LOKI | S2E6 'Glorious Purpose'

Lockscreens

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scenes i loved from Real Enough to Get Me Through by @marriedzukka <333 [ids in alt]

#married behavior

everyone teases spencer reid for his new haircut, the 'boyband' hair, as hotch so lovingly dubbed it. you can't stop staring, though. you had to physically restrict your jaw from falling to the floor when you saw him walk into the conference room, floppy curls falling into his eyes. you were the only one that didn't laugh at hotch's comment, too in awe of the man before you. you're able to tell him as such at the tiny bar on the jet. you approach him while he makes his coffee, pouring extra sugar that he most definitely does not need into a plastic resin cup. cramped into a small corner, nobody can hear you as you dote on him, coating him in sugary sweet compliments: how much you adore his new hair, how you want him to never change it. your heart races when you see the pink adorning his cheeks, the clamminess of his fidgeting hands, trying to find something to do while he sits there and just takes. takes your kindness, your care, your love. not that you’re in love with him, right?

"Wait, was that a compliment?"

you hate alice . No i dont. yeah . u despise her u complain constantly about how vapid and annoying she is. You hate her. it's pitiful , how u wont stop making fun of her stupid little podcast. Let Her Have The Podcast. i don't know what ur talking about. U hate listen. To her podcast. wait.... what???? and u made a swear on our lives not to tell anyone. Jordan is that true??? i like your podcast alice :) what is ur podcast about ? hanging out with your smartest and funniest friend . (jordan groans) Did you just.... Groan??? no. when i said "hanging out with your smartest and funniest friend" 🙄 oh my god LIKE THAT. LIKE thAT Fuck! YOU JUST DID IT AGAIN. NO I DIDNT. First of all, A PODCAST TAKES A LOT OF WORK OK . you have to organize the guests u have to do a google calendar and and and you Build a following IT TAKES A LONG FUCKING TIME .AND IVE BEEN WORKING ON IT FOR A WHILE OKAY . and then... let me say THAT NOBODYLIKESYOU. OKAY. NOOOOOOOOOBODY LIKES YOU NOBODY LIKES YOU do you know when ur drunk and u cry to me "Ohhhh im afraid nobody likes me coz im mean and a bitch and i suck!" well you do OKAY you fucking Suckk and i only hang out with u out of pity and the suffocating weight of our shared history And That is all... ANDDDDD youre just sooooo in love with your RAGS to riches narrative like ur the only fucking person in the world who didnt come from money , You know what??? Ur parents. are Upper. Middle. Class. no theyre not. jordan.... they are. They teach. at a university. it's public . Oh... my god OH MY GOD i mean. no wonder sophie od'd... Who could date a fucking Spreadsheet with a superiority complex . its like. you're such a BI- (GUNSHOT) OWW. What the fuck??? what the Fuck jordan??? oh my god ARE U SERIOUS?? Did u just fuckinf shoot me??? No. U FUCKJGN SHOT MEEE . WITH A GUNNNNN!!!!! No i didnt shoot u :( YOU FUCKING MURDERED THEM U FREAK . UR THE MURDERERRRRRRRR I KNEW JT I KNEW IT . YOURESUCH A BITCH UR SUCH A FUCKING BITCH!!!!!!!!!!!!!! i didnt murder anybody:( YES YOU DID. JORDAN put the gun down IVE NEVER BEEN SHOT BEFOREEEEE IT REALLY FUCKING HURTS

Been doing a plot overhaul of Ghosts of Gotham and the time line is getting wild but at least I have the general vibes of each of the four big plot lines figured out:

(shoutout to Brennan Lee Mulligan's portrayl of Tula on Burrow's End for making me realize what Dan's story was gonna be lol)

But if she'd won—She didn't. And that's on us. Not us, the media. Like us, the general, like the voters, us.

"A love triangle. What a classic story."

I just wonder how they'll do the 'Crusty's Water Bed Palace' scene, or if they'll even do it because that was so creepy lmao

Bed Friend อย่าเล่นกับอนล Episode 6 #tongues

Listen. You look like you know how to handle yourself.

My bg3 experience: a summary

alright fuck it. i can't sleep and i need to talk about this scene from the last episode of critical role.

because holy shit if this ain't some of the best rp – nay, storytelling in general – that i've ever seen. (buckle up, it ain't gonna be short.)

laudna: i made you a doll. because dolls are for children. and you're a child.

the way she says this is not nice! it's biting, it's snarky. she definitely seems to mean it as an insult – and she probably does! – at first. but laudna's idea of a child is much more expansive than just a cheep insult, as she makes clear shortly.

then ashton's response: i've never had a doll before. this is the nicest thing anyone's ever given me.

i don't know if this reaction melts laudna a little (if it does, she doesn't show it visibly), or maybe she was already coming to the conversation with a more nuanced definition of 'child', but either way, the conversation shifts immediately – and the next two sentences clarify where they're both coming from here.

laudna: i like children. // ashton: i don't.

she likes children! and we knew this, of course. marisha, the god of intentional rp showed us this within the first few moments of laudna's screen-time way back in episode 1. but still! it's worth repeating. despite the bite of her initial comment to ashton, she doesn't necessarily mean it as an insult. i don't know that we could entirely call it a compliment, given the context, but at the very least, i think she intended it as a point of connection.

after all, our data re: Laudna And Kids is not limited to that one scene from episode 1. there's also the parallel scene that mirrors it (with a happier ending) back in episode 38, when laudna first visits the sun tree after her resurrection. we also know (via a 4sd episode that i don't care to dig up right now) that laudna had another friend before imogen, who was a little girl.

and i think it's that little girl that's the most important piece here. we don't know anything about that story except that she exists, but i'm willing to read between the lines and make an assumption that laudna – on average – has better luck getting children to be kind to her (when they've not yet been taught to be cruel) than with adults. there is an innocence there that laudna needs! she needs people who haven't been hardened by assumptions and pre-judgements and all that bullshit. for laudna there is safety – both emotional and literal physical safety – in a childlike perspective.

ALL THAT TO SAY: laudna's associations with childhood are, generally, positive. for a variety of reasons.

but!

ashton's are NOT.

ashton's childhood sucked. from the jump. he was a part of a shitty cult that he barely remembers, and after that they were in an ophanage. their associations with childhood are overwhelmingly negative, and likely associated with feelings of helplessness and loneliness.

whether or not laudna intended that original comment ('you're a child') as an insult, we can pretty safely assume ashton took it as one.

they continue:

ashton: they're awful. // laudna: they're not.

NOW, we're getting into the meat of it. where before they were dancing around a metaphor, it becomes immediately clear what's really being talked about here. ashton is saying 'i'm awful', and laudna is emphatically saying 'no you're not.'

which! first of all, is so insanely generous of her. after what ashton just put her through less than 24 hours ago, laudna has every reason to affirm ashton's assertion that they are, in fact, awful. but she doesn't. ashton knows this, which is why he amends his original statement:

ashton: they can be.

they're saying: perhaps i can concede that i am not always awful, but let's at least agree that sometimes (like specificaly, oh, i don't know, LAST NIGHT) i can be.

laudna: you should remember what it's like to be one.

ashton: i do. it wasn't great.

the LAYERS, y'all. the LAYERS. the important thing here is that it's all in the context of that first comment: you're a child. which is, critically, a statement made in the context of ashton's decisions the previous night. they're talking in generalities here, but they're mostly talking about last night.

so!

when laudna says they should remember what it's like to be one [a child], she also means: you were a child last night, but not in a cool, whimsical way, just in a shitty, immature way. AND! when ashton says they remember, and that it wasn't great, they're saying they know they fucked up last night, but all they know of childhood is an overwhelming helplessness, how can that possibly be spun to a positive?

and this, really, is the crux of their two differing worldviews. these two have a lot in common – much has been said about that in game and out – but this point is where they split. laudna has survived, by embracing her childlike nature (admittedly, to a fault, at times). how to keep from being hurt? just keep everything fun and whimsical! nothing to worry about here, it's all just a silly little game! and she has also needed people who share that perspective. people who are willing to take her at face value and without any of the negative assumptions and prejudices they may have picked up along the way.

ashton, on the other hand survived by growing up immediately. they got through their own shitty childhood by becoming an adult (or acting like one anyway) as quickly as possible and STAYING that way. ashton needs to have a tough exterior (there's the made-of-stone thing again) to feel safe. (admittedly, from an audience perspective, this veneer is basically see-through. but ashton doesn't necessarily know this. they're trying their best. so from their perspective, the tough guy thing is Working.)

laudna: you should find more joy in your inner child.

she's saying two things here:

(1) you can be soft and be safe. those can co-exist, aND!

(2) i need you to be soft for me to be safe. when you have this false tough exterior, it hurts people. it hurts (hurt) me.

which is certainly a resonant metaphor to play with for the literal ROCK GUY who just got literally MELTED into LAVA 12 hours prior.

ANYWAY- that's what i've got for now on this scene. i'll probably never stop thinking about it, and there's even more good shit from later on in the scene when they talk about the doll, but that's it for now.

We're going to save your brother.

"most aren't quite so evident" she says to kira, as if she herself isn't one of kira's walking-talking scars, as if she isn't carried around by kira, while she only grows heavier and more inflamed as the episode goes on. still. kira pushes her mother's hair aside and touches her mother's face so gently--watching almost possessively when dukat removes the scar from her mother's face because her mother really was a scar she was happy to wear only now it's different. now her mother-scar is too evident. now she understands her mother but she doesn't want to. kira has been pushed into too many grey spaces in her life and she really didn't want her mother to be another. which is why she moves her mother's hair aside, to pull her mother and her mother's bravery from the grey shadow. and then the scar is "healed" and maybe kira is bitter than she herself can't be.