#episode10

#sunday #sundayswithcrowley #supernatural #supernaturalsunday

#supernatural #season9 #episode10

#supernatural #season10 #episode2

#happyweekend

#crowley #marksheppard

#deanwinchester #jensenackles

#samwinchester #jaredpadalecki

I fucking screamed so much when Elder Faerie got two bits of lore. It’s fine the year of waiting for him to appear again was worth it

⚠️ Trigger Warning: Emotional manipulation, jealousy, miscommunication, and breakup themes. Survivor-informed lens applied. This post discusses toxic dynamics, gaslighting, and emotional volatility. Please proceed with care if these topics are sensitive for you. But wait, there is more! This episode contains emotional whiplash, weaponized jealousy, suspicious texting behavior, and one breakup that will punch you in the soul. Side effects may include yelling “Lhong NO,” throwing your phone, and whispering “they were so domestic five minutes ago.” Proceed with snacks, tissues, and a support group.

“The Hubby, The Wifey, and The Phone of Doom”

We begin not with blissful domesticity, but with Tharn doing his serious face over a phone. Type sneaks up, hands on shoulders, and Tharn reacts like he’s been caught Googling “how to hide your boyfriend from your other boyfriend.”

Type: “What’s wrong?” Tharn: “No, it’s nothing.” Survivor brain translation: “I am lying to you poorly.”

Type: “Who’re you texting?” Tharn: “Lhong. Assignment stuff.” Type: “Glad everything’s fine then.” Tharn, casual as a locked panic room: “I won’t cheat on you.” Okay, no one asked that, sir. This is precisely how you sound guilty when you’re not.

Type side-eyes, because of course he does. But then… plot twist: he flips from suspicion to full-on rare Pokémon Form (forgive me, my son is super into Pokémon, so that's why it popped into my head): Playful Domestic Type. Type: “Bring it with you. You’re the hubby. You’ve gotta pamper me.”

Tharn.exe stops responding. Did Type just call him hubby? Is this a trap? Type: “Well, Hubby? Will you come with me?” And now Tharn is gone. The man is whipped. Tharn: “Whatever Wifey wants to eat… Hubby will get it for him.”

Cue giggles and “very good, they say your life gets better if you pamper your wife” banter.

They leave together, all soft smiles, and then… The phone look. You know the one. The “this prop has more secrets than the entire supporting cast” look.

Type’s snap from suspicion to sweetness? That’s regulation emotional gear-shifting. You learn to test the waters, back off before escalation, and then re-engage on safe ground, but he hasn't forgotten. Tharn’s nervous startle is still in the air, even as we coo over wifey energy; our clock has started ticking down to heartbreak. That phone is Chekhov’s gun. And Lhong is the guy gleefully loading the bullets off-screen.

“Lunch, Lies, and Lhong’s Olympic‑Level Meddling”

We open in the school cafeteria, which, in true BL fashion, is about to become the stage for emotional sabotage. Lhong inserts himself across from Type like a friendly neighborhood gossip, but the smile doesn’t reach his eyes.

He starts with a rom-com-sounding history lesson: Tharn’s dating life is a graveyard of short‑term flings, tragic breakups, and the occasional “you’re too good for me” exit line. Then comes the pivot: the origin story of Tar, delivered like it’s fan service: “He was cute, tiny, and in love from the moment he saw Tharn on drums.” Public love declaration. Love songs. And then, in Lhong’s words, “They… did it.”

Type, still processing, calls it “skipping steps.” Lhong doubles down: they were so in love. And then? “They… broke up.” That’s it. Curtain down. No explanation. Which is the kind of vague that makes your gut twist.

Type pushes for why. Did Tar find someone new? Did Tharn get bored? Was it mutual? Lhong swears he doesn’t know. Which is rich coming from a man who knows exactly how to twist a knife. He sprinkles in just enough pain‑bait to keep Type hooked: Tum punched Tharn. Tar cut contact. Love songs became relics.

Then the closer, the manipulative finishing blow: “If you are eager to know more, go ask Tharn. And don’t rat me out. I don’t want him blaming me for putting heavy stuff in his darling boyfriend’s head.” This is classic divide‑and‑conquer: plant the doubt, seal it with a faux‑innocent “don’t tell,” and walk away while the suspicion festers.

Type, blissfully unaware of just how dangerous this guy is, jokes he’ll tell Tharn that Lhong sold him out over food. Lhong just smirks: “But I know you won’t.” And the thing is… he’s right. For now.

“Tar, Tears, and the Tragedy of Tharn’s Non‑Existent Boundaries”

Somewhere on campus (or maybe in the bad decision multiverse), Tar finds Tharn. He’s crying, he’s confessing, and he’s carefully not explaining why he walked away. But he still loves him and, surprise, wants him back.

And Tharn? Our beloved “perfect boyfriend” is doing what he does best: straddling the world’s wobbliest emotional fence. Everyone and their cat wants to paint him as the poor mistreated saint next to prickly Type, but let’s be real, this inability to build and defend boundaries is a massive red flag, especially for someone who craves security. Survivors like Type don’t just want “no cheating.” They would like to know you won’t keep the door unlocked for ghosts of relationships past.

Tharn doesn’t see it. He doesn’t realize he hasn’t fully let go of Tar. And because he’s still porous where his ex is concerned, he’s failing to give Type the certainty he needs. You can’t be a safe harbor when you’re still letting in tides from a storm that sank your last ship.

“Love You, But Not Enough to Tell the Truth”

It’s 97°F in Bangkok, but somehow Tharn’s guilt is the hottest thing in the apartment. Type walks in to find enough takeout to feed a small K-drama crew, not a confession, but a carbohydrate‑based peace offering. This kind of overcompensation is a buffet you lay out when guilt is chewing a hole in your stomach.

Tharn reaches for him, literally reaching for something steady, but Type’s uncomfortable and pushes it off. The minute Tharn starts with the “I’m sorry” loop, Type’s instincts flare. He’s scanning for the thing Tharn isn’t saying.

And Tharn isn’t saying, “Tar.”

Instead, we get deflection: “I rarely have time for you.” Which isn’t false but isn’t the truth either. Type does what considerate partners do: de‑escalates, reframes, and says, “We're both busy.” The irony is, this graciousness actually gives Tharn more cover to avoid accountability.

On the surface: A cute couple bantering in the kind of exchange that earns a thousand Tumblr tags about domestic bliss.

Underneath: Every survivor sense Type owns is on high alert. The tone doesn’t match the words. The smile doesn’t reach the eyes. This isn’t generosity; it’s damage control.

When someone’s been through betrayal or emotional instability before, the vibe shift is the tell. It’s not about catching a smoking gun; it's instinctual; it’s about noticing the apology doesn’t match the offense. Type might not be saying anything, but he is taking it all in. Tharn isn’t apologizing for too much takeout. He’s apologizing to himself for the thing he’s hiding. And then, the most brittle moment: “I love you, Type.” The I love you here is functioning as a gauze pad slapped over a wound without checking to see how deep it runs. Type’s response, “Don’t say it too often; it’ll lose meaning,” is textbook survivor code for I don’t feel it right now, and I need you to show me instead of saying it. Type is picking up the scent of something but swallows the urge to dig. Sometimes survival means letting the storm gather outside the window a little longer. Tharn doesn’t clock that. He doubles down on charm. It skims the surface instead of repairing the crack.

The phone call hits like that hairline crack in the wall, quiet, but you know it’s the start of something spreading. Tharn’s voice is low tense: “Stop doing this. We won’t get anything out of it.” Tar’s reply is a confession in slow motion: “I really messed up… I have something to tell you,” but Tharn slams the brakes with finality. He’s got someone new, he loves him, and the past is over. Except Tar won’t hand over that peace so easily. His parting curse is pure doom: “You’ll eventually break up with him. Your love will never last.” That’s the line that punches enough to raise Tharn’s volume, to pull him out of control.

And then, click. The door to the past slammed shut. The door to the present opens. Type walks in. The shift is so sharp it’s almost comedic: “Tharn. What were you yelling about? Are you okay? Who was on the phone?”

Here’s where the real tell lands: Tharn lies outright. “I was arguing with Lhong.” No half‑truth, no artful omission; a clean, deliberate fiction. And before Type can even dig, Tharn tosses out the shower question like a decoy flare. Type takes it, but not because he’s oblivious.

This is where the growth shows. The old Type would have gone to war over that lie, pressed until one of them walked out. But now? He’s keeping his promise not to use the breakup word, and he’s decided that staying matters more than winning this round. That doesn’t mean he believes Tharn. It means he’s cataloging the moment, storing it alongside the strange takeout dinner and every other dissonant note.

A few beats to let it breathe:

The soap talk is almost absurd, from relationship death threats to toiletries in under a minute, but it works as camouflage.

Every time Type lets a deflection stand, he’s not letting it go; he’s watching, weighing, and waiting for the moment that counts.

By the end of the scene, the “domestic bliss” veneer is still intact, but we, and Type, know a fracture is running under it. The tension isn’t in whether he knows; it’s in how long he’ll wait before he acts.

We have a whole scene with Tar and his brother. There is such a sharp contrast between Tar as a victim and Type as a victim. One lashes out while the other cowers away until he can find strength again. Tar is deep in his victim era, while Type is at the pre‑turning‑point arc; he still weaponizes avoidance or aggression to shield their softest point. The survivor Type is post-catharsis, the “I can look at it and still breathe” phase, where vulnerability becomes part of the toolbox instead of a liability. But to understand this, you have to understand the difference between a victim and a survivor. A victim is still in the middle of the storm. They’re crouched over the injury, shielding it from view because exposure still feels like danger. They’re improvising bandages, checking over their shoulder for more blows, and conserving all their energy just to keep the damage from spreading. The wound is fresh, and the world still feels like a place where it could be torn open again at any second.

A survivor has walked far enough from the battlefield to stop hiding. They can roll up a sleeve and show the scar without bracing for an attack. It’s not that the pain is gone; sometimes the scar still twinges when the weather turns, sometimes a memory makes it ache, but it’s no longer the center of their life. The injury has been cleaned, the infection drained, and the fear that it will consume them has faded. They don’t need to lash out to protect it anymore.

The difference isn’t that one “got over it” and the other hasn’t; it’s that the survivor has integrated the hurt into their story, while the victim is still living inside the moment it happened.

“Hungry, Thirsty, and Testing the Waters”

It’s late in the day, the kind of tired that turns you into part of the couch. Type has staked his claim there, stretching out like a cat in a sunbeam, while Tharn sits on the floor beside him, close enough to touch, close enough to breathe his air.

“Tharn, I’m exhausted,” he says, the voice pitched just right for maximum melodrama. This isn’t just tired; it’s a performance. A safe test. If it gets swatted away, he can shrug it off as a joke.

Tharn doesn’t swat. He offers food. Type ups the ante, thirsty, sore feet, too lazy to move, and Tharn keeps meeting each request without a hint of irritation. On the surface, it’s the sitcom‑tier “clingy boyfriend vs. patient boyfriend” trope. Underneath, it’s co‑regulation in action: syncing emotional states, letting Type feel attended to without making him feel closed in.

While Tharn is gone for water, his phone buzzes. Type notices. Doesn't yell out to let Tharn know but catalogues it.

Tharn comes back with a teasing, “Want me to feed you?” Now the scene shifts registers, from caretaker to playful provoker. Type’s “You’re reading my mind” is a little invitation, answered with a volley of banter that keeps care and teasing in perfect balance.

Then comes the shampoo tangent, ridiculous if you take it at face value. But psychologically, it’s an accidental intimacy escalator: bodily and personal without being labeled “affection.” An easy bridge to touch, which Tharn takes, leaning in, rubbing his head against him. Type stays. Smiles. Teases. Doesn’t retreat.

By the time they’re at “I’m on cloud nine” / “So corny” / “I’m happy too,” we’re watching a survivor in the in‑between. He’s not hiding the wound anymore, but he still dresses vulnerability in sarcasm’s armor.

The micro‑power shifts have all gone his way:

He’s tested for safety, and it’s been met.

He’s allowed physical closeness without having to frame it as a concession.

He’s admitted contentment out loud, rare and risky.

This is why the higher‑you‑fly feeling sits right under the fluff. These moments are addictive precisely because they’re precarious. When someone with a still‑aching scar can sprawl here, be fed, and be teased, the emotional altitude is dizzying… and the thought of him falling from it is terrifying.

Surface Layer: Cozy Domestic… Until It Isn’t It starts in familiar territory: Tharn on the couch with Type draped across him, casual touches and lazy warmth. But the shift happens fast. A phone call drags Tharn outside, just far enough that Type notices and files it away.

When he comes back in, Type’s opener isn’t a question so much as a test: “But you’re not playing today.” Tharn answers with a lie about a junior needing him at the bar, and Type’s face says it all, try again. Instead, Tharn pivots to his old deflection trick: “If you’re not hungry yet… can we have dinner around 10?”

Type takes the out, but not without a jab: “Are you crazy? I’d be starving by then. Who said you could kiss me?” The fake punch is caught midair, and here’s where Tharn’s obliviousness really shows.

We haven’t seen volatile, swing‑first Type in a long while, but Tharn is still teasing like it’s dorm days. He hasn’t clocked how much Type has changed, that what used to be flashfire anger is now a slow burn, deliberate and aimed.

Type’s jab = controlled, intentional. He’s giving Tharn a physical cue without flipping the table over.

Tharn’s read = still mapping him to “boyfriend who explodes,” so any playful jostle feels harmless.

The miss = Tharn doesn’t realize he’s dealing with someone who’s learned restraint, and restraint means that when Type is pissed, it’s because the situation matters enough to bite down instead of blow up.

Tharn closes with a string of pet commands, something I usually like, but it's only fun when it's agreed upon. Be a good boy, wait for me, don’t eat without me, and leaves without a backward glance. In his head, the scene is still cute banter. From Type’s side of the couch? We’ve crossed into kneeing‑him‑in‑the‑groin levels of offended.

His parting shot, “Do you think I’ll be waiting idly like an idiot? Dream on.” — isn’t about dinner anymore. It’s about not being taken for granted. About not letting the old script play out when he’s already rewritten his lines.

“Love You, But Not Enough to Stop Touching My Ex”

It starts at Jeed’s bar, where Jeed greets Tharn like she’s seen this soap opera before and would really rather not mop up the aftermath. She warns him Tum and Tar are inside and asks him not to fight. Tharn says he won’t because Tum invited him. Which is the emotional intelligence equivalent of saying, “Don't worry, I brought my own matchstick to the gas leak.”

He sits with the brothers. Tum is radiating pure “I will swing on you” energy, which Tharn pointedly ignores to aim straight at Tar: why did you say I’d break up with my boyfriend? And here’s my first “make it make sense” moment: why does your ex predicting doom get enough real estate in your head that you come see them in person? Spoiler: the answer is not “boundaries.”

Tar cries, apologizes, and professes love like it’s a tragic finale. Tharn touches his face, because apparently we’re still doing skin‑to‑skin comfort with the ex in the year of our Lord 2025, and this is the exact moment Type walks in. He doesn’t charge in swinging. He doesn’t even let Tharn know he’s there. He just leaves, quiet as a bomb with a long fuse.

Back home, that fuse is hissing. Type sits in the dark, all sharp eyes and stillness, the opposite of his old volatility. When Tharn walks in and tries the “Why are you in the dark?” deflection, the new‑old Type isn’t having it. The cross‑examination starts. First lie: “Song.” Second chance: “Tar…my ex‑bandmate’s brother.” The fury spikes. Collar grab. Point‑blank questions about why the ex‑boyfriend part was left out.

From here it’s ugly, funny, and sad all at once. Type’s sarcasm is blistering, asking how the ex “tasted” after a year, taunting about whether Tharn could even get it up. That’s not just anger; that’s betrayal filtered through humiliation, a classic fight‑dirty instinct when trust has already buckled.

When Tharn drops the “I love you with all my heart” card, it clangs. We know Type doesn’t take those words at face value when actions don’t match. He pushes away. Tharn asks where he’s going. The answer, “None of your gd business,” is the cleanest boundary we’ve heard all night.

A few things worth noting:

Emotional affair territory: It doesn’t matter if it wasn’t physical; prioritizing an ex’s emotional needs and hiding the contact hits the same wound. Tharn reconnects privately, doesn’t tell Type right away, and shares emotional space with Tar. And can't tell Type that he doesn't still hold feelings for Tar. We could argue that all this was for closure until you take in the touching and the unwillingness to admit what he feels to Type.

Mutual damage patterns: Tharn's secrecy is corrosive. Type’s verbal cruelty is, too. They’re both pulling from the same shelf of bad coping strategies, just with different packaging.

In my group sessions, we often say, “Pain is still an emotion.” It’s a reminder that whether it’s emotional or physical, pain isn’t just a “bad” feeling to dodge; it’s part of the natural human spectrum. In TharnType, this lands hard because so much of the story revolves around characters who either avoid, bury, or weaponize their pain. The irony is that real connection only starts when they stop running from it and start naming it for what it is. Which is why this relationship oddly.

“Water, Gossip, and a Molotov: Techno Lights the Fuse.”

It’s almost poetic how quietly the final grenade of the episode rolls into place. No screaming match, no door slams, just Techno showing up with a glass of water and a reluctant piece of intel he probably should’ve buried in the backyard.

Type’s still sunk in that post‑fight fog, too in his feelings to trust his voice, when Techno starts with the disclaimer: not trying to get involved, but… he saw something. A department store. Tharn. And a pale‑skinned high schooler.

You can practically see the dominoes fall in Type’s head when the detail lands: same uniform as Technic. The thud of that recognition is enough to pull a sharp “Techno!” out of him, and suddenly Techno’s in panic‑ramble mode, trying to backpedal from whatever fuse he just lit.

But Type? No. Type’s already moved from shock to decision. “I’m gonna find him.” It’s not a threat screamed in the moment; it’s an objective stated with soldier‑calm certainty. Which, ironically, is precisely why Techno is right to panic.

The secondary enabler, Techno, knows this is bad news, but once the words are out, he half‑tries to soften it and half‑leans into supportive wingman mode. It’s that awkward place between loyalty and self‑preservation.

And that’s where they leave us, not with a bang, but with the camera on a man already halfway out the door in his mind, ready to turn the knowledge into action. In TharnType, that’s sometimes a scarier place to end than the fight itself.

in the end, naksu/yeong’s choice to not train her fighting skills anymore makes perfectly sense in a trauma-healing perspective. 

she became an assassin not by choice, but by jin mu’s manipulation. she was just a kid. alone. it was the only way to survival. 

as mu-deok, she chooses to live a peaceful life with jang uk, giving up on her powers and sword. this choice was taken away from her and ONCE AGAIN jin mu used her. 

he brought naksu back and she killed the only one who cared about her. the only one who really protected her no matter what.

as jin bu-yeon, she could learn a life that didn’t require training and exhaustion. when meeting jang uk once again, her soul felt save. she could bloom without her traumas. 

then her memories came back. imagine THE PAIN to know that you killed the man you love. she embraces the blame and leaves - because she is afraid to do it again. to bring more pain and violence into his life. 

because naksu is a powerful bad bitch and we love her, i know, but she is also alone and traumatized. 

when she marries uk, is as cho yeong. it’s a chance to live a life she had lost.  

so, after jin seol-ran lets her stay in that body, she is able to live happily with jang uk as jang yeong. she is FINALLY able to say enough, to choose something else over violence. to help her friends with their domestic problems and live a happy long life with her hubby. 

there is no real need to go back to training. she is not in "survival mode" anymore. she has divine powers to protect herself now. she deserves this rest. yeong is at peace and healing. 

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