#the parallels

[icedhotkopi]

It’s you // it’s me

Orpheus // Eurydice

[ Doubt comes in - Hadestown ]

[heavenlyshadow]

Gege needs therapy.. no mentally well person could write this

[boasamishipper]

sooooooooooooo many things to scream about tonight but number one on the list is the difference in the ways dylan and mark's outies talked to their innies. from the get-go mark scout is nothing but patronizing to mark s. he created mark s as an escape from his grief, and now he wants to use mark s as a means to an end to save his wife and pick up his life where he abandoned it. he gets helly's name wrong and calls her 'the person you're seeing' because he doesn't recognize mark s's humanity. he sees mark s as an extension of himself, and he only loves gemma, so of course whatever mark s feels for helly can't be real or worth fighting for. and when mark s understandably doesn't see it his way, mark scout lashes out, calling mark s a child.

but then you have the letter dylan george wrote to dylan g. in three paragraphs dylan george talks to his innie like an adult, like they are peers. he's angry at dylan g, but at the same time, he understands why dylan g did what he did. he would have done the same if he were in dylan g's place. after years of being jealous of his outie, dylan g learns that his outie thinks he (dylan g) is the one to emulate, the self-assured badass. and where helena and mark scout made their innie's decisions for them ("i am a person. you are not.") dylan george breaks the cycle: he offers his opinion, but ultimately puts the decision back in dylan g's hands.

at the end of this season, dylan g is gifted agency. and after fulfilling his purpose, mark s steals his agency back.

[saorsawrites]

“why do you still put up with me?”

“i would put up with you in every universe.”

[tina-rocket22]

[whetstonefires]

The thing is that the most interesting and novel invention of the MCU is a universe where billions of people turned into dust and then were physically reconstituted on the spot five years later, in a world that had just barely adapted to their absence.

That is wild. That is intense! That is a series of pathos-ridden emotionally complex doorstoppers waiting to happen. Half the entire world! All dead! And somehow we coped with that! And now we have to cope with them all being back?

A whole street of empty houses--surely not everyone there became ash. Some of them moved to better places, now opened by the mass mortality. Some of them died afterward. Who will live there now? Even if inheritances are reversed by resurrection, surely leases aren't renewed. What the fuck happens to everyone who remarried?

What happens to the children snapped back to a world where their parents didn't survive, or the reverse?

But they had to then hastily smooth over this utterly batshit sci-fi premise and get the world mostly back to normal working order as rapidly as possible, without too much emphasis on how literally every person in existence has been placed in a mason jar by a narcissist and shaken twice in five years.

So they could get on with more superhero whack-blam business, which is customarily done against a background of Normality.

This is, tragically, the most Comics thing these movies have ever done.

It is beyond satire that they did this immediately before and during a worldwide pandemic that everyone was pressured to smooth over and 'return to normal' about within 2 years if not sooner.

[chicagoeggwhisperer]

GOOD GOD THIS DOG IS GOOD AT CHESS