’t know what I mean. I’m not yours and you’re not mine yet I’m holding on to this tiny little thread and the little voice that’s telling me to not give up on us but I don’t know what you see me as; for all I know I could just be a friend you kiss every now and then just because you can’t have anything to serious. I’d be lying if I said it doesn’t bother me and that I’m fine with being stuck in this untitled relationship knowing that I want more, but all I care about is you. I know it’s hard for you to live a normal life and I just wanted to give you whatever it is that you need. I’m sorry, I talk too much—“

When you felt a teardrop fell on your cheek, you hesitantly looked up at the older boy and felt a pang to your chest at the sight of his lip quivering as tears were building up at his eyelids. Everyone and anyone who knew Mark was well aware of how sensitive he could be and it was a trait of his you genuinely appreciated. It showed that he had such a big heart. There were moments where he would cry watching a sad video or movie and you’d always smile softly to yourself at how adorable he was. But now, seeing him cry and having a feeling that you were the reason made your head spin. He brought his hands down to your waist and lifted you up on to the counter before connecting your lips together in a rough and extremely passionate kiss.

You and Mark might have shared quite a few kisses in the last year, but this was the first time his lips smashed and melded against yours perfectly. His lips were chapped and tasted salty from his tears, but it didn’t matter. He all but gently forced his tongue in to your mouth and down your throat and although the feeling was foreign, you could find yourself getting used to this. All too soon, he pulled his lips away and placed his forehead against yours, earning himself a soft whimper from the absence of warmth. He began gliding his thumb along your thigh while lifting your chin up so that you were making eye contact with him.

“I’m sorry y/n, I’m so fucking sorry for having to put you through all of that for the last year but I’m so grateful for each and every single sacrifice you’ve made for me. You’re way more than just a friend to me baby, I thought it was obvious with the way I have to constantly be kissing these pretty lips of yours and the way I always need you around. If you were just a friend, I wouldn’t be calling you and checking up on you every day. You wouldn’t be on my mind the first thing when I wake up and right before I go to bed and I know it’s my fault for not telling you how I feel but I’m telling you now, I’m crazy about you. I was always yours y/n, always. You mean everything to me y/n and you know what? I love you. I love you so much y/n and I plan on loving you for a very long time. I’ve been thinking about this for a while now, I don’t care about the repercussions or what punishment I get for this, but please be my girlfriend. I’ll do anything to be yours completely.”

With the way he was looking at you, as if you were the one who set the entire universe in to the sky, you were putty in his hands. You never said it out loud, but this is what you’ve wanted from the time that Mark stumbled in to your life. Because you were afraid to come off too forward and selfish, you didn’t tell him that you’d daydream of the day he could finally be able to date you without having to worry about what people or say or do if and when they were to find out. You pulled him closer to your body and hid your face in the crook of his neck. Feeling his heartbeat against your chest made it harder for you to keep the growing smile on your face at bay. You really did love the beautiful boy in front of you.

“I love you too Mark. I’ve always had these feelings for you and I know they’re not going anywhere. You really are one of the best things that ever happened to me. I want nothing more than to take things further with you. It’s always been you too baby. I’m always going to be here for you.”

He stole a couple more kisses from the corner of your mouth before picking you up from off of the counter and throwing you over his shoulder. “Mark, what are you doing?!”

“You can’t look that amazing and not expect me to show you exactly what you do to me. I’m gonna make love to my beautiful baby.”

“Mark! At least take me to dinner first before getting in to my pants you ass.”

He playfully slapped your butt before making his way toward your room. “You know babe, our relationship was never normal to begin with so there’s no point in following the rules. I like living dangerously. Forget dinner y/n, I’m going straight for dessert.”

Oh, here I go down that road Again and again the fool rushin' in But I can't help when I feel some kind of way Do you feel the same? 'Cause And I fall, I fall for you You caught me at my weakest I fall, I fall for you You caught me at my weakest I fall for you

Love you gonna get hold on me Tell me what you gonna do to me Now you've gone and got your hands on me Tell me what you gonna doAnd here I go down that road Again and again the fool rushin' in But I can't help when I feel some kind of way Do you feel the same?'Cause I fall, I fall for you You caught me at my weakest Yeah, I fall, I fall for you You caught me at my weakest And I fall for you

#got7 imagines #got7 #mark tuan #mark tuan imagines #mark tuan fluff

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holyhellpod · 3 years

Photo

Holy Hell: 3. Metanarrativity: Who’s the Deleuze and who’s the Guattari in your relationship? aka the analysis no one asked for.

In this ep, we delve into authorship, narrative, fandom and narrative meaning. And somehow, as always, bring it back to Cas and Misha Collins.

(Note: the reason I didn’t talk about Billie’s authorship and library is because I completely forgot it existed until I watched season 13 “Advanced Thanatology” again, while waiting for this episode to upload. I’ll find a way to work her into later episodes tho!)

I had to upload it as a new podcast to Spotify so if you could just re-subscribe that would be great! Or listen to it at these other links.

Please listen to the bit at the beginning about monetisation and if you have any questions don’t hesitate to message me here.

Apple | Spotify | Google

Transcript under the cut!

Warnings: discussions of incest, date rape, rpf, war, 9/11, the bush administration, abuse, mental health, addiction, homelessness. Most of these are just one off comments, they’re not full discussions.

Meta-Textuality: Who’s the Deleuze and who’s the Guattari in your relationship?

In the third episode of Season 6, “The Third Man,” Balthazar says to Cas, “you tore up the whole script and burned the pages.” That is the fundamental idea the writers of the first five seasons were trying to sell us: whatever grand plan the biblical God had cooking up is worth nothing in face of the love these men have—for each other and the world. Sam, Bobby, Cas and Dean will go to any lengths to protect one another and keep people safe. What’s real? What’s worth saving? People are real. Families are worth saving.

This show plugs free will as the most important thing a person, angel, demon or otherwise can have. The fact of the matter is that Dean was always going to fight against the status quo, Sam was always going to go his own way, and Bobby was always going to do his best for his boys. The only uncertainty in the entire narrative is Cas. He was never meant to rebel. He was never meant to fall from Heaven. He was supposed to fall in line, be a good soldier, and help bring on the apocalypse, but Cas was the first agent of free will in the show’s timeline. Sam followed Lucifer, Dean followed Michael, and John gave himself up for the sins of his children, at once both a God and Jesus figure. But Cas wasn’t modelled off anyone else. He is original. There are definitely some parallels to Ruby, but I would argue those are largely unintentional. Cas broke the mold.

That’s to say nothing of the impact he’s had on the fanbase, and the show itself, which would not have reached 15 seasons and be able to end the way they wanted it to without Cas and Misha Collins. His back must be breaking from carrying the entire show.

But what the holy hell are we doing here today? Not just talking about Cas. We’re talking about metanarrativity: as I define it, and for purposes of this episode, the story within a story, and the act of storytelling. We’re going to go through a select few episodes which I think exemplify the best of what this show has to offer in terms of framing the narrative. We’ll talk about characters like Chuck and Becky and the baby dykes in season 10. And most importantly we’ll talk about the audience’s role, our role, in the reciprocal relationship of storytelling. After all, a tv show is nothing without the viewer.

I was in fact introduced to the concept of metanarrativity by Supernatural, so the fact that I’m revisiting it six years after I finished my degree to talk about the show is one of life’s little jokes.

I’m brushing off my degree and bringing out the big guns (aka literary theorists) to examine this concept. This will be yet another piece of analysis that would’ve gone well in my English Lit degree, but I’ll try not to make it dry as dog shit.

First off, I’m going to argue that the relationship between the creators of Supernatural and the fans has always been a dialogue, albeit with a power imbalance. Throughout the series, even before explicitly metanarrative episodes like season 10 “Fan Fiction” and season 4 “the monster at the end of this book,” the creators have always engaged in conversations with the fans through the show. This includes but is not limited to fan conventions, where the creators have actual, live conversations with the fans. Misha Collins admitted at a con that he’d read fanfiction of Cas while he was filming season 4, but it’s pretty clear even from the first season that the creators, at the very least Eric Kripke, were engaging with fans. The show aired around the same time as Twitter and Tumblr were created, both of which opened up new passageways for fans to interact with each other, and for Twitter and Facebook especially, new passageways for fans to interact with creators and celebrities.

But being the creators, they have ultimate control over what is written, filmed and aired, while we can only speculate and make our own transformative interpretations. But at least since s4, they have engaged in meta narrative construction that at once speaks to fans as well as expands the universe in fun and creative ways. My favourite episodes are the ones where we see the Winchesters through the lens of other characters, such as the season 3 episode “Jus In Bello,” in which Sam and Dean are arrested by Victor Henriksen, and the season 7 episode “Slash Fiction” in which Dean and Sam’s dopplegangers rob banks and kill a bunch of people, loathe as I am to admit that season 7 had an effect on any part of me except my upchuck reflex. My second favourite episodes are the meta episodes, and for this episode of Holy Hell, we’ll be discussing a few: The French Mistake, he Monster at the end of this book, the real ghostbusters, Fan Fiction, Metafiction, and Don’t Call Me Shurley. I’ll also discuss Becky more broadly, because, like, of course I’ll be discussing Becky, she died for our sins.

Let’s take it back. The Monster At The End Of This Book — written by Julie Siege and Nancy Weiner and directed by Mike Rohl. Inarguably one of the better episodes in the first five seasons. Not only is Cas in it, looking so beautiful, but Sam gets something to do, thank god, and it introduces the character of Chuck, who becomes a source of comic relief over the next two seasons. The episode starts with Chuck Shurley, pen named Carver Edlund after my besties, having a vision while passed out drunk. He dreams of Sam and Dean larping as Feds and finding a series of books based on their lives that Chuck has written. They eventually track Chuck down, interrogate him, and realise that he’s a prophet of the lord, tasked with writing the Winchester Gospels. The B plot is Sam plotting to kill Lilith while Dean fails to get them out of the town to escape her. The C plot is Dean and Cas having a moment that strengthens their friendship and leads further into Cas’s eventual disobedience for Dean. Like the movie Disobedience. Exactly like the movie Disobedience. Cas definitely spits in Dean’s mouth, it’s kinda gross to be honest. Maybe I’m just not allo enough to appreciate art.

When Eric Kripke was showrunner of the first five seasons of Supernatural, he conceptualised the character of Chuck. Kripke as the author-god introduced the character of the author-prophet who would later become in Jeremy Carver’s showrun seasons the biblical God. Judith May Fathallah writes in “I’m A God: The Author and the Writing Fan in Supernatural” that Kripke writes himself both into and out of the text, ending his era with Chuck winking at the camera, saying, “nothing really ends,” and disappearing. Kripke stayed on as producer, continuing to write episodes through Sera Gamble’s era, and was even inserted in text in the season 6 episode “The French Mistake”. So nothing really does end, not Kripke’s grip on the show he created, not even the show itself, which fans have jokingly referred to as continuing into its 16th season. Except we’re not joking. It will die when all of us are dead, when there is no one left to remember it. According to W R Fisher, humans are homo narrans, natural storytellers. The Supernatural fandom is telling a fidelitous narrative, one which matches our own beliefs, values and experiences instead of that of canon. Instead of, at Fathallah says, “the Greek tradition, that we should struggle to do the right thing simply because it is right, though we will suffer and be punished anyway,” the fans have created an ending for the characters that satisfies each and every one of our desires, because we each create our own endings. It’s better because we get to share them with each other, in the tradition of campfire stories, each telling our own version and building upon the others. If that’s not the epitome of mythmaking then I don’t know. It’s just great. Dean and Cas are married, Eileen and Sam are married, Jack is sometimes a baby who Claire and Kaia are forced to babysit, Jody and Donna are gonna get hitched soon. It’s season 17, time for many weddings, and Kevin Tran is alive. Kripke, you have no control over this anymore, you crusty hag.

Chuck is introduced as someone with power, but not influence over the story, only how the story is told through the medium of the novels. It’s basically a very badly written, non authorised biography, and Charlie reading literally every book and referencing things she should have no knowledge of is so damn creepy and funny. At first Chuck is surprised by his characters coming to life, despite having written it already, and when shown the intimidating array of weapons in Baby’s trunk he gets real scared. Which is the appropriate response for a skinny 5-foot-8 white guy in a bathrobe who writes terrible fantasy novels for a living.

As far as I can remember, this is the first explicitly metanarrative episode in the series, or at least the first one with in world consequences. It builds upon the lore of Christianity, angels, and God, while teasing what’s to come. Chuck and Sam have a conversation about how the rest of the season is going to play out, and Sam comes away with the impression that he’ll go down with the ship. They touch on Sam’s addiction to demon blood, which Chuck admits he didn’t write into the books, because in the world of supernatural, addiction should be demonised ha ha at every opportunity, except for Dean’s alcoholism which is cool and manly and should never be analysed as an unhealthy trauma coping mechanism.

Chuck is mostly impotent in the story of Sam and Dean, but his very presence presents an element of good luck that turns quickly into a force of antagonism in the series four finale, “Lucifer Rising”, when the archangel Raphael who defeats Lilith in this episode also kills Cas in the finale. It’s Cas’s quick thinking and Dean’s quick doing that resolve the episode and save them from Lilith, once again proving that free will is the greatest force in the universe. Cas is already tearing up pages and burning scripts. The fandom does the same, acting as gods of their own making in taking canon and transforming it into fan art. The fans aren’t impotent like Chuck, but neither do we have sway over the story in the way that Cas and Dean do. Sam isn’t interested in changing the story in the same way—he wants to kill Lilith and save the world, but in doing so continues the story in the way it was always supposed to go, the way the angels and the demons and even God wanted him to.

Neither of them are author-gods in the way that God is. We find out later that Chuck is in fact the real biblical god, and he engineers everything. The one thing he doesn’t engineer, however, is Castiel, and I’ll get to that in a minute.

The Real Ghostbusters

Season 5’s “The real ghostbusters,” written by Nancy Weiner and Erik Kripke, and directed by James L Conway, situates the Winchesters at a fan convention for the Supernatural books. While there, they are confronted by a slew of fans cosplaying as Sam, Dean, Bobby, the scarecrow, Azazel, and more. They happen to stumble upon a case, in the midst of the game where the fans pretend to be on a case, and with the help of two fans cosplaying as Sam and Dean, they put to rest a group of homicidal ghost children and save the day. Chuck as the special guest of the con has a hero moment that spurs Becky on to return his affections. And at the end, we learn that the Colt, which they’ve been hunting down to kill the devil, was given to a demon named Crowley. It’s a fun episode, but ultimately skippable. This episode isn’t so much metanarrative as it is metatextual—metatextual meaning more than one layer of text but not necessarily about the storytelling in those texts—but let’s take a look at it anyway.

The metanarrative element of a show about a series of books about the brothers the show is based on is dope and expands upon what we saw in “the monster at the end of this book”. But the episode tells a tale about about the show itself, and the fandom that surrounds it.

Where “The Monster At The End Of This Book” and the season 5 premiere “Sympathy For The Devil” poked at the coiled snake of fans and the concept of fandom, “the real ghostbusters” drags them into the harsh light of an enclosure and antagonises them in front of an audience. The metanarrative element revolves around not only the books themselves, but the stories concocted within the episode: namely Barnes and Demian the cosplayers and the story of the ghosts. The Winchester brothers’s history that we’ve seen throughout the first five seasons of the show is bared in a tongue in cheek way: while we cried with them when Sam and Dean fought with John, now the story is thrown out in such a way as to mock both the story and the fans’ relationship to it. Let me tell you, there is a lot to be made fun of on this show, but the fans’ relationship to the story of Sam, Dean and everyone they encounter along the way isn’t part of it. I don’t mean to be like, wow you can’t make fun of us ever because we’re special little snowflakes and we take everything so seriously, because you are welcome to make fun of us, but when the creators do it, I can’t help but notice a hint of malice. And I think that’s understandable in a way. Like The relationship between creator and fan is both layered and symbiotic. While Kripke and co no doubt owe the show’s popularity to the fans, especially as the fandom has grown and evolved over time, we’re not exactly free of sin. And don’t get me wrong, no fandom is. But the bad apples always seem to outweigh the good ones, and bad experiences can stick with us long past their due.

However, portraying us as losers with no lives who get too obsessed with this show — well, you know, actually, maybe they’re right. I am a loser with no life and I am too obsessed with this show. So maybe they have a point. But they’re so harsh about it. From wincestie Becky who they paint as a desperate shrew to these cosplayers who threaten Dean’s very perception of himself, we’re not painted in a very good light.

Dean says to Demian and Barnes, “It must be nice to get out of your mom’s basement.” He’s judging them for deriving pleasure from dressing up and pretending to be someone else for a night. He doesn’t seem to get the irony that he does that for a living. As the seasons wore on, the creators made sure to include episodes where Dean’s inner geek could run rampant, often in the form of dressing up like a cowboy, such as season six “Frontierland” and season 13 “Tombstone”. I had to take a break from writing this to laugh for five minutes because Dean is so funny. He’s a car gay but he only likes one car. He doesn’t follow sports. His echolalia causes him to blurt out lines from his favourite movies. He’s a posse magnet. And he loves cosplay. But he will continually degrade and insult anyone who expresses interest in role play, fandom, or interests in general. Maybe that’s why Sam is such a boring person, because Dean as his mother didn’t allow him to have any interests outside of hunting. And when Sam does express interests, Dean insults him too. What a dick. He’s my soulmate, but I am not going to stop listening to hair metal for him. That’s where I draw the line.

Where “the monster at the end of this book” is concerned with narrative and authorship, “the real ghostbusters” is concerned with fandom and fan reactions to the show. It’s not really the best example to talk about in an episode about metanarrativity, but I wanted to include it anyway. It veers from talk of narrative by focusing on the people in the periphery of the narrative—the fans and the author. In season 9 “Metafiction,” Metatron asks the question, who gives the story meaning? The text would have you believe it’s the characters. The angels think it’s God. The fandom think it’s us. The creators think it’s them. Perhaps we will never come to a consensus or even a satisfactory answer to this question. Perhaps that’s the point.

The ultimate takeaway from this episode is that ordinary people, the people Sam and Dean save, the people they save the world for, the people they die for again and again, are what give their story meaning. Chuck defeats a ghost and saves the people in the conference room from being murdered. Demian and Barnes, don’t ask me which is which, burn the bodies of the ghost children and lay their spirits to rest. The text says that ordinary, every day people can rise to the challenge of becoming extraordinary. It’s not a bad note to end on, by any means. And then we find out that Demian and Barnes are a couple, which of course Dean is surprised at, because he lacks object permanence.

This is no doubt influenced by how a good portion of the transformative fandom are queer, and also a nod to the wincesties and RPF writers like Becky who continue to bottom feed off the wrong message of this show. But then, the creators encourage that sort of thing, so who are the real clowns here? Everyone. Everyone involved with this show in any way is a clown, except for the crew, who were able to feed their families for more than a decade.

Okay side note… over the past year or so I’ve been in process of realising that even in fandom queers are in the minority. I know the statistic is that 10% of the world population is queer, but that doesn’t seem right to me? Maybe because 4/5 closest friends are queer and I hang around queers online, but I also think I lack object permanence when it comes to straight people. Like I just do not interact with straight people on a regular basis outside of my best friend and parents and school. So when I hear that someone in fandom is straight I’m like, what the fuck… can you keep that to yourself please? Like if I saw Misha Collins coming out as straight I would be like, I didn’t ask and you didn’t have to tell. Okay I’m mostly joking, but I do forget straight people exist. Mostly I don’t think about whether people are gay or trans or cis or straight unless they’ve explicitly said it and then yes it does colour my perception of them, because of course it would. If they’re part of the queer community, they’re my people. And if they’re straight and cis, then they could very well pose a threat to me and my wellbeing. But I never ask people because it’s not my business to ask. If they feel comfortable enough to tell me, that’s awesome. I think Dean feels the same way. Towards the later seasons at least, he has a good reaction when it’s revealed that someone is queer, even if it is mostly played off as a joke. It’s just that he doesn’t have a frame of reference in his own life to having a gay relationship, either his or someone he’s close to. He says to Cesar and Jesse in season 11 “The Critters” that they fight like brothers, because that’s the only way he knows how to conceptualise it. He doesn’t have a way to categorise his and Cas’s relationship, which is in many ways, long before season 15 “Despair,” harking back even to the parallels between Ruby and Cas in season 3 and 4, a romantic one, aside from that Cas is like a brother to him. Because he’s never had anyone in his life care for him the way Cas does that wasn’t Sam and Bobby, and he doesn’t recognise the romantic element of their relationship until literally Cas says it to him in the third last episode, he just—doesn’t know what his and Cas’s relationship is. He just really doesn’t know. And he grew up with a father who despised him for taking the mom and wife role in their family, the role that John placed him in, for being subservient to John’s wishes where Sam was more rebellious, so of course he wouldn’t understand either his own desires or those of anyone around him who isn’t explicitly shoving their tits in his face. He moulded his entire personality around what he thought John wanted of him, and John says to him explicitly in season 14 “Lebanon”, “I thought you’d have a family,” meaning, like him, wife and two rugrats. And then, dear god, Dean says, thinking of Sam, Cas, Jack, Claire, and Mary, “I have a family.” God that hurts so much. But since for most of his life he hasn’t been himself, he’s been the man he thought his father wanted him to be, he’s never been able to examine his own desires, wants and goals. So even though he’s really good at reading people, he is not good at reading other people’s desires unless they have nefarious intentions. Because he doesn’t recognise what he feels is attraction to men, he doesn’t recognise that in anyone else.

Okay that’s completely off topic, wow. Getting back to metanarrativity in “The Real Ghostbusters,” I’ll just cap it off by saying that the books in this episode are more a frame for the events than the events themselves. However, there are some good outtakes where Chuck answers some questions, and I’m not sure how much of that is scripted and how much is Rob Benedict just going for it, but it lends another element to the idea of Kripke as author-god. The idea of a fan convention is really cool, because at this point Supernatural conventions had been running for about 4 years, since 2006. It’s definitely a tribute to the fans, but also to their own self importance. So it’s a mixed bag, considering there were plenty of elements in there that show the good side of fandom and fans, but ultimately the Winchesters want nothing to do with it, consider it weird, and threaten Chuck when he says he’ll start releasing books again, which as far as they know is his only source of income. But it’s a fun episode and Dean is a grouchy bitch, so who the holy hell cares?

Season 10 episode “fanfiction” written by my close personal friend Robbie Thompson and directed by Phil Sgriccia is one of the funniest episodes this show has ever done. Not only is it full of metatextual and metanarrative jokes, the entire premise revolves around fanservice, but in like a fun and interesting way, not fanservice like killing the band Kansas so that Dean can listen to “Carry On My Wayward Son” in heaven twice. Twice. One version after another. Like I would watch this musical seven times in theatre, I would buy the soundtrack, I would listen to it on repeat and make all my friends listen to it when they attend my online Jitsi birthday party. This musical is my Hamilton. Top ten episodes of this show for sure. The only way it could be better is if Cas was there. And he deserved to be there. He deserved to watch little dyke Castiel make out with her girlfriend with her cute little wings, after which he and Dean share uncomfortable eye contact. Dean himself is forever coming to terms with the fact that gay people exist, but Cas should get every opportunity he can to hear that it’s super cool and great and awesome to be queer. But really he should be in every episode, all of them, all 300 plus episodes including the ones before angels were introduced. I’m going to commission the guy who edits Paddington into every movie to superimpose Cas standing on the highway into every episode at least once.

“Fan Fiction” starts with a tv script and the words “Supernatural pilot created by Eric Kripke”. This Immediately sets up the idea that it’s toying with narrative. Blah blah blah, some people go missing, they stumble into a scene from their worst nightmares: the school is putting on a musical production of a show inspired by the Supernatural books. It’s a comedy of errors. When people continue to go missing, Sam and Dean have to convince the girls that something supernatural is happening, while retaining their dignity and respect. They reveal that they are the real Sam and Dean, and Dean gives the director Marie a summary of their lives over the last five seasons, but they aren’t taken seriously. Because, like, of course they aren’t. Even when the girls realise that something supernatural is happening, they don’t actually believe that the musical they’ve made and the series of books they’re basing it on are real. Despite how Sam and Dean Winchester were literal fugitives for many years at many different times, and this was on the news, and they were wanted by the FBI, despite how they pretend to be FBI, and no one mentions it??? Did any of the staffwriters do the required reading or just do what I used to do for my 40 plus page readings of Baudrillard and just skim the first sentence of every paragraph? Neat hack for you: paragraphs are set up in a logical order of Topic, Example, Elaboration, Linking sentence. Do you have to read 60 pages of some crusty French dude waxing poetic about how his best friend Pierre wants to shag his wife and making that your problem? Read the first and last sentence of every paragraph. Boom, done. Just cut your work in half.

The musical highlights a lot of the important moments of the show so far. The brothers have, as Charlie Bradbury says, their “broment,” and as Marie says, their “boy melodrama scene,” while she insinuates that there is a sexual element to their relationship. This show never passed up an opportunity to mention incest. It’s like: mentioning incest 5000 km, not being disgusting 1 km, what a hard decision. Actually, they do have to walk on their knees for 100 miles through the desert repenting. But there are other moments—such as Mary burning on the ceiling, a classic, Castiel waiting for Dean at the side of the highway, and Azazel poisoning Sam. With the help of the high schoolers, Sam and Dean overcome Calliope, the muse and bad guy of the episode, and save the day. What began as their lives reinterpreted and told back to them turns into a story they have some agency over.

In this episode, as opposed to “The Monster At The End Of This Book,” The storytelling has transferred from an alcoholic in a bathrobe into the hands of an overbearing and overachieving teenage girl, and honestly why not. Transformative fiction is by and large run by women, and queer women, so Marie and her stage manager slash Jody Mills’s understudy Maeve are just following in the footsteps of legends. This kind of really succinctly summarises the difference between curative fandom and transformative fandom, the former of which is populated mostly by men, and the latter mostly by women. As defined by LordByronic in 2015, Curative fandom is more like enjoying the text, collecting the merchandise, organising the knowledge — basically Reddit in terms of fandom curation. Transformative fandom is transforming the source text in some way — making fanart, fanfic, mvs, or a musical — basically Tumblr in general, and Archive of our own specifically. Like what do non fandom people even do on Tumblr? It is a complete mystery to me. Whereas Chuck literally writes himself into the narrative he receives through visions, Marie and co have agency and control over the narrative by writing it themselves.

Chuck does appear in the episode towards the end, his first appearance after five seasons. The theory that he killed those lesbian theatre girls makes me wanna curl up and die, so I don’t subscribe to it. Chuck watched the musical and he liked it and he gave unwarranted notes and then he left, the end.

The Supernatural creative team is explicitly acknowledging the fandom’s efforts by making this episode. They’re writing us in again, with more obsessive fans, but with lethbians this time, which makes it infinitely better. And instead of showing us as potential date rapists, we’re just cool chicks who like to make art. And that’s fucken awesome.

I just have to note that the characters literally say the word Destiel after Dean sees the actors playing Dean and Cas making out. He storms off and tells Sam to shut the fuck up when Sam makes fun of him, because Dean’s sexuality is NOT threatened he just needs to assert his dominance as a straight hetero man who has NEVER looked at another man’s lips and licked his own. He just… forgets that gay people exist until someone reminds him. BUT THEN, after a rousing speech that is stolen from Rent or Wicked or something, he echoes Marie’s words back, saying “put as much sub into that text as you possibly can.” What does Dean know about subbing, I wonder. Okay I’m suddenly reminded that he did literally go to a kink bar and get hit on by a leather daddy. Oh Dean, the experiences you have as a broad-shouldered, pixie-faced man with cowboy legs. You were born for this role.

Metatron is my favourite villain. As one tumblr user pointed out, he is an evil English literature major, which is just a normal English literature major. The season nine episode “Meta Fiction” written by my main man robbie thompson and directed by thomas j wright, happens within a curious season. Castiel, once again, becomes the leader of a portion of the heavenly host to take down Metatron, and Dean is affected by the Mark Of Cain. Sam was recently possessed by Gadreel, who killed Kevin in Sam’s body and then decided to run off with Metatron. Metatron himself is recruiting angels to join him, in the hopes that he can become the new God. It’s the first introduction of Hannah, who encourages Cas to recruit angels himself to take on Metatron. Also, we get to see Gabriel again, who is always a delight.

This episode is a lot of fun. Metatron poses questions like, who tells a story and who is the most important person in the telling? Is it the writer? The audience? He starts off staring over his typewriter to address the camera, like a pompous dickhead. No longer content with consuming stories, he’s started to write his own. And they are hubristic ones about becoming God, a better god than Chuck ever was, but to do it he needs to kill a bunch of people and blame it on Cas. So really, he’s actually exactly like Chuck who blamed everything on Lucifer.

But I think the most apt analogy we can use for this in terms of who is the creator is to think of Metatron as a fanfiction writer. He consumes the media—the Winchester Gospels—and starts to write his own version of events—leading an army to become God and kill Cas. Nevermind that no one has been able to kill Cas in a way that matters or a way that sticks. Which is canon, and what Metatron is trying to do is—well not fanon because it actually does impact the Winchesters’ storyline. It would be like if one of the writers of Supernatural began writing Supernatural fanfiction before they got a job on the show. Which as my generation and the generations coming after me get more comfortable with fanfiction and fandom, is going to be the case for a lot of shows. I think it’s already the case for Riverdale. Correct me if I’m wrong, but didn’t the woman who wrote the bi Dean essay go to work on Riverdale? Or something? I dunno, I have the post saved in my tumblr likes but that is quagmire of epic proportions that I will easily get lost in if I try to find it.

Okay let me flex my literary degree. As Englund and Leach say in “Ethnography and the metanarratives of modernity,” “The influential “literary turn,” in which the problems of ethnography were seen as largely textual and their solutions as lying in experimental writing seems to have lost its impetus.” This can be taken to mean, in the context of Supernatural, that while Metatron’s writings seek to forge a new path in history, forgoing fate for a new kind of divine intervention, the problem with Metatron is that he’s too caught up in the textual, too caught up in the writing, to be effectual. And this as we see throughout seasons 9, 10 and 11, has no lasting effect. Cas gets his grace back, Dean survives, and Metatron becomes a powerless human. In this case, the impetus is his grace, which he loses when Cas cuts it out of him, a mirror to Metatron cutting out Cas’s grace.

However, I realise that the concept of ethnography in Supernatural is a flawed one, ethnography being the observation of another culture: a lot of the angels observe humanity and seem to fit in. However, Cas has to slowly acclimatise to the Winchesters as they tame him, but he never quite fit in—missing cues, not understanding jokes or Dean’s personal space, the scene where he says, “We have a guinea pig? Where?” Show him the guinea pig Sam!!! He wants to see it!!! At most he passes as a human with autism. Cas doesn’t really observe humanity—he observes nature, as seen in season 7 “reading is fundamental” and “survival of the fittest”. Even the human acts he talks about in season 6 “the man who would be king” are from hundreds or thousands of years ago. He certainly doesn’t observe popular culture, which puts him at odds with Dean, who is made up of 90 per cent pop culture references and 10 per cent flannel. Metatron doesn’t seek to blend in with humanity so much as control it, which actually is the most apt example of ethnography for white people in the last—you know, forever. But of course the writers didn’t seek to make this analogy. It is purely by chance, and maybe I’m the only person insane enough to realise it. But probably not. There are a lot of cookies much smarter than me in the Supernatural fandom and they’ve like me have grown up and gone to university and gotten real jobs in the real world and real haircuts. I’m probably the only person to apply Englund and Leach to it though.

And yes, as I read this paper I did need to have one tab open on Google, with the word “define” in the search bar.

Metatron has a few lines in this that I really like. He says:

“The universe is made up of stories, not atoms.”

“You’re going to have to follow my script.”

“I’m an entity of my word.”

It’s really obvious, but they’re pushing the idea that Metatron has become an agent of authorship instead of just a consumer of media. He even throws a Supernatural book into his fire — a symbolic act of burning the script and flipping the writer off, much like Cas did to God and the angels in season 5. He’s not a Kripke figure so much as maybe a Gamble, Carver or Dabb figure, in that he usurps Chuck and becomes the author-god. This would be extremely postmodern of him if he didn’t just do exactly what Chuck was doing, except worse somehow. In fact, it’s postmodern of Cas to reject heaven’s narrative and fall for Dean. As one tumblr user points out, Cas really said “What’s fate compared to Dean Winchester?”

Okay this transcript is almost 8000 words already, and I still have two more episodes to review, and more things to say, so I’ll leave you with this. Metatron says to Cas, “Out of all of God’s wind up toys, you’re the only one with any spunk.” Why Cas has captured his attention comes down more than anything to a process of elimination. Most angels fucking suck. They follow the rules of whoever puts themselves in charge, and they either love Cas or hate him, or just plainly wanna fuck him, and there have been few angels who stood out. Balthazar was awesome, even though I hated him the first time I watched season 6. He UNSUNK the Titanic. Legend status. And Gabriel was of course the OG who loves to fuck shit up. But they’re gone at this stage in the narrative, and Cas survives. Cas always survives. He does have spunk. And everyone wants to fuck him.

Season 11 episode 20 “Don’t Call Me Shurley,” the last episode written by the Christ like figure of Robbie Thompson — are we sensing a theme here? — and directed by my divine enemy Robert Singer, starts with Metatron dumpster diving for food. I’m not even going to bother commenting on this because like… it’s supernatural and it treats complex issues like homelessness and poverty with zero nuance. Like the Winchesters live in poverty but it’s fun and cool because they always scrape by but Metatron lives in poverty and it’s funny. Cas was homeless and it was hard but he needed to do it to atone for his sins, and Metatron is homeless and it’s funny because he brought it on himself by being a murderous dick. Fucking hell. Robbie, come on. The plot focuses on God, also known as Chuck Shurley, making himself known to Metatron and asking for Metatron’s opinion on his memoir. Meanwhile, the Winchesters battle another bout of infectious serial killer fog sent by Amara. At the end of the episode, Chuck heals everyone affected by the fog and reveals himself to Sam and Dean.

Chuck says that he didn’t foresee Metatron trying to become god, but the idea of Season 15 is that Chuck has been writing the Winchesters’ story all their lives. When Metatron tries, he fails miserably, is locked up in prison, tortured by Dean, then rendered useless as a human and thrown into the world without a safety net. His authorship is reduced to nothing, and he is reduced to dumpster diving for food. He does actually attempt to live his life as someone who records tragedies as they happen and sells the footage to news stations, which is honestly hilarious and amazing and completely unsurprising because Metatron is, at the heart of it, an English Literature major. In true bastard style, he insults Chuck’s work and complains about the bar, but slips into his old role of editor when Chuck asks him to.

The theory I’m consulting for this uses the term metanarrative in a different way than I am. They consider it an overarching narrative, a grand narrative like religion. Chuck’s biography is in a sense most loyal to Middleton and Walsh’s view of metanarrative: “the universal story of the world from arche to telos, a grand narrative encompassing world history from beginning to end.” Except instead of world history, it’s God’s history, and since God is construed in Supernatural as just some guy with some powers who is as fallible as the next some guy with some powers, his story has biases and agendas. Okay so in the analysis I’m getting Middleton and Walsh’s quotes from, James K A Smith’s “A little story about metanarratives,” Smith dunks on them pretty bad, but for Supernatural purposes their words ring true. Think of them as the BuckLeming of Lyotard’s postmodern metanarrative analysis: a stopped clock right twice a day. Is anyone except me understanding the sequence of words I’m saying right now. Do I just have the most specific case of brain worms ever found in human history. I’m currently wearing my oversized Keith Haring shirt and dipping pretzels into peanut butter because it’s 3.18 in the morning and the homosexuals got to me. The total claims a comprehensive metanarrative of world history make do indeed, as Middleton and Walsh claim, lead to violence, stay with me here, because Chuck’s legacy is violence, and so is Metatron’s, and in trying to reject the metanarrative, Sam and Dean enact violence. Mostly Dean, because in season 15 he sacrifices his own son twice to defeat Chuck. But that means literally fighting violence with violence. Violence is, after all, all they know. Violence is the lens through which they interact with the world. If the writers wanted to do literally anything else, they could have continued Dean’s natural character progression into someone who eschews the violence that stems from intergeneration trauma — yes I will continue to use the phrase intergenerational trauma whenever I refer to Dean — and becomes a loving father and husband. Sam could eschew violence and start a monster rehabilitation centre with Eileen.

This episode of Holy Hell is me frantically grabbing at straws to make sense of a narrative that actively hates me and wants to kick me to death. But the violence Sam and Dean enact is not at a metanarrative level, because they are not author-gods of their own narrative. In season 15 “Atomic Monsters,” Becky points out that the ending of the Supernatural book series is bad because the brothers die, and then, in a shocking twist of fate, Dean does die, and the narrative is bad. The writers set themselves a goal post to kick through and instead just slammed their heat into the bars. They set up the dartboard and were like, let’s aim the darts at ourselves. Wouldn’t that be fun. Season 15’s writing is so grossly incompetent that I believe every single conspiracy theory that’s come out of the finale since November, because it’s so much more compelling than whatever the fuck happened on the road so far. Carry on? Why yes, I think I will carry on, carry on like a pork chop, screaming at the bars of my enclosure until I crack my voice open like an egg and spill out all my rage and frustration. The world will never know peace again. It’s now 3.29 and I’ve written over 9000 words of this transcript. And I’m not done.

Middleton and Walsh claim that metanarratives are merely social constructions masquerading as universal truths. Which is, exactly, Supernatural. The creators have constructed this elaborate web of narrative that they want to sell us as the be all and end all. They won’t let the actors discuss how they really feel about the finale. They won’t let Misha Collins talk about Destiel. They want us to believe it was good, actually, that Dean, a recovering alcoholic with a 30 year old infant son and a husband who loves him, deserved to die by getting NAILED, while Sam, who spent the last four seasons, the entirety of Andrew Dabb’s run as showrunner, excelling at creating a hunter network and romancing both the queen of hell and his deaf hunter girlfriend, should have lived a normie life with a normie faceless wife. Am I done? Not even close. I started this episode and I’m going to finish it.

When we find out that Chuck is God in the episode of season 11, it turns everything we knew about Chuck on its head. We find out in Season 15 that Chuck has been writing the Winchesters’ story all along, that everything that happened to them is his doing. The one thing he couldn’t control was Cas’s choice to rebel. If we take him at his word, Cas is the only true force of free will in the entire universe, and more specifically, the love that Cas had for Dean which caused him to rebel and fall from heaven. — This theory has holes of course. Why would Lucifer torture Lilith into becoming the first demon if he didn’t have free will? Did Chuck make him do that? And why? So that Chuck could be the hero and Lucifer the bad guy, like Lucifer claimed all along? That’s to say nothing of Adam and Eve, both characters the show introduced in different ways, one as an antagonist and the other as the narrative foil to Dean and Cas’s romance. Thinking about it makes my head hurt, so I’m just not gunna.

So Chuck was doing the writing all along. And as Becky claims in “Atomic Monsters,” it’s bad writing. The writers explicitly said, the ending Chuck wrote is bad because there’s no Cas and everyone dies, and then they wrote an ending where there is no Cas and everyone dies. So talk about self-fulfilling prophecies. Talk about giant craters in the earth you could see from 800 kilometres away but you still fell into. Meanwhile fan writers have the opportunity to write a million different endings, all of which satisfy at least one person. The fandom is a hydra, prolific and unstoppable, and we’ll keep rewriting the ending a million more times.

And all this is not even talking about the fact that Chuck is a man, Metatron is a man, Sam and Dean and Cas are men, and the writers and directors of the show are, by an overwhelming majority, men. Most of them are white, straight, cis men. Feminist scholarship has done a lot to unpack the damage done by paternalistic approaches to theory, sociology, ethnography, all the -ys, but I propose we go a step further with these men. Kill them. Metanarratively, of course. Amara, the Darkness, God’s sister, had a chance to write her own story without Chuck, after killing everything in the universe, and I think she had the right idea. Knock it all down to build it from the ground up. Billie also had the opportunity to write a narrative, but her folly was, of course, putting any kind of faith in the Winchesters who are also grossly incompetent and often fail up. She is, as all author-gods on this show are, undone by Castiel. The only one with any spunk, the only one who exists outside of his own narrative confines, the only one the author-gods don’t have any control over. The one who died for love, and in dying, gave life.

The French Mistake

Let’s change the channel. Let’s calm ourselves and cleanse our libras. Let’s commune with nature and chug some sage bongs.

“The French Mistake” is a song from the Mel Brooks film Blazing Saddles. In the iconic second last scene of the film, as the cowboys fight amongst themselves, the camera pans back to reveal a studio lot and a door through which a chorus of gay dancersingers perform “the French Mistake”. The lyrics go, “Throw out your hands, stick out your tush, hands on your hips, give ‘em a push. You’ll be surprised you’re doing the French Mistake.”

I’m not sure what went through the heads of the Supernatural creators when they came up with the season 6 episode, “The French Mistake,” written by the love of my life Ben Edlund and directed by some guy Charles Beeson. Just reading the Wikipedia summary is so batshit incomprehensible. In short: Balthazar sends Sam and Dean to an alternate universe where they are the actors Jared Padalecki and Jensen Ackles, who play Sam and Dean on the tv show Supernatural. I don’t think this had ever been done in television history before. The first seven seasons of this show are certifiable. Like this was ten years ago. Think about the things that have happened in the last 10 slutty, slutty years. We have lived through atrocities and upheaval and the entire world stopping to mourn, but also we had twitter throughout that entire time, which makes it infinitely worse.

In this universe, Sam and Dean wear makeup, Cas is played by attractive crying man Misha Collins, and Genevieve Padalecki nee Cortese makes an appearance. Magic doesn’t exist, Serge has good ideas, and the two leads have to act in order to get through the day. Sorry man I do not know how to pronounce your name.

Sidenote: I don’t know if me being attracted aesthetically to Misha Collins is because he’s attractive, because this show has gaslighted me into thinking he’s attractive, or because Castiel’s iconic entrance in 2008 hit my developing mind like a torpedo full of spaghetti and blew my fucking brains all over the place. It’s one of life’s little mysteries and God’s little gifts.

Let’s talk about therapy. More specifically, “Agency and purpose in narrative therapy: questioning the postmodern rejection of metanarrative” by Cameron Lee. In this paper, Lee outlines four key ideas as proposed by Freedman and Combs:

Realities are socially constructed

Realities are constituted through language

Realities are organised and maintained through narrative

And there are no essential truths.

Let’s break this down in the case of this episode. Realities are socially constructed: the reality of Sam and Dean arose from the Bush era. Do I even need to elaborate? From what I understand with my limited Australian perception, and being a child at the time, 9/11 really was a prominent shifting point in the last twenty years. As Americans describe it, sometimes jokingly, it was the last time they were really truly innocent. That means to me that until they saw the repercussions of their government’s actions in funding turf wars throughout the middle east for a good chunk of the 20th Century, they allowed themselves to be hindered by their own ignorance. The threat of terrorism ran rampant throughout the States, spurred on by right wing nationalists and gun-toting NRA supporters, so it’s really no surprise that the show Supernatural started with the premise of killing everything in sight and driving around with only your closest kin and a trunk full of guns. Kripke constructed that reality from the social-political climate of the time, and it has wrought untold horrors on the minds of lesbians who lived through the noughties, in that we are now attracted to Misha Collins.

Number two: Realities are constituted through language. Before a show can become a show, it needs to be a script. It’s written down, typed up, and given to actors who say the lines out loud. In this respect, they are using the language of speech and words to convey meaning. But tv shows are not all about words, and they’re barely about scripts. From what I understand of being raised by television, they are about action, visuals, imagery, and behaviours. All of the work that goes into them—the scripts, the lighting, the audio, the sound mixing, the cameras, the extras, the ADs, the gaffing, the props, the stunts, everything—is about conveying a story through the medium of images. In that way, images are the language. The reality of the show Supernatural, inside the show Supernatural, is constituted through words: the script, the journalists talking to Sam, the makeup artist taking off Dean’s makeup, the conversations between the creators, the tweets Misha sends. But also through imagery: the fish tank in Jensen’s trailer, the model poses on the front cover of the magazine, the opulence of Jared’s house, Misha’s iconic sweater. Words and images are the language that constitutes both of these realities. Okay for real, I feel like I’ve only seen this episode max three times, including when I watched it for research for this episode, but I remember so much about it.

Number three: realities are organised and maintained through narrative. In this universe of the French Mistake, their lives are structured around two narratives: the internal narrative of the show within the show, in which they are two actors on a tv set; and the episode narrative in which they need to keep the key safe and return to their own universe. This is made difficult by the revelation that magic doesn’t work in this universe, however, they find a way. Before they can get back, though, an avenging angel by the name of Virgil guns down author-god Eric Kripke and tries to kill the Winchesters. However, they are saved by Balthazar and the freeze frame and brought back into their own world, the world of Supernatural the show, not Supernatural the show within the show within the nesting doll. And then that reality is done with, never to be revisited or even mentioned, but with an impact that has lasted longer than the second Bush administration.

And number four: there are no essential truths. This one is a bit tricky because I can’t find what Lee means by essential truths, so I’m just going to interpret that. To me, essential truths means what lies beneath the narratives we tell ourselves. Supernatural was a show that ran for 15 years. Supernatural had actors. Supernatural was showrun by four different writers. In the show within a show, there is nothing, because that ceases to exist for longer than the forty two minute episode “The French Mistake”. And since Supernatural no longer exists except in our computers, it is nothing too. It is only the narratives we tell ourselves to sleep better at night, to wake up in the morning with a smile, to get through the day, to connect with other people, to understand ourselves better. It’s not even the narrative that the showrunners told, because they have no agency over it as soon as it shows up on our screens. The essential truth of the show is lost in the translation from creating to consuming. Who gives the story meaning? The people watching it and the people creating it. We all do.

Lee says that humans are predisposed to construct narratives in order to make sense of the world. We see this in cultures from all over the world: from cave paintings to vases, from The Dreaming to Beowulf, humans have always constructed stories. The way you think about yourself is a story that you’ve constructed. The way you interact with your loved ones and the furries you rightfully cyberbully on Twitter is influenced by the narratives you tell yourself about them. And these narratives are intricate, expansive, personalised, and can colour our perceptions completely, so that we turn into a different person when we interact with one person as opposed to another.

Whatever happened in season 6, most of which I want to forget, doesn’t interest me in the way I’m telling myself the writers intended. For me, the entirety of season 6 was based around the premise of Cas being in love with Dean, and the complete impotence of this love. He turns up when Dean calls, he agonises as he watches Dean rake leaves and live his apple pie life with Lisa, and Dean is the person he feels most horribly about betraying. He says, verbatim, to Sam, “Dean and I do share a more profound bond.” And Balthazar says, “You’re confusing me with the other angel, the one in the dirty trenchcoat who’s in love with you.” He says this in season 6, and we couldn’t do a fucken thing about it.

The song “The French Mistake” shines a light on the hidden scene of gay men performing a gay narrative, in the midst of a scene about the manliest profession you can have: professional horse wrangler, poncho wearer, and rodeo meister, the cowboy. If this isn’t a perfect encapsulation of the lovestory between Dean and Cas, which Ben Edlund has been championing from day fucking one of Misha Collins walking onto that set with his sex hair and chapped lips, then I don’t know what the fuck we’re even doing here. What in the hell else could it possibly mean. The layers to this. The intricacy. The agendas. The subtextual AND blatant queerness. The micro aggressions Crowley aimed at Car in “The Man Who Would Be King,” another Bedlund special. Bed Edlund is a fucking genius. Bed Edlund is cool girl. Ben Edlund is the missing link. Bed Edlund IS wikileaks. Ben Edlund is a cool breeze on a humid summer day. Ben Edlund is the stop loading button on a browser tab. Ben Edlund is the perfect cross between Spotify and Apple Music, in which you can search for good playlists, but without having to be on Spotify. He can take my keys and fuck my wife. You best believe I’m doing an entire episode of Holy Hell on Bedlund’s top five. He is the reason I want to get into staffwriting on a tv show. I saw season 4 episode “On the head of a pin” when my brain was still torpedoed spaghetti mush from the premiere, and it nestled its way deep into my exposed bones, so that when I finally recovered from that, I was a changed person. My god, this transcript is 11,000 words, and I haven’t even finished the Becky section. Which is a good transition.

Oh, Becky. She is an incarnation of how the writers, or at least Kripke, view the fans. Watching season 5 “Sympathy for the Devil” live in 2009 was a whole fucking trip that I as a baby gay was not prepared for. Figuring out my sexuality was a journey that started with the Supernatural fandom and is in some aspects still raging against the dying of the light today. Add to that, this conception of the audience was this, like, personification of the librarian cellist from Juno, but also completely without boundaries, common sense, or shame. It made me wonder about my position in the narrative as a consumer consuming. Is that how Kripke saw me, specifically? Was I like Becky? Did my forays into DeanCasNatural on El Jay dot com make me a fucking loser whose only claim to fame is writing some nasty fanfiction that I’ve since deleted all traces of? Don’t get me wrong, me and my unhinged Casgirl friends loved Becky. I can’t remember if I ever wrote any fanfiction with her in it because I was mostly writing smut, which is extremely Becky coded of me, but I read some and my friends and I would always chat about her when she came up. She was great entertainment value before season 7. But in the eyes of the powers that be, Becky, like the fans themselves, are expendable. First they turned her into a desperate bride wannabe who drugs Sam so that he’ll be with her, then Chuck waves his hand and she disappears. We’re seeing now with regards to Destiel, Cas, and Misha Collins this erasure of them from the narrative. Becky says in season 15 “Atomic Monsters” that the ending Chuck writes is bad because, for one, there’s no Cas, and that’s exactly what’s happening to the text post-finale. It literally makes me insane akin to the throes of mania to think about the layers of this. They literally said, “No Cas = bad” and now Misha isn’t even allowed to talk in his Cassona voice—at least at the time I wrote that—to the detriment of the fans who care about him. It’s the same shit over and over. They introduce something we like, they realise they have no control over how much we like it, and then they pretend they never introduced it in the first place. Season 7, my god. The only reason Gamble brought back Cas was because the ratings were tanking the show. I didn’t even bother watching most of it live, and would just hear from my friends whether Cas was in the episodes or not. And then Sera, dear Sera, had the gall to say it was a Homer’s Odyssey narrative. I’m rusty on Homer aka I’ve never read it but apparently Odysseus goes away, ends up with a wife on an island somewhere, and then comes back to Terabithia like it never happened. How convenient. But since Sera Gamble loves to bury her gays, we can all guess why Cas was written out of the show: Cas being gay is a threat to the toxic heteronormativity spouted by both the show and the characters themselves. In season 15, after Becky gets her life together, has kids, gets married, and starts a business, she is outgrowing the narrative and Chuck kills her. The fans got Destiel Wedding trending on Twitter, and now the creators are acting like he doesn’t exist. New liver, same eagles.

I have to add an adendum: as of this morning, Sunday 11th, don’t ask me what time that is in Americaland, Misha Collins did an online con/Q&A thing and answered a bunch of questions about Cas and Dean, which goes to show that he cannot be silenced. So the narrative wants to be told. It’s continuing well into it’s 16th or 17th season. It’s going to keep happening and they have no recourse to stop it. So fuck you, Supernatural.

I did write the start of a speech about representation but, who the holy hell cares. I also read some disappointing Masters theses that I hope didn’t take them longer to research and write than this episode of a podcast I’m making for funsies took me, considering it’s the same number of pages. Then again I have the last four months and another 8 years of fandom fuelling my obsession, and when I don’t sleep I write, hence the 4,000 words I knocked out in the last 12 hours.

Some final words. Lyotard defines postmodernism, the age we live in, as an incredulity towards metanarratives. Modernism was obsessed with order and meaning, but postmodernism seeks to disrupt that. Modernists lived within the frame of the narrative of their society, but postmodernists seek to destroy the frame and live within our own self-written contexts. Okay I love postmodernist theory so this has been a real treat for me. Yoghurt, Sam? Postmodernist theory? Could I BE more gay?

Middleton and Walsh in their analysis of postmodernism claim that biblical faith is grounded in metanarrative, and explore how this intersects with an era that rejects metanarrative. This is one of the fundamental ideas Supernatural is getting at throughout definitely the last season, but other seasons as well. The narratives of Good vs Evil, Michael vs Lucifer, Dean vs Sam, were encoded into the overarching story of the show from season 1, and since then Sam and Dean have sought to break free of them. Sam broke free of John’s narrative, which was the hunting life, and revenge, and this moralistic machismo that they wrapped themselves up in. If they’re killing the evil, then they’re not the evil. That’s the story they told, and the impetus of the show that Sam was sucked back into. But this thread unravelled in later seasons when Dean became friends with Benny and the idea that all supernatural creatures are inherently evil unravelled as well. While they never completely broke free of John’s hold over them, welcoming Jack into their lives meant confronting a bias that had been ingrained in them since Dean was 4 years old and Sam 6 months. In the face of the question, “are all monsters monstrous?” the narrative loosens its control. Even by questioning it, it throws into doubt the overarching narrative of John’s plan, which is usurped at the end of season 2 when they kill Azazel by Dean’s demon deal and a new narrative unfolds. John as author-god is usurped by the actual God in season 4, who has his own narrative that controls the lives of Sam, Dean and Cas.

Okay like for real, I do actually think the metanarrativity in Supernatural is something that should be studied by someone other than me, unless you wanna pay me for it and then shit yeah. It is extremely cool to introduce a biographical narrative about the fictional narrative it’s in. It’s cool that the characters are constantly calling this narrative into focus by fighting against it, struggling to break free from their textual confines to live a life outside of the external forces that control them. And the thing is? The really real, honest thing? They have. Sam, Dean and Cas have broken free of the narrative that Kripke, Carver, Gamble and Dabb wrote for them. The very fact that the textual confession of love that Cas has for Dean ushered in a resurgence of fans, fandom and activity that has kept the show trending for five months after it ended, is just phenomenal. People have pointed out that fans stopped caring about Game of Thrones as soon as it ended. Despite the hold they had over tv watchers everywhere, their cultural currency has been spent. The opposite is true for Supernatural. Despite how the finale of the show angered and confused people, it gains more momentum every day. More fanworks, more videos, more fics, more art, more ire, more merch is being generated by the fans still. The Supernatural subreddit, which was averaging a few posts a week by season 15, has been incensed by the finale. And yours truly happily traipsed back into the fandom snake pit after 8 years with a smile on my face and a skip in my step ready to pump that dopamine straight into my veins babeeeeeeyyyyy. It’s been WILD. I recently reconnected with one of my mutuals from 2010 and it’s like nothing’s changed. We’re both still unhinged and we both still simp for Supernatural. Even before season 15, I was obsessed with the podcast Ride Or Die, which I started listening to in late 2019, and Supernatural was always in the back of my mind. You just don’t get over your first fandom. Actually, Danny Phantom was my first fandom, and I remember being 12 talking on Danny Phantom forums to people much too old to be the target audience of the show. So I guess that hasn’t left me either. And the fondest memories I have of Supernatural is how the characters have usurped their creators to become mythic, long past the point they were supposed to die a quiet death. The myth weaving that the Supernatural fandom is doing right now is the legacy that will endure.

References

I got all of these for free from Google Scholar!

Judith May Fathallah, “I’m A God: The Author and the Writing Fan in Supernatural.”

James K A Smith, “A Little Story About Metanarratives: Lyotard, Religion and Postmodernism Revisited.” 2001.

Cameron Lee, “Agency and Purpose in Narrative Therapy: Questioning the Postmodern Rejection of Metanarrative.” 2004.

Harri Englund and James Leach, “Ethnography and the Meta Narratives of Modernity.” 2000.

https://uproxx.com/filmdrunk/mel-brooks-explains-french-mistake-blazing-saddles-blu-ray/

#transcripts #supernatural #supernatural podcast #<60mins #this is first and foremost a podcast about cas and misha collins

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norgestan · 4 years

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SPOILERS!!!!! // i actually despise the route they've taken, i really do. if they really wanted dani and amira, and if they were endgame, i actually wouldn't have minded - i would've sighed a little bit sure, but i'd be ok.... but what they're doing with kassim... i'm just ... wow. disappointed and frustrated is a huge understatement. if they wanted representation it would've been great, but making that representation someone who could've been a really amazing love interest for amira? smfh.

uhhh i tried to put a “read more” but it’s not working???

yeah like i really like how the show has handled the first steps on the damira relationship, where there’s a lot of communication and you can see that they’re both negotiating. my biggest complaint is still that dani is a white man taking the spot on what originally was the place of a muslim man of color. and in that sense, i won’t give eskam a pass. while skamit pretended that they “ethnic-looking” white non-muslim female actress was a hijabi teenager of color, and that’s something i don’t think eskam would do, eskam is the second remake that has taken away one of the spots of that couple with two people of color, so they go to a white actor/actress.

but i agree with you: the worst this has got to be the kasim subplot. i DESPITE it with all my being for the following reasons:

perpetuates the notion that all muslim people are homophobic, something that they show has fought before in cris’ season and in the video lucas filmed with amira.

actually, let me go back to that video. because i feel like the eskam writers didn’t look at that video when they were writing this bullshit. both amira and lucas make points about how homophobia is not inherent to islam, that one can be gay and muslim because it depends on how people interpret their religion and how they feel their faith, etc etc. but then kasim spews out the same bullshit amira was fighting in the first place: that lucas, who lives in a christian environment, will have the support of his friends and people around him, but because kasim is muslim he’s deeply scared and doesn’t want to come out. it’s not because lucas is white while kasim is a brown man, it’s not because kasim has had particular experiences with his sexuality outside his religion. no. it’s because lucas is christian and kasim is muslim. and of course christian people are waaay more open minded than muslim people, right? that’s how LITTLE NUANCE was put in the whole thing. the entire story is written like any youtube comment under a clip of las labass, saying that they will punch cris for being bisexual and other islamophobic bullshit.

this kinda shits on the entire religious subplot of og s3. in og, isak’s mother insistence with showering his son with the word of God(tm) was what held him back from coming out to her and part of his internalized homophobia. the season also made points how what isak believed in, aka the evolution, could also lead into homophobic rationalizations of the presence of gay people in the story of humanity, while sana made sure to tell isak (and the audience) that hatred came from fear, not from religion. isak suffered because he was in a white and christian environment, where people were either disgusted by him (his parents at first), completely okay with outing him because “it’s 2016, get out of the closet” (emma, vilde at some extent, bunch of other people who spread the rumors in school), casually calling him slurs (magnus), fetishizing him and even (the dance girls, the skam fandom), and then people who were supportive of him (admittedly, not all of these things were called out in the show, but people got the point with the first two groups). the only muslim character in the show had absolutely no problem with isak being gay, and supported isak and even’s relationship: sana even got mad when she thought the balloon squad hit isak bc he was gay, when they actually hit him because he fought them first out of jealousy - and back then it was the white girls who insulted sana in the bathroom and who theorized that the balloon squad were homophobic. so, like, absolutely all of that is gone here. and in the last dani/amira clip, dani says how his parents aren’t actually “good christians” (hmmm the christian cult survivor in me absolutely loathes that term) because they’re intolerant and homophobic, but the fact that it’s kasim, the muslim gay guy, who says he’s in a bad environment, means that the show wants us to believe and empathize with him, right? UGH. very progressive of you eskam. i’ve never seen this before.

let me expand real quick on that last point. so far it’s only been amira, a straight muslim girl, who has told us that homophobia is not inherent in muslim spaces. HOWEVER, we have an actual muslim gay character say to out faces that he feels oppressed and that his circles will never understand him the way lucas’ christian circles understand and accept him. and because he’s the gay muslim guy, we’re supposed to believe he’s right over amira, who has never experienced being lgbtq+ and muslim. WOW. I ABSOLUTELY HATE IT.

yet again other western stereotype of a gay guy nonchalantly asking amira to play as his beard. WOW. WOWOWOWOW. WHAT THE ABSOLUTE FUCK. but what i hate the most about this is that amira is clearly SO disgusted by this, the narrative wants us to be on her side and demonize the closeted muslim guy of color for this. all while we were supposed to take dani’s al qaeda joke as a funny thing that amira adds to the list of why dani is the funniest guy she knows and why she likes him. ARE YOU FUCKING KIDDING ME!!!!!!!!!!!!!

moreover, i hate this entire conversation: because amira has had two people come out to her. cris and kasim. and when cris, white christian cris, told her she liked a girl, amira was immediately okay with all of that. but when kasim tells amira that he likes a dude, amira’s reaction it’s just SO baffling: she accuses him of FOOLING and LYING to his family and the people around him. but she never once questioned why cris hadn’t told anybody this yet, much less call her a liar for not coming out to everybody. what the fuck is this!!!!!!! not only this is yet another way that the show demonizes kasim, but it’s purposefully writing amira ooc to do so. wow. i absolutely hate it. i don’t think i have said that yet?

and to close this huuuuge rant off lmao, i just really dislike that everything about kasim’s sexuality is misery porn: begging for the white guy he likes (loves?) to understand him and be with him, the pressure of being the only man on his family, the pressure of his sister trying to find him a good muslim girlfriend, how oh so homophobic muslim people around him are... even if at the end the show ends up saying (again) that coming out as a muslim is Not That Bad, all of this is just, immediately gonna make white/non-muslim people look at this and think: “yep yep yep, muslim people are sooooo intolerant, not like Me, raised in a good Christian environment, where we’re Open Minded not like those arabs”. and i already hate all of that, no matter what the resolution is. this is SO catering of western audiences only. terrible writing choice and i won’t let eskam get out of this one. even if they found a way to say the right stuff at the end, what they’ve done for now it’s enough for me to step away from the remake. but i’ll be here to criticize it when the entire episode is out, you bet.

#skam españa spoilers #answered #skam españa #anti eskam #wow #never thought i'd use that tag before

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beyondstupidityblog · 3 years

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On March 13th 2021, two friends and I did what never could have imagined possible, I watched Freddy Got Fingered for the ninth time, and it will by no means be the last. I’m explaining this to you, dear reader, so you and I have an important understanding between us. You will be reading the ramblings of one whose brain has curdled like milk left out in the hot afternoon sun. Now that introductions are out of the way, let us begin.

Freddy Got Fingered is a 2001 Comedy starring and directed by Tom Green as the Non-Titular Gordon Brody; an aspiring animator who goes to California to realize his dream, only to be constantly crushed under the weight of his father’s expectations. Sounds tame at first, but what lies beneath the veneer of mediocrity is truly impressive. Completely bombed, audiences hated it, and critics loathed it. Roger Ebert got angry, saying “it isn’t even below the bottom of the barrel” and “Green should be flipping burgers somewhere.”. “Tasteless”, “appalling”, “offensive”, “gross”, and “poo poo,” are just some of the things people have had to say about this film. Animal genitalia can be seen on screen for much longer than anyone could have expected, Tom Green swinging a baby akin to a morning-star with its umbilical cord, said umbilical cord being stolen and taped onto his stomach, gratuitous caning of a nymphomaniac paraplegic, and the dissection of a deer carcass. It is an abrasive experience that leaves a terrible taste in the mouths of those who mention it. Nonetheless, I love this movie.

You ever see a contemporary art exhibit that has a piece that just looks like garbage somebody left out but in actuality is a tongue-and-cheek allusion to the pitiful state of modern art? That garbage is Freddy Got Fingered, and that exhibit is Hollywood. At face value it just seems like a poorly done film by a comedian trying to use his name to get a few butts in the seats before his irrelevancy arrives, but when scrutinized as a commentary of comedy films do the pieces start to fall into place. Tropes like the Protagonist being an unremarkable honkey, gross-out designed to get some cheap quick chuckles, side-characters who occupy the space solely for comedic relief, a shoe-horned romantic side-plot, and an equally as shoehorned in happy ending are all present in a mocking fashion. So many of these Hollywood schlockfests that this movie is paying homage to abuse tropes in some vain attempt to trick the audience into thinking they’re having a good time, when in reality it just reminds viewers of films that they’ve already watched before and could be enjoying instead. All of the awkward and uncomfortable scenes of gross-out and romance are purposeful, because nothing is quite as awkward and uncomfortable than a film disengaging the audience with its own mediocrity. “This is what it’s like to endure this trash!” Drunkenly screams Freddy Got Fingered atop the tallest piece of furniture in the room, while also exposing its genitals to keep you from getting too comfortable around it. Unlike the films it is parodying, its obsession with making a fool out of audiences rips them away from the comfort of the cinema, making them genuinely ask if it is worth wasting their time watching a film called Freddy Got Fingered. Even the title is an intentional slight, as it seems to be completely untethered to the actual plotline and is instead a reference to a seemingly inconsequential scene. But then again, that is the point of it all. Tom Green is an artist, and on his canvas is a portrait of Hollywood with all of the ugly little imperfections that cause a movie like this to be created. But this is just the meta-narrative of Freddy Got Fingered, something that you could find all over the internet. Why do I resonate with it so much, and what about it makes it so exceptional that led to this unhealthy fascination?

Every instance that I’ve rewatched Freddy Got Fingered has always brought about a new side to it, and in the process leaves me craving for more. Gord is an interesting take on the average leading man. He is on the surface bland and inoffensive, made so in order to allow the majority of the audience to immediately identify with him, said group being 20-something skater guys with unrealistic expectations of themselves. Made especially ironic when after the introduction of Gord as an adept skateboarding rebel escaping from authority, he starts to show that in reality he is an unlikeable, bratty, entitled, and all around unpleasant person. Barely a scene passes before we see him masturbate a horse while exclaiming he is a farmer to his father who is not present, seemingly a crude gag but is in reality an insight into his low self worth caused by his imposter syndrome stemming from distant paternal relationship. I would like to remind you, dear reader, that I am still writing of Freddy Got Fingered, in case you were beginning to think I have lost my mind (The answer is yes by the way). All throughout the film Gordon Brody puts on masks for different situations, never allowing himself to be who he is. When infiltrating the Animation studio where he wishes to pitch his cartoons, he pretends to be a mailman to get past reception and then impersonates a police officer when the former stops being effective. Donning the visage of a British Bobby, he dashes into the restaurant where the man he is searching for, Mr. Wallace, is eating. Showing him his cartoons, Wallace is impressed with the potential they have, but says that they are incoherent and lack real substance. Upon rejection, Gord puts a pistol in his mouth before Wallace stops him and advises what he should do to improve. Gord was genuinely ready to blow his brains out the back of his skull if he wasn’t able to get his show greenlit, and it hit me in that moment that he isn’t just some random jackass, but a victim of detrimentally low self-esteem.

The origins of his complex are made apparent when he goes back home to Oregon and are reintroduced to his Family. We see that his father Jim, played by Rip Torn, is disappointed in his return and begins to sneer at him for his failure. This father and son dynamic always has tension in every scene from this point onwards. Gord, who just wants to be accepted for who he is and not judged by what the world expects him to be, is always at the receiving end of Jim’s wrath, who values his idea of a successful life over the happiness of his sons. From here it becomes little wonder why Gord is the way he is, all his life he was told that who he was is not good enough, he has to be what his father wants if he is to be considered worthy of not only love, but being treated with a modicum of dignity. Whenever Gord acts eccentric or divulges his interests to his father, they are met with either resentment supplemented by verbal assault, or physical violence. After a late-night skateboard outing to escape from his father’s wrath goes awry, he visits his convalescing friend in the hospital, whereupon he meets one of the more interesting characters in relation to Gord, the love interest Betty.

A horny wheelchair bound temptress may not seem like it upon first glance, but Betty is actually the most interesting character out of the entire cast. She feels genuine, introduced as a bored receptionist flipping a coffee creamer idly. Gord immediately strikes up a conversation, whereupon he and the audience find out she has an interest in physics, and apparently an interest in him as well. Betty is strangely well written for what most considered at the time to be a crass sexual joke, so much so that she would actually be a better protagonist than him. She is everything Gord is not, she’s smart, funny, ambitious, and kind to a fault. Even her side plot to create a rocket powered wheelchair makes for a much more unique plot than the one given. Even Gord reciprocates this sentiment in their meeting, lying that he is a stockbroker in an attempt to impress her. In fact, sectioning her off as just the dull protagonist's love interest is a jab at how women in these movies are only there to serve in the development for the male protagonist, just nothing more than their muse. Nonetheless, without this relationship the movie would lose a lot of its soul. Romantic chemistry in comedy films is always hit or miss, but Gord and Betty do seem to have it surprisingly. They’re both silly and impulsive, creatively driven to a fault, but just different enough to eek out the best and worst in them. Gord thinks that what he wants to do with his life is wasteful, but Betty doesn’t. Now I don’t mean that she directly affirms that he is worthwhile like most poorly written love interests would, stroking their lover’s(and by extension the director’s) ego, rather she confronts him with her optimism. He asks if she would feel stupid and like a loser if her experiment failed. Taken aback at first, she questions why she would, relaying that her failures are just as important as her successes. Gord’s self-worth is directly tied to his ability to succeed, whereas Betty doesn’t need this affirmation. Their dialogue further cements how detrimental his father’s overbearingness was to his outlook, and how he is slowly beginning to realize how destructive that mindset is.

At their dinner date, Jim sees Gord and Betty across the restaurant, then reveals that Gord was lying to both him and her about his office job while poking fun at her disability, leading to a father-son scuffle that throws the entire floor into utter chaos. Cops show up, Gord and Jim are detained, and Betty bails Gord out. Most mediocre comedies at this point would have the love interest be upset that her significant other lied to her, leading to him having to make things right to repair their relationship before the happy ending. Breaking the mold, Betty does not get angry with Gord even a smidgen, choosing to be understanding of his situation now that she caught a glimpse into his home-life. She just plain likes Gord, willing to put up with him more than she really should, but still chooses to look past his lies and self-destructive nature for who he truly is, someone who just wants to be accepted by the world around him. Someone just like her.

Right after that enaction of social terrorism performed by the Brody father and son duo, they decide it would be best to go to family therapy and assail the audience with what I fondly refer to it as, “The Scene.” “The Scene” is Freddy Got Fingered’s statement to the world, it is what instills a man with the impetus to rewatch a glorified stoner daydream for the ninth time and leave him wanting more! Gord accuses his father, in a final act of defiance, of molesting his younger brother Freddy. During the ensuing confusion Gord picks up a bust of Sigmund Freud and throws it into the glass window pane, allowing him to escape into the evening sun. The authorities take Freddy away and send him to The Home for Molested Children, and the family slowly unravels from then on. Besides the heavy handed metaphor of Freud’s theories being used as a way for Gord to escape his predicament while simultaneously discrediting them, “The Scene” also recontextualizes Freddy, innocuous of a character as he is, as Gord’s foil. He is in the movie very little but when he is it is to serve one of two purposes: To be compared to Gord, or to be treated as an object. During breakfast much earlier in the film after a fight between Gord and Jim, Freddy tries to explain to his brother that he should grow up. Gord, surprisingly, talks down to him and halts the conversation.

Gord: “He's driving me insane.”

Freddy: “No. No, you're driving him insane. You're older than me and you still live at home. I have a job, you know. I pay my own way.”

Gord: “You work in a bank. Should I be dazzled?”

Freddy: “Well, at least I don't live at home!”

Gord: “No, you live in a tiny shithole and you come here to eat for free.”

With these lines it is plain to see that despite Freddy’s idea of success directly lining up with his father’s, he is even more pitiful than Gord. What little we know of him is to show that his acquiescence to his father’s expectations has left him bereft of not only genuine personal success, but of dignity itself. When child protective services come to take him away, he is half naked, mouth agape, watching open heart surgery on television, a palpable indication of emptiness. He isn’t treated as an adult either, as his protests to the police fall on deaf ears as both them and the psychologist infantilize him. Why would Tom Green name this movie after a character like Freddy, whose lack of presence and characterization make him little more than an afterthought when looking back on the story? Or did I just answer my own question? Freddy is not a character because he is not allowed to be one, he is just too passive and accepting of his circumstances for him to stand out. All he can be is a doll that Jim uses to dress up as the perfect son, and this passiveness leads to Gord, the “failure,” to both pity and resent what he let himself become. That’s why Gord accuses their father of molesting him, after all he does narratively violate Freddy’s autonomy by consistently making decisions for him. Evidently enough, as soon as Gord dons a suit for a quick bit Jim is elated because he believes that his son finally gave in to his demands for him to get a job, because he is acting more like his obedient brother. In this sense Freddy is the most tragic member of the Brody clan, a literal manchild whose growth was stunted by overbearing guardians. When I think of him, a bonsai tree comes to mind. Sure, it looks healthy, but when you realize that it could have grown into a much bigger plant if it were not for its small pot, that realization of wasted potential comes with a tinge of melancholy.

I want to end this essay with a moral that I took away from Freddy Got Fingered, as strange enough as that sounds, and what it has to say about art as a whole. Put simply, this is a story about revenge. Despite and because of his Father’s harsh ways, Gord managed to take from the trauma he sustained throughout his life and sublimated it into his animation. Creation not only lets him heal, but also acts as retaliation against Jim once he becomes successful. So long as you have the drive to prove everyone’s doubts and admonishments wrong by persevering out of wicked spite, you will have the last laugh. Freddy Got Fingered is a story about revenge through artistic expression, and I think that is quite beautiful.

#freddy got fingered #tom green #movies #essay paper #comedy

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hide-in-imagination · 3 years

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“New Year’s Eve Is Okay (maybe even amazing)” - Simbar oneshot

The continuation of the Christmas oneshot you all asked for!!! ♡

Happy New Year, everyone ^^

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In her grandpa’s words, Christmas was for family. New Year’s Eve was for friends, your chosen family.

Because family has always and will always be with you, he had told her once. New Years is to celebrate new things. The new people in your life.

Yes, it sounded a little cheesy, and considering her history, Ámbar shouldn’t be very ecstatic about celebrating friendship, but she understood what he meant. She had always seen change as an opportunity for something new instead of something to be afraid of. And thank god for that mindset because she’d had to restart and do over a lot in her life. But now she was finally in a place where she felt accepted, and most importantly, fully comfortable with who she was, the friends she’d made along the way and the plans she had for the future.

And so, her tradition was to spend the New Years at some friend’s house or at a dance club, partying the night away and welcoming the new year dancing. It wasn’t that she was the kind of person who went ‘This is gonna be my year!’ or something and awaited midnight with vibrant excitement and twinkling eyes— She actually found it a little silly since every year always ended up being pretty much the same as the previous one and everyone she knew that made New Years resolutions never fulfilled any of them. But hey, it was a great excuse to get drunk, break free from all and any worries and dance and sing until her feet and throat were sore. As far as holidays went, that made New Years her unbeatable favorite. The only day better than that was her birthday.

This year, the pre-party was at her friend Emilia’s house, which consisted of about two hours of food and drinks before they all moved to a near club around eleven and waited for the stroke of midnight.

That was where Ámbar was right now, chatting with some friends in her dark blue shiny dress as she sipped from her drink. Normally, she would be checking the crowd, either here or at the club, looking for a handsome stranger to close the night with a flourish and then never see him again. But this year was different. This year, she wasn’t interested in any of that. Not because she’d gotten bored of the ‘good’ one-night stands which never quite managed to be ‘excellent.’ She could’ve carried on with that.

No, the reason was rather a person. A person that started with ‘S’ and ended with ‘imón, the unexpected friend of Luna who I can not stop thinking about.’

He hadn’t asked for her number that night at her grandpa’s Christmas dinner party, and she, stupidly, hadn’t done it either. Because, what if he got to know her better and decided she wasn’t his type? What if he turned out to be an awful guy and she ended up disappointed? She didn’t even know if he already had a girl he liked. Maybe she should just stay with the memory of one perfect night instead of risking it.

Thoughts like that circled in her head on a loop until he left along with Luna and Matteo and she lost her chance. Later, surrounded by nothing but the solitude and quiet of her own apartment, she had regretted it immensely. She was Ámbar Smith; she was supposed to be braver than that.

It’d been hard to sleep that night, between flashbacks that made her smile and the memory of their lingering stares when they said goodbye which wiped it right off.

Fortunately, her state of disappointment and self-loathing didn’t last too much, for the very next evening, she got a text saying:

‘You still haven’t managed to change my mind’

Ámbar may had reacted a little too excitedly, doing what could only be described as a victory dance in her room. Which was ridiculous and so not warranted by a single text, but she really couldn’t help it. By the time she calmed down somewhat, she had two more texts.

‘Just a reminder in case you want to rectify that’

‘It’s Simón by the way’

Of course I know it’s you, her melted heart responded. Why did she find it so cute that he felt the need to clarify? She guessed it was just funny how he could act so confident and laid-back one minute and then shy and awkward in the next. Were they both part of him or did he hide one with the other? She didn’t really know him to know yet, but she found it endearing.

‘I’m guessing Luna gave you my number?’ She texted back, just to appear a little nonchalant. After all, contrary to what her attitude in the last five minutes may imply, she was not a twelve-year-old with a crush.

‘Maybe’ he replied.

He appeared as ‘writing’ for some time (during which her heart did not pound, thank you very much) as if he deleted and started again until he finally tapped sent.

‘She shouldn’t have?’

Now, Ámbar could’ve kept playing it cool and reply with something like “nah, it’s fine” or “I don’t mind either way”— that was probably the smartest move. But just as that night next to the snack table where her chest had ached at just the idea of him thinking that he was bothering her, she couldn’t bear to make him feel like that. So, she decided to be honest.

‘Actually… I think it’s the best thing she has done in a long time.’

After that, they had talked every day. About many things, general topics like music, movies, TV shows, memes, funny videos… They’d talk about stuff that happened to them throughout the day, whether to vent (“The weather it’s way too hot, I’m melting here!”) or share something good (“A friend just got me the game I talked to you about!”)

Ámbar found herself laughing at every little joke he made, and she felt so happy whenever she made him laugh. She was a little embarrassed at how attentive she was to her phone, practically jumping at the smallest sound or vibration to check if it was a message from him. She got so disappointed when it wasn’t, but oh so very excited when it was. It was dumb and exaggerated, she knew it, but texting with Simón made her heart sing.

(And his ‘Goodnight, bonita’ might as well had made it explode.)

The voice notes didn’t take long in making an appearance (she may or may have not bookmarked some of his), and then there was that day Simón called her because he said he had his hands busy doing the dishes and so he couldn’t write.

Ámbar had told him that if he was busy then they could talk later (a stupid move considering how happy it made her to hear his voice and oh god, what if he hangs up now?) but Simón had replied that he’d put on earphones precisely for this reason and begged her to please save him from boredom while he washed his mountain of dishes. (He was not exaggerating; he had a big family).

They’d talked for hours that day, long after he’d finished his task. They’d told each other stories of their lives and their families, shared dreams and goals they had in mind. She had laughed a lot and learned a lot about him, more than enough to completely erase her made-up story of the dedicated social worker and shape it into the passionate musician slash part-time waiter that he was. And yet she wanted to know more. Way more.

They didn’t talk about the kiss under the mistletoe in any of their conversations or made any plans about going out somewhere together. Ámbar didn’t know if she should bring it up or if it was too soon; they’d only been talking for a couple days after all. She’d probably seem too intense.

(“You are,” Emilia had told her the day prior, backing it up with the fact that in these few days she’d already memorized all of his band’s songs. It wasn’t her fault the songs were good. Or that his singing sounded so beautiful.)

Besides, Simón was making the most of spending time with his family now that they’d finally managed to arrive from London, and she herself had been meeting with different friends and co-workers around the city to exchange gifts and catch up, so maybe it wasn’t the best time to start anything either.

It didn’t stop her from wishing she could see him though.

He did ask her if she had plans for New Year’s Eve— a not so subtle question that made her smile because it meant he felt the same.

Sadly, she had already made plans weeks ago to attend Emilia’s party along with many mutual and not mutual friends and ex college classmates. He said he too had planned to attend a friend’s party, and since he had pretty much helped organize the whole thing, he couldn’t not show up.

Which brought Ámbar here, to the party with her friends, many guys hitting on her and she rejecting them all. She felt a little foolish, to be honest. It’s not like she was dating Simón or he had made any comment about them being exclusive or something. (And could someone be ‘exclusively talking to someone else’? Because that’s all they did. They were nothing. Seriously, it was laughable.) For all she knew, he could be sucking face with another girl right now at his party and here she was, dodging advances from hot guys.

They were handsome and smooth and the look in their eyes promised very fun things… but they weren’t Simón.

Ámbar felt very, very stupid.

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Thirty minutes before midnight, Ámbar was singing along to the tunes the DJ played as the countdown steadily proceeded on the club’s wide screen. Thankfully, the place wasn’t as packed as a can of sardines since most people were either outside waiting for the fireworks display or at their homes waiting to hug their families so they could run out and join some party. That didn’t mean it was empty though, not in the slightest, but she could move from the bar and back without needing to elbow her way through, which was enough for her.

Many from the pre-party had already disappeared in the crowd, Emilia, the traitor, being the first, because “You may have put yourself in an imaginary leash but I’m free to do whatever I want, and what I want is for someone to do me.”

Ámbar would’ve defended herself but she’d asked Ramiro to be her kiss at midnight and that basically proved she was right. Ramiro was the closest thing she had to a male best friend; they’d known each other for years so she trusted him enough for it. Also, she knew he was just getting out of a toxic relationship, so he would not think of it as anything more than what it was.

To be honest, she wouldn’t kiss anyone, but she feared if she was standing alone by the time the clock stroke midnight, some drunk guy would jump her, so she thought it was better to prevent something like that from happening.

Simón had sent her a few texts every once in a while and a quick video of how the party was going over there.

Good, she thought. So at least he remembers me in between sticking his tongue down other girls’ throats.

Yeah, by that point in the night and after her third glass of rum & coke, Ámbar had gotten pretty paranoid.

She’d responded briefly with emojis and by posting many Instagram stories of her own party. (If she happened to be with Ramiro in most of them, it was purely coincidental.)

“Who’s the guy?” Asked the aforementioned, looking at her phone’s screen over her shoulder. She was looking at a group selfie Simón had shared in his Stories to see if she could identify which of all those bitches was throwing herself at him right now. Her bet was on the curly-haired brunette with the tacky golden dress.

“None of your business,” she replied, locking her phone and putting it inside her bag.

“I’d say it is my business if you’re using me to make him jealous.”

She looked at him.

“Oh yeah, I’ve noticed,” he said, smiling very smugly.

“Shut up,” she said, and went to the bar for another drink.

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It was one minute to the New Year and with her fourth glass left empty somewhere and the energy from dancing in her veins, she was actually pretty pumped.

That was until Ramiro went up to her and told her loud enough to be heard over the music—

“I’m gonna split up!”

Ámbar looked at him, taken aback. “W-what? But we agreed—”

“You’ll be fine!” He assured her and left her there to mix with the crowd. In seconds she couldn’t even see him anymore.

Ámbar scoffed. Thank you so much, friend.

He was right though; she didn’t need him. She was an independent woman who could take care of herself. She’d had to handle boy advances all her life; she could do it tonight too.

The excitement started growing in the crowd as the countdown on the screen marked 30 seconds. Some people ran to the bowls of grapes, ready to stuck 12 in their mouths as fast as they could. Some others prepared their party crackers and party horns. Those were pretty drunk.

Ámbar swallowed the piece of nougat in her mouth and readied herself to chant the countdown with the crowd.

Ten!

There was a tap on her shoulder.

She rolled her eyes internally. Seriously? Already?

Nine!

She turned around to dispatch whatever guy that had come to bother her.

Eight!

Her heart skipped a beat.

Seven!

Simón smiled. Beautiful, timid, excited.

“Hi.”

Six!

Ámbar couldn’t comprehend, couldn’t even respond, only look at him and look at him and look at him because he was there and her heart was going to come out.

Five!

He couldn’t stop looking at her either.

Four!

She knew that look. She’d seen it that night, when his eyes had searched hers for an answer.

Three!

There was more longing now, more eagerness, the question written on fire instead of a hopeful breeze.

Two!

She felt the same fire and more.

One!

There was no need to ask.

HAPPY NEW YEAR!!

Simón held her face and kissed her.

Around them, the place roared with life, confetti fell like rain, but for Ámbar only his lips existed, only the softness of his hair as she drowned a hand in it, the leather of his jacket where she was holding onto him, the firmness of his body against hers, his hand sliding to her back to pull her closer.

The ceiling could’ve fallen down and she wouldn’t have let him go.

This time, she didn’t have to worry about stares or decorum. She didn’t have to pretend she didn’t want more, so she didn’t. She parted his lips and deepened the kiss, rejoicing in how he gripped her hips and kissed her harder. She wrapped her arms around his neck and took turns between letting him take whatever he wanted and pouring everything she felt into his mouth until neither could anymore breathe.

She didn’t know how long they were like that, only that they were left panting. They opened their eyes and time started moving again. All around them there were people dancing and singing, the music so loud it invited you to follow it.

Ámbar followed Simón instead, as he guided her by the hand to a more secluded place, far from the blaring speakers.

“How are you here?” She said in awe once they stopped. She’d think it was a dream if her lips didn’t still feel him, if it weren’t impossible for her body to simulate these many sensations.

“You shared the name of the place many times on Instagram.”

She had. She could finally admit that she had been secretly hoping he would pick up on that. She was so glad he did.

“For a moment I thought I wasn’t gonna find you on time though,” he continued. “I got here minutes ago but there were so many people. Thankfully, your friend, the curly one, he saw me and pointed me in the right direction.”

Oh my god, Ramiro, I love you, you’re the best.

“What about your party?” She asked.

He shrugged. “It’s not that far from here, just half an hour plus some walking. I could stay here for a while and then go back… Or I could just stay here with you, if you want me to.”

Somewhere, Ámbar was aware that that was a question, that he was hoping she’d want him to stay, but she couldn’t focus on that when she was almost out of air.

“…Did you ride a bus for thirty minutes just to come kiss me at midnight?”

Simón averted his gaze and rubbed the back of his neck, looking embarrassed.

“Well… Actually, I took the subway. But it was really—”

She didn’t let him finish.

For the first time since they met, Ámbar kissed Simón not because of some tradition, not because of any excuse— Only because she wanted to.

Simón was surprised for a second before he wrapped her in his arms and kissed her back. Ámbar set to kiss him until it didn’t surprise him anymore, until he had no doubt that she was crazy about him, until he didn’t hesitate in front of her because she was wonderstruck just by him existing.

They only parted far enough to look at each other. If her kiss didn’t fully convey it, he must have seen it in her eyes, because his arms didn’t let her go and a warm, happy smile grew on his face.

“So,” he said, nuzzling his nose to hers. “Any New Years’ resolutions?”

Ámbar thought about it, and for once, just this once, she chose to take a leap of faith.

“Ending the year like this wouldn’t be bad.”

She was scared of having said that because they only knew each other since some days ago and all her logic told her that most likely they’d only see each other for a month and then something would happen and they would never talk again. Pretending otherwise, actually thinking otherwise, was foolish; nothing more than hopeful thinking. It would only embarrass her later to know she said this.

But then he smiled that beautiful smile of his and she decided it was worth it.

“I think the same thing.”

Both danced and kissed until late into the night, and two days later, they had their first real date.

And at the end of the year, when holiday season came, Ámbar arrived with Simón at her granpa’s house, and their New Year’s resolution came true when they were, once again, each other’s kiss at midnight.

…

#simbar #simbar fic #sl fanfiction #simbar fanfic #hope you like it!#My Writing #happy new year everyone #short writings

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