thinking abt how we never saw eddie and a*a kiss, never saw the physical aspect of their relationship, just the dry ass emotional aspect. also thinking abt how we ONLY see the physical aspect of buck and taylor's relationship and the few glimpses of emotional intimacy consist of taylor wildly misinterpreting what buck needs to hear. thinking abt how the views of buck and eddies respective relationships are the opposite but also so similar, lacking any form of true intimacy, any emotional connection. thinking thoughts
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emma i HAVE to know more about salad theory from last night's ep. what does it MEAN??
listen i have been thinking about this all day (rip to my job) and essentially what i have landed on is
originally, i posited that salad is linked to tension between ana/eddie/christopher/buck, but i think the appearances of salad since then show that we can narrow this theory down to the fact that the salad really does represent specifically the buddie of it all.
so the previous observations about 4x08 and 5x02 still hold true, the significance is just altered a little. the salad bowl is broken out of not general wrongness but specifically the fact that it's not buddie. the blackout salads are still extremely questionable choices, but they're also questionable specifically because the wrong person brings them.
(and as a quick refresher, in 5x03 we see eddieana break up over fruit salad, more specifically canned fruit salad, which is very easy to read as a metaphor for repressed queerness)
(5x04, to the best of my memory, contains no salad)
so with this slightly altered theory in mind, in 5x05 we see salad twice:
once during the dinner table scene, where
eddie reaches for the salad and moves it from the center of the table to his side when buck starts talking
so this entire conversation is happening, you know, right in front of his salad
wait i'm going to lose my mind actually
the salad is only ever in frame when the camera is facing eddie
except when he says he told chimney that going after maddie is the right thing to do, and the shot cuts off just above the salad (compare below)
effectively, the salad is only in frame when the conversation is actually about buck.
also when eddie says "you're stuck with us" he grabs the table and basically brackets the salad with his hands so... make of that what you will
what i am getting at here is that the salad in this scene is a visual representation of honestly, buck, did you really think you were going to just transfer right on out of there? this man has a legal document tying you to his family. he's not about to let you out of his sight.
there was also absolutely no reason for eddie to do any of this. could have easily done this whole conversation without eddie first positioning the salad directly in front of him. and yet that is a choice that somebody made.
the second time is... let's be honest it's practically a direct parallel to the fruit salad of the eddieana breakup. like idk about you but that sure looks like a pre-packaged fruit salad to me, with the plastic bowl and everything.
and so if we're sticking with the fruit metaphor, there's all kinds of things the plastic packaging and the ready-made assembly-line nature of the fruit salad could represent
artificiality, for one
the dichotomy of the mass-produced/cookie-cutter vs individual/custom-made etc, which is an allegory for suitability
you could think of being packaged in plastic as being akin to doing something for show and for the display of it all
you know, like you might do if you were dating someone because you're in denial and/or not aware that you're in love with someone else
that's all i've got on salad this week, tune in after next episode for *checks notes* haunted salad?? can't fucken wait
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Eddie tried really hard to love and accept the idea of Ana. He told her so too when he said that he thought he could “love the idea of us.” It’s because it’s a concept that isn’t reality for him. It’s a mere fantasy that he tried so hard to grasp. But he was unable to no matter how hard he tried. Because there was already someone who fulfilled that role in his life/heart. Eddie has no problem accepting Buck as a part of his life. He’s mentioned multiple times, in confident the word “us”. Not the idea of them no, but the actual reality where they exist together. He uses that world because he knows they’re partners, a team, two halves of the same soul. That’s why every time he utters the word “us” when he talks about himself and Buck, I think it’s important to note the underlying meaning behind it.
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Store clerk: oh what an adorable happy hetero family you have!
Eddie: *strokes out*
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in which, Eddie and Chris actually talk to each other and our boy does not pull punches. technically speculation for 5x03
“Hey, can we talk for a second?”
Chris looks up from his book, the camp light beside him throwing weird shadows across his face that make him look so much older than eleven. If Eddie thinks about that too hard, it’s going to break him.
Break him more.
“What’s wrong?” Chris asks.
“Nothing’s—” But that’s just not true, is it. Eddie sighs and sits down on the foot of Chris’s bed. “It’s about Ana.”
Chris just stares at him, waiting for Eddie to continue.
“I’ve been thinking,” Eddie starts, slow while he tries to put the words together in a way that’ll make sense to an eleven-year-old. “I’ve been doing a lot of thinking. And I have to break up with her.”
He braces himself for the explosion, the broken salad bowl all over again, the running away.
He doesn’t know what to do with himself when Chris’s response is a level, even, “Oh. Okay.”
He keeps talking before he’s really processed Chris’s non-reaction, because it had taken him so long to get the words right in his own head.
“Because I don’t love her, and I don’t think I’m ever going to, and it’s not fair to her to do that to her. And I know you’ve liked having her around, and that you like spending time with her, and if you want to be friends with her, that’s—you—what do you mean ‘okay’?”
“No, no shrugging,” Eddie says. He squeezes Chris’s foot under the bedsheet and gets the tiniest hint of a grin in response. It fades just as quickly. “What do you mean ‘okay’? I thought you liked Ana.”
“She was my favourite teacher,” Chris confirms. “And it’s been nice having her around sometimes since I didn’t get to see any of my friends during quarantine.”
The unsaid “but” echoes in Chris’s bedroom. Eddie waits for him to say it, and when he doesn’t, he squeezes Christopher’s foot again.
“But?” Eddie prompts.
Chris shrugs again.
“I didn’t want to say anything because she’s nice and I thought you liked having her around,” Christopher says, completely avoiding Eddie’s eyes. “But sometimes, some of the stuff she says reminds me of Grandma.”
Before Eddie can even begin to process the instant bile that goes along with the “oh god I’ve been dating my mother” of it all, Chris continues.
“And I love Grandma! And I know she loves me! But, I don’t know, sometimes it feels like she thinks I can’t do anything,” he says. “And sometimes it feels like that with Ana too.”
“Why didn’t you say anything?” Eddie asks. He doesn’t know how successful he is at choking down his horror. He hasn’t been very good at swallowing back any emotions these days.
“Because I thought you liked her,” Chris says. “And I want you to be happy, Dad.”
“I thought me dating her made you happy,” Eddie replies.
“It doesn’t make me unhappy,” Chris says, which is at least something of a relief. “But I don’t understand why you can’t date someone who makes both of us happy. Like Buck.”
Eddie’s pretty sure he’s going to need 5-7 business days to recover from this conversation.
“Buck dating Taylor makes you happy?” Eddie asks.
Chris rolls his eyes and looks so much like a teenager, Eddie kind of wants to run and find a way to time travel so he can make his kid be a little kid again.
It would get him out of this conversation at least.
“No,” Chris says. “I mean, you could date someone who makes you happy and makes me happy. Someone like Buck.”
Eddie doesn’t know how long he sits there, slack-jawed, but it’s long enough Christopher has to lean over and tap him on the shoulder to break him out of it.
“Buddy, that’s not — Buck and I aren’t — I’m not—”
“It would be okay if you were,” Chris says, and if Eddie has to hear an entire it’s okay to be gay speech from his child, he might have to check himself back into the cardiology ward. “And I always like having Buck around, so you wouldn’t have to worry about that part.”
It feels a little like his life flashing before his eyes.
Dropping Christopher off at Buck’s loft before the tsunami.
After, telling him there’s no one in the world Eddie trusts more with his son.
This is my kind of therapy.
Putting Buck in the will.
This is what I want for him.
All the time Buck had spent with Christopher while Eddie was recovering. Hell, all the time he’d spent with Eddie.
Of course he can’t handle a pre-fab, just-add-water, ready-made family with Ana. How the hell is she supposed to fit when he’s already built an entire family, a real one, an unbreakable one, with Buck?
“Too bad he has a girlfriend,” Chris says, and there’s something just a little teasing about it, like he might have noticed the disgust on Eddie’s face when he mentioned Buck and Taylor.
“Yeah, well, right now so do I,” Eddie replies, and when Chris grins at him, Eddie thinks that he might, somehow, have just followed all of Eddie’s internal processing. Or, at least, the broad strokes of it. “One problem at a time, okay?”
And now, he’s just got to rip the bandaid off. That part, at least, should be easy.
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Buck when he realized Eddie was about to end his relationship
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5.02 but it's (mostly) just the eddieana memes
image 1: meme of a man and woman kissing and third guy holding balloons standing behind him. the man and woman are edited to say "buck" and "eddie" and the balloon guy is edited to say "ana"
image 2: the "is this a pigeon?" meme, but the guy is edited to say "eddie", the butterfly is edited to say "admiting he doesn't love his girlfriend", and the text is edited to say "is this a healthy relationship?"
image 3: an uno card that is edited to say "break up with your girlfriend or draw 25." the second panel shows a man holding several uno cards with eddie's name edited on him.
image 4: the two strong men shaking hands meme. the left arm is edited to say "the zoo animals" and the right arm is edited to say "the helicopter". in the middle it says "being most of the promo material, but only being in the episode for, like, five minutes."
image 5: meme of grant gustin standing over his own grave. the gravestone is edited to say "eddieana" and grant gustin is edited to say "buck"
image 6: meme template of a man holding a knife to another man's throat while the man being held screams. a third guy is sitting in the background, looking unbothered. the man with the knife is edited to say "ravi calling ana [eddie's] wife", the man being held is edited to say "eddie" and the unbothered guy is edited to say "buck"
image 7: meme template of a man looking happy, followed by a panel of him looking disappointed. in the happy panel the text says "buck and eddie heart to heart" and the text in the disappointed panel says "eddie not crying in his tank top"
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YOU HEAR THAT BITCHES
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when Ana doesn’t come back in season 5 bc she and Eddie broke up during the time jump and Eddie says she “wasn’t what I wanted” and that “getting shot put a lot into perspective” while the camera follows his line of sight right to Buck, what then???
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Something about Buck’s little smile when Eddie said he doesn’t know what to say to Ana
Something about “honey I’m home” said to an empty bed while Taylor works
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a unified theory of salad
bearing in mind that this is crack-adjacent at best, here are the collected thoughts of salad theory so far
first of all, the only two times that there is tension between all four of eddie/ana/christopher/buck in one incident are linked to salad. (can't even say 'the only two times they interact' because they literally don't. it's wild. eddie how did you think this was gonna work out.)
in 4x08, christopher is making salad when eddie tells him about ana, and he proceeds to break the salad bowl before running away to buck. (and like... there was no reason to draw so much attention to the fact that it was salad specifically and yet they did that)
then in 5x02 ana and christopher bring salad to the station and end up in one of the most spectacularly awkward interactions in the history of television. (or non-interactions really since buck literally does not look at ana)
so now that we've set the scene (mise en place, if you will), what does it all mean?
(nothing. it means nothing. but also:)
right in front of my salad, you know, the meme about things you find disturbing or perturbing. just took that bitch from subtext to text, huh.
as pointed out by this anon, salad is a side dish.
ana decides to bring food to the station with little to no power and decides on salad, which as pointed out by @911firefox seems like a strange choice to bring to a bunch of firefighters on duty. you know, people with extremely physical jobs who probably need to eat a lot.
not only that, but bean salad and tuna salad?? in a heatwave in a blackout when the station is full of people?? are you trying to power the generators with firefighter flatulence??
and so if we wanted to assign significance to the salad (which, clearly, is exactly what we are doing) it could be seen as a comment on ana's suitability/how she fits in/her understanding of eddie's wants or needs/etc.
also this anon's point about how buck and ana are both textually established to be good cooks, so having her bring weird food choices does sort of serve to put them in direct contrast
as @beecauseevan pointed out, eddie's excuse to gtfo was to put the salad in the fridge. the fridge that bobby has just told us does not work. in case we weren't clear that it was an excuse.
(but if ana is the salad then there are some implications about fridging. and like, extreme versions of fridging include murder/injury/etc. so i really hope it's not going there, but fridging does also basically mean 'removing a female character in order to move a male character's story arc along' which... sounds familiar. but just please let's do it without the misogynistic violence.)
(also, because i cannot turn off my linguistics brain, i latched on to the fact that ana said "salad-salad". last episode we talked about word choices and contexts where they're usually used regarding repression and sexuality, and where do we frequently find salad-salad reduplication aka contrastive focus reduplication? (which, fun fact, was originally published in a paper referred to as "the salad-salad paper") distinguishing liking someone from like-liking them. and she hesitates before saying "just, uh, salad-salad." probably means nothing but i sure do think it's interesting!)
(for legal reasons this is mostly a joke but it also makes more sense than i originally intended it to)
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Maybe i wasn’t paying attention enough, but wasn’t the power out at the firehouse? So where did Eddie go with the salads anyway? Wouldn’t the refrigerator not be working?
He threw them into the trash bin along with his heterosexuality.
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suit store meta
okay buckle up. i rewatched the clip and some of the premiere again because, like i said, there was SO much we were given here it’s unreal. i’m gonna write meta for other parts of the episode, but this scene is just. *chef’s kiss*
first, let’s define what the suit represents for the purposes of the narrative:
to be concise, it seems to be a sort of physical manifestation of the traditional family and their traditional roles within that structure.
i. (pool scene)
we’re “introduced” to the suit shopping scene with the firefam. eddie mentions that “[chris] even agreed to let [eddie] buy him a new suit.” so, at this stage, we’re not exactly being led to believe that chris is going to behave any differently than just a regular tween who has to go clothes shopping with their parent.
however! the part that was particularly notable about this scene—or, rather, the dialogue that was notable was when eddie mentions that the old suit is something chris had outgrown. and (even more notably!) he says that the last time chris wore that suit was for shannon’s funeral. there’s several things i want to comment on with respect to both these statements.
grief does this thing where you have very specific associations with objects or events and everything is shoved post or pre-[loved one’s death]. i think that, to some degree, that was the sentiment the dialogue was referencing.
with respect to eddie’s current relationship status, i think both those lines (working in tandem) demonstrate that chris is ready for a new stage in his and his father’s life. he’s outgrown needing the traditional structure with the picture-perfect mom and dad figures, and he’s ready to move forward.
ii. (suit store)
the things that hits you in the face here, first of all, is that this “new suit” that ana chose for eddie appears to be nearly identical to the one that eddie wore when he was proposing to shannon again (and she wanted to divorce him in that same dinner).
to contrast, eddie wore a different suit in s2 when he was getting interviewed for christopher’s school. as such, i don’t think this is like. the only suit that eddie owns but a clear reference to where he simply is not on the same page as the woman standing in front of him.
i would also like to note, as an aside, that in 4x13 when eddie was fluffing up the pillows before carla came over, he says that he “wants everything to be perfect” and asks “how does it look” (or something to that degree) and ana responds “it looks .... exactly the same?” hmm...
now for the actual cinematography and dialogue:
the first shot of ana and eddie is with eddie standing in front of a mirror with ana behind him.
the other times that 911 has used mirrors: maddie is looking in a mirror when speaking to chimney, and we’re getting hints that she’s developing ppd.
additionally, when buck is washing the engine in buck begins, and maddie is looking at him through it.
based off of these reference points (in trying to understand how 911 specifically chooses to use mirrors), i believe that they’re meant to represent a point a character’s arc when they need to self-reflect as a result of being disingenuous with themselves. mirrors portray false images.
while looking in the mirror, eddie says “i’m not the one supposed to be getting a new suit today.” there’s an additional statement that eddie makes where he says “you really love getting me dressed up, don’t you?”
in threading through the symbolism we’ve attached for both the mirrors and the suit, it seems that ana is putting eddie into a “traditional” role, and he needs to open his eyes and actually see what’s going on. he has done a piss poor job of acknowledging his emotional state in this relationship, and now it’s finally time for him to do so. other things to note about his disposition:
he acquiesces to ana’s decision to get a new suit in the first place (although he seems hesitant... he’s always unsure around her. See post-anxiety attack scene with cardiologist)
he also acquiesces when ana gets him a tie, and it’s at that moment where his panic attack starts to pick up (i’ll address the whole “mom” thing a bit further down)
he’s constantly unsure around ana. did i say that already? idk but his “sure” (and then, more importantly in the hospital scene, saying “everything is great, right?”) and THEN the contrast to his complete, unwavering confidence in buck and making buck chris’s guardian? insanity. we’re getting back to this in the panic attack section too, so keep it in your thoughts
as we’ve discussed, chris was made out to be no more apprehensive than a typical tween when eddie tells the firefam that “[chris] agreed to let [eddie] buy him a new suit.” however! it’s clear that chris is rejecting the shopping trip entirely once we see him actually trying on the new clothes.
the dialogue is more or less the following:
chris: “i think i look funny”
eddie: “chris, this is the third one.”
chris: “i look terrible”
again, taking the suit as a symbol for traditional roles (and thus, traditional family structures), we see chris expressing that:
he feels unnatural and out-of-place ( “i think i look funny”) as well as outright uncomfortable ( “i look terrible”). he has no desire to be wearing those suits (participating in a traditional type of family—aka no need for ana to be taking on a maternal role).
i would also like to note that when chris and eddie are speaking with one another, ana is once again shown on the outside!
then. oooooh fuck. then. we get to *dun dun duuun*:
iii. (panic attack)
wow. they did this. they really did this. they could’ve had eddie’s panic attack get triggered by a loud sound or flashing lights or anything remotely similar to something he experienced between the army and getting shot in 4x14.
but they didn’t. tim minear literally said the following:
Obviously he has been through a big trauma that he was almost killed, but I don’t think that’s really the cause of his panic attacks. It really is, here’s a woman who’s terrific. But it’s that thing where you look up and you don’t know that you’ve asked for this thing.
I think he’s panicking about that.
the panic attack is triggered by eddie realizing that no, this—a serious relationship with ana—is not what he wants. (he’s still struggling to pinpoint that, but we’ll get there, baby <3)
what’s more is we get an incredibly revealing statement from ana after the sales associate mistakes her for chris’s mom. she says:
“i’m... just a friend.”
and then hands eddie the tie she chose. i think interpreting that statement from her doesn’t require as much detailed analysis because like. we all get it. eddie has yet to trust her. with the little ounce of control that he has over this situation, he decides to put his foot down about chris knowing that they’re involved with each other (referencing also that scene in 4x08 (?) where there’s the guy on the roof, and athena and bobby tell eddie that he should come clean to chris about the relationship. well! looks like he didn’t!)
there’s something there too about eddie subconsciously trying to distance ana from being perceived as a parent figure in chris’s life as well.
and!! the last things i want to note in the panic attack itself
when eddie was shot in 4x13, he looked directly into buck’s eyes. this fucker was bleeding out in the middle of a fucking street and he used all his strength to find buck’s eyes and make aborted attempts to reach out to him.
when ana was looking over him, though? his eyes were looking everywhere but her. he also seems to be saying “call....”
which is...... something to think about. (i’m gonna live in my world where the end of that sentence is “buck”).
if u made it to the end, i’m kissing u directly on the mouth. <3
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well you still make sense to me, your mess is mine
or, a 5x03 coda about cleaning kitchens
Buck has just closed his eyes when his phone buzzes.
He turns it over on his chest, expecting it to be the front door asking him to buzz Taylor in – she’s done it before, after all, been on his screen and then shown up at his door – but it’s not. It’s a text from Eddie. And unlike the text suggests, Buck is not sleeping, and he’s not hanging out with Taylor, and there’s a certain finality in the way Eddie writes out “Ana’s gone” that makes him want to ask questions, and he doesn’t actually process what he’s doing until he’s sitting in the driver’s seat of the Jeep with his keys in the ignition.
He hesitates for just a moment, and then decides no, he really doesn’t want to sit alone in his apartment.
He lets himself into Eddie’s house when he gets there and is instantly greeted by Christopher, which, after everything with Harry, just warms his heart.
“Buck!” Christopher says, wrapping him in a hug.
“Hey buddy,” Buck replies, squeezing him tightly for a second and kissing the top of his head.
“Dad’s in the kitchen,” Christopher informs him and then returns to playing video games on the couch, now that he can for the first time in however many days it’s been. They’ve all blurred together in Buck’s head.
Buck ruffles Chris’s curls one last time and ducks into the kitchen only to freeze.
There’s disaster everywhere.
The cabinet doors are open or partially shut and mostly empty because almost every dish Eddie owns is scattered across the counters and the kitchen table and the dishwasher is already running, but it doesn’t seem to have any effect because there are still dirty dishes…all over the place. And that’s before the half-filled muffin tins and the empty boxes of muffin mix and the mixing bowls and the half finished containers of milk and eggs that must have gone into all the muffins but which are definitely no longer fit for human consumption if they’ve been out on a counter in LA during this weather for longer than ten seconds.
And then there’s Eddie with his back to the door, washing dishes with—
“Are those frog-shaped dish gloves?” Buck asks.
There’s no way Eddie hadn’t known he was there, but he still startles like Buck’s caught him mid deep-thought.
“Uh,” Eddie says, looking down at his hands, which are definitely clad in bright green gloves to match his soap holder, and then doesn’t confirm or deny. “Sorry for the mess.”
“Hey, I don’t mind,” Buck says. “Besides, it’s not like you made it, right?”
“It’s still my fault,” Eddie points out, which…
Buck shrugs and when the dishwasher beeps a second later, he opens it, dodges the cloud of steam, and starts putting the stuff away. They don’t talk for a while, just cleaning in companionable silence, while Buck loads the dishes Eddie hands him into the dishwasher.
When all that’s left is foodstuffs rather than dishes, Buck grabs one of the muffins and unpeels it as Eddie puts the rest into a Tupperware. Buck stuffs the thing whole into his mouth and instantly regrets it when it goes claggy and gluey, with just a hint of bad aftertaste like maybe the milk had already kind of been off by the time it went into the batter.
“Huh,” Buck says.
“What?” Eddie asks, trying to stuff a few more of the things into the Tupperware.
“I didn’t know you could fuck up muffins from a box that badly,” Buck says. He considers just spitting it out, but perseveres and immediately washes it down with about a gallon of water.
Eddie watches him with a frown and picks up one of the muffins himself.
“I wouldn’t,” Buck warns, but Eddie ignores him. Unlike Buck, he takes a sensible bite of it, but he still makes a face of instant regret.
“These should just—” he starts, and Buck grabs the garbage from under the sink while Eddie tips the awful muffins into it.
And then they clean out the fridge, which they probably should’ve done first because anything that was in it and truly perishable had not survived the week and Buck’s honestly a little shocked that Ana hadn’t thrown all of it out already, but, well, maybe there’s something in there about clinging to things you know aren’t working. Or, maybe it’s just gross and she didn’t want to deal with it, which Buck gets but also does not get at all.
“You know, they say the way to a man’s heart is through his stomach,” Buck says when they’ve gotten all of the dead food out of the house. “I’m a little concerned about her roadmap.”
Eddie snorts and then searches Buck’s face for a second. They’ve been cleaning long enough that it’s afternoon now, and the beers Buck had brought have been in the fridge long enough to be cold, and Eddie hands him one while they lean against the counters in the delightfully fresh-smelling and clean kitchen.
“I thought you were on Ana’s side,” Eddie says quietly.
Buck recoils. “Dude, no? I’m on your side, always. Even if sometimes that means telling you to pull your head out of your ass. I mean, yeah, I empathise with her, because I’ve been there and it—”
He’s been there, he’s been the person in a relationship holding onto it as tightly as he can when it’s been about as effectual as a lapdog pulling on its owner’s sock to try and keep them from going to work in the morning. He’s been there, he was there with Abby, and he’s…
There’s a reason he’s at Eddie’s house instead of at home.
Eddie’s foot taps against his and startles Buck out of his unpleasant realisations. “Buck?”
“I’m good,” Buck says. “But I’m on your side, you know that, right?”
Eddie’s smile is a little slow and almost a little shy, but it warms Buck from the inside out, which is nice. It’s also the first time Eddie’s smiled since Buck’s come over.
“Yeah, I know,” Eddie says.
“Good,” Buck says, using some of the beer to swallow down the lump in his throat, and then reaching for the fridge. “Okay, let’s figure out what survived and see if we can’t cobble together something that looks like a late lunch.”
Eddie nods and squeezes his arm, and Eddie’s hand is warm and strong and grounding all at once. “Sounds like a plan.”
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Thinking about how both Buck and Eddie subconsciously found love interests who reflect their parents. Ana, who coddles Christopher like Eddie’s parents did “Christopher shouldn’t be writing a skateboard,”/ “Christopher should only be drinking from juice boxes.” And Taylor who gives Buck the attention he wants after he risks his own life ie, Buck’s parents are more doting towards him and buy him new things whenever he gets injured/ Taylor kisses Buck after he risks his life climbing the crane and while his best friend was shot. Both Buck and Eddie are drawn to their respective love interests because they represent familiarity (it doesn’t hurt that both ladies are gorgeous) but staying in this familiar cycle or in this rut rather creates a never-ending cycle of trauma but instead of parental, it’s romantic. Once they verbalize and work through their traumas, they’d need to move on and break the cycle by dating people who represent the opposite of their parents. Buck, who never coddles Christopher and agrees with Eddie’s parenting style, ie he and Eddie built Christopher a skateboard. And Eddie who literally pays attention to Buck all the time, reassures him when he needs it and despite being really pissed about the lawsuit incident, he still forgives Buck quite easily unlike Taylor who despite being the one who humiliated Buck in front of Albert and Veronica and then said some hurtful shit about Buck, still never apologized and Buck has to be the one to make it up to her.
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Carla: Make sure you're following your heart
Eddie: *continues to date Ana*
Random store clerk: *calls Ana Christopher's mom*
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Peeps, I would like to draw your attention to yet another little subtle piece Ryan has brought to his performance as Eddie (not in love with Ana but obviously caring deeply about someone else):
starts at 1:24
He sees Ana rushing towards him and he starts to push back and away, almost as if to get back from her, but then the pain overtakes him and he stops moving and drops his head back.
This is brilliant. Just absolutely brilliant. He wasn't moving back because of the pain or shock. He literally moved back because he saw her coming towards him. And the shots they edited into that whole sequence cement it.
So when people say that Eddie was in pain in 4x13 and he didn't see Buck or was worried for him:
Or that the hand crawl aka reaching out for Buck wasn't real:
Or that Eddie wasn't looking for Buck in that firetruck scene or reaching for him:
Or reaching for him before the pain took over:
They're wrong. These subtle little movements have been part of Ryan's performance all along, even before 4x13.
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