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She-Ra: Progressive of Power

Episode 1: “The Sword of She-Ra” - Introduction

I’m really bad at consuming podcasts, but being able to read along helps. It makes things easier to find later on when I tune back in after getting distracted, or weeks later after I inevitably forget when things were discussed but want to double check something. And this podcast has a few interviews with crew members on top of its premise generally appealing to me, so. I’m making transcripts, I’m posting them here, if this isn��t of interest to you go ahead and blacklist “progressive of power”. If this is of interest to you, please click through the above link and support the hosts directly.

... and I annotated it. sorry. at least it’s footnotes this time?

Narrator from The Secret of the Sword (1985)(Which for series purposes is referred to as The Sword of She-Ra as it’s made of the first five episodes squashed together, I promise that’s relevant): [the She-Ra: Princess of Power theme plays behind him] Where darkness rules, fights the champion of light. Where hope seems lost, there rides the Rebellion. Together they stand ready against the dark, evil warriors of the Horde and their leader, the terrible Hordak. The Rebellion, armed with hope and ancient powers against the force of an intergalactic army. This is the story of one who will become leader of the Great Rebellion. She-Ra: Princess of Power!

ERIC: Hello everybody, my name is Eric.

LAUREN: My name is Lauren. It's nice to hang out with you and talk about a cartoon from... the year I was born I guess?

ERIC: Whoa! The year after I was born, so yeah this is the pilot episode of She-Ra: Progressive of Power. This is a rewatch podcast with a political twist. We're going to watch episodes of the She-Ra animated series which is now on Netflix and kind of look at the ways that it both holds up and then fails a modern day progressive agenda. And I'll talk about why I wanted to do that in a minute. But first I thought we should maybe get into just a little bit about who we are because nerds love to gatekeep. I might edit that line out. But I feel like we should just give some context to why we are two people who are qualified to take on this project. So first off, both of us are political volunteers for a very progressive Illinois campaign.

LAUREN: A certain progressive Illinois campaign.

ERIC: Yes. Maybe gubernatorial in nature. Maybe if you watch our Facebooks it’ll become clear. But either way, you know, we're both on that side of the political spectrum and we're both very nerdy. I make podcasts for a group of people called The Nerdologues, and... I don't know, this show has always been a favorite of mine. I saw Wonder Woman and I thought, “Wow, Wonder Woman is amazing! I want to watch another thing with an amazing female lead. And then I'm like, oh, I love She-Ra. Hey, it's on Netflix!” Now, FYI, I have the DVDs, but they're buried away. I dug them out to watch the documentaries for this podcast, though. But I'm like, ooh, Netflix is easy. And I started watching it and I'm like, “This feels... maybe too relevant.”

LAUREN: Netflix is just successfully making every other form of media irrelevant. Like, well, you have the DVDs, you don't need them.

ERIC: Yeah, but so Lauren, you have never seen She-Ra before.

LAUREN: Right, and that's kind of why I agreed to this. Otherwise, I think pretty niche-y premise. So, I wrote the blog Geek Girl Chicago for a solid five years or so. I've kind of backed off of that, mostly because when I was very small and into science fiction and comics and geek culture, it was an underground kind of, uh... subculture. And now it's just culture. You know, I was just downtown and went into Uniqlo with some friends after going to Starbucks. And all of Uniqlo was like Nintendo shirts and Disney. And my friend goes, “It's like we're at a convention except it's just downtown Chicago. It's not... it’s not geeky anymore.” So I hate to be that elitist dork who's like, “I don't like it anymore because it's mainstream.” But I was really excited to maybe talk about something that everyone has heard of, and watch something that I've actually never experienced before. I also cosplay. I have worked on other podcasts such as Our Fair City and I don't know. I'm a dog person. We’re... We're here with Eric's dog, and she definitely smells my dog. And I find her very distracting, because that's a big part of my personality these days.

ERIC: Yeah, P.S. my dog’s name is AC, short for I kid you not, Adora Corona. So clearly the She-Ra fandom is big in me. But yeah, you'll get to know Lauren and I through the course of this show. Let's dive into She-Ra. So we're going to cover a different episode or a different set of episodes every week. Today we're talking about the... the first five, which is kind of the pilot of She-Ra. It's called the Sword of She-Ra. And uh, this is gonna be more of a top level discussion, I imagine, than what eventual episodes will end up being. Because I don't want to get into as much plot specifics as just kind of like the creation of this character and why she exists. And yeah, we'll talk about the five episodes and stuff. But I think the background of She-Ra is really fascinating. So if I may, I will lay the groundwork, and then, I am so excited to hear what you thought about this.

LAUREN, laughing: It's on your face. He's smiling so big right now.

ERIC: Oh my God, this is great. Because well, I asked Lauren, “What do you know about She-Ra?” And she's like, “I've seen girls cosplay as her and that's it.“ And I'm like, “You don't know her story at all.”

ERIC AND LAUREN: “No.”

ERIC: Okay, so, clearly there's a big twist in the Sword of She-Ra, and Lauren didn't know what it was until she watched these episodes. So we're going to get there. But let me talk about the background of the show because I think it's interesting, and it's going to inform our discussion about pro--like the progressive values of the show. So this is 1985, and He-Man, which I'm sure a lot of you guys are familiar with, at least in passing, that's all you need to be, has been a show for two years. And the production company that makes it has reached the point where they have so many episodes that they would actually be losing money to produce new episodes, like it was just in their advantage to sell it to syndication. And so they're looking for the next show to do. So Lou Scheimer, the guy who runs the company, wanted to do a show for girls, the reason being he had worked a long time ago on a show called The Hardy Boys and his daughter said to him, "Dad, why do the girls always trip and fall?” and so Lou said, "I wanna make a show where it's the men who trip and fall." [[1]] And initially th--Filmation was going to produce a Barbie show, and Mattel said, "No thanks,” and this is the actual quote, according to Lou, which is very creepy--the Mattel exec said, "Because Barbie already exists in the mind of a child."

LAUREN: What?

ERIC: Which is a weird reason to deny a business partnership. But so Lou and--and his crew were thinking about the success of He-Man, and a couple of the better writers from He-Man, because that show certainly had ups and downs--but a couple of the actual consistent writers had this idea to like, what if, what if he had a sister? And what if no one knew? [[2]] So that's the basic plot of the Sword of She-Ra is that He-Man is summoned to go to this strange world he's never been to before, and he takes this sword with him, and the sword is designed for this woman who works for the bad guys, the Evil Horde, who ends up being his sister. And so you find out that Hordak, the leader of the Horde, took her as a baby from her parents and then like, hid her away. And the pain of that memory was so great that the Sorceress on Eternia on He-Man's world made everybody forget except for her parents and the Sorceress herself, which is like fucking traumatic and still that plot gives me chills.

But what we have here is an action show with a female lead, which already is pretty... pretty irregular and that was something that the creative team was very aware of. Staff writer Francis Moss, I have some quotes from some documentaries on the DVD. He said, from page one, “We're empowering girls. I don't know about proto-feminism, but it certainly was female empowering.” Staff writer J. Michael Straczynski doesn't hesitate to use the F word. He said it was feminist from the go. So this is very consciously a female-centric show. A lot of the staff shied away from calling it feminist, because that was the time. But you know, it's not really any different now.

People still don't like to use that word necessarily. But... more than that, it's kind of this story... You know, in He-Man, it's the typical 80s cartoon setup where the good guys are reactive. So the bad guy does something, and then the good guys are like, “You can't do that. That's against the social order.” And then he comes and stops them. But She-Ra, it's the inverse where these guys called the Horde have been ruling this planet for--according to the series Bible--20 years. [[3]] And they--they are the status quo. And the heroes are the Rebellion fighting against the status quo to make that change. So the heroes are proactive in the show. And I mean, not to get--Well... I'm gonna have to not say ‘not to get too political’ on this podcast. Cause it's political.

LAUREN: We have the word progressive in the title.

ERIC: Right.

LAUREN: I think you're stuck.

ERIC: This is a political show. It felt... It's not a one-to-one correlation, but watching the pilot again on Netflix, I'm like, this feels... this is too real right now. This idea of like an evil empire that controls basically everything from, you know, taxation to... to free speech, and the people are subjugated and some of them don't even know. It's just really... It feels more relevant than it probably has in a while. And I want to read,before I turn it over to Lauren, what J. Michael Straczynski--who by the way, you guys will probably note is the creator of Babylon 5, so he went on to have a wonderful career after She-Ra--What J. Michael Straczynski wrote in the series bible for She-Ra, page one. He says, “The time for words is past. It is the time for action. A time for the taking of vows, the forging of alliances against tyranny. A time for leadership. For over 20 years, the evil horde has ruled Etheria with an iron fist and cruel calculation. Their rule has gone largely unchallenged, until now. A band of patriots brought together by their love of freedom have pledged their lives and their swords to bring down the dark dictators from another world, willing to tackle impossible odds in their quest for an ideal: Freedom. Leading this band of patriots is She-Ra: Princess of Power.”

And so... even though a lot of episodes of the show did devolve into standard 80s cartoon fare, I think it is baked into the very premise of the show. Like these writers are very conscious of the fact that this is at its heart a political struggle, a band of women fighting an oppressive militaristic regime led by an evil pig man. And that just feels so relevant. So, Lauren Faits.

LAUREN: Yes.

ERIC: What did you think of the first five episodes of She-Ra?

LAUREN: Oh my gosh, what a ride. So I do need to point out that before I started watching She-Ra, um, I had not watched He-Man either. And Eric gave me an episode of He-Man to watch. And, uh, you know, it was charming. I joked that just the--the background music was always just He-Man over and over and over. It was just so pumped up and masculine the whole time that I'm thinking gosh, you know is this She-Ra show just going to be this in pink and purple and light blue and I--I mention the color palette because honestly... oddly enough, that was the first thing about this show to really strike me. In addition to there being so many women on screen all the time, we live in this era, still, today where toys are us and Target have these like pink aisles where... that's the girl stuff and that's where you go to look for girl toys, and She-Ra and the Rebellion and all the villains, they don't stick to that color palette. It is a wonderfully just, colorful show and it's not screaming ‘princess, pretty, feminine’ the whole time, and yet it manages to be feminine, and that's pretty exciting to me. Um. Some of the things that surprised me from the get-go, uh-- I wasn't expecting a male narrator, in the beginning of the theme--

NARRATOR: Where darkness rules--

LAUREN: But, you know, all right, cool. And um... in one of the first scenes--so they’re clearly, they're trying to sell She-Ra through He-Man, like He-Man’s super popular I guess in 85?

ERIC: It was, uh, for its second season, I think, it was the highest rated show in syndication.

LAUREN: Yeah, wow, and so... They really make it He-Man's story for one to two episodes, but also they you know, they show him cooking, they show him having relationships with his mom, and like the women in his life, and he's, you know, not as bloated and masculine a character as I expected them to present him as? This show is very 80s, though, and I loved watching how some of this animation was so intense--You see Battlecat leap forward in this like, very violent and action-packed way, and then a monster grabs him and throws him, and the sound effect is still like ‘boing’! [laughs] They're just--the 80s were this time when cartoons were still for kids. There was no acknowledgement that cartoons can really be for grown-ups, so all the voices on this show are so goofy, all the sound effects are so goofy, and anytime it just starts to take itself seriously-- [affects a stupid cartoon voice] someone comes in with this voice! And you're like, oh, hello 1985.

Some of the things I want to talk about that you brought up--I I love. I'm so interested in that quote that calls the rebellion a band of patriots, because the one quote that I wrote down, was in episode one Bow, who is the token man who's costume I love, and I'm going to Dragon Con in September and if I don't see at least one I'll just cry--uh, the quote was:

[audio clip from SOTS]

HORDE SOLDIER: Surrender, citizen!

Bow: [chuckles] I'm not a citizen. I'm a rebel.

[end clip]

LAUREN: --and I--I’ve--I've been thinking about that for the last like 12 hours or so, because I would argue... that a patriot, who's fighting for justice and equality and freedom, is like... the ideal citizen? But this Rebellion is so disconnected from... the Horde, and the establishment, which I guess has been around for 20 years that they don't even call themselves like citizens of that regime, and I think that’s... that's striking, especially if you're talking about our current political climate? I think that's an accusation, often, that comes from both sides. If you're not--I'm going to say the T word--if you're not a Trump fan in 2017 you're not a patriot, but then the other side says, if you're supporting the tyranny of this, then you're not a patriot, and uh... these people in the Rebellion are patriots, but don't consider themselves citizens, and I want to hear what you think about that.

ERIC: Well, first of all, I like that you uh, caught that quote because I also--I just read the series Bible for the first time last night, and I had never... thought to refer to the Rebellion as patriots, and I think that that also kind of has... because you know under eight years of Obama-- that was what all the... angry people on the far right, ‘oh we're patriots’ and so I bet now... I mean I don't want to put too much on JMS's politics, but he probably was pretty lefty to to write the series Bible for this show. He might not use that word ‘patriot’ and I also think... First of all I really want to talk about Bow, and maybe this isn’t the episode for it, but just in general like that character of the token male and his crazy outfit and his-- his weird relationships. There's that moment in episode 3 where Adam's like oh I'm gonna go to the Fright Zone and find Adora, and he's like “Godspeed you on your quest, Adam!” and Adam's just kind of like “... Yeah cool man. Anyway I'm gonna go bye.”

[clip from SOTS]

BOW: You are a brave man, Adam. I salute you. Good fortune speed you on your mission.

ADAM: Yeah, uh... well thanks.

[end of clip]

LAUREN: He's just too extra, even for He-Man.

ERIC: Side note, Larry DiTillio in the series Bible mentions that Bo is kind of supposed to be the Adam figure on Etheria. Not the He-Man but the Adam, the kind of, ‘oh he he jokes around, he kind of slacks off, and he may be a little too earnest and he can't always back it up’... Anyway to the quote of “I'm not a citizen, I'm a rebel”. Yeah, nowhere in the show does it ever say ‘the Horde's been here 20 years”. It's just kind of an indeterminate amount of time. And there's episodes we'll watch later, where it seems clear that they are ‘the establishment’ and I think maybe that's the difference between the show and--well, that's clearly a difference between the show, and where we are in the world is you know the horde is -- they're straight, like -- they're not even making runs at being a democracy, like it's straight up tyranny. Uh, so I guess in that sense I think Bow’s quote is legit, but I think that's probably a way that, yeah, it is disconnected from... from the modern times, we are all still citizens even if we consider ourselves resisting the current power structure.

LAUREN: Right I feel like we all still believe in America, and our version of what America could be, at its best, and we all want to live in that place. You hear people who are like ‘well if you don't love it you should leave it’ none of us want to leave we just want this place that's our home to be better and include everyone. [[4]] And I'm--I--I guess in the end--not to skip way ahead, but that's She-Ra's choice as well. She's given the option to go to, sort of this idealized place, where the good guys, uh are already the force in power. In Eternia, He-Man's family is getting to rule--I mean they're--they’re menaced all the time by Skeletor, but they're... that's the king and the queen and... the good guys kind of make the government if you will. And She-Ra's like, no I can't stay, I'm choosing to go back to this tyrannical miserable place because my job there's not done, so I guess she is a citizen, she kind of insists she is.

ERIC: Yeah and I think that's really the crux of what drives this show, and you know we're gonna do an episode later on the-- the Price of Freedom, which if anybody listening is a She-Ra fan you'll be like ‘yeah that's the episode you have to do’ [[5]] but yeah that's the key difference in the show right is like She-Ra... she gets a taste of home in, I think, a very sweet moment and I also think a moment that if you are a He-Man fan kind of closes off--because even in the one episode you saw, you know there's this through line in the series, Prince Adam is always a disappointment to his dad because he can't let him--it be known that he's He-Man. So he's just kind of this jokey prince. And then he brings home their lost daughter and King Randor is like ‘you've made me so happy’ and I think all right, Adam's arc is done, like... he has fulfilled his job and completed his family. And Adora gets a couple days on Eternia and then Skeletor and Hordak come and try to take her away and she realizes she--if she if she stays, she's doing a disservice to the people who really need her, and I think that is it's awesome, like it's a great choice and it gives her so much more responsibility than than He-Man. And you know something that the writers keep noting is that whereas Adam and He-Man are two very different characters, Adora and She-Ra are basically the same. They're both very like duty-bound and honorable and uh, and noble.

LAUREN: I did notice that, which as a total newbie to this series brought about one of my major questions, which is: Why does her identity need to be a secret? I find Adora and She-Ra to be so similar and really the stakes--at least in this pilot--seem so low and it's... I don't know who else the Horde could think this mysterious warrior woman is, they're like ‘ah the princess escaped... and it's this lady's fault!’ and I [laughs] the--the--you really have to suspend your disbelief to like, let the alter ego thing even slide

ERIC: Oh I mean yeah, there's no way that the rebels shouldn't have figured out that Adam is He-Man okay. Prince Adam shows up he's like, ‘I have a friend who could help you fight!’ and then He-Man shows up, they rescue He-Man oh then Adam's back! And then He-Man comes back--it doesn't make any sense. I mean I guess if you really--because clearly the answer is that it’s the superhero trope, right.

LAUREN: Right.

ERIC: But if you really want to find an in-world answer, maybe it's to protect Adam's identity? I don't know. It--or maybe I mean if you want to dig psychologically, ‘cause Adora kind of doesn't have her own life, and so maybe she's trying to claim one for herself, to have her own identity and not be She-Ra, and there actually will be an episode we'll watch later that is about that duality.

LAUREN: I can buy that. I can buy that. Um. Speaking of the life that she doesn't have, one of the [laughs] most stone cold plot holes in this whole thing for me was that four people were allowed to keep the memory of Adora's existence, and everyone else didn't. So poor Teela is like, ‘no, who is this though’ and no one ever really like... stops to convince her or check in with her. There were two times during this pilot that I laughed just out loud by myself and that was one of them, because she really got a bad deal.

[clip from SOTS]

RANDOR: Well Adam we’ve done as you asked, now where is the surprise of yours? Must we wait all day?

ADAM: All right, you can open your eyes now.

TEELA: Who's that?

MAN-AT-ARMS: By the ancients!

RANDOR: It's about ti--[gasps]

MARLENA: Adora!!

ADORA: Mother! Father!

MARLENA: My daughter! Oh, my dear sweet daughter.

TEELA: Daughter?? [laughs uncertainly] I don’t understand.

MAN-AT-ARMS: Why, she’s Adora! Adam’s twin sister. And she’s back, after all this time!

MARLENA: Look at you! How lovely you are!

ADORA: Oh, Mother. I’m so glad Adam brought me here!

RANDOR: Son, I want you to know that today you’ve made me the happiest man on all Eternia. The royal family of Eternia is whole once more, and by the Ancients I swear that nothing shall ever separate us again.

SCENE TRANSITION: SHE-RA! [musical sting]

[end clip]

ERIC: What was the other time you laughed?

LAUREN: The other time I laughed... was the first time the horse... transformed into the Pegasus-unicorn. Is it Swift Wind?

ERIC: Swift Wind, yes.

LAUREN: And Swift Wind could suddenly talk. And had the--and had another goofy 80s voice. He's like, [affects a goofy 80s voice] ‘now, I'm Swift Wind’ and they go flying.

[clip from SOTS]

SWIFT WIND: I am Swift Wind, my dear friend.

LAUREN: But what made me laugh, not only was his voice, but the fact that it doesn't appear that he can talk when he's not transformed [laughs] and uh, and Battle Cat can. And so it's just another like raw deal that a character gets. [laughs] Like, ‘I lose my sentience when I'm not transformed’. Oh, my gosh. Poor Swift Wind. [[6]]

ERIC: I do want to say as far as the uh, the voice casting goes... So there's only six actors who work on the show. And one of them is the producer, and one of them is the producer's daughter. [[7]]

LAUREN: They really go for it.

ERIC: Yes.I--I appreciate the challenge. And, you know, everyone always kind of looks at these shows and say, ‘oh, these are the cheapest cartoons of the 80s’. And actually, the opposite was true. Filmation was the last studio to do all of their animation in America. And so it was very cost-prohibitive to hire a big voice cast, because they had to pay like, American wages to their animators and not just ship overseas.

LAUREN: You could see, though, where the great care was taken in the animation, and then sort of, where it wasn't? So similar to other 80s shows, like if you imagine Scooby Doo, and you see Shaggy and Scooby running, and the background is repeating itself over and over, um, in the like, Slave People. Those are the same slaves walking by over and over. And yet when He-Man disguises himself in a robot body, they take the time to draw like little tups of hair sticking out of his uniform. I was like, ‘oh, see, they had a budget. They just invested it in very specific places.’

ERIC: I love that that's a plot point, too, is that He-Man's hair gives him away at one point. I thought that that was so funny.

LAUREN: And it busts him really fast. I was expecting them to like... give him the benefit of the doubt and let him sneak around a little bit. And the second they see him, they're like, ‘that's He-Man. What an idiot.’

ERIC: Yeah. Fun f--I don't know if you or anybody listening will care, but Filmation had a--a system called Same-As. Same dash as, and it was their stock animation system. So anytime someone animated something they like, they would put it in like a file, and then they would use it in later episodes, again, because they thought, oh, this is a really great piece. We can keep using it and then we can, you know, put our efforts into something else next time. So that is why you saw like scenes of slaves just over and over again. So I want to know just at the very base level, like, did you see the twist coming about Adora's identity, and what did you think?

LAUREN: By the twist, do you mean, literally, that it's He-Man's sister?

ERIC: Yes.

LAUREN: So I thought it was pretty obvious, considering like one of the first scenes is the baby getting stolen. Like, who else would that baby be? I was actually more surprised when she was introduced as a bad guy, and I was trying to figure out, is she legitimately a bad guy who's going to need to go through sort of a massive change of heart, or is this just like a hypnosis situation? And the answer was both.

ERIC: Yeah.

LAUREN: It's both.

ERIC: Yeah. And I think, I think it says something, you know, probably for our purposes, one of the more interesting sequences is after He-Man is in prison--which by the way, there's a lot of being imprisoned, a lot of metaphors and literal imprisonment in this five part episode. When He-Man is at the--in prison and he tells Adora, ‘hey, just go see for yourself like what the world is like’, you know, she's like, ‘oh, I haven't really left the fright zone, but Hordak tells me that we're the rightful rulers and everyone likes us.’ And He-Man's like, ‘well, why don't you go see?’ I thought that was cool, even though the scenes of her investigating are sooo dramatic and like it's, you know, like an old guy who wants water and a trooper throws him in a lake. Like, yeah, that's horrible, but also it's like not really grave social injustice. You know?

LAUREN: Yeah. It was really on the nose in a way that, I mean, I loved, but was also so over-the-top because... one of those scenes is like an airplane just comes rolling up. And She-Ra’s like, ‘what's happening?’ And these two citizens in just the most exposition heavy dialogue are like, ‘well, John here was talking about how the taxes are way too high. And an evil robot overheard him and here comes an airplane to blow up his farm.’ [laughs

ERIC: Yeah, I was like, let's get this in really quick. Like 10 seconds in, Adora gets it.

[clip from SOTS]

ADORA: What's going on?

VILLAGER: Lars said the hordes taxes were too high and a trooper overheard him. Now they're going to destroy his home.

[explosion noises]

[end clip]

ERIC: Something you said at the beginning of our conversation that is really true. You know, as you pointed out, this is She-Ra's story. The whole kind of five-part pilot is about giving her control of the narrative. It's basically He-Man passing off the the torch, or the sword, as it were. And that had real-world implications as well as you deduce. It was a way to... because She-Ra clearly is marketed towards girls, but the people at Filmation really wanted boys to watch it. So they're like, all right, if we put He-Man in, maybe we'll trick the boys into thinking this is cool. And it totally worked. And I remember as a kid, I liked this show way more than He-Man. Even then, I deduced, like, this show... it's just richer. Like, it has this background--having the Horde and having the bad guys win. It's such a more interesting uh, background on which to tell different stories. So She-Ra was the second highest rated cartoon of the year it debuted, right behind G.I. Joe, which was a new show. It had a 4.3 share, which I think means 4.3 million people watched it every week, which is pretty good.

LAUREN: Yeah.

ERIC: So it totally worked. And I definitely at some point want to talk about the show's marketing of the toys, and how much of a failure that was. But as far as just on the show, like, I think it's pretty uniquely positioned to appeal to all genders.

LAUREN: Absolutely. And I'm interested in seeing where it succeeds and where it fails, as a feminist piece. Because even in this pilot, there were moments that were so strong and there were moments that totally whiffed, because there'd be quotes like, ‘that's not very ladylike’ or ‘just like a woman’. And I would say they were like 50-50 for, ‘no, you're supposed to think that's evil and dumb’. And then suddenly, like, He-Man would put his finger to She-Ra's lips and you're supposed to be like, ‘oh, that's okay’. And it's not. It's just like weird and sexist. And so they're trying so hard, and I want to see kind of what their success rate is going to be throughout the series, because it's bumping along.

ERIC: I completely agree, and I knew you were going to bring up--it--it is--And I just said it was one of my favorite scenes. And yet I still regret the unfortunate dialogue that's ‘not very ladylike, but then again, you're not much of a lady anyway’. [laughs] Although Scorpia of all the Horde villains, my least favorite. I do not like her. That voice, [affects a Scorpia voice] ‘oh, she talks like this, like she's from Brooklyn kind of’.

LAUREN: The vill--the side villains, I kept... I mean, all the side characters, so many mascots, which was very 80s, we got to make as many potential toys as possible. But so many just like... Catra: She's a cat. Angel-la: She's an angel.

ERIC: Broom is a broom.

LAUREN: [laughs] Yeah. There was also, the other like--most 80s thing about this was how violent, but nonviolent it was. There was some violent animation happening. But it was like, ‘they're just stunned’. The one guy whose powers is just eye beams? He has the eye beams that threw off He-Man's sense of balance. And I was like, either he is just like messing with He-Man's inner ear a little bit, or he's giving him brain damage. And I don't know, like [laughs]

ERIC: It's such like Warner Brothers style violence.

LAUREN: Well, right. And this, the big ‘Magna Ray’ was apparently going to affect an entire forest, but is also stopped with a rock.

ERIC: Yes.

LAUREN: And I'm like, all right.

ERIC: And then Hordak has enough power for a second shot, which was never mentioned before, because he drained just enough to get it to work one. I don't, there's a couple subplots, like I love the overall through line of He-Man finding She-Ra. The Magna Beam, the harpies. Oh my God, that harpy scene. I do not like it at all.

LAUREN: No.

ERIC: Um. Too--Earlier, you mentioned, you know, 50-50 on the dialogue being either they're calling out sexism, or it's just casually sexist.

LAUREN: Yeah.

ERIC: The other example you mentioned that wasn't He-Man, I think is really interesting because there's a lot of that in the scene when Adora is captured by Skeletor, and she's in Snake Mountain. And then as She-Ra, she fights her way out. And I--I almost feel like that scene, it's at the start of the fifth episode--To me, it's like almost consciously, and maybe I'm giving the writer too much credit--bringing femininity to Masters of the Universe, because it's so on-the-nose.

[clip from SOTS]

SKELETOR: And now, princess, I must decide what to do with you.

ADORA: [fake swooning noise as she fake passes out]

BEAST MAN: Uh. She’s fainted.

SKELETOR: Hah! Just like a woman!

[end clip]

[start new clip from SOTS]

BEAST MAN: You’re sure a pretty princess. [gross laugh] It’s too bad we have to lock you up in the dungeon.

[end clip]

ERIC: Like, it's just so creepy. And then... and--when she's busting out She-Ra goes, ‘no one around here knows how to treat a lady’. And of course, the scene is capped by a true 80s villain defeat. Everyone is just laughing at Skeletor as he says, [affects a Skeletor voice] ‘ah, a female He-Man--

ERIC AND LAUREN IN UNISON: [both doing Skeletor impressions] ‘This is the worst day of my life!’

ERIC: And like, that's the end of the scene. That's like, no, he's a criminal.

LAUREN: Yeah [laughs]

ERIC: Why aren't you doing anything?

LAUREN: He's the big bad of this universe.

ERIC: Right.

[clip from SOTS]

TEELA: Hmph. I don't believe this.

SKELETOR: Neither do I. A female He-Man. [pitiful whining] This is the worst day of my life!

TEELA AND MAN-AT-ARMS: [laugh at Skeletor]

[end clip]

LAUREN: I was trying to... also decide, and I think this is something I'm going to wrestle with through most of this show. Uh, because my personal brand of feminism really tries to live by... a woman can be whatever she wants. If she wants to show her body, if she wants to cover it up, it's all fine. If she wants to be promiscuous, if she wants to be conservative, it's all fine. Be a mother, don't, get married, don't, I don't care. Feminism is, you're supposed to be able to do just whatever you please, because you're free. And I feel like pretty often we scoff at, when a woman is stereotypically feminine, and I think that's a mistake. And there's a moment where a big skull falls on top, it's like an animal skull falls on top of Skeletor. The thing that She-Ra says is like, ‘well, I think that's an improvement to your look’ and I'm like, wait, why is she concerned with aesthetic? Like why is she making like, cute jokes? And I struggled with it for a second, and then I went, no, it's great that she's feminine. It's great that she feels empowered in being a little bit about aesthetic. Like that's fine. And I feel like I'm going to have that conversation with myself a lot while watching this.

ERIC: I do not think you are wrong about that. Maybe it will make you feel better to know--And again, you know, I'm of the critical school of thought that intent only means so much. It's a window into something, b--into interpretation but it's not the be-all end-all. That said, I did find it interesting to see how keyed-in these writers were to the things that we would be talking about. So here's a Larry DiTilio, who again wrote four fifths of this pilot said: “I think the way you make things girl-friendly is you don't worry about the fact that she's a girl. You let her do what everybody else does. Everybody was equal on the show. We wanted a show where many times women were not only the equal of men, but the superiors of men.” And that's something that Lou Scheimer also echoes, like, his whole point ‘wasn't feminism’--which I disagree with--but he just wanted to show that women could do anything that they wanted. And I think that you do see that in the show. I think there's a huge variety of women characters of all types.

LAUREN: Yes, absolutely. And I'm glad to see so many female characters, on the good side, on the bad side because it gives them the chance to have diverse aesthetics, diverse intention, diverse personality. And I mean, that's sort of... I guess my final observation is how many things She-Ra IS being successful at that we're still struggling with today. Uh, when I went and saw Star Wars Episode 7, I remember feeling so moved by how many women I just saw standing in the ranks of the Empire, and standing in the ranks of the Rebellion, just existing within the space of this world, and how especially in... sort of geek culture things that's still sometimes rare. And this is so many years later, and the second we see the Horde, there's girls. And the second we see the Rebellion, there's girls. And this is a very action packed show, you know, girls punching, kicking, flying, riding. And... the fact that I feel like marketing professionals in toys and media today are still questioning whether or not young women can enjoy that is shocking. Because this, you know... this was literally before I was on this earth, this show started.

ERIC: It was 32 years ago, which is crazy. And it... Yeah, just kind of, I don't want to say effortlessly, because that takes away from the work of people who, you know, put the effort in. But seemingly easily is perfectly integrated. It's great. Now that--there is a huge caveat, and we're going to do an episode on this, but I need to mention it now, because I know someone's going to bring it up. She-Ra is super hashtag white feminism. This is a very white show. Now the series Bible even mentions that there should be ‘people of all colors’. And I don't know whether it was the animators, or just something at loss in translation, didn't happen. So there's an episode that kind of head-on deals with taking away a black character and making her a pink character. [[9]] We'll talk about that later.

LAUREN: People of all colors, you know, like purple and green.

ERIC: And that's kind of the fantasy trope that is unfortunate about She-Ra, right? That's one of the very 80s things is like, yeah, they’re all--there are all colors, but not real life colors. You have white, and then you have fantasy colors.

LAUREN: Yeah, I mean, 80s nostalgia is really hip right now. You have your Stranger Things and your Glow. And I've watched Glow very recently too. And sort of remembered that... in the late 80s, early 90s, there was this message of equality and freedom and like, togetherness. And it was like, ‘yeah, racism is over’. And then you realize like, no, the way society presented race was far, far from perfect we’re far from done with it. And so I think there's a lot of difference between saying ‘our show is for everyone’ and actually creating a show that is for everyone.

ERIC: 100%. And you know, I would still argue that She-Ra's heart was in the right place and compared to the other--like Transformers, G.I. Joe, He-Man, Thundercats, it did better, you know.

LAUREN: Mhm.

ERIC: But it still had a long way to go. That said, I'm really glad that you found... that you saw what I saw in this show. That it has troubles, but... It's pretty good, right?

LAUREN: It is!

ERIC: It's pretty good.

LAUREN: I'm going to DragonCon at the end of August and I was like, ‘is anyone cosplaying She-Ra? There's an 80s cartoon photo shoot. I should go talk to those guys. I mean, I wonder if there's going to be a She-Ra’. And that was after one sitting with this show. [laughs]

ERIC: So, yeah, I guess, like I said, this episode is going to be longer than the others, because we're just getting into it. But to close out, I'd like to know like, are you looking forward to exploring the rest of the show now?

LAUREN: I am. I'm looking forward to especially meeting more characters because I believe the implication was, we freed one castle, but there's going to be more kingdoms, with more people. And I did some spoiler-free googling and there's like a mermaid and an ice lady. And for one, I was like, ‘oh man, look at all these toys they could manufacture’. But on the other, I was just excited to see, you know, we already have so many female characters and the show is going to give us even more and I'm stoked to meet them.

ERIC: Yeah, absolutely. So I will mention, kind of the plan for this show going forward is after my Wonder Woman binge, I went through and I have an embarrassing amount of books on He-Man and She-Ra. So I read through and I'm like, OK, this seems like this would be good. So we're going to talk about episodes that kind of directly address progressive issues first. And then... I think if you guys like this show, Lauren and I talked about going back and doing all the episodes. It's 65 episodes on Netflix. That's a lot. So hopefully you guys like this and then, uh... we'll have a lot of fun. And I do want to point out even in the episodes that are directly addressing issues that we care about, there's a lot of failures and we're not going to sugarcoat things. But I think that when we really get to the dregs of She-Ra, that might be when the really... like, the claws come out. So we'll see where this show goes.

LAUREN: Well, I do believe that you should be critical of the things that you love. And so I'm sure there will be moments that I sound like I hate this, but I--I really only give even the time of day to things that are worth it. And this seems like it's going to be worth it.

ERIC: 100 % agree. And you know, I told Lauren when we were planning, I don't want this to fall into the unfortunately gendered dynamic of like, ‘guy likes it, lady nags on it’. And I don't think that's what's going to happen because I think we're both being pretty real about the show.

LAUREN: It's going to be ALL nagging, all genders, all nagging.

ERIC: But like, I don't know. I mean, you--you just experienced this in 2017, right? And you are a professional woman, got a lot going on. You're an established person, and you like the show. And to me, that says even 32 years later, this has some potential.

LAUREN: Yes. And you know, when I'm watching it and my husband walks into the room and just out of context, he's a muscly He-Man like tied to a table and he's like, ‘what are you watching?’ That just that that alone was worth taking on this project.

ERIC: So much bondage. All right. So next episode next week, we're going to do Duel at Devlan. So please feel free to follow along on Netflix. We'd love to hear your thoughts. We actually don't have anything set up to do that at this point, but we'll post some way for you to get at us, uh, when, you know, with the episodes. So, yeah, talk back to us as long as you have constructive things to say, good or bad, we'd love to hear them.

LAUREN: Yeah, this was awesome. I can't wait to watch the next episode. Thank you. Thank you for this idea.

ERIC: Yeah. Thanks for doing it. Hell yeah.

[clip from SOTS]

HE-MAN: Farewell, She-Ra, Princess of Power.

SHE-RA: Farewell, He-Man, dear brother.

[end clip]

LAUREN: Do we do we have a moral today?

ERIC: Oh, yeah. So that's something that's going to be coming up is uh, moral segments, because as you know, these 80 shows like typically have morals at the end. The pilot forgoes morals. So there isn't one baked into the show, but I don't know, if you were to assign a moral to today's episode, what would you say?

LAUREN: Oh my gosh. I think, I mean, this is so cheesy, but that's the 80s. I think the moral would be... be open to everything, be willing to try new things and confront new experiences with an open mind, because when Eric presented me this idea, I literally was like, ‘that's the weirdest thing I ever heard. I have to sleep on it’. And by morning, I was--I was ready. And I'm just so glad to say yes. I'm so glad to be open to a new experience.

ERIC: At first I thought you were going to relate that to like Adam's experiences of like, you know, ‘he did it with the Sorceress and it worked out’, but I like that it was a real life moral too.

[EPISODE OUTRO]

Thanks for listening to She-Ra, Progressive of Power. If you like our show, you can write and review us on Apple Podcast. We'd super appreciate it. You can also send us any feedback you have, add it to our email address, [email protected], or as a comment on our website at progressiveofpower.wordpress.com. And make sure you listen to the show all the way through to the end. In future episodes, we're going to use this space to promote progressive organizations and causes we like a lot, related to the topics we're talking about, that can help make the world a better place. But for now, just enjoy this rad theme music.

[outro to "I Have the Power”][[10]]

ERIKA SCHEIMER AND NOAM KANIEL: [As She-Ra and He-Man] For the honor of love, we have the power so can you.

ANNOTATIONS

[[1]] This is an anecdote from Lou Scheimer: Creating the Filmation Generation, page 230, about his approach to creating female characters in general. Erika Scheimer, the daughter referenced, went onto work for Filmation herself, and in 2007 came out as a lesbian, calling Filmation “one of the gayest places in town”.

[[2]] This is actually where things get complicated, because multiple people have claimed responsibility for the ‘long lost twin’ element, including Lou Scheimer on the very page cited in footnote 1. We know on the Mattel side at least that she was initially slated to be Teela’s long-lost twin, not Adam’s, which further tangles the narrative on the Filmation side. Larry DiTillio also claimed credit for the twin plot point, though he described it more as ‘filching’ from Star Wars. He and J. Michael Straczynski developed the world of She-Ra, so I think we can safely afford them the bulk of the credit, but Lou Scheimer had long wanted to create a female-led action show, and to build off of He-Man’s success--while on the Mattel side of things, Janice Varney-Hamlin had been trying to get a female action figure line greenlit for some time. She claimed it was her idea to build off of He-Man but there’s little (no) evidence of that and she’s... a gifted marketer, shall we say.

[[3]] This reactive vs. proactive bit is a reference to something Larry DiTillio has said a few times, about his intentions for the story. I just like that they did research for this podcast it makes me really happy. Here’s a link to the series bible.

[[4]]

[[5]] The Price of Freedom is one of a handful of episodes that make you ask, “the censors wouldn’t let them hit people but they were allowed to do this?” Basically, the Horde attacks Dryl. She-Ra calls the Sorceress for backup (He-Man), but they can do little more than evacuate the villagers into the nearby mines. She-Ra leaves to get help, because now they’re pinned there and Dryl itself is burned to the ground, but naturally Hordak blasts the shit out of He-Man and traps everybody in the mines. They start getting testy when their air starts running out, some of them are like ‘where the hell is She-Ra’, but one of the villagers gives this big rousing speech about how they can’t always rely on She-Ra and He-Man to fix all their problems, and they dig to safety. Or, they would, except they cause a cave-in, which is less a metaphor and more a reason for She-Ra to return (without any help).

[[6]] It could be worse! In the German audio plays, he couldn’t even talk as Swift Wind. But don’t worry, Filmation dropped the restriction pretty early on & we got the goofy 80s voice talking horse we all wanted.

[[7]] The aforementioned Lou and Erika Scheimer.

[[8]] Larry DiTillio said this on the 2007 BCI DVD’s "Documentary Feature - The Stories of She-Ra Part 1″. And boy is it concerning I recognized it so quickly.

[[9]] I think he means Huntara? ‘Pink’ is kind of a stretch but she was originally supposed to be black, per both Larry DiTillio & the character design sheet. They were going for a Grace Jones vibe. I guess we’ll find out in a later episode.

[[10]] Official theme song of the Secret of the Sword movie. There’s a music video and it’s incredible. Fair warning this gets stuck in my head constantly so if you’re susceptible to that... tread carefully. I linked you to the version with Erika Scheimer explaining the background of the song to force you to learn <3 don’t skip ahead that’s cheating

#progressive of power #podcasts

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animereviewsbykyranskye · 1 year

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Reviews while I watch Trigun Stampede: Episode 6-9

I am so far behind on all of these. I just burnt myself out on anime, hopefully we can slowly catch up on everything. Let’s start with a show I’ve really been enjoying.

This man is going to die. Oh the mystery dude got shot a bunch. And drank something. Why are his eyes red???

The site I watch on now has a section to show where the opening is, nice! I missed this opening. They really went all out with these sand physics.

We still don’t know about Vash’s arm from what I remember.

They really said fuck it, Make him hella pretty and give off extreme amounts of gender envy.

Actually, why does he look the same after 20 years?

THIS IS SET ON EARTH??? How is everything covered in sand? Actually it might not be. The land masses just seriously resemble earth and the voyage is reminiscent of the trip taken for the Dutch East Indian Spice trades.

New villain. Why is Wolfwood helping Vash again? Isn’t he with his brother?

Epic fight scene is short and epic.

Wolfwood knows the villain.

Backstory time! Pretty characters. I love this art style. How the hell did he land like that. They make friends with the birbs.

OH GOD THAT TRANSITION GAVE ME A FRIGHT.

Here they come!

They surf the sand, sick.

More backstory! Livio didn’t even come to say goodbye.

By god he was experimented on. This is a terrifying sequence.

So the liquid helps him heal?

OHHHHHHHHHHHHH FUUUUCK. WHAT THE FUCK IS HAPPENING THIS EPISODE????

WHOS THIS NEW GUY?

WHAT IS HAPPENING?

This man has trauma! And yet him and Vash are still protecting each other.

Man, this new guy is hellishly powerful.

----in between episode thoughts----

I did not expect this much character development one episode after introducing him, da heck. This episode was so dark. I can’t wait to do a full rewatch of this show when it’s all released. If it continues like this then this will hurt so damn much.

----Episode 7----

More stakes with less than a minute in.

Oh no. He must kill his brother!

XD The news reporters were kidnapped to be news reporters. Best. Aw, she’s crying.

Somber music incoming.

I wonder how much medicine he still has.

AAAAAAnd Vash is stopping him from killing his brother. Classic. And the bug is dead. New bug.

This man takes the time to light a cigarette. Aw. He remembers the smell.

Yeah, he’s dead. Shame, poor Wolfwood.

This man just kicked down a metal door.

All the people on this ship must be seriously panicking right now.

What does wolfwood think he’s going to do?

Roberto is so done with all of this.

HEH? How the fuck did they push that?

New plot point. Vash’s arm is damaged.

He is going to mess with the plant. Time for the space knowledge. Oooo. The plant is opening. There is something in the plant!

That is a really big sandstorm.

WHAT DID HE DO?? IS VASH A PLANT? AHHHHHHHH??????

----between episode thoughts----

I have nothing to say. I want to immediately go to the next episode but I need snacks.

I has snacks. Let’s do this.

----Episode 8----

Backstory! And they have weird markings from the neck down. Immediately confirmed. The twins are plants. So why is the brother destroying/taking the plants?

What happened? They were so happy...

Trauma.

This poor child. Imagine being a reason all your people are dead.

So Vash is as human as plants can get.

Awwwww.

Is he tallying days? And he can feel the plant’s emotions and thoughts.

He ate! And he’s making friends and helping. Things are going to go to shit aren’t they?

The jacket!!

Yeah things are going to go to shit.

Nooooo. Things are going to shit. Don’t run away Vash! He took the photo of his twin!

NOOOOOOOOOOOOO, do we not get to see more??? We need to know what happened. And how he lost his arm! Ahhhh. Don’t stop it there.

Yay!

Oh god. Dead plants. And the brother.

Not yay.

----between episode thoughts----

Well that was a rollercoaster, that’s for sure. First wolfwood backstory and now Vash’s. So much is happening. Do we know how many episodes this show is meant to have yet?

----Episode 9----

Not the piano again. Why does Nai also give Gender envy, this isn’t fair.

Aww, they’re playing together. But Nai doesn’t want to play together. Damn good music though.

Oh god, they’re killing them.

Question, how does Nai look human? Like nothing is covering the other parts of him like Vash does? Wait no, Vash looks the same. Confused now. When did they manage to not have all the other parts, or were those just clothes.

OH god. Nai is cool but also terrifying. Origin story of the villain.

And that’s where the gun comes from.

Wait does Vash actually kill her? Nevermind. Nai will.

I mean Nai technically still cares about him.

HEH????

A gate?? There goes the arm.

AND THE GUN!

Okay. He’s not destroying them. But trying to eliminate humans to build a world of only plants.

So Bard made the arm for him.

This man is over 150 years old??

So the people of this world don’t know about flora?

Has Meryl and Roberto been captured?

Okay, so different planet. Just looks like earth.

That’s a lot of plants.

----after thoughts----

Ahhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh

#anime #review #Trigun Stampede #chaos #so much backstory #the writing is so damn good #wolfwood cares for vash #but just won't admit it #ahhhhhhh #gender envy #still #actually more #reviews while I watch #kyranskye #long ass post

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thescrapbookingscientist · 2 years

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Biweekly Media Roundup

- Dark (TV) - Well into the second season now and while I do still want to finish it, the show has not been nearly as entertaining as it was in season one. I suppose it was inevitable that it would be less interesting once they answered most of the central mystery questions, but also it really feels like they are dragging out the melodrama, and I just can’t bring myself to care about all these boring heterosexuals as they lie to and cheat on each other constantly. Bring back the time travel nuclear fusion death ball and the 50′s lesbians.

- The Thing (Movie) - Was planning on seeing this in theatres for a 40th anniversary special, but there was an issue and the tickets got refunded. Luckily my friend had the Bluray so my homies and I met for a rewatch anyway, dope. Obviously, The Thing is a cult classic for a reason, great sense of suspense, awesome practical effects, awesome concept, tight writing, and a hell of an ending, it’s great. Also, a very good doggo.

- Escape From New York (Movie) - After finishing The Thing, the Kurt Russell + John Carpenter dream team continued with my friend putting on Escape From New York. I’d surprisingly never seen it despite being pretty familiar with the Metal Gear Solid Franchise that it spawned. I do respect the creativity of the premise and the unique look of the film, though I can’t say I’d be interested in watching it again, it’s not really my thing. The politics are still disappointingly relevant though.

- Heartstopper (TV) - Binged almost all of the first season at a friend’s house before finishing it up on my own, as well as reading a good bit of the comic. It was really cute; I liked the little graphic elements they added to the show and how sweet and relatable Charlie and Nick’s romance was. Representation wise it does a great job, and I’m glad a show like this exists for the next generation of queer kids who will really appreciate it.

- Witch Hat Atelier (Manga) - oh man oh man, this has been on my to read list for awhile and now that I’ve finally checked it out I’m in love. The art is gorgeous, the hard magic system is interwoven into the plot so well, the characters are all engaging and well-written, and I love the way it handles it’s themes of teaching and living with a disability. The child characters are precious and some of the best I’ve seen, and I love their little family with their adopted father mentors-both of whom are fantastic characters in their own right and have such a likable dynamic on their own that the author made a whole-ass other series just about them cooking meals for each other and their daughters together, absolutely wholesome. One of the few series that I’m buying the physical books for, which says a lot for how much I plan to reread it. Unfortunately the fandom is moderately small at the moment (at least in the west), so hopefully the upcoming anime will bring in some well-deserved attention to the series.

- Prehistoric Planet (TV) - Hell yeah, high quality dinosaur documentary where the dino’s are treated as actual animals? Some of them have feathers? David Attenborough?! This has been fun, makes me miss my child discovery channel phase.

- Spy X Family (Anime) - They have a dog now, nice.

- Phoenix Wright: Justice For All (Video Game) - Almost through with the second ace attorney game, I am liking Franziska and how petty she is, very Azula energy it’s great. Overall though I’m admittedly not as into it as I was with DGS, the cast isn’t nearly as solid and the Circus case in particular was. Ooof. This last case seems more promising however, and I’ve heard good things about Trials and Tribulations so hopefully the worst is behind me.

- Lot’s of Monster Anime (Multi-Anime) - Still working through these monster anime, been wanting to just skip straight to the good ones like Hanako-kun instead of sitting through all the mediocre ones but eh I dug my own grave, gotta lie in it.

Listening to: Samaritan by ionnalee, Cold Cold Man by Saint Motel, Willow by Taylor Swift, Killin’ It by Foxy Shazam, Atlantis by Seafret, Why Am I Like This? by Orla Gartland, I Won’t Say I’m in Love by Susan Egan, Starry Eyed by Ellie Goulding, Go Get Your Gun by The Dear Hunters, Twilight Princess OST

#weekly roundup #my posts

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munohlow · 3 years

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Ok real quick gonna propose an idea for that powerpuff girls reboot:

Don’t

But it if they really must (they shouldn’t!), there’s some better ways I think they could go about it, as well as what I’ve seen floating around (like don’t).

Pretty much all of these are assuming they’ll go the gritty reboot route because that’s pretty popular atm. A dark gritty take on anything is getting a bit tired, I think people are more open to weird and sincere stories, whether they’re adaptations or original. But recently a lot of comics (good comics!) 10+ years old are getting faithful adaptations (good adaptations!) and reviving that early/mid 2000’s taste for “what if Superman, but bastard?”

Aright one route they could go would be like that of Samurai Jack season 5 on Adult Swim. Written and animated by the original team and keeping to its truest nature while maturing it a bit along with the original fan base and maybe have an overarching plotline. The difference being that keeping it like the original ppg would create a stronger contrast with more mature and brutal violence, similar to Invincible’s friendly neighborhood Spider-man vibes and use of graphic violence.

This would be the second best way to adapt besides not doing it at all..... but that would also take more money and might not last beyond a season, ending with a solid conclusion like Samurai Jack did. Plus I’m semi doubtful the original team would be on board to drag out the girls’ story, especially like this.

Addressing the leaked script, a common comparison made was to the Netflix adaptation of The Umbrella Academy. Both are loose adaptations about child superhero siblings coming together after years of being apart, dealing with childhood trauma and their parent’s wrecklessness as adults.

And talking monkey.

Where Umbrella Academy made changes for the sake of depth and character development amidst the sci-fi madness, the CW Powerpuff Girls script attempted to be edgy and gross for the sake of being edgy and gross. They just want to be mature and topical while ignoring everything enjoyable about the original. It also just straight up sucks. I’m no writer but it seems like a lot of people who are writers are pretty pissed about paid professionals pushing this to the point of post-production. Well not post production, it was being filmed, but I enjoy alliteration. That’s also pretty far into development for something this bad, while it was rejected and is being reworked, it still got approved by enough people to shoot a pilot. If the leaked script itself isn’t a marketing ploy, I imagine that’s the real reason it was shut down. CW probably would’ve went through with it, otherwise. Maybe just keep it cancelled, yeah? Yeah.

This idea isn’t mine either but instead of the child star allegory, it could be more interesting to sort of see it carry on from where it left off, as the continued adventures of the powerpuff girls. Similar to the The Venture Bros. (a show I have not watched but know vaguely about, again this is someone else’s thought, I just think it sounds good) the girls can be grown up but start to realize they want to explore their lives and goals as individuals outside of heroism.

This at least appeals to me because you can keep the show’s status quo, keep the characters together, and have them grow into better more interesting characters as opposed to starting with a dour world where everyone is dead or just worse insufferable people. Instead, begin where audiences are comfortable and open to a new interpretation then let the characters realize there’s more to life and explore what kind of people they can become. (Or just don’t do it.)

Also just hear me out, but maybe, possibly? perhaps the professor was a good dad in the original cartoon? And let’s keep that? Let him remain a wholesome father figure? Is that okay? Don’t make this reboot? But if they do, keep him a nice loving parent?

Since this is the CW/ Warner bros who own DC comics, the best case scenario (cancelled) would be to make it more like the MANY SUPERHERO SHOWS THEY ALREADY MAKE. The good ones, anyway. I’m pretty sure the girls have crossed over with some DC characters in the cartoon already, why not make them canon DC characters? Maybe not. Could be cool! Better not, though. But they could still model the show after some of their better shows. Flash, Arrow, Supergirl are all not bad depending who you ask. I just finished Gotham, that was neat. Superman and Lois sounds like it’s pretty good so far. Powerpuff girls would better suit an earnest, straightforward, lighthearted take. Keep the humor, idk maybe up the violence to keep it dark and cool if that’s what people want (we don’t) and have it contrast with family drama like Invincible. All that to say that a darker, comical, well-written, DC-ish superhero thing they should look to for reference should be Doom Patrol.

This show fuckin litty. It’s like the better parts of Legends of Tommorow and Titans put together, as in it’s super weird and dumb but in a way that’s fun and moving. I recently rewatched season one as refresher before getting into season two and dammit if it didn’t get me in my feels amidst the quarantine. It’s about broken people working through their issues and pulling themselves together to help one another. Admittedly, it doesn’t have the best representation of those with disassociative identity disorder, as one character sometimes referred to as “Crazy” Jane has a different superpower with each of her alters. The character is very much a product of the 80’s but the writers of the show do their best to show that Jane respects the alters and their free will. But it also deals with topics of abuse, self-image, trauma, disabilities, homophobia, discrimination, and more in a way that gave me some catharsis while watching after all that’s been going on the past couple of years. Aside from all the comedy and action, it all flows together naturally, which is what you want in any series, not just your gritty superhero show. Doom Patrol is also batshit weird, every episode feels almost self contained/ freak-of-the-week while still following the main overarching plot, and Powerpuff Girls is very much like that, without the bigger plot or mature themes (as it should remain, let it be). Many will find it vaguely similar to The Umbrella Academy because GERARD WAY WAS INSPIRED BY DOOM PATROL TO WRITE THE UMBRELLA ACADEMY. The og comics, not the show, but still.

Also let’s address this

The hell was this about?

Anyway Idk maybe I sound like “Old Man Yells at Cloud,” but this really isn’t the way to go. Don’t do it, CW. Leave it alone, CW. Just don’t do it. We don’t need more sequels and reboot cash grabs, there’s plenty of up and coming writers with good original ideas waiting for their shot. And even with all those new edgy shows and movies, some of which are actually not bad, not everything needs to be so grim. Like sure Teen Titans Go! is a goofy reboot but it’s still just a fun dumb cartoon, it’s not bad, I bet that other ppg show was also just fine. Maybe YOU are “Old Man Yells at Cloud.” But what do I know?

And all THAT to say you should go watch all those other things I mentioned and some old ppg episodes back to back, instead. Don’t fuckin do it, CW

#powerpuff girls #powerpuff cw #powerpuff bubbles #powerpuff blossom #powerpuff buttercup #the cw #samurai jack #invincible #the umbrella academy #venture bros #doom patrol #dc #gorillaz #more nerd shit #long post #umbrella academy #don’t do it

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dotthings · 4 years

Text

Let’s talk about why Dean dancing with a lamp is subtext, but it’s subtext that supports textual arcs. Dean dancing with a lamp is not random. Meta on why Dean dancing with a lamp is part of the build of a textual arc for Dean, thematically, which also connects to his relationship with Cas. This symbolic moment being tacitly about Destiel will only feel like reaching if you ignore context, ignore canon, ignore long arcing, ignore textual material surrounding it. This isn’t just me talking about a ship, this is an important arc for Dean himself emotionally and the way canon’s working, Cas has become the star player in this specific emotional Dean arc about yearning.

Here are some canon quotes. I could just leave these here and not write another word of meta because the canon wrote it for me. But I’ve added some further commentary to spell out clearly what I’m getting at.

Dean in 8.14 “Trial and Error” by Andrew Dabb:

“You see a light at the end of this ugly-ass tunnel. I don't. But I tell you what I do know – it's that I'm gonna die with a gun in my hand. 'Cause that's what I have waiting for me – that's all I have waiting for me. I want you to get out. I want you to have a life – become a man of Letters, whatever. You, with a wife and kids and – and – and grandkids, living till you're fat and bald and chugging Viagra – that is my perfect ending, and it's the only one that I'm gonna get.”

Dean in 10.16 “Paint it Black” by Eugenie Ross-Lemming and Brad Buckner:

“You know, the life I live, the work I do…I pretty much just figured that that was all there was to me, you know? Tear around and jam the key in the ignition and haul ass until I ran out of gas. I guess I just thought sooner or later, I’d go out the same way that I live – pedal to the metal, and that would be it....Now, um… recent events, uh… make me think I might be closer to that than I really thought. And…I don’t know. I mean, you know, there’s – there’s things, there’s…people, feelings that I-I-I want to experience differently than I have before, or maybe even for the first time.”

Sam and Dean in 11.04 “Baby” by Robbie Thompson:

SAM: Really? You don't . . . Ever want something more? DEAN: I'm sorry, have you met us? We're batting a whopping zero in domestic life, man. Goose eggs. SAM: You don't ever think about something? Not marriage or whatever. But . . . Something? You know, with a hunter? Somebody who understands the life?

Sam and Dean in 13.23 “Let the Good Times Roll” by Andrew Dabb:

DEAN: But on a beach somewhere, you know? Can you imagine? You, me, Cas, toes in the sand, couple of them little umbrella drinks. Matching Hawaiian shirts, obviously. Some hula girls. SAM: You talking about retiring? You? DEAN: If I knew the world was safe? Hell, yeah. And you know why? 'Cause we freaking earned it, man.

Sam and Dean in 15.08 “Our Father, Who Aren’t in Heaven” by Eugenie Ross-Lemming and Brad Buckner:

DEAN: Look, man, I didn't want to say anything, okay, 'cause I was kind of in in a bad place, and, uh, yeah, I didn't want to jinx it or whatever, but, you know, I tried the family thing, right? SAM: Yeah, me too. And that's not for us. DEAN: No, not really. But I'm just saying if it was to work, Eileen, you know, she gets it. She gets us. She gets the life. She's hot. SAM: Dean. I mean, I'm not even- DEAN: Look, all I'm saying is you- you could do worse, okay? And she could certainly do better. Like, so much better. I'm happy for you, Sammy.

Dean and Garth in 15.10 “The Heroes’ Journey” written by Andrew Dabb:

DEAN: You know, I gotta say, aside from pincushion in there… this is pretty nice. GARTH: Yeah, better than I ever thought I'd get. I mean, hunting -- I figured I'd be dead before I'm 40. You know, go out young and pretty. But now I've got a great wife, great kids. I guess...sometimes things work out.

Dean in 15.10 “The Heroes’ Journey” by Andrew Dabb:

Dean, wistful, watching through the window as Garth and Bess dance: You know, I always thought I could be a good dancer if I wanted to be.

Ok, let those roll around in your brain for moment.

Now: CONTEXT. CONTEXT. CONTEXT.

There’s this long running arc about maybe Sam and Dean could each find a significant other, not white picket fence, but...something, with someone already in the life, who gets their life. There’s Dean’s move from despairing and believing the only ending he could have, the only ending any hunter could have, is dying with a gun in hand, to Dean’s enthusiasm for the concept of retirement, Dean’s wistfulness about finding a significant other, for what he thinks he can’t have, and he starts the cycle all over again, if he can’t have it, then he wants Sam to have it, so Dean encourages Sam with Eileen. Saileen, the Dean-blessed, Dean-approved Sam ship. Dean ships it. And that is how the canon is trending, complete with Sam and Eileen kissing goodbye and saying “this is real” and even God himself saying their feelings were real, “that was all you,” even if God manipulated events around them. Which is an overt mirror to Dean and Cas and Dean’s expressly stated doubts about what’s real and what isn’t, and Cas telling Dean “we are.”

Much the way Sam has been witness to Destiel, and has often pointed out Dean’s Cas feelings. Dean’s got a front row seat to Saileen and approves; Sam’s had a front row seat to Destiel and approves.

Let’s throw in Robert Berens’ work in The Trap here, since that’s relevant to this specific topic as well, because why did Sam and Dean in the potential future timeline where they’d killed Chuck give up and cave in to their vampire instincts? The world being overwhelmed with monsters...and losing Eileen and losing Cas. It’s right there in the dialogue. I’ll give you the quote and everything:

Sam and Dean in 15.09 “The Trap” by Robert Berens:

SAM: You want to quit? What's happened to you, Dean? Ever since -- DEAN: Ever since what? We lost pretty much everyone we've ever cared about? Ever since the Mark made Cas go crazy? Ever since I had to bury him in a Ma'lak box? Ever since then? Yeah. You know why? 'Cause the monsters -- they're everywhere. Everywhere! What we do -- it's not even Hunting anymore. It's whack-a-mole. We don't even save people. Every friend we've ever had is either dead, or they got wise and they packed it in. SAM: Jody's still fighting, and Bobby -- DEAN: Bobby has a death wish, and you know it. And Jody -- ever since what happened to Donna and the girls, she does, too. And after Eileen... so do you.

“Ever since” Dean had to bury Cas in a Ma’lak box. “After Eileen...so do you.”

So there’s this canonical long, long thread across multiple authors (and those weren’t even all the quotes, I’m sure people could dig up more) about Dean in particular yearning towards finding a significant other, some contentment, with someone who already is in the hunting life, who gets it, who understands.

An episode that flat out shows how losing their significant others is the final straw that rips out Sam and Dean’s last will to fight, and they lose themselves, and after they’re turned into vampires, they just...give into the darkness. Where Sam gives up their shot at destroying the big bad because losing everyone they love is too high a cost. Where losing Cas makes Dean lose hope, where losing Eileen sends Sam into a death wish mindset. Sam and Dean don’t just need each other. That’s not canon, it never has been.

And then right after that, along comes meta episode The Heroes’ Journey. Sorry if you don’t like The Heroes’ Journey, but it’s what the canon did, it’s textual, along with everything else I’ve pointed out here, and in among the crackish humor are some real emotional narrative points.

In The Heroes’ Journey, Dean gets to see Garth’s life. Garth found his significant other, Bess, and she’s another werewolf. Now, Garth’s life resembles the traditional white picket fence idea a lot more than what Team Free Will are headed for. Garth has a big house with a porch, and he’s a dentist. He’s also a werewolf and his wife is a werewolf and his kids are werewolves because Bess is a pureblood werewolf, Garth didn’t exactly leave the life, and he helps Sam and Dean on a case. But nothing’s been indicating to me that anyone in Team Free Will is headed for that kind of settling down, with a house, becoming a dentist. However, the canon has been practically shouting now, as we near final episodes of SPN, to make the point about a desirable outcome--some kind of stability, contentment, and a significant other. Dean gets a front row seat to seeing a hunter can have that. Garth’s a hunter who turned into a werewolf and he can have that.

When EP’s talk about how they aren’t headed for a white picket fence or driving off into the sunset or settling down, none of that rules out them finding...something...with someone, and some form of stability and contentment. Nope, I can’t really imagine them in the suburbs becoming dentists. But canon sure is putting up big neon arrows to...something. Think outside the box. This isn’t about the white picket fence.

And in The Heroes’ Journey, Dean, conked out on the good gas so Garth can fix his teeth, has a trippy dream where he dances with a lamp.

Rewatch the ep. Look at how the dance is choreographed not just the use of light, because that’s a clue too. The whole dance could have been Dean and Garth being dancing bros, but Garth fades off the stage, and Dean dances alone...until he grabs the standing lamp. In a season where Dean and Cas’s relationship is an A-plot, define it how you like, it’s A-plot. Their breakup and their reconciliation, which played like a marital breakup and reconciliation, are tied to major mytharc beats. In a season where a long-running textual theme about Dean’s developing hope for retirement and his wistfulness about “things...people...feelings...” is getting further play. Where Dean and Cas’s relationship continues to be one of the show’s most central ones.

Dean dances with a lamp. While his emotionally fraught, intense close relationship with Cas--A BEING MADE OF LIGHT--has a long-running arc and recently more and more textual level content spelling out the sublimated romantic interest in small words, while there’s an arc about Dean’s yearning for that stability, contentment, a significant other.

CONTEXT.

We don’t think Destiel’s “going canon” because Dean dances with a lamp, it’s that Dean dancing with a lamp is kinda loud serving as reflection of canon textual arcing. Sometimes subtext adds a layer. Sometimes subtext is directly tied to the surface layers, an echo, a highlighter.

I’ll just be over here, crying because Dean danced with a lamp.

#Dean Winchester #Castiel #Destiel #Destiel meta #spn meta #spn #supernatural #Saileen

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katytheinspiredworkaholic · 3 years

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I’ve been rewatching CM and god, what I wouldn’t give for them to bring TG back for this revival. I haven’t even watched seasons 12-15 yet because I’m in denial about him being gone 😭😭😩

omg I haven't watched it either xD I've been holding off watching s11e22, The Storm, for like a month I swear. Which, I know is going to be amazing but I also have heard it's the beginning of the end and I'm not readyyyyyyy.

I would give anything for TG to come back. A n y t h i n g. But idk what CBS feels is the appropriate amount of time to be blacklisted or whatever the hell they did 🤷‍♀️ despite how it would be so easy to write him back in, and the missed opportunities is already making my skin crawl.

Okay. This was going to be a quick answer, but I've been THINKING about this way more than I should lately, without ever having watched 12-15 but I feel like I know enough, and with all the projects I'm going to be finishing/starting soon I know I won’t have time to do anything with my ideas. So I'm just going to type this little beginning I have plotted out and maybe one day I'll make it into the fic I want it to be:

(I know you didn't ask for a hc/blurb thing but surprise you get one xD)

CW: Spoilers for season 11-15 that are probably inaccurate af, fighting, violence, bit of blood and injuries talk, some profanity.

((I legit have this all plotted out like a full season, and picture everything as shots and scenes and I know exactly how I would want to bring Hotch back.))

It would start in a small suburban town in Indiana, legit white-picket fence, middle of nowhere, off the grid town. With the most pedestrian name ever, we might as well call it Mayberry. Typical weekend morning, bright green grass and trees and summer sunshine lighting it all up, they still get papers delivered it’s that picturesque. And it’ll pan to all sorts of people on this street of nice, two-story houses, and finally zero in on not the man picking up his paper from his front porch, but the jogger slowing down that the man calls to next door, calling him a name we’ve never heard before -- but the jogger answers with that dark eyed squint and a nod... and it is Aaron Hotchner. Or the man who used to be Aaron Hotchner. He hasn’t gone by that name in years, WITSEC provided him and Jack with new ones.

His house isn’t even really decorated like a home, he’s been in enough over the years to know tell-tale signs of what a happy home should entail. Photographs, memorabilia, nostalgia tucked away in corners -- they don’t have that. He has a couple of photographs he keeps in his office, the only two in inconspicuous view being a photo of Haley and Jack when he was two years old, and a photo of his team the day he completed the FBI triathlon and they all showed up to support him. Everything else of their old life is in boxes in a storage facility in downtown D.C., under another false name that can never be linked back to them.

Mr. Scratch was a poor excuse for why he and Jack were still under WITSEC, but he hopes near daily that it was enough of a reason that no one would question why he didn’t return once that monster was dead. That no one smart enough to read between the lines would go digging for more reasons, or worse -- try to find him -- and they pictured him living a happy retirement very similar to the charade he is living now.

But Aaron Hotchner was never meant for retirement. No matter how easy and simple his days have been the past few years. It was only a matter of time.

He walks through his home that looks more like the insides of a Home Living magazine, to his kitchen which is bright and spacious and tiled white that he knows Haley would have loved, getting a glass of water from the sink and chugging it all in one go. It isn’t until he’s getting a second glass that he hears it. The faucet was supposed to have masked any disturbance, they were careful in when they moved, how they placed their feet, the slowness of the their approach -- but not enough.

Hotch keeps his shoulders relaxed, his spine still ram-rod straight but that’s just how he stands and it keeps tension ready at a moment’s notice. Keeps him on alert, which he needs as he takes slower sips of water and lets all his other sense shift to a heightened awareness. Knows this house like the back of his hand, even if he’s never allowed himself to consider it home, so he knows which floorboards creak and where all the furniture is strategically placed. Always prepared for something like this to happen, even if he never imagined someone would be so bold.

Their mistake.

With a careful tick of his head, peripherals his only guidance, he strikes before the intruder gets to. An iron grip and momentum that propels their face into the metal of the sink basin, shocking them that what their file was so misleading about their target. Retired FBI agent, almost 60 years old, living in Pleasantville with a picket fence and a vegetable garden. This should have been easy. The intruder is stunned by the blow, attempts a quick recovery where they lash out and get a few good body shots into the older man -- but he’s built like a brick wall, can take a blow and give it back twice as hard -- a few more precise hits and another crack of their face to the sink that shatters the bridge of their nose leaves the attacker slumping to the floor.

“You didn’t do your research,” Hotch tells them, breathing a little heavy, opening up a drawer usually deemed for junk and pulls out zipties and an ancient looking cell phone buried deep at the back. “Sloppy. I expected more from him.”

The attacker kicks out Hotch’s knees in a fit of rage (at having his skill set insulted so), leaving them both crashing to the floor. They grapple and fight a bit more, knocking dishes from the counters and pots and pans to the floor from the grill top island, but Hotch is so well-trained in take downs he gets the slighter man pinned with only a split lip and a single hitch in breath. He barely broke a sweat. Knocks the guy out clean, two solid punches to his face, and he stops because he knows better. Has been there before, and they need to question whoever was sent to his house to kill him.

He’s barely off the floor, the intruder binded and stuck in a corner when Jack walks in from early morning soccer practice. Takes one look at the kitchen, his dad with blood in the corner of his mouth, and the guy all in black bound by zipties and already knows what happened. Sixteen, nearly as tall as his father now, he looks only mildly worried for all of two seconds until he sees that his dad has an old flip cell phone held up to his good ear, awaiting a connection with their handler in Indianapolis.

“... Does this mean we get to go home?”

The shot would pan back to Hotch, and he wouldn’t answer him, just tells the person on the phone to ‘patch him through, they have a situation’, and there would be no very obvious look in answer to Jack’s question. But all of us who know him, know the subtle changes in expression and the slight softening to that stern frown, knows what his reply would have been.

The very next scene would be the BAU. JJ and Emily walking at a brisk pace covering a debrief, since they basically run the department now. Everyone has been called in, everyone, retired and moved away and even the ones who cut all ties have been contacted. JJ has just gotten off the phone with Elle, who is working as a liaison in Rome and assured her that if anyone showed up in her home to attack her that they would be leaving in a body bag. But she appreciated the heads up.

In the bullpen it’s more like a family reunion than anything. Garcia has just gotten off the elevators, a flurry of color and blonde curls and bright as ever, Morgan and Savannah are trying to corral Hank and the twins (both girls and pure chaos now that they can walk) while still making introductions with the new team and their families, and asking if Reid or Rossi know anything about what’s going on as JJ gets there and asks for everyone’s attention.

“Not everyone is here yet, Kate and her family are on their way from upstate, Will’s getting the boys from school, and Alex and her husband are on a plane, but we need to get started as soon as possible.”

“What’s is going on, JJ?” Morgan asks, passing off one of the twins to Penelope who is in full baby fever mode despite what is obviously a very bad circumstance that has brought them all together. It’s a juxtaposition that has put everyone on edge. It doesn’t help when JJ and Emily look at each other as if in confirmation, trying to decide who is going to tell them.

“Okay, that doesn’t inspire confidence,” Rossi points out. “What happened?”

Emily sighs and makes a gesture for JJ to take the floor, since she has been on point for most of this.

The bull pen is silent in anticipation.

“Earlier this morning, Hotch was attacked in his home in Indiana,” she says, and whatever anyone thought was going on -- that wasn’t it. The shock across the room is like a bomb has detonated.

Rossi curses something out in Italian, looking down, and JJ immediately realizes how this all sounds. But doesn’t even get to backtrack as Reid looks completely devastated and Garcia like she’s about to cry and everyone else starts shouting questions at her.

“What happened to Jack?”

“How did they even find him? What the fuck is wrong with WITSEC?!”

“Is he okay?” asks Tara, the only intellectual who can see the panic now blooming on JJ’s face.

“Yes, yes! He’s okay, sorry, no -- Hotch is fine. The guy who tried to kill him... not so much, but he should be conscious soon so they can question him.”

“Jesus Christ, JJ,” Morgan says looking like he just aged ten years in the past 30 seconds. “Lead with that.”

“Sorry, I’m sorry. He’s okay, Jack is okay, they’ve been picked up. But... there’s a lot we need to be filled in on,” she admits, which quiets the room once more. “Apparently, the WITSEC had nothing to do with Mr. Scratch. There’s something much bigger and more dangerous going on, and he went under to keep us all safe. As well as himself, and Jack.”

“What is it?”

JJ makes a gesture with her hands splayed as she looks a little lost. “I only know bare bones, we have to wait to hear the specifics and get everyone somewhere safe.”

“You think we’re going to trust WICSEC after this?!”

Emily intervenes this time, “We have a plan, or... Hotch has a plan, I think. We’re just learning about everything as we go, he’s really the one that knows the most about it.”

“Then where is he?” Morgan speaks up again. “If he’s been pulled out, and we’re all in danger, why isn’t he here explaining this to us himself?”

It’s a good question, and everyone looks expectantly at the two women leading the informal briefing.

“Will he come back at all?” Reid asks, speaking up for the first time. It’s been years, that’s a long time to rethink a life like the BAU, and everything it entails.

JJ takes a deep breath. “He’s... in--”

“Out-processing.”

Hotch is at the back of the room. Everyone turns to him, even JJ and Emily look surprised to see him so soon. ((But we all know the CM cinematography love that kind of return shot, so I’m catering to it. For situational parallels if nothing else. Imagine the gif sets.))

“I pushed it as fast as they could go, but WITSEC always drags their feet.” The familiar drone, dry barely-there-humor, breaks whatever spell that had been over the room at the sight of the old Unit Chief. Disbelief and relief and stunned surprise litter every expression, and although Penelope looks like the first to say something, her words change course just as she opens her mouth. Because Hotch is still in civilian clothes, a duffle-bag over his shoulder he used as a go-bag for decades, and beside him with a bag of his own with messy dirty blonde hair is--

“Oh my God, is that Jack!?” she near sobs, the teenager smiling at her in a way that looks so much like Haley, and she goes to hug him first with the boy meeting her halfway. “You’re so tall! And so grown up, look at you!” There’s definitely tears and the team converges on the Hotchners all at once. Reid hugs Hotch first, as tight and bone-crushing as that night in Atlanta all those years ago, followed soon after by Rossi who looks like he might shake the man but just hugs him tight and plants an absurdly embarrassing kiss on his cheek that finally cracks Hotch’s expression into something like a smile. Everyone hugs, everyone, Savannah calls him Aaron instead of Hotch because that was how he’d introduced himself all those years ago, the twins wave shyly and he shakes hands with the newer members that never got to meet him but have heard very tall tales about him for years and years.

(And y’all, it would be the best damn scene and I would sob like a baby watching it.)

Morgan would be the one that would hold back and let the others go first, but it would also be the most profound when Hotch goes to shake his hand and the other man uses that to pull him into a tight hug of his own.

“I’m glad you can still hold your own,” he’ll tease with nearly no heat behind it. Hotch hears it for the caring that it is.

“Like hell I would let that happen twice in my own home,” he assures him.

Everyone settles down, and Emily leads some finer points of what’s going to happen with everyone in the next few hours. Days. Weeks, even, because there’s no knowing what is going to happen next. Hotch observes her, and there HAS to be a shot where she glances over to him and they share a look of understanding -- because she is Unit Chief now, and he approves of what he sees.

But she turns the floor over to him, and Hotch explains what’s going on.

((I’m going to leave the finer points out about the case and the unsub, mostly because I haven’t finished ironing them out yet and I hope once I watch the remaining season I will be able to much more easily))

But at SOME POINT in the briefing, when Hotch is explaining what happened with the assassin in his home and how he apprehended him, and Emily maybe interjects with the injuries sustained and that they are still waiting for the man to regain consciousness. Penelope will 100% lean over to where Jack is sitting beside her and say without flinching, “Your dad is such a bad ass.”

((I also plan on bringing up Reid was in prison in this scene but it will be more humorous than anything because of Hotch’s reaction, stay tuned on that one. Again I’m not there yet))

((and where I’m taking them is also a secret because I need to do research and it will be so damn cool, but Hotch has everything completely planned out -- like he does. Goes as far as asking the few who question him “Secure enough for you?” when he drops where they will be staying and the protection they will have. Full blown mic drop moment.))

“So gather all of your belongings that you have here. Secure pets and homes, call the kid’s schools, whatever you need to do,” Hotch informs them, stepping back into his old shoes as team leader without even meaning to. But no one tells him to stop. “We need to be in the air ASAP, the jet is being prepped as we speak so we need to move on this.”

He leaves it at that, and everyone doesn’t move. Watching, waiting, smirking a little bit (Penelope, maybe even Reid), until he gives in.

“Wheels up in 30.”

Garcia giggles so much she near cackles with it. “Oh, I just got goosebumps!” And by Emily’s smirk and Morgan’s shared grin with Reid, a million watts between them, everyone is up and moving and pulling out cell phones to get their affairs in order.

Rossi sidles up to Hotch at that point, also openly smirking that they got him to say those four time-honored words. “Welcome back, Aaron.”

And Hotch, well -- he looks around the room at the family he had to leave behind without any hope of seeing them again, and feels every hardened edge in his face and demeanor soften. Before he looks to Dave and tells him what’s been going through his head ever since he walked back through the doors of the BAU.

“It’s good to be home.”

((END SCENE))

#CM SPOILERS #If only I could write fic full time xD #GOD I've been dying to write all that down for weeks #and then you my beautiful anon sent that ask and I jumped at the opportunity #sorry I used you for this but I'm so glad I did #I hope you enjoy it if you don't mind all the spoilers #also if anything doesn't line up with canon I am SO SORRY I legit haven't finished season 11 #and I haven't met any of the new team. Not even Luke #But they would all be there #full cast. chaos. It would be awesome #katyswriting #criminal minds fanfiction #no pairings #Aaron Hotchner

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questionablygourmet · 3 years

Text

Will Graham contains multitudes (and that’s a good thing)

Okay, I’ve been seeing a lot of edgelord meta takes on Will, lately*, and it’s bugging me enough as a phenomenon that I want to briefly address some common themes I’m seeing in them, and hopefully provide some food for thought as people continue to rewatch and write about the show.

Will has indeed made a career out of his understanding of, and fascination with, violence. He does explicitly admit to enjoying violence that he’s enacted (and sometimes the thought of violence he might enact), and a lot of his onscreen connection with Hannibal is centered on this mutual fascination and appreciation.

However.

We are also explicitly told and shown, repeatedly, that not all violence is created equal, to Will. That he has to juggle substantial, sometimes severe, amounts of fear along with that fascination and that understanding. That he clearly sympathizes with the victims of violence that he considers unjust (even when they are also, themselves, perpetrators - Christopher, Abigail, Georgia, and to a lesser extent Peter).

In the pilot episode they’d barely begun to scratch the surface of what the show would become (given that Bryan Fuller literally started re-writing season 1 on the fly after seeing the pilot cuts), but this line of Hannibal’s is relevant and stays relevant: Your values and decency are present, yet shocked by your associations, appalled at your dreams

And the thing that keeps Will in the field, despite knowing it’s bad for him, that it is actively harming him, is the chance that he can save lives by doing so. This stays true even in the Red Dragon arc: Molly is shown persuading him in exactly this way, and that’s shown for a reason. Saving lives is still an important motivation for him. (And yes, it is terribly romantic to watch him read Hannibal’s letter by firelight and imagine him pining, but let’s be honest - if an excuse to go see Hannibal had been enough of a motivating factor in its own right, he could have had one a hell of a lot sooner.)

The operative point, here, is that not only can Will possess and enact both honest compassion and murderous violence, without that tension between the two, what even is the plot? The primary emotional arc of the entire show is rooted in that conflict!

The other thing that grinds my gears as much in an ableism sense as a literary one is the attempted casting of all Will’s interactions with other humans as manipulative/false and/or callous and/or cruel, in light of his demonstrated capacity to do/be all of those things at certain times (often but not exclusively toward Hannibal).

Mild social awkwardness and occasional standoffishness, which Will does demonstrate toward many other characters in the show, are not fundamentally sinister. We are told and shown repeatedly that his preference is, for the most part, to be left alone. When people disregard that, his reaction is roughly proportional to the degree of violation - think of it, perhaps, on a scale of Beverly to Freddie. He’s a bit awkward with Beverly early on, but he recognizes that despite a few invasions of his personal space, she’s basically friendly, kind, and without much in the way of ulterior motives, and their relationship proceeds accordingly. Freddie, meanwhile, begins their association by gaining access to a crime scene under false pretenses and then publicly calling him insane, and things predictably go downhill from there!

Will isn’t obligated to be nice to people who are treating him poorly any more than a woman is obligated to smile for a catcaller, and on the one hand I’m always a bit boggled that a white cis dude is getting this kind of treatment from (part of) fandom, but on the other, the expectation that autistic people constantly perform social normativity Or Else sure is familiar.

I do thoroughly appreciate the irony that my very first gripe in this fandom was with having run into a few too many depictions of Will as a poor helpless softboy uwu(TM), and now here we are at the opposite pole of the disk horse. But seriously - nuance is a thing. Will Graham contains multitudes, and that’s a good thing, because we wouldn’t have much of a show if he didn’t.

*I am not intending to complain about “Dark!Will” fanfiction. That’s its own, often very creative kettle of fish. This post is specifically about interpretations of Will as he appears in the canon material.

#hannibal #will graham #meta #my meta #metafandom wank #i wanted to call this post 'will graham and the dichotomy of good and evil' for the Pirates of the Caribbean ref #but decided it sounded really dumb if you didn't get the joke

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jackrrabbit · 4 years

Note

im glad your opening asks for haikyuu bc not to be a whore or anything but i want to be wrecked and degraded majorly by oikawa. like ill let that man stomp on me of he were real😌

Fanatic [pt. 1] /// Oikawa x f!Reader (18+)

A/N: Skipped ahead in my asks a bit to answer this yummy little req!!

Summary: Oikawa takes advantage of a devoted fan for some stress relief after a bad match. [Part 2]

Warnings: noncon, bullying, degradation, humiliation, manipulation/coercion, crying, basically Oikawa is mean to you, yandere vibes?, shy reader, oral fixation/saliva, all characters adults

You’ve been in love with Oikawa Tōru since you were 14 years old.

Well, love is a strong word—maybe admiration is a better description of the way you feel about him? Or maybe not. Is admiration enough of a reason to attend every game that he’s played for the past 4 years, ignoring the hours of travel and dozens of unexcused school absences? Would admiration explain downloading and rewatching every play and amassing a collection of all his press mentions and magazine articles, to the point where there’s a table in your bedroom devoted to him that your friends have jokingly dubbed the “Oikawa shrine”? Was it admiration that made you transfer high schools in the middle of your third year just so you could join the Aobajohsai cheering squad?

No, the word you’re looking for isn’t admiration. It’s fanaticism. Look, you’re not proud to be such a die-hard, but you can’t help it. It’s not even romantic for you. You’ve never wanted to be his girlfriend. The look of joy on his face when he scores is all the reciprocation you need for your feelings.

You’re not an admirer, you’re a fan. You could watch Oikawa score points until the end of time—which is why your heart breaks a little bit every time he loses.

Really, you just want to cheer him up. Is that so wrong?

“Do I know you?” Oikawa’s head is cocked to the side, but he couldn’t look less interested. You fidget under his stare—he’s even taller in person than he looks on the court—and wonder if maybe it was a bad idea to wait in the hallway for him like this. It’s not like you were trying to corner him or anything, you just wanted a chance to tell him not to worry about losing the match.

When you can’t find the voice to answer, Oikawa’s eyes narrow and he leans in toward you a fraction. “Oh…wait. I’ve seen you before. You’re on the cheering squad, aren’t you? That third-year transfer? You’re in Makki’s class.”

You nod rapidly. Who knew it would be so hard to talk to him in person? You really should have rehearsed what you were going to say.

“So…” he prompts.

“Um, I—“ Why is your mouth so dry? “—I just, I wanted to say, I mean I know you lost but, well—“

“Spit it out.” He’s not smiling. In fact, he looks annoyed. You’ve pretty much only ever seen him beaming out of your TV screen or concentrating during a game, so this is new.

And how can you blame him? Aobajohsai just lost brutally on a block from his serve, and now he has to deal with this random fangirl who can’t untangle her tongue long enough to eke out a full sentence. You’re an idiot. “I—sorry, I just wanted to say as a fan that you looked really cool out there! So don’t—don’t worry about…you know. Um, losing.”

He looks at you a second too long, and inside you’re kicking yourself. Just your luck that the first time you meet your idol in person, you’re incapable of talking to him like a human being. But after a long moment passes, he rocks back on his heels and smiles, his face so neutral and handsome that it’s hard to even remember he was almost glaring at you a moment ago. “What’s your name?”

“Um, it’s (Y/N)…”

“(Y/N)? Ah, okay. Thank you.” Oikawa tilts his head back and runs his fingers through his bangs, and your eyes trace the motion unwillingly. His hair is damp from his post-game shower, dripping cold water onto the towel draped over his shoulders. “To be honest, I’m in a bad mood right now.”

“Oh, well—of course! I mean, no one would expect you to be happy, not after you just lost.” Stop rambling. “And, you know, you should take time to think but if there’s something—anything I can do to help—“

His eyes glint and he takes a step toward you, close enough that you have to tip your head back to meet his gaze. “Anything? You’ll do anything?”

There’s something about the way he says anything that makes you want to take it back. But how could you? You’re his #1 fan. You’d do his laundry for a month if he told you it would make him feel better. Your chin bobs up and down in agreement.

“Really? Thanks, (Y/N)! I think there’s something you can do to help me out.” Your cheeks flush pink at his praise, and you’re so thrilled that you barely even notice him grabbing your upper arm with a grip so tight it hurts. You do, however, notice when he starts steering you down the hallway into into the men’s bathroom.

“Um…I think this is the men’s room,” you tell him nervously as he folds the two of you into a single stall.

“Don’t worry, there’s no one in here.” Oikawa backs you into the stall before turning and sliding the lock shut with a click.

“But why are we—ah?” Your statement is cut off abruptly as Oikawa reaches toward you, immobilizing your jaw so he can forcefully shove two fingers into your mouth. You don’t want to hurt him, so you stop yourself from indulging your immediate impulse and biting down. What are you doing? you try to ask, but with Oikawa holding your mouth open the question comes out as a series of unintelligible gurgles.

When your frantic gaze meets his, he looks…different. He’s smiling, but it’s not the innocent grin he shows to the press or his teammates or his fans. There’s something wrong with his eyes.

It takes you a second to place the emotion, but when you do a chill passes through you. Oikawa looks angry.

Your arms twitch at your side—should you try to pry his hand out of your mouth?—but before you can make a move his other hand pushes your shoulder into the door of the bathroom stall. You can’t move. You can’t break his grip. He’s so much stronger than you.

What is happening?

“Hey, want to know something?” As he speaks, his fingers swirl around your mouth invasively. “When I saw you in the hall, you looked really…pathetic.”

Pathetic? It’s nothing you haven’t said to yourself, but hearing it from the man you’ve idolized since you were in middle school is agonizing. You try to swallow down your unhappiness, but you can’t—not while Oikawa is still forcing your jaw open.

“Yeah…” he says, an air of dark amusement coming over him. “Waiting for me and begging for my attention like a little puppy dog. Thinking you’re going to make me feel better. What did you say you’d do for me?”

You said you’d do anything. How were you supposed to know he’d meant…whatever this is?

“Anything, right? You said you’d do anything for me?” His fingers probe deeper into your mouth. “Can you try to say it?”

“Eh— An— hin—“ you choke out, well aware that you’re not making sense. Your eyes squeeze shut so you can concentrate on not gagging.

“Mm-mm, not quite. You’re not trying hard enough.”

You try again, but you can’t make your mouth form the right syllables. Why is he asking you to do this? Why are you letting him?

And why is his knee nudging your legs apart?

The effort of trying to speak with your mouth held open is making your jaw ache, and you can’t stop your saliva from spilling over your lip and onto your chin. Oikawa’s thumb leaves your mouth to wipe the drool off your face. “That’s kind of disgusting. Can’t speak in full sentences, can’t control yourself…what exactly are you good for?”

Your cheeks burn and you almost want to cry. It’s not your fault you can’t swallow properly. You shouldn’t be tolerating this, you should just bite down and make him deal with the consequences…but you know you won’t.

“Say ahh,” Oikawa tells you, tipping your head back to face his. He’s leaning in—wait, is he going to kiss you? No way, that’s impossible. Why would he be so mean to you and then turn around and treat you nicely? Still, you can’t keep your stupid heart rate from speeding up as he gets closer and closer, his eyes never leaving yours—

Until he spits. Directly into your open mouth.

His saliva feels disgusting—warm and sticky and foreign as it sits on your tongue. Oikawa releases his hold on your jaw but you don’t move, instead just standing there with your back to the stall door, staring at him in shock. Your mouth hangs open like you’re…showing it to him or something. What are you supposed to do? Spit it back out? Or—

“Swallow.”

You shake your head. You don’t want to swallow. You don’t want to have his spit in your mouth at all. If you think of it as if the two of you had kissed, it’s not even that bad, but you didn’t kiss. He did this to you to make you feel filthy, and it’s working. There are tears springing up in your eyes, and you’re certain it wouldn’t take much for them to fall.

But he’s not moving, he’s not letting you past him, and you can’t keep your mouth open forever. Maybe if you do this you can apologize for…whatever you did that made him so angry, and he’ll let you leave. Logically, you know that swallowing his spit shouldn’t feel any different from your own, but it does.

Oikawa watches the movement of your mouth and throat carefully as you give up and swallow. This is weird…the whole situation is strange. It’s not like him to do these things to a fan, but he’d been upset about the match and you just showed up and said all the wrong things so sincerely that he was caught off guard by how much he wanted to bully you. There’s something about the contrast between then and now—your shy, eager expression when you were rambling to him in the hallway versus you swallowing his spit looking like a kicked puppy—that he finds adorable.

Adorable? Yeah, adorable. Your pitiful face is so cute it’s making him hard.

Well, what do you know. Looks like you’re going to help his bad mood after all.

“I guess that’s one thing your mouth is good for,” Oikawa says. Your eyes jerk up to meet his and then slide off to the side. You can’t even look at him. He’s grinning at you—laughing at you. He’s enjoying this.

“I don’t—“ You have to stop mid-sentence to swallow again, trying to pretend your mouth doesn’t feel repulsive inside. “I don’t understand? I just wanted to cheer you up…”

“Did you?” Oikawa steps back and tilts his head to the side again like he’s assessing you. “Let me guess. You’re trying to get fucked, aren’t you? Saw me on TV and thought this was your chance to try out the real thing in person? You’re not the first.”

“That’s not true!”

“Are you sure? You’re saying you never wanted me?”

You shake your head from side to side, but you can’t muster a verbal denial. Your intentions had been innocent when you approached him, but the truth is…you’ve thought about it. You’re not one of those fans who thinks they’re destined to fall in love with their idol, but it would be a lie to say you’ve never…fantasized, late at night when you’re by yourself, about him kissing you and touching you and treating you like a princess. And when the fantasies get a little more heated, you have a habit of letting your hands drift down between your legs…

In your imagination, Oikawa is kind. Gentle. He cares for you. It couldn’t be farther from the truth.

“I don’t believe you,” he says, and he reaches up under your skirt to rub roughly against your panties. “This pussy is begging to get filled up.”

“Wha— You’re wrong—“ Your hands are trembling when you grip Oikawa’s shoulders, intending to push him away from you, but then the fingers prodding at your panties find your clit through the fabric and it’s all you can do to stay standing up. “Haahh…wait…”

“Wow, you’re soaking through your panties. I spit in your mouth, and you’re getting off? What kind of dumb girl…”

“No I’m not!” But the truth is slicking onto Oikawa’s long fingers as he rubs the length of your slit. The friction of your damp panties between his index finger and your sweet spot is excruciating. Your toes curl inside your shoes, and you’re only half aware of the way your vice-like grip on Oikawa’s shirt is actually pulling him closer.

“Dumb…stupid little slut…trying to deny it but you want me to fuck you, don’t you? You wanna cum?” His breathing is getting heavier along with yours as his fingers swirl around your sweet spot. “Gonna cum for a man you barely know? Tell me you want it.”

“Ah—I—no, I—“ You bite your lip to keep yourself from moaning. Whether or not you can admit it, you’re not going to be able to stop yourself if he keeps touching you like this…

Except that he doesn’t. He pulls his hand out from under your skirt with you right on the edge, leaving you aching and tense and so frustrated that you want to hit him. “You-You’re stopping?”

“You don’t get to cum. You don’t deserve it.” He studies you for a minute—your flushed cheeks, rumpled clothing, and the unadulterated despair written across your face—and then places his hands on your shoulders and pushes you down. “Get on your knees.”

With him forcing you down, your knees buckle easily and smack against the bathroom floor, sending a spike of pain up through your legs. Your natural aversion to touching the floor of a men’s bathroom is overruled by the knowledge of what he’s asking (not that he’s asking) you to do to him, and you scramble backward until the back of your head raps against the side of the stall. The sharp impact stuns you for a second, and Oikawa wastes no time in twisting his fingers through your hair and dragging your face toward his crotch.

His dick is already out, stiff and throbbing red while he pushes your cheek into it. You try to recoil, but Oikawa isn’t letting you get away. “Open up, (Y/N). I’m going to put that mouth to good use for once.”

It’s hard to shake your head with Oikawa’s fingers in your hair, but you manage, at least enough that he understands your refusal. He clicks his tongue, the gesture almost playful. “You said you’d do anything to make me feel better. Was that a lie? You were fine with me fingering you—don’t tell me you’re going to back out now.”

That’s not fair. You don’t want to do this. He’s being so mean to you.

“Anything…” Oikawa says in sing song. The hand that was tugging your hair lets up a bit and he combs through it gently. It’s the first remotely kind thing he’s done to you.

You wish you had the guts to tell him to leave you alone. You wish you were confident enough that you wouldn’t take his insults to heart. But you’re spineless, and whatever courage you possessed before this has already been crushed. So you open your mouth.

Oikawa’s cock is…salty, already dripping with precum while he nudges it onto your tongue. He slowly leans his hips forward into you, pushing a little deeper into the irresistible warmth of your mouth. His hand, gently cradling the back of your head, doesn’t push you down, but it doesn’t let you pull back either.

Ah, this is wrong…it’s fucked up that he’s getting off on this. Regardless of what he said earlier, he’s well aware that he’s the deviant here. Your misery and shame really shouldn’t be a turn-on for him. But it had been such a bad loss, and he’d been in such a nasty mood, and the feeling of your tongue squirming against the head of his cock is really taking the stress right out of him.

Maybe he deserves this. You’re his new favorite method of stress relief.

“Mm…yeah…yeah, stay still like that and let me use you…that’s all you’re good for.” His voice gets progressively huskier as he fucks your mouth, his cock getting a bit deeper into your throat every time he tilts his hips into you. He’s so thick and heavy between your lips that even if your jaw wasn’t already sore from how he held it earlier, it’d still be aching now.

By the time his cock hits the back of your throat, you’re trying to push his thighs away from you. It’s useless, though—even with just a single hand in your hair, he has no trouble keeping you exactly where he wants you. His cock is just as big as the rest of him, and he’s almost triggering your gag reflex even with just half of it in your mouth.

Oikawa thrusts again and the head of his cock hits the back of your throat, making you seize up around him and earning a grunt from him. “Fuck…that felt good, do it again.” He holds you down and pushes himself deeper, forcing you to dry gag around the heavy mass filling up your throat.

The way you’re twitching against him must feel good—you can tell by his huffs of breath and the half-coherent backhanded compliments about how how were made to suck cock. His huge hand is rigid in your hair, fingernails scratching thoughtlessly into your scalp. “Yeah…taking me so deep, you really are a whore aren’t you? My personal cheerleader cocksleeve…gonna wait for me after every game and take my cock just like this? You know, maybe I’ll fuck you before I play…I think I’ll hit better if I know you’re in the stands cheering me on with my cum dripping out of your pussy…”

You want to be somewhere else, anywhere where you’re not forced to listen to him tell you how worthless you are while you hold back your gag reflex. Your jaw is cramping, and your pussy is still traitorously wet and unsatisfied. Is what he’s saying true? Are you really that useless? Why is it so wrong that you like—you liked him? Why are you being punished for being his fan?

Oikawa looks down when he feels your hands stop pushing at his thighs. Repressing a growl of annoyance, he pulls your head back off his dick so he can haul your body up and meet your eyes. God, you’re wrecked—hair mussed and tangled, spit dripping down your chin, eyes rimmed with red—and you’re crying. He feels a tug in his abdomen while you sniff and try to wipe your tears away. “You look ugly when you cry.”

The insult brings a fresh wave of tears to your eyes and you furiously rub at your eyes and nose, but you’re only smearing the tears around. She’s not really an ugly crier, Oikawa thinks looking at you. In fact, you look oddly appealing with your nose all red and teardrops hanging off your eyelashes.

“I-I w-wanna leave—I wanna stop,” you whimper out between sobs.

“Oh...oh, did I hurt your feelings?” Oikawa folds your limp body into his arms and you hate yourself for taking comfort in him and melting into his chest. “It’s okay, it’s okay. Don’t cry.”

“I-I-I—“

“Shh, shh.” He rubs your back in slow circles, steadying your trembling form. “You can’t be so loud, someone will hear. And besides…I’m not done.”

What?

Before you can understand what he said, Oikawa pushes you back down and palms his still-hard weeping cock. “I was looking forward to cumming in your mouth, you know? Since you’re so good at swallowing. I was going to make you show it to me first. But now—I guess you can’t take that, huh? My personal cheerleader is a little too fragile today! That’s okay though, we can save it for next time.” His voice is excited and his eyes are wide with boyish exuberance while his hand pumps up and down the length of his cock.

He’s jacking off. On you.

You try to move out of the way, but once again he holds you in place. “Stop that, you don’t want to cause…a mess…ugh, fuck!”

It’s all you can do to close your eyes and screw up your face before the breath leaves him and he lurches forward. You feel it rather than see it, just like when he spat in your mouth—a hot sticky liquid, this time soaking onto your skin…through…your shirt.

You open your eyes and there it is, a smear of off-white liquid staining your plain green cheering T-shirt.

He came on your clothes. He came on your clothes. He came on your clothes.

“Oi, Oikawa!” There’s an audible bang as the door of the bathroom is slammed open and someone—no, two people—walk inside. A shiver passes through you and you chance a look up at Oikawa, whose gaze is trained on the closed stall door as he tucks his spent cock back into his pants.

“Oikawa?” another voice calls out. “You in here? The bus is waiting for you.”

“Yeah, I’m in here,” he says. You shoot a terrified glance at him, bidding him to keep quiet, but he just winks back at you. As if you’re sharing some fun secret and not hiding with tears in your eyes and semen spilling down your chest.

There are two sharp knocks on the stall door, and it’s all you can do to hold back your squeal of shock. “Hurry up and get out, dumbass. What the hell have you been doing this whole time? Everyone’s waiting for you.”

“Sorry, sorry—“ He pulls you up one more time, this time by the back of your collar like a kitten, and reaches for the door lock despite your best efforts to shake your head violently and telepathically communicate please please please don’t open it— “but I promise I had a good reason. See for yourself.”

You’re seriously considering kicking him in his bad knee and making a run for it, but as always his instincts outpace yours by miles. When the door swings open, Oikawa pushes you out in front of him and directly into the person standing in front of the stall. Who is it? Tall, tan, spiky dark hair—you’ve never spoken, but you know from your extensive practice observing the Aobajohsai volleyball team that it’s Iwaizumi Hajime, vice captain and Oikawa’s best friend. His arms move up to grab you by reflex, steadying you before you’re forced to crash into him.

“Wha—“ Iwaizumi looks just as startled as you feel. Behind him, Hanamaki—the third-year wing spiker who’s in the same class as you—is wearing a similar expression of surprise. For a moment, everything is perfectly still: Iwaizumi holding you by your upper arms, Oikawa grinning back at you from the stall, Hanamaki watching all three of you with an eyebrow raised—

And then, like a scene from a horror movie playing out in slow motion, two pairs of eyes move from your disheveled face down, inch by inch, until both Iwaizumi and Hanamaki are staring at the cum stain on your shirt.

They recognize what it is immediately. Hanamaki grimaces in disgust and Iwaizumi drops your arms like he’s been burned. “Ugh, that’s fucking nasty. You couldn’t wait til we got back to campus?”

“Nah, my little cheerleader was too impatient. I can’t say no to her.” Your gaze swings back to Oikawa in betrayal, but he looks as effortlessly flippant as ever, no evidence of the lie on his face. He steps out from the stall and wraps an arm around your waist, tugging you closer against your will.

The awkwardness in the air is so thick you can barely breathe, but you’re not the only one affected. Hanamaki is resolutely avoiding looking at either of you and Iwaizumi looks like he can’t decide whether to be angry or disgusted. “I mean…still…you shouldn’t be causing trouble for the rest of the team.”

“Hear that, (Y/N)?” Oikawa pats your waist without releasing his grip. “Say sorry to Iwa and Makki.”

You want to escape. You want to run. You want to faint, even, because at least if you fainted you wouldn’t have to experience this humiliation.

“S-Sorry. I’m sorry for c-causing trouble.” The apology comes out hoarse from your raw throat, as if it wasn’t obvious enough that you’d had a cock stuffed down it just a few minutes ago. You duck down into a bow, hating Oikawa almost as much as you hate yourself.

Aaaand, you’re crying again. As soon as you feel the tear trickle down your cheek you swipe at it furiously, but with all attention in the room trained on you it’s impossible that they didn’t see it.

“Look, Iwa, you made her cry!” Oikawa easily pushes your hand down and his takes its place, dabbing at the tears spilling down your cheeks.

To Iwaizumi’s credit, he looks even more horrified at the fact that you’re crying than he did at the cum stain. He steps toward you a bit and then thinks better of it and moves back again, hands gesturing aimlessly in the air. “Whoa! Hey, it’s fine! It’s fine, okay? It was probably this loser’s fault more than yours anyway, I know what a dog he is.”

You have no idea. You gulp and try to stifle your tears. Oikawa’s constant contact (his thumb stroking your face, the arm pulling insistently at your waist—something about it is almost possessive) isn’t helping your anxiety.

“Can we get going?” Hanamaki says after a long moment. “They’re waiting for us.”

Iwaizumi scratches his head and looks at you. “Ah…sorry (Y/N), but I think the cheer squad bus already left.”

“She can ride with us, can’t she?” Oikawa says.

You don’t want to ride with them, but what’s your other option? Take the train for hours with a cum stain right in the middle of your shirt? On the other hand, that might be better than spending another second in Oikawa’s presence. “I...I can take the train…”

Then again, you don’t know why you’re bothering to have this internal debate at all. It’s not like he’s going to give you a choice.

“Don’t be stupid. You’re coming with me.” You flinch at the insult and then regret it, hoping the others didn’t notice.

“Ah, I guess that’s fine,” Iwaizumi says. “By the way, do you…want a clean shirt? I have an extra in my bag…”

He doesn’t meet your eyes as he says it, which is fine because you’re pretty sure you’re incapable of doing so either. Still, you open your mouth to say yes, awkwardness be damned. You’d do anything to get out of this filthy shirt—

“She’s fine,” Oikawa interrupts.

Iwaizumi frowns and looks to you for confirmation, but you can feel Oikawa’s oppressive stare pinning you in place and preventing you from disagreeing. You’re so weak. Pathetic. Just like he said.

You nod shakily to Iwaizumi and he sighs. “Whatever. Let’s just go.”

The three of them file out of the bathroom and for one hopeful moment you think they’re going to leave you there and you’ll never have to see Oikawa again.

But since when do you have that kind of luck?

“(Y/N)? Come.”

It probably sounds like a request to Hanamaki and Iwaizumi, but you know it’s not. It’s an order.

And you follow.

➠ [Part 2]

3K notes · View notes

feralnumberfive · 3 years

Text

The Rewatch Academy: Episode 2 of Season 1

“Run Boy Run”

I am in no way a good analyst so my little analysis and speculations probably sound a bit goofy or pretty wild and probably mean nothing at all. Everything I put into this post about each episode is purely what I noticed or thought, whether it's funny or serious. I will be making jokes, so please just leave it at that (in no way am I trying to make fun of an actor and or character!) I am also in no way saying I noticed this stuff first. This is just what I noticed while rewatching these episodes

☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂

1x01 | 1x02 | 1x03 | 1x04

☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂ ☂

☂ Ben is a tired boy leaning on his chair

☂ Luther and Allison please stop making googly eyes at each other

☂ Five really woke up and chose violence that day huh

☂ Diego already knows shit is about to go down and it’s so funny

☂ I love that Reginald doesn’t even scold Five for stabbing the table

☂ Five: “I have a question.” blah blah blah Veggie is talking Five: “I want to time travel.” That’s not a question, Five

☂ It’s interesting to see young Five blinking/jumping compared to older Five. Even at this age, 13, he says that he’s still practicing his spatial jumps. Young Five needs to clench his fists and almost squeeze his eyes shut just to concentrate. Older Five simply just teleports without effort and is able to casually blink even as he’s just walking. Five probably practiced teleporting a lot in the apocalypse

☂ Someone else pointed this out, but all of the other Umbrellas are frozen for a for a second as Five teleports next to Reginald. While that freeze is just editing, and possibly a small error, this is another example of how Five’s spatial teleporting doesn’t make a noise. Luther, Diego, and Allison only look at Five when he begins talking to Reginald. Grace notices Five right away because he is in her line of sight while Luther and Diego were looking at where Five was sitting and Allison had her head down eating

☂ “The effects it might have on your body, even your mind, are far too unpredictable.” Harsh foreshadowing

☂ The “Run Boy Run” scene is one of the best musical moments in all of the show. It gave me chills when I first heard it, and the fact that all of the lyrics that play during that part match so perfectly with it make it even better. Tomorrow is another day being sung as Five travels into 2019 is just too good

☂ Imagine how scared you have to be to call out to your p.o.s father

☂ The instant regret immediately falls onto his face and he kneels in front of the Academy

☂ I love how in the first few episodes Five’s hair is styled exactly as it was when he was an old man and when he was actually 13. Over the rest of the season and the second season it just gets more disheveled and floppier

☂ “You think I didn’t try everything to get back to my family?” Ahhhh there we go, one of my favorite Five lines. This here is probably when I truly fell in love with his character. He spent 45 years just trying to survive and attempting to get back to his family. He would have spent more too if the Handler hadn’t taken him in

☂ Vanya is genuinely trying to understand what happened and Five was being a little asshole. C’mon, bud, she’s just confused and hasn’t seen you in forever

☂ This Five and Vanya scene melts my heart (simply as a sibling relationship!!) She doesn’t care anymore if she understands, she just wants him to stay because she hasn’t seen him in a while. Even Five understands that as his demeanor quickly changes from being frustrated to gently telling her “Night.” He watches her as she leaves, also partially realizing that he hasn’t seen her in a while too

☂ Why didn’t Five just teleport outside of Vanya’s apartment?? That would have been the stealthiest thing

☂ “All quick and efficient skills.” A little note on Five’s level of skill of slaughtering the Commission agents in Griddy’s

☂ Diego said he bought his police badge on Ebay, so computers do exist in the UA universe

☂ “By the way, this thing might look like a botched robbery, but my gut’s telling me something else is going on here.” Yeah, and that something else is your brother

☂ I want Claire to meet her uncles and aunt so bad

☂ So Ben has a ghostly puzzle book and pen he can use? Because if they were real Pogo would have been able to see them just floating in the air. What other ghostly items can Ben summon? (I believe this is more so just an error but it’s fun to think about)

☂ “I-I found it at a playground, actually. Must have just *click* popped out.” An underrated Five line

☂ Five immediately becomes aggressive at the thought of losing the eye, something he found clutched in the hand of his dead brother and was a clue to what caused the death of his siblings and the end of the world

☂ Just now noticed that you can see Diego up on the second floor being led down to where Patch is in the police station

☂ I really like that they added in the little tidbit about a cold case Five created 81 years ago

☂ I miss Patch. She deserved better and more screen time

☂ Hey, Diego might have been thrown out of the Police Academy but at least he’s still in The Umbrella Academy!

☂ Hearing Patch talk to Diego really made me realize that the Umbrellas weren’t even necessary for helping with crime. It was just Reginald’s way of training them

☂ Love the shot of Luther looking at Diego’s cross-stitch and the camera lining it up so it’s like he’s wearing the mask

☂ Five lying just to keep Vanya away and to continue on with his goal hurts. His goal is saving the world and his family, but I don’t think he actually took in what Vanya was saying to him or maybe he recognized the offer but shoved all of his feelings down. She was reaching out to actually get him some help and he lied to her to avoid that. Maybe he doesn’t care and is just blinded by his ultimate goal. Save the world and family first, then process your feelings and genuinely communicate with your siblings

☂ Don’t worry Klaus, I would have let you wear that outfit

☂ When Cha-Cha questions “Five” aka the poor tow truck guy, she asks him about “The London job in ‘66.” I believe she is referring to the Shepherd’s Bush murders where three policemen were murdered

☂ Hazel replying “Not from what I’ve heard.” when Cha-Cha asks if he thinks Five is a whimperer shows that Five definitely had a reputation in the Commission for probably being a cold and stoic guy

☂ Vanya is just trying to help, chill Allison 😭. You haven’t seen her in years, what do you know about her?

☂ Klaus would really slap his brother in the face to get drug money

☂ Another example of Five not making noise when he teleports is when he blinks into the taxi and Klaus didn’t notice that he had left until he turned to look where Five was. On the other hand though the taxi driver does jump as Five suddenly appears in the car. However, I believe that might be from the driver noticing Five in a mirror in the car

☂ I wonder what languages the Hargreeves siblings know. Vanya didn’t understand Leonard’s German. You think Reginald would have taught them multiple languages or maybe she forgot it if she was taught it

☂ I don’t know why but Luther just siting there and reading a book and almost getting hit by the knife is really funny to me

☂ Yeah Diego doesn’t have to prove his innocence, but it would have saved a lot of trouble

☂ Rewatching the scene with Leonard talking to Vanya about his father is just disturbing when you already know what happened to him and how he’s lying just to try to be more relatable

☂ I heard a rumor that smoking is bad for you ❌

☂ Vanya calling to make sure Allison is okay even though she hurt her makes me sad. She’s so nice and thoughtful

☂ The old man can’t even reunite with his wife before he gets hunted down

☂ The shot of Hazel and Cha-Cha putting on their masks in the dark with the music is 👌👌

☂ Again, Cha-Cha isn’t able to hear Five as he teleports next to her and slices her arm. She might not have noticed him though because he was very quick to attack her

☂ Five really went through all of that just to bring his wife home

☂ I think it’s an easily blocked out part because we already know what Allison has to say and it’s exciting, but Luther is apologizing about accusing Diego and causing issues amongst his siblings

☂ Five is just so defeated and emotionally tired that he doesn’t allow Luther to touch him. In fact, he very quickly and aggressively grabs Luther’s wrist. You can tell Five is a little out of it and I believe it was more so his subconscious stopping Luther. Five doesn’t want help, he’s going to carry the burden of figuring out who ended the world and killed his family as far as he can by himself

☂ “There’s nothing you can do. There’s nothing any of you can do.” Are such heavy lines. Five is so emotionally and mentally tired at the end of the day and he sounds like he’s about to breakdown. He’s replaying the moment he found his siblings’ corpses. They weren’t able to stop the person who ended the world. Luther is offering his help, but Five is denying it. Luther couldn’t stop the person who ended the world. None of his siblings were able to stop that person. He’s telling himself that they can’t help and he’s telling Luther and Allison that too. Five wants to be alone to figure out who this person is. His siblings can’t help him

☂ Five coming across the corpses of his siblings is just heartbreaking. He first stumbles across three adults lying in the rubble. One of them is holding an eye. He goes to shake the man in all black, having a tiny bit hope that miraculously he is still alive. He stumbles across another body only to back away with tears in his eyes as he spots the tattoo on the man’s arm and realizes who these people are

☂☂☂☂☂☂☂

Feel free to comment or reblog with things you have noticed too!

#the rewatch academy #tra #tua #the umbrella academy #umbrella academy #1x02 #run boy run #luther hargreeves #diego hargreeves #allison hargreeves #klaus hargreeves #number five #five hargreeves #ben hargreeves #vanya hargreeves #hargreeves siblings #leonard peabody

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gem-rewatch · 3 years

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SU rewatch- S1E11- Arcade Mania

Hey, long time no see!

I’m desperately bored in solitary quarantine at university right now, and decided to try and pick this SU rewatch series up again for fun. It’s been a while since I’ve watched through the show in order. Plus, now that this show is completely finished, there’s plenty more connections to make. I can’t promise I’ll be consistent with this, but at the very least I can have fun trying to make a few more posts at my leisure.

Anyways. With that business out of the way. Let’s get right on to the show!

We begin with yet another mission Steven’s guardians have brought him along on! I believe this is the fifth mission we know of that he’s accompanied them on so far. (Lunar Sea Spire, Inverted Pyramid, the unknown mission he returns from in Tiger Millionaire, the desert, and now this one.) It’s really sweet seeing the Gems begin to trust him tagging along more often. There will come a day in the near future where missions become routine for Steven, but in these early episodes, you can really tell that each and every one is a brand new adventure.

In terms of plot, though, this episode is honestly Future Vision: The Prequel.

We learn a lot about Garnet’s abilities and her role in the team here, even if all of these details aren’t spelled out word-for-word quite yet. Hints towards her future vision we see this ep include:

Garnet moving ahead of the group to be in the perfect spot to catch Steven when he falls.

Her flawless moves while fighting and dodging the monsters.

Her becoming a master at the rhythm game later in the episode.

Like, damn. Look at this.

Look at her go.

My Q U E E N!

I had to gif all of this just because it’s such a beautiful and smooth sequence of animation.

If there’s one thing all of the Crystal Gems can 100% agree on, it’s that Garnet is friggin’ amazing.

Garnet: “Let them go. They’re just parasites. If they want to be a problem, they’ll have to answer to me.”

So, does this statement mean that- at this present moment- her extended stay at the arcade was entirely beyond her future vision? That the only futures she saw were ones where she was actually present to deal with containment of the Gem parasites? Given that later scenes insinuate she’d never been to the arcade before, and would have no “data” about its games to factor into her internal understanding of the world, this seems likely.

I adore the gradual palette change here, from shadow, to setting sun. It’s a nice detail that adds so much more life to what could otherwise be a rather mundane transition scene. It seems like unique palettes were more common in early SU- I wonder why Crewniverse stopped implementing these as often later on?

Pearl, entering the arcade: “Humans find such fascinating ways to waste their time.”

Thanks, Pearl. Love you too. <3

This sequence of Pearl failing at playing a car chase/road rage game hits so much different knowing what happens in Last One Out of Beach City. It’s genuinely radical how far she grows in confidence from this point, because here, she seems so shackled to rules and guidelines. Now that we know about her rebellious past, it might be tempting to write this characterization off as “early series weirdness,” but... I don’t think that’s what’s happening here.

Instead, I wonder if she’s working through grief-related regression.

Think about it... the pain of Rose’s passing is still so fresh for her. She was a rule breaking rebel once, yes, but she spent all of those days at Rose’s side. And I get the sense that she’s poured so much of herself into keeping Rose safe, into the rebellion against Homeworld, that without those, she’s caught in a vacuum. What IS her purpose now, when the very person she rebelled for is gone?

So she slips back into old pearl-like habits. Chronic rule following, and a fear of deviating from norms. How familiar. Thankfully, much of her arc throughout the show is her directly growing beyond these habits to live boldly as her own Gem.

The friggin video game when Garnet knocks its head off: “TELL MY WIFE I’M SORRYYY!!!”

Yo, what the fuck. This line is both hilarious and messed up, all at once. Please tell me the game isn’t sentient.

Aaaand here we finally introduce Garnet to the video game sensation that is Meat Beat Mania! This game is perfectly suited to her and her power of foresight because its patterns are algorithmic and not vulnerable to spontaneous deviations, and thus easy to predict, with enough input. She’s probably getting a quick rush of satisfaction with every correct move, and she barely has to exert any energy with her future vision to get that rush. After years and years of wading through endless possibility at every avenue, this video game’s patterns must be a rejuvenating breath of fresh air.

It’s addicting.

...Kinda makes me think of how I get sometimes when I play solitaire on my phone for an hour straight. After a while, I barely even think, I’m just shuffling through my deck and moving cards almost on automatic. I don’t have to use much energy to play, and it gives me animated fireworks every time I finish a match. It’s a win-win.

Amethyst: “I’MMA WIN AN AIRPLANE!”

I don’t know what it is about the way Michaela Dietz says the world “airplane,” but this makes me laugh every time. Does... does she think she can win a genuine airplane here because she saw Onion win a tiny motorbike from the ticket booth?? Amethyst, oh my god. XD

She’s got the spirit, this wild child.

So, moving on- we meet up with our crew later the next morning, Garnet nowhere to be seen. There’s an interesting exchange I’d like to highlight real quick-

Pearl: “If we’re supposed to fight a giant foot, Garnet would let us know.” Amethyst: “Yeah, Garnet’s the boss!” Pearl: “Well, we’re all a team. Garnet just has heightened perception that guides us towards our mission objectives.”

Considering the specific phrasing Pearl uses here- “heightened perception” instead of “future vision-” did Garnet outright tell the two of them to not explain her powers, just like she told them not to mention she’s a fusion? Because I’m pretty sure no one ever uses the phrase “heightened perception” again in reference to her powers.

Given the fact that Garnet chose to keep the knowledge of Ruby and Sapphire under the table until she felt Steven could understand her better, my guess is that this is a similar scenario.

Ahah, I genuinely can’t tell if this is Steven being gullible, or just impulsively playing along with Amethyst’s antics. Still- gross, kid. Don’t wipe your wet cereal face on your shirt! Ew! :O

When he goes outside and starts to use a kiddy metal detector to scan for quarters... so THAT’S where he finds his arcade money! Because I can’t imagine Greg is financially able to give him that much to spend on non-essentials at this point in the show.

Okay, so... I just want to bring light to the fact that Garnet has literally been in this arcade ALL NIGHT LONG.

It was evening when she first arrived here- the sun was visibly setting in the background, and when Steven, Amethyst, and Pearl left, the sky was dark. But now it’s morning. Steven was just seen eating breakfast. And Garnet is STILL HERE.

Does this mean Mr. Smiley locked her IN? I have so many questions... Did he try to get her to leave, only to be intimidated by her complete lack of response? I would kill to know more about this interaction. Poor Mr. Smiley. That man deals with so much bullshit in this town, huh?

Geebus, is Garnet a solid wall. Previous episodes have shown Steven forcibly shoving whole tons of food, and swinging a mini-freezer over his head, and yet he can’t get her to budge even an inch.

I absolutely adore how he climbs up her frame like a koala, though, ahah. Cute.

Meat Beat Mania announcer: “That’s rare!!” Steven: “Oh my gosh...!”

I take these two lines as evidence that this is the first time Steven’s ever seen Garnet’s eyes. Specifically, the fact that there’s three of them. Which, makes sense- since Garnet is still really reserved emotionally at this point, and is only begins to get in the habit of taking her visor off to show Steven her full face later on in the show.

This expression deeply hurts me.

Steven’s so distraught here- because the others are in danger, the town is in danger, and he doesn’t have his trusty, dependable guardian who catches him when he falls and beats up scary monsters for him. Without her, the whole team is vulnerable and blind.

He feels alone. He feels... powerless.

And so he responds to that confusing, powerless feeling by trying to compensate with his own power. When all other routes he can think of fail, he smashes the video game console.

It... uh, it works... but once again, Steven entirely fails to consider the consequences, huh? He experienced a little bit of character growth in this regard in the episode Serious Steven, but even past that it’ll remain an recurring issue for him. Hell, his impulsiveness is a general character flaw even stretching into SUF.

In summary, though:

Poor Mr. Smiley. He works so hard, and doesn’t deserve this BS. ;-;

#su #su meta #steven universe #arcade mania #garnet #amethyst #pearl #mr. smiley #jen rewatches su

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dramaticviolincrescendo · 3 years

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So. Ryan.

I’m going back to s4 for a minute because the wonderful @damngcoffee and I were discussing fleeting yet fascinating Ryan, and I wanted to put my thoughts out into the universe. I hope you don’t mind.

I’ve never thought too deeply about the dynamic between Ian and Ryan before. Even in planning out “In Pieces,” analyzing Ryan’s motives wasn’t strictly necessary because it’s not really something Ian would pick up on based on his perspective in this situation. Ostensibly, it’s quite simple: during his club days, Ian is swinging with a new and visibly elegant circle in a drastically different part of society than he grew up in. That’s why Mickey is so out of his element there, whereas Ian expertly camouflages himself the way he always has. On the surface, there’s nothing out of the ordinary here. Just a party. Just Ian, manic and feeling on top of the world and in his element. Just another red flag missed amidst a sea of them. What happens at the party, however, really seems to potentially indicate that there’s more to this and more to Ryan as a character than merely acting as a clever setup for Mickey to indicate that he and Ian are officially in a relationship.

Up to that point, all we’ve seen surrounding Ian from Mickey’s point of view are real slime balls—older men preying on someone that they don’t necessarily realize is underage, but they definitely know is very, very young and vulnerable. There’s the lap dance guy, the one who can’t run to save his life, and the dude who’s just asking for his fingers to be broken one by one. Mickey alludes to two in particular over breakfast that first morning, and when Ian mentions a regular inviting them to a party, Mickey is focused on a rather specific image of what one of Ian’s regulars must be like.

Then they go to Ryan’s loft, and...it’s classy. Sophisticated. This isn’t a raucous after-party, but a very different atmosphere, full of upper-middle to upper-class ladies and gentlemen who are clearly professionals. Many of them are in suits or dressed nicely, having a late-night drink and speaking tastefully. They’re also substantially older than Ian and Mickey, who are only nearing seventeen and nineteen respectively at the time. These people have careers and, in the case of the sociologist Mickey speaks with, are working on advanced degrees. The only visible drugs are the ones on the table in front of Ian while he’s asleep the following morning. This isn’t the kind of party that we’d expect, knowing where Ian is mentally at this time like we do.

We tend to focus a lot on what Mickey’s response to all this is, but I’d like to use it as a diving board for analyzing a few dimensions of Ryan’s character that appear to indicate that, through the encroaching darkness of Ian’s as yet unacknowledged illness, there are people who are possibly watching out for him. So, here are a few things that stand out about our encounters at Ryan’s loft:

Ian says that Ryan is one of his “regulars.” Based on what we’ve seen so far, this immediately has us thinking there’s a level of sexual interest on Ryan’s side, even if only as something of a voyeur who enjoys watching Ian dance at the club. There’s no physical manifestation of that interest, though. Ryan noticeably doesn’t behave like the skeevy guys we’ve already seen, Ned included. That doesn’t exclusively mean that he’s on the up-and-up, of course, but I found it worth noting that their hug is just a hug, and he doesn’t step out of his role as a cordial host for a second. He treats Ian the same as he treats Mickey: with kindness and social acceptance, albeit with more familiarity. And when Ian goes with him to see what drinks are available, there aren’t any apparent undertones. Ryan immediately heads towards the open kitchen, and Ian follows at a polite distance. Host and attendee—those are our initial vibes as far as Ryan is concerned. It’s jarringly different from our other forays into Ian’s current lifestyle.

Enter the sociologist. What a fascinating individual for Ryan to interact with. He immediately asks if Mickey is with Ian, which is nothing special in itself and serves as a way to engage Mickey in conversation without simply asking what he does. The fact that he moves into that, however, is very interesting to me because he’s so straightforward about it. It’s not an interrogation, yet there’s an element of investigation to it. Perhaps he’s just a curious guy making conversation with someone who looks uncomfortable; perhaps he’s familiar with Ian from these parties and is doing a bit of research into who it is that Ian brought with him, as it is arguably the first time that’s happened. Either way, what he says that he’s studying is a “blink and you’ll miss it” sort of reference. It also flies under the radar for anyone who isn’t familiar with the field of sociology. We end up like Mickey: lost and confused by “transgender sex work and symbolic interactionism within the framework of hustler-client relations,” but generally understanding that he’s studying sex workers and pimps—emphasis on the sex workers. Something we know Ian was at the time, working the front and back of the club as he later admits.

Now, for the uninitiated, symbolic interactionism is a theoretical perspective in the field of sociology that focuses on how our social interactions with other people, social institutions, and the world around us both facilitate our construction of reality and alter or solidify our perceptions of our existing reality. While there are many directions his study may be taking him in, this sociologist is writing a dissertation on the meaning that is made between hustlers and clients—what symbols emerge that define each side, their roles, their meaning to one another, the dissemination of the values and norms that guide their relationships, etc. In short, he’s studying the socially constructed meaning of the relationship that specifically transgender sex workers and pimps have with each other and their clients.

On the surface, that has no bearing on this situation. Mickey’s confused, and it’s an ironic bit of writing to connect him to this group he’s uncomfortable with by showing that South Side Mickey is the pimp that the upper classes of society are studying for their Ph.D. It’s pure satire, a brief commentary on just how different classes of society can be and perhaps even a nod to how lower classes are inside the fishbowl that upper classes are peering into but will never truly experience. To the viewer, however, what a sign that may be, depending on your interpretation. Ian has clearly been around this group of people enough that he’s known. They’re familiar enough with him to say that he’s great and how lucky Mickey is to have him. If Ryan is one of Ian’s regulars, then they know where he came from. They know he’s young, and they know what he does for a living right now. There’s no way this sociologist—studying what he’s studying, asking what he’s asking—doesn’t have some professional interest in Ian’s circumstances. Enough, perhaps, to check in on who this person he’s brought with him is. Ordinarily, I wouldn’t read so much into that, but this isn’t the only time it happens.

The next morning, Ian is asleep and Ryan chooses to wake Mickey first. He knows Mickey wasn’t comfortable with him the night before, which I thought he handled with a lot of grace and good-humor. In most cases, I’d expect more disdain, but not with Ryan. It’s interesting, then, that he didn’t go to Ian first given their familiarity. Sure, he knows Ian worked the night prior. He may just have impeccable manners and want Ian to sleep a bit longer. If he’s a regular, he knows Ian needs it. (He probably also sees the drugs on his coffee table and figures he definitely needs it, but I digress.)

So, he wakes Mickey. He makes a casual joke. Then, when Mickey says he’s not Ian’s keeper, his demeanor shifts just slightly. His expression grows hesitant—tentative, like he’s been meaning to ask something but hasn’t quite worked up to it. For someone who should just be a regular, who shouldn’t care much outside of Ian dancing, whose interest has been that of a polite acquaintance thus far, his gaze is more intent than I’d have expected as he waits for Mickey to tell him if he’s a boyfriend or if he’s someone who is a one-night deal. Are they together, or is Mickey just a fleeting fancy for Ian?

Are they together, or is Mickey taking advantage of this very, very young sex worker that Ryan has conveniently invited to his home after work instead of him going home with some stranger?

Are they together, or is Mickey some stranger?

When Mickey says they’re together, the intensity ebbs and casual Ryan is back. He offers a contented reply and heads off to get breakfast for Mickey, still not knowing what Ian wants. If that was his prime motivation for approaching them in the first place, wouldn’t he have woken Ian up at that point? Wouldn’t he have completed his task of taking breakfast orders? It makes me wonder if that’s not why he woke Mickey at all. It makes for a good excuse when he was delivering food to others who stayed overnight, but the more I rewatch their interactions, and the more I read into how dissonant his position as “a regular” and his behavior are, the more I wonder if there’s something else to Ryan.

A regular who doesn’t seem all that interested in Ian as anything other than an acquaintance—a person, not a dancer or object like literally everyone else in Ian’s new life that we’ve seen so far.

An engineer and photographer Ian says with absolute certainty doesn’t want or expect anything from him.

A professional with professional friends who are studied in the fields of sociology and sex work.

A man somewhat older than them who checks in with Mickey—after someone else has already done so and discovered that their sex worker guest is there with a self-proclaimed pimp—to inquire after his relationship with Ian in a relatively non-invasive manner.

Ian was taken advantage of by so many people as a kid and especially during his initial spiral. I’ve always thought of this as being a lonely time for him even though he certainly felt like he was a part of everything and surrounded by all the wonders of the world. He abandoned the military and his dreams. He flitted into and out of Ned’s home. Monica flitted into and out of his life yet again. His family wasn’t looking until Lip’s hands were tied by the MPs, and even then they were almost immediately distracted by the situation with Fiona and Liam. Mickey was married and seemingly out of reach. He’d left his friends and connections behind.

But maybe, just maybe, there was a guy who saw him at work and saw him. Maybe there was a guy who was a little older, a little more educated, and a little more savvy about the scene Ian was involved in when he noticed this kid dancing on a stage in a place he had no business going to.

And maybe this guy decided that he’d look out for this kid who was in way over his head, indirect and not at all obvious about it, yet someone who cared at a time when Ian unknowingly and unintentionally had to rely on the kindness of strangers.

#shameless #shameless meta #Ian gallagher #it’s ian gallagher loving hours

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teamfreewill2pointo · 3 years

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Sam’s Emotional Arc 1/3

I hated the finale immediately, but I’ve spent some time with it and talked to friends who loved it. I can see now what it was about, and I’ve come to appreciate the story they were trying to tell, even if I think it didn’t land right.

I’ve been told that my meta on this has helped other people come to terms with the finale, so I thought I’d compile it in one place from across various discord channels and twitter posts. If you are struggling with the finale, I hope it helps you.

Part of this actually started with a shit post. I was making a joke about Sam being psychic since he was scared of clowns when Dean died by one. I realized that may have been deliberate. I dug into the story more and now I’m convinced it was. Then I came across some excellent meta that fit with the themes I was finding and opened up the series even more for me.

Happiness isn’t in the having, it’s in just being. It’s in just saying it.

Cas said it. Dean accepted it. Sam lived it. First, Sam’s journey.

Clowns pop up in s15 before the barn scene. In 15.01, which was written by Dabb, Sam is injured by a clown. Castiel is able to save Sam and heal his injury. The clown keeps coming after Sam, with Sam having fight scenes with the clown, while others attack the other ghosts. The clown is kicking the shit out of Sam again, and Castiel saves him once more. Sam is unable to fight off the clown on his own both times.

They run until they are able to escape outside a magical barrier. Sam turns to the clown and says, “shut up”.

This is literally Sam running from his fears. On top of that, this isn’t just any clown, but the ghost of John Wayne Gacy, from an episode also written by Dabb.

Dean: A serial killer clown. I mean, this is, like, the best/worst thing that’s ever happened to you, you know, ‘cause you love serial killers, but – but you hate clowns.

Sam gets nervous and struggles with the lighter before he’s able to get rid of the clown, for now.

I believe this is a metaphor for hunting in general: it’s both the best of Sam’s life and also the worst. The clowns symbolize his relationship with Dean.

Plucky Pennywhistle's Magical Menagerie was co-written by Dabb (see the pattern?). Sam’s fear of clowns was known since season 2. In season 7, Dabb explored where this fear came from.

On the surface, Sam’s fear is just because he found them creepy, but the episode explains that they actually come from Sam’s fear of being left behind by Dean.

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This episode comes directly after an episode where Sam worried that Dean would get himself killed

Sam: Look... Dean, the thing is, tonight... It almost got you killed. Now, I don't care how you deal. I really, really don't. But just don't – don't get killed. Dean: I'll do what I can. Sam: Well, what's that supposed to mean? Dean: It means I'll do what I can. All right? You can shut up about it.

Sam is dealing with Hallucifer at this moment, but Hallucifer doesn’t really scare him. Losing Dean does.

Sam has a conversation with an employee about greatest fears.

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Recognize the actress? She came back for s15 in 15.06. I don’t believe this was a coincidence. 15.06 featured Castiel helping a parent find their lost child in a season that features Castiel worried about losing Jack. Through his experience with her, Castiel confronts his fears and doubts and then returns to join in the fight against God. [I’ll touch on Castiel’s journey more in his chapter]

Sam’s greatest fear is losing Dean. There’s a lot in the series about how Sam felt lonely and abandoned for much of his childhood. A whole episode, Just My Imagination, centers around this. Sam hated when Dean went off on hunts without him.

source In The Chitters, Sam tells Dean how his fear of losing his family paralyzed him as child. It’s a story where an older brother dies and the younger brother never recovers from it until he’s able to lay him to rest (sound familiar???)

Sam: You know, whenever you and Dad used to leave me to go hunting, and I-and I wouldn’t hear from y’all for a while, I, um, I was always sure that some vamp or rugaru, or take your pick, I always figured one of them finally got ya. I tried to think what to do, you know, the next step to take. I was just lost. Dean: We came back, though, every time.

You might naturally think, “Wait a minute! Sam left Dean multiple times!” Honestly, this was something I had a huge issue with when watching through the show the first time. I didn’t understand Sam and hated him leaving Dean in s8. I was completely on Dean’s side at first. But, on multiple rewatches and talking to others, I’ve realized that when Sam left Dean, he was running from his fear. In this TV Guide interview, Jared perfectly sums up why Sam left in season 1; he couldn’t stand to see his family die. Dabb wrote Dark Side of the Moon along with a comic that explains why Sam left in detail. While the comic isn’t official canon, it shows Dabb’s thought process. In it, Sam sees his family as running towards a horrible end and can’t handle dealing with that.

Dean: So what are you gonna do? You're just gonna live some normal, apple pie life? Is that it? Sam: No. Not normal. Safe.

There are many more points in the series where we learn about Sam’s fear of Dean dying. This would be 3948573945 pages long if I wrote them all out, so I’m going to focus on the key moments that loop back to this ending, but there’s so much more there.

If you are struggling with this and need more, please let me know and I can do a deeper dive into that subject. We first see Sam’s inability to let Dean go in season 1 when Sam refuses to let Dean die in Faith.

Dean: You're not gonna let me die in peace, are you? Sam: I'm not gonna let you die, period. We're going.

Sam’s whole arc in s3 is him being unable to handle Dean dying. He wants to save Dean, but Dean won’t let himself be saved. This was what Gabriel was trying to teach him in Mystery Spot.

Trickster: This obsession to save Dean? The way you two keep sacrificing yourselves for each other? Nothing good comes out of it. Just blood and pain. Dean's your weakness. And the bad guys know it, too. It's gonna be the death of you, Sam. Sometimes you just gotta let people go.

This is how Ruby gets under Sam’s skin and what gets him to start working with her. Everything Sam did was to save Dean. In s4, Sam’s arc is about him sacrificing himself in order to save Dean. He’s gutted from being unable to save Dean. In 4.12, Sam decides to drink demon blood in order to save Dean

Dean: [says that they will die early] Sam: Maybe we'll be different, Dean. Dean: What kind of Kool-Aid you drinking, man? Sammy, it ends bloody or sad. That's just the life. Sam: What if we could win?Dean: "Win"?Sam: If there was a way we could just...put an end to all of it.

When Sam breaks out of the panic room, he’s suicidal. He’s determined to save Dean with his life as the cost he’s willing to pay. He didn’t think he would survive killing Lilith. He was committing suicide in that moment. The reason why Sam is so willing to sacrifice himself in s5 is because he has low self esteem. He blames himself for everything that goes wrong. In Sam, Interrupted 5.11, also by Dabb, Sam has a breakdown under the weight of his guilt. He hates himself and he feels his rage is out of control. In season 6, we see soulless Sam and, unlike souled Sam, he has no rage. Yes, he’ll kill when necessary, but he’s not angry. It was Sam’s fear driving his rage. He felt out of control of his life and let it lead him down a dark path. In season 7, he sees Dean heading down a dark path and he feels helpless to stop it. He worries about dragging Dean down and tells Dean to let him go. But, at the same time, he’s developing coping techniques. He’s starting to face his fears.

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And then Dean disappears and Sam completely falls apart. Sam didn’t have a healthy relationship with Amelia. They were two broken people clinging to each other. Sam and Dean struggle to reconnect after their time apart. There’s a lot of text addressing the horror of a partner dying and people trying to escape from it.

Mrs Holmes: He could see the end of my days were at hand, and... He had lived centuries all alone, but I don't think he could bear the thought of life without me. That's why he drove off that bridge. You must think I'm a monster.

In Hunteri Heroica written by GUESS WHO!?!? Sam finally acknowledges that he was living in a dream world with Amelia. He was running from his past. We see a flash back with Sam pressing on his scar, which he did to help himself distinguish fantasy from reality.

The episode is about a man refusing to engage in reality and harming those around him. Sam has a big confrontation with him

Sam: Look, it can be nice living in a dream world. It can be great. I know that. And you can hide, and you can pretend... all the crap out there doesn't exist, but you can't do it forever because... eventually, whatever it is you're running from – it'll find you. [CASTIEL appears to be taking Sam’s words to heart.] It'll come along, and it'll punch you in the gut. And then... then you got to wake up, because if you don't, then trying to keep that dream alive will destroy you! It'll destroy everything!

Likewise, when Sam was with Jessica, he wasn’t honest about himself. He was hiding from his family and his past. Running to avoid pain. Sam is avoidant in general. Not just in his relationship with Dean. When he talks with Rowena in 13.12 Various & Sundry Villains about his fears of Lucifer, he admits that he could talk about it with Dean, but he can’t bring himself to.

Sam: I’ve seen it too. What he really looks like behind – behind whatever vessel. It… Yeah, still keeps me up at night. Rowena: How do you deal with it? Sam: I guess I don’t deal with it. Not really. I mean, I pushed it down and, um, the world kept almost ending, so I keep pushing it down, and I don’t know. [stammering] I really don’t talk about it, not even with Dean. I mean, I could. You know, he’d listen, but… That’s not something I really know how to share.

In 15.20, Sam’s past is front and center. Literally. I know a lot of people found the Winchester family portrait odd and upsetting, but it symbolizes something I’ll get to in a bit. Instead of trying to avoid his grief, Sam has moments where he lets it wash over him. He goes and sits in the car. He’s no longer avoidant. He’s no longer running away. He’s letting his grief move through him. He’s literally sitting with it.

Soulless Puppy pointed out that the characters emotional arcs is similar to DBT. Please look through their awesome meta here.

Personally, I see them as similar to the therapy I do called ACT. Both are forms of therapy where instead of fighting against them, you accept painful emotions and allow yourself to feel them. If you don’t do that work, then you can’t stop feeling them and your fears/ghosts will always haunt you. In Swan Song, Chuck tells us that “Dean didn't want Cas to save him. Every part of him, every fiber he's got, wants to die, or find a way to bring Sam back. But he isn't gonna do either. Because he made a promise.” In 15.20, Sam initially didn’t want to let Dean go. He’s been refusing to do this since season 1. When he’s separated from Dean he lives a fake life or destroys himself/the world trying to get Dean back. There’s a moment in 15.20 where Sam looks at Dean’s guns. He wants to commit suicide, but he makes the choice to live. For the time in Sam’s life, he let Dean go and lived with his pain. He no longer ran from it. After Swan Song, Dean was unable to let Sam go. He wanted him back. After Carry On, Sam is able to do what Dean couldn’t do. He lives a life outside of Dean. What’s more, Sam has reconciled himself with his past and his family. It’s clumsy and I wish it were better shown, but having the family portrait and their parents in heaven isn’t meant to excuse the way Sam and Dean were raised. In order to move past the trauma of his relationship with his parents, Sam fully integrates them into his life. In Lebanon, Sam was able to confront and forgive his father. In doing so, he can also forgive himself. Mary asks for forgiveness too, and he grants it to her. He doesn’t forget what happened, but he’s able to move forward and leave the intergenerational cycle of violence. He’s able to raise his son, Dean, the way his brother should have been raised.

Happiness isn’t in the having, it’s in just being. It’s in just saying it.

Cas said it. Dean accepted it. Sam lived it.

I can see why people see Sam’s life after Dean as unhappy. I hated it so much because I saw it as horrible and sad the first time through. I had to sit with myself and my emotions first. I think it’s because we’ve been told by society that we have to get rid of our grief in order to be happy. The finale was showing us that it’s possible to do the opposite. [Personally I think it would’ve been better had they showed more overtly happy memories, but many of my friends saw this straight away] When I began therapy, one of the first things I learned was that there aren’t “negative” emotions. When working with our kids, we call them Big emotions. In DBT/ACT, all emotions are treated as normal and natural. Grief, anger, sadness, etc, these are all normal parts of the human existence. We don’t need to run from them in order to have happiness. We can live with them. As interstitial said in our chats, “you can't change the past, you can only change your relationship to it. To accept that your past contained both love and heartache, to miss it, but also know you can do better; that's actual recovery, as good as it gets.” As Soulless-Puppy explained to me, Sam lived in duality. Dean was dead, but Sam lived. Sam was happy, but he grieved. Dean was with him in the watch and the car and his son, but Dean also waited for him in heaven. I hated the finale the first time I saw it, then next watched it with my boyfriend who loved it. As we were watching together and discussing it, I realized that Dean’s death scene wasn’t just about him, but about the show itself.

Dean promising Sam that he will be with Sam in Sam’s heart is also the show promising us that they will never leave it. That’s why Alex kept posting “The end has no end.” Just as Sam carried Dean with him in his heart, we will carry the show with us. I hope this helps. It’s a terrible thing to feel upset about an ending and thinking of the show this way, recognizing these patterns, is bringing me peace. I still have issues with how it was written, but now that I see what they were doing, I wish all the more that they had the chance to do it right. Please share your thoughts and experiences. I love hearing different opinions. Next up, Dean. Then Castiel.

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