If you look back only at your mistakes, you’d think you were an idiot. If you look back only at your wiser choices, you’d think you were infallible. But if you look back on everything, you realize you’re a human being who has been through a lot, grown a lot, is always still learning, and improving as time goes by.
We got a clue to how the different dimensions work. These three dudes are obviously iterations of the same Rick who all encountered the same event in varying degrees of severity. It could just be that these three dimensions are right next to each other, but the numbering convention suggests that they’re true splits from one original dimension, caused by that event.
If that’s true, it means that every time a major event occurs, timelines splinter into different offshoot possibilities. The Ricks that stay most “normal” keep their original dimension number and the others take on an iteration of that number based on the level of divergence. This also helps account for how the population of the citadel bounced back so quickly after the massacre in S301. As time goes on more splits in dimensions means a constant influx of more Ricks and Mortys.
Not every rick invents the portal gun. The portal gun is rick’s ultimate source of power and what allows the citadel to exist. From what we learned from the half-truths in S301′s portal gun origin backstory, Ricks ostensibly go from dimension to dimension giving portal technology to other Ricks rather than each Rick inventing it on his own. Plus we saw in the last episode that the Mortytown Rick tries and fails to make portal fluid, and cop Rick calls it out “bootleg,” plus the factory Rick demands a portal gun because he must not be able to make one of his own.
For the Ricks that didn’t invent their own, portal fluid and guns are regulated and not allowed to all Ricks freely. It begs the question of how many Ricks actually invented the portal gun on their own. In theory, it would only take just one figuring it out and then sharing it with all the others.
More evidence for Evil Morty = Rick’s original Morty. This has been a fan theory since Evil Morty first showed up but after S307 the evidence is even stronger. Evil Morty dodges questions about his original dimension and Rick, instead diverting with “we moved around a lot.” That basically leaves the door wide open for the reveal of him being Rick’s og Morty.
Plus, if the moving around part wasn’t a lie, that means he and Rick skipped universes Cronenberg-style more than once (Rick did say he’d pulled that stunt before). Think how disillusioned just one dimension move made our Morty, it’s no wonder Evil Morty turned into what he is if he went through multiple ruined dimensions. Beyond that, our Morty has been shown to be getting more jaded and downright cruel this season, enough that people were thinking he was turning into Evil Morty. If our Morty has devolved into his current state with just being around our Rick for a few years, imagine how the Morty our Rick was around since when he was a baby would have turned out.
Cop Rick is alive for a reason. He killed Cop Morty and turned himself in expecting to be shot off into space, but in the end he’s released by Ricks under evil Morty’s control. Him being alive still is not insignificant, even if just for the narrative and character implications more than plot reasons.
Cop Rick’s first instinct is to trust. He trusted the Morty in the room with the crib. He trusted Cop Morty to do the right thing. He wants to believe in true justice and the goodness in people, and acts on that belief no matter the outcome for him.
The real gut punch is he’s not just an outlier. He shows that Ricks do have an infallible sense of justice when it’s not smothered out by narcissism and nihilism. We’ve seen that our Rick, despite being an asshole, will choose to do the right thing- even if it’s the hard thing- at crucial moments: He puts the collar on Morty instead of himself when they’re falling to their deaths in the void, he turns himself in to the Galactic Federation in order to save his family.
Cop Rick is still alive because he’s the hero our Rick would be if he wasn’t such a jaded asshole. He’s the proof that despite everything, Rick is at his core trying to be good. Maybe that kind of Rick is valuable to Evil Morty, or maybe it was just valuable to us to see this side of Rick so explicitly.
Evil Morty wants control. Evil Morty is living the ideal Morty existence, in control of himself and the universe around him. It’s all he’d want after a life where Rick was always in control, where he could do nothing to stop the machinations of the universe from nearly crushing him every adventure. As we saw really plainly with Copy Morty, when a Morty gets enough knowledge, experience, and freedom, they can’t stand being treated like sidekicks anymore. No wonder the Ricks put them in a school designed not to teach them to be more competent on adventures but instead to keep them helpless and subservient.
It’s easy enough to follow the same trend in our Morty. He’s been fighting for more control all season– He chooses not to try to rescue Rick from prison. He’s fine with going against Rick’s plan in the Mad Max world. He’s the one who makes them go on the adventure with the Vindicators (and Rick loses his shit when he doesn’t get to be the only one saving the day anymore). And perhaps most telling, Morty’s ideal toxin-free self abandons Rick entirely and creates a situation where his whole job is to manipulate and control other people.
Evil Morty is what happens when Morty’s struggle for power goes to it’s furthest degree. He wanted so bad to not be the sidekick anymore that he’d do anything, even if it meant becoming the villain.
Aries : the freedom fighter, she raises her fist in a call to action for those around her, she is the spark to set a movement aflame, whether standing behind a podium or charging into battle it is a war of principle to throw herself into and bring to victory with a loyal coalition of followers, she is the beginning.
Taurus : the politician, there is no gambling only the eternal tread of fate, she plays the long game, she is the grassroots movement that gains momentum until change is inevitable, this is for her past and her future, this is for the present of those around her, willing to compromise and curry favor, in the end she will be sitting in the Oval Office.
Gemini : the aristocrat, the autocrat, the backroom dealer, whether a philanthropist or a robber baron she is out for blood, this is not someone here to make nice, for better or for worse she will do whatever she must to get what she needs, she will deal with anyone any how if she will meet her ultimate goals.
Cancer : the empress, her family has sat on the throne for generations, it is her duty to preserve what was as she moves into the future, she wields ultimate power alongside the love of her people, adored and feared her will is iron and her word is law, change is either immediate or slow, protecting the nation has been her only goal since she was born and she will defend it to the death.
Leo : the warlord, conquest is both her only fear and her only goal, always moving forward never looking back, to sit on her laurels will be her downfall, she cuts a swath through the land amassing an army and a nation both of little consequence, offense is the best defense, if you conquer your enemy before they know you exist you’ll never have anything to worry about.
Virgo : the diplomat, the wordsmith to weave a net of peace, whether the world is already in chaos and she aims to quell it or whether war looms on the horizon she is there, she is a peacemaker and compromiser until her ideals are challenged, with such an infallible set of parameters it is hard to know her true bottom line, she will not reveal her full hand until you are already defeated.
Libra : the principal, the small setting advisor, to be fair and honest one must be willing to focus in on things, she understands those she speaks with and will speak with anyone, the equalizer where she must she understands the importance of backing down to higher powers, she wants to help the world and will do that however she can, she will be the face of nostalgic hope nobody knows but everyone remembers.
Scorpio : the dynasty, less a person, more a concept, she is what was and what will be, her power ebbs and flows depending on the day, she stretches thin when she must and concentrates on a single instance when she can, she is a winding road made to lead to an inevitable fate lined in fear and sunlight.
Sagittarius : the queen bee, it does not matter where you are in the world you can tell who she is, she is magnetic and intoxicating and her power is vast within its limits, once you are in her bubble it is hard to know the way out, she is singular and exists in those who love her, in high school and in the office she is beloved and feared with no certainty as to what she actually is.
Capricorn : the CEO, the headlines maker, new money in an old world, her scepter is a pen and her army is a hedge fund, she created her power and shields those within it, sometimes you may not agree with all her choices, sometimes you may not understand them, but while she is still afloat decades passed disaster you will see her true motives only in retrospect.
Aquarius : the influencer, the social media darling, the thoughtful twitter account you keep seeing screenshots of but you cannot seem to find, she has millions who listen to her, millions who follow her, she could found her own country based on those who think she is worth watching and listening to, but she has no idea they exist, she would just as easily see them all gone for good.
Pisces : the martyr, whether in a decades old feud or a millennia old war, she is held as the lynchpin to it all, she does not need to be here, she does not need to lead, she does not even need to speak, it was that she existed that love could so freely flow to her and what she believed in, she transcends humanity until she is an idea that has amassed more followers and worth than any person alive, until the next one comes along.
“If your dream only includes you, it’s too small.”
On her birthday, here is the infallible, authentic, and pioneering Queen Ava DuVernay collaborating on her many sets.
“Let Ava DuVernay tell the stories she wants to tell in the way she wants to tell them. If one of these stories just so happens to center around a man in spandex, then DuVernay has already exhibited the necessary skill and strength to make this movie, free of studio mandates, legacy liabilities, and fanboy entitlements. At this point, I’d watch her direct a drivers ed tutorial. Like the great cinematic genre-hoppers who came before her, DuVernay’s directorial print contains multitudes, and the future of cinema suddenly seems a hell of a lot brighter knowing that her inimitably unpredictable vision is a part of it.” — Matthew Eng
Imagine an AU where you can’t lie to your soulmate.
Everyone knows this.
Well, as in, it is physically possible; Neil can open his mouth and say something untrue
But soulmates are two people who share a soul. Two
people who were meant to be one, but were torn asunder by the gods in their
A soul will know the condition and the intention on
its other half; for they are part of the same soul, in the end.
Which means that Andrew knows that Neil is his
soulmate almost immediately
He flies out with Kevin to meet this rookie forward
that Kevin’s raving about. He hasn’t bothered to watch the videos, he’s just
going because they’re desperate for a new team member after the last recruit,
and Kevin insists on going and Kevin won’t go alone
So he has the lowest of expectations when Neil
comes rabbiting into the changing room and Andrew swings without thinking about
His first thought is ‘what an idiot’ and his second
is ‘hot tho’
And then Neil says something about not deserving to
play on the same court as Kevin and Andrew can feel it in his bones, in his
heart, in his soul that Neil is lying
Which makes his third thought about Neil ‘well
Ricks speech to Jerry was honestly incredible because every word, while meaning to be pointed at Jerry, was a perfect example of Ricks character. “You play the victim like you’re the prey, but you’re actually a predator” Rick is consistently the “prey” toward his family, playing like he’s some kind of victim of his own intelligence, using that toward his survival. Without Morty/summer/Beth, rick would have no one to care about the things he makes or the things he sees. Even though he directs his speech at Jerrys incompetence as a person, in reality he’s just talking about himself and reflecting that on Jerrys insecurities. I love that this season is delving into the complexity of rick; we have long seen him as this infallible character with occasional soft moments, but at the end of the day he’s just a predator abusing his family’s bond with him.
Alright, the thing I’ve always liked about bagginshield is the sense that Thorin and Bilbo do not need to be infallible around one another. They can be themselves - just Bilbo and Thorin - not Bilbo Baggins of Bag End or Thorin, King Under the Mountain.
A lot has been said already about how Thorin can be himself around Bilbo in a way he can’t be with Dwalin, Balin and even Fili and Kili, because for them he is often a king first and a friend/uncle/whatever second. Around Bilbo he can reveal his weaknesses in a different, more intimate way because he is not Bilbo’s king.
But this is true for Bilbo as well. He is weighed down by the constant pressure of his respectability. He has no close friends in the Shire and so no one to let his guard down with, no one he can be himself around, without being in the shadow of his family name. Bilbo is very much the kind of person who puts on a brave face (and I think he most certainly did this after the deaths of his parents) and we see him do this to an extent after Thorin’s death (he cries at his side, but when he is sat with Gandalf, he just stares into nothingness, nor does he cry in front of the rest of the Company).
Neither Thorin nor Bilbo needs to put on a brave face around the other.
Neither of them need to be infallible for the other.
“Transition chapters” or “transition scenes” are what I call those in-between times in the story. The parts that are in between the big Plot Points, in between the scenes that have lots of action and conflict. You know the ones I’m talking about–nothing is really happening, because your character has returned home for the day and is making dinner before going to sleep. Or they’re working their day job before they can put on the mask and go be a superhero.
These scenes are important to include for a few reasons!
They show your character being human. Sometimes it’s easy to let our OCs get overpowered, or to let them be go-go-going all the time. If you show them collapsing into bed tired, or you show them nursing wounds after a fight, it humanizes them. These scenes remind your reader, “Hey, these aren’t infallible, 2D characters. These are people, that you should care about.”
Pacing. If your story is all plot all the time, things can (and probably will) end up feeling really rushed. I know you’re excited about your story, but take a moment to sit back and let the story really draw itself out. Let things unfold slowly, instead of rushing ahead madly. I am guilty of rushing ahead madly, and am warning you from experience instead of from superiority: your story will be better if you remember to include a few down-time, transitionary scenes.
These scenes allow your reader a chance to breathe and relax. When you, the writer, take a step back, you are providing an opportunity for your character to recover from whatever hell you just put them through. And while this is important, it allows your readers to relax, too! They will sit back, let out a deep breath they hadn’t realized they were holding, and when they get to the end of the transition scene? They will be ready to dive right in again.
Including these scenes will boost word count, too. Whether you’re doing NaNoWriMo, trying to flesh out your story and bump that count up, or anything else, the equation is simple. More scenes = high word count. And when you’re running out of high-action, high-conflict scenes, adding in some transition scenes can balance the scales.
They include scenes for your characters to interact when there’s not super high stakes. High stakes are great, but some of the best characterization happen in the down times. I wrote a chapter once where my characters were resting after traveling, and I ended up writing a chapter full of puns (excerpt here). I never would’ve written that fun scene without taking a moment to pause and include a transition chapter.
So they might suck to write sometimes, but these transition chapters/scenes are really important! Consider going back through your work and looking for places to add them in; I know I sure had to.
shiro is vld's damsel in distress and keith is his knight in shining armor
Ok so I know I joke about Keith saving Shiro like a princess, but actually, this is honestly how their dynamic is portrayed?? Keith is always shown as the first one at Shiro’s side when he’s in danger, always running to his rescue. If he has to choose between the mission and Shiro, he’ll take Shiro every time. But now, let’s talk about this idea he’s a knight for a minute. Because it’s very much a purposefully drawn comparison. In the comics, when the paladins are all likened to pieces on a chessboard, Keith is delegated to this role. The narrative literally refers to him as a knight by name.
The imagery of Keith’s bayard also serves to reinforce this. Instead of a more sci-fi weapon like a laser gun or some advanced alien tech, Keith’s weapon of choice is a classic sword. Nothing evokes the image of a knight more than a sword and shield (which the paladin suit has). Keith’s belief system also feeds into this archetype. Time and again, he’s singled out as the most dedicated to the mission. He is a paladin first and foremost. When Pidge wants to leave to find her family, Keith is the one who lashes out and lectures her about how they need to defend the universe and make sacrifices for the greater good. When Allura is captured, Keith again notes that their duty as paladins must come first. Keith leaves the castle when he believes his presence will do more harm than good. And the paladin guidebook even lists his most important value as honor–a clear reference to knightly chivalry.
Keith’s initial role in Voltron is also a clear indicator of his character. If the head of Voltron is a leader whose men will follow without question, if they’re like a “King,” then as Voltron’s “right-hand man” Keith is a loyal knight. And just like any good knight, Keith will call out rulers for failing to serve the people and treating their subjects unjustly. The way Keith reacts so strongly to Lubos is a good example of this. Again, nobility and honor are distinctly important to him.
Another trope with a knight and damsel you often see in fantasy is that, like a typical knight, the protagonist highly values chivalry and champions a noble cause. But ultimately, that means learning to sacrifice their own selfish desires for the sake of the greater good. So their love interest is often seen as a distraction from the hero’s quest. They can’t afford to indulge in their feelings because the mission must come first. And often times, this culminates in a decision where the knight must choose to sacrifice the person they care about most–a representation of their own desires–because their duty demands it.
And in his trial, who is it that’s sent to tempt the hero and divert him from his quest, who is it that Keith longs for most, the person he “desperately wants to see”? Who is the one person that Keith can afford to be selfish for, the one who he’ll throw away everything–including his obligations as a paladin–just to be with?
And we know that this is an archetype VLD is very much aware of and acknowledges in their narrative. After all, heroes who fail to give up their own wants and needs, chasing after their love and abandoning their duty–they’re often cast down, vilified, characterized as foolish and selfish and bringing about disaster for their arrogance. And Zarkon is the literal embodiment of this character. He’s a glimpse at what Keith’s future could look like if he continues down the same path and chooses Shiro over the universe. Just like how Zarkon chose his love over everything else.
So when I mention all the sheith and zaggar parallels, I really do believe it’s wholly intentional. Especially given all the foreshadow that Keith will eventually reach the same crossroads where he’ll have to decide whether or not to sacrifice Shiro for the sake of the universe. But being that Keith doesn’t believe in things being so “black and white” and also the trope that a successor will surpass their predecessor, I believe Keith will figure out an alternative answer that will allow for both Shiro and the the others he defends to stay safe.
Now, as for Shiro’s role as a “princess,” the notion is pretty interesting. Obviously, it’s a clear subversion of gender. But there’s never any shame or weakness to it. Quite the contrary, actually. Shiro is established as the strongest and most formidable member of Team Voltron. He’s their brave leader, their fearless protector, their unshakable rock. But he is so often idolized, seen as impossibly perfect and infallible, and this inevitably takes its toll. The fact that he allows himself to be vulnerable with Keith, to let Keith help him and take care of him, is never shown as a point of pathetic inability or weakness.
Rather, Voltron portrays it as okay to admit that you aren’t strong enough, that you’re not okay, that asking for help is perfectly alright and there’s nothing wrong with admitting you can’t shoulder the weight of the world on your own. Shiro asking Keith to come save him is important because he never asks the others for help. He puts up a facade and tries to keep everything together in front of them. And when Keith says things like Shiro really changed his life, you can infer that, before this, Shiro was probably always the one taking care of him. So Keith always being the first to defend Shiro in turn reads as You were always the one protecting me, now let me stand by your side and protect you.
This concept of sheith’s dynamic resembling a knight and princess is also established immediately. Their very first scene together is Keith saving Shiro, and it really feels like knight rescuing their lost love. Right away you associate these two characters with one another, see just how intimately familiar they are with each other. Keith fights fiercely on Shiro’s behalf but softens up when he looks at him, leans it closer and tenderly reaches out to him. And I’ve talked about this a lot before, but the way Keith mourns Shiro is distinctly reminescent of someone grieving a lover.
The way he’s inconsollible and claims to be the only one who really cares about Shiro, the way he searches relentlessly and needs to be told time and again that it’s time to move on, the way his voice breaks when Black accepts him and he pleads, “Please, no.” Keith really loves Shiro. And his devotion to him, including leading Voltron in honor of his last wish as well as vowing to never give up on him,Keith’s desperation to be with him, this notion that he’d be all alone without him--yes, he loves Shiro. But it’s a love that’s passionate and intense and possessive and desperate in a way that platonic or familial love just isn’t.
I think Kuron’s rescue and recovery in season 3 is also very remenescent of this whole damsel in distress theme. For one thing, Keith is established as Shiro’s sole rescuer, and the “reunion” scene is an intimate moment between just the two of them. Kuron’s hero is here to save him, and they can both finally be at ease. The start of the next episode is very interesting because it just seems like business as usual. The paladins are all off on a mission, but Kuron is nowhere to be seen. He’s taken out of the action. Instead, this is the first time we get to see Allura use her bayard. And she makes for a fearsome opponent. It’s a distinct reversal of how you’d usually see a knight go off on their quest while the princess waits back at the castle for their safe return. Here, Kuron takes on that position. And the way we see Keith dutifully caring for him at his bedside afterwards reinforces this idea. And it’s okay for Kuron to rest and take as much times as he needs. It’s okay because Keith will still lead in the meantime and he’ll always be there to check in on Kuron and help him through his recovery.
Of course, there’s more than one way to save someone, and I think it’s important to make that distinction with Shiro and Keith’s relationship. Because it’s not Keith carrying all of Shiro’s weight for him and taking care of everything. It’s about Keith really supporting Shiro and reaffirming that he is a good and worthy paladin–“You mean, your bayard.” It’s the way that Shiro has already given himself up for dead but Keith looks him in the eye and tells him that he’ll be alright, that he can make it. It’s the fact that Shiro struggles with his trauma and still believes that he’s a monster, that he’s undeserving of the title “paladin” and that there’s no way he can stand against the empire and survive. Keith asserts time and again that Shiro is their leader, that Shiro is strong and kind and loving, that Shiro isn’t broken, that he deserves to live. It’s that Keith gives him hope, and Shiro is able to stand by his side and push forward because of it.
Ultimately, I think the best way to describe this dynamic is by just quoting what Josh said at wondercon about his favorite scene: “Shiro is in really bad shape and he’s waiting to pretty much get rescued by Keith. I love this clip because you really see the weak side of Shiro, you really see Keith’s determination to find him. And it was just really exciting for me to watch it. Because it really looks dire, and it really looks like he’s not gonna make it in time. And then–a hero comes through and saves the day with the lion.” Keith is really Shiro’s hero. And just like he’s promised, he’ll always be there to save Shiro–as many times as it takes.
I really can’t stand the message that people send to others - especially to disabled people - that ‘the real world is cruel and nobody’s going to help you’ in an attempt to foster complete self-sufficiency.
Because it’s not true. I honestly can’t do everything by myself, and neither can you or anyone else. Everyone needs help. Nobody can always be their own chef, doctor, mechanic, teacher, trainer, and counsellor all rolled into one infallible package of superhuman toughness.
It’s patently misleading to raise people to think that they have to learn to always fly solo. We’re a social species and we support and learn from each other. We shouldn’t be taught that it’s shameful or weak to ask for help.
Nobody can do everything alone and nobody should have to. Especially us disabled people.
Anyway, Stranger Things 2 did the impossible in the realm of pop culture:
(No specific spoilers, though I 100% understand wanting to go in completely blind)
In my opinion, it exceeded its original iteration.
It constructed intelligent character development while also managing to be set on a [much] greater cinematic scale and not detract from intimate relationships/sequences.
Resolved most of the general questions the audience had in season one (and created a nice after-show that allows for further insight into this season’s creative and formal decisions).
Used CGI about as responsibly as any sci-fi/fantasy media can these days—especially a television series—and established some truly stunning visuals with and without it.
Wrote characters being realistically impacted by traumatic events over time, and called it out for what it was (trauma).
Yet another show choosing to explore the gruesome nature and consequences of domestic abuse.
Introduced new characters and new dynamics between old characters that worked extremely well.
Like the original, did not attempt to thwart serious themes and dark subject matter—in fact, it took it a few levels further.
Balanced said serious themes with what I perceive as some of the funniest dialogue on television at the moment.
Nearly all of its original cast—especially the younger members—showed significant growth in their performances, and were allowed to do so through the writing!!!
Also have to give props to Noah Schnapp; he was the focus of season one, but not the protagonist; he only now got to perform. That put a lot on his shoulders and he absolutely carried this season.
The production and plot got ambitious, but not stupid ambitious. And even at the moments when they might have, it still made sense in the greater development of the characters (which grants my forgiveness).
Basically, sequels are infallibly expected to be worse, so it’s shocking and satisfying when one does a good job. Stranger Things 2 did a great job.
I've heard a lot about what Shiro does for Keith, both mentally and emotionally (e.g. his constant presence at his side and his belief/support in Keith). My question is, what do you think Keith provides for Shiro? What can you say are some of the things he does (both consciously and unconsciously) that help Shiro to feel at ease and be a better person?
Oh yes I love this question! Because their dynamic is very much built up on mutual love and support. They each rely on one another, completely caught in each other’s orbit. And I think Shiro needs Keith just as much as Keith needs him.
The trouble with Shiro taking care of everyone else–giving advice left and right, calming down Keith and Lance, reassuring Hunk, comforting Pidge about her family, telling Allura she needs her rest–is that no one’s really looking out for him. Except for Keith, of course. He doesn’t idolize Shiro as their perfect, fearless leader like the rest of the team. And he knows things are different after Kerberos, knows Shiro is more on edge and his nerves are fraying at the seams. So Keith keeps an eye out for him just in case. Whenever something is amiss, Keith is usually the first to notice:
Keith is especially sensitive to Shiro’s PTSD–whenever something triggers a flashback and Shiro freezes, Keith is usually the one that notices first and tries to snap him out of it.
He’s there to see Shiro’s first flashback, and he clearly looks concerned, but he doesn’t interfere until Shiro explains what just happened. After seeing Shiro do that only once, Keith is able to recognize those same signs in the future and reaches out to Shiro whenever he has an attack.
Just as much as Shiro anchors Keith, Keith is a grounding force for him. He’s there for Shiro during his panic attacks, is there by his side through nearly all his darkest moments–reaching out to him, reassuring him. When Shiro crash lands back to Earth, Keith welcomes him into his home, says “It’s good to have you back.” Shiro is gone for a year, and this is the only real homecoming he gets. Shiro also only ever allows his facade to drop in front of Keith. Around everyone else, his leader persona is always up. Had he been trapped with anyone else in Across the Universe, I’m convinced he would’ve put on a brave face. But he’s painfully honest with Keith, admits he might not make it, shows his weakness–shows that he’s afraid–and then asks Keith to save him. He’s not the infallible leader everyone else believes him to be. And he doesn’t need to pretend he is with Keith
If Shiro is the balm that soothes Keith’s storm, talks him down and helps him find his center, then Keith is Shiro’s fire. When Shiro feels like he just can’t go on anymore, Keith drives him forward. And if he’s unable to take those steps, then Keith will carry him the rest of the way. Shiro was someone who gave himself up for dead, who appointed Keith as his successor because he was so convinced he wouldn’t live to see the end of this. And whether he ends up recaptured by the galra or dies a paladin’s heroic death, he fully believes he’s living on borrowed time. Keith is the one who keeps driving him forward, who holds his gaze and says, “You’re gonna make it.” Keith gives Shiro hope.
Shiro says Zarkon’s trying to take control of the lion, and Keith yells back for him to fight it. Because he sure as hell isn’t about to let Shiro just give up on himself and go down without a fight.
Of course, this probably goes without saying, but Keith is very much like a knight in shining armor in that he’s always there to safeguard Shiro. Time after time he puts Shiro’s safety above the mission, his own identity, and everything else–he’s Shiro’s hero. When everyone else says it’s time to move on, Keith is still carrying a torch for Shiro, vehemently adamant about never abandoning him. When everyone else is off on their own missions, Keith is still scouting debris fields at the far corners of the universe, still scouring vast galaxies for Shiro even after all this time. When Kuron even jokes about this–“How many times are you gonna have to save me before this is over?” Keith’s response is nothing but achingly fond and honest when says, “As many times as it takes.”
And when Kuron is still in recovery, when he says he might be unable to move around or let himself be seen by the other paladins just yet–Keith is the only one allowed at his bedside. This might very well not even be Shiro, but Shiro’s memories about Keith were captivating enough for Kuron to know this was the one person he could trust above all else, the one person he could afford to bear himself to when he was at his most vulnerable. And of course Keith is the one at his bedside watching over him. He loves him, after all
“lawful/neutral good characters are so boring” look i’m sorry Edgy Dickerson and Surly McAngstpain are the only character types that pique your interest. god forbid people enjoy their escapism in the form of characters that are diplomatic and chill and kind in this gross, cynical world