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aziraphale-rights · 9 months

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So, what is the deal with the world’s most conspicuously uneaten Eccles cakes? (A meta)

Well, I wouldn’t say it’s bad writing, not even the on-purpose-as-a-secret-message kind. I agree there is a visual ‘loose thread’ here that the creators wanted us to notice, but I don’t think the meaning has anything to do with Metatron or the eventual plan for S3. I think the eccles cakes are all about what’s going on in this episode with Crowley and Aziraphale, and they’re unsettling in exactly the way they’re meant to be, even if we might not register the full implications consciously on first watch.

On the most straightforward level, this shot is the punchline to a joke set up by Aziraphale and Nina in the coffee shop. Crowley orders six shots of espresso, bound to get him all worked up and stressy. Aziraphale, who desperately wants Crowley to be thinking clearly when he learns about the Gabriel situation, says to Nina: ‘What do you sell that calms people down?’ And she replies: ‘Eccles cakes.’ From this moment on the cakes are a visual symbol of what Aziraphale needs from Crowley right now.

That’s why they get so much screentime as we cross the road and go into the shop. Aziraphale won't leave those eccles cakes behind because he’s still hoping that Crowley will respond to the request they represent: Please stay calm, please be patient and listen to me with empathy.

But Crowley never does respond, and as he storms out we get that close-focus shot of the abandoned plate to make sure the subtext hits home. The cakes are framed sitting in front of the horse statue, brilliantly dressed up in Crowley's sunglasses, to remind us that they were brought there for him and he's dismissing them. (Crowley is the frantic horse who can't be managed!)

There’s another level to it, though, which doesn’t fully become clear until episode 6. The episode 1 meeting in Nina’s café is the first time that Aziraphale and Crowley share a scene in the present-day in S2, which means that the last time we saw them together was when they were dining at the Ritz. As viewers, we quickly recognise the visual language of their partnership: a table for two, a drink, a dessert. It feels familiar. But the food gets delivered and then nobody eats it. On that level, it is a set-up without a pay-off and it really niggles as you watch. S1 closed out their relationship with a happy toast after a resplendent dinner; S2 opens it with a snack that gets ignored. The dynamics of who offers food to whom are also off, atypical. It’s a sign of how things are going to go later on, hinting at the fact their dynamic is dysfunctional right now, even though it might seem OK on the surface.

Which brings me, finally, on to the other thing I’ve wanted to point out…

The punchline is that Crowley doesn’t eat the eccles cakes, but the really subconsciously disconcerting thing is that Aziraphale doesn’t. That he seemingly never planned to, and never orders anything for himself. In fact, we don’t see Aziraphale eat anything substantial in any of the present-day scenes in S2. The only things he consumes onscreen are sherry, tea, and a travel sweet. (Oh, and Manipulation Coffee, which is definitely a callback to Crowley’s disastrous sextuple-espresso.) We see him with food, yes, but primarily he wants to give it to other people.

For me this little detail of S2 – not something you even fully notice until you think about it – is a very telling understated cue in terms of Aziraphale’s post-Heaven state of mind. It's about what amuseoffyre puts so well in another meta: 'the whole series looks like he’s having so much fun doing silly human things, but there’s this brittleness to it.' At first glance, we see Aziraphale interacting with food and assume he is now living the happy Earthly life we wanted for him, but on closer inspection he's not engaging much in the pleasure of eating for his own sake. He gets a quick sweet pick-me-up on his way somewhere else in the Bentley - all alone - and that's it. He's too anxious, too busy, he doesn't have time. Crowley doesn't have time to invite him for lunch.

I find it fascinating that Gabriel gets a squillion cups of cocoa in this season, waxing all lyrical about them, and Aziraphale gets none. Aziraphale's mug becomes Jim's mug, even. And he mostly makes the tea to show Muriel how to blend in. In short, S2 Aziraphale is terribly preoccupied with looking after/managing others, and not taking the time to look after himself. Like the Maggie and Nina match-making, all that kindly treat-offering is displacement, displacement, displacement.

No wonder it all goes wrong.

#SORRY for image quality #good omens spoilers #good omens meta #good omens #takes by me

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sepublic · 1 year

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Post-Hoot with Dana Terrace!

Dana’s put over 200 hours into games she’s missed since the finale; Octopath Traveler, Little Nightmares, etc. Sarah Nicole-Robles cried harder than she ever did when she said I learned a language I’ll never forget, a whole chapter of my life is over, during the King-ceanera. She said the line once and was suddenly sobbing because of how meta it was.

Rebecca has a ‘sona during the bit with Barcus in the epilogue sequence. Cissy also cried when watching with her family, her kids asked her about it; Sarah was really excited as she watched the finale.

No sequel happening, but we can always hope; Dana would like to do more, but Disney owns the IP and needs to give them permission. Dana knew the prequel line in the finale was ham-fisted as hell but still went with it because she was pissed (she said Fuck to express her rage). Rebecca went back to the Anger phase of grief after watching the finale after realizing what they missed, but Sarah was also in Acceptance because it was hard to regret something that ended so well.

Dana doesn’t cry that much, but TJ’s remix in the soundtrack made her cry. Dana brought back everyone for BBBYYYEEEEEEE, noting this was every character’s last line, and wished Hooty had more lines. Alex improvised a cut line after the Bye with Hooty expressing appreciation for the finale and readiness for his spin-off.

Dana won’t say much in hopes she’ll get to do more for TOH in the future; A Youtube reviewer (shoutout to all, Zachary Ax, Man of a Thousand Thoughts, Rebecca herself), the Third Bill got it right on Hooty, and Dana won’t be more specific about that.

They found out about the shortening during S2; They had an ending in mind that Dana had in mind since development, but it needed too much setup and so they couldn’t pull it off. All of Season 2A was written before knowing the cancellation; Follies at the Coven Day Parade was the first episode fully written knowing the show was shortened, hence the tonal change. The Galdorstones was an arc Dana planned more on, as well as the Coven Heads; Bat Queen; It was a hard situation choosing what to leave out.

There weren’t whole episodes written that had to be trashed; Just one-sentence ideas on a whiteboard never fully outlined or scripted. But Dana is still happy with what came out, because it was pretty damn cool.

Rebecca Rose once saw someone with a King sweatshirt like hers at Disneyland and said hi, but they just side-eyed her and didn’t respond; Despite this, Rebecca hopes they had a happy day and believes they were just having a bad time. Sarah joked about not being so forgiving.

String Bean’s inspiration: Owlbert is in the title of the show, String Bean indeed was there the whole time! The S wasn’t completely intentional at first, but Dana flipped the logo around and figured it out. When making the first episode, the logo wasn’t finalized. They always liked the idea of Luz being connected to snakes, it’s what she brought to school and they liked her reclaiming something she terrorized her classmates with. The Snake-Shifter idea specifically; Zach Marcus just said “Snake-Shifter” as they brainstormed ideas and Dana, being a sucker for lame puns, was sold.

That was indeed Dana being represented as a student in the epilogue! She was Beastkeeping and Oracle; Dana can see the future of the show, and really likes animals. Raine’s palisman was indeed hidden within the violin’s design; Hunter and Dell worked to fix the palismen after Raine broke it trying to stop Belos. The violin is more akin to the staff, anyhow. Dana considered responding to a question about general Caleb, Evelyn, and Flapjack lore, but Sarah insisted she stay silent in case they get to answer it as an actual story later.

Dana liked to think while writing Thanks to Them; No, Evelyn’s spirit isn’t in Flapjack. But to Philip, he saw Flapjack as the culmination of the corruption in his brother Caleb; He saw Flapjack, if it weren’t for YOU. You can see a hint of it in Masha’s story, Evelyn entices Caleb with Flapjack, who was Caleb’s introduction to magic. Evelyn was probably disguised as a human, and trusted Caleb for seeming reasonable and less violent. Perhaps like Dog owners passing each other by and suddenly becoming friends over this.

Evelyn and Caleb’s relationship was sweet, from platonic curiosity to romantic. Eda doesn’t know she’s descended from them, nor does Hunter; And Dana has more to say, but will keep it hidden. Luz will stay the majority of her stay in the isles as she goes to college. Camila bought the shack leading to the human world, which allowed Luz to visit during holidays, weekends, etc.

They never got to explore it, but it could’ve originally been the home of Philip and Caleb, long abandoned; Eda emerges after discovering the portal. In the next thirty years, she fixes up the shack as she builds the Owl House. Dana also advised fans to google Death of the Author, since she’s technically no longer working on the show, and thus gives permission for fans to write their own answers.

Eda became the Owl Lady before Owlbert, due to the curse; They planned to do an episode where Eda learned palismen carving with Dell, and how Eda reclaimed the Owl identity to carve Owlbert. Dana stills has the outline of that episode in her head…

According to Rebecca, Caleb and Philip’s graves were in the basement of the shack, based on this church in New Haven Dana passed by every day on her way to school (Gravesfield is based on some places in Connecticut). However, Dana realized the graves didn’t fit into the story. They also had an ‘original’ Belos design for him taking over animals. Marina Gardner did some amazing Belos designs, and Thanks to Them alluded to it.

The Portal’s eye comes from the Titan’s missing eye!!! Hunter is bisexual, Willow is pansexual, this is how Dana always wrote and imagined them in her mind, but it’s not explicitly stated so technically it’s more headcanon. Dana noted how some people just picked it up. Dana likes to think Amity and Lilith rekindled their student-mentor relationship. Having worked in the library, Amity was interested in Lilith’s knowledge of history. Dana suggested to Zarya(?) from the design team to add notes to Lilith’s museum blueprints. A helicopter passed over and they joked it was Disney trying to stop spoilers.

Cissy only got her lines and didn’t know any other details about the finale, to Dana’s surprise; Dana explained that people not getting a full script is due to the pandemic. Before quarantine, actors would get the full script. They have to rely on Eden Riegel and Dana for context a lot. Bosook Coburn spoiled Luz’s death to Rebecca Rose during the celebration party. They came up with a lot of designs for dying Luz, trying to figure out how they can hollow out her head how much. Dana mentions it’s up to the showrunner to show how much they want to the actors.

Thanks to Sarah, they kept in Luz saying her own SFX during her fight with Eda in O Titan, Where Art Thou; She heard someone do it as part of the mock script and wanted it. When Dana voiced Eda and Luz at the end, Dana was crying. There’s a recording of Season 2B and Season 3 of Dana doing a voice-over of the script to get approved by executives.

Dana clarified everyone would’ve had more of a chance to talk with each other, such as Hunter and Amity; Hunter would’ve talked to Vee, as well as more human realm kids, literally everyone would’ve had a little more time with each other. Dana loves Luz and Hunter’s sibling dynamic. Dana was sorry they couldn’t have Luz and Raine hang out, but they had the Hexsquad storyline. Luz finished high school in the human world, with the renewed motivation that she’ll go back to the isles. Knowing she has a safe space outside of high school made it more bearable, as was the case for Dana growing up.

Cissy brought up Gus’ hair in the epilogue, which she loved; Emmy Cicierga did the design for Gus and Raine. Harpy Lilith was by Emmy; Dana did Emira, Eberwolf, and Skara’s timeskip designs. The name of the Titan is unpronounceable for humans.

Dana can’t say much about the Archivists; The Collector never had a flash-forward design, as they age much more slowly than everyone else. Maybe the Collector got just a tiny bit taller. The idea of the Collector came from creepy dolls, as well as a nightmare; John Bailey Owen had a google folder filled with cool references of creepy dolls with a starry aesthetic, liminal minimalist nightmare-scape. They knew who the Collector was gonna be, what role they’d play, but the vibe still needed to be decided.

Dana confirmed the Collector was always a part of the show before the shortening, and they solidified their placement after the announcement. The Collector has indeed stayed connected with the others, visits occasionally. Dana has seen fan comics on this and teared up.

Hooty doesn’t have to be vacated from the Owl House if he doesn’t want to; When the door isn’t active, Hooty could be present. The new portal can probably fold up, and Hooty is busy as a curator for Hooty’s new museum.

Dana said Raine and Eda’s business is their business; Not all love stories end in marriage. It’s their thing and it doesn’t diminish any love, but they do live in the Owl House together (Raine moved in).

Mattholomule getting a palisman is something Zach Marcus can answer, since he made the character and Dana respects the lore he made. It’s hard to say for Dana if Vee and Masha are dating, since Masha didn’t show up in the finale, but Vee definitely has a crush on them. Again, Dana encourages the Death of the Author approach, if the headcanon makes you happy.

Alador and Odalia got officially divorced after the finale, and the kids happily lived away from her. They might visit her if they have the energy, but also recognize she’s a toxic influence they can cut off at any point. Dana gave a shoutout to Rachel McFarlane’s voice acting, praising her performance for Odalia.

In regards to the tower King was born in, Dana has an answer; It was related to a character we all know, who now may have amnesia.

There was a plan to explore Gus and Willow’s glowing eyes, and do it for other characters; Amity wasn’t going to have that, strong emotions are indeed connected to magic. It was mostly a worldbuilding magic rule they could’ve expanded on, that Dana wishes she did early in the story.

In the boards, Dawn Han(?) did Clouds on the Horizon, and did the scene of Amity and the twins hiding in the factory as their parents talk about the Abomatons, Alador is worried since it seems like a tad much. Alador had T-rex arms in the storyboard, and it reminded Dana of Remy from Ratatouille, so when they got to the scene of them looking into Alador’s lab, Ratador was drawn in his place as a joke. Dana laughed so hard she decided to keep it in, with Dana handwaving it as Alador’s palisman.

According to Dana, a show should be appreciated for as it is; But the other way to enjoy it, under the context it was made, is also important to her; Both ways are valid. It was easier for Sarah to voice depressed Luz since she was also depressed. The writers preferred to put their feelings into the show, VS a more happy-go-lucky approach as others did; It was kind of dark for a bit, especially during quarantine. Sarah felt her own experience validated with Luz’s depression, but she and Dana appreciated the balance of having a happy ending too.

What made the crew hopeful was knowing the characters would always have a happy ending; Luz could continue her studies in full-force, a new family. They KNEW it would end happy. Dana acknowledged how the fandom misinterpreted “I hate the term happy endings,” and Sarah knew about the quincenera when asked during previous Post-Hoots, but couldn’t answer.

Rebecca commissioned 3D-printed Funko Pops of S2A Lilith and S1 Luz, and gave them to the others as gifts; Rebecca didn’t know about Avi’s appearance until two days before the Post-Hoot, otherwise she would’ve had a Funko of Raine made. Dana’s stand for Luz had to be made with painter’s tape (she appreciated it) due to Rebecca running out of the other kind, and planned to place it beside her Peabody award. Elizabeth Grullon, Camila’s VA, had to call her mom in the middle of a session to translate her line about maduros into English.

Cissy clarified this wasn’t intended to be the final Post-Hoot! And the video was ended with a BBBBYYYEEEEE!!!!!

#the owl house #dana terrace #caleb wittebane #evelyn clawthorne #boiling isles titan #edalyn clawthorne #eda clawthrone #raine whispers #raeda #palismen #the owl house hunter #willow park #bisexual #pansexual #post Hoot

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percheduphere · 3 months

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LET'S TALK ABOUT "HE'LL MAKE IT BACK"

Special thank you to @mmobiuses, @starrose17, and @stevenrogered whose gifs make-up the lion's share of this post. Thank you to all the other amazing gif artists as well, without you, my metas won't be possible.

This might come as a surprise to a lot of people, but I actually wasn't big on Lokius until Season 2. I thought Loki and Mobius made a cute ship in Season 1, but that was the extent of it. In truth, I lost interest in the Loki series by the S1 finale and had 0 interest in watching S2. I didn't give the series another try until I saw positive reviews on Tumblr. I therefore started watching S2 when S2E4 dropped.

LOKI SEASON 1

Enjoying the potential love story between two characters is a deeply personal and subjective experience. So take what I say as my personal experience observing Loki and Mobius's relationship.

I fully believed Mobius loved Loki in S1 in the platonic sense. Tom Hiddleston has given a few interviews on Loki's and Mobius's relationship and seems to believe in this sentiment as well [see 5:30-7:30 and 10:57-11:00]).

That is to say, in S1, I didn't feel, "Oh, my god ... he loves him." It was more, "Yes, he loves him", there is no question, his actions prove it.

There is wiggle-room for unrequited love in the S1E4 interrogation scene, but the jealousy Mobius exhibited could have just as easily been a combination of anger on behalf of his murdered colleagues and platonic jealousy.

However, I felt the first hint of unrequited love from Mobius occurred during his goodbye scene with Loki in S1E5. Specifically, this look:

I had no expectations for that look to pay off in any way. Season 2 surprised me.

LOKI SEASON 2

S2E1 is amazing episode because, through subtext, it reframes how Mobius's S1 emotions may be interpreted with stronger evidence for romantic motivation. In this episode, there appears to be a subtle, gradual build-up to the moment that Mobius's love for Loki may be viewed as fully romantic. Let's break down the episode and look at the progression:

First, learning that Loki is at the TVA: *sigh* I can't find the "Loki's here?" gif.

Second, and perhaps the most infamous, the reunion and whole-body support Mobius provides Loki in the TVA War Room (physical comfort):

Third, Mobius bringing Loki somewhere safe and quiet, assuring him that "it's okay" (emotional comfort):

Fourth, Mobius insisting that Loki's condition must be fixed, not once but twice, in two different scenes. A third (writer's magic 3s!) instance occurs in the Heart of the TVA, just before the gangway scene (prioritizing the other):

Fifth, Mobius's admission that Loki's timeslipping looks horrible, and he can't look at it anymore. He repeatedly stresses to Loki how serious this is (emotional and physical empathy):

Sixth, Mobius taking Loki to exact right person who can help. This is particularly significant, because Mobius is the only person in MCU canon who has verbally expressed concern for Loki's physical well-being and took immediate action to stop the pain (act of service):

Seventh, the third time Mobius prioritizes Loki's wellbeing. He scolds Loki and reminds him they have only one shot at getting his timeslipping corrected before the temporal radiation becomes too high (prioritizing the other):

Eighth, Mobius interrupting Loki, insisting that he will make it back. The subtext here is that no other outcome is acceptable or thinkable for Mobius (emotional comfort):

Finally, Ninth, the clincher: "He'll make it back." (self-comfort)

This scene is everything to me. Moments 1 through 8 build-up to this singular moment. Let's do a micro-analysis on it.

After Loki timeslips, the camera stays on Mobius. It tracks him as he kneels down to pick-up the time sick, the last thing Loki touched. The camera then pans up as Mobius rises.

@stevenrogered, THANK YOU for this gifset. It's literally the only one I could find that captures the camera tracking Mobius after Loki disappears, and this is my all-time favorite Mobius scene.

Mobius stands for a moment, motionless, and the camera holds on his facial expression. He's staring at where Loki WAS for extended period of time (keep this in mind for later). He's holding his breath. He's worried, scared, and hopeful, not for himself and the danger he faces on the gangway, but for Loki.

Finally, he exhales as he says to himself, "He'll make it back".

This entire sequence--particularly the moment when Mobius picks-up the time stick and holds it in silence--made me feel, "Oh ... Oh ... he loves him."

The camera stays with Mobius, capturing his reaction to this high-stakes situation for a significant amount of time (@loki-us, maybe you can get this timed starting from the moment Loki disappears and Mobius starts to kneel to pick-up the time stick?). Cinematographers don't do this type of hold unless they want to illicit a strong emotion from the audience regarding the character we are focusing on in the moment.

My insides swooped, which rarely ever happens when I view film or television.

And this camera hold, this pregnant pause, is mirrored by Loki's stare in S2E5:

#loki #mobius #lokius #loki series #loki season 2 #loki meta #my meta #loki analysis #my analysis

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thebroccolination · 3 months

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"Ossan's Love" Becomes Japan's Number One Friday Night Drama of All Time

名シーンの連続に、第1～3話とTVerで配信中のスピンオフの見逃し配信総再生数が700万回を突破（※ビデオリサーチにて算出期間1月6日～24日）するなど、金曜ナイトドラマ枠歴代1位の快進撃となった。 oricon.co.jp

"This series of famous scenes has become the number one Friday night drama of all time, with the total view count of the first three episodes as well as the spin-off episode (available on TVer) surpassing 7 million (calculated by Video Research Ltd. from January 6 to 24)."

The Ossan's Love franchise began in 2016 with a TV movie that earned a small but loyal following that enabled the 2018 series that saw the casting of Hayashi Kento and the introduction of Maki's character. It's his inclusion, the chemistry between him and Tanaka Kei, and the extra work they did on developing nuance in their characters that I think led to the massive popularity of the 2018 drama.

It was only seven episodes, and no one expected it to be popular, but the final episode trended globally at number one on Twitter, which is bananas.

Summer of 2019 saw a movie that continued on from the end of the 2018 version. This was massive. Red carpet event for the premiere, nationwide theaters, merch, and the biggest screen in Roppongi Hills (the one with the fancy armchairs).

Ossan's Love was a massive success.

There was also the plane show in winter of 2019 (without Hayashi). It sure did happen.

The fanbase of the 2018 version (called S1 by the Japanese fandom) is huge and enthusiastic, so it's no surprise to see the success of S2, but to claim the number one Friday night drama of all time!!! For a queer drama!!!

A queer drama just became the number one Friday night drama of all time in Japan, a country that has yet to legalize marriage equality.

Incredible.

#ossan's love #ossan's love returns #makiharu #kento hayashi #tanaka kei #japanese drama #japanese media #lgbtq+#lgbtq #queer media

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hattersarts · 9 months

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gomens s2 thoughts, all spoilers!

I spent 10 hours talking to my housemate about the season after we binged the whole thing in the morning but here are the highlights and the biggest takeaways from the season.

okay i did love the ending, i love that we get the conformation of love AND going into the divorce arc next season (if they're not properly together by the end of season 3 however, i am rioting) they're slow burn and a whole season of them getting to the final 10mins was tasty.

HOWEVER. it was an extremely clunky season when it comes to writing, lots of either set ups missed OR set ups repeated 4 times that they're drilled into out heads. there was also lots of dialogue that really needed to be tightened up. the lesbians were so poorly written i thought they might have needed to be cut BUT they just needed to have more bearing on the rest of the plot AND say things like real people would say things and LITERALLY SHOW ONE SINGLE REASON WHY THEY WOULD LIKE EACH OTHER WITHIN THE FIRST EPISODE.

gabe/bulz romance was the one that should have been cut, have them do more of a oh-my-god-my-boss-sucks kind of thing, lean into them complaining about having to avert a civil war after armageddon stopped and touch on the "structural problems" the angels mention later. Have gabe/bulz be super punished for working together which puts huge fear into az and crowley about what happens if you try to team up as an angel/demon pair (but an extra reason why az takes the job at the end so he and crowley can be the same)

imo it works more if the only mirror of their romance is the HUMANS which should lean into themes to season 3 of how they need to team up with humans (re:"us vs them" line at the end of season 1) to actually achieve their happy ending.

Nina and maggies best scene was their last one telling crowley he needed to talk to az but i think that was one that needed to be cut, it would have been far more satisfying to have crowely work out it out himself that he loves az and wants to tell him (still via maggie and nina but more subtle rather than them telling him to his face AND via spending more time with az in the season)

flashbacks were all pretty good, loved the jobe one and that final "lonely" scene. the nazi one needed some trimming the most (why did all three come back to earth, it made scenes too crowed, have them fight to be a zombie)

shax was disappointing, she was kind of just incompetent the whole way through which didnt make the stakes very exciting, (that whole scene of her talking to the legion was unfunny and pointless) i wanted crowley to mentor her more like when he gave her advice in the first few meetings we saw (kind of in a very non-demonic way, not expecting anything in return) and her to then meet him on equal footing in the finale. would have been a little accidental taste for Crowley to have his good deeds come back to haunt him while showing he's different to demons.

speaking of the finale fight, that halo had NO set up, it was sick as hell but ??? the fuck did that come from. the fight should have been won by az and crowley performing another HUGE miracle together, discorporating the demons (which then would alert heaven and hell something was up in the bookshop and the final scene can happen)

az taking the job from metatron was very good, its consistent with his character where he still hasn't let go of his faith in good/god, he's only been upset by the angels running heaven and still has faith in the system while crowley has realised none of it works and it's only them together that matters. it was nice to show he still hasn't truly accepted crowley for who he is now (tho imo he knows he loves him, he just hasn't quite unrepressed himself) and him not turning down the job after crowley confesses to him shows he still thinks he can fix it. Crowley on the other hand thinks he's now lost him, az has broken he the trust he had in him, he's going to be in big depression mode

few thoughts of good directions for S3:

finally delivering on what crowley said at the end of S1 I think is the most satisfying. the final showdown should be humans Vs heaven/hell with Crowley and az on the human side, helping them win the conflict. there would be suggestions that this is actually god's ineffable plan, this is a conflict she wants to happen and the things that Crowley and az went through are what make them perfect ambassadors to help the humans.

the set up for az in S3 to finally work out he and Crowley can't work out within the unfair rules of the system and for him to abandon heaven (tho not I think, becoming a demon) is good. a sucky ending imo for season 3 is if az somehow "fixes" heaven and via bureaucracy and not via blowing it all up.

growth moments for Crowley in S3 might be having more contact with humans since he's already abandoned hell and it would put az & crowley on similar footing (as az very much loves humans already) when they decided to side with humans for a humans Vs heaven/hell conflict.

anyway, gay people

#this is all the surface stuff really #im having fun re-plotting the episodes for thr same end but tweaked to be more satisfying

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demonioenelespacio · 8 months

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I really love how s2 of Good Omens is written, because you have so many clues about what is going to happen at the end, the offer, the motivations behind the choices of all the characters… You have everything on the plate to cook an amazing recipe.

You start the season with them as angels and end it with an offer to be both angels again (just like s1 started and ended with a Garden). You get a brief glimpse of The angel who became Crowley, we get to see how they were so passionate about their work, you can see their joy. I mean, look at them

Can you really blame Aziraphale for thinking that the offer is amazing? When that could mean that Crowley is this happy again.

But… The spark that our demon is missing is innocence, and that’s something Crowley can’t get back, ever (unless they delete his memory??).

Crowley is bitter and angry and anxious, but we know he can experience that joy from Before, because we can see that when he is making it rain for Maggie and Nina. We saw a real smile.

Aziraphale didn’t.

But the offer is not because he wants to change Crowley, because he knows who Crowley is now and loves him as he is. And because he knows that Crowley is still the same caring and kind being he was Before.

“I know you”

“You do not know me”

“I know the angel you were”

“The angel you knew is not me”

Yeah, it’s true, but that scene is to show Azira that he is still kind, he didn't kill the sheep, he is not going to kill the children. So, yes, Crowley isn’t that Angel, but the core is the same in the end.

There is also the fact that… Do you think Aziraphale ever thinks about how he planted the seeds of Crowley's Fall?

This is the face of an angel who is going to end the career of another angel WITHOUT REALISING IT.

That Angel didn’t know about Earth, about humans, about the Great Plan, they were busy making stars. If Aziraphale had never told them that, would Crowley have thought of asking questions?

First offence and all of that… How unfair. How could Aziraphale make it right again?

The “Exactly” scene is so important. They are so stupid (affectionary).

They mean the same thing (We can be together) but saying different things; a phrase (Nothing lasts forever) meaning different things for each of them. They don’t talk, they don’t really speak each other's language.

Also, the final scene is more painful, but we have the same argument in ep1:

“Oh, right, this is how you wanna do it?”

“No, I would love you to help me! I’m asking you to help me take care of (Heaven). But if you won’t, you won’t”

*Crowley leaves*

How can they have broken up so many times without ever being together (screams).

In ep1 we also have the two little mini half-miracles. And I have read some people take that as how powerful Crowley is, but come on. This Big Miracle is clearly because they are working together, the two of them together are more powerful than anything else. And boy, that rang an alarm in my head when I first watched the season, because… Crowley said in s1 that they will be waiting for the next Big Thing, this war "Heaven and Hell vs. Humanity". You want the best in your team, right?

Because if they are not… they can be against you.

So, yeah, I saw Metatron and was like “ok, here we go”. And look, his offer is to Aziraphale, because he is an angel, but Metatron doesn’t blink an eye before mentioning Crowley too. He wants both. But whatever, if Crowley doesn’t want to go to Heaven, if Heaven only gets Azirphale, well, success either way! Because if you separate the two of them, they are no longer a threat .

Also the fly, flying around very very noisy. You have Beelzebub saying they want Gabriel surrendered to them and acting a bit weird. All the clues there (I must confess I didn't expect the ship to be canon, I just thought they might be talking more lol. A nice win).

All this just thinking about episode 1.

The last thing I want to touch is Maggie and Nina talking to Crowley before the confession. Because… They told us what was going to happen.

They can’t be together, because Nina has to get over her previous toxic relationship before she is ready, and then, only then, they can try, if Maggie waits (she will wait).

Aziraphale has to get over his toxic relationship with Heaven before he is ready, and then, only then, they can try, if Crowley waits (he will wait).

#good omens #good omens 2 #good omens s2 #good omens analysis #good omens meta #ineffable husbands #aziracrow #aziraphale #crowley #metatron #good omens s2 spoilers #my stuff

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genericpuff · 3 months

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I was kind of curious: What do you think of Persephone's therapy scenes in episodes 160-161?

I personally liked them, but you and many other LO critics always seem to see things that totally flew over my head (I mean that in a positive way).

I think the idea behind them was fine, just the execution that felt really half-baked. Rachel doesn't like scenes to sit too long so the therapy scene, of course, wound up being rushed in the course of 2-3 episodes (meaning she had to have Persephone dump everything all at once) and while Persephone's dialogue is handled relatively well, the direction of the scene itself feels entirely mismanaged (which is both a side effect of Rachel's directionless writing and the fact that she clearly doesn't want to do more than one of these kinds of episodes so she needs to speedrun it).

TRIGGER WARNING: Discussion concerning sexual assault ahead!

Like, let's start with Persephone's intent in going to therapy. Wanting to pursue therapy doesn't just happen suddenly, there's usually a "trigger event" to make someone realize "I need help", whether it be hitting rock bottom or even just going "I feel like I don't have the skills or tools necessary to deal with what I'm dealing with, I need a professional opinion".

Despite Eros advising her to go to therapy all the way back in S1 to address her assault-

-she actually finally goes to therapy in S2 not to address the assault, but to address... how she feels insecure in comparison to Hera who she just found out Hades had a long-term affair with??? At least that's definitely the implication.

And then of course the therapy session itself segues immediately into "Persephone is a high achiever and it's because of her mom being overbearing" which Rachel doesn't connect at all to either the SA or her feeling insecure compared to Hera (which, by the way, barely even has anything to do with her, but she didn't - and still doesn't - have the emotional maturity or self-respect to realize that Hades is a serial cheater-)

That's where the first therapy episode cuts off, and then the next episode immediately opens with Persephone writing her entire backstory on a whiteboard, so we can assume time has passed and she's talked about everything from her childhood up until this point.

Then we get Chiron asking Persephone... what could go wrong if she leaves TGOEM??

Even though we never saw any of the actual sequence so it just feels like a question that's coming out of nowhere? Like did Persephone say during that schpeel that she wanted to leave TGOEM? Isn't that something we should have seen to connect these two trains of thought?

Ah, right, because we have to get into Hades. Because this comic fails the Bechdel test so hard it can't even have a character talk about their trauma or childhood without it seguing into "well there's this one specific main character guy I just really wanna sleep with-"

Don't get me wrong, if Rachel is trying to "deconstruct purity culture" here, I can get her angle with this, if Persephone has been "groomed her entire life" to be an eternal maiden then there's clearly some thought processes about sexual attraction there that are being challenged by her attraction to Hades. But it just feels so rushed purely for the sake of getting her through her trauma and childhood problems and everything that Rachel tacked onto her backstory (in an attempt to make her seem more than just a self-insert) so that Rachel can get her back on track to sleeping with Hades, the one and only man she's clearly ever felt sexual attraction to enough to want to leave TGOEM and question her entire childhood.

And then we get this and I just-

Like first of all, again, Persephone being a complete airhead and not realizing that it has less to do with her possibly being an inadequate partner and more to do with Hades being a serial cheater who also used her as an emotional affair partner;

but ALSO the fact that the conclusion is some "eureka" moment of "you're a bad decision maker" ??? I was a fan of the comic still when this scene happened and even I went "huh?"

Like she doesn't bother to try and connect it to everything she just learned and said about her childhood and how she wants to be the "perfect daughter" who will make everyone happy, Chiron just reduces it to "oh you just suck at making decisions". As if "sucking at making decisions" isn't like, a reactionary extension of deeper problems. She's treating it as if Persephone is some "puzzle" to be solved and her being a "bad decision maker" was the answer when it's undoubtedly just one of many side effects of her upbringing. It feels like she's addressing the cough and not the virus.

Also a little off topic but-

Gotta love how we've never seen Persephone actually employ this homework from her therapist because she's constantly stapled to Hades and the only thing she cares about is his happiness. Literally, I don't think Persephone could possibly answer that question because she's never been independent enough to even learn what makes her happy - she's jumped from wanting to make her mother happy to wanting to make Hades happy but we're supposed to condemn the former and celebrate the latter.

Buuut of course we don't get her answering that question because again, Rachel can't spend more than 30 seconds on a single scene because that would demand too much writing and thought from her. So we cut to Hera having a discussion with Asclepius regarding her scars re-opening, yadda yadda.

By the time we cut back to the therapy session at the start of the next episode (that's three episodes that have been spent basically accomplishing nothing because none of the thought threads tie together in a meaningful way beyond what the audience has to assume) Chiron is conveniently wrapping things up and it's then and only then does Rachel try to actually incorporate the SA plotline that was Persephone's ORIGINAL MOTIVATION in going to therapy.

Now, the scene for the most part is fine, I don't really like how the therapy session was written leading up to it, but her describing her freeze response and how she feels guilty she couldn't "fight back" is a very real feeling that I can definitely say was well written.

My one gripe with it though - and sure, this might be nitpicky, but here me out - is this:

I don't particularly like that Chiron the therapist just found out about her patient being a rape victim - someone who's also said she doesn't like people grabbing her / touching her without her consent - and then decides the best course of action is to comfort her... while touching her.

Now I want to make it perfectly clear, it's not against the law or even the code of ethics to make physical contact between a therapist and their patient. Loads of patients have made breakthroughs with their therapists that have called for hugs and while some therapists may not be okay with it, there are definitely therapists who are who fully understand that hugs in those moments are the best thing for a person. But it's still a general boundary that is there and even with patients who aren't victims of SA, consent needs to be asked for / given.

So Chiron just... coming over and touching Persephone on the knee, while undoubtedly seen as a "warm and comforting act" by those who have had similar sessions with their own therapists or even just those who have no clue and see it on the surface level as being "sweet", really irks me, because it just seems so tone deaf to do with a character like Persephone who is supposed to be a victim of having her bodily autonomy taken away from her.

Again, it's a small criticism, and undoubtedly a nitpick in the eyes of some, but a simple "can I give you a hug?" from either Chiron or Persephone would have gone a long way in accomplishing Persephone's need for consent and bodily autonomy a lot more than just having Chiron come up and touch her leg without her consent. Please, for the love of god, let Persephone have some autonomy, asking for consent doesn't ruin the moment.

And that's pretty much it, Persephone talks about how she feels like she's tethered to Apollo, and Chiron assures her that's not the case, session over, Persephone goes outside to Hades aaaand notice how we never actually tackled that "I feel insecure because of my partner having former partners?" thing? Notice how the best we got was her talking about her fears of being an "inadequate partner" which focused entirely on her not being "enough" for Hades and being a "bad decision maker" rather than pointing out 1.) Hades' own faults in being a serial cheater that would undoubtedly contribute to her insecurities and 2.) what Persephone could do for Hades rather than what Hades could do for Persephone? It's always "I don't know if I'm good enough for him" and never "I don't know if he's good enough for me."

Yet another F-- on Lore Olympus' Bechdel test. Every single thing tacked onto Persephone's backstory is meant purely to get her with Hades - TGOEM is just an obstacle preventing her from having sex with Hades, the assault is just a framing device to show how much "better" Hades is for Persephone than Apollo, her overbearing childhood is just to show how much more "free" she is now that she's not living with her mother and is living with Hades instead, etc.

No agency, no autonomy, no character, even when it tries.

youtube

#lore olympus critical #anti lore olympus #lo critical #ama #ask me anything #anon ama #anon ask me anything

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destinationtoast · 11 months

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Toastystats: Ted Lasso S3 on AO3

I took a look at a look at some of the fandom's reactions to each episode, and to the season overall, based on the number and types of fanworks that people were posting to AO3. You can read a detailed explanation on AO3, as well as corrections and clarifications. (Edit: and image captions!)

I'll share a few highlights below the cut. But first, a few gentle pleas, because I don't want any of my stats to stir new fandom drama, ship wars, etc: Please be curious, not judgmental as you look at the data. (Don't be harsh toward fellow fans if they like different things than you.) And if anything about S3 disappointed you, take heart in the MANY fanworks the fandom is creating! The fandom overall, as well as the characters and ships I investigated, are all increasing in popularity in terms of the number of fanworks devoted to them. So it's a great time to be in the Ted Lasso fandom -- so many fanworks to enjoy!

That said, here are some highlights of the data:

The fandom has been more active throughout S3 than it was even at the height of its activity in S2, and it has so far has been very active post-S3 as well.

36% of fanworks deviated from canon following the S3 finale, using a tag like "Fix-It" or "Alternate Universe - Canon Divergence." 😅

All the characters and relationships that were popular before S3 continued to be very active throughout S3. But Jamie Tartt and Trent Crimm saw the biggest increases in fandom attention (as measured by the percent of fanworks with those character tags) -- to the point where Jamie was tagged in more AO3 fanworks than Ted was some weeks! (Whereas I'm pretty sure Ted has always been the most tagged character before.) Ted and Rebecca each had sizable decreases in the percent of works they were tagged in, with Jamie and Roy surpassing Rebecca in relative popularity during S3, but they remained extremely popular characters. Among the AFC Richmond players, Colin, Dani, Isaac, and Sam also surged in popularity.

Roy/Jamie, Trent/Ted, and Keeley/Roy/Jamie were all on the rise in terms of percent of works that tag them, and they all had weeks when they were the most active ship. Ted/Rebecca decreased in relative popularity during S3, but it is still the biggest ship in fandom, and the biggest ship most weeks. Plus it seems to be surging post-finale.

Fluff continued to be the biggest tag during S3 (consistent with AO3 overall), but Angst, Hurt/Comfort, and Fix-It are among the tags with the biggest increases in use during S3.

Read more data and more detailed explanations on AO3.

#ted lasso #jamie tartt #trent crimm #royjamie #royjamiekeeley #tedependent #fandom stats #toastystats #op #lol those may have been unnecessary pleas up front #but you would not believe the drama I've had in the notes on some of my stats posts #😅#50 #100 #500

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plantsjustwannahavefun · 1 month

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"Izzy Canyon dwellers just want to turn him into an innocent victim who did nothing wrong!"

Actually my problem is that, in hindsight, Izzy didn't do enough wrong to justify the common interpretation of his relationship with Ed. In my book, the first time in the series he legitimately crossed over to villainous antagonist territory - someone you actually loved to hate for it even if you understood his reasons - was when he set the British Navy on the Revenge. That way he not only betrayed his integrity as a pirate by consorting with the common enemy of all pirates, but risked Ed's life too - cause, like, come on, that "plan" to send CJ to convince Ed to leave Stede was so far-fetched it barely counts as a plan. I don't buy Izzy ever looking at CJ and going "yep that seems like a smart, responsible, trustworthy man I could rely on for a delicate mind games operation like this". It was an act of sheer desperation on Izzy's part, but he still chose to do it. IMO this was actually worse than what he said to Ed in S1 finale. Although of course that was very nasty, too.

But the thing is, we don't actually have any info on what their relationship used to be like before S1. We were only ever shown, not told - and both times from Izzy's perspective: the first time in S01E04 during his resignation rant, which was very heartfelt and I'm sure a lot of it was true, but it's still one-sided, and the second time during his deathbed speech, which was, again, one-sided and this time biased in another direction - instead of airing his pent-up grievanced Izzy was putting most of the blame on himself.

Other than this, the entirety of Ed and Izzy's pre-S1 relationship gets extrapolated from one single episode, S01E04. The narrative itself seems to want us to see it as a microcosm of their usual long-standing dynamic, at least on the surface. We see Ed being depressed and suicidal, trying to open up to Izzy about it, and Izzy shutting him down and making him act like Blackbeard again. Since it's already clear that Ed and Stede are the main characters, we're primed to see Ed as the victim here and Izzy being an annoying, insensitive nag.

Except the context of those interactions changes everything. The context being that they are literally about to be attacked by the Spanish - something Ed knowingly brought on them with his decisive power as captain - and Ed is deliberately withholding crucial information from his own first mate and the rest of the crew, making them all think they're going to die and he isn't doing anything about it. Izzy wasn't just being a boring buzzkill not being excited for Ed when he showed him that ship model. He was actively panicking and trying to do his job asking Ed for orders so they don't all get slaughtered.

So, yeah, those are some very exceptional circumstances that don't say anything about their typical day to day interactions go when they're not in immediate mortal peril due to lack of communication. Was this the first time Ed ever told him about not wanting to be Blackbeard anymore? Izzy didn't seem very surprised, so probably not, but we don't know, and if Ed had confided in him before, we don't know how Izzy reacted - but I'd like to point out that this time he didn't ridicule Ed in any way, he simply pointed out that they were about to die if Ed didn't do anything. Does Izzy usually indulge Ed in the stuff he finds fun when they're not about to be killed? Again, we don't know, but Izzy's playfulness during that first confrontation with Stede in S01E02, and his whittling and jokes in S2 showed that he wasn't always as grouchy and joyless as he's made out to be. We actually saw him smile when Ed got excited about Buttons, too. Pretty sure if Izzy always shut him down about things like that, Ed would have stopped trying to share it with him long ago.

And, finally, there's one piece of this puzzle that doesn't seem to fit in with the rest at all. The show both told us and implied that Izzy couldn't let Blackbeard go because his own identity was too tied up in it, and because he idolised the glory of violent pirate lifestyle. But if that's the case, then why did he have no problem with Ed wanting to retire? Izzy literally gave him an enthusiastic thumbs up on the whole "kill Stede and steal his identity so he could live the rest of his life as a rich aristocrat" plan. If Izzy only admired Ed as a pirate, and was so hell-bent on keeping the Blackbeard persona alive, why was he ok with Ed retiring? How does this square up with the idea that Izzy had been keeping Ed chained to piracy?

I'd honestly hoped we would get some flashbacks of the two of them in S2, and then S3 before that hope died too, because there's still so much we're missing.

#ofmd #our flag means death #izzy hands

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seikilos-stele · 6 months

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There are many different ways to define the “main character” of a story, but the one I found most useful growing up is this: “the main character is the one who grows the most.” Sometimes, that means your POV character isn’t the main character. By nature, whoever grows the most will be the one audiences are drawn to; this is why audiences frequently gravitate toward side characters in ongoing tv shows; because we sense the capacity for more growth in Sidekick #3 than in Hero #1. To cope with this, the writer’s room will typically push Sidekick #3 out of the story entirely or will coax him into the spotlight and develop storylines just for him, thereby making him into a main character.

This is what we saw in OFMD. Ed and Stede were the main characters of S1. They had plenty of growth ahead of them and audiences were excited to see that teased out. Stede — selfish, out of touch, gentlemanly — longed to remake himself into a fearsome pirate. Ed — jaded, bored, infamously badass — longed to leave piracy behind and find something more meaningful. He didn’t yet know what would be most meaningful for him, and we were excited to watch Ed and Stede meet and figure it out together.

However, at the same time, the writers gave us Sidekick #3 — Izzy. Humorless, snarling, rage-filled, Izzy was your stereotypical henchman. This put him at immense odds with the rest of the cast. While everyone else, including Blackbeard, Fang, and Ivan, took to Stede’s management style, Izzy chafed under it and lashed out. Already, we can see that he has a lot of growing to do before he can get on the same level as the rest of the crew. That alone makes Izzy interesting, from an audience perspective. But what really enhances it is Con O’Neill’s performance — he brings an interiority to Izzy that’s lacking from the other characters; from his expressions to the intonation of dialogue, Con is always hinting that there’s something more to Izzy than what meets the eye.

Fans noticed. What exactly is going on inside this weird angry little rat? Why is he so furious all the time, and why is he so loyal to Ed? What will it take for him to let go of that anger and be part of the crew? By setting Izzy apart from the cast, the writers automatically set him up for an arc of growth. In S2, we watched that growth arc come into full swing. From E1-6, Izzy is on a constant climb up that hill to be part of the crew. We watch him take a bullet for the crew in E1, then attempt suicide in E2; we watch him try and fail to save the crew from execution in E3; in E4 Izzy is given a new leg and embraces his role as the ship’s figurehead. In E5 he works to train Stede and gives advice to Lucius on letting go of trauma. In E6 he embraces drag and performs in front of the crew. We see him, throughout S2, physically leaning on his crewmates and even crying in their arms — acts that S1 Izzy would never do. And we see him grappling with his relationship with Ed, admitting his love for him, mutinying against him, finding who he is without him.

By contrast, in S2, Ed’s and Stede’s growth hit a roadblock. As an Ed fan in particular, it was tough to watch him stagnate and backslide in this season. He makes no effort toward growth or change, and his efforts to leave Blackbeard behind are displayed not as growth but as a form of cowardice — running away from his problems rather than facing them head-on. Stede, at first, seems to be making progress. He makes strides as a pirate and even attains fame. But this progress toward his goals does nothing for his personal growth. Instead, it seems to catapult Stede back into his least-savory self from S1: selfish, out of touch, and vain. He and Ed enable each other in their determination NOT to grow, while Izzy fights for growth in every episode leading up to the finale.

This, essentially, is why so many fans believed Izzy was a main character. And it’s a good part of why so many fans were shocked when Izzy was killed off to service Ed’s growth, and his relationship with Stede. We spent a whole season watching him be the main character, only to be told at the end that he was really just Sidekick #3 all along. This strikes me as dishonest and unskilled, like the writers were working off intuition — good intuition, granted, for most of the season — without any real understanding or intentionality behind their decisions. They were working off what “felt” right without interrogating why it felt right, and when they hit the season finale, all those instinctive, thoughtless decisions came crashing down. The rubble left behind is difficult to sort through and honestly doesn’t make much sense. And, as an audience, we’re left with a season-long growth arc that was bafflingly cut off before it could culminate — and a prospective S3 where one of the main characters is dead and buried, after only a single season to shine.

#Izzy hands #ofmd #ofmd critical

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areyoudoingthis · 6 months

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god I truly love the red suit (because it's hot obviously and i am not immune), but also because of the glimpse it gives us into stede and where he's at halfway through s2 (thee season of change and growth).

he's been wearing the same shabby, stained white shirt all season so far because he left everything he owned behind, and he hasn't complained once about ed throwing all his favorite clothes overboard, because nothing was more important than finding ed and finally being able to tell him how he felt about him, and I'm so proud of stede for that bit of growth. the white shirt is symbolic of that growth, of his willingness to put ed and the crew first, of him not needing all his physical belongings anymore because he has people to care about now, he doesn't need things.

but he likes them, and the way his whole face lights up when he sees the red suit and he stops to put it on in the middle of a raid (and almost gets stabbed for it) is so stede. he's grown but he still loves his fancy clothes, he loves bright colors and frills and buttons and gold thread. growing doesn't mean he has to stop loving those things, and that's such an important thing for the show to say, especially given where stede is in his journey of self discovery this season. he's still allowing himself to enjoy those things in spite of the undercurrent of fear of not being good enough and self hatred that thrums under the surface since the opening of episode 1 (and eventually leads him to kill a man and get progressively more butch in his outfit choices as the season progresses). i LOVE that he gets to have that, that he gets to feel hot and pose in front of the mirror and strut around all day (and that he gets to be a righteous bitch when the crew destroys the suit).

it's such a realistic representation of someone on a journey of self discovery, of someone who's figuring out what he's worth and why he's loveable and what he likes and will allow himself to like and how he will allow himself to present in front of others. and he gives it away because he loves his little piratical family and wants to keep them happy, but he still got to enjoy that, and he still looked great in just the red shirt with a low neckline and black lace all over it (and he got a "you wear fine things well" for it!!!!!!! ed saw and he understood what it meant to stede and stede got to hear that!!!!!! I'm kissing the show on the lips).

i still feel some type of way about the teal shirt and the leather pants and everything they say about his state of mind throughout episodes 6-8, and i feel fifty more things about him finally being able to have his romantic fantasy come true and know that he's loved in the color that represents repression and being forced to perform a type of masculinity that's been destructive for him his whole life (as I've said before). I think it was insanely symbolic and important for him to be able to wear that particular outfit at that particular time and stay in it for the entire finale.

but. BUT. i can't wait to see what becomes of Stede's gender expression when he has time to rebuild his wardrobe, when he's not running around trying to keep everyone safe or prove he has worth, when he starts to realize and embrace that he doesn't have to be a certain kind of man for people to respect him and for ed to love him. i can't wait to see the choices he makes when he's finally free to choose. I think s3 might kill me yall

#all the talk about positivity got me vomiting my love for the show and my blorbos again #ofmd #stede bonnet #ofmd meta #alex watches ofmd #I LOVE SHOW!!!!!!!

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sleepystede · 3 months

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Something I spent way too long thinking about during my 56382944th rewatch, in regards to a very specific line that Ed says in episode 1 of S2:

I'm the fucking devil and these are the kids.

I've always casually thought it might be song lyrics that went over my head (we see Ed using lyrics a lot - like the whole, "here I go again on my own" sequence), but it's not--

Ed craves death. He wants the crew to kill him. And despite Ed never stepping as fully into a parental figure with his crew, he sees that modeled from Stede and no doubt he thought about it.

If the crew are Ed's kids, and if the first person Ed ever killed was HIS DAD for being horribly abusive (devilish behavior)--

Ed is embodying qualities he saw in his dad in hopes of the crew finally killing him.

This adds another layer of reasons Ed experiences so much guilt when he comes back from the gravy basket. He deeply UNDERSTANDS the pain the crew feels, the agony that led them to make that decision.

He gets it because he lived it.

Forgiving himself for these horrible deeds also means forgiving little Ed for what he did to protect himself and his mother.

There's also the more surface-level meaning of "son of the devil" archetype, with the crew being presented as just as devious as the devil himself. But this analysis doesn't sit with me as deeply as Ed=embodying his dad.

#i guess we're all our parents #daddy issues #our flag means death #ofmd #ofmd s2 #ofmd season 2 #omfd season 2 spoilers #ed teach #blackbeard #edward teach #young ed teach

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piratecaptainscaptainpirates · 5 months

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When I think about it, I think we start to see a shift in Ed's perception of Stede's self-confidence as early as s1e7, and that's when he starts to make a real effort to reassure Stede when he can.

It is very, very easy to understand how Ed missed how devastatingly low Stede's self-esteem is at first; I still don't think he fully gets it. Stede could be the poster boy for a "fake-it-till-you-make-it" mentality; he carries himself with a lot of unearned confidence and enthusiasm. He also doesn't fucking talk about his feelings unless he HAS to. It's no wonder Ed misses just how much reassurance Stede needs.

But we can start pinpointing him starting to suss it out a bit! In s1e5, he clearly hadn't realized: Ed not only interrupted Stede when he was trying to talk at the party, he contributed to how the other guests were laughing at him. I don't think Ed was intentionally trying to be mean; he acts much more like they're playing characters at the party than Stede does, and he doesn't know how deep Stede's insecurities go, but it was still a bit of a dick move.

But then, in s1e7, when Lucius tells Ed how hard Stede is trying to impress him, it seems like something clicks. Ed goes out of his way to validate Stede's ideas, and though he comes on a bit too strong ("see, now I feel like you're just patronizing me." "I am.") it's a great step in the right direction.

There's a slide back in s1e8, when Ed ignores Jack interrupting Stede and doesn't really do anything to shut it down when Jack insults him. It's meant to add to how Jack is encouraging Ed to behave in callous and inconsiderate ways to push Stede away. But an episode later, when Ed can tell Stede needs reassurance, he's on it. He tells Stede his fake heads idea "wasn't bad" to hype him up a bit, and fondly tells Stede to shut up when Stede says he only has stupid ideas. It's a good move.

In s2, we can see this develop even more. In s2e5, Ed is happy to give Stede some pointers on his captain voice (and not even exclusively for horny reasons), and compliments his performance. In s2e6 he specifically waits until Frenchie and Jim leave to tell Stede that they're just trying to Calypso him, making sure Stede won't feel like he's being embarassed in front of his crew.

And now, as of the s2 finale, Ed is really starting to fully get it. When Stede tries to bring up his own accomplishments when Ed and Zheng Yi Sao are talking about how cool their fight was, Ed instantly picks up on it being time to reassure his boyfriend, quickly letting Stede know that he saw Stede being cool, it was incredible, and adding on a cute pet name to make sure Stede knows he's being genuine and affectionate. Even if Stede wasn't really super cool in that fight, Ed knows Stede wants to feel included and like his contributions had value, and he immediately rises to the task.

These guys just get each other so well and they do such a good job of hyping each other up. I can't wait to see this develop even further.

#ofmd #our flag means death

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