on michael & maria
Yup, Imma talk about it.
I’m unfortunately well aware of the ~discourse~ on this particular topic, but I have Opinions and Feelings so I’m gonna share them. In this post, I’m gonna follow their relationship from the beginning of the show through episode 1.11 (Champagne Supernova). (The events of 1.13 are a topic that I’ll be addressing separately and a bit more in-depth.)
I am in what appears to be a minority of Malex Roswell fans that thinks the show did a really great job of setting up and seeing through the relationship with Michael and Maria, both in the ways it became physical and the ways it became emotional.
Before I begin, I want to emphasize something about this relationship that seems to bother a lot of people or maybe just go unnoticed: Much of the development between these two, while absolutely present, is not overt and oft times isn’t even on-screen. I get why and how this bothers people because it’s understandable to want to see character development on-screen and not have to infer it from context or subtext, or have to rely on people like me to do the work of going through the season and finding it. Plus, that means it likely falls through the cracks for most casual viewers who don’t take the time to process and analyze the meanings behind what they’re seeing. I get that, and understand that it’s frustrating.
That said, I’m here to play with everything the show has given us, and that includes the subtleties of the Michael & Maria dynamic. I’m a master extrapolator ok.
And just a ~warning~ to the shippers reading this: This post is about Michael & Maria and their relationship and how it builds and grows. This is not an extended diss post on Maria or Miluca, so if that’s what you’re looking for, this post is not for you. That said, I would be remiss in not acknowledging to any Miluca fans reading this that I am a hardcore Malex shipper and can’t guarantee that my bias in that way doesn’t leak through. Just - you’ve been warned.
Also to clarify - when I use the word “relationship,” I do not mean Relationship like, couple. I mean, any two people that interact with each other have a relationship with each other.
TL;DR: Michael and Maria were and are far closer as friends than most people seem to believe before they became involved. The journey of them hooking up, catching feelings, and coming together is marked by progressively stronger signs of affection and attraction. The development is there, if you care to look for it.
And now that my thesis is clear, let me show my work.
Anyway. Let’s start at the beginning.
We learn right as Michael is introduced that he spends a lot of time at the Wild Pony, and that getting arrested for getting drunk and getting into fights there is a common occurrence for him. As Maria runs this bar, this means the two of them spend a lot of time together, likely at odds considering she’s probably the one calling the cops.
The first interaction they have as characters isn’t an interaction at all, and seems to contradict the last assumption, at least in one way. Because Maria sees Alex looking at Guerin and the first thing she says about it?
She acknowledges he’s “rifraff” but then immediately says she thinks he’s hot. And then at Alex’s dubious look, she tries to justify. Which means that’s something she’s noticed, and the “sex in a truck” is something she’s thought about. And she and Alex have an easy enough relationship even after a decade spent mostly apart that she feels comfortable bringing that up. She’s gossiping about cute boys with her long lost best friend and Guerin is the cute boy on her mind right now.
This, my friends, is what we in the biz like to call foreshadowing.
Now, something that is entirely not stated but is at least tangentially hinted at: Michael is a punchy drunk that intentionally picks fights at the Wild Pony. Now, who do we know who appears to also spend a lot of time at the Wild Pony and are also walking “Hit Me” signs? That’s right, Racist Wyatt & Racist Hank. I’m not saying it happens every night or even every week, but I have to imagine at least a few times over the years, Michael decided to take out his dramatic cowboy angst on the two racist assholes spouting off in the corner. And regardless of her distaste for the violence and her annoyance at needing to call the cops again, I have to imagine that Maria at least noticed that Michael is throwing punches for the right reasons sometimes. (and again, none of this is explicitly stated, but all of the pieces are laid out and it doesn’t take a casual viewer to put them together).
We first see them actually interact at the bar during the blackout and it is hella flirtatious; they’re both smirking, leaning forward, teasing. It’s playful.
More than that though, it speaks to a deeply ingrained familiarity, friendliness, and banter. Michael swipes a bottle from behind the bar - an expensive bottle, apparently - as if that’s just a normal thing for him to do. And Maria doesn’t even try to stop him - sure, she Hey!’s him, but her only objection is, “that’s a health code violation” as she goes about cleaning up the bar and collecting glasses.
Again, I know this is subtle, but it says so much about their relationship before this moment. That Maria lets him grab the bottle. That he hears that he’s caught and just…. continues opening the bottle while making a teasing comment about her power-outage decorations. That she just watches as he takes a drink straight from the bottle. The soft, teasing “Didn’t I ban you for life?”
This isn’t behavior she would allow from just any customer and especially not one who we’re led to believe is a Problem Customer. And their conversation about his tab and such indicates they aren’t like, best friends or anything, but they’re on familiar enough territory that they can joke and tease and steal liquor like it’s habit, like it’s just how they are.
And remember - they both grew up in this town. They’ve probably known each since they were 11 (when Michael was sent back to Roswell) but definitely knew each other in high school. I doubt they ever hung out or even really interacted all that much but they have that awkward “I know too much about you because we’ve been sharing space for 15 years” thing going on.
And now Maria has watched him make a valiant attempt to drink himself to death for half a dozen years and bury his sorrows in anyone that’ll have him. She’s smart, she’s learned her lesson with Chad, she doesn’t just want to be another notch in Guerin’s bedpost.
But, he’s cute and he’s safe, so she flirts.
I mean look at this:
Like fuck, she’s practically purring.
Michael is clearly on board with that mood. This is sexy, this is him fully ready to hear exactly what he can do for Maria, this is his mind in the gutter.
He makes a joke - in a super sultry voice, mind you - about being her least favorite customer, to which she laughs while passing him glasses for the tequila (yes, it’s mezcal, I know) he stole.
This is all very friendly, y’all. And that doesn’t mean they’re the braid-each-other’s-hair, tell-me-all-your-deepest-secrets type of friends, but they are friends. Not best friends, but casual friends. Almost a coworkerly-type of teasing affection. They’re two people wholly comfortable with the other, they’re fond of each other. They tease each other but there’s never any bite - it’s playful and fun and easy. They sit on opposite sides of that bar at least several times a week and yeah, Maria has to call the cops when shit gets rowdy, but that doesn’t mean she doesn’t appreciate Guerin’s personality and presence, or that he doesn’t enjoy the teasing banter with the hottie behind the bar that he knows he has no chance with.
From there, Isobel steals the floor, and Maria is annoyed and not taking shit. She makes a crack about Michael’s drinking, and Isobel makes her move.
And then Maria sees something I’m sure she’s seen before when he’s with Isobel but is still at odds with the Guerin in her mind - she sees Michael being soft, tender, and concerned.
And this prompts Maria, for what I believe is the only time in the first season, to call him Michael.
Jump to the day when both Isobel and Mimi go into institutions. Maria has reached her limit. She’s strung out, she’s had to fall back on her last resort because nothing else has worked and she’s feeling like a failure; she’s feeling lost because her mom has been her rock her entire life. And Michael is actually in a similar place. He’s been trying to protect Isobel, his own rock, from herself for so long, he’s let that destroy himself, his hope, his future, and now she’s put herself in the hands of people he vehemently distrusts because he failed.
So, they’re both here to drown their sorrows at the bottom of a bottle. And again, let’s talk about the fact that Michael gets an entirely different treatment than any other customer that might walk through that door. Because what she sees in that mirror? It’s a kindred spirit. It’s a broken man who’s been crumbling on a stool in her bar for years and who looks just like she feels: like he’s just a step away from shattering.
And this is also Michael Guerin, with whom she shares an easy camaraderie, who she knows can be soft. So, she lets him stay.
One drink. No talking.
She passes him the bottle and he sighs in relief because Maria is giving him exactly what he needs right now. To not be alone with his thoughts. To lose himself a little bit in a haze, to let the alcohol blur the self-hatred swirling in his mind.
And Maria, Maria doesn’t wanna crack. She doesn’t want to fall apart, because she can’t, because it’s her job to hold it together - for her mom, for her friends, for this town. She’s supposed to be the fun, happy friend, the bartender, the good time.
She’s not allowed to break.
But she knows if she opens her mouth, she will. So when Guerin starts to thank her, she shuts him right down.
Notice that she calls him Guer? Not Guerin. Not even Michael. But Guer. That’s soft, that’s familiar. That’s a nickname, and it rolls off her tongue like that’s normal. Like she’s used it before.
It’s these things, y’all, the little things that truly show us the depth of this relationship. I’ve seen said more times than I can count that Michael and Maria’s connection, their friendship, him “knowing her”, her feelings - that they all came out of nowhere. That these two went 10 years without liking each other or being attracted to each other and ~one day~ it all just changed. And that’s just not true. This thing between them, it’s been there, simmering, slowly building. The signs are there if you know what you’re looking for, if you know what it looks like before two people that know each other fall into bed, before they catch feelings.
And y’all, these two? Are a veritable construction zone of signs.
What happens next is pivotal to this relationship. Because Maria was right, opening her mouth was a catalyst and she starts to crack, and then loses it completely.
And this, this is new for Michael. Maria never cracks, never cries. She’s a firecracker and a half, fierce and strong, she commands the room, and never shows weakness. It takes him a moment to catch up to what he’s seeing and then-
This is so soft. He lets out a comforting “hey” as he wraps his arm around her shoulder and pulls her close, holds her tight. Tries to give her the stability she’s clearly lacking, lets her lean on him for support.
He’s there for her. He doesn’t ask questions. He doesn’t try to tell her it’s ok. Doesn’t cross any boundaries. He’s just there, just present, and lets her take what she needs from him in that moment.
This, again, proves the depth of their bond. Their friendship. Maria wouldn’t let any deadbeat from the bar touch her like that, especially not in a moment of weakness. And Michael wouldn’t offer unconditional comfort to anyone either - he’s not cruel by any means, but few people rank high enough to deserve his kindness. But here, Maria not only lets Michael hold her, she leans in, grabs at his jacket, settles in close.
She trusts him, and he cares for her.
And you can see even as he holds her, he’s still confused. He’s still not entirely sure what’s happening, but he pulls her closer anyway. Because she needs it.
This a turning point in their relationship. This is the moment they go from banter friends to comfort friends. The moment their friendship deepens from something fun to something warm. Something real.
A few weeks later, they’ve both come off their respective cliffs. Maria has come to him for help. And as we learn at the end of the episode, there’s an emotional attachment to her request. This sign is special, this sign specifically is important to her - and she’s trusting Guerin to fix it.
Now we know that “no once can fix a car as fast as” Michael, and that Isobel, at least, has a habit of calling him to fix things for her, but what this tells us is that Michael also likely has a reputation around town as a fixer, as a handy man. Enough, at least, for Maria to know Michael can fix this. And between his reputation and her experiences with him, she knows him to be dependable and reliable enough to do this for her.
They’ve fallen back into their banter because it’s easy and it’s not heavy. Because they’re still Maria and Guerin even after a moment of tenderness. Because this is natural to them.
Now, Michael says something that apparently confuses people. Because Max says, “Dude, tell me you’re not sleeping with Maria,” and Michael immediately shoots back with, “Never!” And to some, I suppose, this feels incongruous with his behavior in the next episode. And all I really have to say to that is if I truly “never” slept with any of the people I’ve said I would “never” sleep with, my List would be like…. half as long.
Anyway, Michael brings the sign to the bar later that same day. Which is significant because - remember what else is going on that day. Isobel nearly died. He’s been running all over town with Liz and worrying about losing his sister - the single most important person in his life - and still, he made time to fix Maria’s sign.
He and Max left the junkyard right after Maria dropped it off, and we saw him at the hospital, then chasing down Liz, then taking Liz to his bunker, then to the cave, then he ran back to get Isobel from the hospital.
Which means after Isobel went into the pod, Michael went back to the junkyard to fix Maria’s sign. Just as much because she needed it as because he needed it. He needed to do it, needed to not fail someone he cared about that day. Needed to have something to show to himself that he could fix things, to prove to himself he could fix Isobel.
And when he drops it off, Maria notes how fast it was, having no idea just how fast because she doesn’t know everything that happened that day. He reiterates that he could have made her a new sign, but what he means is that he wants her to know that he would have, for her. Max once said that Michael has never done anything for anyone, while we all know that that line was a flaming pile of bullshit, it’s true that Michael isn’t someone to offer his help to just anyone; he’s picky about the people deserving of his effort and he’s letting Maria know she’s one of them.
And she softens. She opens up. Explains the real reason she needs this sign. Let’s Michael see a glimpse of something she hid from her own best friend.
It gets heavy for a moment, which is a territory they’re still figuring out how to navigate. Maria “hmms” at Michael’s “beacon” comment and he aptly puts together that that’s all she wants to say on the matter. He redirects them into more familiar territory with a teasing joke to break the tension and Maria follows him there with a, “Jerk” and a poorly disguised smirk.
It’s comfortable. Easy.
Six weeks pass before we see them together again, though it’s certainly not the first time they’ve interacted, judging by the fact that Michael has racked up another bar tab.
Maria greets him coolly - whether that’s because of her mood re: her mother, or because Alex is there and Alex has already expressed discomfort at being around Guerin (see: human trio reunion scene) is unclear, but she does greet him. Even if she’s a bit prickly, he still warrants her attention just by walking in the door.
And this may be some of my own projection, but it also speaks a little to me of Maria starting to catch on - subconsciously, at least - that she might have feelings for Michael. After my own experiences with the Chads of the world, I tend to react defensively around people I start to fall for, including being actively cool around them. It’s not pulling pigtails, not quite, but more I’m-terrified-of-you-finding-out-I-have-feelings-and-rejecting-me-so-I’ll-be-extra-unfriendly-so-you-think-I-don’t-like-you.
Michael is flirting - stung, from Alex’s rejection, and trying to get lost in a distraction - but Maria lets it slide right off her.
When we see them again in Texas, it’s awkward, but not because of them. Max and Liz are seeing each other for what appears to be the first time since her declaration that they are not meant to be, after having promised to save the life of the woman who killed her sister because she can’t stand to see Max hurt. So. It’s awkward.
Michael recognizes this immediately - having spent significant time with Liz who I’m sure pointedly refused to talk about Max, and at least some time around Max even before the 4+ hour drive in which he was fully back on his broody bullshit - so he tries to cut the tension by teasing flirtily with Maria. Because that’s a thing he can do. Something that’s natural and fun for them.
Maria teases right back, likely having seen at least some of Liz’s side of this, and makes her subtle exit, knowing full well Michael would join her and leave the two lovebirds to their awkward hello.
Note that when Michael goes into the tent to have his hand healed, he goes in with Maria. Not Max, whose idea it was. But his friend, Maria. Which means they spent the long wait in that line together. She clearly needs proof - or disproof - of Arizona’s powers as much as Max, but we all know what Michael’s hand means to him, and that he was willing to have Maria there while discussing it, potentially having it healed says, again, so much about their friendship.
Arizona talks about Michael reopening the wound in his mind and he looks to Maria for reassurance. And Maria gives that to him, freely and warmly. Organically. And you can see how much that little act helps him, that he’s able to continue forward knowing she’s there.
And when Arizona essentially blows them off, Maria - who is here, remember, to find a way to heal her own ailing mother - offers Michael the comforting shoulder rub, the defensive “Come on [let’s get out of here]”.
When Maria is upset, following Arizona’s reveal as a fraud, it’s Michael, not Liz, her best friend, that follows her. For all that Michael wanted to go in guns blazing and confront her before, he’s ready to walk away when he sees that Maria is upset.
And no, Michael is not the arbiter of friendship, but he’s pretty sure it has something to do with supporting someone when they’re upset. He doesn’t know, as Liz does, that Maria does not need that, so this is his way of trying. Maria is important enough for Michael to try.
And thus gets us to my favorite scene of the Michael/Maria saga.
She says with a teasing smile on her face. She says with a fond glance at Guerin.
And his wink says he knows and he’s playing along.
When she gets up, Michael is concerned. Asking Liz if she’s going to follow her. “Don’t you think she needs a girlfriend or whatever?” Because Michael wants to make sure Maria is being taken care of.
And then.
And then.
I just. Cannot get over. This look. This is awe, this is wonder, this is heat. This is Michael for the first time seeing Maria, seeing just how strong and fierce and powerful and beautiful she really is. This is The Moment that Michael stops thinking of Maria as a fun, flirty friend, and starts seeing her as something more. As someone he might be able to really fall for. As someone who maybe, just might, be able to fill the void left behind by Alex.
And so he just stares. He cannot take his eyes off from her y’all. The whole rest of this scene is Michael just fixated on the marvel that is Maria DeLuca. He’s watching her the entire time Liz asks Max to dance. Watching her sing upon that stage. Hell, Liz has to grab his face to get him to look away and still his eyes find her again.
And Maria, for all her teasing and banter, is the one to make the first move. She extends her hand to Michael, beckons him forward and:
Imma just let that speak for itself.
She doesn’t just do it once those, she reaches for him again, just gently touching him, making contact. And it’s not just comforting contact like Michael did when she cried, or when Maria touched him in the tent. It’s not even really friendly.
No, it’s decidedly sensual. Sexy. She’s touching him in ways that are meant to illicit a reaction.
And it’s a reaction she gets, when Michael follows her from the bar.
Look at that smile. She’s teasing him, but you can see she’s happy that he’s chosen to be there, out there, with her. This is the face of a woman who’s just drunk and high enough to forget her reasons to stay away, and is just letting herself be giddy that the person she likes is here with her. She’s not thinking about her worry of being another one of Michael’s one night stands, not thinking about not letting herself get attached for fear of being hurt (spoiler alert: she was already attached).
That’s the thing, with humans. We’re really really good at lying to ourselves when we’re afraid. We’re experts at denying the existence of something that scares us, and convincing ourselves that we’re safe. Maria has convinced herself she feels nothing for Michael because admitting those feelings, even to herself, when she feels certain he doesn’t feel the same way, would be devastating. So she refuses to acknowledge it, pretends it’s not even there.
And that’s why we see such a drastic change in her behavior from night to morning. Why she was all smiles and wiles and flirtation when she was drunk, high, and looking for a distraction, but was cold and in full denial mode when she was sober and facing down the reality of the door she’d opened. Her subconscious is trying to preemptively protect her from the pain and she’s projecting her anger at herself onto Michael.
Exacerbated, I’m sure, by the fact that by the time they actually kissed, and slept together, neither of them were that drunk. We see them wander off together with a joint before Max and Liz leave the bar, and we don’t see them together again until after Liz and Max have found a hotel, gotten into bed, each tossed and turned long enough to get back out of bed, get dressed, head out to the park and talk, and then go back to bed. So I’d say it’s been at least a couple hours since their last drinks that things heat up.
So Maria doesn’t even have the excuse for herself that she was wasted because she wasn’t. Neither of them were. She let herself give into her feelings and attraction in a moment of weakness and the only one she’ll have to blame when it bites her in the ass is herself.
Even if Maria is refusing to allow herself to believe she has feelings, there is still a gut feeling that what she did was a mistake, was going to get her hurt. The mind can be interesting in that way, warning you of danger without allowing you to see what that danger is.
Michael is in a different place here. He’s upset, but in an entirely different and far more silent way than Maria. Alex broke his heart, again, just yesterday. He had to watch Alex walk away from him and for the first time, it truly felt final. Alex said it was over, full stop. I don’t think Michael had ever before thought about moving on from Alex, not really. He was always just waiting.
“Where I stand, nothing’s changed.”
But now Alex walked away and it looks like this time, he really isn’t coming back. And for the first time Mchael has to consider what his life might look like without Alex in it, and suddenly here Maria is, being the actual walking definition of charm and grace. She’s someone he knows, whom he knows to be good. She’s gorgeous and kind and beautiful and fierce. And he’s seeing for the first time just how strong she is, how courageous.
He’s mesmerized.
And he’s paying attention. To all of Maria’s little touches and smiles. To the way she seems to want exactly what he wants. Which is why he’s so unaffected by her protests and denials the next morning. Because this is Maria, his friend. He teases and pokes fun because they’re friends and he can. And because, as everyone in Roswell knows, Michael is an expert at navigating the awkward morning after, so he eases her panic about people finding out, and then teases some more.
Michael’s in a great mood. The sun is shining, there’s a gorgeous woman lying next to him, and maybe for the first time that he can remember, he’s not thinking about Alex. Or Isobel. Or anything that hurts.
That doesn’t last though. Alex shows up, reignites every emotion Michael has ever felt for him, and leaves Michael more certain than ever that he’ll never get to have Alex the way he wants him. (I have another meta on this coming, I promise). And so he’s hurt and alone again.
And he has Maria’s necklace.
So he decides to give it his best shot. He brings her the necklace, laying on a casual desire. Keeping it cool while still making clear what he wants.
And I’ve already talked about what happened with Maria and Alex between the ride home and Michael showing up, but the important take-aways here are:
Maria did not truly accept her feelings for Michael until she heard herself lie about them to Alex
Maria does not know Alex and Michael’s history beyond “they kissed once as teenagers” and “Alex still loves him”
Maria never wants to see that look of pain on Alex’s face again
And Alex knowing about them sleeping together also tells Maria that Michael, within hours of promising not to do so, told him. So she’s understandably pissy about that.
She cuts right to the chase when Michael starts to flirt.
And Michael’s face is… wounded.
Because he came to Maria to forget about Alex. He came to Maria because he likes her, and because he wanted to see if that spark he felt could light a fire, could turn into something real. He’s exploring, for the first time, the potential of really falling for someone who isn’t Alex.
And that’s what it is, at this point: potential.
But Maria says no, so he does with Maria the exact same thing he did when rejected by Alex - he deflects. Pretends he doesn’t know what she’s talking about. “Why do you keep saying it can’t happen again, I got it the first time. That’s not why I’m here at all!” (narrator voice: it was, in fact, exactly why he was there).
And both of their faces when Michael walks away tell us this isn’t want they want.
This scene is a little bit devastating. Seeing Maria refuse herself something she wants. Seeing Michael once again turned away due to something outside his control.
But he takes the hint and leaves. He’d made an attempt and was shut down, and he wasn’t going to push it.
It appears they don’t see each other again until the morning of the Gala, when Maria straight up pretends she doesn’t see him.
And Michael calls her on it, because it’s bullshit and he knows it. They were friends before they slept together and he’ll be damned if he’s gonna let that get in the way of what appears to be his only human connection aside from Alex.
Maybe it’s me, but this line was delivered with exactly the right amounts of relief and disappointment. Relief that she won’t have to endure seeing Michael in a tux. Disappointment that she won’t get to see Michael in a tux. It’s a Mood.
Michael makes a joke because that’s what they do. Maria said no, but he wants to ease them back into their friendly camaraderie. He doesn’t want to lose his friendship with Maria.
But Maria can’t do what she and Michael do. Because what she and Michael do is why she fell for him. So she can’t let them go back to being banter friends across the bar, not yet anyway. She needs time and she needs space so she can get over him.
Not to mention: Maria doesn’t know. Period. Maria doesn’t know Michael’s feelings for her might be genuine. Maria doesn’t know that Alex and Michael’s history is fraught and traumatic and painful. Maria doesn’t know that Michael and Alex were seeing each other over the summer. Maria doesn’t know that their history doesn’t start and end with that kiss in the museum. She doesn’t know that Michael still has feelings for Alex. And while Maria knows Alex is in love with Michael, she doesn’t know he’s made any effort to show that to Michael.
And she doesn’t want to hurt Alex. He’s always been there for her and she wants to protect him. To protect herself.
So she makes a jab about the museum - it was intentional insofar as she meant to drive the wedge of Alex further between them, but again, she does not know what else happened after Michael kissed Alex at the museum. She isn’t trying to hurt Michael here, she’s trying to build a wall.
When Michael says “It’s over. It’s been over,” she has no reason not to believe him.
And Michael isn’t saying that because he’s trying to come on to her again. He’s saying that because he can see that Maria feels guilty and he’s trying to assuage that. “You didn’t do anything wrong.”
The look Maria gives Michael here. The glance to his lips. She is gone on this man already. She wants him. She wants to believe him. She wants to be allowed to give in to him.
But she’s not. So she throws up more spikes and walks away.
This moment makes a whole lot more sense if you remember that, as far as we know, Michael has only ever given even a single shit about two humans in his entire life: Alex and Maria. We know what Alex is and was to him, the narrative makes it absolutely clear that Michael has been in love with Alex for a decade and has essentially been idling, just like Max, for Alex to come back. He sees their love as cosmic.
And we know what Maria is to him. She’s his friend. Someone who gets him, at least the little stuff. The light stuff. His sense of humor, his penchant for drowning his sorrows in substances, his compassion and his dependability.
Someone threatening that friendship? The one and only truly painless thing he’s ever found on this forsaken planet? Not a smart person.
Michael and Max make it to the Gala and that protective streak flares again. Because he was right. And Maria is innocent and now she’s vulnerable, and he’ll be damned if he’s gonna let anything happen to her.
This is him continuing to not push boundaries, even when she can’t hear him. She said they can’t continue whatever it was they started, but they were friends before that and he wants to go back to that. Go back to fun.
Not to mention that he is visibly worried in a way we have only seen him express before for Isobel and Alex.
He sits there, holding her, letting his presence be known as a comfort, stroking her hair.
So that when she wakes, she knows immediately that she is not alone. That she is safe and being looked after.
And at the first sign that she may not want him there? He immediately offers to leave, and not only leave, but find someone else she trusts to look after her so that she still won’t be alone.
“You gotta stop showing up for me like this, Guerin.” is what she says, but what she means is “you have to stop reminding me why I fell for you. Stop making it so hard for me to get over you just by being you.”
(And also just a reminder here that Maria is still under the influence of an inhibition-lowering drug. That means it makes her do and say things she would not normally allow herself to do/say. She’d never have admitted these feelings to Michael had she been sober, or under the influence of an intoxicant she’s used to, but this is not that. This is literally a date-rape drug and anyone who has anything shitty to say about Maria in this scene can Fite Me.)
And when Maria says that she never wants him to leave?
Riley put it best: “That is not the face of a man whose feelings have just been reciprocated. That is the face of a man whose life just got very complicated.”
His lips barely twitch towards a smile but he can’t even hold it. He knows he’s supposed to be happy, but he can’t feel it. He wanted to believe that he could want this, that his feelings for Maria could drown out the way he feels about Alex, but like with Maria not realizing her feelings until she heard herself lie, I don’t believe Michael truly recognized his lack of feelings until he heard Maria admit the depth of hers.
I think Michael absolutely, 100%, no doubt cares deeply for Maria. I believe he is unquestionably attracted to her. I think she makes him happy and feel light because she’s not bogged down in the trauma that marks his life, and because she, by her own admission, actively tries to be the Fun Friend.
And I think Michael wants to have feelings for Maria. Because he believes he can’t have Alex and continuing to dwell on that will only continue to hurt him. He wants to move on, and Maria is literally walking perfection. There is no reason Michael shouldn’t absolutely return every bit of her feelings and then some.
But he doesn’t. He can’t. His heart belongs to another.
Now we don’t see the end of the night for Michael and Maria, but we do know that he takes her home. How do we know this? Because there’s no way a man who emphatically threatened to explode anyone who came near her while she was drugged would let her go home alone. Not a chance in hell. I doubt they talked at all, but he made sure she made it home safely.
And that, as far as we know, is the last time that they see each other before the finale, before Michael shows up wrecked and broken and needing to feel something, anything, that doesn’t hurt.
I’ll be diving into his, Maria’s, and Alex’s headspaces, and then taking a look at the dynamic as a whole, but none of what happens in the finale makes any kind of sense if you don’t fully recognize everything that came before it. What lead to it. It was a perfect storm of emotion and heartbreak, and this is just one cloud.
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Hey 😊 What are your thoughts on not!Lucille being included in 12x15? I feel like I'm the only one (unpopular opinion coming) but I hated the way they did it? The fact that Dean ENJOYED using the bat (or at least seemed to), and was looking at it/handling it with REVERENCE creeped me out? It just drew parallels with Negan that I didn't want drawn? I mean I get that it's JDM, but Dean should never be paralleled with Negan 😭😭, it betrays who he is as a character just to get a cool reference in😭
Heya! Funnily enough I ended up in the same place, kind of. At least, being totally horrified by it, after I had a very good laugh on first impressions. I don’t think they shouldn’t have done it though because it was a great joke on first impression and then the fridge horror of it all actually works really well for me thematically with exactly what was going on in that scene ANYWAY so it was actually an incredibly clever and layered joke that I think happened to just fit in with something they were trying to tell anyway.
I actually talked out everything I had to say about it in my watching notes, so I hope you don’t mind me C&P-ing them to save time, after I already C&P’d a conversation with @mittensmorgul to save time on writing these, so really this is incredibly incredibly lazy :D Laziness squared.
Pfft some extras from the Walking Dead wander into the Bunker making obvious pop culture references. Do we even analyse that mention of Dad or do we just laugh hysterically and move on?
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Wait so that time when they seemed to have it on set they weren’t just fucking around with the baseball bat because they felt like making one but it was actually going to be in an episode oh my god
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I wonder if Mary has been watching The Walking Dead or if she hasn’t had time.
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Being distracted by Mittens:
elizabethrobertajonesWait - Sam is clean… is this meta or are we still in the pop culture reference?
mittensmorgulThe things on Dean, “ghoul, wraith, siren.”
elizabethrobertajonesyeahThey fought a SIRENWHAT HAPPENI want to know everything
mittensmorgulI DON’T KNOW?!
elizabethrobertajonesI bet if it was “back to back to back” they didn’t have time for it to be complicated
mittensmorgulI mean, DEAN fought the siren, Sam is completely clean
elizabethrobertajonesWHY IS SAM CLEAN
mittensmorgulAnd Dean’s been wearing his underpants for four daysPeople are screaming OOC
elizabethrobertajonesoh god
mittensmorgulI have no idea
elizabethrobertajonesAhahahahah "Frodo"
mittensmorgulSort of reminded me of how he looked after he killed the stynes
elizabethrobertajonesIs that a thing
mittensmorgul:D
elizabethrobertajonesmaybe they intentionally USE those code namesmaybe Mary talked to Samwait if Mick is telling Sam where to gohas he given them “back to back to back”
mittensmorgulyes…
elizabethrobertajonesand Dean did all the killingand Sam was cleanOkay THERE’S the symbolism I was looking for :P
mittensmorguldo go on…:D
elizabethrobertajonesI am literally paused just at “Frodo” and his missing campers message so idk what happens nextbut yeah :PDean’s being used as the weapon here and Sam’s coordinatingAka trying to turn him into Ketchor Mark!DeanSam doesn’t have any blood on his hands for these huntsand they’re coming too fast for Dean to process them and work out shades of grey….
mittensmorgulYep
elizabethrobertajoneswhich means the Negan thing is probably a reference to how bloody it has all beenand not just a joke >.>
mittensmorgulnope
elizabethrobertajonesthey’re trying to turn him back into a bloody single minded hunter like Johnthis is awfulI LAUGHEDnow I feel horrible about it all :P
elizabethrobertajonesAlso Dean not being a germ freak about it all is probably a bad sign >.>
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elizabethrobertajonesOh no Sam lyingepically
mittensmorgulyep
elizabethrobertajonesreminds me of 8x01 when he tells Dean how he found Kevinbut he actually did thatDean like Purgatory DeanWait fuck that baseball bat is his purgatory weapon*slides under the table* Go away NeganThis is worse than the Eliot Ness thing
To clarify that last reference, it’s when they get to the uni campus and Sam explains in great detail how he tracked Kevin via his IP address and router and stuff, while Dean sits there unimpressed eating his first burger back from Purgatory. Despite actually being shown as the better HACKER (thanks, “Strictly into Dick” moment) Sam’s got a broader computer knowledge while Dean seems to have just intuitively picked up the software Frank and Charlie taught him better than Sam, probably because Dean learns the tools of the trade while Sam is, really broadly, more aligned with lore and research (this is a gross oversimplification for both but all these moments play into it)
I think it was also that Dean forgot computers while he was in Purgatory and had to sort of re-learn being in the modern world and showing him not following computer babble was a good way to show how his mind was working right then… he re-learns it off-screen and within a few episodes was perfectly competent again. Dean making silly comments about computers only being good for monsters and porn also echoes that sentiment while he’s in a sort of over-hunted exhaustion because I think the point was to show him in a very particular state where all the Dean danger signs are flaring up, from not being precious about keeping his home tidy and initially rejecting the shower, to almost… tempting him with the high of killing monsters endlessly, and making him channel the darker part of himself that gets involved in killing. The attack dog imagery wasn’t spelled out for once, but Sam being completely clean showed the imbalance even before we see he’s getting all the cases…
Anyway Dean channelling Negan is awful and I haven’t even seen TWD but the meta links are brilliant even with a casual outside eye on what’s going on there, because the shadow of John is over everything all the time, and Negan is like… a worst case scenario or something, a way to really explore the idea of John as the boogeyman he is in the narrative because there’s a fresh reminder out there of Negan being like… a pop culture renowned worst villain ever contender because he’s really horrifying people and making big pop culture waves as far as I can tell sitting over here really not caring what JDM or TWD are up to and hearing all about it from multiple sources anyway :P I was wondering if they’d sneak a reference in but that was extremely blatant. It would be for someone who’s actually watched TWD to comment in-depth, but anyway linking John and Negan in the narrative is CLEARLY pulling pop culture strings to make a point, and one that works in the story…
Not to say John was that bad, but to remind us that he was a dark, ruthless hunter, for example in 2x03 he was compared to Gordon, and we’ve always known he was falling out with mainstream hunters, and clearly with a black and white revenge-y approach to monsters that would fit well with the BMoL’s goals. He instilled “saving people, hunting things” in Dean (who passed it onto Sam) but 1x01 and 1x02 are a lot about taking up the mantle of that job because John’s moved on, abandoning everything to do with working regular cases and saving people, to work on the revenge mission. It’s clear that Dean especially in season 1 and both of them in general are much more focused on saving people, and Sam in 1x22 has his huge moment at the end of picking family over revenge, after which in 2x02 he clearly gets onto the same path Dean was on in 1x02 of focusing on the job and saving people… Anyway that’s all in contrast of what we learn about John while he’s around, which is mostly that he’s running around doing plot stuff and throwing cases their way to deal with, and not behaving as a regular hunter who’d work those cases himself. He’s on a quest to get revenge where that darkness has consumed him, and we see all season through Sam, what that means with the danger it could consume him too, until Sam rejects it at the last moment. But in many cases revenge makes Sam reckless and impatient and he leaves or argues with Dean about why they’re following orders and working regular cases, so if you parallel them together, you see through Sam that John had no interest in “saving people hunting things” any more, and that it had probably only been something he did on the side to his revenge mission anyway, emotionally. Like, he starts the family business, but out of necessity, while his sons are raised in it and as a life, changing the way they relate to saving people…
Sorry, this is really rambly but I get the feeling no one ever reads my long rewatches where I write very long essays about this sort of thing, so I’m trying to summarise in a few paragraphs something I’ve written like maybe 100k words on at least after wandering through season 1 and 2 getting really invested in the early Winchester family drama :P
Anyway! tl;dr John is still haunting them, especially when Dean is in a bad way, ESPECIALLY when he’s being made to prioritise “hunting things” over “saving people” because there’s a REALLY fragile balance and Dean only functions well when he’s over on the “saving people” side, and if he’s not, angst follows :P Even just being made to hunt monsters non-stop immediately wears down on Dean’s humanity, and so you get a parallel like this, and to Purgatory, Mark!Dean, and generally showing all sorts of the good parts of Dean stripped away. >.> I think it’s a warning we should be WORRIED about Dean, NOT a direct comparison between Dean and Negan, especially as he makes the comparison himself between John and not!Lucile, and therefore the parallel is between John and Negan, and Dean’s just caught up in that as an incidental part of his characterisation, but probably isn’t going to go around braining people willy nilly.
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