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prairiedust · 4 years

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The Further Folklore of Supernatural

Here’s a little more folklore meta in light of how season 15 has been playing out if anyone is game. I genuinely thought that Moriah would be the end of the folklore stuff and tossed out “Folk the Author” as an “epilogue,” so this is probably less of an addendum than it is a waymarker as I try to continue to parse these themes into the last seven episodes.

Welp. *waves hands at everything* THIS is not how anyone expected 2020 to go. Things got a little bit big and I stopped thinking about Spn in light of needing that energy elsewhere. But I also don’t want this crapfest to ruin how I fan my favorite show, so here I go again. I will attempt a TL;DR, too!

If you’ve read my old “folklore” analysis here about how I think fairy tales and all their baggage fit into Supernatural season 14, you know that I believe Castiel has stepped into a Sleeping Beauty type story, and that coincidentally a few themes and symbolism from Snow White kept popping up around Dean. (I hold Sam to be a Protagonist in the modern “literary fiction” sense of the word, but emotionally, thematically, and narratively he’s always been a little inaccessible to me. I finally understood him when the death-of-the-author plot surfaced, and I’ll get to Sam eventually here. And Jack, there’s a little Jack in here, too.)

If you would rather have the TL;DR than read several thousands of words about how folklore and myth *might* be abstractly connected to an American genre show, all I can say is that I tried. The textual support is all in the folklore posts. This is as succinct a summary as I could fabricate. At least I’m not gonna talk about Sam and bricolage and freeplay! This is an almost completely theory-free post! If you don’t want to read or don’t need a refresher and just want to know how this has been working in 15, you can scroll down to “END OF TL;DR”.

So, to catch up, I’m not talking about the folklore and mythology that this show has always relied on for plot and MOTWs. I wasn’t drilling down into urban legends like Hook Man or world folk monsters like shtrigas or pishtacos. By “folklore” I mean the study of storytelling tropes and tale types that have been with us for ages. One of the many subtexts of the end of the series. I’ve been tracking this because I think it’s fun to see how fairy tale imagery and mythology might layer preconscious suggestions into the text of the show. I personally think it was loud enough to be seen easily, but more than likely viewers felt unsettled, felt cheered, or felt like they knew what was coming? I’m curious to know. Anyway.

When we found out that Kelly Kline was going to name her baby “Jack” waaaaay back in season 12, things started chiming. Jack and the Beanstalk. Jack the Giant Killer. Jack Tales. Jack is a powerful Western character, sort of a cross between a noble hero and a trickster, featuring in stories that often blur lines and boundaries. He is both the poor man’s youngest son and the equal to King Arthur’s heir. Jack is both everyman and extraordinary. Jack is so cool, I wish I had more time to parse that but his qualities are not subtle in the text/subtext, anyway.

But back to my half-crack reading of seasons 14 and 15.

Once upon a time in Supernatural, there were two fairy tales being told. Both fairy tales are found all over the world and in many forms, but they all can be grouped together because they all contain shared elements of the same basic plot or shared themes, and these two in particular are sister stories. So when I mention “Sleeping Beauty,” I’m talking about lots of different versions of the folk tale, and the same for “Snow White,” which can be found in one form or another in storytelling traditions all over the place. It is both helpful and irritating that these are both Disney movies, too.

Jack makes an allusion to Sleeping Beauty in 14x03 The Scar while talking to Castiel-- it’s the kind of subtextual flash that in and of itself means little and proves nothing, but then beginning with The Scar we got three stories in a row that dealt with “sleepers” of some sort-- Lora in 14x03 doomed to die because of a witch’s spell, Stuart in 14x04 Mint Condition in a coma because of a ghost attack, and Sasha’s father in 14x05 Nightmare Logic under the spell of a clever djinn. It’s powerful subtext, like a soft light that bathes these episodes in the color of fairy tale and makes Jack’s Dramatic Swoon at the end of Optimism all the more Dramatic-- subtext amplifying the plot. Jack goes to Heaven, but is eventually cornered by the Shadow, who wants him in the Empty where he will sleep forever-- the Shadow being an entity who has claimed the husks of dead angels since their inception and thus implies a “curse” laid on Jack from the moment he came into being-- but Castiel, who is ever a thief in oh so many ways, makes a bargain with the Shadow and essentially takes over the consequences of Jack’s Sleeping Beauty story (hence my rarely used but hilarious tag “Castiel Thief of Endings.”)

Now that we know from 14x20 Moriah that the Shadow and Billie the Reaper are, if not allies, at least working together when Jack is awakened in the Empty, does that mean that Castiel’s deal is still on the table, or has that fate been thwarted? *pounds table* Was Jack’s death and Chuck’s rise as a “greater threat” in 14x20 enough to shift Castiel’s ending? It’s the kind of subtextual question that lends tension to the narrative and it’s what I am here for.

Well, speaking of thwarted expectations, Dean’s arc was being shadowed by a Snow White tale type. We all know Snow White but why don’t I sum it up anyway, since Disney messed up the folktale ending lol. Snow White is cast out of her home by her jealous stepmother (and echoes of the stepmother’s magic mirror show up in 15x02 Gods and Monsters) who sends her huntsman to kill her; the dude can’t do it and turns the girl loose in the forest instead. Snow White joins a band of outsiders who live in the forest-- in the Disney movie and the Grimms’ tale they are dwarfs, in some versions she happens upon a band of robbers-- and they love her very much and we presume she’s safe for the rest of her life; Michael mysteriously turns Dean loose to join Sam’s gathering of hunters, however we know, like Stepmom, Michael is still out there. The stepmother finds out that Snow White is actually alive and contrives to kill her herself. Eventually succeeding, Snow White appears to die and is usually laid to rest in a crystal casket/glass coffin. Her stepmother’s machinations have _stolen her agency_ (further paralleling Dean’s possession by AU!Michael.) A Handsome Prince stumbles upon Snow White, is besmitten with her, and he asks her protectors if he can have her, as one does. Leaving the Disney adaptation aside, Snow White awakens when whatever item that has caused her death-like state is dislodged (piece of apple in her throat) or removed (magic corset) or withdrawn (poisoned hairpin) by her protectors. Snow White is a story about the community of the dwarves of band of robbers or adopted family caring deeply for her, and when Dean starts making his own crystal casket, the ma’lak box, in which he will ride out eternity in tormented symbiosis with Apocalypse Michael, he has to rely on his family to help him see the plan through. However, here’s where Jack-- who is as much a chaos engine as his surrogate father Castiel if not more so-- steps in and ruins the ending. Jack smites Michael. Dean Winchester is saved. Again. To put the final nail in the coffin, so to speak, Jack later destroys the ma’lek box entirely.

That was quite the surprise ending… for one of the stories.

Was the end of season 14 the end of the Sleeping Beauty theme, also?

END OF TL;DR

I quit writing about “folklore” for a while, but that doesn’t mean it stopped being a theme. It just stopped being fun to write about as the story got more and more dark, and when it transmuted into two parallel themes of “folklore” or storytelling by the people versus Death of the Author--or storytelling by a lauded authority-- and there was so much angst about the boundaries of Chuck’s powers, I just wanted to sit back and enjoy that. I did distill my thoughts about Sam’s new arc in the DotA plot, which I thought would subsume the folktale themes but hey, we still have folktales around, too. I mean, we have Sam and we have Dean, and we have two “literary” subtexts, or maybe rather two subjects about the nature of story, something that I thought was a little bit of a surprise.

Storytelling was a Feature of 15x07 Last Call, both in the sense that Lee and Dean swap new stories and tell old tales of their adventures together as they catch up, but also in the sense that we got additional “text”-- hints of a backstory where John and Dean hunted with Lee in that swampy long-ago “Stanford era,” and again we get storytelling when _Lee recounts how he ended up keeping a marid in his basement_. There is also an allusion to the Thousand and One Arabian Nights in that episode that I yelled about in a meta that I never put on the interwebs, but the “marid” is in a specific tale in many editions of that collection, and thus calls in not only a different folktale tradition but the concept of a framed/nested narrative, which I believe will be important to understanding the last episodes of the series, but that’s an aside. In 15x08 Our Father Who Aren’t In Heaven, Castiel _tells Michael the story_ of how everyone ended up where they are now to convince him to help. And Michael and Adam’s allyship, if not friendship, was probably the best subversion of any “storytelling” expectation we’ve ever had on this show. Belphagor set us up for “room full of crazy” or something, but, no. We got symbiosis.

That almost sums up how I’ve been viewing the last “era” of spn. This wasn’t in the master post, but I shouted a lot about underworlds before 15x09 Purgatory 2: Return to Purgatory, and then stopped shouting because I had to ferment for a while. Also, as has been mentioned, the world turned to crap. But talking to other meta writers during the ramp up to the resumption of the season helped me realize just why this reading of myth to folktales to literature feels so right.

Underworlds and Otherworlds…. Everybody has crossed into an “underworld” or three in Supernatural, it’s really nbd. It was actually surface-level plot in season 13. By the time 15x09 rolled around, our heroes are just, like, strolling in and out of “sealed off” Hell after doing a level one spell and chilling with Billie in the Empty and even that Purgatory trip didn’t have the same feeling of danger that, say, crossing into the AU did. But also, we’re at the point where subtext is leading us to a _satisfactory_ ending. Where before we had serial text, like a cumulative tale type-- “The House that Jack Built”-- which just kept adding more and more plot, we’re hurtling o’er the apex of Freytag’s pyramid now and things are getting loud.

But they’re also getting very shifty.

I wrote a little bit about Sam Winchester successfully reviving Eileen in 15x06 Golden Time and the “Orpheus and Eurydice” symbolism of him keeping his back to her. (I’m not linking it because it’s so, so rough.) But because Sam is not an underworld hero, not completely-- I see him as a modern Protagonist coming to terms in a psychoanalytical model with things like mortality, fallibility, and mastery-- maybe bildungsroman, even -- he was able to subvert the tragic ending of the tale of Orpheus and Eurydice because it is not “his” story. But if I were pressed to find a mythic or folk tale type to measure Sam against, I could. I would probably sideye “the sorcerer’s apprentice” trope (ATU 325-The Magician and his Pupil :D ) which began as a poem that entered European folklore on different fronts. (and weirdly, that story was also Disnified in Fantasia. That’s probably more my own limitation as a gen x american lol than anything coming from the writer’s room.)

Dean got his moment in Purgatory where he was able to finally come to grips with his anger and heal the rift between himself and Castiel because Purgatory is a different kind of underworld. Dean is a successful threshold-crosser, having crossed that boundary out of Purgatory before, but in 15x09, his prayer to Castiel is all a subtextual evocation of doing the emotional and mental work of therapy, which Sam, as a modern protagonist, is usually caught up in. The mythic hero also deals with mortality, failibilty, and mastery, but in different terms. I hope I’m doing an okay job peeling apart these nuances that I’m seeing.

Since Castiel accompanied Dean to Purgatory, and in the past made his own wildly successful incursion into and out of Hell with Dean’s soul, and was the one in The Trap who actually retrieved the Leviathan blossom, Castiel counts as an underworld hero, too, but you can pull the lever and send the tumblers spinning again and make him a fairy tale character in that he has made this Bargain with the Empty which is both in the “modern” tradition of subverting a fairy tale, and the tale type “deal with the devil.” Or he could be seen as a modern protagonist in that he’s lowkey grappling with questions of selfhood and identification. “I am an angel of the lord.” “I am no one.” “It’s Steve, now.” “You are nothing.” “I am an angel.”

We even got an episode that playfully explored the concept of “hero” by subverting our expectations (Sam and Dean were rescued by, of all people, an upgraded Garth.) It was called The Hero’s Journey, after the Joseph Campbell book about mythic heroes.... !!! Like, what??? !!!! I didn’t even have anything to say about that episode, it just rocked. The “meta” was just all out there in plot, like the olives and boiled eggs in a 1950’s gelatin recipe.

Some of this slipperiness in the subtext points right at the study of folklore and the (admittedly Eurocentric at first) efforts to transform a “soft science” into something approaching scientific rigor. The Aarne-Thompson-Uther folktale index is today a codifying or cataloguing tool, with which anthropologists and literature scholars can line up stories based on the motifs found within them-- it is useful for cataloguing tales, making comparative studies, and for trying to trace these stories back through human history to find the One First Story of that type, for instance the ur-story that led to Snow White. When did people first start telling that tale, where, how did it spread, and why are we still telling it today? The danger in using the ATU index is that by stripping a story down to it’s bones, we lose the story, if that makes sense. The beauty of using the ATU index is that you find many, many more interconnected stories. It’s sort of a paradox. Some scholars criticize the ATU, claiming that one could take a random selection of these motifs and shuffle them to create a story and, you sort of could? That’s the beauty of the system.

So that brings us to Jack. I feel like Jack, as in Jack of all Trades, is anything that the narrative needs him to be. As far as I can find, “Jack” is not a “tale type.” He shows up alongside any number of them-- sometimes as a trickster, sometimes as a hero, almost always as a kind of slippery character. In the first folklore post, I invested many words in exploring Dabb’s obsession with threes-- AU Michael asks three beings what they desire, asks his human victim to guess his name three times, then we follow three sleeper stories, and so on. The original TFW was three people. But Jack makes four.

What is Jack’s story going to be?

¯\_(ツ)_/¯

And speaking for a sec about the origins of myth and folklore-- what about ALL OF THE OTHER PEOPLE in the world? Are they lowkey churning the matrix of reality on their own and generating their own content, like Becky and her AO3 stories and mackettes?

*¯\_(ツ)_/¯ intensifies*

It all just feels so good at this point, even the peril that I feel surrounding Castiel.

I *think* this will be the last of the longform metas before the end of the series. I mean, I can only hope so. I’ll drop some stuff about individual episodes that might be applicable as I rewatch, and I might clean up my post about Last Call and drop it on here, but I just wanted to kind of hold this up as a mile marker before the Final Seven air.

#the folklore of supernatural #idk even what to tag this

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treeni · 4 years

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Sanders Side Theory: Creativity’s Name and Roman’s Struggles

Theories Masterpost

Well, apparently some people were interested in my Orange side theory and stuff.

So let’s talk about “King Creativity” and why I disagree with every name theory I’ve seen so far and what I think instead. I’m not certain “King Creativity” is ever going to be named in the show, just knowing he existed is probably enough, but wouldn’t it be fantastic if there was a backstory episode? Or even aside episode?

First! Let’s start with the fact that I actually think it’s really interesting that everyone’s defaulting to Creativity being “King” when it is in fact Emperors who ruled Rome. Not a criticize, just interesting thought. Second, Kings were supposed to sit back and let their knights and armies basically do all of the physical work (Unless your Arthur, but it usually got him into trouble so! Moving on!) while you lead them as whatever supreme ruler title you take. However, a Crowned Prince was often at the head of said adventures and battles, in the thick of it all, but was basically indisputably the accepted next in line. (Approved by the courts and all that jazz, I mean historically it didn’t always go that way, but that was the intention). However, a regular Prince and a Duke could absolutely have a power struggle, especially in the situation where the Duke was previously “next in line” before the Prince’s birth. So if Roman and Remus ever did duke it out (also mini theory that Remus chose Duke for the fighting reference) I think one of them could/would become King, but I don’t think that’s who creativity was before the split.

Now I have a particular crowned prince in mind that creativity is named after, but lets not get ahead of ourselves. Let’s start by talking about some of the most popular theories and why I disagree with them.

CW: for before the “Keep Reading” section. There is mention of metaphorical and fictional murder, war, lgbt theory (not that, that should surprise anyone). Roman backstory (aka things he might regret now.)

Romulus: While I suppose it’s convenient in the fact that its sort of the names combined, Romulus is already the role that Roman is filling in his relationship with Remus. Twins that supposedly found Rome, but Romulus killed his brother Remus to do so and become the ruler. Romulus literally named Rome after himself. This isn’t a hint, this isn’t something that’s upcoming or anything, this is backstory. Roman is literally just a modernized version of the name Romulus. Remus’ banishment to the darkside was his metaphorical murder. It also suggests that Roman took an active role in sending Remus away, which also helps explain a lot of Roman’s current struggle with Janus. Can you imagine the kind of guilt he might be feeling if he was the one who decided his brother was evil and he was good and then he passed judgement? If the darksides aren’t evil, then Roman and he metaphorically murdered Remus, then he wasn’t the hero slaying the beast anymore. Instead, he’s suddenly the bad guy.

Buuuut Treeni, what about Patton??? I hear you say. It would have had to have been morality right?

And to that I say you’re WRONG! And also right. Patton’s kinda been shown to be the most accepting bean of the whole lot, he doesn’t really try to force the others away the way some of the other sides do. Instead, he puts his foot down on his own convictions and refuses to listen to reason. (I didn’t say he was perfect.) Still, he doesn’t try to physically push the others away, not Virgil when he tried scaring Thomas, not Janus when they argued and Patton was clearly distressed by the courtroom situation, and not even Remus when Patton was clearly scared of him (also defensive of Roman). He doesn’t need to, he’s self-assured in his own place and convictions that he doesn’t worry about Thomas pushing him out. Instead, Patton kinda takes the family holiday party route and will do his best to put out the emotional fires and stand his ground on his opinion to Thomas when he needs to. (The ONLY time I could find Patton sort of pushing someone away was when they were in his room and Patton asked Logan to stop. While that could weaken my argument about Patton, I think it strengthens it because it shows how big of a deal it was at the time that Patton tried shutting him down. Logan reacted the way he did by immediately storming off because it’s not something Patton does.) While it could absolutely be Patton’s influence that caused the split, it would be out of character (as he’s currently defined) for Patton to actively push a side away. (I’ll get into some of his more negative aspects in another post if ya’ll wanna hear about it.)

Remember, Roman was the one who tried shutting down Virgil with bullying tactics, Logan too sometimes. Then he tried to use the same tactics on Janus when he tried putting his foot down on maintaining a black and white view point of the world after Remus’ appearance. Keep in mind that Remus actively told us that he blames Roman for his banishment. He compared himself and Roman to Cain and Able. While c!Thomas and even the audience as a whole were sort of led to think of Remus as Cain because of the “dark and evil” association, Remus is telling us that he is Abel. Roman is his destroyer. (Before you feel too bad for Remus, that misconception was also on purpose because while Remus isn’t a liar, he can manipulate a situation with honesty. Again, another post if you wanna hear about why.)

So now there is some general understanding of the twins backstory, you’ll see why Romulus would be a terrible fit for their combined name because Roman is already Romulus. Period. He’s the one who betrayed his brother by “murdering” him and taking over.

Making Romulus the name of who creativity was before because the names kinda morph together would lazy writing compared to very carefully woven details the show has had thus far (particularly in season 2). Okay, that went on a bit of a tangent, so next!

Caesar: This is a person who brought about the destruction of Rome, not the creation of it. (With Rome basically being the metaphorical state c!Thomas is living in now with clear lines between good/bad, right/wrong etc.) While it’s not a horrible ideology, it would be moving forward in a historical timeline instead of backwards. If you subscribe to the idea that Roman and Remus cannot go back to who they were (even with some kind of theoretical re-morphing) Caesar might be who they become, but it seems unlikely that is who they were. Remember that both sides are individuals now and those individual traits they’ve gained since splitting may not re-mesh cleanly back into who they once were. I personally don’t think there’s any “going back” for Creativity.

If they show him as he once was, it would likely only be in either a backstory bit or in a temporary situation where the re-combining doesn’t hold. However, if Creativity ever did become one thing again, I think it would be something completely new and I think Caesar would be a good fit for that in particular.

Aeneas: Again, it would be kinda lazy writing comparatively. Instead of using a sorta combination of the names that had some historical basis, this theory is based entirely on the idea of a convenient ancestor who quested and failed over and over to create Rome. I could have bought this had it been from lesser writers, but Thomas, Joan and the whole team do not mess around in story crafting and really carefully woven in references. I am literally degreed in writing and analysis and I keep finding myself impressed at the layers.

The name Aeneas also implies that the character Creativity was specifically questing for a change and that seems doubtful given the resentment between the brothers. Aeneas was essentially a left-over scavenger trying to scrape together a new home from what he could from already broken pieces and that does not sound like what Creativity is implied to be.

If we look at child development, I would theorize that Creativity is the oldest side. In the creative process, there are two major steps, first is information absorption, then second is application. The first thing any child must do is learn, anything and everything. The world is a limitless and imaginative playground. New material is around every corner and there it takes a while before the distinction between reality and fiction to be understood. It was probably just c!Thomas and Creativity for a while and as the others emerged, they looked up to him. It could even be potentially argued that Creativity was literally their creators.

This would imply that Aeneas would be a pretty terrible fit for him in that case because there’s nothing broken that he’s trying to salvage. The kingdom is his and c!Thomas’ to preside over with the other sides as his subjects. (c!Thomas being the distant “King” and Creativity being the “Crowned Prince”).

So, with all of that out of the way on why some of these theories are probably wrong, what do I think?

I think Creativity’s name is Hector.

Now, hear me out on this. For those of you who have read the Iliad you probably know exactly who I am referencing. You just may not know why. So stay with me here.

1. First, for those of you who don’t know, Hector was the Crowned Prince of Troy, the leader of the army that the Greeks (the perspective we’re getting) are facing off against. He’s also cousin to Aeneas, but actually accomplished things during the war beyond being saved by Aphrodite. This means he’s also an ancestor to both Romulus and Remus (albeit technically less direct). However, Hector’s family is where the royal lineage of Aeneas comes from. Though we follow the story mainly from the perspective of the Greeks (and the gods because they’re TROLLS), the Greek’s are pretty villainous in a lot of their actions throughout the story and they are most definitely the invaders. In this case, I would liken the Greek army to “outside opinion” for c!Thomas. Others interjecting their views on to someone and breaking his own beliefs. In this situation, Creativity would have been his biggest defender and hero, retreating into magical imaginary worlds to escape judgement.

2. So lets get onto the character and why him, shall we? Hector will literally do anything for his family. The war takes place because his little brother, Paris (one of a whopping 49 brothers mind you) either kidnaps, has Aphrodite kidnap or runs away with the Spartan Queen Helen because he fell in love with her. (It varies on the version and she was forced into her previous marriage at about 13 anyway, so Helen leaving willingly for the guy who the gods deem is the most attractive man alive is a popular modern reading.) It would have been so easy for the Trojans to yeet Helen back to Greece, but they don’t and Hector’s defense of her and his brother is a big reason why. Hector even chastises his brother for the mess he’s caused, but still stands by him and defends him. He also defends the hell out of Helen and refuses to blame her for their problems. Then in Troilus and Criseyde (Basically published Iliad perspective shift fanfiction with OCs) he defends the hell out of Criseyde when even Troilus, (apparently one of the 50 brothers) the person who claims to be in love with her, wont. Hector’s truly an all around good guy, great leader and has a very distinctive and personal moral compass that doesn’t always align with what’s being told to him is right. You want a character representation for someone who led the sides despite their clear struggles? Someone with Roman’s charm and heroism, and Remus’ understanding and drive? Hector is probably it.

3. Hector’s death is both a huge symbol for the end of Troy, but also isn’t? Let me explain, narratively speaking, Hector’s death is the point you know that Troy is basically doomed. His end is the representation of the end of it all. His corpse was literally paraded around as Achilles’s dragged it on the back of a chariot for days to show their doom. There was a distinct “aura” shift from Hector’s death as all of Troy mourned his death. We as an audience know Troy is basically doomed from Hector’s death alone. Hector was a person that even the enemy Greeks hella respected as a warrior and leader. Essentially, this was the point that the war that had been raging for about a decade became serious. At the same time, it just simply isn’t the end of the war. There’s the whole horse thing still to come and all that jazz. Still though, Hector’s death is very much a symbol of “everything changes, but nothing does.” Which is the perfect symbol for the twins split to me. Just because they split doesn’t mean that all of the sides did immediately, yet it was still probably the turning point that drove a wedge between the “dark” and “light” sides.

4. The character Hector arguably died in the name of gay love. Okay, story time. So in the Iliad, Achilles is being a little bitch and refusing to fight anymore because drama between him and the king of Athens, but he’s their best fighter and the Greek’s are basically sorta loosing because of him not helping. His boyf- I mean best friend Patroclus goes out in Achilles armor and leads his army in his place because Achilles is a whiny baby. Except Hector kinda immediately kills Patroclus, thinking he’s Achilles with reinforcements.(This was full body armor baby and distinctive cause baby of a god and all that mocha frappe.) Of course, Achilles has to immediately get angry revenge for his boyf- BEST friend and ends up killing Hector. This would make the character Hector a great metaphor for Creativity if his split had anything to do with sexuality or even acceptance as a whole. (Though we know acceptance is definitely a part of it considering Remus.) We know that Remus wants c!Thomas to explore darker themes and the struggle of sexuality and acceptance could be a possibility in what is to come as a previously “off-limits” theme.

5. A big one is that the destruction of Troy is what eventually brought about the creation of Rome. Essentially Troy would be the metaphor of c!Thomas’ existence/mentality before the sides split into dark/light factions. Then Rome would be the metaphor of c!Thomas’ existence/mentality after the sides split into factions.

6.Finally, the name Hector literally means “to restrain” which would work well for Creativity as he was likely trying to reign in the others from infighting (and you can see how well that went with him being gone).

Cheers to another rant into the void. Huzzah! God this is nearly as long as some of my seminar papers. Do what you will with this information.

Please keep in mind that I adore Roman as a character. This post isn’t meant to hate on him. It’s meant to bring awareness of the layers of his character. Every Prince Charming was a villain to someone, every hero that slays the beast is a murderer from a different light.

I don’t bring these things to light to cause pain, I bring them to light to help bring awareness of what’s probably going through his head.

(Yes, in regards to the Creativity being made first thing, I DO even have a theory about existence order, I promise you I have theories about everything. My mind does not stop with this crap. I have theories on everything from what animal association Roman and Logan have to Virgil’s key role in Roman’s backstory. I’ve ranted about a bunch of these things to a few specific people so if you ever want me to go on a rant about anything in particular let me know. I didn’t expect anyone to actually look at the other theory post tbh. Inbox me if you want me to go to unnecessary lengths on something else.)

(Also, correct me on the Patton thing if I’m wrong. I took notes on a recent watch through, but I wasn’t specifically looking for his rejection sooo, if there are other moments of it you can find that didn’t jump out at me I totally accept criticism.)

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hello-robin-goodfellow · 3 years

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TOP 20 DAVID WARNER ROLES (PART II)

10º Ivan Petrovich ‘Vanya’ Voynitsky (Performance: Uncle Vanya, 1991)

Warner leads in this 1991 televised production of one of the most famous Anton Chekhov plays. Ivan Petrovich (Uncle Vanya for his niece Sonya) is a more then sad and angry man, who sacrificed dreams of love and intelectual success to administrate a cottage of wich provide money to his brother in law, an old professor called Serebryakov (Ian Bannen) that does nothing but look down upon him, all the while being favoured by Vanya’s own mother. Making matters worst, Vanya is one of the two man who is in love with the professors wife, Yelena (Mary Elizabeth Mastrantonio). Two days of a family reunion mostly consisting of verbal fightings eventually makes all the tension that acumulates in Vanya’s mind eventually explode.

09º Konstantin Treplev (The Seagull, 1968)

The younger spiritual predecessour of Ivan Petrovich. Konstantin Treplev is an aspiring writer, who wishes to find a new style to talk about dreams, receiving praises from his mother (veteran actress Arkadina, played by Simone Signoret) and the love of the beautifull aspiring actress (Vanessa Redgrave). But the popularity of the best-selling writer Boris Trigorin (James Mason) and Konstantin’s problems to directly comunicate his feelings eventually make him fall down a tragic spiral of loneliness.

08º Bob Cratchit (A Christmas Carol, 1984)

Interestingly, when this 1984 adaptation of A Christmas Carol, Warner was first invited to play Jacob Marley. But he asked to play Bob Cratchit instead. And we all must be glad that he did, because he gives a very wholesome performance, that makes anyone wish to have him as a father figure.

07º Keith Jennings (The Omen, 1976)

In this aclaimed 1976 horror film, Warner’s character is a photographer, whose only job was to registrate the birthday party of the rich child of the american embassador (Gregory Peck) until a series of strange accidents start to kill people who knew that child or his relatives. Intrigued, Keith Jennings starts to investigate, and decides to form a duo with the american embassador, filling the role of the more proactive lancer to the mostly passive protagonist. One of David Warner’s most iconic good guy roles ever putt on the big screen.

06º Merlin (The Wizard, 2013 and The Once and Future King, 2014)

The two years in a row when David Warner played one of the most iconic wizrd mentor figures in mithology and pop culture. In 2013′s comedic short film The Wizard, Warner plays a Merlin that wakes up in modern times and is starting to adapt in a office work, while his colleagues try to adapt to his magic quirks. And in the BBC Radio 4 six episode drama The Once and Future King (adapted by Brian Sibley, the same guy who adapted the 1981 Lord of the Rings radio drama, from the novel series by T. H. White), where Merlin’s spirit sits alongside Arthur in the final battle for a conversation, we see how his Merlin could have acted in the past alongside King Arthur and the Knights of the Round Table, providing wise counsels with a bit of a snarky sense of humour and melancholy. Those works are two “must check out” for David Warner fans and for fantasy and arthurian mithology fans.

05º The Evil One (Time Bandits, 1981) and Ed Dilinger/Comander Sark/Master Control Program (Tron, 1982)

Yes, number five is a tye. Those two movies camed in a row, and in both David Warner played technology themed villains. In the first, Time Bandits, he is implied to be the Devil himself, and as such is portrayed as very powerfull and in control during most of the movie. In the second, Tron, Warner gives a triple performance: as the human Ed Dilinger and the program Comander Sark, he believes he is in control, but in reality is not. The real power is hold by Warner’s third character, the Master Control Program of the videogame. This transiction from a more simple one-and-all-powerfull antagonist to a more complex dinamic of a trio of antagonists was, for a lot of people, the introduction to Warner’s acting range, and for this reason it appears as a tye in this ranking.

04º The Doctor (Sympathy for The Devil, 2003 and Masters of War, 2008)

In the late 1970s, the BBC camed to search David Warner with an offer for him to play the Doctor in the main Doctor Who BBC Television series. He was interested, but unfortunally his filming schedule conflicted in working more them one season into a long-running TV Show, so he had to put the offer down. It was only in the 2000s, after the founding of the audio-drama company, that we would get a grasp of his portrayal of the Doctor, in the what-if scenarios provided by two episodes of Doctor Who Unbound: Sympathy for The Devil and Masters of War. In those audiodramas, he plays a alternate encarnation of the Third Doctor that is sent to Earth in 1997 instead of 1969, and thus could not help U.N.I.T with the Alien Invasions that happen in the 1970s. Thus, he finds a retired and pub-owning version of Brigadier Lethbridge Stewart, and has to relearn to gain his thrust, until the two become companions of adventures that investigate new alie threads indepedently of U.N.I.T

Warner’s Doctor is a bit less quirky encarnation of the character, having instead a more pratical temperment. He sees the danger, and he goes straight to investigate how to stop it, all the while trying to keep the people around him calm. And later he will make a comment about neading more conforting and fitting shoes.

This is a Doctor that you would surely trust to keep your life safe.

03º Lisander (A Midsummer Night’s Dream, 1968)

A production that made a lot of millenials become Shakespeare fanboys, and they own this in part to David Warner’s performance as Lisander, one of the most romantic (if a bit bumbling) Shakespeare protagonists. Seeing the moments when he conforts and encourages his beloved Hérmia (Helen Mirren) and makes a mess of himself when he is enchanted to fall for Helena (Diana Rigg) is one of the most fun rides that an audience will ever get. Seriously, his Lisander was adorkable before the word ‘adorkable’ even existed.

02º Henry VI (The Wars of The Roses, 1965)

From a fun and very popular Shakespeare protagonist, to a heart-breaking and very underrated protagonist. For years i was one of several people who did not care for the Henry VI plays as it cared for its famous sequel, Richard III.

This all changed when i watched this 1965 televised production of the Wars of the Roses, that condenses the four plays in a way that makes it more accessible for audiences. Once again, this was helped in a big part by the performances of the cast.

David Warner was only 24 years old during this production, and had to cary the role of the vulnerable Henry VI from his youth to his old age and eventual murder by Richard III.

And in my opinion, he carried it brilliantly. This was the sign that a very versatile actor would have a very long career.

And my number one David Warner role is...

01º Morgan Delt (Morgan: A Suitable Case for Treatment, 1966)

Henry VI stablished David Warner as a lead in theater and television. Now it was time to stablish him as the lead in film. And they did exactly that when casting him in the role of Morgan Delt, a painter who grew up mixing a familiar comunist education with an obsession with animals (particularly gorilaz) and is frustratred with his divorce of his socialite wife Leonie (Vanessa Redgrave), who is about to marry Jack Napier (Robert Stephens), art merchant and Morgan’s previous best friend. While trying every crazy squeam to take his wife back, Morgan must take on a journey to mature, so he can his wife go and be happy and he can recouver his career. But until this happens, transitioning from the sweet and romantic to the angry and scary, for Morgan, taking bombs home and wearing ridiculous gorila suits it is.

For showing the range between scary villain and simpathetic hero that would be his trademark on years to come, and providing loud laughs mixed with an interesting commentary on masculine insecurity and entitlement, is that Morgan Delt is my favorite David Warner role.

@amalthea9 @superkingofpriderock

#david warner #actor david warner #rankings

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greg-the-goose · 5 years

Text

Merthur Fanfic Idea

Okay so I'm writing out this fanfic idea here cos to be perfectly honest I'll probably never get around to actually writing it.

So the idea is that after the "Servant of Two Masters" episode Leon approaches Merlin and offers to help him learn some basic fighting and weapons handling. Leon came up with the idea after seeing Merlin in the armory with the cross bow. (I really need some more Leon and Merlin friendship in my life) After almost losing Merlin and more importantly seeing what almost losing Merlin did to Arthur, Leon felt that it would be good to teach Merlin some way of defense.

At first Merlin totally brushes him off saying hes fine (after the initial shock of learning he tried to kill Arthur with a crossbow) but that he'll keep the offer in mind. The more that Merlin thinks of it though the more he thinks that learning some form of defense would be good. After all he could've better escaped Morgana or not have been injured in the first place had he a better way to defend himself openly. If he knew more basics he could also use his magic in closer situations and be able to better excuse it away. At the very least help with his reaction time and battle sense.

Merlin informs Gauis (who agrees) and approaches Leon privately to take him up on his offer, but asks that Leon not inform Arthur or anyone else of what they're doing. Reason being Merlin doesnt want his training and soon to be improved skills to be common knowledge. (He also doesnt want Arthur to know until he has at least some skills and he'd rather not be beat down too hard before learning anything) Leon reluctantly agrees but asks what they should tell Arthur should he ask where the both of them are going. Merlin's answer is to tell Arthur that hes teaching Leon poetry. Leon is very confused and tries to delicately suggest that they wouldn't want Arthur to think they're "learning poetry" (Leon of course thinking that poetry is some kind of euphemism) besides if Arthur should ask, Leon has no knowledge of poetry and he suggests that Merlin doesn't actually either. Merlin then proves him wrong and recites several heartfelt, well worded poems (his own) by memory to Leon. That's enough for Leon to agree to the plan, amending that they inform Arthur once Merlin feels comfortable enough for Arthur to take over his training.

From there it's a ridiculous balancing act for Merlin doing chores for Gauis and Arthur, saving the day and training with Leon. Merlin is constantly exhausted but is making some basic improvements though they've yet to find a weapon that suits him and won't take him years to get a handle on. Arthur becomes extremely suspicious and jealous of Merlin's divided attention and adds to his chores. Arthur also tries to call Merlin out on the poetry cover one morning while Merlin is serving him and Gwen breakfast. This ends in Merlin reciting a well written, heart wrenching poem (again that he wrote) and essentially stuns Arthur into silence. (Merlin does teach Leon some of the basics of poetry to keep up the ruse)

Their private lessons dont stay that way for long as each of the knights slowly discover Merlin's secret training. Each one deciding to help keep up the ruse and help train Merlin. Soon almost all of Arthur's closest knights are taking "poetry lessons" from Merlin. Merlin is still having problems finding a weapon that's a good fit for him. Eventually the knights settle on two long dueling daggers and a set of throwing knives. These fit well with Merlin's agility and speed and help to make up for what he lacks in strength and bulk. (They also provide Merlin with a weapon that he can easily aid with magic without notice)

After that Merlin's training progresses well but it comes to a point where the knights cannot further his training as none of them are that well practiced with daggers. The only person who could train Merlin now is Arthur. Arthur however is in a bit of a mood. After having been ignored by his manservant and abandoned by his knights for "poetry" hes in a less than agreeable mood. Arthur feels hurt and more than a little jealous that Merlin has seemingly turned away from him in favor of his knights. After being so worried that he'd lost Merlin to the bandits he feels that hes maybe lost Merlin after all and hes not quite sure what hes done to deserve it. Arthur starts to unintentionally distance himself from Gwen but when confronted he confides in her his feelings. Gwen sees what's up and starts gently trying to help Arthur realize what his feelings are and where his true affection lies. (Arthur is thick though and doesnt get it) Gwen realizing where all of this is headed (knowing already how Merlin feels based on his poems) breaks things off with Arthur, promising to be his friend and always support him but ending their romantic relationship. This however pushes Arthur farther into emotional distress and confusion. Merlin for his part is so focused on balancing his chaotic life and now keeping yet another secret that he fails to see Arthur's mood declining.

Arthur does find out though, whether by accident or from his knights and this is his breaking point. Arthur is furious with his knights and Merlin (but mostly Merlin) that they kept this from him. Much of Arthur's anger though comes from the thought that Merlin didnt trust him enough to come to him for training and even more than that that Merlin felt the need to seek out training, as if he didnt trust Arthur to protect him. Arthur starts training Merlin but uses the training as an outlet for frustration. Eventually the tension builds enough that they start hashing it out through arguing. Arthur expresses that Merlin obviously didnt trust him enough to protect him and that this is because Arthur failed to bring him home safely from the bandit attack. Merlin in turn tells Arthur that that's not the case at all. That Merlin had to learn to protect himself so that he can keep Arthur safe. He tells Arthur that the only reason Arthur was almost caught by the bandits was because Merlin let himself get injured. He tells Arthur that hes doing this not so that he can protect himself but so he can keep Arthur from getting hurt for his sake. So that he can make sure that he can keep Arthur safe in anyway he can because when it comes down to it he cant lose Arthur especially not because he couldn't keep himself from getting injured. After essentially confessing that he believes all of this to be his fault and that he is only learning to defend himself not because he doesnt trust Arthur to protect him or because hes worried about his own well being but because he wants to keep Arthur safe above anything else Merlin leaves essentially ending the argument. Arthur has a little pouty moment and then thinks over everything. Almost losing Merlin. The feeling he felt when they found him. The jealousy and hurt when Merlin seemed to be confiding in his knights above him. The emotions evoked by hearing Merlin's poetry. Gwen's prodding and gentle suggestions that there was someone else who held more of his heart and affections. He has a giant aha moment and then remembers that hes an emotionally stunted rock and he has no idea where to go from here or if Merlin feels the same. (spoiler he does) Things remain awkward and tense between the two of them and the knights become very worried. They eventually confront Arthur and soon discover what really is causing this tension and trouble between the two. After each one of them talks Arthur through his feelings and how and why he feels the way he does and where things have gone wonky Arthur starts to accept and better understand what he now feels for his manservant and what hes probably felt for his manservant all along. He still has the social skills of a burnt potato though so things remain tense between him and Merlin.

Things change when they are out on a patrol and are attacked by bandits (surprise) After his realization Arthur is even more worried and aware of Merlin during the battle. Merlin however has been trained well and keeps on fighting off bandits only to turn around and save Arthur or yell at him for being distracted. Arthur still cant seem to focus and ends up almost being killed. Merlin of course had managed to jump in the way just in time and gets injured. They win the battle and Arthur freaks out having indirectly caused Merlin's injury by focusing on protecting him too much. They return to Camelot and rush Merlin to Gauis who bandages him up and orders he rest. The wound is non fatal but there is chance of fever and infection not to mention it's just generally pretty painful.

Arthur stays with Merlin and they finally have a real talk like the adults that they're supposed to be. Arthur apologizes for not trusting Merlin to take care of himself in a fight and Merlin apologizes for keeping this from him. They both also apologize for what they feel was "letting the other down". Arthur asks to hear the poem that Merlin recited for him at breakfast those months ago again. Merlin complies and Arthur asks who it is that Merlin loves so dearly. Because love is written so deeply into every word that theres really nothing else it could be. Merlin essentially implies that its obvious and honestly after their talk and everything that has happened there should be no way that Arthur cant know who it is that it's about. Arthur takes a leap of faith and lightly and carefully holds and then kisses Merlin. And ta da! Happy ending!

That's essentially it other than some minor moments where Merlin kicks serious butt with his newly acquired knife skills. I dont know if I would add a magic reveal in this one but I would definitely want one before they became an actual couple.

If I did write this (which we've already established probably wont happen) I would want to write a short sequel where Merlin and Arthur have essentially confessed to each other but Merlin for some reason unknown to Arthur doesnt want to start a relationship. Merlin tells Arthur that there are some things that Arthur doesnt know about him yet and that he can't yet reveal to him. He makes it clear that he loves Arthur and wants to be with him more than anything else but he won't do it while he still has parts of his life hidden from Arthur. There would of course be a cool scene added where theres an assassin who comes to kill Arthur at a banquet only to be taken down by one of Merlin's throwing knives before anyone else has a chance to react. The assassin though is part of a bigger plot to kill Arthur and take over Camelot (using magic cos honestly what else) Merlin saves the day and establishes that hes a ridiculously powerful warlock who is just as ridiculously loyal to his king and willing lives in the shadows underappreciated and looked down on. Which is all pretty standard except these days Arthur is (and let's himself be) more aware of Merlin and what hes doing and he ends up witnessing everything. They have a huge argument/ confrontation that ends with Arthur in awe of Merlin's love and loyalty. (Everything from no credit and no reward to looking like and being assumed an idiot to lowering himself to mastering a manner of defense on top of everything else he already does just to make sure Arthur remains safe) Then they get their happy ending and finally get together-together.

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finnyisanactualrayofsunshine · 7 years

Text

Ciel/Lau in every arc reposted

So I tried to find this post and it seems that tumblr has accidently deleted it or something? Because it just isn’t there? Anyways here’s that post from my drafts, posted again

Jack the Ripper arc

-Lau cradles Ciel’s face while calling his eyes beautiful, Ciel doesn’t even push his hand away, is weirdly chill with it. -Lau is very invested in having Ciel wear the minidress of his choosing. -when they go to see the crime scene, Lau pulls Ciel by the hand. -Ciel tells Lau all about how Madame Red was (one half of) Jack the Ripper. He trusted him with that information and sat down and talked to him about it. -Lau tells Ciel that if the opium business doesn’t work out he’ll find new business endeavours because he’s “interested” in Ciel. -Lau says “I hope you’ll show me many more interesting things” while getting real close and up in Ciel’s personal space 🤔

Curry arc

-they’re always seen in the background playing cards and having random banter, it’s very enjoyable -Lau calls Ciel a bully in a term of endearment tone, also says he’s sparkling, all while following him around and looking adoring. Oh also there's a little heart in the speech bubble. He talks to Ciel with little hearts in the speech bubble. -They have the most married couple conversation in the yard after Lau helps out by using his trading company to bring in curry supplies. I’ll go back to that in another post. -Lau sees Ciel might be in danger and his first instinct is to scoop him up and carry him to safety. Bonus points for the wikia article that said he carries him back to the townhouse through London without putting him down. -Ciel gets rattled about Ran Mao on Lau’s arm at the competition. Lau has to reassure him that’s she’s only his sister, afterwards Ciel is noticeably less annoyed. -Lau looks mildly annoyed when the viscount shows up, but looks genuinely angry when he talks about robin, aka Ciel, in a romantic context. -Lau straight up kills a guy that fucked with Ciel. This could also have been for business purposes, but hey I can interpret fiction in my own ways. -Lau says “I do find his boyish side rather loveable” and I don’t know what the FUCK that means but I feel like it should at least be mentioned here. Lau…dude…what…should I be concerned…

Murder arc

-Ciel invites Lau to the dinner party. Since it seems unlikely that the queen requested his presence, Lau is one of the few people like Arthur that Ciel actually wanted there. -Not necessarily a ship moment but Lau describing Ciel to Arthur is funny & cute. -The dress Lau gave him is still in his closet. With the rest of his clothes. And his clothes that he didn’t take to London were apparently destroyed in the explosion, hence the reason he needed to see Hopkins. So, he brought it to London? He just like, brings it everywhere? Hc that he sleeps in it like people sleep in their significant others t shirt. -Lau is very interested in whether Ciel’s worn the dress yet. -Lau is also very interested in getting Ciel in handcuffs 🤔🤔🤔 -They both suggest that each other could be the killer. I know, this doesn’t sound like a ship moment, but it seemed like playful teasing to me and in fitting their relationship dynamic, it was kind of cute. They keep each other on their toes. -Lau calls Ciel adorable or some other variation literally every two seconds Jesus Christ dude relax.

Campania arc

-Lau shows up out of nowhere at the manor for breakfast. Married couple strikes again. -Ciel responds to this by giving him a plate of food and staying to talk. Doesn’t actually seem that bothered by the surprise visit.

Weston arc

-Ciel calls on Lau to help, Lau goes all out for it. -Later when they have the picnic with Ciel’s squad, Lau is there too. He’s part of the close friend squad. Honestly I think Ciel genuinely likes having him around, from what we’ve seen? Anyways him having a picnic with Ciel was just very cute and pure.

Green witch arc

-Ciel mentions Lau telling him about binding feet in China. This implies that they’ve had a conversation about Lau’s life and China. It’s specific enough that they must have talked about a lot to get to that particular piece of trivia. Not only that, Ciel also remembered the conversation enough to be able to bring up that random fact at the drop of a hat.

Some random anime only scenes that are worth mentioning

-In Jack the Ripper arc when Lau feels Ciel up, Madame Red says “how dare you paw at my nephew” and Lau responds with “You wound me, I would never paw at the earl in his own home” like UHM where would you paw at him then?? Dude?? What?? -In the first episode of BoC, Ciel says “He didn’t turn on you, he was never yours to begin with.” This sounds kind of possessive, like he’s calling Lau his. Just a thought. -Lau looks salty AF when the guy in that same episode is shit talking Ciel and it’s my favourite thing.

Anyways there’s some moments, and here’s to many more to come

#ciel/lau #cielau

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finnyisanactualrayofsunshine · 7 years

Text

Ciel/Lau moments throughout kuro

Jack the Ripper arc: -Lau cradles Ciel's face while calling his eyes beautiful, Ciel doesn't even push his hand away, is weirdly chill with it. -Lau is very invested in having Ciel wear the minidress of his choosing. -when they go to see the crime scene, Lau pulls Ciel by the hand. -Ciel tells Lau all about how Madame Red was (one half of) Jack the Ripper. He trusted him with that information and sat down and talked to him about it. -Lau tells Ciel that if the opium business doesn't work out he'll find new business endeavours because he's "interested" in Ciel. -Lau says "I hope you'll show me many more interesting things" while getting real close and up in Ciel's personal space 🤔 Curry arc: -they're always seen in the background playing cards and having random banter, it's very enjoyable. -Lau calls Ciel a bully in a term of endearment tone, also says he's sparkling, all while following him around and looking adoring. -They have the most married couple conversation in the yard after Lau helps out by using his trading company to bring in curry supplies. I'll go back to that in another post. -Lau sees Ciel might be in danger and his first instinct is to scoop him up and carry him to safety. Bonus points for the wikia article that said he carries him back to the townhouse through London without putting him down. -Ciel gets rattled about Ran Mao on Lau's arm at the competition. Lau has to reassure him that's she's only his sister, afterwards Ciel is noticeably less annoyed. -Lau looks mildly annoyed when the viscount shows up, but looks genuinely angry when he talks about robin, aka Ciel, in a romantic context. -Lau straight up kills a guy that fucked with Ciel. This could also have been for business purposes, but hey I can interpret fiction in my own ways. -Lau says "I do find his boyish side rather loveable" and I don't know what the FUCK that means but I feel like it should at least be mentioned here. Lau...dude...what...should I be concerned... Murder arc: -Ciel invites Lau to the dinner party. Since it seems unlikely that the queen requested his presence, Lau is one of the few people like Arthur that Ciel actually wanted there. -Not necessarily a ship moment but Lau describing Ciel to Arthur is funny & cute. -The dress Lau gave him is still in his closet. With the rest of his clothes. And his clothes that he didn't take to London were apparently destroyed in the explosion, hence the reason he needed to see Hopkins. So, he brought it to London? He just like, brings it everywhere? Hc that he sleeps in it like people sleep in their significant other's t shirt. -Lau is very interested in whether Ciel's worn the dress yet. -Lau is also very interested in getting Ciel in handcuffs 🤔🤔🤔 -They both suggest that each other could be the killer. I know, this doesn't sound like a ship moment, but it seemed like playful teasing to me and in fitting their relationship dynamic, it was kind of cute. They keep each other on their toes. -Lau calls Ciel adorable or some other variation literally every two seconds Jesus Christ dude relax. Campania arc: -Lau shows up out of nowhere at the manor for breakfast (or to see Ciel because he missed him). Married couple strikes again. -Ciel responds to this by giving him a plate of food and staying to talk. Doesn't actually seem that bothered by the surprise visit. Weston arc: -Ciel calls on Lau to help, Lau goes all out for it. -Later when they have the picnic with Ciel's squad, Lau is there too. He's part of the close friend squad. Honestly I think Ciel genuinely likes having him around, from what we've seen? Anyways him having a picnic with Ciel was just very cute and pure. Green witch arc: -Ciel mentions Lau telling him about binding feet in China. This implies that they've had a conversation about Lau's life and China. It's specific enough that they must have talked about a lot to get to that particular piece of trivia. Not only that, Ciel also remembered the conversation enough to be able to bring up that random fact at the drop of a hat. Some random anime only scenes that are worth mentioning: -In Jack the Ripper arc when Lau feels Ciel up, Madame Red says "how dare you paw at my nephew" and Lau responds with "You wound me, I would never paw at the earl in his own home" like UHM where would you paw at him then?? Dude?? What?? -In the first episode of BoC, Ciel says "He didn't turn on you, he was never yours to begin with." This sounds kind of possessive, like he's calling Lau his. Just a thought. -Lau looks salty AF when the guy in that same episode is shit talking Ciel and it's my favourite thing. Anyways there's some moments, and here's to many more to come!

#ciel/lau #cielau

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