#somehow every writer is writing about parallel universes

[estellaestella]

Waymond Wang being a decent human being in every universe. Ke Huy Quan in EVERYTHING, EVERYWHERE, ALL THE TIME, 2022.(quotes abridged because... you have to see it to understand it).

#EVERYTHING EVERYWHERE ALL THE TIME (2022) #EVERYTHING EVERYWHERE ALL THE TIME #cinematic genius #comedy #absurdist comedy #multiverse #somehow every writer is writing about parallel universes #moreover people being able to jump from one universe to another #we're really into this infinite possibilites stuff

[amplexadversary]

Completely self indulgent post but here's one of the post-canon scenarios I have in my head for G Gundam.

Maybe skip this post if you don't like dark themes. Not all of what I've outlined is dark (most of it isn't), but I do cross the line past what appears in the show in regards to DG cells and abduction.

The shuffles all get roped into restoration projects on Earth between the 13th and 14th gundam fights, partially to have something to do alongside their training, partially out of inspiration by the common points of the Kasshus' and Master Asia's goals, and partially because netting their countries some decent publicity is likely to earn them favors during the Gundam Fight's off-years.

Sai is contacted by Kyral about an effort to clear out the infamous buildup of trash and cadavers on Everest; he wants Sai to leverage Neo China's help as something of a reparation kind of deal and Sai goes sure why not.

Sai recruits Argo because Bolt Gundam is built to withstand the cold, and he thinks Argo and Nastasha could help reverse engineer that quality to enable the use of their Gundams as both heavy work equipment and protection from the harsh environmental conditions that normally prevent this kind of operation.

George gets involved because someone he knows has a distant relative who died on the mountain a century ago, and they wanted him to check in with the forensics team on the project. This detail is important because eventually it becomes clear that there is a mystery to solve (that I myself haven't figured out all the details of yet but broadly know the setup and conclusion); DG-infected people are disappearing and not being investigated due to stigma. Our heroes are naturally going to be pissed about this, and will need an "in" with the field if they want to do anything about it.

First massively self-indulgent element: The forensics/body identification team inexplicably includes the real-world author Kathy Reichs, who somehow exists in this universe, and there's a little side bit about her having written a Bones book right before the 12th fight that featured a cooked cadaver found inside a gundam after entry into the Earth's atmosphere. There are a lot of weird coincidences in the book that parallel the DG incident, which creeps everyone out, but the similarities are merely born of the writer threading the needle of being believable and interesting in a way that became very true to life.

What does become relevant is when the Shuffles eventually meet up, she's able to explain the implications of a bunch of weird shit the fighters discovered (also Marie Louise read her book, and one of the in-universe liberties Reichs took writing about the gundams' black boxes that she explains in the afterword leads to ML realizing something important; that Neo Germany does not have its gundam's remains.)

While the Everest project is happening, Domon, Chibodee, and Allenby all want to continue their training somewhere on Earth, and receive a proposal from (an OC of mine who is) a historic preservationist (and an acquaintance of Allenby's): she has acquired the grounds of an abandoned castle in Europe* after submitting a plan to restore it, and needs to hire people to help with the labor.

*the castle is probably somewhere in Germany because I also want this pitch to have drama over Schwarz (pre-13th fight), Schwarz (Kyoji), and Schwarz (the next guy who was supposed to inherit the mask when the older ninja retired). Also Germany is fucking pretty.

In exchange for the help of the three gundam fighters, they and Rain get paid, plus room and board anywhere on the grounds, plus full access to the grounds and miles of sparsely-inhabited countryside for training purposes, and the privacy and ability to practice with their gundams that comes with being in the middle of fucking nowhere. Rain sets herself up to work a clinic in the next town over as well as practicing pro re nata wilderness medicine (I'm convinced every medic supporting the gundam fight would need to be able to do this.)

The group involved in the Castle project sticks around for a time, makes some good progress, and engage in occasional Shenanigans that come up when you put a bunch of weirdos in a Situation.

They aren't in town a lot save for Rain, but when they are they eventually start to pick up on gossip and news about the Mysterious Disappearances correlated with DG cell infection (as well as details that turn out to be important later). Eventually Rain brings this to Domon and Chibodees' attention and they decide that, yeah, this is tied to the DG, this is their problem, they should convene with the rest of the Shuffle Alliance about it.

Also of course Schwarz is involved because I'm the one writing this; the culprits' DG-tissue harvesting operation relies on having him captured and helpless, using cells from his body to "update" other victims' DG infections to a less aggressive strain. One thing I haven't decided is whether I want a reinstantiated Wong to head this shit, or make up my own morally bankrupt opportunistic asshole looking to twist the DG to their own benefits. I also need to decide where on the planet the center of all this insanity is, and it needs to be a place that isn't going to have any unfortunate implications (because that's a genuine risk with dark story elements)

... That's about as much as I have that is thought-out enough for me to explain. I return to thinking about this scenario a lot because it puts most of the characters way out of their element (and has a bunch of details that appeal to me specifically), and it kind of evolved into an incomplete plot outline that I don't currently have any plans to flesh out.

I think it's an interesting enough direction to go, because it follows through with a lot of the themes present in G, but takes advantage of the genre shift to avoid DBZ-crazy power scaling and adjusts the conflict more to a matter of where the main characters' prowess is most effective (Both in and out of the gundams. I'm assuming there are a ton of guys similar to Michelo's gang that just need fighting interspersed with everything else I described. In fact, kicking Some Group of Douchebags out of their protection racket is probably how team Castle even gets ahold of evidence related to missing persons.)

#G gundam #fanfic #fanfiction #G Gundam spoilers #dark themes #''What's another thing a villain in the Future Century might do to abuse DG cells? Perhaps an organ market but for cybernetics?'' #Additional thoughts: #I believe with all of my heart that Marie Louise from G Gundam is a mystery fanatic #and would become an investigative journalist raking insane muck if she weren't a prominent public figure. #She's too nosy and eager to get her hands dirty to not be! #I put the OC I mentioned in fucking Everything I touch because she's so useful. #She can play host and provisioner to basically any plot or crossover I need her to and be exactly the amount of present or absent I want. #This OC is the one who I've mentioned on my blog before who does blacksmithing #and learned Tamahagane production out of spite to reclaim metal from weapons she made that other people have fucked-up. #I feel like this character and Domon would have some *very* entertaining interactions given that sword of his. #My girl would make ASSUMPTIONS that Domon would get really fucking offended by.

[roosterbruiser]

I loved the newest installment of Fuck: The Universe so much! All of Jake and Wisty's various kisses made me want to have a Jake and get to kiss a Jake so, so badly. You make me feel very old and very single (and I'm only 27).

Without further ado, here are my favorite parts and some hopefully not too incoherent screaming about why I loved them.

And this is how Jake gets to wake up now: held tightly in your arms with your body molded around his, your lips pressed against his back, the sunlight streaming in through the curtains you insisted he get (and he does admit that it elevates the room), in the bed that you’ve become a frequent fixture in. But when he breaks it down, when he really dissects these mornings here, he would give every other bit of his comfort away--the ceiling fan being on, all the lights being off, the curtains being closed, the nice sheets, the plush mattress, his mandatory three pillows--just to be in your arms. 

AAAAAHHHHH getting to cuddle Jake as the big-spoon in the morning? Kiss his lovely golden shoulders and feel his muscles move under his skin? Honey I want him so bad.

And you don’t even mean to think it, you don’t even mean to let the feeling wash over you, but you suddenly remember your father doing this with your mother. Picking up her hand and inspecting the manicure, telling her how much he likes the new color. Kissing her knuckles. It makes a softness press into the very marrow of your bones. 

I am sobbing! The thought of Ice being so sweet with Wisty's mama! And I just know that the first time Wisty got a mani pedi with that blueberry nail polish Jake loves to hate as a little girl, Ice did the same thing for her as he did for her mama.

It’s been hard for you to let go like this since the official passing of your father. Your mom has been doing remarkably well, never shedding a tear around you at your weekly lunches and still making a frequent church-date out of Jake. It seems like everyone is moving on so normally, pushing forward. And sometimes you feel like you are, too. You’ve moved in with a serious boyfriend, you’re working on base. But then other times, like today, you dream about your father and feel like the floor has fallen out from under you. You hate it that you’re still so angry, hate it that he’s gone. Jake’s already taken care of you--Hell, you and your family--so much in the past few months. You don’t want him to feel burdened by this grief that plagues you. 

Oh, oh oh! This was such a gut punch. Everything for Jake and Wisty somehow comes back to how they found each other huh? In the worst time of Wisty's life. I love that the only conceivable end to the fight is for Jake to hold Wisty as she cries. It would be a complete 180 for Jake to act any other way in this universe. And I swear to God if he had gone dick-Bagman mode I woulda reached through my phone screen and throttled his golden neck myself.

All of this is just to say that every installment of Fuck:The Universe has been better than the last. I cannot wait to see ever minute of the rest of Jake and Wisty's lives now.

P.S. If you find a Jake wandering around in the wild, please do think of me when you're addressing him to go out to his new home! 🥰🥰🥰😘😘😘

THIS IS LITERALLY THE BEST THING YOU CAN DO FOR A WRITER!!! THIS SERIOUSLY JUST MADE MY ENTIRE NIGHT!! YOU HAVE NO IDEA!! IT'S SO GOOD TO GET FEEDBACK!!!

I literally adore you and you're such a constant form of support!! it's so special!! 27 is also such a gorgeous age!! it's the age Stevie Nicks was when she wrote Landslide and it's a girl boss age!! remember that!!

literally making MYSELF moan when writing about waking up spooning Jake Marie Seresin!! he's everything to me

yeah all the parallels between Ice and Jake make me feel fucking WEEPY!!!

that last gif made me giggle so much!! listen, in Fuck: The Universe we only allow the softest of Jake Seresin's!! Jake is still making up from his stunts in the very first part and he's gonna KEEP making it up to Wisteria! period!

and once again, thank you so much. it means the world and everything more to me that you let me know what you like!! makes my night!!!

and I will absolutely keep you in mind if I find a feral Jake!!

#m answers #fuck: the universe

[see-arcane]

A list of things I’ve thought of since encountering the Jon Becomes a Teacher AU

-Yes, he may be terribly unqualified to be a teacher, but he is a literal encyclopedia and can/does Know everything he needs to about a given subject. Which would be great if only he could

A) Not spiral out into digressions every time someone asks a question (the students catch on quick)

B) Not throw in a bit of Terrible trivia about any given important writer/author/poet the curriculum claims he has to teach them.

“Out of the list I can spot twelve racists, three anti-Semites, five who believed women were property, three who fought to keep child slavery active, and this one married his sister. So, you know. Grain of salt with all these fine gentlemen.”

-When students and faculty inevitably broach the topic of his many, many, many scars, Jon gives up on lying—Martin made it very clear he cannot bluff an alibi to save a life (“A butterknife, Jon? Seriously?”)—and tells as much of the truth as he can. Leading to:

“So, what are all the spots?”

“Bug bites.”

“?? Bug bites don’t scar?”

“Exotic species. Work-related accident.”

“Oh. Then what about the burn?”

“Also work-related.”

“The multiple stab wounds?”

“Work.”

“…Your work as an archivist?”

“It’s a surprisingly competitive field.”

-No one can tell how old he is. He’s got a millennial face, but so much grey in his hair it’s almost white, and eyes so sunken he looks like he hasn’t slept since 2005, and he talks like he came out of a different century half the time. The older folks on staff ask how he keeps so spry, walking around in front of the room so much and not bothering with the desk chair.

“Pays to keep on your feet, just in case.”

“In case of what?”

He looks at them, unblinking. Mr. Sims never blinks.

“Work-related accidents.”

They don’t press the matter.

-The whole, ‘no one can lie or keep quiet if he asks them a question’ thing still holds. It makes for some overly honest and very interesting schooldays when you can’t BS the excuse for why your assignment is late, or whether or not you actually understand the material. Jon tries to keep it reined in; a hard task when half the job of being a teacher is engaging the class with questions. He has to speak in declarations—“Describe the use of the symbol in X,” “Compare the parallel arcs in X character’s progression versus Y.”

He keeps this up until some of his students speak with him after class, thanking him for (somehow) helping them to articulate their thoughts clearly. These are the students who usually mumble, stutter, and generally have trouble putting what the feel into coherent packages. They remind Jon of himself at that age.

He asks more questions—purely about the day’s subject—and is happy to find it’s true on all counts: Every student he asks to speak on the topic, they articulate their view beautifully. In their own voices, but universally smooth, comprehensible, and clear. The same goes for their essays and general writing assignments. As and Bs all around, including the students who usually struggled in such topics or thought themselves incapable of producing anything worth reading.

He's both lauded and a bit envied by others in the English department.

Jon goes home beaming on days when he hands papers back.

-He can, has, and will continue to immediately walk right out of the classroom or the teacher’s lounge if he Beholds something bad happening on school grounds. Bullying? Teacher being an asshole to their class or one student in particular? Fight broke out? Some kid having a medical emergency out of sight? Something worse? Jon’s gone mid-lecture or mid-coffee, and then Jon’s there, with whatever help is needed.

People start half-jokingly theorizing that he’s psychic, ha ha.

It isn’t until after a few confrontations with students who were expelled for violence and teachers who were fired for gross misconduct (all filmed, all full of confessions Mr. Sims Archived out of them) that the joke dies. Because Mr. Sims never has to throw a punch to get these situations to defuse. He just has to Look and ask a question. Always the same question.

“How do you think they felt?”

And, according to the assorted aggressors, they suddenly Know exactly how their victims felt. One of them, an especially aggro young man, manages to pull a knife and stab him. The knife stays in his shoulder. Jon winces, but honestly, it’s nothing compared to a Slaughter blade.

“Hmm.” He plucks it out. The wound is already gone. He Looks at the young man, pocketing the blade. “This is mine now.”

The young man does not argue and does not come back after the police take him away.

No assignments ever come in late after that.

-Everyone is dumbfounded when Martin shows up one day, bringing in the satchel with all Jon’s lesson plans (and lunchtime statements) to the classroom.

“Who was that?”

“My husband.” (I imagine this taking place after they’d made things official, or at least decided to throw in one more bit of harmless bullshit on the CV)

No one can quite reconcile Mr. Jonathan ‘Cryptid in Tweed’ Sims being married to a man who looks like what would be summoned from a circle of teddy bears, knitwear, and tea kettles.

-Eventually, yes, the students do enough Google-fu to discover sizable chunks of fucked up history to do with Jon’s former life. Jurgen Leitner’s murder comes up. Jon can feel them wanting to ask about it en masse, sighs, and:

“For those of you who are curious, which is everyone in this room bar Henrietta, Maria, and Joseph, yes, I was involved in the murder investigation of Jurgen Leitner.”

“…You were really a suspect?”

“Of murdering Leitner? Yes. But I was cleared of that one.”

That one. That one.

“There were no other charges, since you’re all wondering. You’d need a body for that.”

Mr. Sims smiles at them, Eyes bright.

“I’m open to other questions.”

“…When was the Voltaire assignment due, again?”

“Next Thursday.”

#it's a neat premise #teacher au #jonathan sims #martin blackwood #the magnus archives #storytime

[hogwartsfirebolt]

Hello everyone! I’m back for my (omg time flies) third yearly drarry rec list, in which I share with you my 30 favorite drarry fics I read in the year, divided in three parts. What a year 2020 was. It was challenging, scary and confusing, and it was also an amazing reading year for me, I read so, so much more than I ever had before, and I’m really excited to share these masterpieces with you! The banner art is by @dragontamerdame who is one of my favorite artists and was kind enough to let me use this beautiful piece, which you can (and totally should) reblog right here. Now, with nothing else to add and in no particular order, here’s my

FAVORITE FICS I READ IN 2020 PART ONE

1. Who we are in the shadows - @quicksilvermaid - 100k - E - What happens when you’re forced to become the very thing you despise? Ex-Auror Harry Potter, tossed out of the Ministry for something he had no control over, has been looking for a way back to his former life. When he comes across Draco Malfoy in the criminal underbelly of Wizarding London and in need of protection, Harry figures bringing him in to face the Ministry's justice is his ticket back to everything he's lost. But nothing is exactly as it seems. Not even Harry himself. And as he gets drawn further and further into Malfoy's world of honour and deception he finds himself questioning everything he thought he knew—about his childhood nemesis, the Ministry job he misses so much, and most of all, about himself. What happens when you’re forced to see that you were wrong?

THIS FIC!!! It was the first one I read in 2020, and it immediately became my favorite fic of the entire year, and one of my favorites of all time. I have since read it two more times, the entire 100k of it. There are absolutely no words to describe how amazing it is, how much it floored me to read their characterizations, their jobs and the roads life took them on to end up where they end up, the connection between them in a time when they don’t even know how to relate to anyone, their sorrow and struggles which, despite being so rooted in the magical world, are painfully human, just... wow. It’s a masterpiece. It changed the way I view their characters, forever, and I suspect I will read it many, many more times in the years to come. It’s that kind of story. If for whatever reason you haven’t read it, this is your sign to take that chance and embark on this amazing journey. 

2. Every Kingdom - @thistle-verse - 7k - E - Every kingdom needs a prince. Every prince needs a good and useful knight. Draco and Harry play their parts and renegotiate some borders while they’re at it.

So, so lovely. Even though I don’t read them very often, alternate universes fascinate me so much, and I am in awe of the author for being able to pack so, so much story, so neatly into 7k words. This features a princely, lonesome Draco, a charming, golden Harry, and a blossoming love that could change everything. It’s beautiful, and I recommend it deeply.

3. The Bucket List - GallaPlacidia - 32k - Draco will die in six months if he can't get Harry Potter to fall in love with him. Since that's not going to happen, he might as well spend his last days working through his Bucket List. Tap-dancing lessons? Rock climbing? Poetry-writing? Threesomes? Cocaine? Getting to know his adorable cousin, Teddy Lupin? Draco will try them all! Feat. Cheerily pessimistic Draco, devoted bitch queen Pansy Parkinson, and a Harry who can't help but notice that something seems DIFFERENT about Draco, these days.

I’m positive that many, many of us got acquainted with GallaPlacidia’s writing this year, and I, too, fell in love with it. This story aches in the most beautiful of ways, the humor happens to be somehow light in such a difficult circumstance that it ends up hurting when you laugh, it hurts when everything is right because it’s also wrong, it aches when it’s supposed to be a happy moment and feels tender and sweet when it’s not. I can’t even imagine the challenge of writing this kind of story, and they pulled it off beautifully. It’s a lovely story, one you will take with you long after you finish it, and, personally, I think it’s a great introduction to the author’s writing. 

4. halcyon days - @the-starryknight - 1.3k - T - Sleepy mornings caught while the sun rises are reserved for silly word games and soft touches and feelings.

Oh my god, the amount of tenderness in such a low wordcount made me weak in the knees. I almost couldn’t take it. Being able to convey such a deep emotional connection in a short story seems like such a daunting task, and the author makes it seem almost effortless. I guarantee that this will make you bring your hands to your chest and sigh with how lovely it is. Reading it will be the best ten minutes of your day. 

5. Clouds That Veil the Midnight Moon - @drarrytrash - 37k - E - According to Harry’s personal narrative regarding the incident, he’d hooked up with Draco Malfoy for purely self-destructive reasons, or out of convenience, or by some unlucky accident. Looking at him, sprawled in the moonlight, Harry is devastated to recall that he’d hooked up with Draco Malfoy because he’s hot. Draco is a secret werewolf and Harry is doing his best and they've got criminals to catch, darn it.

Reading this, I found myself laughing out loud, nodding profusely with how freaking spot on the characterizations are. The dialogue is amazing, so hilarious and real and Harry’s inner monologue is so, so him. I love everything about this story. I have a soft spot for werewolf fic, and this one hit everything I love about it, the case is interesting and engaging, the incidental characters, the OCs, Ron and Hermione, everyone and everything is absolutely perfect and I had an absolute blast reading it. You HAVE to read this and see for yourself what I’m talking about. 

6. Sex Ed for Aurors - curiouslyfic - 8k - M - Some things, you need to learn on the job.

Oh my god this is so freaking good. The premise is, basically, that Harry is accidentally doused with a lust potion while in the vicinity of Draco, and suddenly wants him more than anything. I loved this take on that trope, we’re in Harry’s head, and it’s absolutely hilarious and endearing to experience the near childish glee he feels whenever Draco looks his way, when he smiles, when he feels he’s made him happy, meanwhile Draco and Ron are horrified and doing whatever they can to correct it. This is so funny and such a good time, I can’t recommend it enough! While you’re at it, you should definitely read megyal’s remix of this, which is also a blast. 

7. plasticine porters with looking-glass ties - @bonesliketambourines - 15K - E - Lately, Harry thinks things don’t seem the same between him and Draco. His head is in the clouds when he thinks about what their relationship is now, and where it might be headed—he’s happy with their friendship, but he wants something else. A potions accident over a lunchtime visit to Draco’s lab (what does he get up to in there, anyway?) changes things, though, and accelerates their relationship faster than either of them had ever expected. How are they going to get through this new development together?

Atmospheric, beautifully-written and delicious. Their relationship is tender, just on the edge of something more, when they’re forced to quarantine together and face the effects of a potion that makes them see and feel things differently, which makes for the most intense, visual, gorgeous sex scene I think I’ve ever read. It’s just absolutely phenomenal. 

8. i wake up falling - warmfoothills - 9k - M - Draco’s always leaving, one way or another. Harry’s usually 240 thousand miles too late.

In trying to come up with a way to summarize this story, I’m feeling the overwhelming urge to cry again, just like I did when I read it. It’s just so, so, beautiful, every single word of it aches in the best way, the longing feels deeply authentic and just, the setting and the jobs and everything is so unique and gorgeous. Every single work by this author is beyond beautiful, but especially this one is incredibly close to my heart and I think everyone should read it. It’s a gem. 

9. In Every Universe - @skeptiquewrites - 27k - M - They sent Professor Harry Potter to search for Unspeakable Draco Malfoy. Draco has stolen a Firebird, an experimental magical device from the Department of Mysteries that lets you enter parallel universes as yourself. As Harry traverses from universe to universe, he begins to think Draco might be the one searching for him. A story about whether knowing what's possible makes it possible.

Stories where the characters find themselves somehow hopping from one reality to another are always so, so fascinating to me, and this one is incredibly creative and well-written, so entertaining all around. The mystery of it kept me on my toes, and every single reality was a joy to read. 10/10

10. Life goes not backward - @shealwaysreads - 8k - T - Harry still isn’t used to gifts, but this one is different. A story of coming home, finding safe ground, and the wild courage of putting down roots. Leaving one life behind isn’t always a sacrifice, and sometimes the greatest good comes from embracing the people you love.

My god, there are not enough words to describe how much this story means to me, how beautiful it is, how every single time I’ve read it, I’ve cried. Bella has undoubtedly become one of my absolute favorite writers in fandom. She has such a way with words, there is not one of her stories that hasn’t touched me, that doesn’t feel like an actual, full-length novel no matter the word count. I read so many of them this year, so many of the masterpieces she’s gifted us, but this one especially is so tender, so dear, that I ended up choosing it as my favorite of hers this year. Harry’s charactertization, the unbelievable warmth of their relationship, absolutely everything about this is gorgeous. Go read it, right now, and then binge all her other works!! You won’t regret it.

---------------------------------

Each of these fics is incredibly close to my heart and I enjoyed them immensely. In the midst of everything changing, I really found comfort and solace in the amazing works of the people of this fandom. I hope they give you the same amount of warmth and comfort they gave me, and I’m ALWAYS here to gush about any of them ❤️ Happy New Year! 

#drarry #drarry fic #drarry fanfic #drarry fic rec #2020rec #ficrec #draco malfoy #harry potter #drarry rec list

[ingravinoveritas]

Heat rushes through Michael the second they get inside. Finally, finally alone. He pushes David back against the door when it’s barely even fallen shut behind them. 

It feels like all the stress of being apart releases itself in a cascading torrent once he meets David's lips.

It’s noisy, passionate, better than Michael remembers, how can he remember with the way his stomach flips when David threads his hand in his hair? It’s terrifying, the low swoop indescribable and the knowledge that here and now David is his and his alone is making him feel almost dizzy with want.

Michael's hand slides down David's neck to grab the collar of his blue suit jacket. He greedily pulls him forward and David blindly follows, his lips sliding over Michael's and causing Michael's heart to beat out of his chest.

‘Hey’, Michael says, trying to fake indifference while David begins to fall apart in front of his eyes.  And oh, he’s beautiful, he’s so beautiful all the time, but this, when he’s vulnerable like this, it’s the most beautiful thing in the world, and suddenly Michael's heart is aching for David to stay forever, to have him be his forever.

‘Hi’, David breathes, ridding Michael of his jacket that had hung off his frame awkwardly since David had scuffed it riding the waves of emotion. ‘I missed you.’

‘I missed you too’, Michael mumbles in between kisses. They stumble across the room until Michael's legs collide with the bed and he lets himself fall onto it, pulling David with him. They laugh breathlessly, David losing his jacket somewhere in the mess of hands and kisses, Michael having to fight to keep himself sane as David grinds on him, already hard against his hip and he has to roll his hips so David can feel him too. David's hands are fiddling with his buttons, touch hot when his fingers glance over the skin of Michael's chest as cold air and heat emanating from him collide in a sizzling firepit in the small space between their bodies. 

‘I take it you liked my suit?’, David whispers, unbuttoning his own shirt painstakingly slowly with his eyelids dropped low, swiftly moving out of Michael's reach when he makes grabby hands at him, half-pissed that David is being such a tease. There are times when watching that elicits a rush that makes it feel even more satisfying when David finally relents and gives him what he needs, but not here, not now. Not when Michael hasn’t been able to be with him for so fucking long and has been forced to spend the evening watching David dressed in finery and looking absoluley stunning.

‘You know I did’, he answers, ‘you looked fucking gorgeous tonight.’

A pleased flush rises on David's cheek at the praise and he ducks his head, smiling. ‘So did you’, he murmurs, before leaning in for another kiss, hands roaming over Michael's torso.

David is gentle with Michael's clothes, moving slowly, and there is a soft gaze in his eyes that completely contradicts the erection Michael can feel pressing against him. David doesn't flit away from Michael's fingers when he tries to slip a hand underneath the waistband of David's underwear, but lets him fiddle, allows him to brush his fingers along the underside of David's thighs as he pulls his trousers and underwear down and off.

Sweat laces along David's back as Michael's hand trails down, brushing over the curves before glancing over the top of his ass, but that is something for another time. For now, he wants intimate, David sighing and leaning up to kiss him softly.

He wants to be with him, feel David next to him, watch the expression of slow bliss spread across his face.

He curls his fingers around David's lenght, glancing up at the younger man, watching him settle down into Michael's strokes as Michael plants a soft kiss on his forehead. His dick belies his arousal, pre-come wetting Michael's hand every time he brushes over the head, but Michael can’t stop himself from being more vocal when David's own hand trails down to graze over Michael's dick.

‘Fuck’, Michael groans, ‘you're so good at this’.

David gives him yet another kiss, picking up the speed of his strokes as Michael allows himself to get lost entirely in sensation. David's thumb is tracing along the vein of his cock, pressing down with enough pressure to send Michael's heartbeat to break down and go haywire, thrumming in time to David's touch. 

Michael has been yearning for this the moment since he had laid eyes on David this evening. The location was gorgeous, the atmosphere buzzing, the guests dressed in stunning robes, but then there was David.

For all the beauty in the world nothing stops Michael quite like David does.

He’s caught in somewhere between reality and a parallel universe where he and David are the only two people in the world. It would be ideal, just them and no one else. But Michael knows that he doesn’t need that. He’s got his beautiful life here and now, he's got it when David's lying next to him, falling apart and softly moaning Michael's name.

Waves grow in Michael's stomach as his thoughts leap back to David stroking his dick, flicking his wrist and Michael is pleased that he has fallen into his rhythm, has David gasping and sighing as he struggles to fend off his orgasm.

Michael drowns in David when he comes, feels rather than witnesses David collapse half on top of him and for a moment there is nothing but bliss.

Somehow, Michael finds the energy to drape his arms around David's frame, pulling him a little closer and David lets out a pleased hum in response.

‘You okay?’, he murmurs sleepily from where his head is now resting on Michael's chest and Michael smiles, feeling utterly content. ‘Just perfect.’

So listen here sweetie, English is not my first language (I'm the German Anon who sent in the little shippy GO article) and writing smut is The Worst, because it's just not my thing at all, but I thought, because you were feeling down, and because we were all screaming about the NTAs, David in that suit and most importantly the hug, I should try myself at it anyway, to give you a little something. I hope you don't hate it haha and I hope you feel better or will feel better soon ❤

HATE IT?? Whaaat? Anon, this is pure and absolute perfection. Oh my goodness. Hot and sweet and soft and sexy, all at the same time. These are the worlds so many of us saw contained in that hug, and you stunningly brought to life the intimacy and connection that was all over Michael and David that night.

I just, I can’t even thank you enough for this delightful gift, and how DARE you think you’re a terrible writer, because your English is incredibly good (I wouldn’t even begin to try to write a fic in German!) and this is amazing. Smut is my bread and butter, but Michael and David deserve cuddly shit, too, and you’ve written something that encapsulates both. This has ABSOLUTELY brightened my spirits and made me want to write the fic ideas I’ve had for that night, too.

Thank you, thank you, thank you/danke, danke, danke, German Anon! 💗

#anonymous #reply post #michael sheen #welsh seduction machine #david tennant #soft scottish hipster gigolo #NTA Awards 2021 #fanfic #THANK YOU FOR MY PORNOGRAPHY #why does this seem so plausible though #more of this please #yes #i love my anons #ineffable lovers #good omens rpf

[darlingofdots]

Which is a list of reasons that I believe Harrow and Gideon will get a Happy For Now, at least:

it’s thematically set up this way. GtN was about the two of them figuring out how not to hate each other, HtN is Harrow rejecting a world without Gideon with every fibre of her being and starting to learn that love is not acquisitive, as Ianthe says, and that sacrificing herself for Gideon the way Gideon did for her isn’t the right way, either. HtN was not Harrow’s journey through the stages of grief, culminating in acceptance, it is Harrow refusing to accept that the choice presented to them at the end of GtN – the choice of Lyctorhood or death – was the only choice available. HtN is all about choices, from the false one God gives her when he says she can be his Saint or return to the Ninth despite the latter being impossible, the choice to lock her memory of Gideon away to protect her soul, to the final decision whether to stay in the River and fade or return to her body and complete the Lyctoral process. In her letter to herself, pre-homebrew lobotomy Harrow says ‘Look upon me as a Harrowhark who was handed the first genuine choice of our lives’. Gideon didn’t think she had a choice when she died for Harrow and Harrow didn’t think she had a choice when she consumed Gideon’s soul, because the universe/God/the narrative did not present an option other than Death. Everything in GtN said ‘this is how it has to be’ and HtN is Harrow saying ‘not if I get a say’. Thematically, the only way this story can be concluded is by the two of them getting to decide what the options are, and I don’t see either of them not choosing to be with the other.

The bubble sequences in HtN allow characters who were wronged in GtN to make their voice heard. The reader comes out of GtN sad, and frustrated, and probably finding it all quite unfair, and then we get to see some of the characters who were unfairly killed again and this time, they have agency and power over their situation. I’d say Dulcie is the strongest example of this: she was killed off without a thought, off-screen, but in HtN she gets to be a person who gets to actively participates in her own narrative. I choose to read this as a continuation of the theme about choices and inevitability; just because the narrative/the universe/God treated you unfairly before doesn’t mean you won’t get to have your say.  

The pieces are all there. I would say at this point it’s established that there is a way to achieve perfect Lyctorhood in which the cavalier doesn’t have to be consumed, namely because:

a) in chapter 33 of HtN, Camilla’s previously dark brown eyes are ‘neither grey nor brown but both’, a mixture of her own and Palamedes’ eye colours, which we have established is a ‘symptom’ of the bond between souls that occurs in Lyctorhood, and Palamedes’ reaction to Harrow showing up in his bubble suggests he’d figured out how to do it, made provisions for him and Camilla to do it, and fully expected Harrow to do the same

b) the whole Gideon Prime/Pyrrha situation which suggests an albeit imperfect version of the Lyctoral process can occur in which both souls survive (this is most like what Harrow ended up doing to herself, I’d say)

c) Augustine and Mercy’s theories about God’s connection with Alecto, including the eye switcheroo, sounds very plausible to me, and God pretty much admitted that the reason he killed Samael was that Anastasia was too close to achieving perfect Lyctorhood and he couldn’t risk the others either finding out that it would have been an option and resenting him for the deaths of their cavaliers (fair) or figuring out where he actually got his power from

So here’s a way for Harrow and Gideon to both be alive, fuelling each other’s power (I’d say for the final showdown against God but that’s mostly unfounded). It has also been established that Gideon’s really hard to kill: she didn’t die of the nerve gas on the Ninth and the siphoning challenge, which Palamedes calculated would leave most cavs who weren’t bred to be human batteries with brain damage at least, just knocked her out for a couple of hours. And on top of that, we know for a fact that Blood of Eden took Gideon’s body from Canaan House because it wasn’t there when the Cohort arrived and Mercy saw it. If you put all these pieces together, that looks to me like it’s setting up Gideon returning to her own body and achieving perfect Lyctorhood (which I would say symbolises perfect cooperation, perfect togetherness, perfect partnership) with Harrow. Camilla’s actions in HtN also indicate to me that she is confident she can somehow restore Palamedes in some capacity, as long as the bone she restored has his soul attached to it, and the fact that Harrow transforms the bit of skull into a hand because ‘he specifically requested movement’ suggests that there’s something to it. Admittedly Palamedes is a revenant at this point and we’ve been told they don’t really tend to stick around for too long and usually lose cohesion of spirit eventually, but I’m willing to discard that in this instance because Harrow also said he’d be mad already after eight months in the river, and she was clearly impressed by the way he’d ‘preserved’ himself in the bubble on the Riverbank. The parallels to Gideon’s soul being stored away in a kind of bubble in Harrow’s memory are, in my opinion, too strong to ignore.

Tamsyn Muir does not strike me as the kind of person who writer spend two books setting up the bond, the relationship between two characters the way Gideon and Harrow have been set up only to go ‘lol no’ at the end of it.

Bringing all of this together – obviously most of what I’ve said is ‘just’ foreshadowing and doesn’t mean it’ll actually happen this way. But there’s an awful lot of foreshadowing in both GtN and HtN, ranging from subtle to fiendishly subtle, and it’s the kind where the reader gets to a big reveal and either goes ‘oooh I was right, I knew x would happen because of y and z’ or, alternatively, spends their first reread gleefully pointing at bits of dialogue and cackling ‘Tamsyn Muir, you legend, I should have known’. It is not the kind of foreshadowing that leads the reader down one path only to go ‘ha, idiot, you really thought you knew where this was going’. Of course, sometimes you don’t know where she’s going (especially if you’re like me and just accept the wildest shit on face value the first time around), but it’s still all there if you know where to look. I think when people say they’re scared of Gideon and Harrow not being endgame or the whole trilogy just leading up to tragedy, it’s because the ‘ha, gotcha’ attitude to foreshadowing has become more prevalent in the last couple of years despite being really frustrating for audiences and, in my own opinion, not really Good Writing. Yes, the ending of GtN was a punch in the stomach, and I understand that people might not be so ready to trust the series after that. But you can’t really read HtN, which, again, is a complete and utter rejection of the ending of GtN and instead sees Harrow accepting help and care and advice from others and starting to grow into a more whole person who does not try to do everything by herself because that’s the only life she knows, and not see that bleak tragedy is not where this is going.

#the locked tomb #gideon the ninth #harrow the ninth #harrow the ninth spoilers #jo rambles #the people's tomb #i was going to put a readmore after the first point but i can't figure out how to anymore? #anyway #have 1.3k of my Thoughts #i want to say 'this is baseless speculation' #but actually i almost have a masters degree in this stuff so i will not #because we're confident in our abilities this years kids

[phoenixtakaramono]

Hi! :) I was reading your post about SQH in TUT and it got me thinking. Since this version also wrote SVSSS, when he transmigrates does he realize his "dream" was real? Also, you hinted that he recognizes SY as the same person who transmigrated into SQQ, so now I'm wondering if he tells SY that, and how SY would react to learning he's the protagonist of SVSSS in another universe. I just love thinking about how meta this could potentially get, haha.

Can't wait to find out more! Keep up the good work!

(Follow-Up Post to: Part I, Part II)

@the-legend-of-chel 👏👏👏 Luv, good to see you in my Asks! I’m glad to hear that you’re looking forward to finding out more in The Untold Tale! And thanks for your support and encouragement. 💖

(TUT ch1 - Excerpt)

You’re right. There is a lot of meta potential with older!Airplane Shooting Towards the Sky being the MXTX equivalent in this AU—or, rather, I like to imagine him growing up to be the Stephen King equivalent of modern day China with a prolific portfolio of written works (novels and short stories, and extras). In canon, he churned out a great number of words per chapter and in a speedy amount of time! Do you guys know how miraculous that is, as a writer? I envy him so much! To be able to churn out that much content in a short amount of time, and in a scheduled regimen, is amazing! That’s basically my angle having written this into the prologue of TUT. That’s partially the reason why I wrote ch1. I liked the idea of paying homage to SVSSS and saying that it’s an actual book series in TUT universe that Airplane wrote (as funny as the idea would be, I wasn’t about to let SY be the one to write it, lol, for intellectual property reasons since the PIDW characters belong to Airplane, which would necessitate SY changing names and character appearances if he published what we know as irl SVSSS, so the best I can give SY is saying he wrote his own PIDW fanfic which basically launched his novelist career because he’d realized, hey, I actually have a knack for writing and the ever so spiteful I feel like practically every writer has had this thought before: fine, if I don’t see what I want to read, then I’ll write it myself!)

(TUT ch1 - Excerpt)

We’re approaching TUT spoiler territory so skip below if you don’t wish to be spoiled.

TUT (Meta) Spoilers

I personally love meta. If I’m to be writing a lovestory to SVSSS, there will be attempts at meta thrown into TUT. And this is one of them:

Airplane did “dream” about canon SVSSS. He basically “dreamt” about his favorite black powder fan, Peerless Cucumber

changing events of Airplane’s biggest regret Proud Immortal Demon Way. (As a writer, it embarrasses me to read my old writing. So I imagine it could be the same for Airplane.) As an author, Airplane recognized what he dreamt had potential to be a commercial success as a danmei transmigration story so basically every time he woke up, he would write pieces of what he remembers in a dream journal when the memory was fresh in his brain. It also allowed Airplane the opportunity to show his readers through the perspective of SY! Shen Qingqiu what Airplane had originally wanted to write, but integrated in a way that blends seamlessly into the reading experience. He would’ve thought it was a bit weird and strange that his brain dreamt about his past critic—whom he’d considered a small celebrity in the PIDW forums back then—aka his anti-fan-turned-accomplished-novelist in the writing industry, so he felt embarrassed that his unconscious brain must have thought very highly of the man.

So Airplane omitted any mention of Peerless Cucumber from the final draft of SVSSS (if he mentioned both “Shen Yuan” and “Peerless Cucumber,” then even SY would be like, Hey, wait one moment....). This detail will be included in a later chapter, but did you know the name “Shen Yuan” has come up in other works? Let’s ignore the variations on the Chinese written characters for the name “Shen Yuan.” There was the evil older brother character Shen Yuan from The Rebirth of the Malicious Empress of Military Lineage, a side character named Shen Yuan from a C-drama (I think he was an old minister?), and there’s even an irl visual artist named Shen Yuan. Shen Yuan (Shen Garden) is also a famous romantic garden in Shaoxing, known for the love story between Lu You and Tang Wan.

(Shen Yuan Garden - Trip Advisor Review)

Basically “Shen Yuan” in itself is not a particularly uncommon name in China (imo I would not say it’s super popular either). So when SY saw his name mentioned once or twice in Airplane’s SVSSS—aka rebooted PIDW—during his read-through, he was like, Huh, what a strange coincidence. And then dismissed it as circumstantial and thought nothing of seeing his name come up in a cutsleeve novel as the new protagonist, haha. It’s like a book written by Anne Rice; one of the titles coincidentally has the same name as mine. Now, obviously the book and main character is not based or inspired by me; I just coincidentally share the same name. If I see books which have characters with my same first name, generally I like to read them and sometimes even collect them for my bookshelves. Because there’s something just so fun and interesting about seeing your own name in a fictional piece of work.

There’s also meta joke potential about Airplane dreaming of himself being transmigrated into the cannon fodder Shang Qinghua and seeing the romantic miscommunications between the younger version of himself (his self-insert essentially) and the fictional Mobei jūn character. I can certainly say seeing such dreams would make Airplane question his sexuality and awaken something dormant in him, haha. He’d realize he might not be not as straight as he thought he was, if his brain was capable of dreaming of SY!SQQ being crushed on by LBH, and SQH being crushed on by MBJ and essentially following MBJ around calling him “my king” this and “my king” that. He’ll be sweating bullets when he meets this world’s version of MBJ, because Airplane will definitely remember how the younger Self-Insert version of himself acted toward MBJ in the SVSSS world. (It’s the classic “Just because I dreamed about it happening doesn’t mean it’ll happen here, right? ...Right? Cucumber brother, you’re a fortuneteller! Please check our eight characters for me! I have to know my marriage compatibility with Mobei jūn!”)

In a later chapter, there will be the reveal where Airplane tells Shen Yuan that he “dreamt” of a universe where a younger version of Shen Yuan—having choked on mantou (馒头) (paying homage to the donghua) or just being transmigrated in general after raging at a younger ASTTS’s writing (paying homage to the books)—transmigrated into the Shen Qingqiu we know from SVSSS who married Bing mèi. Because I think it will be hilarious when TUT’s SY finds out about the true source of Airplane’s inspiration, and he’ll naturally freak out over the fact that this is the very same Bing gē from Airplane’s Bing-gē vs Bing-mèi extra and that he’s essentially somehow stumbled on the same path as the alternative younger SY!SQQ “from Airplane’s imagination.” I will leave this open to interpretation if this does show up (it’s just an idea I’m playing with) but I might hint that there might be a higher power at play which allowed Airplane a peek into another universe—which manifested as his dreams.

I very much like this dynamic (we might see this exchange, verbatim, in a future chapter in TUT):

SY/ LBH —> He gave him a disdainful gaze.

Airplane cried inwardly at the oppression and the feeling of being wronged.

Haha, none of this is really Airplane’s fault^ though. It’s a fun parallel and if I’m still motivated when we get to the wedding and consummation chapter, we might see an epilogue where SY and Bing gē from TUT meets SY!SQQ and Bing mèi maybe. Because I think it’ll be funny with the two LBHs getting into a shouting/ fighting match about who has the “superior Shen Yuan” while the two SYs just shake their heads at their silly husbands (and potentially TUT’s SY, as the older party, can impart his fortunetelling wisdom and advice to SY!SQQ).

Personally I can’t wait when we get to those chapters, because I know it’ll be entertaining to write, haha. Personally TUT is a fun project because there’s just so much meta potential that can be incorporated and I have a lot of fun imagining the scenarios.

*Note: like always, keep in mind that these are just my current thoughts. Details are subject to change; things aren’t considered official until they show up in the final draft on AO3. :)

The Novelists’ First Impressions

The first impression SY and Airplane will have of each other will be fun. Because in their perspective, written in my notes it’s essentially like:

(Airplane seeing SY):

His first reaction was shock. Shock because the mere mortal he used to be could not conceive so much charisma being emitted by this guy.

This is definitely a man who had put all of his stats into CHARISMA.

(SY seeing Airplane):

He's suspiciously good looking in ways that normal people are not.

Ah, the Cucumberplane friendship in TUT is going to be so much fun. Not only are these two older souls who transmigrated (both are mid-aged in this universe), they’re both accomplished novelists in their own right in the writing industry. Which means with these two being celestial beings, there’s so many clichés we can playfully poke fun at.

It also makes me laugh because imagine being SY, and seeing a guy (mortal!Airplane) who exudes the same energy as these two imperial princes GIFs:

#svsss #人渣反派自救系统 #shang qinghua #moshang #shen yuan #bingyuan #binggeyuan #the untold tale #phoenixtakaramono #ask #the-legend-of-chel #phoenix talks #reply #replied #answered #I’m almost done photobashing older SY #so there’s gonna be additional visual context #for how he appears in TUT (my headcanon at least)

[lucianalight]

I wonder how Infinity!Loki would do in TVA (he survived and that was a crime and they took him). Well, he's been through it all and knows the facts. It wouldn't have been easy to manipulate him because he had time to recover from Thanos. He was also in an Asgard's cell, and he can feel the power suppression confidently. And he has been to Saakar so he feels that time works differently. How do you think he would behave?

I'm answering these two in one post because I think they're somehow related.

I think TVA and Mobius had a great advantage over Loki regardless of which version of him they would have caught. Because they knew and studied all of his life. His plans, insecurities and mistakes were right there in front of their eyes like an open book, or rather a movie. So like a writer, like any one of us who know Loki or write fanfics about him through knowing his character and story, they could use that information instead to exploit his fears and insecurities.

TDW!Loki could still be manipulated by Frigga's death. We know he felt guilty about that(Remember Thor said to him what use you were in your cell about Frigga's death). His NY invasion could still be used against him and Mobius could also guilt trip him about leaving Odin alone and clueless about who he is.

TR!Loki could be manipulated by Odin's death, Hela's freedom and Asgard's destruction on top of all that.

And Infinity!Loki, who was back in Thor's shadow, trying to prove himself to him, could be manipulated by being blamed for the death of the rest of Asgardians aside from all the above.

I think the nature of TVA is vastly different from anywhere Loki's ever been or anything that he has experienced. There were magic suppressing devices in Asgard, and Loki was restrained by them before TVA arrived and he still didn't realized his magic doesn't work in TVA. I think-and this is more of a headcanon- that the way time worked in Sakaar and TVA is fundamentally different. Time worked differently in Sakaar, which is not really strange considering the spacetime and how difference in gravity, the nature of space objects and the distance between them can affect the flow of time, but it still worked. I think there is no time in TVA. It's out of the sacred timeline. In other words it's timeless. So even if Loki has been to Sakaar, I don't think he could notice the nature of time in TVA.

The way TVA works, remind me so much of Agent of Asgard story line and makes me hope for a similar ending.

TVA is being governed by three TimeKeeprs who control past, present and future of everyone.

At first, from the trailers they had reminded me of the three All-Mothers in AoA who Loki worked for, so they remove his crimes from history. The parallel to this is Loki working for TVA.

But then, they also remind me of Norns, three females according to Norse mythology who control the fate of everyone else.

The Norns are mysterious beings who don’t seem to come from any of the recognized kinds of beings who populate the Norse otherworld. They seem to be a category unto themselves. There are exactly three of them, and their names suggest their ability to construct the content of time: one is Urd (Old Norse Urðr, “The Past,” and a common word for fate in and of itself), the second Verdandi (Old Norse Verðandi, “What Is Presently Coming into Being”) and the third Skuld (Old Norse Skuld, “What Shall Be”). They live in a hall by a well (Urðarbrunnr, “Well of Fate”) beneath Yggdrasil, the mighty tree at the center of the Norse otherworld, which holds the Nine Worlds in its branches and roots. [X]

At some point in his conversion with Mobius, Loki mentions that the Timekeepers control past, present and the future.

And in a way, the Timekeepers are controlling the story of every being in the Universe. Through Ep 1, Loki says things about controlling his own story and path. At the end of AoA Loki, who has become the god of stories, faces the gods of the gods who feed from stories.

This got a bit off topic again, but my point is when you know the story of someone else, you have the greatest advantage over them, because you can exploit every weakness, insecurity, guilt, fear. So I don't think Loki, or anyone could have much of a chance against TVA.

#i swear i didn't mean to write so much #but it got long again #loki series #loki spoilers #loki 1x01 #loki 1x02 #tva #agent of asgard #anon #messages

[invisible-pink-toast]

Is the reason you tagged the Clexa/Villainelle post with a trigger warning for biphobia because your insinuation Clarke's sexuality was written as a phase is a big fat biphobic lie? She didn't have a relationship with anyone, man or woman, after Lexa, but she did sleep with Niylah again and her love for Lexa was referenced frequently while important decades-long platonic relationships were forgotten and her love for her daughter downplayed to make Lexa the center of Clarke's universe. If you watched that and saw it as a phase, the biphobia is coming from inside the house.

mate clarke and eve are 100% bisexual. the trigger warning for biphobia is about EVE's treatment.

laura neal - the flippin showrunner of killing eve s4 - is the one who thinks eve is straight. she's said that villanelle's death has "freed" eve to go back to a "normal" life. she's the one who's biphobic, and i tagged it like that because i don't want anyone coming across something triggering without warning. idk if you've even read the post, but it's written as though laura neal is saying it, and then comparing her shitty and bigoted writing decisions to the shitty and bigoted writing decisions the writers of the 100 made.

the post was more about killing eve than the 100, and while almost all the parallels are frighteningly similar, the "phase" comment was really just for killing eve. it didn't really fit with the way i'd structured the rest of the post, but i didn't want to not include it because that felt like a disservice when neal's biphobia should be called out. also you didn't even mention eve in your weird little accusation?

also i stopped watching the 100 after lexa's death?? my sister continued watching it and thought it was miserable and the show's treatment of clarke was terrible (hasn't she suffered enough?). making your protagonist bisexual only to brutally kill off EVERY love interest and glimmer of happiness she tries for and traumatising her beyond belief seems pretty fucking biphobic to me. i've seen the bit where lexa shows up in the last season and clarke's ending in the show seems to be positive (idk the context) so that was something i guess.

the post is about me venting about two shows and two couples i loved, only for the cishet writers to cruelly destroy their happiness and lives, and betray their audiences while they're at it.

"Is the reason you tagged the Clexa/Villainelle post with a trigger warning for biphobia because your insinuation Clarke's sexuality was written as a phase is a big fat biphobic lie?"

also idk how you would think that me adding a trigger warning for potentially triggering content is somehow me being biphobic. i added a trigger warning for dead lesbian syndrome - because the post is about a lesbian and a queer woman dying. i added a trigger warning for biphobia because laura neals treatment of and comments about eve are biphobic. i added a trigger warning for homophobia because the writing in the 100 and killing eve is homophobic as shit.

idk why you saw a post about me trying to defend the way lgbtq+ characters are written and decided that from that somehow I was biphobic, and then decided to anonymously come into my inbox and accuse me of crap. fuck off.

#was just gonna delete this like i do most of the stupid asks i get #but usually they're just hate not actively accusing me of something #tw biphobia #and for the record anon: i'm not tagging this as biphobia because i'm biphobic! #i'm tagging this so people who just want to casually scroll through tumblr and have a good time #don't have to see potentially triggering shit they're not prepared for #you absolute fucking donkey #ask #killing eve spoilers

[shivroyslut]

I just listened to the whole Evermore album and I’m now on my second listen so here is Evermore songs I think are destiel related and whether they’re from Dean’s or Cas’ perspective (or both) - add more lyrics/parallels if you like

willow - both

“Wherever you stray I will follow”

champagne problems - okay tbh i dont see this as either of them but that one line...

“Your Midas touch on the Chevy door November flush and your flannel cure” - MS SWIFT ??? ARE YOU A HELLER ???? CHEVY, NOVEMBER, AND FLANNEL IN THE SAME SENTENCE ???

gold rush - Cas

“Cause I don't like a gold rush, gold rush; I don't like anticipatin' my face in a red flush; I don't like that anyone would die to feel your touch; Everybody wants you; Everybody wonders what it would be like to love you; Walk past, quick brush; I don't like slow motion, double vision in rose blush; I don't like that falling feels like flying 'til the bone crush” - yeah this is just Cas simping on Dean for so many seasons

“What must it be like to grow up that beautiful?” - But still beautiful. Still Dean Winchester

 ‘tis the damn season - both

“There's an ache in you, put there by the ache in me; But if it's all the same to you; It's the same to me” - uhm this is just them fighting every season then making up a few epis later

“I escaped it too, remember how you watched me leave” - PURGATORY

“I won't ask you to wait if you don't ask me to stay” - THIS IS JUST THE ENTIRE DESTIEL ARC IN THE FIRST HALF OF S15 LMAO

“Now I'm missing your smile, hear me out; We could just ride around; And the road not taken looks real good now” - this is Dean brooding every time Cas dies

tolerate it - Cas

“I sit and watch you; I notice everything you do or don't do”

“I wait by the door like I'm just a kid“

“If it's all in my head tell me now; Tell me I've got it wrong somehow”

“While you were out building other worlds, where was I?” - okay this is dean though

“Where's that man who'd throw blankets over my barbed wire?; I made you my temple, my mural, my sky; Now I'm begging for footnotes in the story of your life” - this is Cas when they are fighting

“Always taking up too much space or time; You assume I'm fine, but what would you do if I; Break free and leave us in ruins” - again when Dean is being an idiot and they fight

happiness - Cas

“But there was happiness because of you” - Knowing you has changed me. Because you cared, I cared. You changed me. 

“Past the blood and bruise; Past the curses and cries; Beyond the terror in the nightfall; Haunted by the look in my eyes; That would've loved you for a lifetime; Leave it all behind” - ms swift are you a Cas girl ??

“All you want from me now is the green light of forgiveness” - literally Cas just wanting Dean to forgive him for everything

coney island - Dean

“If I can't relate to you anymore; Then who am I related to?” - every time Dean feels betrayed by Cas but especially in s6 when Cas teams up with Crowley, like my man had so much trust in Cas only for him to be wrong

“Sorry for not making you my centerfold”

“The question pounds my head; What's a lifetime of achievement; If I pushed you to the edge?; But you were too polite to leave me; And do you miss the rogue; Who coaxed you into paradise and left you there?; Will you forgive my soul; When you're too wise to trust me and too old to care?” - no offence but this is exactly what went through Dean’s head when he was sitting there crying after Cas got yeeted into the empty

“Over and over; Lost again with no surprises; Disappointments, close your eyes; And it gets colder and colder; When the sun goes down” - Dean mourning every time Cas died after the second time

“And when I got into the accident; The sight that flashed before me was your face; But when I walked up to the podium I think that I forgot to say your name” - uhm Dean seeing Cas as his life flashed before his eyes when he got impaled by the rusty nail and wanted him by his side but the writers were cowards he got caught up in the moment with Sammy and didn’t pray for him to come

“But I think that I forgot to say your name; Over and over” - i just think Dean is hard on himself for not keeping Cas closer to him after Cas died in 15x18

ivy - Dean

“How's one to know?; I'd meet you where the spirit meets the bones In a faith forgotten land; In from the snow; Your touch brought forth an incandescent glow; Tarnished but so grand” - I’M THE ONE WHO GRIPPED YOU TIGHT AND RAISED YOU FROM PERDITION

“And the old widow goes to the stone every day; But I don't, I just sit here and wait; Grieving for the living” - Dean just wanting a win (Cas back) in s13

“I wish to know; The fatal flaw that makes you long to be; Magnificently cursed” - you know just Cas being very cursed throughout the whole show, and the fatal flaw is his love for Dean humanity

“I'd live and die for moments that we stole; On begged and borrowed time” - i think this is for both cause Cas’ line “Dean you know I always appreciate our talks and our time together” but Dean definitely feels the same way I mean he made Cas watch all those movies

cowboy like me - both (very destiel)

“Never wanted love; Just a fancy car; Now I'm waiting by the phone; Like I'm sitting in an airport bar” - this is painfully obviously Dean

“Eyes full of stars; Hustling for the good life; Never thought I'd meet you here; It could be love; We could be the way forward; And I know I'll pay for it” - very obvious Cas line 

“And the skeletons in both our closets; Plotted hard to fuck this up” - just the universe not wanting them to be together

long story short - Cas

“I tried to pick my battles 'til the battle picked me”

“And I fell from the pedestal; Right down the rabbit hole” 

“When I dropped my sword; I threw it in the bushes and knocked on your door; And we live in peace; But if someone comes at us, this time, I'm ready” - Cas always coming back and willing to give up everything for Dean

“And he feels like home”

“Now I'm all about you”

marjorie - both (but mainly Dean)

“Never be so kind; You forget to be clever; Never be so clever; You forget to be kind” 

“And if I didn't know better; I'd think you were talking to me now” - No I’m not talking to him, *proceeds to talk to and protect each other*

“What died didn't stay dead” - yah

“I should've asked you questions; I should've asked you how to be; Asked you to write it down for me; Should've kept every grocery store receipt; Cause every scrap of you would be taken from me” - Dean keeping the trench coat every time Cas dies

closure - Dean (but a little Cas)

“And seeing the shape of your name; Still spells out pain” - Dean after 15x18 seeing ‘Castiel’ on the table

“It cut deep to know ya, right to the bone”

“Don't treat me like; Some situation that needs to be handled” - can be Cas too

“I'm fine with my spite; And my tears, and my beers and my candles” - his anger stage when hes undergoing his 5 stages of grief after 15x18, and like every time he and Cas fight

“I don't need your closure” - ^

evermore - both ( this song is so destiel make this their fucking theme song)

“Motion capture; Put me in a bad light; I replay my footsteps on each stepping stone; Trying to find the one where I went wrong; Writing letters; Addressed to the fire” - Cas whenever Dean kicks him out and he doesn’t understand why or when Dean just let’s him go; and Dean in purgatory when he realises Cas was hiding from him, when he changed his memory to believe he let go of Cas, when he found out that Cas is the one who let him go. There is honestly so many examples for this line

“And I was catching my breath; Staring out an open window; Catching my death; And I couldn't be sure; I had a feeling so peculiar; That this pain would be for evermore” - Cas when he realises that he is in love with Dean but he can never be with him; and Dean when he thought he left Cas in purgatory and every time Cas died

“Hey December; Guess I'm feeling unmoored; Can't remember; What I used to fight for; I rewind thе tape but all it does is pause; On thе very moment, all was lost; Sending signals; To be double-crossed” - Cas when heaven pushed him away repeatedly and also when Dean pushed him away repeatedly when he was the whole reason he rebelled; and Dean when he just wanted that win in s13 and every other time he had doubt 

“Cannot think of all the cost; And the things that will be lost; Oh, can we just get a pause?; To be certain, we'll be tall again; Whether weather be the frost; Or the violence of the dog days; I'm on waves, out being tossed; Is there a line that I could just go cross?” - you know like whenever they feel hopeless; reminds me of the diner scene in s14e14 where they are talking about Michael

“And when I was shipwrecked; I thought of you; In the cracks of light; I dreamed of you; It was real enough; To get me through; I swear you were there” - Cas simping for Dean; Dean after escaping from purgatory seeing Cas everywhere

Anyways these are just my thought and links don’t attack me I’m just out here wasting time on a ship I was obsessed with in 2015 (I mean I am on break from uni and am jobless). Feel free to add more lyrics or parallels I’m pretty sure I missed quite a few. I do acknowledge that the album is definitely not about destiel and about Taylor herself but its just fascinating to find all these lyrical links to Dean and Cas’ relationship. 

#destiel #supernatural #spn #taylor swift #evermore #dean winchester #castiel #jackles longcon #jensen ackles #misha collins

[maevelin]

what is your opinion on how the IC treated nesta in general, but more specifically acofas?

Oh boy...you just had to go there lol

Negative rant ahead. So you’ve been warned.

Truth is I’ve tried so hard to get what happened in acofas out of my mind  and view certain things I used to like even out of context so to be able to still enjoy them but it didn’t work. If anything getting some emotional distance from this universe dampened my excitement for any future project from this franchise and writer. Granted I never considered SJM to be a good writer but at least she was able to work through some interesting characters and dynamics. Acofas negated that too.

And honestly I am so done with the whole thing and it even left me with a bitter aftertaste when it comes to Nessian in particular because the foundations set in that book (if one can call it that) are really something I detest. The insight we got into Cassian’s mind made me so angry and I noped out completely.

As for how the IC in general treated Nesta?

I had some time to think about that and I think the problem is that the previous books and ACOFAS more so have set up an environment where Feyre and the Inner Circle are the moral axis of the universe we are in. If they are objectively right or wrong does not matter because they are right no matter what. It is very unsettling for me to have to get into a book that exists on that foundation. 

At the beginning the characters in question, Feyre, Rhysand and so on were treading more realistic lines between right and wrong. Some of those lines were blurred. They were morally grey characters too given what the situation demanded from them and that was the allure of their dynamic as characters and as relationships but as we got more books with them they became more and more bland and their perspective was limited to the trope of the perfect shiny hero and they became dogmatic when it came to that. They knew what was the best for everyone. They could do no wrong even when they did. There were no repercussions to their mistakes. They are not to be called out for their behavior because their behavior is always correct (even when it is not and not just concerning Nesta but on many fronts).

We are at a point where their moral code is by default what creates what is right and wrong and the narrative acknowledges that directly and indirectly. So the readers are meant to accept that what Feyre does is morally right and doesn’t get to criticize her actions and the actions of the Inner Circle that many times can be morally ambiguous -at best- but are not acknowledged as such.

I would appreciate it much more if the author allowed the characters (all characters, Nesta included because I am not here to pretend that Nesta is not a hot mess of an abusive asshole too) to be subjected more to objective criticism without the narrative pandering to their moral high ground. 

Thing is that situations where you have to face someone’s trauma can be difficult, messy, ugly even. There is no perfect recipe. It doesn’t mean that your way or helping is always right just because you love your family or your loved one. It doesn’t mean that because you have had your own trauma you know how to deal with someone else’s. You can do more damage many times or you can’t reach someone that is struggling and when someone is in pain many times can’t open up or accept their problem or any help regarding their issues and this can create a very dysfunctional situation from all sides concerned. Toxic even. 

But here from the start the reader is to accept a fundamental truth. Feyre and the Inner Circle are right and they know what they are doing. Their motives, their actions, their responses are pristine and they are on a pedestal so where does that leave Nesta or even a reader that doesn’t accept that reality because their critical thinking gets in the way? 

And where does a character that is not as ‘perfect’ stand? Nowhere. It distorts the picture. Because until that character gets in line with that perfection they can’t be part of it. It gets ostracized even if is in simple things as not being drawn inside a painting.

And what I find even more problematic (especially in the end of ACOFAS) is that this feels very much like a parallel of how Tamlin treated Feyre but most readers ignore that because the former books established that Feyre and the IC are the established moral stance one should admire and anyone opposing that is on the wrong. In reality the moment the writer stopped viewing certain characters under an amoral light and forced them to be the ‘good heroes’ instead of the amoral characters that should have been everything became distorted. The parallels between those characters that are deemed to be doing things wrong and those that are supposedly doing things right are blatantly obvious and the only reason as to why the good guys have the holier than thou attitude and are on the right its because the writer “says so” and that’s not something I can abide with if I use critical thinking. 

Yes these books are not meant to be taken seriously and are light entertainment at best but I feel there are limits to that especially since given the direction the author choose to take the characters towards does not personally entertain me anymore.

I am not in favor of taking an unapologetic character and making them less than what they are only to fit them into a romance and way to work into a faux morality code.

Feyre wants to protect Nesta. She is for an intervention. Tamlin acted the same. In the same way Feyre gets to decide how Elain should give Lucien a chance or how Lucien’s attachment with Jurian and Vassa is silly or how Nesta should heal Tamlin also decided how Feyre should work through her trauma, how she should not use her powers, how she should exist in his court because...he knew better, because he loved her, because he wanted to protect her. And he did love her and he did want to protect her and he had his reasons and all that didn’t make him any less abusive. Tamlin was basically ordering or manipulating Feyre into acting in the way he believed was best for her and their life together. Does that sound familiar or what? Including how Tamlin was providing everything financially for Feyre and her sisters too and that was also taken as a given. 

And I am not here to say that Feyre doesn’t love her sisters or doesn’t want the best for them. I am here to point out the hypocrisy when it comes to how one should defend another person’s free will and choice. The only reason Feyre was able to escape that suffocating environment was because Rhysand gave her a way out. No one is there to do that for Nesta. If anyone did that for her would she stay? Of course not.  Would she follow Cassian to the camp if she had other alternatives? Nope. Surely Nesta is at the lowest of lows and her behavior triggered such reactions because she surely did something bad for even Amren to be set against her that way in the end of ACOFAS but that doesn’t change how the power imbalance is shocking. How Elain had no say to what happens to Nesta because Feyre is in charge. But once more where Tamlin was wrong Feyre is right. Where Tamlin was abusive Feyre is not. Feyre’s trauma was not as destructive as Nesta’s so of course this excuses everything. Not to mention that Tamlin was going through his own trauma too. Not to mention that every despicable thing Tamlin did as a High Lord was no less despicable than what Rhysand did but we saw how the narrative in the end treated Tamlin even after the way he repented in ACOWAR. 

But Tamlin is the bad guy who treated Feyre badly so even if objectively he can be as terrible as the characters we are meant to support are and can be we are still not meant to judge him the same as we are meant to judge the ‘heroes’ because different standards are set. The same treatment goes for Nesta, Lucien and so on. And I am not here to defend Tamlin or every wrong thing Nesta or any other character did. But the scales here are not balanced at all so I feel that for certain characters their mistakes weigh more than those of others. It also depends if someone’s trauma is more ‘comfortably accepted’ than others. It is like you can be depressed and damaged and traumatized but only as long as it fits a certain aesthetic kind of thing and that is triggering me in ways I am not comfortable with.

And you can see the insidious writing too. Nesta’s PTSD is used against her. 

Characters like Feyre are getting praised for overcoming their trauma and for their heroism and get all those monikers of glory but Nesta for example and even Elain that beheaded the King and ended the war are left into obscurity. Nesta was ready to sacrifice herself to give Feyre a fighting chance and was there to shield Cassian and die along his side but you know okay sure. Feyre is the defender of the rainbow and I don’t know what else title she has these days but when other characters do similar fits of heroism they are sidelined and those acts are quickly forgotten as if they never happened. That is a narrative issue because it chooses to highlight certain moments and ignore others.

People know Nesta as ‘Cassian’s’ for crying out loud and escape her house in fear because of him. Cassian that somehow glorifies the mate bond and the age gap even to legitimate worries Rhysand poses because if he didn’t then all of the sudden he would have to acknowledge how problematic is his attitude towards Nesta and their general dynamic. But hey she looks hot despite her weight loss and what Rhysand and Feyre have, suicide pacts and whatnot, is so pure so why bother with being decent towards a girl that as he sees is traumatized, has been violated and is stuck in a world and species she does not want. He admitted that he had been through the same emotional trauma in his past and it took him time to heal but hey Nesta is a bitch for not conforming to the way he and the IC believe is best for her to act, behave and heal.

Is Nesta right all the time? Hell no. She is an abusive asshole. She spends money she has not worked for and earned. She is all messed up and does not know which way is up and lashes out towards every direction.

But in the same way Feyre did the same with Tamlin’s fortune and Rhysand’s but at least she was grateful and in a relationship with them so I guess it was okay?

And keep in mind that what Nesta is doing is deplorable (taking Rhysand’s money, having a past of not treating Feyre right, not wanting to be with Cassian etc) but when Elain is basically doing the same but Elain is ...Elain. So it is okay. She is not as troublesome I guess and can hide silently in the sidelines so the same mistakes have different gravity and consequences.  Again that’s how the narrative is set. It favors certain characters while condemns others because by default it accepts in its core how Feyre and the Inner Circle is the moral axis so the other characters are satellites around that orbit and if they diverge from that then they get crashed until they are taught to gravitate correctly.

I could keep going but I feel like this game is rigged from the start when it comes to Nesta and I am finding it pointless really. The fact that the narrative pushes her trauma in a certain direction so not only to develop Nesta as a character but also pander to certain characters and a certain mentality regarding certain characters. I don’t feel comfortable reading something like that.

If the concern of the author was to push Nesta into an environment where the primary concern would be Cassian, their romance and the acknowledgment of the Inner Circle I am sure there are many more ways to work with that than taking a character’s PTSD and manipulating in a way as to make it less important for their individual narrative and more or less a stepping stool for getting the character to a place that wouldn’t otherwise go and especially more so if they were in their right frame of mind. 

And I am not going to even get to other issues like how I am sure how tone deaf the author is still going to be when it comes to PoC cultures (Illyrians) vs White Savior Trope (Nesta entering that culture as a Queen without a crown that will go through the blood rite and into a warring misogynistic tribe where she will give the solution in the end but you know...’yay feminism’...and then adding salt into injury you will have Rhysand, Azriel and Cassian that have been in charge for half a millennia and could have solved certain issues if they truly wanted given their position and power but now that someone else will do it for them they will still get the credit...but you know...dreamers change the world and all that...but only when it is convenient I guess...).

#nesta archeron #nesta #cassian for ts #nessian for ts #anti acofas #fel reads acofas #I am so.... #no no nope #I am getting more into anti shipping territory here #and I used to ship Nessian like crazy #Anonymous #anti rhysand #anti feyre

[45paperplates]

About Olivia Rodrigo

It is a sign of a deep lack of self-esteem in our American monoculture that when Olivia Rodrigo so recently became the biggest pop musician of the moment most writers tasked to interpret said phenomenon were by default so cynical about the music they live to represent to the world that they seemed totally unaware of the most obvious explanation, one so obvious that it's almost childishly democratic: that she is simply the most naturally compelling new artist working in pop today.

Instead, they have cited elements of the music that are actually quite detrimental to its quality. Most pop-punk was weak, whiny, and obnoxiously self-involved when it was popular, and the fact that one of Olivia’s songs (“good 4 u”) sounds an awful lot like the good stuff (“Misery Business”) is indeed a sign of creative bankruptcy. That the album often sounds so much like Lorde, Taylor Swift, or Billie Eilish is only evidence of the pop machine’s greed-driven need for familiarity and the moments where these influences are truly overwhelming are the album’s least original and most incongruous. The truly teenage moments, despite their popularity with millennials and real teenagers alike, are out of touch and uninspired. I am a thirty-two year old man who also cannot parallel park, but I will never be able to relate to this kind of quirkiness in song if the singer is a rich teenager who claims in interviews that she pays for valet parking in order to avoid it.

Her relationship with Taylor Swift, whose influence is indeed all over every song on the album, seems destined to be tense, and Olivia performs best when her own creativity manages to escape it. “favorite crime” is essentially a Taylor Swift album track, imitative of Swift’s least incisive creative tendencies. “And I watched as you fled the scene / Doe-eyed as you buried me / One heart broke, four hands bloody,” writes Olivia, in the kind of mildly clever figurative imagery that makes the listener’s brain work to uncover a meaning that was already obvious, the kind of line Taylor writes in her weakest moments. The song’s apparent antecedent, “Victim,” performed live on Instagram in June of 2020, doesn’t sound like Taylor at all:

Let me be the victim of your perfect crime Bathe in my blood so I’m not the bad guy Yeah, I messed up so that you’ll mess up too I really want the blame to be on you So drive the knife in deep Make the victim bleed  

“Make the victim bleed.” It’s both unpretentiously direct and painfully deep. The imagery is vibrant and even specific enough to evoke centuries of high Catholic masochism without being at all complicated. Olivia’s best lyrics are indeed never detailed for their own sake, but calmly symbolic, referential of cultural archetypes, serving in the makeup of some more abstracted, weightier conceptual design.

Guilt, particularly of the religious kind, would seem to be her true creative center, a counterintuitive thought, given that so many of her songs officially released are so especially accusatory, to an empowering extent. But she always admits her doubt: “'Cause let’s be honest, we kinda do sound the same / Another actress / I hate to think that I was just your type” she says of her ex’s new girlfriend. Indeed every song on the album that is explicitly about heartbreak goes out of its way to acquit the criminal in one way or another, either implicitly or directly, describing situations that are as emotionally painful as they are understandable from both sides.

She knows, in other words, that her anger at the boy is both valid and unjustified, that her sadness is real but not at all unique. Her pain transcends by its lack of an honest target, and this is what makes her music relatable to all ages. Without quite saying it, through a contradictory combination of dedicated vulnerability and self-awareness she asks the universe--or God even--rather than the boy, why did this happen? Why does this happen and is it my fault? "Did I do something wrong?"

More than anywhere else, you can hear it in her voice. Though lots of different things can get in the way, this transcendent guilt sits in her voice as a sustained emotional power, shifting between a dull pain somewhere deep in her chest and a lump in her throat, lending sincere force and tragic significance to subject matter that most have interpreted as specifically teenaged and delightfully naive. Bruce Springsteen famously said that the first time he heard “Like a Rolling Stone,” Bob Dylan’s voice “sounded somehow simultaneously young and adult.” This is the kind of compliment disallowed to teenage girls by the use of the “you’re mature for your age” trope by predatory old men, which is a shame, because if anyone deserves to be called mature it's a teenager who takes guilt seriously before they’ve really had a chance to even do anything wrong.

Maybe she has had her marvelously unanimous success because this pained emotional high is heavily tempered on SOUR, particularly in its singles, two of which drown it out in the bridge (“drivers license”, “deja vu”), and the third of which filters it through talk-singing and distorted yelling (“good 4 u”). Maybe this is why she switched out “Victim,” a song where she sings of her “guilty Catholic heart,” and pleads “make the victim me,” for “favorite crime.” It does seem almost too heavy for American pop, and maybe a little dab of it is all the industry’s recipe requires because America doesn’t know how to process a mature teenage girl in a healthy way. But it is the passion at the source of her talent and, although her album is not at all perfect, shines through like the burning sun at every opportunity.

#olivia rodrigo #sour #pop music #catholic guilt #catholicism #bob dylan #taylor swift #lorde #billie eilish #bruce springsteen #hsmtmts #the rose song

[hamphobicbasil]

different anon, as someone who technically is still a dsmp fan (although at this point i consider myself more a fan of some specific streamers who happen to be on the smp, and haven't watched a dsmp storyline stream since january), everything you said makes complete and total sense. i don't fully agree with every point made, but i agree with most of them, and honestly that -- combined with. y'know. actual person dream being revealed to be... Like That -- are probably main reasons behind my growing disinterest in the server itself. i still really like some of the creators, but. the story's degradation combined with some of the creators i don't like getting steadily worse... i really don't care about the server anymore.

but as someone who has kept up with the more current stuff, i can just say that. basically everyone is cheating off of wilbur's storyline homework in some way or another. quackity's current thing with las nevadas is being regarded as him "drawing parallels" between him and wilbur's character arc, and with wilbur being revived it's being seen as him being a character foil -- i do not think these people know what a narrative foil is, because it's not just a carbon copy -- but in all honesty he's just doing pogtopia wilbur v2. the egg arc has been "resolved" technically, but it less got resolved and more just petered out and died pathetically after a genuinely really good stream (red banquet) where they set up interesting things. it's just. done now.

techno seems to be incapable of allowing his character to develop whatsoever. he never lets his character suffer, never lets him hurt, and even outside of the monotone acting his character never loses anything. he's invincible and that doesn't seem set to change. even now, when he got tricked into being trapped in the prison, he made it clear that his character isn't even remotely bothered by this. does he have a plan to escape? maybe, although if he does it's gonna read as a shoddy deus ex machina because he didn't set anything up aside from "press this button and i teleport out." did he know he was being trapped? it's not clear, he might've known or he might've been just incredibly stupid. it's boring. he's less a character and more a brick wall with a rocket launcher.

and i feel bad for tommy The Person, because he's clearly gotten stuck in a bit of a content mentality. he got a big reaction from his character suffering in pogtopia, so he did the exile arc. the exile arc got a big reaction, so he did more similar things. it feels like he's gotten stuck in the mindset of "the fans like angst, so i need to continue to just endlessly torment my character with no purpose or goal." his "death" had even LESS permanence than wilbur's, because he got full on revived two days later just so his character could be traumatized some more.

the server is somehow simultaneously too ironclad in its story (not leaving room for others to jump in with ideas like a rp should, such as eret wanting to return in the pogtopia arc, or the egg plot being just ignored) and way too open ended (no clear rules or laws, lack of communication between people -- the "villain" team on the january doomsday showed up a whole 30 minutes earlier than the scheduled time without telling anyone, seemingly because "war isn't fair." those streams are an absolute disaster.) it's a little disappointing because some of the people involved are clearly talented; wilbur is a decent writer, although clearly more suited to a dungeons and dragons DM type of medium, many of the streamers are pretty good actors and not horrible writers / could be better with practice, and some of the newcomers, like ranboo, clearly have experience with roleplay character-driven storytelling and are very good when they're actually given the chance to do things. the whole thing is really disappointing, all in all.

sorry for rambling so much. tl;dr, you're absolutely right, it's disappointing as hell.

sORRY for not replying to this sooner- i read it earlier and completely forgot to respond

added a read more just in case this was a bit too long!

BUT UR ABSOLUTELY RIGHT ON ALL OF THIS- and speaking of "drawing parallels" with characters, i feel like its become a MAJOR crutch for the writers lately. its not only in universe with c!tubbo being compared to c!schlatt or c!quackity being compared to c!wilbur, it extends to myths too. i find the whole c!tommy = Theseus thing and whenever techno starts writing to be sorta a "get out of jail free card" yknow? they don't actually have to write their own plots or characters, just mimic that from myths and legends and i dont think it gels well with wilbur's somewhat original plot [i understand it was just minecraft hamilton, but it had some charming stuff in there yknow?]

and god yes you put my problems with c!techno into words beyond his voice acting, i don't want to imply that he's written his character to be invincible [or the olden term, a "gary sue"] but god it certainly comes off that way. i get so confused when i see people say "oh c!techno has been hurt over and over again!! why are things so terrible for him?" when he got "betrayed" once and that's it, its just so stupid and i cant understand the love for his character

and speaking of tommy, i totally agree. i dont mean to speculate on the kid's mental health since that's mega weirdchamp but combined with the constant angst his character is in plus his recent bad run ins with twitter, i hope he's doing okay. and on a side note, i hope his character gets to have the happy ending he deserves because man. Man.

BUT I HAD NO IDEA ABT THE EGG ARC KINDA BEING WRAPPED UP?? thats so disappointing oh my god. i'll read into it more since im curious about how it ended but god the fact that it sounds like it didnt have a bigger ending is just. wow. the annoying green man villain with no real motives and less of a stage presence gets all this hype and a bigger "ending" [yknow, him being sent to jail] than the eldritch creature that was growing throughout the smp?? wack.

i think one of the bigger problems of the dsmp story is just that. wilbur introduced some basic ideas and basic world stuff and instead of expanding on it gradually in a satisfying way, the new writers just went ham and didn't know what made the original so enjoyable, even tho it was, again, minecraft hamilton. i've seen some people claim that the new writers are better at precise intense moments but i heavily disagree with that, but thats probably because a lot of them involve dream yelling for his acting and i cant take that man seriously even in character.

but yeah, youre absolutely right on everything you've said here. they basically went "hey can i copy your homework?" with wilbur and somehow made things worse

#txt #dsmp crit #dsmp critical

[holyhellpod]

Holy Hell: 3. Metanarrativity: Who’s the Deleuze and who’s the Guattari in your relationship? aka the analysis no one asked for.

In this ep, we delve into authorship, narrative, fandom and narrative meaning. And somehow, as always, bring it back to Cas and Misha Collins.

(Note: the reason I didn’t talk about Billie’s authorship and library is because I completely forgot it existed until I watched season 13 “Advanced Thanatology” again, while waiting for this episode to upload. I’ll find a way to work her into later episodes tho!)

I had to upload it as a new podcast to Spotify so if you could just re-subscribe that would be great! Or listen to it at these other links.

Please listen to the bit at the beginning about monetisation and if you have any questions don’t hesitate to message me here.

Apple | Spotify | Google

Transcript under the cut!

Warnings: discussions of incest, date rape, rpf, war, 9/11, the bush administration, abuse, mental health, addiction, homelessness. Most of these are just one off comments, they’re not full discussions.

Meta-Textuality: Who’s the Deleuze and who’s the Guattari in your relationship?

In the third episode of Season 6, “The Third Man,” Balthazar says to Cas, “you tore up the whole script and burned the pages.” That is the fundamental idea the writers of the first five seasons were trying to sell us: whatever grand plan the biblical God had cooking up is worth nothing in face of the love these men have—for each other and the world. Sam, Bobby, Cas and Dean will go to any lengths to protect one another and keep people safe. What’s real? What’s worth saving? People are real. Families are worth saving. 

This show plugs free will as the most important thing a person, angel, demon or otherwise can have. The fact of the matter is that Dean was always going to fight against the status quo, Sam was always going to go his own way, and Bobby was always going to do his best for his boys. The only uncertainty in the entire narrative is Cas. He was never meant to rebel. He was never meant to fall from Heaven. He was supposed to fall in line, be a good soldier, and help bring on the apocalypse, but Cas was the first agent of free will in the show’s timeline. Sam followed Lucifer, Dean followed Michael, and John gave himself up for the sins of his children, at once both a God and Jesus figure. But Cas wasn’t modelled off anyone else. He is original. There are definitely some parallels to Ruby, but I would argue those are largely unintentional. Cas broke the mold. 

That’s to say nothing of the impact he’s had on the fanbase, and the show itself, which would not have reached 15 seasons and be able to end the way they wanted it to without Cas and Misha Collins. His back must be breaking from carrying the entire show. 

But what the holy hell are we doing here today? Not just talking about Cas. We’re talking about metanarrativity: as I define it, and for purposes of this episode, the story within a story, and the act of storytelling. We’re going to go through a select few episodes which I think exemplify the best of what this show has to offer in terms of framing the narrative. We’ll talk about characters like Chuck and Becky and the baby dykes in season 10. And most importantly we’ll talk about the audience’s role, our role, in the reciprocal relationship of storytelling. After all, a tv show is nothing without the viewer.

I was in fact introduced to the concept of metanarrativity by Supernatural, so the fact that I’m revisiting it six years after I finished my degree to talk about the show is one of life’s little jokes.

 I’m brushing off my degree and bringing out the big guns (aka literary theorists) to examine this concept. This will be yet another piece of analysis that would’ve gone well in my English Lit degree, but I’ll try not to make it dry as dog shit. 

First off, I’m going to argue that the relationship between the creators of Supernatural and the fans has always been a dialogue, albeit with a power imbalance. Throughout the series, even before explicitly metanarrative episodes like season 10 “Fan Fiction” and season 4 “the monster at the end of this book,” the creators have always engaged in conversations with the fans through the show. This includes but is not limited to fan conventions, where the creators have actual, live conversations with the fans. Misha Collins admitted at a con that he’d read fanfiction of Cas while he was filming season 4, but it’s pretty clear even from the first season that the creators, at the very least Eric Kripke, were engaging with fans. The show aired around the same time as Twitter and Tumblr were created, both of which opened up new passageways for fans to interact with each other, and for Twitter and Facebook especially, new passageways for fans to interact with creators and celebrities.

But being the creators, they have ultimate control over what is written, filmed and aired, while we can only speculate and make our own transformative interpretations. But at least since s4, they have engaged in meta narrative construction that at once speaks to fans as well as expands the universe in fun and creative ways. My favourite episodes are the ones where we see the Winchesters through the lens of other characters, such as the season 3 episode “Jus In Bello,” in which Sam and Dean are arrested by Victor Henriksen, and the season 7 episode “Slash Fiction” in which Dean and Sam’s dopplegangers rob banks and kill a bunch of people, loathe as I am to admit that season 7 had an effect on any part of me except my upchuck reflex. My second favourite episodes are the meta episodes, and for this episode of Holy Hell, we’ll be discussing a few: The French Mistake, he Monster at the end of this book, the real ghostbusters, Fan Fiction, Metafiction, and Don’t Call Me Shurley. I’ll also discuss Becky more broadly, because, like, of course I’ll be discussing Becky, she died for our sins. 

Let’s take it back. The Monster At The End Of This Book — written by Julie Siege and Nancy Weiner and directed by Mike Rohl. Inarguably one of the better episodes in the first five seasons. Not only is Cas in it, looking so beautiful, but Sam gets something to do, thank god, and it introduces the character of Chuck, who becomes a source of comic relief over the next two seasons. The episode starts with Chuck Shurley, pen named Carver Edlund after my besties, having a vision while passed out drunk. He dreams of Sam and Dean larping as Feds and finding a series of books based on their lives that Chuck has written. They eventually track Chuck down, interrogate him, and realise that he’s a prophet of the lord, tasked with writing the Winchester Gospels. The B plot is Sam plotting to kill Lilith while Dean fails to get them out of the town to escape her. The C plot is Dean and Cas having a moment that strengthens their friendship and leads further into Cas’s eventual disobedience for Dean. Like the movie Disobedience. Exactly like the movie Disobedience. Cas definitely spits in Dean’s mouth, it’s kinda gross to be honest. Maybe I’m just not allo enough to appreciate art. 

When Eric Kripke was showrunner of the first five seasons of Supernatural,  he conceptualised the character of Chuck. Kripke as the author-god introduced the character of the author-prophet who would later become in Jeremy Carver’s showrun seasons the biblical God. Judith May Fathallah writes in “I’m A God: The Author and the Writing Fan in Supernatural” that Kripke writes himself both into and out of the text, ending his era with Chuck winking at the camera, saying, “nothing really ends,” and disappearing. Kripke stayed on as producer, continuing to write episodes through Sera Gamble’s era, and was even inserted in text in the season 6 episode “The French Mistake”. So nothing really does end, not Kripke’s grip on the show he created, not even the show itself, which fans have jokingly referred to as continuing into its 16th season. Except we’re not joking. It will die when all of us are dead, when there is no one left to remember it. According to W R Fisher, humans are homo narrans, natural storytellers. The Supernatural fandom is telling a fidelitous narrative, one which matches our own beliefs, values and experiences instead of that of canon. Instead of, at Fathallah says, “the Greek tradition, that we should struggle to do the right thing simply because it is right, though we will suffer and be punished anyway,” the fans have created an ending for the characters that satisfies each and every one of our desires, because we each create our own endings. It’s better because we get to share them with each other, in the tradition of campfire stories, each telling our own version and building upon the others. If that’s not the epitome of mythmaking then I don’t know. It’s just great. Dean and Cas are married, Eileen and Sam are married, Jack is sometimes a baby who Claire and Kaia are forced to babysit, Jody and Donna are gonna get hitched soon. It’s season 17, time for many weddings, and Kevin Tran is alive. Kripke, you have no control over this anymore, you crusty hag. 

Chuck is introduced as someone with power, but not influence over the story, only how the story is told through the medium of the novels. It’s basically a very badly written, non authorised biography, and Charlie reading literally every book and referencing things she should have no knowledge of is so damn creepy and funny. At first Chuck is surprised by his characters coming to life, despite having written it already, and when shown the intimidating array of weapons in Baby’s trunk he gets real scared. Which is the appropriate response for a skinny 5-foot-8 white guy in a bathrobe who writes terrible fantasy novels for a living. 

As far as I can remember, this is the first explicitly metanarrative episode in the series, or at least the first one with in world consequences. It builds upon the lore of Christianity, angels, and God, while teasing what’s to come. Chuck and Sam have a conversation about how the rest of the season is going to play out, and Sam comes away with the impression that he’ll go down with the ship. They touch on Sam’s addiction to demon blood, which Chuck admits he didn’t write into the books, because in the world of supernatural, addiction should be demonised ha ha at every opportunity, except for Dean’s alcoholism which is cool and manly and should never be analysed as an unhealthy trauma coping mechanism. 

Chuck is mostly impotent in the story of Sam and Dean, but his very presence presents an element of good luck that turns quickly into a force of antagonism in the series four finale, “Lucifer Rising”, when the archangel Raphael who defeats Lilith in this episode also kills Cas in the finale. It’s Cas’s quick thinking and Dean’s quick doing that resolve the episode and save them from Lilith, once again proving that free will is the greatest force in the universe. Cas is already tearing up pages and burning scripts. The fandom does the same, acting as gods of their own making in taking canon and transforming it into fan art. The fans aren’t impotent like Chuck, but neither do we have sway over the story in the way that Cas and Dean do. Sam isn’t interested in changing the story in the same way—he wants to kill Lilith and save the world, but in doing so continues the story in the way it was always supposed to go, the way the angels and the demons and even God wanted him to. 

Neither of them are author-gods in the way that God is. We find out later that Chuck is in fact the real biblical god, and he engineers everything. The one thing he doesn’t engineer, however, is Castiel, and I’ll get to that in a minute.

The Real Ghostbusters

Season 5’s “The real ghostbusters,” written by Nancy Weiner and Erik Kripke, and directed by James L Conway, situates the Winchesters at a fan convention for the Supernatural books. While there, they are confronted by a slew of fans cosplaying as Sam, Dean, Bobby, the scarecrow, Azazel, and more. They happen to stumble upon a case, in the midst of the game where the fans pretend to be on a case, and with the help of two fans cosplaying as Sam and Dean, they put to rest a group of homicidal ghost children and save the day. Chuck as the special guest of the con has a hero moment that spurs Becky on to return his affections. And at the end, we learn that the Colt, which they’ve been hunting down to kill the devil, was given to a demon named Crowley. It’s a fun episode, but ultimately skippable. This episode isn’t so much metanarrative as it is metatextual—metatextual meaning more than one layer of text but not necessarily about the storytelling in those texts—but let’s take a look at it anyway.

The metanarrative element of a show about a series of books about the brothers the show is based on is dope and expands upon what we saw in “the monster at the end of this book”. But the episode tells a tale about about the show itself, and the fandom that surrounds it. 

Where “The Monster At The End Of This Book” and the season 5 premiere “Sympathy For The Devil” poked at the coiled snake of fans and the concept of fandom, “the real ghostbusters” drags them into the harsh light of an enclosure and antagonises them in front of an audience. The metanarrative element revolves around not only the books themselves, but the stories concocted within the episode: namely Barnes and Demian the cosplayers and the story of the ghosts. The Winchester brothers’s history that we’ve seen throughout the first five seasons of the show is bared in a tongue in cheek way: while we cried with them when Sam and Dean fought with John, now the story is thrown out in such a way as to mock both the story and the fans’ relationship to it. Let me tell you, there is a lot to be made fun of on this show, but the fans’ relationship to the story of Sam, Dean and everyone they encounter along the way isn’t part of it. I don’t mean to be like, wow you can’t make fun of us ever because we’re special little snowflakes and we take everything so seriously, because you are welcome to make fun of us, but when the creators do it, I can’t help but notice a hint of malice. And I think that’s understandable in a way. Like The relationship between creator and fan is both layered and symbiotic. While Kripke and co no doubt owe the show’s popularity to the fans, especially as the fandom has grown and evolved over time, we’re not exactly free of sin. And don’t get me wrong, no fandom is. But the bad apples always seem to outweigh the good ones, and bad experiences can stick with us long past their due.

However, portraying us as losers with no lives who get too obsessed with this show — well, you know, actually, maybe they’re right. I am a loser with no life and I am too obsessed with this show. So maybe they have a point. But they’re so harsh about it. From wincestie Becky who they paint as a desperate shrew to these cosplayers who threaten Dean’s very perception of himself, we’re not painted in a very good light. 

Dean says to Demian and Barnes, “It must be nice to get out of your mom’s basement.” He’s judging them for deriving pleasure from dressing up and pretending to be someone else for a night. He doesn’t seem to get the irony that he does that for a living. As the seasons wore on, the creators made sure to include episodes where Dean’s inner geek could run rampant, often in the form of dressing up like a cowboy, such as season six “Frontierland” and season 13 “Tombstone”. I had to take a break from writing this to laugh for five minutes because Dean is so funny. He’s a car gay but he only likes one car. He doesn’t follow sports. His echolalia causes him to blurt out lines from his favourite movies. He’s a posse magnet. And he loves cosplay. But he will continually degrade and insult anyone who expresses interest in role play, fandom, or interests in general. Maybe that’s why Sam is such a boring person, because Dean as his mother didn’t allow him to have any interests outside of hunting. And when Sam does express interests, Dean insults him too. What a dick. He’s my soulmate, but I am not going to stop listening to hair metal for him. That’s where I draw the line. 

 Where “the monster at the end of this book” is concerned with narrative and authorship, “the real ghostbusters” is concerned with fandom and fan reactions to the show. It’s not really the best example to talk about in an episode about metanarrativity, but I wanted to include it anyway. It veers from talk of narrative by focusing on the people in the periphery of the narrative—the fans and the author. In season 9 “Metafiction,” Metatron asks the question, who gives the story meaning? The text would have you believe it’s the characters. The angels think it’s God. The fandom think it’s us. The creators think it’s them. Perhaps we will never come to a consensus or even a satisfactory answer to this question. Perhaps that’s the point.

The ultimate takeaway from this episode is that ordinary people, the people Sam and Dean save, the people they save the world for, the people they die for again and again, are what give their story meaning. Chuck defeats a ghost and saves the people in the conference room from being murdered. Demian and Barnes, don’t ask me which is which, burn the bodies of the ghost children and lay their spirits to rest. The text says that ordinary, every day people can rise to the challenge of becoming extraordinary. It’s not a bad note to end on, by any means. And then we find out that Demian and Barnes are a couple, which of course Dean is surprised at, because he lacks object permanence. 

This is no doubt influenced by how a good portion of the transformative fandom are queer, and also a nod to the wincesties and RPF writers like Becky who continue to bottom feed off the wrong message of this show. But then, the creators encourage that sort of thing, so who are the real clowns here? Everyone. Everyone involved with this show in any way is a clown, except for the crew, who were able to feed their families for more than a decade. 

Okay side note… over the past year or so I’ve been in process of realising that even in fandom queers are in the minority. I know the statistic is that 10% of the world population is queer, but that doesn’t seem right to me? Maybe because 4/5 closest friends are queer and I hang around queers online, but I also think I lack object permanence when it comes to straight people. Like I just do not interact with straight people on a regular basis outside of my best friend and parents and school. So when I hear that someone in fandom is straight I’m like, what the fuck… can you keep that to yourself please? Like if I saw Misha Collins coming out as straight I would be like, I didn’t ask and you didn’t have to tell. Okay I’m mostly joking, but I do forget straight people exist. Mostly I don’t think about whether people are gay or trans or cis or straight unless they’ve explicitly said it and then yes it does colour my perception of them, because of course it would. If they’re part of the queer community, they’re my people. And if they’re straight and cis, then they could very well pose a threat to me and my wellbeing. But I never ask people because it’s not my business to ask. If they feel comfortable enough to tell me, that’s awesome.  I think Dean feels the same way. Towards the later seasons at least, he has a good reaction when it’s revealed that someone is queer, even if it is mostly played off as a joke. It’s just that he doesn’t have a frame of reference in his own life to having a gay relationship, either his or someone he’s close to. He says to Cesar and Jesse in season 11 “The Critters” that they fight like brothers, because that’s the only way he knows how to conceptualise it. He doesn’t have a way to categorise his and Cas’s relationship, which is in many ways, long before season 15 “Despair,” harking back even to the parallels between Ruby and Cas in season 3 and 4, a romantic one, aside from that Cas is like a brother to him. Because he’s never had anyone in his life care for him the way Cas does that wasn’t Sam and Bobby, and he doesn’t recognise the romantic element of their relationship until literally Cas says it to him in the third last episode, he just—doesn’t know what his and Cas’s relationship is. He just really doesn’t know. And he grew up with a father who despised him for taking the mom and wife role in their family, the role that John placed him in, for being subservient to John’s wishes where Sam was more rebellious, so of course he wouldn’t understand either his own desires or those of anyone around him who isn’t explicitly shoving their tits in his face. He moulded his entire personality around what he thought John wanted of him, and John says to him explicitly in season 14 “Lebanon”, “I thought you’d have a family,” meaning, like him, wife and two rugrats. And then, dear god, Dean says, thinking of Sam, Cas, Jack, Claire, and Mary, “I have a family.” God that hurts so much. But since for most of his life he hasn’t been himself, he’s been the man he thought his father wanted him to be, he’s never been able to examine his own desires, wants and goals. So even though he’s really good at reading people, he is not good at reading other people’s desires unless they have nefarious intentions. Because he doesn’t recognise what he feels is attraction to men, he doesn’t recognise that in anyone else. 

Okay that’s completely off topic, wow. Getting back to metanarrativity in “The Real Ghostbusters,” I’ll just cap it off by saying that the books in this episode are more a frame for the events than the events themselves. However, there are some good outtakes where Chuck answers some questions, and I’m not sure how much of that is scripted and how much is Rob Benedict just going for it, but it lends another element to the idea of Kripke as author-god. The idea of a fan convention is really cool, because at this point Supernatural conventions had been running for about 4 years, since 2006. It’s definitely a tribute to the fans, but also to their own self importance. So it’s a mixed bag, considering there were plenty of elements in there that show the good side of fandom and fans, but ultimately the Winchesters want nothing to do with it, consider it weird, and threaten Chuck when he says he’ll start releasing books again, which as far as they know is his only source of income. But it’s a fun episode and Dean is a grouchy bitch, so who the holy hell cares?

Season 10 episode “fanfiction” written by my close personal friend Robbie Thompson and directed by Phil Sgriccia is one of the funniest episodes this show has ever done. Not only is it full of metatextual and metanarrative jokes, the entire premise revolves around fanservice, but in like a fun and interesting way, not fanservice like killing the band Kansas so that Dean can listen to “Carry On My Wayward Son” in heaven twice. Twice. One version after another. Like I would watch this musical seven times in theatre, I would buy the soundtrack, I would listen to it on repeat and make all my friends listen to it when they attend my online Jitsi birthday party. This musical is my Hamilton. Top ten episodes of this show for sure. The only way it could be better is if Cas was there. And he deserved to be there. He deserved to watch little dyke Castiel make out with her girlfriend with her cute little wings, after which he and Dean share uncomfortable eye contact. Dean himself is forever coming to terms with the fact that gay people exist, but Cas should get every opportunity he can to hear that it’s super cool and great and awesome to be queer. But really he should be in every episode, all of them, all 300 plus episodes including the ones before angels were introduced. I’m going to commission the guy who edits Paddington into every movie to superimpose Cas standing on the highway into every episode at least once.

“Fan Fiction” starts with a tv script and the words “Supernatural pilot created by Eric Kripke”. This Immediately sets up the idea that it’s toying with narrative. Blah blah blah, some people go missing, they stumble into a scene from their worst nightmares: the school is putting on a musical production of a show inspired by the Supernatural books. It’s a comedy of errors. When people continue to go missing, Sam and Dean have to convince the girls that something supernatural is happening, while retaining their dignity and respect. They reveal that they are the real Sam and Dean, and Dean gives the director Marie a summary of their lives over the last five seasons, but they aren’t taken seriously. Because, like, of course they aren’t. Even when the girls realise that something supernatural is happening, they don’t actually believe that the musical they’ve made and the series of books they’re basing it on are real. Despite how Sam and Dean Winchester were literal fugitives for many years at many different times, and this was on the news, and they were wanted by the FBI, despite how they pretend to be FBI, and no one mentions it??? Did any of the staffwriters do the required reading or just do what I used to do for my 40 plus page readings of Baudrillard and just skim the first sentence of every paragraph? Neat hack for you: paragraphs are set up in a logical order of Topic, Example, Elaboration, Linking sentence. Do you have to read 60 pages of some crusty French dude waxing poetic about how his best friend Pierre wants to shag his wife and making that your problem? Read the first and last sentence of every paragraph. Boom, done. Just cut your work in half. 

The musical highlights a lot of the important moments of the show so far. The brothers have, as Charlie Bradbury says, their “broment,” and as Marie says, their “boy melodrama scene,” while she insinuates that there is a sexual element to their relationship. This show never passed up an opportunity to mention incest. It’s like: mentioning incest 5000 km, not being disgusting 1 km, what a hard decision. Actually, they do have to walk on their knees for 100 miles through the desert repenting. But there are other moments—such as Mary burning on the ceiling, a classic, Castiel waiting for Dean at the side of the highway, and Azazel poisoning Sam. With the help of the high schoolers, Sam and Dean overcome Calliope, the muse and bad guy of the episode, and save the day. What began as their lives reinterpreted and told back to them turns into a story they have some agency over.

In this episode, as opposed to “The Monster At The End Of This Book,” The storytelling has transferred from an alcoholic in a bathrobe into the hands of an overbearing and overachieving teenage girl, and honestly why not. Transformative fiction is by and large run by women, and queer women, so Marie and her stage manager slash Jody Mills’s understudy Maeve are just following in the footsteps of legends. This kind of really succinctly summarises the difference between curative fandom and transformative fandom, the former of which is populated mostly by men, and the latter mostly by women. As defined by LordByronic in 2015, Curative fandom is more like enjoying the text, collecting the merchandise, organising the knowledge — basically Reddit in terms of fandom curation. Transformative fandom is transforming the source text in some way — making fanart, fanfic, mvs, or a musical — basically Tumblr in general, and Archive of our own specifically. Like what do non fandom people even do on Tumblr? It is a complete mystery to me. Whereas Chuck literally writes himself into the narrative he receives through visions, Marie and co have agency and control over the narrative by writing it themselves. 

Chuck does appear in the episode towards the end, his first appearance after five seasons. The theory that he killed those lesbian theatre girls makes me wanna curl up and die, so I don’t subscribe to it. Chuck watched the musical and he liked it and he gave unwarranted notes and then he left, the end.

The Supernatural creative team is explicitly acknowledging the fandom’s efforts by making this episode. They’re writing us in again, with more obsessive fans, but with lethbians this time, which makes it infinitely better. And instead of showing us as potential date rapists, we’re just cool chicks who like to make art. And that’s fucken awesome. 

I just have to note that the characters literally say the word Destiel after Dean sees the actors playing Dean and Cas making out. He storms off and tells Sam to shut the fuck up when Sam makes fun of him, because Dean’s sexuality is NOT threatened he just needs to assert his dominance as a straight hetero man who has NEVER looked at another man’s lips and licked his own. He just… forgets that gay people exist until someone reminds him. BUT THEN, after a rousing speech that is stolen from Rent or Wicked or something, he echoes Marie’s words back, saying “put as much sub into that text as you possibly can.” What does Dean know about subbing, I wonder. Okay I’m suddenly reminded that he did literally go to a kink bar and get hit on by a leather daddy. Oh Dean, the experiences you have as a broad-shouldered, pixie-faced man with cowboy legs. You were born for this role.

Metatron is my favourite villain. As one tumblr user pointed out, he is an evil English literature major, which is just a normal English literature major. The season nine episode “Meta Fiction” written by my main man robbie thompson and directed by thomas j wright, happens within a curious season. Castiel, once again, becomes the leader of a portion of the heavenly host to take down Metatron, and Dean is affected by the Mark Of Cain. Sam was recently possessed by Gadreel, who killed Kevin in Sam’s body and then decided to run off with Metatron. Metatron himself is recruiting angels to join him, in the hopes that he can become the new God. It’s the first introduction of Hannah, who encourages Cas to recruit angels himself to take on Metatron. Also, we get to see Gabriel again, who is always a delight. 

This episode is a lot of fun. Metatron poses questions like, who tells a story and who is the most important person in the telling? Is it the writer? The audience? He starts off staring over his typewriter to address the camera, like a pompous dickhead. No longer content with consuming stories, he’s started to write his own. And they are hubristic ones about becoming God, a better god than Chuck ever was, but to do it he needs to kill a bunch of people and blame it on Cas. So really, he’s actually exactly like Chuck who blamed everything on Lucifer. 

But I think the most apt analogy we can use for this in terms of who is the creator is to think of Metatron as a fanfiction writer. He consumes the media—the Winchester Gospels—and starts to write his own version of events—leading an army to become God and kill Cas. Nevermind that no one has been able to kill Cas in a way that matters or a way that sticks. Which is canon, and what Metatron is trying to do is—well not fanon because it actually does impact the Winchesters’ storyline. It would be like if one of the writers of Supernatural began writing Supernatural fanfiction before they got a job on the show. Which as my generation and the generations coming after me get more comfortable with fanfiction and fandom, is going to be the case for a lot of shows. I think it’s already the case for Riverdale. Correct me if I’m wrong, but didn’t the woman who wrote the bi Dean essay go to work on Riverdale? Or something? I dunno, I have the post saved in my tumblr likes but that is quagmire of epic proportions that I will easily get lost in if I try to find it. 

Okay let me flex my literary degree. As Englund and Leach say in “Ethnography and the metanarratives of modernity,” “The influential “literary turn,” in which the problems of ethnography were seen as largely textual and their solutions as lying in experimental writing seems to have lost its impetus.” This can be taken to mean, in the context of Supernatural, that while Metatron’s writings seek to forge a new path in history, forgoing fate for a new kind of divine intervention, the problem with Metatron is that he’s too caught up in the textual, too caught up in the writing, to be effectual. And this as we see throughout seasons 9, 10 and 11, has no lasting effect. Cas gets his grace back, Dean survives, and Metatron becomes a powerless human. In this case, the impetus is his grace, which he loses when Cas cuts it out of him, a mirror to Metatron cutting out Cas’s grace. 

However, I realise that the concept of ethnography in Supernatural is a flawed one, ethnography being the observation of another culture: a lot of the angels observe humanity and seem to fit in. However, Cas has to slowly acclimatise to the Winchesters as they tame him, but he never quite fit in—missing cues, not understanding jokes or Dean’s personal space, the scene where he says, “We have a guinea pig? Where?” Show him the guinea pig Sam!!! He wants to see it!!! At most he passes as a human with autism. Cas doesn’t really observe humanity—he observes nature, as seen in season 7 “reading is fundamental” and “survival of the fittest”. Even the human acts he talks about in season 6 “the man who would be king” are from hundreds or thousands of years ago. He certainly doesn’t observe popular culture, which puts him at odds with Dean, who is made up of 90 per cent pop culture references and 10 per cent flannel. Metatron doesn’t seek to blend in with humanity so much as control it, which actually is the most apt example of ethnography for white people in the last—you know, forever. But of course the writers didn’t seek to make this analogy. It is purely by chance, and maybe I’m the only person insane enough to realise it. But probably not. There are a lot of cookies much smarter than me in the Supernatural fandom and they’ve like me have grown up and gone to university and gotten real jobs in the real world and real haircuts. I’m probably the only person to apply Englund and Leach to it though.

And yes, as I read this paper I did need to have one tab open on Google, with the word “define” in the search bar. 

Metatron has a few lines in this that I really like. He says: 

“The universe is made up of stories, not atoms.”

“You’re going to have to follow my script.”

“I’m an entity of my word.”

It’s really obvious, but they’re pushing the idea that Metatron has become an agent of authorship instead of just a consumer of media. He even throws a Supernatural book into his fire — a symbolic act of burning the script and flipping the writer off, much like Cas did to God and the angels in season 5. He’s not a Kripke figure so much as maybe a Gamble, Carver or Dabb figure, in that he usurps Chuck and becomes the author-god. This would be extremely postmodern of him if he didn’t just do exactly what Chuck was doing, except worse somehow. In fact, it’s postmodern of Cas to reject heaven’s narrative and fall for Dean. As one tumblr user points out, Cas really said “What’s fate compared to Dean Winchester?”

Okay this transcript is almost 8000 words already, and I still have two more episodes to review, and more things to say, so I’ll leave you with this. Metatron says to Cas, “Out of all of God’s wind up toys, you’re the only one with any spunk.” Why Cas has captured his attention comes down more than anything to a process of elimination. Most angels fucking suck. They follow the rules of whoever puts themselves in charge, and they either love Cas or hate him, or just plainly wanna fuck him, and there have been few angels who stood out. Balthazar was awesome, even though I hated him the first time I watched season 6. He UNSUNK the Titanic. Legend status. And Gabriel was of course the OG who loves to fuck shit up. But they’re gone at this stage in the narrative, and Cas survives. Cas always survives. He does have spunk. And everyone wants to fuck him.  

Season 11 episode 20 “Don’t Call Me Shurley,” the last episode written by the Christ like figure of Robbie Thompson — are we sensing a theme here? — and directed by my divine enemy Robert Singer, starts with Metatron dumpster diving for food. I’m not even going to bother commenting on this because like… it’s supernatural and it treats complex issues like homelessness and poverty with zero nuance. Like the Winchesters live in poverty but it’s fun and cool because they always scrape by but Metatron lives in poverty and it’s funny. Cas was homeless and it was hard but he needed to do it to atone for his sins, and Metatron is homeless and it’s funny because he brought it on himself by being a murderous dick. Fucking hell. Robbie, come on. The plot focuses on God, also known as Chuck Shurley, making himself known to Metatron and asking for Metatron’s opinion on his memoir. Meanwhile, the Winchesters battle another bout of infectious serial killer fog sent by Amara. At the end of the episode, Chuck heals everyone affected by the fog and reveals himself to Sam and Dean. 

Chuck says that he didn’t foresee Metatron trying to become god, but the idea of Season 15 is that Chuck has been writing the Winchesters’ story all their lives. When Metatron tries, he fails miserably, is locked up in prison, tortured by Dean, then rendered useless as a human and thrown into the world without a safety net. His authorship is reduced to nothing, and he is reduced to dumpster diving for food. He does actually attempt to live his life as someone who records tragedies as they happen and sells the footage to news stations, which is honestly hilarious and amazing and completely unsurprising because Metatron is, at the heart of it, an English Literature major. In true bastard style, he insults Chuck’s work and complains about the bar, but slips into his old role of editor when Chuck asks him to. 

The theory I’m consulting for this uses the term metanarrative in a different way than I am. They consider it an overarching narrative, a grand narrative like religion. Chuck’s biography is in a sense most loyal to Middleton and Walsh’s view of metanarrative: “the universal story of the world from arche to telos, a grand narrative encompassing world history from beginning to end.” Except instead of world history, it’s God’s history, and since God is construed in Supernatural as just some guy with some powers who is as fallible as the next some guy with some powers, his story has biases and agendas.  Okay so in the analysis I’m getting Middleton and Walsh’s quotes from, James K A Smith’s “A little story about metanarratives,” Smith dunks on them pretty bad, but for Supernatural purposes their words ring true. Think of them as the BuckLeming of Lyotard’s postmodern metanarrative analysis: a stopped clock right twice a day. Is anyone except me understanding the sequence of words I’m saying right now. Do I just have the most specific case of brain worms ever found in human history. I’m currently wearing my oversized Keith Haring shirt and dipping pretzels into peanut butter because it’s 3.18 in the morning and the homosexuals got to me. The total claims a comprehensive metanarrative of world history make do indeed, as Middleton and Walsh claim, lead to violence, stay with me here, because Chuck’s legacy is violence, and so is Metatron’s, and in trying to reject the metanarrative, Sam and Dean enact violence. Mostly Dean, because in season 15 he sacrifices his own son twice to defeat Chuck. But that means literally fighting violence with violence. Violence is, after all, all they know. Violence is the lens through which they interact with the world. If the writers wanted to do literally anything else, they could have continued Dean’s natural character progression into someone who eschews the violence that stems from intergeneration trauma — yes I will continue to use the phrase intergenerational trauma whenever I refer to Dean — and becomes a loving father and husband. Sam could eschew violence and start a monster rehabilitation centre with Eileen.

This episode of Holy Hell is me frantically grabbing at straws to make sense of a narrative that actively hates me and wants to kick me to death. But the violence Sam and Dean enact is not at a metanarrative level, because they are not author-gods of their own narrative. In season 15 “Atomic Monsters,” Becky points out that the ending of the Supernatural book series is bad because the brothers die, and then, in a shocking twist of fate, Dean does die, and the narrative is bad. The writers set themselves a goal post to kick through and instead just slammed their heat into the bars. They set up the dartboard and were like, let’s aim the darts at ourselves. Wouldn’t that be fun. Season 15’s writing is so grossly incompetent that I believe every single conspiracy theory that’s come out of the finale since November, because it’s so much more compelling than whatever the fuck happened on the road so far. Carry on? Why yes, I think I will carry on, carry on like a pork chop, screaming at the bars of my enclosure until I crack my voice open like an egg and spill out all my rage and frustration. The world will never know peace again. It’s now 3.29 and I’ve written over 9000 words of this transcript. And I’m not done.

Middleton and Walsh claim that metanarratives are merely social constructions masquerading as universal truths. Which is, exactly, Supernatural. The creators have constructed this elaborate web of narrative that they want to sell us as the be all and end all. They won’t let the actors discuss how they really feel about the finale. They won’t let Misha Collins talk about Destiel. They want us to believe it was good, actually, that Dean, a recovering alcoholic with a 30 year old infant son and a husband who loves him, deserved to die by getting NAILED, while Sam, who spent the last four seasons, the entirety of Andrew Dabb’s run as showrunner, excelling at creating a hunter network and romancing both the queen of hell and his deaf hunter girlfriend, should have lived a normie life with a normie faceless wife. Am I done? Not even close. I started this episode and I’m going to finish it.

When we find out that Chuck is God in the episode of season 11, it turns everything we knew about Chuck on its head. We find out in Season 15 that Chuck has been writing the Winchesters’ story all along, that everything that happened to them is his doing. The one thing he couldn’t control was Cas’s choice to rebel. If we take him at his word, Cas is the only true force of free will in the entire universe, and more specifically, the love that Cas had for Dean which caused him to rebel and fall from heaven. — This theory has holes of course. Why would Lucifer torture Lilith into becoming the first demon if he didn’t have free will? Did Chuck make him do that? And why? So that Chuck could be the hero and Lucifer the bad guy, like Lucifer claimed all along? That’s to say nothing of Adam and Eve, both characters the show introduced in different ways, one as an antagonist and the other as the narrative foil to Dean and Cas’s romance. Thinking about it makes my head hurt, so I’m just not gunna. 

So Chuck was doing the writing all along. And as Becky claims in “Atomic Monsters,” it’s bad writing. The writers explicitly said, the ending Chuck wrote is bad because there’s no Cas and everyone dies, and then they wrote an ending where there is no Cas and everyone dies. So talk about self-fulfilling prophecies. Talk about giant craters in the earth you could see from 800 kilometres away but you still fell into. Meanwhile fan writers have the opportunity to write a million different endings, all of which satisfy at least one person. The fandom is a hydra, prolific and unstoppable, and we’ll keep rewriting the ending a million more times.

And all this is not even talking about the fact that Chuck is a man, Metatron is a man, Sam and Dean and Cas are men, and the writers and directors of the show are, by an overwhelming majority, men. Most of them are white, straight, cis men. Feminist scholarship has done a lot to unpack the damage done by paternalistic approaches to theory, sociology, ethnography, all the -ys, but I propose we go a step further with these men. Kill them. Metanarratively, of course. Amara, the Darkness, God’s sister, had a chance to write her own story without Chuck, after killing everything in the universe, and I think she had the right idea. Knock it all down to build it from the ground up. Billie also had the opportunity to write a narrative, but her folly was, of course, putting any kind of faith in the Winchesters who are also grossly incompetent and often fail up. She is, as all author-gods on this show are, undone by Castiel. The only one with any spunk, the only one who exists outside of his own narrative confines, the only one the author-gods don’t have any control over. The one who died for love, and in dying, gave life. 

The French Mistake

Let’s change the channel. Let’s calm ourselves and cleanse our libras. Let’s commune with nature and chug some sage bongs. 

“The French Mistake” is a song from the Mel Brooks film Blazing Saddles. In the iconic second last scene of the film, as the cowboys fight amongst themselves, the camera pans back to reveal a studio lot and a door through which a chorus of gay dancersingers perform “the French Mistake”. The lyrics go, “Throw out your hands, stick out your tush, hands on your hips, give ‘em a push. You’ll be surprised you’re doing the French Mistake.” 

I’m not sure what went through the heads of the Supernatural creators when they came up with the season 6 episode, “The French Mistake,” written by the love of my life Ben Edlund and directed by some guy Charles Beeson. Just reading the Wikipedia summary is so batshit incomprehensible. In short: Balthazar sends Sam and Dean to an alternate universe where they are the actors Jared Padalecki and Jensen Ackles, who play Sam and Dean on the tv show Supernatural. I don’t think this had ever been done in television history before. The first seven seasons of this show are certifiable. Like this was ten years ago. Think about the things that have happened in the last 10 slutty, slutty years. We have lived through atrocities and upheaval and the entire world stopping to mourn, but also we had twitter throughout that entire time, which makes it infinitely worse.

In this universe, Sam and Dean wear makeup, Cas is played by attractive crying man Misha Collins, and Genevieve Padalecki nee Cortese makes an appearance. Magic doesn’t exist, Serge has good ideas, and the two leads have to act in order to get through the day. Sorry man I do not know how to pronounce your name.

Sidenote: I don’t know if me being attracted aesthetically to Misha Collins is because he’s attractive, because this show has gaslighted me into thinking he’s attractive, or because Castiel’s iconic entrance in 2008 hit my developing mind like a torpedo full of spaghetti and blew my fucking brains all over the place. It’s one of life’s little mysteries and God’s little gifts.

Let’s talk about therapy. More specifically, “Agency and purpose in narrative therapy: questioning the postmodern rejection of metanarrative” by Cameron Lee. In this paper, Lee outlines four key ideas as proposed by Freedman and Combs:

Realities are socially constructed

Realities are constituted through language

Realities are organised and maintained through narrative

And there are no essential truths.

Let’s break this down in the case of this episode. Realities are socially constructed: the reality of Sam and Dean arose from the Bush era. Do I even need to elaborate? From what I understand with my limited Australian perception, and being a child at the time, 9/11 really was a prominent shifting point in the last twenty years. As Americans describe it, sometimes jokingly, it was the last time they were really truly innocent. That means to me that until they saw the repercussions of their government’s actions in funding turf wars throughout the middle east for a good chunk of the 20th Century, they allowed themselves to be hindered by their own ignorance. The threat of terrorism ran rampant throughout the States, spurred on by right wing nationalists and gun-toting NRA supporters, so it’s really no surprise that the show Supernatural started with the premise of killing everything in sight and driving around with only your closest kin and a trunk full of guns. Kripke constructed that reality from the social-political climate of the time, and it has wrought untold horrors on the minds of lesbians who lived through the noughties, in that we are now attracted to Misha Collins.

Number two: Realities are constituted through language. Before a show can become a show, it needs to be a script. It’s written down, typed up, and given to actors who say the lines out loud. In this respect, they are using the language of speech and words to convey meaning. But tv shows are not all about words, and they’re barely about scripts. From what I understand of being raised by television, they are about action, visuals, imagery, and behaviours. All of the work that goes into them—the scripts, the lighting, the audio, the sound mixing, the cameras, the extras, the ADs, the gaffing, the props, the stunts, everything—is about conveying a story through the medium of images. In that way, images are the language. The reality of the show Supernatural, inside the show Supernatural, is constituted through words: the script, the journalists talking to Sam, the makeup artist taking off Dean’s makeup, the conversations between the creators, the tweets Misha sends. But also through imagery: the fish tank in Jensen’s trailer, the model poses on the front cover of the magazine, the opulence of Jared’s house, Misha’s iconic sweater. Words and images are the language that constitutes both of these realities. Okay for real, I feel like I’ve only seen this episode max three times, including when I watched it for research for this episode, but I remember so much about it. 

Number three: realities are organised and maintained through narrative. In this universe of the French Mistake, their lives are structured around two narratives: the internal narrative of the show within the show, in which they are two actors on a tv set; and the episode narrative in which they need to keep the key safe and return to their own universe. This is made difficult by the revelation that magic doesn’t work in this universe, however, they find a way. Before they can get back, though, an avenging angel by the name of Virgil guns down author-god Eric Kripke and tries to kill the Winchesters. However, they are saved by Balthazar and the freeze frame and brought back into their own world, the world of Supernatural the show, not Supernatural the show within the show within the nesting doll. And then that reality is done with, never to be revisited or even mentioned, but with an impact that has lasted longer than the second Bush administration.

And number four: there are no essential truths. This one is a bit tricky because I can’t find what Lee means by essential truths, so I’m just going to interpret that. To me, essential truths means what lies beneath the narratives we tell ourselves. Supernatural was a show that ran for 15 years. Supernatural had actors. Supernatural was showrun by four different writers. In the show within a show, there is nothing, because that ceases to exist for longer than the forty two minute episode “The French Mistake”. And since Supernatural no longer exists except in our computers, it is nothing too. It is only the narratives we tell ourselves to sleep better at night, to wake up in the morning with a smile, to get through the day, to connect with other people, to understand ourselves better. It’s not even the narrative that the showrunners told, because they have no agency over it as soon as it shows up on our screens. The essential truth of the show is lost in the translation from creating to consuming. Who gives the story meaning? The people watching it and the people creating it. We all do. 

Lee says that humans are predisposed to construct narratives in order to make sense of the world. We see this in cultures from all over the world: from cave paintings to vases, from The Dreaming to Beowulf, humans have always constructed stories. The way you think about yourself is a story that you’ve constructed. The way you interact with your loved ones and the furries you rightfully cyberbully on Twitter is influenced by the narratives you tell yourself about them. And these narratives are intricate, expansive, personalised, and can colour our perceptions completely, so that we turn into a different person when we interact with one person as opposed to another. 

Whatever happened in season 6, most of which I want to forget, doesn’t interest me in the way I’m telling myself the writers intended. For me, the entirety of season 6 was based around the premise of Cas being in love with Dean, and the complete impotence of this love. He turns up when Dean calls, he agonises as he watches Dean rake leaves and live his apple pie life with Lisa, and Dean is the person he feels most horribly about betraying. He says, verbatim, to Sam, “Dean and I do share a more profound bond.” And Balthazar says, “You’re confusing me with the other angel, the one in the dirty trenchcoat who’s in love with you.” He says this in season 6, and we couldn’t do a fucken thing about it. 

The song “The French Mistake” shines a light on the hidden scene of gay men performing a gay narrative, in the midst of a scene about the manliest profession you can have: professional horse wrangler, poncho wearer, and rodeo meister, the cowboy. If this isn’t a perfect encapsulation of the lovestory between Dean and Cas, which Ben Edlund has been championing from day fucking one of Misha Collins walking onto that set with his sex hair and chapped lips, then I don’t know what the fuck we’re even doing here. What in the hell else could it possibly mean. The layers to this. The intricacy. The agendas. The subtextual AND blatant queerness. The micro aggressions Crowley aimed at Car in “The Man Who Would Be King,” another Bedlund special. Bed Edlund is a fucking genius. Bed Edlund is cool girl. Ben Edlund is the missing link. Bed Edlund IS wikileaks. Ben Edlund is a cool breeze on a humid summer day. Ben Edlund is the stop loading button on a browser tab. Ben Edlund is the perfect cross between Spotify and Apple Music, in which you can search for good playlists, but without having to be on Spotify. He can take my keys and fuck my wife. You best believe I’m doing an entire episode of Holy Hell on Bedlund’s top five. He is the reason I want to get into staffwriting on a tv show. I saw season 4 episode “On the head of a pin” when my brain was still torpedoed spaghetti mush from the premiere, and it nestled its way deep into my exposed bones, so that when I finally recovered from that, I was a changed person. My god, this transcript is 11,000 words, and I haven’t even finished the Becky section. Which is a good transition.

Oh, Becky. She is an incarnation of how the writers, or at least Kripke, view the fans. Watching season 5 “Sympathy for the Devil” live in 2009 was a whole fucking trip that I as a baby gay was not prepared for. Figuring out my sexuality was a journey that started with the Supernatural fandom and is in some aspects still raging against the dying of the light today. Add to that, this conception of the audience was this, like, personification of the librarian cellist from Juno, but also completely without boundaries, common sense, or shame. It made me wonder about my position in the narrative as a consumer consuming. Is that how Kripke saw me, specifically? Was I like Becky? Did my forays into DeanCasNatural on El Jay dot com make me a fucking loser whose only claim to fame is writing some nasty fanfiction that I’ve since deleted all traces of? Don’t get me wrong, me and my unhinged Casgirl friends loved Becky. I can’t remember if I ever wrote any fanfiction with her in it because I was mostly writing smut, which is extremely Becky coded of me, but I read some and my friends and I would always chat about her when she came up. She was great entertainment value before season 7. But in the eyes of the powers that be, Becky, like the fans themselves, are expendable. First they turned her into a desperate bride wannabe who drugs Sam so that he’ll be with her, then Chuck waves his hand and she disappears. We’re seeing now with regards to Destiel, Cas, and Misha Collins this erasure of them from the narrative. Becky says in season 15 “Atomic Monsters” that the ending Chuck writes is bad because, for one, there’s no Cas, and that’s exactly what’s happening to the text post-finale. It literally makes me insane akin to the throes of mania to think about the layers of this. They literally said, “No Cas = bad” and now Misha isn’t even allowed to talk in his Cassona voice—at least at the time I wrote that—to the detriment of the fans who care about him. It’s the same shit over and over. They introduce something we like, they realise they have no control over how much we like it, and then they pretend they never introduced it in the first place. Season 7, my god. The only reason Gamble brought back Cas was because the ratings were tanking the show. I didn’t even bother watching most of it live, and would just hear from my friends whether Cas was in the episodes or not. And then Sera, dear Sera, had the gall to say it was a Homer’s Odyssey narrative. I’m rusty on Homer aka I’ve never read it but apparently Odysseus goes away, ends up with a wife on an island somewhere, and then comes back to Terabithia like it never happened. How convenient. But since Sera Gamble loves to bury her gays, we can all guess why Cas was written out of the show: Cas being gay is a threat to the toxic heteronormativity spouted by both the show and the characters themselves. In season 15, after Becky gets her life together, has kids, gets married, and starts a business, she is outgrowing the narrative and Chuck kills her. The fans got Destiel Wedding trending on Twitter, and now the creators are acting like he doesn’t exist. New liver, same eagles.

I have to add an adendum: as of this morning, Sunday 11th, don’t ask me what time that is in Americaland, Misha Collins did an online con/Q&A thing and answered a bunch of questions about Cas and Dean, which goes to show that he cannot be silenced. So the narrative wants to be told. It’s continuing well into it’s 16th or 17th season. It’s going to keep happening and they have no recourse to stop it. So fuck you, Supernatural.

I did write the start of a speech about representation but, who the holy hell cares. I also read some disappointing Masters theses that I hope didn’t take them longer to research and write than this episode of a podcast I’m making for funsies took me, considering it’s the same number of pages. Then again I have the last four months and another 8 years of fandom fuelling my obsession, and when I don’t sleep I write, hence the 4,000 words I knocked out in the last 12 hours. 

Some final words. Lyotard defines postmodernism, the age we live in, as an incredulity towards metanarratives. Modernism was obsessed with order and meaning, but postmodernism seeks to disrupt that. Modernists lived within the frame of the narrative of their society, but postmodernists seek to destroy the frame and live within our own self-written contexts. Okay I love postmodernist theory so this has been a real treat for me. Yoghurt, Sam? Postmodernist theory? Could I BE more gay? 

Middleton and Walsh in their analysis of postmodernism claim that biblical faith is grounded in metanarrative, and explore how this intersects with an era that rejects metanarrative. This is one of the fundamental ideas Supernatural is getting at throughout definitely the last season, but other seasons as well. The narratives of Good vs Evil, Michael vs Lucifer, Dean vs Sam, were encoded into the overarching story of the show from season 1, and since then Sam and Dean have sought to break free of them. Sam broke free of John’s narrative, which was the hunting life, and revenge, and this moralistic machismo that they wrapped themselves up in. If they’re killing the evil, then they’re not the evil. That’s the story they told, and the impetus of the show that Sam was sucked back into. But this thread unravelled in later seasons when Dean became friends with Benny and the idea that all supernatural creatures are inherently evil unravelled as well. While they never completely broke free of John’s hold over them, welcoming Jack into their lives meant confronting a bias that had been ingrained in them since Dean was 4 years old and Sam 6 months. In the face of the question, “are all monsters monstrous?” the narrative loosens its control. Even by questioning it, it throws into doubt the overarching narrative of John’s plan, which is usurped at the end of season 2 when they kill Azazel by Dean’s demon deal and a new narrative unfolds. John as author-god is usurped by the actual God in season 4, who has his own narrative that controls the lives of Sam, Dean and Cas. 

Okay like for real, I do actually think the metanarrativity in Supernatural is something that should be studied by someone other than me, unless you wanna pay me for it and then shit yeah. It is extremely cool to introduce a biographical narrative about the fictional narrative it’s in. It’s cool that the characters are constantly calling this narrative into focus by fighting against it, struggling to break free from their textual confines to live a life outside of the external forces that control them. And the thing is? The really real, honest thing? They have. Sam, Dean and Cas have broken free of the narrative that Kripke, Carver, Gamble and Dabb wrote for them. The very fact that the textual confession of love that Cas has for Dean ushered in a resurgence of fans, fandom and activity that has kept the show trending for five months after it ended, is just phenomenal. People have pointed out that fans stopped caring about Game of Thrones as soon as it ended. Despite the hold they had over tv watchers everywhere, their cultural currency has been spent. The opposite is true for Supernatural. Despite how the finale of the show angered and confused people, it gains more momentum every day. More fanworks, more videos, more fics, more art, more ire, more merch is being generated by the fans still. The Supernatural subreddit, which was averaging a few posts a week by season 15, has been incensed by the finale. And yours truly happily traipsed back into the fandom snake pit after 8 years with a smile on my face and a skip in my step ready to pump that dopamine straight into my veins babeeeeeeyyyyy. It’s been WILD. I recently reconnected with one of my mutuals from 2010 and it’s like nothing’s changed. We’re both still unhinged and we both still simp for Supernatural. Even before season 15, I was obsessed with the podcast Ride Or Die, which I started listening to in late 2019, and Supernatural was always in the back of my mind. You just don’t get over your first fandom. Actually, Danny Phantom was my first fandom, and I remember being 12 talking on Danny Phantom forums to people much too old to be the target audience of the show. So I guess that hasn’t left me either. And the fondest memories I have of Supernatural is how the characters have usurped their creators to become mythic, long past the point they were supposed to die a quiet death. The myth weaving that the Supernatural fandom is doing right now is the legacy that will endure. 

References

I got all of these for free from Google Scholar! 

Judith May Fathallah, “I’m A God: The Author and the Writing Fan in Supernatural.” 

James K A Smith, “A Little Story About Metanarratives: Lyotard, Religion and Postmodernism Revisited.” 2001.

Cameron Lee, “Agency and Purpose in Narrative Therapy: Questioning the Postmodern Rejection of Metanarrative.” 2004.

Harri Englund and James Leach, “Ethnography and the Meta Narratives of Modernity.” 2000.

https://uproxx.com/filmdrunk/mel-brooks-explains-french-mistake-blazing-saddles-blu-ray/

#transcripts #supernatural #supernatural podcast #<60mins #this is first and foremost a podcast about cas and misha collins

[tinkertayler]

What I say out loud, trying to prove to myself and everyone else that I am a Normal Person: Fleabag is a great show! It can be pretty naughty, but it's hilarious and heartfelt. It's British and available on Prime. You should watch it!

My unhinged thoughts, boiling just beneath the surface, prepared to BURST through the floodgates of my mouth at ANY moment: So aside from the flawless performances and electric chemistry between actors (which I could scream about for a full hour, just give me a glass of red wine and a platform and I'll go OFF), the thing I love most about Fleabag is the writing, which is objectively impeccable and I will straight up STREET FIGHT anyone who says otherwise. The writing is brief and economical, yet layered and meaningful. Every word is carefully chosen, every story beat expertly planned. Distilling a complex story and realistic character development into such a short and sweet narrative is REALLY EFFING HARD and demands great skill as a writer, but somehow Phoebe Waller-Bridge makes it look effortless. It's amazing but also INFURIATING and I love it but also HOW DARE SHE.

The first season's narrative is a little meandering, dishonest, and emotionally distant, and this is by design; Fleabag spends most of the season desperately trying to keep the audience at arm's length, because she can't bring herself to be honest, accept her past, or confront her grief. Her life is adrift, filled with family dysfunction, guilt, loneliness, self-loathing, and empty sex. She tries to craft a funnier, sexier, happier version of her story for the camera and audience, to gain a sense of control over a life that feels broken, chaotic, and unstable.

When we catch up with Fleabag in s2, she is trying to make peace with the demons that haunted her in s1, and build a more honest relationship with her audience (and herself). But she’s still struggling; honesty means revealing and accepting parts of herself that she doesn't like, of which she is scared and ashamed. Enter the priest. He sees right through her, and immediately begins to break down her walls and defenses. Fleabag finally allows herself to be vulnerable, and it is through surrender--to being known, to love, to a kind of spirituality--that she finds strength and peace.

The second season is more emotionally intimate than the first, and the narrative is laser-focused. It tells you exactly what it aims to be within the first 2 minutes. "This is a love story". And from start to finish, it is. Between Fleabag and the priest, most obviously, but also between the priest and God, the Godmother and Fleabag's father, Fleabag and Claire, Claire and Martin, Claire and Klare (lol), and last but not least, Fleabag and herself. The season as a whole is an exploration of love, spirituality, religion, and the mortifying ordeal of being known.

(Sidenote: it’s shocking to me that PWB was originally adamant about calling it quits after the first season, because in retrospect, s1 seems almost like it was written as a prologue to s2. Fleabag's second season really is PWB's magnum opus; it is a perfect companion and conclusion to the first season's arc that not only beautifully builds upon, but ends up being even better than, its predecessor.)

I am CEASELESSLY amazed by this story’s ability to satisfy on a visceral, emotional level AND engage on a cerebral, philosophical level--often at the same time. NOTHING IS ALLOWED TO BE THIS GOOD! Simple moments contain layers of meaning; they vibrate with humanity, make my heart drop to the floor, and then have the AUDACITY to hold up to analysis. I'm going to give a few examples to illustrate my point because CLEARLY I HAVEN'T TALKED ENOUGH (!!):

“Where did you just go?”

The priest can see Fleabag's asides to camera because he is the only person in her life who is paying enough attention to truly see her--attention is an act of love, and he loves her;

"You don't like answering questions, do you?"

Fleabag's resistance to sharing the unsavory parts of herself with the priest exemplifies the paradoxical way in which we deeply desire and yet fundamentally fear being seen, understood, accepted, and loved for who we are;

"Kneel."

Fleabag says she wants to be told what to do, and the priest gives her this command. Kneeling is an act of surrendering to a power greater than oneself, be it God or love. While it could potentially be portrayed as a submissive or weak act, here it is portrayed as an assertive act that requires strength and courage. This is mirrored at the end of the season when Claire kneels and begs Martin to leave her;

“When you meet someone you love, it feels like hope.”

Is the priest talking about God, or Fleabag? Or both? I’ve already word vomited about the parallels this show draws between romantic love and God's love, so I will refrain from doing it.. too much.. more. Let's just say that God offers the priest hope in much the same way the priest offers hope to Fleabag, and maybe, just MAYBE, the transcendence of human love isn't too far removed from the transcendence of divine love. Okay I'll shut up now bye.

In 6 episodes and approximately 3 hours, PWB manages to develop multiple three-dimensional characters, use their specific experiences to explore universal struggles and truths, and deliver a tragicomic narrative full of callbacks, symbolism, humor, and pathos, where every emotional moment feels genuine and earned. It's smart, cerebral, and philosophical without ever losing its subtlety, humanity, or emotional resonance.

I guess what I'm trying to say is: Fleabag is perfect and has ruined all other content for me. Definitely for now, probably forever. I'm DEVASTATED and "it'll pass" is a LIE.

#your honor please let the record show that i was sober while writing 99 percent of this #(idk if that makes it better or worse lmao yikes) #fleabag #fleabag x the priest #screeeeaming into the night byeeee