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"Nonagesimus,” she said slowly, “the only job I’d do for you would be if you wanted someone to hold the sword as you fell on it. The only job I’d do for you would be if you wanted your ass kicked so hard, the Locked Tomb opened and a parade came out to sing, ‘Lo! A destructed ass.’ The only job I’d do would be if you wanted me to spot you while you backflipped off the top tier into Drearburh.”
So far, two of those things directly relate to things Gideon has actually done for Harrow except that they're reversed. Gideon fell on a sword for Harrow and she got her ass kicked so hard the locked tomb opened. I don't know exactly what will happen but i think "backflipping into Drearburh" is going to be one of the more devastating moments of alecto
Think of the first game Jean plays as a Trojan. Jean, fully recovered and safe for the first time in his life. He's always been a really good player, but now that's a life-changing thing to see.
Kevin comes to see the game in person because of course he does. He cheers, even so subtly just not to show how really eager he is to see this game and Trojans playing with new line.
Trojans win, because of course they do.
After it, all Trojans make sure to let Jean know, how they appreciate his play out there. And Jean, although a bit flustered and embarrassed, feels thrill of it. He is important. He is respected. He is loved.
And Jeremy holds his hand through all the evening, making sure Jean feels, even without words, the depths of Jeremy's love for him.
Kevin is there, too, because of course he is. He sees all of it, every interaction and sweet touches Trojans share with Jean. He sees warmth between Jeremy and Jean.
And Kevin feels so happy for them, for Jean, that after all the pain, he had managed to find some peace and his own real family.
Kevin is truly happy for Jean, even if it hurts a bit.
It hurts just a little bit because even after many years, Kevin still hoped to see himself near Jean, stroking his hand and saying some shit in his ear.
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With The College Tapes over, here's a nearly 10 minute long edit of random Mark/Oliver moments from TCT and TAMA. (Transcripts and vague ideas for why these scenes were put in this order below cut.)
The Introductions
1.
Caleb: Oliver Ritz, that's the transmutation guy, right? Mark's mentioned him a few times.
2.
Mark: Yes, listen to that random guy!
Oliver: Excuse me, I am a highly accomplished biochemist.
3.
Dr Bright: He's just been caught up with something. He won't tell me what though, so he's either been fired and is trying to find a new job before I find out or he's seeing someone new.
4.
Caleb: But she said you were in Europe.
Oliver: Whoa. What?
Mark: Yeah… I haven't gotten around to actually talking to her about this yet.
“Byron”
5.
Frankie: Byron is your real name? I thought it was just, like, a pet name.
Mark: [sighs] It's my first name.
6.
Oliver: So you were lying to Byron?
Caleb: Does he like that you call him that?
Oliver: I've never asked.
Caleb: That's kind of rude.
7. (Several scenes where Oliver calls Mark Byron)
Oliver: What, Byron?
Oliver: Byron, it wasn't two days ago, it was five minutes ago.
Oliver: Talk to you later, Byron!
Oliver: Yeah, but that's what's so fun about it, Byron!
Oliver: Byron, the child is making fun of me.
Oliver: I didn't want Byro— Mark, to worry.
Calling and Texting
8.
Oliver: Hey, so, I'm gonna step out and make a call.
Caleb: Okay. So, you're calling Mark?
Oliver: [chuckles] I'll explain it to you when you can shave.
9.
Caleb: Shit. Oh fuck, I have a ton of missed calls. Adam.
Oliver: Me too. Mark. Mark called a bunch.
Caleb: I need to go.
10.
Oliver: Besides, you know how my trip was, I texted you the whole time.
“Shut up, Oliver!”
Sadie: Do you ever stop talking?
--
11. (Several scenes where Mark just wants Oliver to stop talking)
Mark: Shut the fuck up.
Mark: Yeah, shut up and get on with it.
Mark: Shut up, Oliver!
Mark: Shut up, Oliver.
--
Mark: [slides down to the floor] Is anyone else having like, the worst week?
Oliver: Everybody up, look alive!
Mark: Oh my god.
--
Mark: I don't like this. We were supposed to be at dinner right now. I wanted to get thai.
Sam: I like thai.
Oliver: I hate thai food.
Mark: Shut up, Oliver.
Oliver: I'm just saying, don't take me for thai.
--
Mark: No, he does not.
Friends?
12.
Mark: Come on, we're growing on you, aren't we? Admit it.
Oliver: I will do no such thing.
13.
Oliver: Mark—
Mark: You couldn't possibly just let your friend know that you were leaving, if you were alright. I mean, what if The Order was out looking for you—
Oliver: I wouldn't exactly call us friends, Mark.
Mark: [scoffs] Okay, fine. Casual acquaintances, who pick each other up from the airport and answer phone calls from Venice at 2 a.m when you're drunk—
Oliver: That was twice, I don't think that makes it a habit.
14.
Mark: Really? It's been, what, three years, and you're still... you.
Oliver: Miss me?
What is home?
15.
Mark: Well, I was shocked when you told me you were coming home. I mean, back to Boston. You've just been gone for a while.
16.
Alice Rufie: They're my home now. I have no one else. Whatever they ask of me, I will do. Whatever the cost.
Oliver: Are you still mad at me? I'm sorry. I'm so sorry.
Mark: What? What are you talking about?
Oliver: I just— I just talked to you.
Mark: No, you didn't.
Oliver: Yes, I did. I said that fucked up thing about us and I didn't mean it. I'd do whatever it takes, whatever you asked of me, whatever it cost, I—
Mark: Did I call the right number?
Friends.
17.
Mark: God, is this really the plan? I'm gonna try to save my best friend from a crazed cult.
18.
Oliver: I never ask you about the weird door in our friendship that we never talk about or you never open.
“Can you stay?”
19.
Oliver: Mark, look. I just really need you here with me.
Mark: [exhales, resigned]
20.
Oliver: Well, sure, if it's too much for you I get it. You can... [softly] Can you stay?
Mark: Fine.
Talking
21.
Oliver: Fuck off, you can't fix me, Mark.
Mark: Hey, hey, I'm not trying to fix you.
Oliver: Yes, yes, you are. You totally are and it's really fucking annoying.
Mark: Well, I'm so sorry that my caring about you is so annoying.
22.
Oliver: Have you even talked to him about it?
Caleb: You mean the way you and Mark are talking about things right now?
Oliver: Ouch.
Caleb: Sorry, that—that was stupid. I didn't mean to make you sad.
Oliver: No, you're—you're right.
Caleb: It's not cool. Your thing isn't my thing.
23.
Caleb: So, do you wanna tell me about yours and Mark's problem?
Oliver: Nah, you aren't old enough for a conversation like that.
24.
Oliver: No, you should really talk to Mark. [bitter] He's probably with Beck, that's where he's been all fucking week.
“He’s not worried”
25.
Caleb: Uh, Mark told me you were here.
Oliver: No, he didn't.
Caleb: Yes, he did. He's worried about you.
Oliver: No, he isn't. Well, I mean, he is, but... he's spent the past week worrying with Beck and they talk about—well, I don't know what they talk about, it's a secret door. But he's not worried worried. And you seem to be implying that he's a level of worry beyond the normal level of worry and that's not—we're not—he's not worried.
26. (Several scenes where Mark is worried about Oliver)
Mark: Buddy, I'm worried. Come back to Boston, get out of Yale.
Mark: Okay, Oliver, Oliver, I don't care. I'm just glad you're okay.
Mark: Oliver? Oliver, thank god! I got here as fast as I could, I've been so—
Oliver: Woah, you drove all the way here for me?
Mark: Yeah, you weren't answering your phone!
Oliver: And I don't need to process, and I don't need your pitying glances and imposing questions at 2 A.M in the middle of a bar in Venice to check in on me.
27.
Mark: Oliver, would you just—would you just please be careful? I'm running low on friends.
Staying, Running, Caring
28.
Oliver: I know you well enough. For three years, I've ignored when you get like this.
Mark: Like what?
Oliver: I say something, or something happens and then you get like this. Muddled, thrown off, confused.
29.
Oliver: [sighs] He asked me not to leave again.
Caleb: Let me see the book, Oliver.
Oliver: But I did, I did, I still left and I ran away and I came here. All week, just looking in this book like it'll give me some answers while he's—
30.
Mark: You just throw yourself into a project and then another project and then you disappear off the grid and reappear in the middle of a conspiracy!
Oliver: Okay, that was not my fault.
Mark: Isn't it? You couldn't wait to leave my apartment.
Oliver: You didn't want me there.
Mark: What?
Oliver: I made you remember. Remember what it was like there. Remember everything they did.
31.
Mark: And hey, you and me can, um—well, it'd be nice to have someone else who understands what it's like to go back into a place that kept you.
32.
Oliver: I don't know how not to run, Mark.
Mark: I know. And hey, I'm not asking you to figure it out overnight or anything. I certainly haven't. But baby steps, right?
Oliver: Baby steps how?
Mark: Like for starters, not running off with Severus Snape to his basement of doom.
Oliver: Oh god, yeah. Deal.
Agitated
33. (Mark unstrapping Oliver from his restraints at the altar)
Mark: [shaky] Hey, buddy.
Oliver: [whispered] Mark?
Mark: Hey, I'm gonna get you out of here.
34.
Oliver: Hey, are you okay?
Beck: Can we get down to business?
Oliver: What did you do? Why is he all agitated?
35. (Mark stumbles into the room and charges for Blackwell)
Oliver: What the fuck?
Mark: No fucking way!
Caleb: Mark, no, wait!
Mark: Don't you dare!
[flustered] What?
36.
Caleb: That's actually not a bad idea. If you guys are willing to share a bed, it shouldn't be a problem. Unless there's only one bed?
Mark: What?
37.
Oliver: What the hell is going on out here?
Mark: Use your eyes, dumbass! Everything is on fire.
Oliver: Okay, well technically, just that side of the room is on fire, not everything.
Mags: Would you two can it? We have a crisis here.
38.
Oliver: Sorry! Okay? I'm sorry. Do you need to leave?
Beck: Am I invisible?
Mark: What?
Oliver: I don't know, just—whatever this is, Mark.
Mark: It's nothing.
Oliver: Well, even if it is something, it's... you. You know, you can tell me.
Beck: As touching as this is, are you done?
39.
Oliver: Shit. Mark.
Beck: You guys can continue your, whatever, lovers' spat later, okay?
Mark: Wh—we are—hey.
Oliver: Woah, what? No. Lovers. What?
Beck: I don't actually care.
40.
Oliver: I've had far too much drama for a lifetime.
Mark: Yeah, you do seem to attract it.
Oliver: Oh, is that why you're stuck to me like a barnacle?
Mark: What?
Oliver: Uh… you're a very dramatic person, Byron, it's almost as if your parents were psychics.
Joking
41.
Mark: Godspeed.
Jackson: [deadpan] Very funny. [zooms away]
Oliver: I thought that was pretty good.
Mark: I thought so, too.
42.
Mark: It was... something to meet you all. I'm sure I'll see you at the next crisis.
Oliver: I wish I could say the same, but honestly, interacting with people under 30 is exhausting. If you have my number, please lose it.
[voices start fading as they walk away]
Mark: He doesn't mean that!
Oliver: Yes, I do!
Mark: No, you don't.
43.
Mark: Think there's monsters in the basement?
Oliver: Well, not since I left.
Mark: I didn't mean—
Oliver: I was joking—it's a joke. It's a joke. Just keep up.
Might be nuts but I feel like Malam is john in his own body
We know there are universes where this has happened, his inflection is very similar to John's, and John has heard and seen things that humans can't many times over the series, maybe children's souls are part of that
The mirrored scars with Arthur, maybe when they split remnants of the body he'd inhabited for so long stayed, certain scars, maybe the colour of both pairs of eyes that belonged to John
His name is what throws me off the most, John's identity, and by extension his entire character arc, are heavily tied to his name, and while of course it could be an alias
Actually yes, it's probably just an alias, if he's gotten his own body it means he's completed the quest for the blackstone already with his own Arthur, and knows about Mother Darkness
Which, of course. begs the question of, if this is John, where' HIS Arthur? Did he not survive the seperation? Is that why John took to listening for the cries of children, to help others with a grief that was so new yet so potent he could think of no other way to truly soothe it, and avenge the children he had, through Arthur, grown to see as hope and light?
The thing that sold it for me was in the way he spoke to Arthur. There was a one sided familiarity to it, almost, I think there was, at least. There's also the obvious fact that he knew about Faroe, and knew what would get Arthur particularly emotional before he mentioned her
His voice also sounds very similar to John's. without the background affects
I really enjoy tthe idea that John's emotions can be seen through Arthur's eyes, because it means that most everyone they interact with has this man who never looks at them quite properly staring daggers into their soul as he talks to them like the soulfully polite brit he is
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Thinking about how so many characters in Malevolent have this overarching goal of reaching their "best self," whatever that means to each of them.
Thinking about how some of them fail to ever reach the self they yearn for. Kayne tears through every universe, sees every possibility and alternative, and he hates every single version of himself that he finds. He kills himself, over and over, desperately trying to erase all the parts of him that aren't good enough. He cuts off each and every piece that he hates until all of "him" is gone, but the hate is still there. So he keeps searching for something that will magically make him the "best" version of Kayne, and he lives every second scared and angry, hating all the broken "Kaynes" that he wants to forget but can't ever get out of his own head.
Yellow catches himself between two opposing ideas of himself, and he equally despises both. He wants to explore humanity, to slowly learn about and grow into love and connection. But Arthur strangles that piece of curiosity and love inside him. Then Larson convinces him that he wants to become the King, to control and hate. But Yellow is scared of that identity, and he's not even sure if that's ever been or ever will be "him." He looks at Yellow and the King— two "better" versions of himself, and he hates them both. So he tries to push them both away in fear and disgust, only to find himself entangled in an ugly mess of too many identities and no identity and confusion and resentment and hate for everything that is "him."
Thinking about how some of them do find their better selves, or at least find the path toward them. Arthur spends years purposely running further and further from himself because he's convinced that if he runs far enough, he'll forget "Arthur" and completely replace him with someone better. But it doesn't work, and he only falls deeper into the parts of himself he hates the most. Until John grabs Arthur's hand and forces him to stand still, to turn back around and look at himself in the mirror and see. See the pieces that aren't beyond repair, that only need someone to care about fixing them instead of letting them rust and dissolve.
John holds the parts of himself that he hates like a weapon at first. They're sharp and they're terrifying and it hurts to hold them, but he's scared and confused and at least they are familiar, however much he hates them. Until Lilly and Arthur and humanity show him something new, something kind and soft. And they keep showing him and eventually John learns to find this love familiar too. And he now he can let go of the hate that drove him away from old versions of himself, and replace it with this love that can draw him toward the new "John." And when John has his biggest moment of self-actualization in the Hag's lair, it's the same time that him and Arthur first share their love for each other directly, unhidden and fully accepted.
Thinking about how Malevolent shows that you cannot hate yourself into healing, or growing, or becoming a better version of yourself. That we need understanding and love not just from others, but from ourselves too. That our best self is sitting somewhere in the future and waiting for us to stop reaching out to them with a fearful sneer, and to start reaching out to them with a trusting smile.
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being in the malevolent fandom is like yes I recognize the narrative importance of their platonic relationship and think saying I love you to your friends needs to be normalized. yes I want them to make out sloppy style. we exist
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