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xenodile · 3 days

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"Shuro loves Falin for the same reasons he hates Laios" Completely and utterly wrong, could not be further off base.

I get the impression a lot of people watching Dungeon Meshi as it airs, or are a bit removed from its original manga run, have forgotten that Laios and Falin being monster freaks wasn't actually apparent until the events of the story. The only person that knew Falin loved monsters as much as Laios was Marcille because they were best friends at school.

Once Laios and Falin were in an adventuring party together, they both had public facing personas because they had both learned through their separate upbringings that being super interested in monsters and dungeons wasn't normal. Laios is the blunt but well meaning, outspoken and opinionated guy we all know, but Falin was way more withdrawn and soft-spoken, non-confrontational, easy to get along with. Everyone that interacted with Falin would say she's a sweet, gentle girl that everyone likes. Because she was, frankly, kind of a doormat.

The whole thing with Toshiro's infatuation with Falin is he doesn't actually know her. She is outwardly very polite and reserved, and that appeals to Toshiro because it meshes with his cultural sensibilities and how he was taught people are supposed to behave. Then he sees her marveling at a caterpillar in a private moment and decides on the spot that she's the ideal woman and proposes without actually talking to or getting to know her.

And his lack of understanding of Falin as a person is brought to the forefront in every action he takes after she gets eaten. He leaves the party and makes no attempt to contact the two people that Falin loves the most. Whether it's a matter of him just not knowing how much Falin cares about her brother and Marcille, or actively avoiding Laios to rescue Falin himself, he's demonstrating that he doesn't actually know what's important to her or understand how she feels.

Then when he meets Laios's party on the lower floors and they go over what happened, it's made even more blatant that Toshiro's affection is shallow and half-baked. He came into the dungeon a week too late and neglected his health the whole way down, so he was in no state to actually try and save Falin when he got there. When Laios talks about eating monsters, something Falin was thrilled about, Toshiro is disgusted. He threatens to kill Laios and turn Marcille in, which would never fly with Falin. His anger at the use of black magic is entirely based in his selfish idea of Falin being tainted and blaming Laios and Marcille for "ruining" his attempt to rescue her, as Kabru points out that Toshiro would have done the exact same thing in their shoes and that he's being a hypocrite. To say nothing of how he'd rather kill Falin after she's been transformed and "put her to rest" rather than put any effort into saving her, because that would require further involvement from Laios and Marcille and methods that Toshiro doesn't approve of.

And there's the fight he has with Laios, and Toshiro's subsequent confession that he had hoped to just take Falin home with him. He at no point gives consideration to what Falin feels or what she might want, only what he has decided about her based on the most surface level observation. Just like how his problem with Laios arises from his refusal to just talk to him about his boundaries, he has no actual connection with the woman he claims to love because he just wouldn't actually talk to her.

Like it's not a coincidence that every time his attraction to Falin is brought up, another character goes "yeah he's being weird about it".

#Dungeon Meshi #Toshiro isn't a bad person. He has communication issues and makes very bad decisions based on his own refusal to communicate.

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cecilysass · 3 days

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The Penultimate Partner Episode: Analyzing the Second-to-Last Episodes of Seasons 3-7

So I was thinking about the show’s tendency to do an episode that is explicitly about the Partnership—about the deep abiding bonds between Mulder and Scully—right before the season finale.

This doesn’t seem to happen in season 1 and 2 (the penultimate episodes are Roland and Our Town, respectively, which don’t seem to play the same role). And something different is happening in season 8 and 9, so I don't think they fit as well.

But during the show’s peak popularity, seasons 3-7, the second-to-last episode seems to be setting up baseline emotional stakes for whatever plotline is about to hit. These episodes are giving us the state of the partnership, reminding us how devoted they are to one another. They also tend to have to do with one or both partners having a distorted perception on reality that requires the other partner's intervention in some way. I’m calling them the Penultimate Partner episodes.

So can we look at the themes of each of these Partnership episodes and see development over time? I think yes. It’s gonna be long. I rewatched them all, so buckle up.

Season 3: Wetwired - partnership as trust Season 4: Demons - partnership as loyalty Season 5: Folie a Deux - partnership as shared madness Season 6: Field Trip - partnership as touchstones Season 7: Je Souhaite - partnership as happiness

Season 3: Wetwired (right before Talitha Cumi)

This episode, like several in the Penultimate Partner episode category, involves a X-file that distorts perception. Because Scully can’t trust her own senses due to the mind control, she also can’t trust Mulder, calling into question the key tenet of their partnership. (And by season three, they have definitely established trust as the bedrock.)

Her gradual mistrust of Mulder in this episode is tense and painful; you can see on her face how much she argues with herself about it even as her mind is tricking her. Others who fall victim to this mind control phenomenon wind up murdering their romantic partner, but in the end of the episode, when they’re discussing what happened in the hospital, they both seem pretty unsurprised that Scully’s paranoia focused on Mulder. They both know, late season three, how crucial trust is between them. They understand that it’s Scully’s worst fear that Mulder would betray her. It’s not even news to them.

What Mulder’s worst fear might be is also hinted at, although it’s unsaid. He’s furious that her life is put at risk by the mysterious informant. When Mulder believes Scully may be dead and he’s going to identify her body, his reaction is chilling. He seems to completely shut down emotionally, not even showing any reaction to the Gunmen. Tellingly, when he is offered a choice between getting answers and going to ID Scully’s body, he doesn’t hesitate—he chooses Scully. (Sometimes people claim Mulder doesn’t show this kind of commitment to her until much later, even until Home Again in season 10, so it’s interesting to see it so unequivocal here.)

I want to say that Scully’s anxiety about trusting Mulder in this episode is foreshadowing aspects of the cancer arc in the next season, but I don’t think that’s really what’s happening. This episode seems more like an entirely season 3 cap to the Anasazi / Blessing Way / Paperclip storyline, especially the murder of Melissa. Scully’s paranoia calls back Mulder’s in Anasazi, and Scully explicitly blames Mulder for her sister’s murder when she’s drawn a gun on him. Even just the fact that we're there with Maggie, who has a picture of Melissa displayed prominently, tells me that loss is supposed to be on both partners' minds. (Actually, the interaction between Mulder, Scully and Maggie is pretty amazing in this scene; they’re an emotionally complex trio who seem to be communicating on some other level. I love how when Mulder and Maggie are talking to freaked-out Scully they almost sound strangely unreal, almost like they really are speaking falsely. It allows us to imagine the scene as it looks from Scully’s point-of-view, as a massive betrayal.)

Wetwired is, technically, a mytharc episode, as this whole mind control thing seems to tie back into X and the Syndicate. Personally I think the episode’s ending, emphasizing the mytharc-related plot and X’s involvement and whatever tf was happening there, was a little misguided. For my tastes they would have done better to play up the more personal, character-based themes a little more. But I also think this episode was the first real Penultimate Partner episode, and it was setting some patterns that were going to be expanded on.

Season 4: Demons (before Gethsemane)

From the cold open, we can already tell this is already a more personal episode than Wetwired. Mulder is the one having perception problems now; he wakes from a disturbing dream, covered in blood, muddled memory. This is also technically a mytharc episode, but much more concerned with direct impact on character than Wetwired was.

Scully instantly rushes to Mulder’s aid—walks right into his shower, for heaven’s sake—and absolutely never wavers in loyalty to him, even when he looks real, real guilty and a "rational" person would be suspicious. She is in fierce, must-protect-Mulder mode throughout this entire episode, from the moment she shows up palpating his head with her hands to her back-off behavior with the cops to her badass cold “I know what you do” comment to Dr. Goldstein. She also helps Mulder see through his distorted perception, telling him "this is not the way to the truth" as he holds a gun on her.

In this Penultimate Partner episode, we see something more than simple trust going on, although there’s trust, too. Maybe the word is loyalty or devotion. We see Mulder coming apart and Scully completely and utterly devoted to him. It’s actually very clear foreshadowing for the following week’s episode, Gethsemane. Mulder isn’t stable, and he needs Scully to keep him from “los[ing] his course,” as she says in Demons’ end narration. Gethsemane will follow up on the Mulder losing-his-course idea, and also will explore the idea that Scully’s bottomless support of Mulder isn’t always good for her. (This idea is voiced especially by Bill.)

There are some ways in which this episode is a neat little bookend to Wetwired. In Wetwired, Scully flees to her mother’s house, desperate and paranoid; in Demons, Mulder, similarly unhinged, seeks out his mother at her house. In Wetwired, Scully sees things that aren’t there, and in Demons, it’s definitely implied that Mulder may be seeing things in his past that weren’t actually there. In Wetwired, Scully pulls a gun on Mulder, and in Demons, Mulder pulls one on Scully.

I adore this episode, even though it’s definitely vulnerable to the critique that Mulder acts like a self-obsessed loon and Scully a hopeless enabler lol. Especially because it comes before the Gethsemane / Redux three parter, I wish the episode would have explicitly connected his behavior to the cancer arc, as I feel like that would have made his wild choices seem more understandable. If he felt like he needed to find answers faster because he knew Scully’s time was running out and he saw it all tied together with her fate, then we would get why he was acting so rashly. It would also tie more nicely into Gethsemane, which misleads the audience into thinking Mulder has killed himself, in part, because he believes she’s been given cancer to make him believe. But again, I love this episode. Scully showing up and putting that blanket around Mulder when he’s shaking. Her hugging him at the end when he’s desolate on the floor. This shows a partnership that’s been through Paper Hearts and Memento Mori—that’s moved beyond trust alone.

Season 5: Folie a Deux (before The End)

This is another episode about perception—about one partner seeing things the other can’t. Unlike in Wetwired or Demons, however, in this episode the altered perception actually represents the real truth, something everyone else fails to understand. The episode plays around with the tropes of earlier episodes like Wetwired, at first encouraging us to think that it's a delusion that Pincus is a monster, but then convincing us, through Mulder’s eyes, that the delusion is actually reality.

As other people have observed, this episode ends up being a nice little metaphor for the whole show: Mulder knowing what no one else does, being ostracized and considered insane, asking Scully to find evidence to corroborate him and ultimately convincing her to believe him and see what he sees. Their partnership is, quite precisely, a madness shared by two.

It’s a monster of the week, not a mytharc, so there’s no distraction of elaborate mytharc plot, just characters and monster. And this is a Vince Gilligan operation, so our focus is definitely on character. From the first scene with Mulder and Scully, we sense that we’re going to be talking about the partnership. Skinner gives them an assignment in Chicago that Mulder doesn’t think is worth it, and he complains in a particularly self-centered way to Scully, which she observes (“You’re saying I a lot.”) The episode is going to be very explicit that while Mulder might be monster boy, they are in this unhinged partnership situation together. Another important moment comes later, when Scully is calling the perp crazy for thinking he saw a monster, and Mulder says, “Well, I saw it, too.” Scully’s careful about-face after that, her delicate avoidance of implying she thinks Mulder is actually crazy, is part of the dance they’re doing at this late season five stage of their partnership. She doesn’t quite believe him, but she doesn’t knee-jerk not believe him either.

And the foreshadowing of what’s to come in this one, whoo boy. Most obviously, we must acknowledge that 1013 knew exactly what they were doing when Mulder tells Scully “you’re my one in five billion.” A mere seven days from now, a mysterious beautiful ex who believes his theories is going to show up to immediately cast doubt on that claim. And this episode is also toying with the question of whether Scully actually does always back Mulder up when it’s important, when she has to accept she saw something illogical. At the end, does she tell Skinner she actually saw a giant bug in Mulder’s hospital room? We don’t know, but I think it’s implied she doesn’t. That’s all presaging what will happen in The Beginning coming off of Fight the Future. It’s Scully’s little way of resisting the madness, but it also hurts Mulder and damages the partnership, which will be a problem in season six.

Season 6: Field Trip (before Biogenesis)

Full disclosure: this is my favorite episode. So I’m going to make some big claims about it. This is the ultimate Penultimate Partner episode—the one that best knits together what it wants to say about their partnership and what it wants to establish for the finale. It's a monster-of-the-week episode (another Vince Gilligan ep, with John Shiban) but refers to the mytharc often. It’s also one of the best episodes about their partnership, period.

This is yet another episode about distorted perception. This time, however, under the influence of a giant mushroom, both partners are unable to perceive clearly, to determine what is real and what is a lie. And when they’re confused, they critically turn to one another to help them see what the truth is.

Coming off of season six, the partnership is rocky. Mulder is frustrated that after so many theories of his have borne out, he still can’t get the benefit of the doubt from Scully, something he explicitly says in the dialogue here. Scully has felt like she’s not been trusted or heard, like Mulder has turned to others (Diana Fowley, for example) rather than his partner.

This is an episode about how they absolutely need one another to be able to make sense of the world—that individually each of their points-of-view are not enough. In Mulder’s hallucination, Scully accepts his claims about alien life forms too completely, not applying enough skepticism, not pushing back against him. In Scully’s hallucination, a world without Mulder, everyone is unacceptably unquestioning of the status quo, refusing to dig deeper, lacking Mulder’s critical acumen and drive. Neither partner likes the feeling of being unopposed, and it makes both of them suspicious about the hallucination’s reality. They may think they want their own view to prevail, but they need one another to be a whole person.

The theme of what’s real and what’s not – and needing one another to discern the truth–is exactly what is picked up and developed further in the Biogenesis-Sixth Extinction-Amor Fati arc that follows this. Scully’s skepticism has to stretch to incorporate more of Mulder’s worldview to make sense of what she sees in the Ivory Coast, and of course, Mulder calls on Scully’s worldview to see through his misleading dream world in Amor Fati. In fact, you could argue Field Trip is really about the idea that Mulder and Scully are one another’s touchstones—the people they need to know what’s right and real.

Incidentally, this episode also plays around with some of season 6’s other subtextual throughlines: Mulder and Scully’s anxieties about possibly entering a non-platonic relationship, their unease about what a normal, domestic life might even be for them. For the entire episode they’re directly compared and juxtaposed with the Schiffs, a young married couple who died on Brown Mountain. The Schiffs are a tall man and a redheaded woman. They even die hallucinating lying together on a hotel bed after she asked him to “hold her” (although I do seriously doubt 1013 was intentionally foreshadowing a full year ahead). The last shot is of Mulder reaching out to take Scully’s hand across the ambulance, suggesting a kind of partnership beyond just, you know, partnership. Which takes us to the next season.

Season 7: Je Souhaite (before Requiem)

Truthfully, I don’t think this episode fits quite as well in the Penultimate Partner category. It doesn’t share some of the same traits as these other episodes—it’s not quite as notably about perception, for instance—and it’s not fundamentally about the partnership in the same way. But it does end up commenting on their partnership (even their relationship, really) as part of its theme, so I think we can include it—especially because its position right before Requiem ends up being important.

Je Souhaite (btw, written and directed by Vince Gilligan) has a bit of an unsettled feeling to it because it was kind of treading water, waiting to see what happened with DD and the series. Nothing too monumental could happen with the partnership or the plot because it wasn’t clear to anyone what would happen next with the show: whether it would end or continue, whether DD would be involved or not.

So we have a story about Mulder and Scully making peace with not having a significant impact on the world—e.g. not bringing about world peace, not introducing invisible bodies to science. Instead, they are content to delightfully share a beer and comment that they have made one another “pretty happy” (as Scully says about Mulder). Through the jinni character, they seem to take the lesson that they can enjoy being with one another, accept the simple happiness that their relationship brings them. Rather than wish for success that comes too easily, they take joy in the little things with one another.

Comparing this episode to the Penultimate Partner episodes that come before, we can really see how Mulder and Scully’s dynamic has evolved by season seven. We have a Scully who is much more open to supernatural phenomena, for example, and whose skepticism seems more like a reflex or a defense mechanism now. Scully’s move towards belief is partially reflected in the plot of the episode: the X-file here really isn’t even science fiction. It is just straight up fantasy or magical realism. Aside from Scully's brief mention of a disease to explain what happened to the mouthless man in the cold open, no plausible scientific explanation for the jinni's long life or wishes is really even floated.

Scully is delighted by the discovery of the invisible body, and Mulder is visibly delighted by her delight. He’s also frustrated by her retreat into doubt when the body disappears, of course. But even the reversal into her old skepticism is half-hearted, as she soon after she's engaging in discussion with Mulder about what his final wish was. This is consistent with the overall blurring of the old hardline believer-skeptic dynamic we see in season 7. It’s also peeking ahead to Scully’s coming role as resident basement believer in season 8.

The last scene, with the beers and Caddyshack, is meant to be a callback to djinni Jenn’s comment that she wishes she could “live my life moment by moment... enjoying it for what it is instead of... instead of worrying about what it isn't.” Mulder, we see, is taking a cue from her. (And good for him, as we almost never see these characters do this. Except on rare baseball-related occasions.)

However, this episode’s position right before Requiem—and right before the events of season 8—ends up giving this scene a real bittersweet bite. We know, after Requiem, that they were probably a romantic couple at this time. We know, after Requiem, that this time is going to be their last happy time together for a long while. Later in season 8, we learn that one lingering wish of Scully’s in season 7 is that she wanted to conceive a child with Mulder. And of course we know, after Requiem, that she gets her wish—but with a vicious catch, with a terrible side effect, much like what happens with the jinni’s wishes.

So that’s my academic thesis on that. I know others have pointed out the existence of this type of episode before. What did I miss? Do you think I am wrong to leave out seasons 1, 2, 8, and 9? Why do we think these episodes focus so much on distorted perception? Interested to hear others’ thoughts (if they make it through this lol).

#the x files #x files meta #penultimate partner episodes #wetwired #x files #demons #season 3 x files #season 4 x files #folie à deux #season 5 X files #field trip #season 6 x files #je souhaite #season 7 x files #mulder and scully #fox mulder #dana scully #MSR

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highvern · 15 hours

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Seventeen as Pokemon Trainers

Genre: humor, crack

Note: partially inspired by @ugh-yoongi bts as pokemon gym leaders v fun way to break up the fic im working on. thinking about doing ateez if i get the inspo

m.list

Seungcheol

our leader but also the biggest baby girl. retired champion and uses the same team from his youth to this day. He’ll randomly show up places like some old man, talk about the good old days, and wait for someone to challenge him. The only person whose managed to best him is Jeonghan and his damn clefairy

team: charizard, dragonair, bronzong, spiritomb, lapras, aerodactyl

Jeonghan

If you’re in the woods alone, Jeonghan will approach and ask for help while his pokemon pickpocket you. He likes the cute pokemon and has maxed them all out so he can scam people into battles and oneshot their entire team. Word on the street is his jigglypuff is wanted in multiple countries for tax evasion

team: tinkaton, jigglypuff, espeon, tandemaus, mime jr., clefairy

Joshua

Gym leader and one of the first gyms you encounter. Copied the elite four in the sense that once you enter his gym you can’t leave unless you defeat everyone. Bug types are weak so he makes up for it by being a lunatic. Likes bug pokemon bc they freak people out. He’s more interested in people’s reaction to his team than winning but that doesn’t mean he’ll let up

team: vespiquen, drapion, gardevoir, dustox, parasect, galvantula

Jun

Cats and cat adjacent. He’s literally just some guy that hangs around town and feeds the stray cats in hopes they’ll follow him home. So fars hes be successful. likes to have a staring contest with espurr that usual ends with them both falling asleep with their eyes open.

team: espurr, litten, purugly, glaceon, liepard, delcatty

Hoshi

Gym leader and electric type enthusiast. Arcanine is the exception bc tiger is life. You hear him before you see him and if you do see him it’s probably because he's flying thirty feet in the air from a well timed thunderbolt courtesy of his Jolteon he can’t help but pet when thinking. one of the best gym leaders, also defeated the elite four but by then cheol was champion and hoshi learned a valuable lesson on why you shouldn't brag about winning with a one type team

team: luxray, jolteon, arcanine, electivire, zebstrika, emolga

Wonwoo

All of his pokemon are from when he was an edgy teen and thought they made him look more intimidating because he wanted to be a gym leader. He’s mellowed out now and mostly battles for fun. A lot people think he’s scary but then he opens his mouth and goes on a 45 minute spiel about his absol’s favorite bedtime story and why hydreigon is simply misunderstood

team: hydreigon, absol, garchomp, mismagius, banette, lucario

Woozi

Works out with his team so it's survival of the fittest. People think he’s intimidating because he is but actually very chill. Constantly asked why he doesn’t become a gym leader and the answer is always the same: he doesn’t w4ant to. He is content to sit back and watch Hoshi act like a psycho. Doesn’t really battle much but when he does his opponent is in for a world of hurt.

team: poliwrath, metagross, gallade, gigalith, hariyama, infernape

Seokmin

Every pokemon he has starts with “well its actually a funny story…” dodrio just started following him home and seokmin was too scared to tell it to leave, same with lickilicky… and marill… and pikachu. But they’re basically a captive audience for his shenanigans and he sometimes will busk with chatot and makes a good amount of money

team: meganium, lickilicky, chatot, dodrio, marill, pikachu

Mingyu

Aims for balance. Very bro with his pokemon except Cleffa who is carried around in one of those child wraps. Not on the journey to become champion, more so just wants to see the world with his besties. You can find him sleeping in a cuddle puddle with his team after sitting around the fire and eating too many marshmallows.

team: raichu, empoleon, emboar, tauros, cleffa, steelix

Minghao

Appreciates the beauty of pokemon, especially ghost/dark/fairy. they fit his aesthetic. Has a few randoms to throw people off. You can find him sitting in a field under a full moon while they all meditate or just standing in a cave marveling at the nature (right before he sends you hightailing the way you came)

team: toxicroak, gengar, musharna, murkrow, houndoom, drifblim

Seungkwan

My island boy… also a jock. Not a gym leader but a notoriously difficult trainer you meet later on the beach. His team is as sassy as he is and has no issue KO’ing everyone, including you. Hope you know how to swim!

team: blastoise, lopunny, ambipom, azumarill, milotic, blaziken

Vernon

Average Mr. Chwe. Sometimes he’ll compete in tournaments if he’s bored or one of his friend’s drags him around. His team gets odd looks given he picked a few because they make him laugh but ngl they love him and are shockingly good in battle.

team: sudowoodo, slugma, squirtle, munchlax, mr. rime, combusken

Chan

Living his ash ketchum fantasy. Next champion but Seungcheol keeps threatening to come out of retirement just to fuck with him. Josh sought him out just to KO his team before he even reached the first gym town. Hoshi found him on a random beach and let him win just so when he got to his gym Hoshi could destroy his team several times before Chan managed to land a single attack.

team: ivysaur, ninetales, krookodile, shelgon, gyarados, larvitar

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paellegere · 2 days

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so skin is an episode about being hurt by your loved ones. the allegory is told through the literal torture and murder of girlfriends by a shapeshifter wearing the face of their boyfriends. the psychological aspect is just as important as the physical aspect for this shifter—it's a betrayal, something that will destroy both parties involved and ruin their relationship (if the victim makes it out alive of course).

the shapeshifter takes dean's face: he becomes the boyfriend-murderer, and sam is therefore the girlfriend-victim. it's the first time an episode has itself had an incestuous lining on a thematic level since the pilot (interesting too that the episodes that focus on sam have placed sam and dean in the position of lovers, whereas the dean-focused episodes until now have been more platonic in nature).

throughout the episode, the emotional B story depicts both sam and dean hurting (betraying) the people who trust them. sam, for one, is trying to maintain a relationship with his college friends, but he's lying to them. it also seems like he's not being very communicative with them in the first place, since most of his recent messages are people asking where the hell he even is:

(side note, i love that sam is apparently friends with two people named john and mary. feels weirdly psychosexual)

he hurts rebecca, and zach by proxy, later in the episode by lying to her and contaminating the crime scene. his lying, through the lens of the allegory, is framed as a betrayal of trust—metaphorical abuse and torture.

the shapeshifter also brings up another betrayal: sam leaving for stanford, betraying his brother and stealing his life away by forcing dean into a difficult position where he has to abandon his own dreams so that sam can pursue his.

this is victim blaming. the shifter is hurting people because he thinks they deserve it, because he's the true victim here, because he was shunned from society and treated as a freak. this episode portrays the monster as imprinting on dean, rather than sam or dean imprinting on another character. it's the second time a parallel has been drawn between the monster and one of the brothers, the first being pilot.

the shifter speaks for dean: dean is jealous because sam has friends, a life—and dean is just a freak. the B story of the episode starts with dean telling sam that it's for the best if he cuts his ties with people, and up until this point in the episode dean is portrayed as being unilaterally correct, because sam keeps hurting people as a result of his lying.

but now it's given a different framing. even if what dean has said isn't incorrect, we can see it through a lens of selfishness and jealousy. does dean want sam to give up his life because it's truly for the best? or is it because dean wants what sam has, and he'd rather neither of them have it than watch miserably as sam achieves what he's given up on?

misery loves company.

dean apologizes for what he said at the start of the episode at the end of it, but the shapeshifter dug dean's memories and feelings out from somewhere. because the shifter is imprinting on dean, it's likely that his own experiences are intensifying the secondhand feelings he's receiving from dean, but even if that is the case, there's still something there—it's possible that right now, dean still isn't fully aware of it himself. it's possible that he is and is just trying to bury it.

regardless, we're still getting a rare glimpse into dean's true feelings here, however biased they may be. as dean's fear of abandonment unravels, dean himself is slowly coming undone, and this begins to take on a more prominent part of each episode. the ending scene of phantom traveler, too, is revisited in this same conversation:

if episodes 1-3 are introductory to sam, dean, and john respectively, then episodes 4-6 make an interesting trilogy about dean's fear of abandonment. phantom traveler introduces dean's fears and then reveal a scene at the end where dean perceives john as betraying him. bloody mary, too, includes a scene where dean perceives sam as betraying him by not being open and honest with him about his secret. these events are synthesized in this episode and elaborated on, and the fears that have been underscored through the past two episodes are finally given voice.

anyway, tangent aside, all of this culminates in the blurring of lines between the shapeshifter wearing dean's face and dean himself: there's very little difference between sam's big brother and the monster they're fighting. it helps that they share the same sentiments and anguish toward the world, the same jealousies, the same fears. where does the shifter end and dean begin? how much does the shifter speak for himself, and how much is extrapolated from dean's secondhand feelings?

is dean the real monster in this story?

skin is an episode about being hurt by your loved ones. the shifter takes on the likeness of various women's boyfriends/husbands. there's also an implication toward the episode that the shapeshifter uses this setup to have sex with women he finds attractive:

there is, of course, no real point for the shifter to undergo what appears to be the rather painful process of transforming back into dean after shedding rebecca's skin once he captures sam. except that this episode is about betrayal. the psychological torture is just as important as the physical torture for this shapeshifter. and the shifter finds girls he likes and uses their lovers' faces to destroy them.

dean is the lover. sam is the girl. the lines are clearly drawn here, made stronger by the sheer amount of overlap shared by dean and the shapeshifter. it's important to the shifter that dean is the one who is going to hurt sam, because the connection between sam and dean makes the violence that much more painful.

he says that sam should "appreciate" dean more than he does. it adds to the idea that dean feels "all alone" and that he wants someone to love him. dean's core desire is for family: dean wants his family to love him. he thinks sam doesn't love him, but sam should love him. again sam is blamed for a perceived betrayal, dragging up more and more of the minute details across the last several episodes that point to the emotional distance between them. dean wants those gaps closed, and sam is trying to keep them apart. skin is an episode about being hurt by your loved ones.

just like in the pilot, sam and dean are thrust into overtly romantic positions via the allegorical A story. a monster who has victimized girlfriends is assuming the role of dean and victimizing sam. like in the pilot, the character onto which sam and/or dean imprint is the antagonist, the monster. two lines are crossed in both of these episodes: the boundary between hero and villain, and the boundary between family and incest. doubt is cast on the roles they occupy, and that doubt breeds the gothic anxiety which allows for the nature of sam and dean's relationship, both to each other and to the world, to be questioned.

perhaps then it's only natural that shortly after this episode is where the integral running gag begins and sam and dean start getting mistaken for gay lovers. they stand within the liminal space that separates the acceptable from the taboo, and in doing so they become both, neither, everything all at once: brothers, lovers, boyfriends, girlfriends, tempting and unfaithful and desiring of something they can't have.

sam wants to go home. dean wants someone to love him. in the end, all they have is each other.

(fascinating, i think, how this is the episode where the idea that they're "freaks" is introduced, not only once but twice. very peculiar language)

#liveblogging: supernatural #1.06 #wincest #samdean #sam winchester #dean winchester #this is such a long post but like. how am i gonna write something short about SKIN of all episodes #i'm so not okay about skin it makes me sooooooo crazy. this is my 4th time watching it and it still drives me insane #spn posting #.txt

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ingravinoveritas · 3 days

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irvinis replied to your post “Thinking about the photo from tonight, i almost…”

@ingravinoveritas this may be fanon (canon created by fans), but it fits so well into the daddy/boy dynamic. Michael comes to David's performances with his doors wide open, wearing his best sweater (or baring his arms) and giving a standing ovation: THIS IS MY BOY! And David makes his way to Michael’s performances, wrapped in a scarf up to his eyebrows and sighs quietly in delight from an inconspicuous place in the corner.

@irvinis Ohh...this is tickling a very specific part of my brain. Oh, I love this. In the past I didn't usually go for the daddy/boy dynamic with Michael and David (because I've always seen their relationship as one of equals/switches), but this absolutely fits them like a freaking glove.

We have the picture Georgia posted of David all wrapped up exactly like that, so right away that gives us a visual:

And what you've described goes perfectly with what we saw when Michael went to see Macbeth in December--that white-bright moment of Michael gazing up at David from the audience, and David looking right back at him, captured forever on film and in our hearts. That, in contrast with last night, with David quietly going to the show and doing everything to keep the focus on Michael. David waiting until the lights have dimmed and all eyes are on the stage to let out that little sigh, feeling a shiver of unrestrained happiness work its way through his body as he watches, enraptured, as Michael does the thing he does best.

It's also interesting how this potentially ties into Michael not doing the matinee today. I know we could say it's because he's still recovering from being sick (and that would certainly make sense), but I love the thought that Michael sat out so many performances earlier in the week to make sure he had his strength specifically for last night's performance, because he knew David was coming and wanted to do a good job for him.

I could also see David going to Michael's dressing room after (with thanks to @greeneyed-thestral for planting the seed of that lovely idea) and seeing Michael all enthralled with a post-show high from performing, yet still anxious about how things went--worrying if he was on key for the musical number, if he missed any cues. I can see David slowly backing Michael into the mirror without a word, until the lights frame Michael like a halo. He takes off his ball cap and unravels his scarf in an elegant heap on the dresser, revealing himself, both of them now bare and vulnerable. David grasps either side of Michael's face in his hands, thumb tracing over the crow's feet at the side of Michael's eyes, and smiles softly. He kisses Michael, mouths opening just slightly as the kiss deepens and their tongues meet. Kisses him long enough to quiet Michael's mind, to get the overthinking voice inside to stop.

He is quiet, this David. Always making himself smaller to fit in rooms within rooms, hiding away, keeping the peace. Until Michael. Michael, who somehow had the key to every door. Something in David expands, becomes louder, growing to more than his slender frame could seem to handle, and he pours it into that kiss. A mark of this moment, of Michael bathed in light, of the two of them together and David silently saying, we are here. We are together and I am going to take care of you now.

Oh, yes...I could certainly see that happening. Thank you so much for this delicious prompt on a Saturday morning...

#irvinis #reply post #michael sheen #welsh seduction machine #david tennant #soft scottish hipster gigolo #why does this seem so plausible though #Michael's breath catching in his throat at the kiss #sliding an arm around David's waist to steady himself #both knowing exactly what the other one needs #they are perfect together your honor #fanfic ideas a-brewin'#fanfic #good omens rpf #yes to all of the above #ineffable lovers #discourse

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freudyou · 3 days

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"Make it look like a freak lighting accident"

It’s been years since I’ve revisited Due South, but the @ds30below event sparked my interest again, and I decided to watch a few episodes with my bud @flownwrong to celebrate. We watched three episodes that stuck in my mind the most over the years after being absent from the show for so long: Bird in the Hand, Eclipse, and The Ladies’ Man, and I found all three to be a very rewarding rewatch, even though my memory of the rest of the series is a bit hazy.

Bird in the Hand:

When we started our mini marathon, I didn’t realize that this was the only ep of the three where Fraser’s dad plays a role, and I forgot how solid Pinsent was at pulling comic relief duty. The scene where he popped up demanding that Fraser murder Gerard immediately after Gerard was droning on about how Robert’s dogged nobility was his ultimate downfall had me rolling, as did the bit where he—probably correctly— asserted that Ray would shoot Gerard for him if Fraser really asked him to (aww). One thing in particular about his character that struck me while watching this episode were the moments where he actually interacted with the environment around him in a way that impacted people other than Fraser by implanting the idea to retreat in McFadden’s mind and having Gerard attempt to grab his hand while dangling in the air. In my memory, it was a lot more ambiguous whether Robert was actually a spirit or a figment of Fraser’s imagination, so that ended up being kind of a fun twist for me.

Since the other two episodes we watched were very Ray K centric, I’m glad we did one that had a focus on Fraser’s emotional state. The scene where he confronted Robert about stubbornly refusing help in life and said “I never loved anyone as much as I love you” while Robert was still trying to find ways to derail the conversation is a fan favorite for a reason; it’s a rare, intensely vulnerable moment for Fraser and I really enjoyed the way that Paul Gross pulled back from it a little. In another show with another character, it’s easy to imagine a scene like this being a more blatant, emotional showstopper, with the neglected son saying this in a fit of tearful anger that’s meant to make his father rear back in surprise. Instead, Paul Gross delivers the line in an understated way that’s almost more like puzzled frustration, as if Fraser is trying to piece something together about himself instead, which I thought was a really nice touch to the scene that made it feel very Fraser. I also love the cunning way that Fraser brought it back around just a few minutes later by weaponizing male emotional repression in order to freak out everyone else in the room and gain the upper hand (as well as have an opportunity to annoy Ghost Dad by calling him short) while also delivering some genuine truths: Gerard really did break his heart.

Last but certainly not least, I adore how Ray kept trying to take care of Fraser throughout the episode in his own grumpy, special way. Sure, trying to orchestrate some Fraser-on-Gerard police brutality didn’t end up being the most well received suggestion, but it’s sweet that he acted extra vengeful to make up for Fraser’s dutiful restraint. I also forgot that the “Mentally Deficient” sticker gag and the tape recorder conversation were both in this episode. The Bickering Married Couple vibes between them were always such a classic part of the show, so it was nice to see that on display.

Bird in the Hand really held up strongly against my fond memories of it, and I was a little surprised at how easy it was to slide back into this world and be immersed in it after being away for so long. Sometimes I guess you actually can go back home again.

#due south #ds30below #i will post my observations about Eclipse and The Ladies’ Man separately hopefully either tonight or tomorrow #but i had a blast watching all three #thanks alina!

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jarviscockerssecrethusband · 2 days

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Thinking about Billy who has a special interest in trains and Steve who has a special interest in WHAM and both of them mask the absolute hell out of it. It’s not appropriate or right and Neil would take a significant issue with his son not being right in the head.

And at first they’re wary of each other. For good reason too. But eventually they lighten up. Gradually. Because there’s just these tiny hints that maybe the other boy is like them.

Billy wanted to go on a train on a cross country journey back to California. That’s the last thing he told Steve before he died.

For a bit at least. Then he came back.

And Steve started thinking about being with someone who didn’t think of him as so much of a freak.

So he decided to plan something for Billy. Something romantic.

Maybe a train journey would be nice

@thissortofsorcery ❤️❤️❤️

#billy hargrove #steve harrington #harringrove #autistic billy hargrove #autistic steve harrington

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understandableparadox · 3 days

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Bottom of the barrel isekai reviews:

Todays title: Welcome to demon school iruma

hi, im back, tell a friend.

Anyways we will be looking over something populer, and only a few images this time. I want this to be a nice slide back into the mix while I get ready to boil myself alive by reading shitty isekais.

"b-b-b-b-but dox!" you say, your form emaciated and ghoulish from months of little to no attention "how is it an isekai?"

Normally an isekai requires some form of passage into another world through death, but again, we are going to consider any and all portal fantasies to be on-par with isekais. as death and jumping through a funky portal are really kinda the same thing if you think about it.

so! plot synopsis, we open on the titular character iruma! they are being sold to a demon, don't worry this action will be the literal best thing that has ever happened to them. Also, added treat, slavery is not a running theme in this manga! HURRAY! WE HAVE FOUND OVERCOME THE BARE FUCKING MINIMUM! HUZZAH FOR MEDIOCRITY! MY DESIRE TO RUN MY HEAD THROUGH A ARC OF GONGS UNTIL THE SOUND WAVES LIQUIDATE MY BRAIN MATTER HAS LESSENED!

anyways we get to know some important plot points between the buyer and the product! (our mc)

iruma is a 14 year old yes man. They say yes to everything, even yes to the idea of breaking child labor laws! as their parents are frivolous unimportant freaks that spend way too much money then bolt, leaving him to work off the debt. Anyways, that's how this happened. they wanted dosh, and our buyer, we will call him grandpa!

Why is he so interested in buying a child? simple! He is rich and wants to have a grandson, unfortunately, he does not have a dick due to war injuries... ok thats a lie, he just wants a grand kid.

Anyways this is a very interesting title in the fact that it is still in a way, a power fantasy, but the power in that fantasy is separated towards other things.

It is a story in which you have the power to be helped. The adults in this manga are actual competent adults, they are there for the protection of the children, they are there to guide, nurture, train and help them grow. Despite differences or annoyances some may have, those are secondary to the ferocity they show when it comes to ensuring the protection of their students.

Iruma does have a lot of “i am the chosen one” but it is not something that automatically aids him in most situations, in fact it is the triad of facts of “I am a human”, “I want to help”, “I am determined” that allow him to rise both in power and social standing. The might makes right idealism of the underworld forced to reckon with people that stop to drag someone across the finish line.

As for the plot, it goes along a few separate arcs; there is a very clear progression of time as Iruma gets older. Mostly split into two parts. Irumas social life, in which we get to see him become better and better friends with the students and faculty at this school. Showing both the give and take as they both show how far they are willing to go for each other.

The second half is the mystery and political intrigue of the demonic society at large. The idea of a demon king has gone missing, disciples of which are eager to try and resurrect him as they see no one who is more suitable for the role, opposing forces trying to groom the top students at various schools into the role of king in a contest of disciples.

I think you should give it a read, its cute, the designs are fun and the power system while simple is still enough to give the action that is there a lot of meat. It's also satisfying thing to read if you just got done with a shounen and you are wondering “where the fuck are the adults? Why are these children doing everything?”

Draw backs. Not a lot but some of the students are essentially drawn as adults and there are parts where you will feel slightly skived out by.

#anime #bottom of the barral #isekai #mairimashita! iruma kun

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tw33k-tucker · 16 hours

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Have some Tweek, Craig, and just Creek headcannons !!

• Tweek has a MASSIVE fear of insects, especially spiders, he hates them with his whole heart

• Craig also doesn't like insects but his fear isn't as bad as Tweeks

• Even though Tweek can definitely do it on his own whenever he sees an insect(Or spider) that freaks him out he has Craig kill it for him

• Tweek has woken up/or just randomly noticed spiders on him and that definitely made him even more scared of them

• Tweek likes listening to music on full blast with his headphones on

• Tweek and Craig game together a lot

• Tweeks name on Craig's phone is 'Honey💚'

• Craig's name on Tweeks phone is literally just 'Craig'

• Tweek has separation anxiety and when he hasn't seen Craig for a while/doesn't get a text back from him he freaks out and his mind races to the worst possible situation (Canon)

• Both Craig and Tweek are clingy, Craig is Physically clingy, like, he likes holding Tweeks hand a lot and resting his head on Tweeks shoulder ect. And Tweek is Physically clingy and also the type of clingy where he likes talking to Craig a lot ect.

• Craig likes having Tweek watch Red Racer with him

• He also likes ranting to Tweek about his interests, and an example for that is he likes telling Tweek about Space

And yeah that's it for now, I'll make more Creek Headcannons I'm the future 👍

#south park #craig tucker #tweek tweak #sp creek #creek #craig x tweek #tweek x craig #headcannons

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finalgirlsamwinchester · 1 day

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Thoughts on a potential Sam & Benny relationship? Platonic or otherwise? 👀✨

Hi!!! thank you for asking this hehe. See Benny falls under the category of characters 'assigned' to Dean who personally, to me, also have a lot in common with Sam when you really look beneath the surface (Cas is another character who falls in this camp). And what he has in common with Sam is just. a lot more thematically meaningful to me lol. Also I'm sorry... this is gonna be mostly literary analysis because i'm a real freak who judges ship potential between characters according to ~themes~ 😔

Benny, like Sam, is a character who's born from liminality. He's forced to occupy that space by the nature of his existence, but just like with Sam, his ambiguities aren't allowed to remain within the narrative. I'm using liminal here as a catch-all to cover both the idea of ambiguous identity and ambiguous zones between bordered territories, regions that in essence don't 'belong' anywhere.

Both Benny and Sam are not-monsters. Sam is the human who's never quite human, Benny is the monster who's never quite a monster. It's interesting to me that on a narrative level, Benny has to be 'exorcised' from the story first before the show fully leans into the stable home territory of the Bunker. From that point in the story onwards, any ambiguities in Sam's identity get squashed too. He's forced to occupy a rigid, unquestioned sense of belonging now - to the hunter community and to his family. His monstrous associations are something purely referred to in the past tense (i'm not referring just to the demon blood arc here, but how his soulless and hallucifer arc frame him as something 'dangerous' to the narrative).

Benny's introduction alone renders him a liminal creature, he comes from Purgatory, an 'in-between' realm sandwiched between Earth and Hell, a place of perpetual fighting, journeying and movement. there is no real home to be found in Purgatory. There's no place for rest. And when we learn his backstory, we learn that he was a literal sailor, a monster pirate hunting on open waters. He is a displaced person without a nation, no stable 'home'. The ocean doubles as another form of Purgatory; a liminal space for travellers, where one is always journeying and vulnerable. In that sense, he's a metaphorical double for both Sam and Dean, stuck journeying forever in their car, moving from one liminal space to the next (for them, in the form of motel rooms. there's a great chapter in the book TV Goes To Hell: An Unofficial Roadmap of Supernatural on this).

On a surface level, Benny embodies the type of free, rugged masculinity Dean has always idolised and aspired towards. On one level, he fits neatly into the same category as Gordon, Ketch etc. under the category of guys who just hearken back to John. But the added dimension of him being a non-practising vampire is what ties him to Sam, and what makes him an engaging side character to me. (Like, the literal denying-themselves-of-blood of it all). Real belonging will always come at the cost of erasing some integral part of who they are, a part of them that marks them as non-human.

Benny's brief subplot also directly mirrors Sam's arc in early s8 - both of them try to settle down and try and place roots. For Benny, it's with a descendent in Louisiana (a migrant trying to reconnect with his roots? [sniper on the roof takes me ou-]). But for the both of them, Dean is the ghost of hunting who disrupts this false, temporary sense of settlement. For Sam, it's Dean's return from Purgatory that pulls him away from a 'false' peace. For Benny, it's his association with Dean that draws hunters upon him (through Dean comes Sam, then Martin). Hunting in Supernatural is the boundary enforcer, the border police, the violent vigilantism that draws strict lines in the sand between humanness and monstrosity - a functional metaphor also for the ways we define who gets to be considered a citizen vs. an illegal alien.

(Also all of this fits into a meta I'm currently trying to write where I'm parsing my own feelings on why Sam's isolation/ambiguity resonates so particularly with dilemmas around identity and isolation as an immigrant child of migrants, compared to a character like Dean. So a bookmark here for further meta on a deeper reading into migrant narratives present in Benny + Sam's arcs?)

tldr; imagine if there was a single person of colour in the Supernatural writer's room (lol) damn what could've been!

#sambenny? kinda #this is very rambly and incoherent afsldkf #me banging on pots and pans: benny lafitte!! refugee metaphor!!!!! asylum seeker metaphor!!!!!!!!!#also somehow. this fits into yesterday and today's samweek themes ahah #damn what could've been! also applies to the lost potential of the sam + kevin dynamic too 😔#asks #my meta #j.txt

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