You cannot tell me that Simon 'twisted samurai' Blackquill, LA's resident vaguely british man and total weeb with a special interest in swords, would not recognize Karuma on sight. I just imagine that Phoenix has it displayed in his office because of its historical and specifically lawyer-related significance and Blackquill comes in because he lost the rock-paper-scissors match against the other prosecutors to run their errands for the day and he sees that katana and has an autism moment.
There's also the lore behind the von Karma name that makes the idea that Phoenix ends up with the Asogi clan's heirloom very funny to me.
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I feel like it's just me who thinks that Stolas looking up the Asmodean crystals for Blitz isn't necessarily for a break up (mainly cause that part already happened,) but more as a peace offering to help start a friendship, so they can hopefully start to have one that isn't built on dependency or deception
Stolas is gonna give it to Blitz to show Blitz that he wants him to have his own independence, and not rely on him for the book just to do his job. I think he just wants to ultimately know if there was anything genuine that came from Blitz in all of this, and the best way for Stolas to do that is to give Blitz a gift in good faith that allows him to do his job, without needing Stolas to do it.
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In the “billy parents the girls” au, I wonder how Sam and Billy would react to Tara being attacked by ghostface? Like one overprotective and “slightly” unstable family member wasn’t enough.
Somebody knows.
That's his first thought. Maybe he should have known something would happen on the 20th anniversary. He never thought it would come back to him. After all, there was a 'Ghostface attack' just five years prior, and it was all about Sidney. Why wouldn't it continue to be all about Sidney? Billy's dead after all.
He should have moved out of Woodsboro. It's always been risky, staying. But this was his home, and by the time he'd given up entertaining the thought of revenge against Sidney, he'd put down roots. He'd thought about moving a few years ago, when the last attacks happened and the police started sniffing around for information, but the girls had friends here, and Sam's never quite treated him the same since she learnt the truth. She would never have agreed to leave.
So here he is, staring Deputy Judy Hicks right in the face, unrecognised. God these people must be stupid, to look him right in the eyes and still not see him. He manages to talk his way back into the house with a well-placed quip about the absence of their good Sheriff and a reminder that his 14-year-old daughter, her own son's friend, who was attacked, is going to need some comforts of home and her inhaler.
He pauses to take in the murder scene on the way. He memorises the pattern of blood soaked into the living room carpet, the outline of his little girl, the kitchen knife abandoned on the floor. His own knife. They used his own knife on his daughter. When he finds out who did this, he's going to make them pay.
He packs a bag, he packs Tara's essentials, a change of clothes for Sam and the teddy bear she denies sleeping with. He heads for his own room to get some things, and that's when he learns somebody really does know.
Because Billy is scrawled across his bedroom wall in red.
Red is all he sees.
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marty hart's cyclical return to praising family as THE thing that keeps a man grounded, stable, and happy (specifically in pointing out that rust DOESN'T have a family) even as flashbacks show him spiraling into jealous macho violence as he lies to, mistreats, and destroys his family over the course of multiple affairs (by which he deliberately steps outside of and away from his family despite his wife's best efforts to get him to reconnect and step up to be the family man he sees himself as)
vs
rust cohle's repeated excoriations of the idea of individuality and personhood and the stupid self-centeredness and entitlement that comes with saying "I, a human being, matter to the universe, and the things I do matter", an ideology he carries for years and waxes poetic on for his interviewers as late as 2012, even as he obsessively works himself to the bone to get justice and resolution for the victims he's assigned and ultimately to protect children from the powerful and dangerous people who want to brutalize them
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Spider-Man(?) Peter’s Sandman would be very fond of him and be the very first rogue to figure out he’s actually way younger than anyone initially guessed. His redemption arc happens a lot faster.
I like to think they’d have sweet moments like if Sandman is locked up Peter goes and has super play dates with his kid (I’m a Sanddad subscriber) or Sandman “accidentally” slipping up the rest of the six cause they get too close to murking a kid and knows at least 2/3 of them would feel horrible about killing a kid.
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dean studies, figure 2: dean as the caretaker and peacekeeper
sam and john are depicted as the “obsessive” ones...the ones who get caught up in their revenge quests, fueled by their emotions while dean--dean is the rock. dean is the caretaker. dean is steady. and it contradicts the fanon interpretation that dean is / has always been “the angry one.” he was not the angry one. he doesn’t let himself really be angry, feel angry, until after john dies. for 27 years he could not afford to be angry. there was no room for his anger. there was already too much anger is their family, and dean had to put his aside to mitigate, bury his own feelings, to diffuse john and sam’s anger. before john’s death and before hell--because it’s only really after hell and 40 years of literal torture that dean starts to lean into his anger--he was always the peacemaker, always playing the mediator to the two hot-heads constantly clashing. he had to be calm and steady and reliable, he had to be obedient and loyal and good. he took care of his family, he provided, he made sure sam was fed no matter the personal cost to himself, he looked after his dad even when he didn’t deserve it. he had to be more than just a brother, he had to be a father and he had to be a mother.
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