"Surprise!" Phil throws cheerfully behind him when Dan opens the door to his bedroom.
Dan blinks several times, unsure at first of what he's seeing, until his brain catches up and he understands that Phil... has built a blanket fort into his bedroom. It looks like it's going to collapse any minute, but there are cushions inside and little lights at the "door", set to a warm tone.
Phil puts his chin on Dan's shoulder, slipping his hands around his waist and squeezing gently; even without looking at him, Dan knows he's grinning.
"Now we've got a place to tell secrets to each other!" he says.
Dan blinks again. For some reason, his eyes are very wet, but it's not sadness he's feeling, not really. It's just that -- he's told Phil about this kind of as a joke. The fact that when he'd been a kid, he'd watched over children on TV building forts with their friends and exchanging secrets or making plans to save the world under blankets. Back then there wasn't anybody who would have done it with Dan, of course. Even if he'd had close friends, he'd said, he'd been craving it when he was already too old for this sort of kid shit.
Phil, of course, had said: "I refuse to believe there's any age that's too old to have fun." but the conversation had moved along, as it always did, and now-- now--
"We're not ten," he says, going for sarcasm and failing utterly, his voice wobbly and fragile. "We're not going to fit."
"Guess we'll have to cuddle," Phil retorts, now sounding so, so sweet. He presses a litte kiss on Dan's neck, making Dan shivers. "Shame, that."
"Yeah, I clearly didn't come here 'cause I wanted you close or anything," Dan mutters but his heart is not into it.
He turns around, meets Phil's soft, kind, slightly nervous eyes, and he just has to kiss him. They stumble a little, Phil's back hitting the doorway, but it doesn't matter. Phil strokes his back, Dan buries his hands into Phil's hair, and they keep their lips locked right until both of them have to take a breath.
"Thank you," Dan mumbles. "You keep doing the nicest things."
"You deserve all the nice stuff," Phil whispers, kissing the tip of his nose. "Wanna go in now?"
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Thinking of Dan writing the script of BIG getting to "and this is when, through the magic of the internet, I met Phil. And obviously we were more than friends, but it was more than just romantic. This was someone who genuinely liked me, I trusted them, and for the first time since I was a tiny child I actually felt safe. (...) We're real best friends. Companions through life. Like, actual soulmates."
and Phil was snoring in bed next to him. Or Phil was on the couch playing a video game. Or Phil was two minutes away from whining he's craving some random food despite the fact it's midnight. Or Phil had been on his lap half an hour ago kissing him and telling him to hurry up. Or Phil was in his own office, filming or editing his own video, at peace with the fact Dan wasn't ready to be in front of the camera again. No matter what Phil was there, with him, living his life in the house they shared, in the life they'd built together, and i'm fine, i'm chill, i'm super normal, nobody looks at me
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i'll be honest I unironically love it when i see a tumblr post followed by comprehension questions underneath. I know it probably doesn't reach the heart or the mind of the people who SHOULD answer those questions but, who knows? maybe it does. I know i stop and read the questions. i know my brain is happy to answer the question silently, even. just: excellent practice that pops up here and there, sorry for all the OPs who have to do it because probably their notes are hellish
Incidentally, imagining a world where there was no Archivist of parallel universe portals trying to snatch Celia away from her child, can you imagine her and Sam slowly realizing they do like each other but they're dating because one is trying very hard not to fall into his ex's arms again and the other has been oblivious to the fact her ex-saviour-prophet-turned-best-friend-roommate-son's other mum is in love with her and maybe she's in love with her too?
Celia and Sam organise their first dinner together at Celia's place and Georgie knows the kitchen better than Sam, Alice and Sam start bickering about old memories after one glass of wine, Jack calls Georgie "mama" for the first time, Sam gets oddly upset for a bit, goes to the bathroom too long, and it's Alice who goes to find him and knows exactly what to say to him.
Meanwhile Gwen is like "this is horrendeous, why am i here" and Teddy and Colin are like "we thought you loved watching things crash in front of your eyes, Gwen."
CELIA IF YOU WANT TO PROTECT JACK AND ENSURE GEORGIE WILL BE ABLE TO TAKE CARE OF HIM YOU HAVE TO OFFICIALLY GET ON YOUR KNEES, ASK FOR HER HAND, MARRY HER, THEN PROBABLY DO SOME ADOPTION PAPERS OF SOME KIND (maybe?)
the insane situationship you guys have going on where you are raising a baby together without acknowledging that Georgie at the very least is definitely in love with you will not suffice if you disappear, i'm pretty certain
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Season 2 is interesting because, while there's an equal number of segments to Season 1 that include Narration (17 including bonus eps), the Narrator on average speaks much less in each. Instead of narrating the whole time, he often merely starts a scene and then the characters' dialogue takes over, or dialogue even starts it and the Narrator just drops in for a few lines in the middle. Dialogue, rather than monologues, dominates this season - scenes playing out in the moment rather than their stories being told afterward.
That said, here's the list for comparison to s1...
NEVER Been Narrated, s1 or s2
Dimitri (tells his own story in letters to Leon, same as s1)
Mallory (tells her own story in interviews to Chuck, same as s1)
Chuck Octagon (interview conduction + dialogue, same as s1 - but more dialogue!)
Minor characters from s1: Truck Guy, Third Sight ensemble (all dialogue only)
New in s2, Never Narrated:
Minor characters new in s2: Isaiah, Rusty the train operator, Marlo, Poletti's Family (all dialogue only); Autumn (letters only)
Phil, arguably - the Narrator describes Oliver going to meet his nephew, but stop Narrating when Phil arrives (Leon continues commenting)
Narrated in s1, Independent in s2:
Louisa - appears in segments that open with Narration (Charlotte, Nica), but has only her own actions and dialogue, in-person, phone & voicemail
Gemma - appears in segments that open with Narration (Charlotte), but has only her own actions and dialogue, in-person, phone & voicemail
100% Narrated, s1-2
Nobody is only Narrated throughout s1-2! but...
Chelmsworth appears only in 1 heavily Narrated segment in s2
Mixed Narration & Dialogue (ordered most to least Narration):
Nica - 2 Narrated + dialogue, 6 dialogue or letters
Charlotte - 2 Narrated + dialogue, with Narration only for creepy dreams; 6 dialogue including speeches
Isabelle - 1 Narrated (specifically the agoraphobia attack) + dialogue, 5 dialogue including speeches
Melissa - 1 Narrated (bonus ep), 7 dialogue
Michael - 1 Narrator vs Leon; 12(!) dialogue or letters
Leon - I'm including Leon here because he gets one the few instances of having written a letter but it's read aloud by someone else - come to think of it, the same thing happened at the seance in s1, didn't it. Both times he's trying to contact Nica, it gets intercepted, by Poletti and here by the Narrator himself... Motherfucker.
(Otherwise, Leon comments on scenes but only those with some Narration, no active Leon!narrating yet EXCEPT he does fight a little once for Michael, and starts to get into Oliver and Emily's heads a little. Answers letters with Michael, speaking jsut before or just after, or tag-teaming.)
IN CONCLUSION: The Narrator's goals, or at least methods, this season seem to be primarily about sowing self-doubt, self-loathing, and other weaknesses, across the board in Tyrell, Nica, Poletti, Isabelle, and Charlotte. Plus whatever Emily has going on. His presence is more subtle, but no less effectively.
Initially I was confused as to why the Narrator enabled Tyrell's Great Squeeze Ball Heist, but in retrospect, I think he wanted Tyrell out of the office so nobody would look for Michael, so Leon would be distracted (and practice connecting with consciousnesses more?).
I am also, you'll note, trying to track the types of speech - dialogue, speeches, interviews, voicemail, letters, etc. A pattern is definitely...idk if emerging so much as in there somewhere about speech in the moment vs storytelling after the fact... I think monologues fit more into the latter category.
I'd like to give kudos this season specifically for the Octabacle episode, and how smoothly it intros Mallory at the start - with her first monologue NOT prompted by a Chuck interview, so you really notice it! And she's saying she's ready for a Chuck interview, post-wedding, as his go-to gal if something happens! And then you get all the stories after-the-fact pieced together, cutting between people, all these characters who have never told a story like this before, and it slowly dawns on you just ahead of the story that Mallory's pov is suspisciously absent... It was just really well-written.
