#the scenes are obvious parallels if you ask me

[txttletale]

(Other than the really weird bit about "Male presenting Doctor") what were your thoughts about the specials?

pretty mixed bag, pretty messy, but good overall. i think they were very obviously a nostalgia trip for people around my age lol and it worked! i loved seeing tennant and tate back onscreen together, their chemistry hasn't aged a bit, and honestly just watching doctor who that wasn't written by chris chibnall was a breath of fresh air. they weren't boring, like seasons 11 and 12 were, and they didn't go too far off the other end into nonsense like flux did. characters want things again! the show can let itself just be silly! i was literally cheering out loud when donna and the doctor were just saying random scifi gobbledegook at each other for like a solid several minutes during the star beast.

the structure of the specials kind of baffles me. i love wild blue yonder--i think it's definitively the best of the specials as a standalone, it's absolutely fantastic, creepy and atmospheric and bringing things around to RTD's strength, which is well-written characters interacting with each other and letting good actors just act. but at the same time i dont understand why it exists? it feels like...idk. imagine if you watched the star wars original trilogy but instead of the empire strikes back the middle film was just a feature length film about luke and han surviving on an ice planet with no reference to anything that happens in the last film except the two characters' relationship. and then the next film was still return of the jedi, unchanged. it felt like that

i liked all the weird campy silliness of the star beast and the giggle, and they were both very fun! neil patrick harris gave a fantastic performance, there are a lot of very memorable sequences from the giggle, but it's very very all over the place. so many threads get kind of picked up and go nowhere. the toymaker's haunted house dimension goes nowhere. RTD's eyerolling social media commetnary goes nowhere (thank god tbh but yknow im illustrating something here). even the toymaker kind of goes nowhere, after ncuti gatwa shows up he's bascially an afterthought who loses by dropping a ball. obvious parallels to david tennant's first episode with that ball scene could be made, but just... aren't. it feels like load-bearing sectikons of the plot and themes were cut out to make room for a backdoor pilot for the stupid fucking UNIT spinoff

oh and it goes without saying i fucking hate all the UNIT wank in the star beast and the giggle. i hope space nine eleven 2 happens to their stupid fucking avengers tower i cannot stand kate stewart who is constantly a murderous bonehead (in the giggle alone she gets two pepole killed by not listening to the doctor and assuming that this teleporting godlike entity could be restrainted by Two Guys) who is both in and out of universe just a boring nepo baby with no merit of her own

um. i still dont know what happened with the regeneration. i think the implication is that when david tennant dies hell time travel back to become ncuti gatwa inside himself--at least the rehab dialogue seems to make that implication. but it's not really explained or explored? baffling. i do think that fourteen getting to settle down and live a peaceful life with his friends is cute.

oh yeah and the ask said other than that but goddd there was some good stuff in the star beast and honestly with the state of the UK media i will take any perspective on trans people that includes baseline human erespect but some of those lines made me cringe so bad. anyway overall i am cautiously optimistic for the future of the show--oh ncuti was fucking great did i mention that i instantly bnought him as the doctor he owned the scene, the moment he was there it was clear he was the protagonist, and i liked the church on ruby road well enough too--i am cautiously optimistic but i worry that a big UNIT-shaped tumor will devour huge chunks of it and it'll be annoying. also russel t davies is like 60 and i just dont want to hear what he has to say about twitter so im not looking forward to dot and bubble

#ask #doctor who

[scoopsgf]

I somehow got warped into listening to a Gilmore Girls podcast where they discussed the infamous "I know you" line with two r*gan fans and only one lit fan and of course, everyone was against it. So it got me wondering what your opinion on that line is, specifically? I never considered it bad or even "manipulative" of Jess because even if you were to argue that he "tried to guilt Rory for not being 'a perfect version of herself that he made up'", that doesn't really hold up within the narrative in season 6 when Jess pretty much leaves her alone afterwards? And many like to argue that Jess just knew "a version" of Rory about 1.5 years before seeing her again when she dropped out of Yale, but that alone isn't a) a significant amount of time that has passed, and b) doesn't negate the fact that Jess could obviously tell that Rory was just lost and aimless, not that he was angry with her because she dropped out of Yale and decided to pursue something else because obviously, Rory had not taken up any other route after the season 5 finale, she had just become aimless. So yeah, if you'd be interested about discussing this, I'd love to hear your opinion on it

i imagine the people who say they’re against it only do so because they’re biased and just… don’t understand what jess meant by it. the bottom line is, he does know her. he knows her ambitions and life goals—to become an overseas correspondent, the next christiane amanpour, to attend an ivy league school and do well there. academia has always been a passion of rory’s; you could even go so far as to identify it as a piece of her personality, so the fact that she’d dropped out of a school she fought tooth and nail to get into was definitely alarming (to everyone, not just to jess). of course he was gonna ask her what the hell was going on??? he was concerned. beyond that, everything he said was true, and you can tell from rory’s facial expressions that she knows it. also, the fact that this conversation gets her to go back to yale says everything. i don’t understand why people are so against it. like, literati aside it’s what gets rory back on track, so the fact that people resent it even as a narrative device when these are the same people who hate on rory for dropping out and “spiralling” just baffles me. anyway, i don’t at all see any part of the speech as manipulative or guilt-tripping. i see it as someone who loves rory and understands her questioning why she’s settling for a guy who drags her down and a lifestyle that doesn’t at all suit her, nor compliment her interests. there’s absolutely nothing wrong with that.

#asks #chambersofthesea #literati #gilmore girls #defending jess mariano #anti logan huntzberger #i literally look forward to this ep every rewatch because the speech is just so. fucking. good #also anyone who’s watched maisel knows that these speeches are asp’s way of showing the audience how much a love interest cares #and understands the recipient #i.e. lenny and jess reminding midge and rory of their goals and priorities #the scenes are obvious parallels if you ask me #anyway. anyone who says jess was rude here or ‘verbally abusive’… clearly you’ve never been verbally abused #as someone who has i can confirm i have only ever seen it as a form of caring and genuine concern #also why tear jess apart for that when lorelai did the same and worse and NEVER gets criticised #people just want an excuse and they’ll say the stupidest shit

[stormyoceans]

vv brainrot continuation:

and again the hangover pill is a hangover karbonak

you're deeply and passionately in love (dude, did you lose your twin puen at birth?)

august’s interview reminded me so much of puen’s interview in ep12

day and talay "i don’t think anything about him, but i’ll come to him with a guitar to sing love songs to say how important he is to me" (day doesn’t have a guitar yet, but he behaves in such a way that he’ll now start singing love by paradox)

in all universes, seat belts are a source of great tension.

puen’s methods of influencing day and talay are the same (you don’t run with me bcs you think about me differently. who were you thinking about when i directed the scenes? about a guy named tun?)

bed scene (fandee na talay)

why are you smiling mork? (talay is your smile)

can you tell me about rung (p'peng, you can tell me about the life of tun)

smells (we've discussed this many times, but why not say it again)

cover your ears (idk it just reminded me of the childhood fuss of puentalay when they were filming a video message to joob)

you're doing this bcs of the car (the theme is “falling in pretend love to return to your universe”)

we're bf now (at least they didn't have to kiss 40 times before they verbally admitted it)

wedding (leave your drinking yogurt and bring a bag of chips or it's not canon). soft pink balloons (i'm already crying) i'm beaten out like a dusty carpet. how are you doing with brainrot, monica?

PINKYBRAAAAAIIIIIIIIIINNNNNN!!!!!!!!!!!!!!!!!!! OH MY GOD IM SO HAPPY TO HEAR FROM YOU AGAIN!!!!!!!!!! BUT WHAT DO YOU MEAN THAT YOU SENT ME THE BRAINROT FOR EP 6 AND I DIDN'T GET THE MESSAGE 😭😭😭 TUMBLR MEET ME IN THE PIT IM GONNA FIGHT YOU

i may have gotten a little bit worried ;;;;;; im so glad you're okay tho!!!!!!! and i know it's really annoying to write down something all-over again but if you ever felt like rewatching ep 6 and trying to send me a new brainrot, i'd love to read it!!!!! (but no pressure, of course!!!!)

ANYWAY. BACK TO THE CURRENT BRAINROT. 'BEATEN OUT LIKE A DUSTY CARPET' IS ACTUALLY A PERFECT DESCRIPTION OF HOW I FEEL ON A PSYCHOLOGICAL EMOTIONAL SPIRITUAL MENTAL AND PHYSICAL LEVEL AFTER THIS EPISODE. ESPECIALLY WHEN I THINK ABOUT THE PUENTALAY PARALLELS LIKE CAN YOU BELIEVE WE REALLY GOT A MARRIAGE PROPOSAL ONE???????? INSANITY DERANGEMENT LUNACY MADNESS THEY'RE DOING IT ON PURPOSE AND NOT EVEN P'AOF HIMSELF COULD CHANGE MY MIND

my brainrot pretty much looks like yours tbh, however the cover your ears scene immediately made me think about puentalay pinching each other's cheeks in ep 4

I JUST LOVE OUR SILLIES SO MUCH

also!!!!! kind of a reach, but the way the almost kiss at the end of this episode was framed reminded me very strongly of the puentalay one in ep 5

and both of them were interrupted, one by a phone call and one by. Pain.............

but honestly the dynamic between mork and day in this entire episode was so puentalay coded to me like the way mork was pursuing day while day played hard to get but you could still tell he was enjoying every second of it is just. it's puentalay. like idk what else to say it's THEM

THE PARALLEL UNIVERSE THEORY HAS NEVER BEEN MORE REAL

#for some reason i do feel like im missing some very obvious parallels but idk why or which one they could be #like the crossing the line and the you're gonna leave me soon and the damn oishi honey lemon 0% sugar #i can't connect them with a specific vice versa scene but they feel so familiar #i sound insane rn i know #ANYWAY HI PINKYBRAIN HIIIIII I DON'T MEAN TO BE A CREEP BUT I JUST WANTED TO SAY THAT I LOVE YOU HIIIIIIIIII!!!!!!!!!!!!!! #last twilight the series #vice versa #m: ask

[sayuri-of-the-valley]

On how Crowley and Aziraphale felt during the kiss (but mainly Crowley here):

Ok so first, the main idea for this huge meta is that a LOT of us noticed how the music from the kiss scene is similar to the nebula one, right?

Second, a lot of us also correctly noticed the parallels between the kiss and how it was to taste food for the first time for Aziraphale: bc of his reactions, the hand on lips, the similar way MS acted both scenes, the little inhale etc. So how was it for Crowley?

Aziraphale's reaction to the kiss is practically a puzzle to solve on its own, so it's fun to analyse it, but basically, in a few words, Aziraphale kissed Crowley and he discovered he was physically starving for him, longing for him, yearning for him, for his kiss, and he had no idea. Just like with the ox. And now he needs to gorge himself in him but he can't. Great amazing heartbreaking chef's kiss someone give MS an Emmy.

But there's already so much amazing meta out there about Aziraphale x Ox ribs x The Kiss that I want to focus on Crowley here, and on the music.

So back to the music. The song in "Before the Beginning" and the song that plays during The Kiss (I Forgive You + Don't Bother) are so similar. They're not *exactly* the same, but they're totally reminiscent of each other. The viewer is immediately reminded of those chords that played in the opening scene. It's no coincidence that the fandom was talking about this fact only minutes after first watching those final fifteen minutes. This is an obvious intentional choice for storytelling reasons (David Arnold is a genius).

I have no expertise whatsoever when it comes to music, so I asked our friend @otsanda to see if that made sense and not only it does and she explained it, but she also uncovered so much more hidden meaning in all of it (musicians are amazing), so check out her meta about the music that not only serves as evidence to what I'm proposing here but it also has so much more juicy information in it 💖.

Back to the point: WHY thought? Why choose a similar song? Why intentionally COMPOSE a similar song for that moment?

Hear me out. WHAT IF, by reminding the audience of the creation of the nebula, they meant to convey to us that, for Crowley, kissing Aziraphale gave him the same feeling that creating his stars did?

THAT'S what the music is telling us. THAT'S why it makes us remember "Before the Beginning". It may sound cheesy, but Crowley may have literally seen stars when he kissed Aziraphale. He couldn't react accordingly (just like Aziraphale couldn't), bc it was an overwhelming and extremely sad moment (the music is also telling us that) for both of them. They knew it was ending . They were both having a moment of huge revelation that was fated to not come to completion. Crowley was right, it was too late.

It makes sense to show Crowley's feelings through the music, bc he was the one who started the kiss, and also he was wearing sunglasses in that scene, it's different from a character like Aziraphale that has all his million expressions for everyone to see at all times. And they've been doing this ever since s1 with the Queen songs that play in his car or in the background.

So my point is: the same song being used there makes me wonder if kissing Aziraphale finally gave him what he lost. His purpose. What Aziraphale was trying to give back to him by taking him back to heaven. There's no need for Heaven. Just kiss him, Aziraphale, and there he'll find the stars you want to give back to him. There you will one day see that smile on his face you saw Before The Beginning. Neil Gaiman and David Arnold I am in your walls 😭

This is what may lead us to see this happiness in Crowley again (not the action of kissing itself, of course, but what it represents to their relationship, them being together, them being an Us).

As @otsanda said: from the music we can interpret that that moment was a Revelation for them. Almost a religious experience. Crowley found his purpose again. What he'd been missing the whole season (or even his whole life since the Fall, but we've seen him especially depressed this season).

I'm not even getting into the poetry of how one can interpret the parallel to the angel's reaction to the kiss as carnal, and the demon's as religious; that would be another whole essay but let's just agree that it's incredibly beautiful. (Let me be clear that I mean here Aziraphale's reaction is carnal specifically for Crowley, and Crowley's is religious specifically for Aziraphale, not religious as in "worshipping god")

"Do you ever wonder what's the point?" Crowley asked in s2e1. The point, for him, is Aziraphale (if you've seen The Good Place you know what I mean). I hope he figured this out with that kiss, even as heartbreaking as it was. Even if it was a (temporary) separation kiss. (I hope Aziraphale figures this out with time too, that he's more than enough to make Crowley happy, that Crowley doesn't need Heaven, or stars, that Crowley needs him.)

Maybe that's why Crowley didn't leave and kept waiting outside until the very last moment.

Aziraphale and Crowley both bit the apple at the end of s2. There's no turning back from that Knowledge now.

Edit: I just have to add here this brilliant colour analysis of the nebula scene by @halemerry. And it's pointed out that during the nebula formation there's a moment when it looks like two people embracing. And the fact that a similar song is used in the actual Kiss scene I just... I have no words

#good omens 2 #good omens #ineffable husbands #good omens kiss #my meta #good omens meta #before the beginning #i forgive you #don't bother #crowley #purpose #knowledge #music #david arnold #reactions to the kiss #the angel's carnal reaction vs the demon's religious experience

[chunky-chee]

Okay, so I know a solid 40% of the new Fantasy High was about Tracker "There's still deep attraction here" O'Shaughnessy, but HERE ME OUT

Gertie Bladeshield is the perfect woman for Kristen Applebees.

Cause, like, look, there was a lot of talk in episode 11 about impulsivity and chaos as an aspect of Kristen's character, mainly in how it's mirrored in Princess "Kristen if she had money" Naradriel, but it's also been a general focus this season, especially in how she often uses it to guard her emotions. Think back to "That's what you think", an incredible improv moment, but if you look at the big picture, Kristen's estranged parents make an incredibly inflammatory statement about her religion right after actively bullying her little brother, and instead of honoring any of the actual negative emotions she's being filled with in that moment, she pirouettes away. It's brought up in the adventuring party after this exact episode how Kristen is a cleric, a high-wisdom class that is naturally insightful, but uses these silly deflections to hold other people back from being insightful into her (hence Mac & Donna's lifetime insight disadvantage)

This isn't just limited to small moments, too. To take a broader look at the season so far, Kristen's chaotic, shrimp-jumping, wrangler-wearing, salsa-dipping, middle-school-campaigning, steel-workers-union-supporting bid for class president is often shown explicitly as a distraction from her existentially important job as the only cleric of Cassandra. Even when trying to earnestly apologize to Cassandra and prove to them that she's gonna prioritize her over class presidency, the only way she can articulate it is "You're the meat, mama." Her emotions are always guarded by some amount of chaos and impulsivity.

Now, how does that relate to Gertie "I've had a crush on you for a really long time" Bladeshield?

In both of the two scenes we've gotten of The Best D20 NPC (/j (but I do really like her)), Gertie has shown a pretty similar propensity for making bold, chaotic decisions in the heat of the moment. However, in my observation, these decisions do NOT come from a place of emotional suppression. Quite the opposite, actually.

Think back to her Grand Entrance into the narrative. Gertie, being one of the last people awake at Fabian's party, gifts her longtime-crush a jar of honey, something that connects directly to her passion/special-interest of beekeeping, in a homemade container designed as a pun on Kristen's last name. (in hindsight, the crush was very obvious) Then, in the middle of her infodumping to her about honey, Kristen's rich friend makes an incredibly dismissive remark about her good-natured gift. This obviously pisses her off, but unlike Kristen "That's what you think" Applebees, Gertie "I don't give a shit who's kid you are" Bladeshield lets herself feel those emotions very loudly, immediately starts a duel with possibly one of the most accomplished sword-fighters in the history of Aguefort, and declares him a life-long nemesis. She acts very brashly and impulsively, but in a way that doesn't hide her emotions, instead expressing them.

(I know there's a lot of talk about outbursts of anger being tied to Ankarna, but not only does the scene not really seem like foreshadowing to me, it's more interesting to see it through the lens of being Gertie's actual actions)

This trend continues with the 12th most noteworthy thing to have happened in episode 11 (which incredibly high acclaim), where after being explicitly asked to talk about bees by her crush, and being placed inches away from her face, kisses her on the lips. Now, excusing the albeit upsetting lack of consent, it once again shows Gertie acting very impulsively in a way that exposes her feelings to the people she likes. With these two instances of characterization being literally the only two scenes we get with her, it poses her as a very interesting parallel to Kristen, someone who shares in her willingness to make impulsive decisions, but differs wildly from her in the way she uses them to react to strong emotions.

However, does this really make Gertie the Autism to her ADHD?

(idk if Gertie really shows autistic traits, I just wanted to say that) Well, part of what Tracker a good companion for Kristen was that, as a fellow cleric, she naturally had very high wisdom, meaning she had enough insight to look past the layers of shrimp and salsa and engage with her on a deep level. However, clerics aren't the only class that cast spells with wisdom, so do rangers, including swarm-keeper rangers, which is a subclass that both has a good few abilities focused on spell-casting and was confirmed to be Gertie's subclass in an adventuring party. While her highest stat still could be dex (which, come to think of it, is a hilarious contrast to Kristen), there's no doubt that Gertie has a higher chance than most at being able to look past Kristen's barriers and see the complex hive of sweet, buzzing emotions underneath.

Hell, maybe that's where Gertie's crush comes from in the first place. Maybe, seeing this popular, proudly sapphic cleric be incredibly playful and chaotic on school grounds, she not only saw a bit of herself, but a little more. Perhaps, the type of mind that dedicates itself to allowing small, harmless critters to prosper even when no-one cares to join her club, is also the type of mind able to recognize when someone isn't allowing their truest emotions to prosper, making her wonder if they might have something to gain from sharing some of that chaos, using it not to hide, but to be free.

Or maybe it's just cause her last name has "bees" in it, idk.

#even if Gertie's crush gets played off as a bit #I love gertie so goddamn much #and she deserves more love #fantasy high #gertie bladeshield #kristen applebees #d20 fhjy #dimension 20 fhjy #fantasy high junior year #bladebees #beesbees #appleshield #gert's bees

[prokopetz]

Hey why DO all those old tabletop RPGS and adventure games have such weird obtuse "act in this one scene or softlock forever" moments? Like, these weren't designed like arcade games that munch quarters... Why was this sort of thing so commonplace?

(With reference to this post here.)

Funnily enough, for tabletop RPGs there's actually a good answer.

If you're familiar with the popular history of tabletop roleplaying games, you've probably heard the idea that they developed out of fantasy wargaming. That's not actually terribly accurate; tabletop RPGs and fantasy wargames are more like two parallel branches that split off from the recreating-historical-battles kind of wargaming at about the same time, and for the first couple of decades there wasn't a bright line drawn between them like there is today. Many are genuinely hard to classify by contemporary standards – there are a lot of early fantasy wargames that look more like modern tabletop RPGs, and vice versa.

One of the consequences of that lack of sharp distinctions between tabletop RPGs and fantasy wargames is that early tabletop RPGs were often played in a sort of "competitive co-op" format at wargaming tournaments. Multiple groups would run their parties through the same adventure in parallel, and be ranked on their performance; sometimes this would involve scoring points for completing specific objectives, or speedrunning the adventure and aiming for the fastest time, but the most popular tournament format was the survival module: adventures which were deliberately designed to be unreasonably difficult, with whichever group's last surviving character's corpse hit the ground furthest from the dungeon entrance being judged the winner.

The upshot of that popularity is that many published adventures early on – and certainly the greater part of the more infamous ones! – were originally written as survival modules, created to be run competitively at a particular tournament, and later repackaged and sold as commercial products. Of course, practically none of them actually explained that; like nearly all tabletop RPG material of their day, they were written under the assumption that all tabletop roleplayers had come up through organised play at university gaming clubs, and thus already had all the context I've just outlined. This ended up causing no end of confusion when the hobby's mainstream visibility exploded in the early 1980s, and suddenly there were folks who'd picked up the rulebooks at their local bookstores trying to teach themselves how to play from first principles with no prior contact with gaming club culture.

As for why adventure games were also like that... well, this is going to sound bizarre by contemporary standards, and I don't blame you if you don't believe me, but once upon a time, point-and-click adventure games were considered the gold standard for Serious Gaming. Unforgiving routing, bizarre moon-logic puzzles, and a bewildering variety of unique ways to get yourself killed off were held up as the mark of the serious gamer in much the same way that janky soulslike combat systems are today, and a large chunk of the genre was made to cater to that ethos. Gamer culture is a hell of a drug!

(If you're about to ask the obvious follow-up question, "what changed?", the point-and-click adventure game's fall from grace and subsequent dismissal as casual fluff tracks more or less directly with a large demographic shift in the late 1990s that saw the genre's player base skewing predominantly female – and, well, you can probably connect the dots from there.)

#gaming #tabletop roleplaying #tabletop rpgs #video games #game design #adventure games #violence mention #death mention #sexism mention #swearing

[bozowrites]

starved man

tom blyth x f!reader : tom feels a way he shouldn't and lets those feelings get in the way of work. (angsty)

wc : 1.2k

a/n : couldn't help myself. i love this man. might write a parallel imagine of the scene in this as a billy x reader fic.

navigaton

maybe tom was wrong for feeling this way. well, he was—he knew that, but you can’t help the way you feel; that’s what tom keeps telling himself. he taps at his leg with his finger, anticipating the scene he was about to do with yn. he couldn’t wait any longer, he was ready to get going. it felt like this exciting and nerve-wracking whirlwind. like when you’re about to ask out your crush and can’t wait for their answer, but too scared to hear the answer at the same time. tom bites his lower lip, bouncing his leg. “dude,” daniel deadpans beside him. “you’re gonna burn a hole through her if you keep staring.” 

tom laughs awkwardly, shaking himself out of it. “i was out of it, didn’t realize.”

“right,” daniel leans in closer to tom, keeping his tone low, “so you aren’t dying to kiss her in this scene?” tom gulps, raising a brow and eyes daniel. “who said i was?”

“no one, but its pretty obvious.” tom scoffs, rubbing his forehead, already annoyed, not with daniel but with himself. this wasn’t how these last few weeks of filming were supposed to go. yn was in for a few episodes of billy the kid, playing a character that billy would fall for, though, of course, wouldn’t get in the end. and, within just the few weeks he’d been getting to know yn, he wanted so much more from her. and, yeah, he was excited because, yeah, he was going to kiss her. this was an excuse to touch her body and feel her lips against his, no questions asked ‘cause this was for work. 

“it is?” tom asks, looking over to meet daniel’s stare. “to me. i don’t know ‘bout anyone else.” he shrugs. “looks like they’re ready for you. try not to have too much fun!” 

tom’s heart stutters. he shouldn’t be this excited. he can’t be. he takes his place, getting himself into it, into character, ready for the cameras. yn smiles wide at him from her spot across the set. he smiles back, he couldn’t not even if he tried. this scene wasn’t going to be the same for her as it was for him and selfishly, he hoped they’d have to redo the scene over and over again. 

on cue, tom is his character. the scene is smooth sailing, he’s practiced his lines well enough with everyone to know what he is doing, but the closer he gets to the kiss; the faster he is with his words, desperate to get to where he wants to be. his heart feels loud and hammers against his chest. he really felt like a schoolboy waiting to confess his feelings. tom’s close to yn, staring directly down at her, her lips. he can’t seem to look away to save his life. she’s stopped talking, he looks up. what was his line again? he looks down at her lips again, he just needs to kiss her. “goddammit.” tom mutters. he dives for her lips. he groans the moment he feels her lips. his hands cup her face, holding her impossibly close. he needs to be as close as he can and touch her as much as he can this way. he's hungry for her, the touch of her. she’s soft and perfectly fitted against him. her hands hold his arms, steading herself as he pushes himself closer and closer. this is by far the best kiss he’s ever shared with anyone, and all be damned if he didn’t get to do it again. 

“billy…” she moans against him. he stutters back, moving himself a step away, letting her go. they’re acting. she isn’t kissing tom, she’s kissing billy. “cut!”

the director makes a move over to them. “missed a few lines, tom, but that was great!” she goes on. tom’s only focused on yn. she’s not looking at him, she’s fidgeting with her skirt, glancing around the room and nodding along with the director. she’s nervous and undoubtedly startled. “alright, you two?” 

“sorry?” tom shakes himself out of it, looking to meet the director’s stare. 

“tom.” the director deadpans. “we’re going to do a quick take of you walking away after that kiss and we’ll move the conversation you two were supposed to have after the kiss to the next scene just before billy leaves.” 

“oh, okay.” 

“i know its a bit of a last minute change but so was that sudden kiss.” tom laughs with her, rubbing the back of his head. “right, sorry about that. i…forgot my lines and just went for it.” he excuses. 

“don’t be sorry. i think that really added to the passion of the scene. more meaning.” tom nods, smiling. “okay, lets do it people!” 

yn doesn’t look at him, avoiding his eyes. what has he done? 

...

“billy—”

“don’t. i know.” tom sighs. he glances around, gulping. “don’t matter, i’m leaving anyways. best i do.” yn nods. “i’m sorry, billy.” 

tom goes to mount his horse, the end scene of him riding off, but yn pulls him back. she kisses him. tom’s heart stops for a moment. her hands held his face this time, and he’d be dumb to not reach for her hips and kiss her back. she lets go all too soon, sighing, keeping her forehead pressed against his. “don’t forget me, billy.” 

“i couldn’t if i tried.” he sneaks a quick peck, satisfied as all can be, and mounts his horse. the stare he gives her before riding off, he’s sure she can see the desire he has for her. maybe he really had gone crazy, but he could swear something was saying the same thing in hers.

...

the scenes with yn had finally ended, they were at the end of their filming for the day. tom was watching as yn indulged in conversation with the director. he sighs. though he felt satisfied by the kisses they’d shared, he needed more and that only fueled him further. the idea of never kissing yn again was weighing on his shoulders like a boulder. it's just a pair of lips, tom thinks. that happens to belong to the most perfect person ever. he groans, leaning his head back to stare at the ceiling. “i’m going crazy.” 

“crazy in love, maybe.” tom sits up, shooting his eyes over to daniel. “what? no.” 

“it’s okay to admit you like someone, tom.” 

“not when they’re taken.” tom sighs, rubbing his temple, annoyed. none of this would be so bad, but yn just had to be in a relationship, a happy one at that. tom just had to fall for her and deal with it, pretending to love hearing her talk about him so lovingly and so sweetly. that scene, kissing her, was his little chance into what a world with her was like, and by golly, did he want more. there wasn’t quite anything like the feeling of her lips on his and her moaning into him as her hands squeezed his arms to steady herself.

“tom—”

‘it doesn’t matter, i’ll get over it. plus, she’s done with this show, so i won’t be seeing her.” not like she wanted to see him. she’d been avoiding him after finishing up. she didn’t join them for drinks and she didn’t look at tom once. 

he really had fucked things up.

#tom blyth x reader #tom blyth #tom blyth x you #tom blyth imagine #billy the kid smut #billy the kid imagine #billy the kid x reader #billy the kid #coriolanus x you #coriolanus x reader #coriolanus snow #tom blyth smut #william bonney

[the-ineffable-dance]

Holy Palmers Kiss

Throughout their history together, the romance between Aziraphale and Crowley has mostly been expressed through incredibly subtle ways. It's been centuries (if not millennia) of nothing more obvious than a surreptitious brushing of hands or yearning looks when they think no one is watching. And of course, when they have plenty of deniability.

Good work, Aziraphale... hand on the chest of the Thin Dark Duke, and if anyone asked, you were just making sure that young lady didn't get bumped.

And this is for a very good reason. It quite literally isn't safe for them to be openly romantic with one another, even now. Demons like Hastur and Shax are constantly popping up... Michael and Uriel are always watching... eyes are everywhere.

They have certainly gotten closer to being open in the years that separate the two seasons. Crawley sprawls all over that bookshop like he has a personal vendetta against chairs - removes his glasses as soon as he steps foot inside (which is an incredibly coded action that I would love to take a more in depth look at in the future) - gives up the keys to the Bently... And Aziraphale himself has those longing looks - calls him up to talk enough that Crowley knows his "tones of voice" - and then, we get The Ball.

Technically, The Ball is for Nina and Maggie... or at least that's what Aziraphale says. We get the lovely little moment in the pub where he and Crowley try to come up with the best ways to get humans to fall in love with each other. But the moment Aziraphale mentions Jane Austen having characters dancing with each other and realizing how in love they were, I think at least for him the focus changes to this... THE BALL IS FOR CROWLEY. And once he starts giving away books to make sure the ball will be perfect, there can be no question. The entire idea is a way for him to be able to dance with Crowley.

That's why, for me, the most romantic moment in all of Good Omens, at least from Aziraphale's point of view, is this moment right here.

Vavoom! Sorted! Look at the way Crowley even curls his fingers around Aziraphale's hand! This is peak Aziraphale romance as a fan of Jane Austen.

But he's also a fan of Shakespeare. Even the gloomy ones. And every time I watch this scene, I'm reminded of a different ball from one of the gloomy plays that Crowley would hate and Aziraphale would swoon over. Romeo and Juliet. A fitting parallel to an angel and a demon being in love.

In Romeo and Juliet, at the end of the first act, is another ball. Romeo tries to get Juliet to kiss him, and she turns him down with this...

"For saints have hands that pilgrim's hands do touch/ And palm to palm is holy palmer's kiss"

There's quite the back and forth here between Juliet and her Romeo about hands and lips and such, (and eventually Romeo gets his way) but the parallel for Aziraphale in this exchange is unmistakable. He, as the angel, is the saint (and stand in for Juliet), Crowley his pilgrim. Snogging in public would be absolutely out of the question for our dear prim and proper Aziraphale... but this is a chaste kiss, and one that he is showing the world. A public declaration of his love for Crowley. A Holy Palmer's Kiss.

It's certainly debatable if Crowley would have picked up on it. Like a lot of their coded language there are times when one of them misses what the other is trying to say. But in my opinion, this was not only a public declaration, but his confession to Crowley. This is his "I love you" as much as "I forgive you" is.

Just for fun, here's how Romeo finally gets his kisses (but let's have Crowley stand in for Romeo and Aziraphale for Juliet, shall we?)

Cro. Thus from my lips, by yours, my sin is purged. (They kiss)

Azi. Then have my lips the sin that they have took.

Cro. Sin from my lips? O trespass sweetly urged. Give me my sin again. (They kiss again)

#good omens #ineffable husbands #aziraphale #crowley #good omens meta #aziraphale loves crowley #crowley loves aziraphale #good omens 2 #the ball was for crowley #aziracrow #shakespeare references in Good Omens

[stardustpr1ncess]

Bonzle is 100% without a shadow of a doubt a trans allegory. People have been trying their best to say Sora isn't transcoded, but Bonzle is 2 scenes away from looking at the camera and saying "Hello. I'm a trans allegory." I shall now go into detail on every piece of evidence for this claim because fuck you.

EPISODE 5: Bonzle is afraid of how her found family will react to learning she's a spell (trans) and worries she will be rejected because of it. Easy parallel to trans people being afraid of revealing they're trans post transition. There's also her conversation with Bitch Boy Master Wu, with her saying she feels great loneliness, and only after gaining a physical form (transitioning) she feels happy and her true self. Very common trans experience. Gonna also put all of the quotes for my evidence as well since I know there's transphobes (filth) that like Ninjago and will be scrambling to deny it when people start coming to this conclusion too.

"Bonzle: I-- I was afraid of what you'd think if you knew about my past... Wu: It's called loneliness... Bonzle: I feel like, for the first time ever, I've become who I was destined to be... Bonzle: I was afraid if you found out I wasn't a real person, you wouldn't want me to be in our family anymore."

EPISODE 6: Bonzle is apprehensive about meeting with Gandalaria, seeing as how she's only known Bonzle as a spell, aka pre transition. She worries if she will respect her identity, much like how actual trans people fear how their family, more specifically a parental figure, would react. Bit of a light episode but an important aspect, here's the quotes;

"Bonzle: The Sorceress. She only knows me as a spell. What if she doesn't believe in me as a real person?"

EPISODE 7: This episode is the sauce. Bonzle is reunited with Gandalaria and their conversation is nothing short of magical. Gandalaria immediately recognizes Bonzle, saying she was her greatest creation and had always hoped she'd come home, shattering Bonzle's fears. It's a fantastic contrast, showing how this interaction can go well for some people, while others get an interaction much more akin to Sora's parents. When she's informed of Bonzle's chosen name, Gandalaria immediately starts using it, saying it's a great name. However, for that juicy authenticity, Gandalaria accidentally says spell before quickly correcting herself saying Bonzle. IT'S LITERALLY SO FUCKING OBVIOUS BONZLE'S BONES MIGHT AS WELL BE BLUE PINK AND WHITE. Oh yeah, here's the paragraph of quotes;

"Gandalaria: It's you! My dearest! You've come home! Bonzle: You... You recognize me? Even in my boney physical form? Gandalaria: Oh, I would know your true essence anywhere. Bonzle: I was so afraid you wouldn't accept me for who I am now. Gandalaria Are you kidding? I put my heart, my soul into every spell I weave... The most complex spell I've ever woven, and the first of my creations to ever come back to me!.. Bonzle: I'm Bonzle. That's the name I chose when I became a person. Gandalaria: Well, that's a splendid name... If this Ras times it right, he could reverse the power spell-- uh, Bonzle here--."

EPISODE 9: This episodes importance comes from Jordana, who acts EXACTLY how transphobes do. She constantly calls her a spell (some sort of derogatory term), says she's playing person (like pretending to be a girl), and says she's helping her do what she was made for, like transphobes very creepy beliefs in reproduction. Literally you half expect Jordana to ask which bathroom Bonzle uses since she was a spell. THE QUOTES;

"Jordana: Settle down, spell. I don't know what you think you've been doing, playing person with your fake family, but I know your true purpose... You should thank us. We're helping you to do what you were created to do."

In conclusion the silly lego skeleton girl is one of them spooky transgenders. Lmk if there's anything I missed. Thank you for reading.

#ninjago #lego ninjago #ninjago dragons rising #lego ninjago dragons rising #dragons rising #dragons rising season 2 #ninjago spoilers #dragons rising spoilers #ninjago bonzle #ninjago Gandalaria #ninjago sora

[zionworkzs]

Okay, but I need to talk about Good Omens and The Sound of Music.

First of all, I’m genuinely obsessed with it being explicitly canon that The Sound of Music exists in the GO universe and is, for some reason, God’s favorite movie. Neil says here that Heaven misses the point of the movie/musical, but I find it incredibly fascinating that Aziraphale outwardly despises it. 

Brief summary of The Sound of Music incoming as well as some really interesting parallels:

So we've got Julie Andrews playing Maria, who is studying to become a nun in an abbey in Salzburg. Problem is, she isn't the best nun, and is often late to chapel and just isn't the shining beacon of holiness that the rest of the nuns expect her to be.

In response to this, the Reverend Mother of the abbey decides to send Maria to live with sexy widower Georg von Trapp, a navy captain who desperately needs help with his seven children. The Captain is a bit of a hard-ass since the death of his wife, and has been treating his kids like little soldiers as well as banning music from the house.

The 7 kids are rambunctious and make things difficult for Maria at first. But one night, a thunderstorm scares them, and they run to Maria for comfort. The kids realize that Maria is really fun, and then later, when their dad is off to Vienna, the kids and Maria end up running around Salzburg singing, dancing, climbing trees, and having a blast.

When the Captain comes home and hears about this, he sends Maria away. But then he overhears the children singing a song Maria taught them and he gets all emo and remembers how much music meant to him and his late wife. He asks Maria to stay after hearing the song, telling her she's brought joy back to their house.

And oops, Maria and the Captain are falling for each other, but the Captain is sort of kind of dating this blonde bombshell.

There's a big fuck-off party, and the Captain and Maria dance together.

But, oh, no, Blondie saw them and can clearly tell they're in love. She tells Maria what she's seen and Maria is freaking out cause she's just realized she's in love.

Mentally, my girl Maria is going through a lot. She thinks she’s disappointed God by falling in love when she was supposed to be doing a job. She feels scared by the depth of her feelings and because of all these emotions, she runs away. Back to the Abbey. Back to presumed safety.

Mother Superior figures out what happened real quick and tells Maria that she isn’t wrong for falling in love. She sends her back to the Von Trapps, and it's such a great scene. If you wanna watch, I included a link below.

Maria goes back, and the kids are elated and she and the Captain confess their feelings (and oh my god, don't even get me started on the lyrics to the song they sing to each other while confessing, Something Good).

(I’m unwell.)

So that's the Sound of Music. There's a subplot going on with WW2 and the Captain being pressured to join the Nazi regime (which he is very against). King, we love him.

I pointed out some obvious parallels, but I'd also like to pull some random thoughts together here:

Mother Superior (God) is the one that sends Maria (Aziraphale) to help the Von Trapps (humans) in the first place.

Maria (Aziraphale) extends grace and patience with the children (humans) and refuses to give up on them, even going so far as to disobey their father by letting them fuck around and be kids (going against God's wishes and giving humans the flaming sword).

Mother Superior (God) also sends Maria (Aziraphale) back to the Von Trapps after realizing that Maria (Aziraphale) is in love with the Captain (Crowley).

Here's to hoping we see God telling Azi that loving a demon is chill and he should go back to earth in S3.

Overall, it's incredibly amusing to me that Aziraphale, our Aziraphale, doesn't like The Sound of Music, with the main plot being about a woman who choses love over religious obligations and a man who rejects an authoritarian regime so that he might make his own way in the world.

Maybe Aziraphale recognizes the parallels and is in denial. Or maybe he just prefers Sondheim...

#can you tell i watched the sound of music too much as a child #fuckin love this movie #ineffable husbands #aziracrow #crowley #aziraphale #good omens #aziraphale x crowley #good omens season 3 #good omens meta #good omens season 2 #the sound of music #Youtube

[drconstellation]

First-Order Archangels

Part 1: Maybe You'll Spot An Archangel

GABRIEL: I told you you could ask. However, I am the only First-Order archangel in the room, or, you know, the Universe, so I'm not gonna answer so much. But you feel free to knock yourself out with all the asking.

While I was writing my meta series The Passion Of Jimbriel it became fairly obvious to me there was something more going on between Crowley and Gabriel in S2 than just the numerous pointers to Crowley's pre-fall angel status. They are acting as both parallels and foils to each other, and in places you can swap their characters and get the same story at a different time – and that just opens up a whole new window of context and insight into things. For pre-reading, see this meta from @vidavalor that nicely lists some obvious parallels. It doesn’t mention everything though, so I’m going to discuss parts in more detail.

A foil is a character who contrasts with the protagonist, to highlight or differentiate certain qualities between the characters. Crowley and Gabriel do this because they have come from essentially the same place, and share some story elements, but they still end up in different places.

There is a lengthy original discussion about Crowley's pre-fall angel status here, for pre-reading. It points out the obvious and some not so obvious points that ops have noticed in S2 telling us about Crowley's pre-fall status. Rather than just go through them all again, I'd like to look at some other scenes in S2 that also tell us something about both the similarities and the differences between these two high-powered entities as I go along. In addition, I’ve done a series of posts looking at Gabriel as a shoulder angel (links at the end of post,) because quite often he’s on the demonic left-hand side – which makes sense when you realize he’s a Crowley parallel.

Take the arrival of Gabriel to Whickber St and the bookshop. I’ve already mentioned this parallel story line a couple of times now, but lets look at it again in more detail. It mirrors the opening of S1E1 where the serpent climbs the wall of the Garden of Eden, morphs into a demon and starts to converse with the angel standing on the wall.

Back in the present day, we have a Gabriel, who also tends to present on the sinister-side, walking up to the gate of the present day Garden (the bookshop), which is still guarded by the same angel as it was 6000 years ago, and basically tells Aziraphale he has “fallen.”

How to we know this? It is a reference to the Fall of Man, when Adam and Eve ate the apple the serpent offered them, they suddenly became aware of their nakedness, and hid from God. Gabriel has already upset the love-apple tomato cart on his way to the door of the bookshop, its a sign of the chaos to come.

The fallen angel is not sure of his name, so he prompts with a question…

And asks for shelter under the (reluctant) angel’s wing..

But there is one thing he does know, the one thing that drew him to Aziraphale in the first place:

AZIRAPHALE: Then why did you come to my shop? GABRIEL: I don't know. I just thought I should. You know what it's like when you- when you don't know anything at all, and yet you're totally certain that everything would be better if you were just near one particular person?

Later, Aziraphale realizes that he must give Gabriel a new name to hide him – because fallen angels take on a new name, don’t they? Just like Crowley did.

Then we get a confession:

Which is what Crowley loves about Aziraphale as well - that bit of unpredictability, because you know how humour kind of works? It throws the unexpected at you.

Early on in S2 we find out they are both in trouble: first His Royal Smugness, then Our Hero himself. Our view is turned upside down, with the angel made the bad guy and the demon the good guy who needs to win. But both of them are being hunted by Shax.

Then we get one of the early clues pointing to Crowley's high status as an angel:

SHAX: A miracle of enormous power happened last night. The kind of miracle only the mightiest of Archangels could've performed. CROWLEY: Mm? SHAX: Somewhere very close to your friend's bookshop. Are you telling me you don't know what caused it? CROWLEY: How'd you know I didn't do it?

Shax stalks and threatens both of them, sometimes at the same time:

Another parallel Gabriel and Crowley shared in S2 were associating their identity - no, lets rephrase that - "essence" was one description I've seen - with boxes.

Gabriel arrives with a box that strategically covers his front, and quickly tosses it aside once Aziraphale opens the door to the bookshop. It lies forgotten until Gabriel mentions it a while later. Inside it is the fly from Beelzebub - an object from Hell - so it really needs to be 'invited' across the threshold of the bookshop by Aziraphale to be able to enter. The box initially appears to be empty, Once inside, the fly is free to roam. It has a message written on one side of it.

The same goes for the matchbox. Message included.

ah, wot? you say. Yep.

The matchbox represents Crowley, probably in more ways than one, but I'll just go through the stuff relevant to this meta here.

I notice I'm not the only op to connect the line from the Book of Job on the side of the matchbox with Crowley. The line is from Verse 41, which talks about Leviathan. Among the various shapes it is described to take is a great sea serpent. This deserves its own meta for further discussion, which I plan to do after this one, because yes, Crowley is Leviathan in disguise, but there is much more to it than that. But for now, just know that the matchbox is Crowley.

Once you know this, it makes sense that Muriel finds it - a discarded cardboard box by the front door to Heaven - and deals with a material object that shouldn't by rights exist in Heaven. Then a certain demon finds Muriel lurking outside during the siege on the bookshop at the end of S2E5, and talks them into letting the certain demon be escorted up into Heaven where he doesn't belong, where he's free to roam around - only he needs a guide because he's not sure where to go. Ah Muriel, you poke the Serpent, he's going to poke you back. Good thing he likes you, and it just was a gentle nudge.

Two empty boxes, two cases of memory-loss. That is what S2 seems to suggest to us at first glance.

Gabriel's seems to be the most straight forward in hindsight - find the fly and restore Gabriel to his original "Gabriel-ness." But its more complicated than that. When pushed to remember, his lilac eyes return and another voice can be heard speaking through him of the past. This happens twice, with the second one being part-prophecy. What is really triggering these episodes of channeling? Is it God or someone else speaking through him? We really aren't sure at this point in time.

Then there are questions around Crowley's memory. Did he have his memory wiped when he fell? Was it wiped repeatedly? Was it not wiped at all, and he just pretends he doesn't remember? Neil has even said he is an unreliable narrator about his own Fall, so who are we to trust at this point? Crowley does seem to understand in the end some of the problems Gabriel is having with his absent memories and that brings them to a temporary truce.

Both Aziraphale and Michael inspect their respective "empty" boxes, and neither notices anything obviously amiss. Gabriel's box just seems empty to Aziraphale, he takes no notice of the fly container in there, and archangel Michael tentatively inspects the matchbox brought to them by Muriel but nothing seems out of place there either.

Crowley's change in costume in Heaven during his little infiltration caper with Muriel is also another clue to his past status as an archangel. He has a silvery-gray suit, similar in style to Saraqael's to reinforce the link with them, but at the same time he is also mocking the other archangels and their elite status. We've assumed for a while now that the appearance of the tactical turtleneck signals that Crowley is up to something sneaky or spy related, but I'm starting to think it also relates to a bit of a power play (and Crowley certainly laid the power on for Mr Brown in the pub!) Looking back at S1, Gabriel's not adverse to wearing one either when he needs to be at his worst (or best. Your choice.)

The way one dresses is a way of expressing and reinforcing authority, and its something both Gabriel and Crowley do without much thought. They have been used to being in a position of power and/or independent authority for much of their existence, and I would say that even if Crowley is a few steps down now from where he started, and he's more cautious around those higher ranking than him than he used to be, he still retains that knowledge of what its like to be at the top.

Crowley's usual near all-black costume is a form of power dressing in itself. Whether is was in the past, when black was an expensive color to buy and maintain in clothing, or in the present day, we are still respectful of those in a stylish cut of black.

Gabriel's impeccable tailoring as Supreme Archangel also commands respect. So it's no wonder that one of Gabriel's first requests on regaining his memories was to ask for new clothes! He wasn't just being the vain archangel we believe him to be (although, I think there is still some of that) you also need to consider the elements of the reference characters that went into his shop assistant character: Granville, the belittled shop assistant nephew from the sitcom Open All Hours, who got stuck with all the shop duties from his uncle and felt like life was passing him by, and the silly Monty Python gumbies, that complained of hurting brains - lovable and much loved characters, but not ones you'd really want to be forever. We all want to be loved, but we want to be respected as well.

For all his fierce posturing around Gabriel, there is a brief moment in S2E3 where Crowley backs down and treats Gabriel as an equal - and that is reflected in a change of dress as well. His outside jacket off and sleeve-garters on, Crowley sports a look we haven't seen since S1 when he was home alone in his Mayfair flat. He patiently explains gravity to a curious Gabriel and then describes his "Operation Lovebirds" plan to his puzzled companion. He admits he hasn't "done weather in ages." It's just a quiet, charming moment, watching two ex-archangels get along together.

You're smiling, aren't you?

This meta continues in Part 2: Foils of War, where the differences between Gabriel and Crowley get explored in more detail, and how Aziraphale and Beelzebub act as mirrors to each other a few times as well.

This meta is part of a series on Gabriel: Gabriel as a Shoulder Angel: S1 Study S2 Study Part 1: Ep.1 The Arrival and Ep. 2 The Clue S2 Study Part 2: Ep.3 I Know Where I'm Going and Ep. 5 The Ball S2 Study Part 3: Ep.6 Every Day

First-Order Archangels Part 2: Foils of War

First-Order Archangels Part 3: Seeing Eye to Eye

#good omens #good omens 2 #good omens meta #crowley #gabriel #the only first-order archangel in the room #or you know the universe #aziraphale #garden of eden #fallen angel #his royal smugness #how will our hero cope #maybe you'll spot an archangel #book of job #vavoom

[emblazons]

So (because I cannot go three seconds without noticing new little things that tell the wider story in this show):

Let’s talk about how the music that plays during the S3 Byler fight is the exact same music that plays during the S4 conversation Mike & Dustin have with Lucas as they walk to class after the pep rally—

—and how that parallel gives us insight not only into how Mike (and his devotion to Will) has evolved between seasons 3 and 4….but also how The Duffers are evolving Mike as a character in the wake of the "conflict" of forced conformity they introduced in S3.

To start: here are snippets of both scenes where “Not Kids Anymore” plays, both in Season 3 and Season 4.

Now, even though Mike is present in both scenes, it’s not entirely obvious why these things would be parallels, given the radical difference in tone. That said: when we look at these scenes in their wider contexts, we see that they are both exploring the exact same issue, only with Mike on opposite sides of the convo each time—

—namely, whether or not its worth it for Mike to embrace conformity, given that there are behaviors/roles he is meant to fill when trying to keep up with being normal/growing up...and "society" says that DnD / nerdiness (and a refusal / lack of desire to participate in performative relationships) stands entirely apart from that.

Let me see if I can explain.

First: these things are parallels because they are asking us to compare the Mikes in each situation—to notice how he took Will’s words to heart, and decided on some level that Will was right, not him. How do we know? Because in the time between these two convos (aka the rain fight and then the first few episodes of S4), we learn that Mike has made a point to address and rectify all criticisms Will had of him & his behavior during the rain fight.

As of the very first episode of S4, we are shown that Mike is 1) paying attention to both the party/DnD the way Will criticized him for not doing (to the point of calling out Lucas for not prioritizing it the way he now wants to)—

—2) he is focusing on keeping closeness with Dustin (even to the point of judging Lucas for not doing the same), because Will accused him of ignoring Dustin as readily as he ignored him—

—and 3) he has entirely stopped "swapping spit" with El (to the point of removing her from a hug at the airport, kissing her on the forehead...and then never kissing her again lmao) while letting his relationship fall apart without much of a fight…right before apologizing to Will for letting El get in the way of their time spent together in the first place.

Basically: even though he is still struggling in many ways to defend himself from being bullied/being an outcast by hiding behind his relationship with El (the same way Lucas is with “being popular” and basketball), we can see that Mike has made clear strides towards embracing the sides of him that aren’t conformist, which is reflected in all of his decision-making in Will's absence.

Though Mike is getting older and the party “aren’t kids anymore,” them paralleling these scenes is showing us that Mike, at least on some level, has realized that growing up is not at odds with embracing the things he enjoys & his various identities, whether that be through playing DnD—

—wearing clothes he chose on his own—

—or willingly choosing closeness with Will over the performance of relationships with girls (the same way Will already had in Season 3, and Dustin reflected as well).

Now...this isn't to say that he's entirely succeeded at the task, given how many times we see him fumble through actually implementing these changes/revelations in himself, whether with clothes (hello 'shitty knockoff'), embracing his actual interests, or even letting himself want to admit he wants to be with/around Will and not El—

—on top of the fact that I've already talked (many, many times) about how the journey of "feeling like you lost" the Duffers took us on had Mike ending up in a position where "conformity" temporarily wins, how that plays into his relationship with El versus Will, and why it matters for his character even outside of his queerness.

Still: I think this parallel in particular is important to understanding his character because it rules out any idea that Mike is somehow oblivious rather than intentionally working through to the changes happening in himself, whether they be in regards to him re-choosing DnD, making decisions about his clothing for himself...or wanting to be closer to Will / not participate in "liking girls," which is what he gets projection-mad at Will about during the rain fight.

tl;dr: Mike has realized on some level that he wants to be more like / closer to Will than his S3 "conformity" self—and the war we see on his face throughout the season in conversations with Will has a lot to do with that, among other things.

This musical parallel in particular draws attention to the fact that there have been changes happening within Mike that he sees and recognizes—he just "lost" like every other character this season, aka failed at walking into a more secure sense of self / out of his "conformist" relationship in its entirety...which we'll resolve in S5. :)

#byler #anti mlvn #mike wheeler #will byers #mike wheeler core #this could have gotten SO MUCH LONGER and I know I'm gonna do a companion piece on lucas right after this but lmao I had to START SOMEWHERE #like? one day I'm just gonna have to write a fucking book on mike wheeler because I have SO MUCH TO SAY LMAO #my st commentary #st parallels #stranger things #st music analysis

[wenellyb]

I have nothing against Buddie, quite the opposite, I think it's a very cute ship but in the show, I see them as platonic.

Anyone who follows my blog knows that I love to make parallels between shows and Buck and Eddie make think of Will and Gunnar in Nashville.

They're best friends, share an incredible bond and at one point they even raised a kid together (with Avery). They have shared so many scenes that could be seen as ambiguous but they're not, because that's how best friends act. Because are you even best friends you've never had someone assume you and your best friend were dating?

But they're not dating, they have the strongest bond and have always been there for eachother, but their relationship has never been romantic.

That's how I see Buck and Eddie's relationship.

The reason I'm saying this is because I feel like Buck would have went for it if he had wanted to be with Eddie. He would have been more obvious.

He didn't have any problem doing it when he was interested in other men. He might have done it in a clumsy way or acted like didn't know exactly how to proceed but he "went for it" anyway...

Exhibit A: Buck was hitting on TK in the 9-1-1/9-1-1 Lone Star crossover. Buck didn't say "we should meet up" or "catch up", he said "we should get together". And he didnt say it to the whole group. He waited for a moment when they were both alone.

That's why TK thought Buck was hitting on him, because he was.

Same with Tommy. Buck was flirting with Tommy way before their moment in the kitchen.

Exhibit B: Buck admitted that he asked Tommy for a tour because he wanted to get to know him, he even asked Tommy out, after the tour. He didn't say "we should grab a beer" or "do you want to go out for drinks", he said "you should let me buy you a beer". That man was trying to get a date.

And then in Buck's kitchen, when Tommy still wouldn't get it, Buck told him point blank that he was trying to get his attention.

I really think Buck knows what he wants even if he's a little confused about how to get there. And I never really felt like he wanted to go there with Eddie. Buck and Eddie are each other's person but it doesn't always have to be romantic.

#911 lone star #evan buckley #tommy kinard #eddie diaz #tk strand #911 spoilers #bucktommy #Just a precision for people who don't watch Nashville #Gunnar is Straight and Will is Gay #as always this is my personal opinion and I'm always open to discussions and other pov #platonic soulmates are a thing #Also I feel like you wouldn't hit someone while playing basketball if you had a crush on them #sorry for the typos

[iamnmbr3]

hi there! During some weeks i've really become a fan of your drarry posts(sometimes daily;))..they're so detailed and convince one in a way that they can't say "nah, you're delusional..drarry doesn't exist!(platonic or romantic)"..and tbh i agree with 98% of your opinions( 2% is in little details lol)

I have some things to say:

-in room of requirement scene harry asks draco whose wand is this in his hand and draco replied his mother's [i love how he answers with honesty here bc mostly he doesn't answer straightforward..it's obvious to me how much he changed and how exhausted he is:(] then harry laughed, admitting that situation is not funny at all(as far as i remember)...do u think why harry laughed?the only reason in my mind is he missed bickering with draco hahaaaa:)))

-in shrieking shack voldemort told lucius that perhaps draco's decided to befriend harry(i love voldy for this^^)...do you think he told it to terrify lucius or despite draco's fear, he actually saw any sign of draco being inclined to harry and his side and seeing that courage in him to change his side?

-In your last meta you told "I think he definitely doesn't want to admit that there's something in Draco that he's drawn to." This is also about harry describing draco's appearance..there are some ppl that are actually gorgeous( either according to other ppl or harry) like tom riddle, cedric, cho ginny etc & there are some that look ugly(harry makes it quite clear lolll)..and some average face which harry does not bother to describe much more...as far as we're told draco is some sort of average(ofc you can think of him as handsome like i think but he's not that type of handsome that everyone agrees on like cedric..that's what i think)but harry tells good things about his appearance in a very weird way...it looks like he knows he looks good but he doesn't want to confess that directly...

Thanks for reading, keep going!💙

Thank you for this lovely ask! It truly made me smile so much to read your kind words. I'm so glad you've been enjoying my posts! And for the record I never mind if people disagree with me (as long as it's polite; and if it's not, it's the rudeness I mind not the disagreement). Discussion and respect for different opinions is what fandom is all about.

I think you raise some really fascinating points here!

1) In the Room of Requirement scene I think Harry's bitter laughter also kind of parallels Draco laughing humorlessly when they run into each other in book 6 when Harry's on his way to the Quidditch match. I think partly Harry's also just relieving tension and laughing at the absurdity of the whole situation and how they always come back to each other. And yeah I also love how Draco responds honestly to Harry.

Also very notable that when Harry asks why the three of them aren't with Voldemort, Crabbe and not Draco is the one who says that they're going to be rewarded and that they hung back to capture Harry. Draco, who has no problem answering Harry's previous question (about his wand) or his next question (about how they got into the Room) is notably silent here. (I wrote more about his motivations in this scene here btw).

2) This is such an amazing point about the shrieking shack scene that I never thought about. But wow. You're right. Great catch! This bit is actually so interesting. So Voldemort says:

"If your son is dead, Lucius, it is not my fault. He did not come and join me, like the rest of the Slytherins. Perhaps he has decided to befriend Harry Potter?"

This is such a strange and specific thing to say. Sure it could be him just messing with Lucius. But he could've done that in so many other ways. He could've just threatened to kill Draco. Or questioned his loyalty more generally. Voldemort doesn't even say something like "perhaps he has deserted me and fled" or speculate that Draco has betrayed him and joined the flighting against him. He suggests that Draco has "befriended" Harry specifically.

Also in this scene Voldemort is thinking about other things and not really paying attention to Lucius or particularly trying to torment him. Lucius is the one who brings up Draco and this is Voldemort's response to the topic.

We know Voldemort can read minds. Despite Draco's best efforts (which given that he's alive despite saving Harry in the Manor, must have been pretty good) to shield his thoughts something must have leaked through, something that gave Voldemort pause. When Lucius says that Draco would never befriend Harry, Voldemort just gives him a noncommittal response and says: "You must hope not." Which sounds to me like he isn't buying it. And indeed, where does it turn out that Draco is (clearly without orders or permission from Voldemort)? With Harry. And I've already discussed in my other meta why I don't think he was planning on killing Harry or handing him over, despite what Crabbe and Goyle thought.

Voldemort's comments are especially interesting given that right after the Room of Requirement scene Draco is attacked by another Death Eater who also seems to think he's not on their side, despite the fact that Draco's name is well known and he has a Dark Mark. So...what happened to make him think Draco wasn't on their side?

3) Yeah I absolutely think Harry thinks Draco is good looking but tries to ignore it. I think they are both exactly each other's type.

#Thanks for these great thoughts and for patiently waiting for an answers. send more asks anytime #i love getting them #asks #drarry #Harry Potter #Draco Malfoy #hpdn #h/d #harry/draco #harry x draco #meta #Harry Potter meta #drarry meta

[yangsharperavery]

so here's the thing...

i've written about this topic a few times during and after season 1, but the carmy and sydney of it all remains a highly contested and discussed topic. even after season two.

what i find so truly fascinating is that chris storer and joanna calo and everyone involved with the creation of this lovely, well constructed show absolutely could have created the duo they work SO hard in the press to convince viewership they intended.

if they really wanted sydney to be a psuedo/standin sibling for the one carmy lost, or the brainy, determined business partner that comes in to orient a sinking ship...

there are a couple hundred ways they could have managed that and made it abundantly clear that's what the angle was within the dynamic between carmy and sydney.

instead... we have all this very overtly (and covertly) romantic, potent and simmering subtext regarding the nature of their relationship and what they mean to one another, their effect on each other and their seemingly endless potential.

in a whole host of ways there are a number of scenes that literally don't make sense without the lens of the undercurrent of feelings or reverence or romance or something that exists between them beyond the intended business partners/co-creatives.

there are ways to narratively parallel sydney as a mirror and equal and peer of carmy's void of all ambiguity and romantic tension and any energy of awkward longing or confusion.

but that's not actually what we got. i've been consuming television media for most of my life. i've watched hundreds of shows; shipping has never been a requirement for my viewership or interest.

which leads me to believe that there's either a bunch of deflection/dismissing happening for a very distinct reason. or there's been a bait and switch planned from the beginning.

you would literally have to remove 75% of the nuance within carmy and sydney's interactions for the stictly platonic claims to make sense and effectively land.

you'd have to go through and remove various staging, shot selection, editing, music choices and sometimes entire scenes to accurately convey original or "intended" messaging.

to completely eradicate the liminal space of subjectivity between them.

why is carmy talking about tina looking like sydney with that distinct expression on his face when they all wear that apron?

why are they being awkward at the lockers like it isn't customary for coworkers and business partners to go out after work for dinner or drinks or whatever (literally evidenced by tina this season)?

why is sydney mentioning jealousy at all when it comes to carmy's relationship? especially when it makes perfect sense for her to be upset with him for not pulling his weight?

why is sydney entering into carmy's life for the first time and deciding to stay, the second time, something that literally brings him out of his panic? when it could have been him cooking, his drawings, his staff, his gf. ANYTHING else.

they effectively made sydney an emotional, mental and energetic tether for him in that scene. for what reason? business partner ones or????

why do they bicker like an old married couple? is that customary for creative collaborators and coworkers?

why superimpose sydney, parallel her doing something the audience saw carmy do last season, and then show her going about her night while he's by contrast, with his girlfriend? why show a random closeup of a meaningful tattoo on her shoulder? no thematic significance beyond the grind of the restaurant world and career ambition?

why is there an obvious awkward breaking of energy after a highly vulnerable and tender moment between the two of them under the table? why does sydney noticeably fidget/adjust herself/her apron when he walks away to get her gift?

there's actually a hundred instances of these questions you could ask over the course of the two seasons when it comes to them.

so the reasoning behind the shipper pushback is baffling and a bit laughable.

some people bring into question, perhaps this is just the natural chemistry that jaw and ayo bring to their characters bc they're obviously good friends.

which... sure. i guess. but even that begs the question, you wrote and shot and constructed a story a specific way and then your two actors sort of bled on and expanded the material in a very obvious way you didn't expect?

cool, cool. so again... you're surprised that could lead to viewership seeing something deeper than mere platonic business partners?

that's shocking and surprising to you?

no way.

especially considering storer and calo have commented on how close jaw and ayo are and that their dynamic is different than the one she has with ebon and lionel. which is hilarious bc she adores ebon and has been out of the country traveling with lionel (and some other people from odd future.)

so clearly they all enjoy each other, are friends and get along.

but why even make that note of demarcation regarding jaw and ayo's dynamic and STILL be like "oh yeah, we didn't write or mean for them to be a romance " you're shocked that people SEE something given your storytelling and their obvious connection that even you, the creators themselves remarked on?!?!

there's a picture from the golden globes of ayo holding jaw's mom's hands during his acceptance speech. like they're really besties.

but i'm sorry, they can't bestie themselves into what carmy and sydney clearly exemplify on our screens without an entire framework at their disposal. because they're talented and professionals.

so if the writing is saying something, then it's intentional.

maybe the intention was to have their characters skirt and skate on the periphery of each other.

maybe it was for things to be awkward and weird and undefined or hectic and toxic.

maybe they weren't ever gonna have some relegated idea of a shipper's happily ever after.

people have feelings that go unexpressed and undefined. people fall in love and then don't end up together.

maybe the slow burn fizzles out, maybe it explodes or implodes, maybe one of them self denies, maybe they both do.

maybe it will or won’t be addressed directly or covertly. that's actually not a requirement for its existence.

to act like there isn't something true and obvious and visceral that exists between these characters is frankly like asking those who watch your show not to use their eyes and their brains.

impossible.

#sydcarmy #the bear fx #carmy x sydney #carmy berzatto #sydney adamu #let's act like we can all consume media and hold various elements and arcs and constructs within our minds

[strangerfigs]

i can’t get over “we’re friends. we’re friends.” and “are ‘friends’ electric?” on mikes official Spotify playlist, and Dustin saying “you can feel it… the electricity” after Lucas says he was just holding Max’s hand in s2 because she was scared (just like when Mike held Will’s in s2 because he was scared) and Mike’s too Spotify song being “Small Town Boy”, a song referring to the oppression and mistreatment of closeted gay youths, set during the 80’s. And Troy literally tripping Mike after specifically targeting Will for being Queer and Mike later pushing Troy due to Troy, again, targeting Will’s queerness, but specifically talking to Mike when he says this.

And Karen’s “with everything going on with will (…) I never want you to have to hide anything from me” speech in s1 paralleling jonathon’s speech to will in s4 which we know was alluding to his sexuality, for sure, and eleven literally being in the CLOSET (where mike stored her) during this conversation with Karen. And Mike, having a one-way sign pointing to his closet. And Mike saying, “it’s not my fault you don’t like girls” in s3 despite being called clueless by multiple sources.

And Mike saying “the last year had been weird” in regards to their friendship/Will being in California and El saying “will has been acting weird, I think he may like someone” about Will. And Mike saying you can have more than one best friend in s1, like literally fighting dustin on it, and then in s4, specifically mentioning “max, lucas and dustin… they’re great… they’re great… but it’s hawkins. it’s not the same without you.” even though he was pulling away from will? and dustin saying mike always complains about joyce telemarketer job because he can’t make it through the line, and will saying mike only called a couple of times, and the government listening to phone calls being a reoccurring theme in st, and el hiding from the government, and in s3, mike telling el he will call her on dustin’s cerebro. And Will confirming he was also pulling away in “so if you felt like she was ever pulling away or being mean” and “not just listening but hearing” and i didn’t say it, you didn’t have to, and yes! yes that makes total sense! and will understanding mike to a deeper level than even the audience at times. and will thinking that they were going to play games for the rest of their lives (still believing this in s4 despite everything! and includes el! it doesn’t matter!) and will feeling like a mistake. and mike feeling like he is just some nerd. and el telling mike they are different. and in s3, the motif of “different species” and mike making will feel like he is not a mistake at all. and mike and will repeatedly being on the same page. ‘welcome to my world’. mike being unable to balance his relationships with el and will. mike no longer calling el in s2 when his main focus is on el. despite what he said, mike sticking by will’s side post reunion with el. “in the closet at the rink o maria” and mike showing no interest in girls. and mike growing out his hair and changing his look because of eddie. and once again, nancy saying she thought mike was acting weird because of will

and I’m spending romantic time with my girlfriend as Will and Mike do the exact same things Lucas and Max do, Mike even had wrapped his arm around Will’s shoulders the same way in s2. And Mike continuing to look to support from Will despite his non-interest in girls. And Mike (and Will’s) non-reaction to the Sauna Scene. And Dustin and Lucas’ obvious attraction to other females - Dustin with his crush on Nancy, asking others to dance. Lucas saying girls don’t like them in 4x1. Mike needing guidance from his friends when making any step with El.

“Our son? With a girl?” *scoffing” and Mike/Nancy’s best friends both going missing in s1, but Mike showing an obvious difference in how he acts about it, and Mike saying he fell in love with El the moment he saw her, but contradicting himself later by saying he wants to send her back, and focus on what’s more important (Will) and literally swatting her away when she tries to comfort him but always seeking out Will for comfort, and heroes playing when they find Will’s body, and then again when the Byers leave - Mike staring at their house - and hugging his mom just like he did after the scene with Will’s body found.

Mike’s OPEN EYES when Eleven kisses him after telling him she loves him (something he tried to do) (and like, I get the shock - I do! - but really? Keeping his eyes literally open?) and Mike pushing El’s hands off him when they are making out, and El the one to usually cling onto him, and Mike constantly lying to El despite “friends don’t lie” (?) and Mike nodding to “sometimes it’s hard to tell people the truth, especially if they won’t like it” and Mike saying “it’s not destiny, it’s not fate, it’s just dumb luck” despite later saying that it was love at first sight later.

Mike saying he loves her with and without her powers but then focusing on her powers later in the speech - this whole speech (pushed by Will) ending with him telling her she needs to fight/she can move mountains/she is his superhero - and saying she saved the world twice when really, wasn’t it three times? but she specifically saved will twice.

mike unobservant to el’s bullies but observant to will and his behavior. the awkwardness at the airport. will sabotaging the whole day by his behaviors even tho his gf was quite literally just humiliated. ??? mike lacking to comfort el after her mistreatment. not only this but antagonizing her further. mike getting mad at will for not telling him. mike looking at will on the ride home from the roller rink. mikes stupid custom made heart shirt always pointing at will.

the music overlaying of “being different” “you’re the heart”, the fact that it’s called “you’re the heart” even tho that’s what WILL TELLS MIKE and the scene is supposed to be between m*leven.

mike freaking out when he looks over at will and he catches him looking. mike looking at will multiple times where will is not looking at him. Murray’s “I’m sensing tension” and “experiencing sexually” and mike looking saddened when will says El commissioned the painting.

Mike not seeming to be excited to reunite with El. Mike saying he did not know what to say. Or how to explain himself. (Until Will is standing next to him and provided him some material to work with.) Mike being afraid Eleven won’t need him anymore and his parallels to Brenner. Eleven realizing she does not need Brenner.

Mike joining D&D despite acting like he was too cool for it last season, contrast to Lucas who actually seemed to grow out of it a bit. Mike seemingly out of character, his actions and behaviors not making sense or matching old behavior, argyle literally saying he is wearing a knock off, Mike saying El will realize he is just some nerd - !

Mike being can only referred to as hopeless and oblivious. Mike’s biggest smiles this season coming from scenes with Will. Mike’s behavior/words so contradictory because the only time we see him act like he doesn’t know how to live is when he is without Will.

Mike have it a binder full of Will’s drawings; with them all over his basement and in his room, but no sights of El anywhere.

Mike acting like he doesn’t give a shit about D&D all summer but asking what Will is doing when he puts D&D in the donation box. Showing that he was faking his disinterest (and this being confirmed in s4 with Hellfire)

El asking him if they’d be like brother and sister before Mike kisses her. (After quite literally describing brother/sister relationship between them before)

“Best thing I ever did” - a totally STRAIGHT thing to say to a friend - contrasting both JOYCE AND JONATHAN’s words to Will which were much more familial love sounding, showing that yes. That was totally possible for it to be done differently but nope. Gotta make it sound GAY! And ROMANTIC!

Like literally just need answers to these questions! And more. Thanks. Like these are genuine plot holes to me if they don’t address all of Mike’s queer coding lol.

#byler #stranger things #mike wheeler #i know what you are Mike Wheeler