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Breadhead: If we get paid, who cares why we do it?
Also Breadhead: Ken pays us in valuable life experiences.
You’re telling me Breadhead views hunting down his friends and cementing them as a valuable life experience?
I’m starting to think he’s the scariest character.
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I don’t know if I’ve gone insane, but has anybody else noticed the parallels between Knife and Fanny? Like- both are a gruff, bladed individual who falls somewhere between a realist/pessimist worldview and gives people somewhat philosophical advice and has been on a team built on a toxic alliance/relationship.
While they’re not the exact same, it’s hard to deny how similar the two are when it comes to both their roles in the shows’ overall story and their personalities.
I’m probably just rambling nonsense (it’s late at night in my timezone right now) but the similarities add up to a decent pile. Yes, Knife is more actively fighty and passively angry, and Fanny is more passively fighty and actively angry, but still!
This means absolutely nothing when it comes to the shows, as these two being similar has no effect on either of the shows, I just thought it was interesting. Also, please, tell me your thoughts on this! I like seeing other people’s opinions! Give me more evidence! Prove me wrong! Tell me I’m crazy and there’s nothing there! Bring up supporting evidence that I didn’t consider or missed! Tell me what you think about this! I love discussing things like this!
I'm gonna give a hot take about Vivian that some of you aren't gonna like. She is not a Yandere. (Not in the way most people think about yanderes anyway)
LISTEN LISTEN LISTEN HEAR ME OUT
Call me Mercy as a one person waltz, she is dancing with her hopes and her dreams. She wants to join this group of powerful women and as the song goes on she gets more and more confident, her confidence shining through clearer and more real than before.
She wants an adventure and she wants to be free from this place she has felt trapped in her whole life. There's a certain power to her words as she asks and begs to be called Mercy. "Just call me Mercy" as if Mercy is a name she has taken for herself, maybe she never had one, maybe she threw out the one she was given originally. Mercy in this song feels both like her name, something that she has taken for herself and something she is asking the universe to have on her.
I always see headcanons about Diego listening to his (Patch’s) police scanner, always listening for descriptions of Klaus. But think about it from Klaus’s point of view: big brother Diego always turning up to haul him out of trouble, usually in handcuffs. His friends might ask him if Diego became a cop to bully him back to sobriety. His rehab counselor might say Diego is trying to protect him from himself. But Klaus laughs and tell them, no, it’s nothing like that. Diego’s just chasing his own kind of high.
(If Klaus is honest with himself, though - Ben reminds him - it’s actually a little of all three.)
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Look. Look at this shot. This is Will, waking from a conversation with Abigail in a parody of a family dinner across the ‘tableau’ of one of Hobbs’s victims. She calls him dad. The warm orange lamp behind him is both an indication that he is currently in Hobb’s mind, much like the metronome, and a coloured warning of his mental state (we already saw several similar motifs of his mind ‘on fire’ in the Angel Maker episode). Abigail, meanwhile, is replaced with a plant. She is often represented this way as a nod to her connection with nature and hunting. However, this could also be because she represents, to Will, the very natural desire to be a father - the instinct to nurture something and watch it grow.
you’re the go to headcanon person and this has been keeping me up at night so i raise you this question: where do you think the academy is located? i know it’s filmed in canada, but the only indication of location is that they live in “the city”
Wow, thank you! I hadn’t expected I was doing much more than yelling into a void about my weird obsessions. It’s great to hear that you like my headcanons. Challenge accepted, come at me with your imaginary buildings and let’s make wild assumptions about them:
Let’s first point out that, from a narrative standpoint, not specifying a true location allows the audience to project their own subjective experience onto the places and spaces we see in a show, allowing us to flesh out the worldbuilding through our own assumptions. It also allows the authors and co-creators to amalgamate their own memorable places and spaces together, to create a city of memory and associations personal to them and the message they want to convey.
Coincidental then, but apt, is the fact that all American cities just merge into one generic urbanscape in my head - probably because I’m British and the American dramas I watch don’t go out of their way to diversify their geography not that I’m paying much attention, my bad. So if TUA has specified a city, I missed it completely. I am aware this is very narrow-minded of me and highly inaccurate, so take the following breakdown with a large pinch of salt.
That said, after analysing some screenshots to death and some Googling of historical context - which is the extent to my American socio-historical knowledge - I’ve decided that I headcanon Boston to be the city in question. Or there abouts.
Why? Well, my favourite way to complicate things work out locales is by taking clues from the spaces and buildings themselves, as well as their surroundings. So, let’s do that:
I’d love to go into the Neocolonial (Georgian Revivalist) architecture of the main Academy façade, which places it at about the turn of the 19th/early 20th century, but to be honest my main clues come from the surroundings we see in TUA 1x10, The White Violin:
Reginald Hargreeves arrives off a ship, the Carol Ann, from (we assume by his accent) Victorian England in 1928. See the stamp? “Pier 7 1928″.
We can therefore assume that this ship has arrived at a port in the Northeast. Already I’m drawn towards the New England area. The rest of the immigration card is frustratingly blank, but we can see from the next shot of D.S. Umbrella, the factory that will become the Academy, that the city is a hive of industrial activity – to be expected from a country in the throes of an industrial revolution.
A quick internet search later, and I discover that not only was Massachusetts the cradle for a lot of fundamental infrastructure in the United States at this time, but one of its main industries was textiles – not a big jump to umbrellas from there. Things are coming together.
I then looked at this for a while. This image is, I assume, totally fabricated. Everything in this shot is intended to be there. Looking for more clues – we’ve got corroborating dates, plus fashion and a car that look about right: The grocer’s signage has the date “Est. 1893″, and D.S. Umbrella will in the next shot give its establishment date as 1898. Is that gym advert a legit business? (It is not.) What about the sign for the printing press? That’s interesting - this tells me that not only is the city one of industry, but one of letters. Perhaps I’m picking facts to suit fiction but I know Cambridge, MA, in particular has a long history of literary revolution. Whilst I don’t see Reginald Hargreeves rubbing shoulders with the likes of Transcendentalist poets, I do see him as someone who wishes to surround himself with ingenuity, industry and an affluence that would help furnish his lifestyle: he is after all a jet-setting, Nobel prize scientist and inventor. Although I don’t know much about Boston culture, which would go a long way to helping prove or disprove this theory, I do feel he would fit well into the New England upper class and its preoccupations. What do you think? I’m really curious. Can anyone else shed some light on this? Am I completely off the mark? As always, the ask is open.
So I don’t remember any interaction between Five and Grace. But when Pogo talks about Hargreeves changing Grace’s programming, Five says, “Sick bastard.”
Do you think he was empathetic because of Dolores? Sure, she wasn’t automatonic, but she was real to Five, and she was completely reliant on him. He wouldn’t take the responsibility that gave him lightly.
