B.J. Goes To Maine but there’s some kid he’s never heard of already there finishing his undergrad, and what do you mean he’s been here the whole time I’ve known you, Hawk? When did you have the time to send a Korean teenager to college in the States, Hawk? Hawk, do I even know you?

keeping me company while I watch s1 of MASH for the third time

hawkeye’s shift from “sexy but in a weirdo way” to “weirdo but in a sexy way” to “fulltime weirdo” is quite interesting to actively notice on this watch

Sharing to keep... You're welcome. Happy New Year ❤️

S01E04 Chief Surgeon Who? // S04E12 Soldier of the Month

i think i’ve discovered a new unpopular opinion:

hawkeye doesn’t have a character arc, it’s fanon that comes from reading into the overall tone shift

radar: “war and peace?”

hawkeye: “oh, that’s the thing about tolstoy. he was very flexible. he went both ways.” *immediately makes a face that screams ‘just like me’.

watching the outfit celebrating the ceasefire at the end of s1 of mash KNOWING that there are at least 11 more seasons makes me so sad. they're all so happy. hawkeye is dancing on henry's desk. but there are 11 more seasons. radar is having people sign his scrapbook. but there are 11 more seasons. there are balloons and streamers and everybody thinks they're going home, and i am cursed with the foreknowledge that comes with watching shows that came out 50 years ago.

there are 11 more seasons and everyone thinks they're going home, but i get to know that none of them are going home right now, and some of them probably won't go home ever.

you know those people who are annoying about watching seasons 1-3 of mash? i am that with supernatural. how can you go in cold at season 4 without understanding why they are Like That by then. how will you understand sam if you can't comprehend that this is him after three straight years of torment and hell and betrayal by his own family and DYING, at his absolute lowest point, As Satan Intended

Summary:

On a lone rooftop in New York, Yelena contemplates the course of her actions and what led her to this very spot. Missing her sister, she decides to just accept the fact the she will forever be alone.

That is, until she hears the voice of someone all too familiar, who has decided that Yelena doesn’t deserve to be alone.

Yep, it’s exactly what you think it is. The story is progressing forward and new characters are being introduced! I hope I did well with writing them 😅 also just an fyi, I am still willing to take requests for pre IW. If you love the sisters too much to wait that is lol but I hope you enjoy this one! ☺️💖💞

if I wasn't vehemently anxious about overposting, you all would never hear the end of my fma:brotherhood rewatch thoughts

Jack from Hawkeye is giving major Count Olaf vibes.

an excellent example of “I Know why this is happening in reality, but that doesn’t mean it doesn’t work excellently in the story” is that naturally Alan Alda was tired from travelling between set and his family every week for x years + directing and writing and acting on the show + doing other projects on top of that, and that he was ageing appropriately for the 11 years of filming, and was already a few years older than Hawkeye is meant to be when we first meet him (with a bit of early grey hairs, but not massively considering he was going on 40 by the time that seems to have started)

but the show only spans what? three years and a bit? and Hawkeye is late 20s/early 30s? so Hawkeye is a young man who goes from tired-but-hanging-in-there to going grey and visibly ageing in the span of a few months, with deep grooves of permanent exhaustion on his whole face

Sometimes You Hear the Bullet (s1 e17): Hawkeye’s emotions run high when an old friend comes to Korea to write a book about the war; meanwhile, a private turns out to have faked his age to enlist.

O.R. (s3 e5): The wounded pour into the camp as artillery booms nearby and war planes scream overhead.

Elaborating on my previous post in as unborked a way as possible....

In S1-S3, TrapHawk and FrankMarg are often contrasted as dueling couples very explicitly. So I'm going to take my statement "Hawkeye is more effeminate but Trapper is more feminine" and apply it to Frank and Margaret to clarify what I mean.

"Frank is more effeminate than Margaret, but Margaret is more feminine than Frank." Frank is unmanly, in a hypocritical, denying, self-deluding kind of way. He's a poser, and the humor comes from having his pose exposed as fraudulent and inauthentic. Hawkeye is also unmanly, but in a cool way, because he owns it and deliberately shirks what's expected of him "as a man" because he has no intrinsic respect for it. The humor comes from his rebellion and self-confident outrageousness. Margaret is more traditionally masculine in many ways than Frank, something which is played for (sexist) humor in its own right, and to contrast how unmanly Frank is by comparison and heighten his jokes. Trapper's masculinity plays a similar role- while he sometimes plays the sissy to back up Hawkeye, he more frequently acts as a straight man to heighten the contrast and make Hawkeye funnier.

So when I'm talking about feminity, I'm thinking of it not just as "unmanliness", but as "traditional feminine role". Margaret plays that to Frank- she's supporting him, hyping him up, she's his distaff counterpart. A lot of their humor is that old school Punch and Judy "nagging wife and henpecked husband" stuff, for sure, but there's no question that he's the main antagonist and she's backing him up. I think when people say she doesn't become her own character until he leaves, it's because she's so much his other half while they're together. Trapper is also playing a supporting role to Hawkeye- he's also the helpmeet, the supporter, the other half. In some ways I think he actually plays to the ideal of traditional feminity better because he doesn't subvert Hawkeye the way Margaret will do to Frank sometimes. I'm sure I'm forgetting something but I can think of like two times Trapper puts Hawkeye down for a joke, while Hawkeye does put Trapper down semi-frequently. Similarly, Trapper plays a caretaking role semi-frequently but I can only think of two times Hawkeye plays that role for Trapper. If under patriarchy to be a man is to be in charge, to be independent, to be your own person, who's the man in Trapper and Hawkeye's relationship? Not Trapper.

Contrasting Trapper with a few other characters just to further clarify my thinking on this... Klinger also has the Bugs Bunny effeminacy as rebellion humor going on, but he isn't a feminine person- the humor is the incongruity between his masculine bearing and his behavior. Radar plays a support role to Henry as well as to TrapHawk, but he is very much his own wily little person, he isn't "the other half" to anyone in particular, and although he's "unmanly" he's unmanly in the ways boys are, not women. He isn't a feminine person. A lot of Henry's humor comes from playing around with his masculinity, but it's never directly or pervasively subverted or questioned. I think Mulcahy kind of comes closest to "feminine man", but his rather soft and supportive nature is also contrasted with his outbursts of more conventional masculinity, even in S1-S3 when he's a more minor character.

I could point to other things that give Trapper a feminine vibe to me, even though he's not unmanly, things that are kind of female coded in our culture- his quietness, his neatness, his fondness for kids, his morality especially- but my thesis here is Hawkeye's effeminacy is an act of self-assertion, and Trapper's feminity is a role of support.