Only Friends: EP8 Sand & Ray's 'Never Friends' Scene
I wanted to do a deep dive into this scene, because it really exceeded my expectations. It sets the tone beautifully for Sand's current state of mind, and First delivers such a wonderful, nuanced performance here. Easily one of my favourite Ray/Sand interactions yet.
Sand is looking noticeably weary after witnessing Ray and Mew dancing in the bar. The poor boy just looks so tired and dejected, as if he's carrying the weight of the world on his shoulders. Unfortunately for him, the bar is where he works so he's not able to avoid being in a place Ray and Mew frequent together.
Ray approaches and tries to behave as he normally would. He asks to borrow Sand's lighter, a little call back to Episode 1. The camera lingers on Ray's reaction when Sand simply hands it over. Another nod to where Sand had lit his cigarette for him previously. A split second detail, a very clear message: 'It's not my role to take care of you anymore. You have someone else for that now'.
Sand being Sand, is still concerned about how Ray is doing and asks about his arm. They fall into a little routine patter before Sand gets straight to the point. I give him such kudos for doing this, for choosing not to skirt around the subject but confront it head on. Besides, it's not as if avoiding it is going to make it hurt any less. "So what's going on between you and Mew?" Sand frames it as a question, because he wants to hear it from Ray himself. It's the least he deserves. There's also a challenging air in the way Sand looks at Ray with his eyebrows slightly raised. 'Humor me. And don't lie.'
Ray looks visibly uncomfortable and hesitant. I do believe Ray exhibits a conscience where Sand is concerned. He at least has the decency to feel guilty. I think he was hoping they could continue 'as normal' for a little while longer, so he wouldn't have to tackle this difficult conversation. Ray's wordless reaction gives Sand all the confirmation he needs.
Before Ray has anything to say, Sand jumps in with, "Congrats, you're no longer in the friend zone." The way he says this feels 100% genuine. I do think that Sand wishes the best for Ray, because he's in exactly the same position as Ray once was - pining after someone who doesn't return his feelings. So he gets it. He can acknowledge how nice it must be for Ray to finally be reciprocated. This is an example of Sand's 'if you're happy, I'm happy for you' response, because it means the attention is deflected off him.
What Ray says next is also quite telling. He's says things are good but it's very early days, and they're essentially seeing how it goes. "It's okay." Note how Ray doesn't gush or seem particularly animated. A few brief but fairly non-descriptive comments. You'd expect him to be over the moon. I feel like this is Ray's attempt to be minimise the damage by downplaying things. He doesn't want to overly dwell or flaunt his happiness in Sand's face. I also believe there's a degree of honesty here, that Ray has some genuine reservations about Mew and their future as a couple, (that perhaps he's been trying to ignore).
The next few lines absolutely gutted me. "Good, you can finally end the secret crush. Such a waste of time, right?" 'Good for you, you're no longer suffering (like I am)'. When Sand talks about a waste of time, he's referring to himself. 'At least you no longer have to kill time with me, when you really wanted to be with Mew, what a relief that must be.' Sand is massively self-deprecating here. The time they spent together was not special. It didn't have the same meaning to Ray as it did to Sand. Everything he did was meaningless in context because he thinks Ray was simply 'settling for second best' in the meantime. Sand often uses this tone to imply his own foolishness. For continuing to care so much for Ray when he's getting nothing back.
Ray then asks "Are you okay?" I've noticed that when Ray poses this question, he's not really asking. He already knows or he wouldn't ask in the first place. He's basically saying, 'You're not okay but tell me why', allowing Sand to further divulge. However, Sand is never going to give a honest answer to that question. He's always putting on a brave face and pretending to be okay even when he clearly isn't.
Sand then comes back with his classic, "Why wouldn't I be?" "You're seeing someone you've always loved. It's a dream come true." Not a single thing Sand is saying is about his own feelings. His own pain. His own turmoil. He's purposely shifting the focus to Ray, 'well you're happy so I don't matter. It's your dream come true, so my feelings aren't part of this equation' - which just breaks my goddamn heart. 'Who cares what I feel or think about this. I get no say.'
Ray ponders for a second or two. You can tell he's at a loss as to how to salvage things with Sand without losing him completely. So he offers the next best thing he can, in order to still keep Sand around. "Can we still be friends?" Which means, 'I still want to spend time with you. I still want you to be part of my life'. And Ray's face is full of hopeful naïveté that Sand will agree (this boy really has no idea how agonising that would be). For Sand, this is like adding insult to injury. 'Friends' has no clear definition in Ray's terms, and Sand is wary of Ray's tendency to blur that line. So Ray asking him if they can still be friends doesn't really mean anything, which prompts Sand's "You and I have never been friends from the get-go". 'We need to stop fooling ourselves that what we were doing was ever friendship. I've woken up, you need to too'. Sand is not prepared to participate in muddying the waters, especially now Ray is dating someone. It's not fair to anyone involved.
"We have nothing in common. Besides, I don't know why I should be friends with you." This is probably the harshest thing Sand says in this entire conversation. He's very pointedly trying to create distance. Despite evidence to the contrary, he's alluding to differences between them that should justify that distance, justify him pulling away. Sand is just so resigned and matter of fact about all this because he knows there's nothing Ray can say to refute his thinking. It's all far too late anyway.
Ray displays a moment of slight panic and he's clearly thrown by this. 'It's not like that. Don't reduce it to that'. One thing we can be sure of is it upsets Ray to imagine no longer having any connection to Sand. This indicates to me that Ray does value Sand in his own way. Right now he just has no idea what he can offer to keep Sand close to him, because there is no legitimate reason for doing so since he now has Mew.
As a form of consolation, or perhaps a last ditch attempt to tug on Sand's heart strings, he admits, "but when I'm with you, I'm so damn happy." Ray means well by saying this, as in you make me happy. 'That's got to mean something, right?' But by phrasing it this way, it comes across as he's making this all about him. Sand is desperately searching for evidence to prove Ray does care about him, and he keeps coming up empty. He's run out of reasons to stick around anymore. And Ray's not saying the right things to prove him wrong.
Sand deflects again. '(So what if I might make you happy?) You'll be happy with Mew too. I'm nothing special. You'll get to spend time with him in the same way we did'. "You might even be happier," said with a smile no less. Another absolutely gut wrenching line. Sand's sadness clears briefly and he looks sincerely like he wishes Ray the best. It almost feels like a farewell of sorts. 'He'll make you happier than I did. Because I'm not good enough. I'm not what you want.' This is yet further indication that Sand doesn't think he's left any lasting impression on Ray. Whatever they shared with one another, Ray can easily replicate with Mew instead. He's easily replaceable.
Ray reaches out to stop Sand from walking away. Ray is conflicted. He feels regretful over Sand, which he shouldn't be feeling. He's worried that this time Sand is really slipping from his fingers, and there's nothing he can do about it. Because what's done is done. He chose Mew. So what else is there to say?
Sand follows up with, "Let me go already." 'Stop torturing me. Stop giving me false hope when you've already made your choice. Forget me so you can continue being happy and I can move on. Don't make this difficult for me.' Even in this line, I can hear Sand's care for Ray permeating through it. Sand knows he's isn't what Ray wants. He can make Ray happy but not happy enough to choose him. So the best he can do is to send Ray on his way, and to wish him well. All he asks is for Ray to return the favour, and leave him alone to heal. Akin to his addiction, Sand is telling Ray that he needs to let go from clinging to him like a crutch. Because the only purpose he serves is a crutch and nothing more.
He wants Ray to want him for him, and not as a safety net. Not because he provides Ray with some form of temporary comfort or company. Not because he's a means to pass the time.
Why I adore this scene so much is due to the enormous strength and kindness Sand displays here. He could have been much colder with Ray. He could have been petty, outraged, bitter, resentful. But you truly sense his helpless love for Ray throughout the entire interaction. He's still trying to deliver his message in the most considerate way he can manage. He firmly holds his ground but without any malice. 'The tragedy is I can't help but love you, despite what you've done to me'.
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"It's okay, Khalan. I'm right here. You're safe."
some Pain based on a few new developments within the SMP story. got a decently long explanation under the cut, for anyone interested.
so @cookieg122 and I decided that Khalan and Aya eventually find themselves in Aya's home dimension - a world ruled by a race of powerful fairies who are hell-bent on eternal conquest and proudly declare their Empire as the strongest in all of the galaxy. Aya was their princess, having disappeared under mysterious circumstances (aka when she arrived in Drehmal), and her older brother had been searching for her ever since.
her sudden return ended up placing Khalan under suspicion though - as Aya's brother wrongly assumed that Khalan was responsible for "kidnapping" Aya and had him arrested as a result;; the corrupt king also got involved, hearing terrible rumors that were quickly circulating about Khalan and believing that he had hurt his daughter, so he made the swift decision to have Khalan publicly executed the next morning as a way to make an example out of him to his subjects and remind them of what happens if they step out of line and threaten the royal family.
so of course Aya saves him!!!! she convinces her brother that Khalan is innocent so he also helps out with the rescue, and between the two of them they manage to stand up to their dad and save Khalan from a terrible fate ;n;;
there's like. so SO much more to this concept that I can't really explain, but that's roughly what's going on within the feelsy art here;; I kept thinking of just. the intense emotions happening within that moment, of Aya stepping up and taking on the role of comforter even though that's normally Khalan's thing. role reversal tropes always get me, and tbh Khalan just needs a moment to break down and process just how terrifying that whole situation was before he can help Aya deal with everything too;;
srry this got long, I wasn't sure how else to explain this pic without going into some detail. but I hope y'all can appreciate the feels anyway ;o;
Aya Armas belongs to @cookieg122
also on deviantart
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Jonathan Byers This Is An Intervention
“You’re not happy here.”
Jonathan looks up, startled. Will stands in the doorway with his arms crossed. They’re alone in the house, El hanging out with Max and their mom on a date with Hopper. They had to practically shove her out the door before she’d leave, rambling a list of phone numbers and where to find them, as well as reminding them where the leftovers were.
“We know, Mom,” he and Will had chorused, and permitted her to pull them down for one last kiss on the cheek before closing the door on her. Hopper just watched in amusement.
He and Will had eaten dinner before separating to work on their projects, Will with a dnd campaign idea and Jonathan cleaning his camera out. It has more dust than it should, having been sitting in his closet unused for too long. It makes something in him ache, but he can’t make himself pick it up again. There’s something blocking him.
“What?”
“You’re not happy here,” Will repeats. “In Hawkins.”
“It’s Hawkins,” he points out. Being unhappy is a given. He’s always known it sucks here, from the way people treated his mom to the rumors that always flew around when he made his way through the halls. The way they’ve treated Will. He hated this town long before interdimensional monsters factored in.
Will’s frown gets deeper. “I’m happy,” he points out. “Mom’s happy. El and Hopper are happy. We actually have friends here.”
“I have friends,” Jonathan protests, slightly offended. He and Argyle call multiple times a week. He and Nancy are still good friends, and Steve and Robin are slowly growing on him. In a surprising turn of events, Eddie is the person his age he talks to the least, but it makes sense when he thinks about it. Eddie’s brand of freak has always been loud and dramatic, half relying on shock value. Jonathan prefers the quiet.
“When was the last time you actually hung out with someone that wasn’t me?”
Is that what this is about? Something in his heart sinks at the idea that Will doesn’t think he’s enough. “I like hanging out with you. You’re the coolest person I know,” he says, shifting over and patting the bed next to him.
Will sits down with a huff that sounds very fifteen-year-old of him. He’s glad he’s getting to be a kid. “You’re not listening to me,” he complains.
“Then what are you trying to say?”
Will won’t meet his eye, suddenly nervous. “Everyone your age here is leaving,” he says quietly. “Nancy is going to Emerson soon, Steve and Robin are going to Chicago, and Eddie…uh, I don’t know his plans, exactly, he might be going with them. He’s not staying here, anyway. And Argyle is on the other side of the country. So all the people you’re friends with are leaving.”
“They are,” he agrees, laying what he hopes is a soothing hand on Will’s shoulder, “but you know I’m not leaving you, right? I’m not leaving you and Mom.”
Will squeezes his eyes shut. “Maybe you should.”
It feels like ice water being poured over his head.
Something in his stomach twists uncomfortably at the idea of calling Hopper his dad. He doesn’t know if he’s ever going to. He doesn’t even know if Hopper would want him to. But “dad” is always a word he’s associated with bruises and yelling, the stink of whiskey and a gun in his small, shaking hands. Jim Hopper, with his gruff, fumbling way affection and sweet smiles at his daughter will never fit his version of the word.
“You’re not my dad,” Will says. “You’re my older brother, you should be my brother. You should be moving away and going to college and living your life! You shouldn’t be stuck here because of me.” He seems near tears now, and Jonathan flounders. He’s always been pretty good at making Will feel better, but now it’s different. Now it’s him making his little brother upset.
Will takes a deep, stabilizing breath.
“You’re not my dad,” he says again. “You shouldn’t have to be my dad.”
“I wasn’t trying to be,” he says weakly.
“You’re doing a better job than he ever did.”
“Okay, then how should we start?”
“You could tell me why we’re always running out of tylenol.”
He didn’t even realize anyone noticed that. He’s been replacing it before it was even empty.
The words stick in his throat, reluctant to come out. But he promised. He promised he’d tell him, and he hates to break a promise to Will.
“It’s my back,” he admits. “My boss hit me with a chair, and it hurts all the time now. I used to smoke it away, but…”
He smoked a little too much. He was too reliant on it. He was being neglectful. The reasons stay on the tip of his tongue, unable to admit his shortcomings.
Unfortunately, Will takes it another way. “You stopped because of me.”
“No!”
“Why didn’t you tell me? Or Mom? We can go to the doctor now, we have insurance.”
“I know.”
“Then why didn’t you go? Why can’t you just take care of yourself?”
“It’s just a little back pain,” he defends, “it’s not a big deal.”
It’s really not. It’s practically nothing compared to what some of their friends ended up with. Will has respiratory problems, Eddie uses a cane now, Max is in a wheelchair and her eyes might never work again. Not to mention Steve’s mix of migraines, glasses, hearing loss, and scars he’s accumulated over the years that put Jonathan’s to shame. His issues pale in comparison.
“It is when you take as many painkillers as you do! You’re going to eat holes in your stomach.”
“If I get an ulcer, it’ll be because I know there’s another world out there full of things that want to kill us,” he says, poking Will in the stomach. He giggles, and then looks mad about it.
“It’s been a long time since I’ve seen you actually happy. I feel like it’s my fault.”
What does he say to that? It can’t be your fault, because I don’t remember the last time I was happy like that? I felt like this long before you went missing? Anything he says will make him worry more.
“It’s not your fault,” he finally settles on.
“But if I hadn’t disappeared—“
“I would still feel like this,” he says, because he has to. He can’t stand the idea of Will thinking it’s his fault when the truth is that something has been wrong with Jonathan for a long, long time. “It’s not because of the Upside-Down, bud. It’s not something you can fix. I’m pretty sure I’m just…like this.”
He’s had moments of happiness, obviously. Sometimes he’ll get days, or even weeks, where he genuinely looks forward to the future. When he was in California with Argyle, he felt even better. But eventually, the heaviness in his chest always comes back. It’s just something he knows how to live with now.
Will sits up, glaring at him. “That’s bullshit!”
“It’s just how it is.”
He squares his shoulders, a telltale sign that Jonathan isn’t going to like whatever he says next. “Mom and I think you should see a therapist.”
Jonathan really doesn’t like that. “You’ve been talking to Mom about this?”
“She’s worried about you!”
“She shouldn’t be!” He’s almost offended. He’s been taking care of himself for years. He was taking care of her for years. “I’m fine! I know how to live with it!”
“I haven’t seen you smile for real in two months!”
“I’m fine!” He snaps again, and immediately regrets it. Will’s lower lip trembles.
“You’re not fine,” he says. “You’re not. Don’t lie to me, Jonathan. You just said you weren’t going to lie to me.”
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Listen, although I do find it pretty exciting to see Kendall entering his Evil Era and actually becoming a killer, I can’t stop thinking about the consequences of him leaking all the shitty mud information they have on Logan. Like yeah, PR-wise that might be a great idea, it might actually solidify his position as a CEO (and he is obviously going to try and fuck up Matsson deal and take over the Waystar - I don’t know why he would want to captain the fucking sinking Titanic, but okay). But on the other hand, all the dirt coming out about Logan will be potentially catastrophic for Roman. Apart from the fact that Kendall is very clearly betraying his brother, literally like 5 seconds after he preached about them being a team; Roman will very likely suffer the most if stuff about Logan being an abusive father comes out.
First, it will flip his whole viewpoint upside down - he is so deep in denial and so trauma-bonded to Logan that he doesn’t even acknowledge his abuse, not even when in happens in real time. He doesn’t want to see his father as a monster and as his abuser, because that would actually require him to accept that he was a victim, that he was this beaten dog that everyone already sees him as (to one degree or another). Not to mention all the lies he tells himself about Logan and him being a good dad will go straight down the drain, and can you imagine what happens when something you believed for 40-or-so years cracks down in front of you? Kendall is about to break his reality.
Another aspect is that exposing Roman’s abuse to the whole world will likely destroy any and all opportunities that Roman ever had when it comes to rising to power (even if I’m unsure how much he actually cares about becoming a CEO). He might get some sympathy points, although I very much doubt that he will ever accept that form of pity from anyone. His image will be forever tainted and solidified as “the abused one” or the “one that was hit by his dad”. Can you imagine Roman’s reaction when that whole shitshow leaks? He does say at some point in the preview that he is finished, and although it might allude to Gerri putting out the whole dick pic situation, it might also very well be that his public image will forever now revolve around how his dad hit and abused him (his dad who was essentially his god in more than one way, who he was, and is trauma bonded to, who he came back to time and time again).
Kendall has a tendency of using his siblings trauma to forward his own position (even when he wanted to one up Logan in episode 2 by bringing up Roman’s and Connor’s trauma) and this is no different. But it’s a very easy way for him to blow up whatever alliance was ever between sibs. So yeah, I think Kendall as a killer is a great thing to watch, but also… well, Roman girl in me is already screaming in the void from the possible pain we might come to watch unravel in real time.
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