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byler on car
What do you think about the fact that even in the finale after will supposedly got over mike, he's still the only one who can pull will out of his visions effortlessly
honestly, this is one of those places where the โi have a film degreeโ part of my brain is just pointing at the screen like: you hear what they say, but look at what they do. if will were genuinely โoverโ mike, the show would prove that not with a line of dialogue, but by reassigning Mikeโs narrative job to someone else. thatโs how visual storytelling externalises internal change: you shift who gets the key emotional beats. but even in the finale, after all the โtheyโre just my tammyโ lip service, mike is still the only one who can pull will out of his visions instantly, cleanly, and without any narrative struggle. thatโs not a neutral choice. thatโs the writers preserving mike as willโs exclusive point of access.
from a film/cinematography standpoint, the character who can reach you in your most disoriented, liminal state is not just โa friend,โ theyโre the emotional anchor. thatโs screenwriting 101: the person who can cut through noise, fear, and altered consciousness to bring you back is the person the story has coded as your tether. if they wanted to genuinely close the romantic door, that scene was the perfect opportunity to redistribute that function, to jonathan, to el, to the group as a collective safety net. imagine how different the subtext would read if jonathan was the one who could reach him first, or if elโs voice was the one that cut through. thatโs how you visually communicate that willโs centre of gravity has shifted. but they donโt do that. they keep mike in that role, and they make it look effortless.
and then thereโs the blocking and coverage, which are doing half the subtextual screaming. when will spirals, the camera orients us around mikeโs presence and reaction; when will is lost in the vision, the cut doesnโt just go to โthe party,โ it goes to mike as the focal point; when will comes back, mike is framed as the visual landing pad. the emotional geography of the scene is built so that mike is the axis. thatโs not accidental. thatโs motif continuity. itโs the show quietly maintaining the same emotional architecture itโs had since season one: will in distress, mike as the one who reaches him.
and this is where it gets damn right mind boggling, because you end up with a text that verbally insists โmikes his tammyโ while the visual language and character function keep contradicting that claim. in film, when thereโs a clash between what the dialogue says and what the images, blocking, and recurring dynamics reinforce, you trust the images. the camera is telling the truth the script is too cowardly, or too commercially cautious, to say out loud. so no, that moment doesnโt read as closure. it reads as ongoing attachment, structurally protected. the finale doesnโt resolve the mike/will dynamic; it reasserts it, quietly but very deliberately, by making mike the only one who can still pull will back from the edge without even breaking a sweat.
Mikeโs hair gets long enough that Holly starts putting it in a braid. The boys are flabbergasted (minus Will, heโs digging the hairstyle)
Mike uses Willโs full name to flirt and Will uses Mikeโs full name to school him like heโs a mischievous pet

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these Henderhop tweets!!
I am glad you are here with me. Here at the end of all things, Mike.
(quote is LOTR book reference, Frodo says it to Sam after destroying the Ring)
It Meant Everything
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inspired by this post
Lesbyler dump
I have been blessed
oh my god the world is saved
will growing up constantly thinking "maybe in another universe mike would love me back" and then the whole bravebyers dynamic happens and paladin mike is just acting all natural about the fact him and cleric will are in love in their world
and will just smiles back sadly thinking that means he was right and "yeah, in another universe"

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You know I didnโt think about it until today, but the craziest fucking thing about the finale, out of all the plot holes and inconsistencies and bad writing, is that we never got a Jane/El funeral, we never saw anyone (other than Mike kinda) grieve. Like itโs absolutely fucking mental to kill off one of your main characters and thereโs not a single funeral/group mourning scene. Wdym we didnโt get the party absolutely breaking down? Or at least visiting her grave with flowers after graduation??? All we got was half hearted kiss and a bit of survivorโs guilt from her gay boyfriend thatโs literally so devastating. Like this canโt be itโฆ
Give me bravebyers where both Will and Mike respectively think theyโre responsible for Paladin Mike. Will is convinced that Paladin Mikeโs behavior is a manifestation of his daydreams and is so embarrassed that Mike might figure it out. Meanwhile Mike is convinced that Paladin Mike is from his daydreams, the ones where heโs brave enough to show Will the depths of his devotion.
Bonus to my previous post. I put them on wheels at Rink-O-Mania instead of skates on ice. Because I can, and because they cut Will out of the picture for the credits.
โomg I canโt wait to watch volume 2! Iโve waited for this for so longโโ
Tammy Thomson:

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p!mike: but what about your sacred vow????!!!
mike: what vow?
p!mike:
Comfy spot ๐ซ ๐คญ