oddsare

Yes! That detail is so quietly devastating. The neighbors removing the bricks shows us Fan Xiao really did stay away, that his absence was genuine and costly. The show trusts us to catch these small moments instead of spelling everything out.​​​​​​​​​​​​​​​​

Exactly. That shift from being cornered to choosing freely is what makes the ending work. Agency changes everything.​​​​​​​​​​​​​​​​

Thank you! I’m so glad the analysis helped clarify that scene. Huihui’s conversation is easy to miss because it sounds like she’s just talking about herself, but it’s actually the moment Shulang can’t lie to himself anymore. I agree about the chemistry and casting, both actors brought real depth to these roles. Happy 2026!​​​​​​​​​​​​​​​​

I watched episode 8 right on time but honestly I was too busy with New Year parties to jump into the comment section drama.

So 2025 kicked off by teaching me Thee’s baby talk:

รักชั้นมุ้ยยยยยย (rak chan muiiiii)
DO YOU WUV ME?

But the REAL miracle here is how that tiny bathtub managed to fit TWO whole grown men who are both over 180cm like I WANT ONE NOW. If you actually pause and look closely you’ll see Pond is basically CLAMPING Phuwin in there.

The entire tub is just STUFFED full of man flesh pressed against man flesh and then when they stand up afterwards I swear the water left in that tub is like 10% MAX.

Also that scar on Thee’s hand during the bath scene? That’s Pond’s ACTUAL scar not makeup. Anyone who follows Pond Naravit knows that a couple years ago while filming Leap Day he got cut during shooting and bled everywhere and they had to stop production for a while. He even showed up to the We Are fan meeting in Taiwan still injured. The director P’X cleverly folded that real scar into the story which makes it hit WAY harder. For Thee it’s a workplace injury and honestly for Pond it is too.

The whole flirty lovey dovey Thee and Peach conversation gets LIVE STREAMED straight to Note who is literally taking a dump. Poor Note gets so freaked out his legs go weak and he doesn’t dare say ANYTHING.

This scene also reinforces one of the three great laws of the Thai BL universe which is: if you go into a bathroom without checking EVERY stall first your conversation WILL get overheard. The other two laws are: anything your boyfriend cooks is probably poisonous and if you have sex without locking the door you WILL get caught.

At the end Thee tells Plub let’s team up and make sure Peach lives happily ever after. And Plub is like just so you know I love my brother MORE than you do. That final moment where Plub decides to join Team Love Peach with that fingertip touch? I’m pretty sure that’s a deliberate tribute to the iconic movie E.T. the Extra Terrestrial because that finger touch shot was HUGE back in the day.

Oh and I don’t know if anyone noticed but EVERY episode title is photography related. Episode 8 is called White Balance. In photography white balance means adjusting the color temperature so that things that are supposed to be white actually LOOK white under different lighting instead of the whole picture turning yellow or blue. It’s basically setting a baseline for colors so you can correct the image back to something natural that matches what your eyes actually see.

When Peach sees Thee’s scars up close for the first time and gets hit with that oh damn you’re actually hurt realization it’s like pulling the color temperature back from overly warm or cool tones to reveal the real world instead of the romantic filtered version.

In the same episode when Thee seriously tells Plub let’s make Peach happy together and calmly clarifies where he stands THAT’S also white balance. He’s not leaving Plub as the excluded little sister anymore. He’s bringing her in adjusting everyone’s light and distance so this whole three people loving Peach situation becomes less unbalanced and more like a healthy composition.

In other words the deeper meaning of White Balance in this episode is: when the lighting is complicated and the emotions are murky you try to color correct everything back to a state where everyone can actually live together instead of just taking one pretty couple photo.​​​​​​​​​​​​​​​​

I finally watched episode 15 and I need to talk about how it broke me open, because I think I understand now what this whole story has been building toward. It is not about forgiveness. It is not about excusing abuse. It is about a man who has spent his whole life terrified that he does not matter finally being confronted with proof that he did matter to someone, and what do you do with that information when it comes from the person who also destroyed you.

Here is what happens. Yu Shulang does not learn the full truth from Fan Xiao. He learns it from two people who have no reason to lie for him, Shi Lihua, Fan Xiao’s friend, and Teacher Huang, Shulang’s own mentor. Hearing it from them changes everything, because it is not Fan Xiao’s self serving version of events anymore. It is witnesses telling him what actually happened while he was not looking.

From Shi Lihua he finds out that Fan Xiao chose prison. He openly admitted he was the whistleblower so that all the hatred and revenge would land on him instead of Shulang. After he got out he was hunted for three months, and during that whole time he stayed away on purpose, not because he stopped caring, but because showing up would have brought danger straight to Shulang’s door.

From Teacher Huang he learns about the quieter things. Fan Xiao transferred his shares into Shulang’s name, turning the same power he once used to control him into a shield and a safety net. He even asked Tiantian’s mother to call Shulang about adopting Tiantian, not only because the child needed a home, but because he was afraid Shulang would be lonely. He wanted Shulang to be someone’s family for once, to be someone’s shore instead of always drifting.

This breaks Shulang in a very specific way. He has been living inside a story where Fan Xiao is the monster who dragged him into hell, caged him, humiliated him, tore his life apart. Now he has to admit there was also this man quietly standing between him and the bullets, taking hits he never saw, paying prices he never asked for. That does not erase the abuse. It just shatters the simpler narrative that he was only ever a toy, a possession, something Fan Xiao would eventually get bored of and throw away. Someone decided his survival and freedom were worth their own ruin and chose to never tell him directly. How do you live with that.

Then comes the scene with Huihui, and this is where everything finally clicks into place for him.

They are just hanging out and Huihui says, 知道我新年許什麼願望嗎？找個渣男讓我虐虐. Do you know what I wished for in the New Year. To find a scumbag so I can toy with him.

Shulang says, 張世成他挺好的。等你好多年. Zhang Shicheng is a good guy. He has been waiting for you for so many years.

Huihui answers, 就是因為他太好了，才不忍心下手。我這樣的人，終究會負了所有人。所以與渣男更適配. It is exactly because he is too good that I cannot bear to make a move. Someone like me will end up hurting everyone. So I am more suited to a scumbag.

Shulang pushes back. 那就跟張世成說明白，徹底斷了，別讓他抱有希望. Then be honest with Zhang Shicheng. Cut it off completely. Do not let him keep hoping.

Huihui says, 下了好多次決心斷了，但始終捨不得。我們這樣的人，越是缺什麼，卻也是越憎惡什麼。甚至什麼都分不清，到底是憎惡，還是嚮往。張世成，我捨不得又放不下。怕傷了他，也怕碎了自己的夢. I have decided to end it so many times but I just cannot. People like us, we lack something and we also hate the very thing we lack. Sometimes we cannot even tell whether it is hatred or longing. Zhang Shicheng, I cannot give him up and I cannot let him go. I am afraid of hurting him and I am afraid of shattering my own dream.

Shulang tries one more time. 那就這麼吊著他. So you are just stringing him along.

And Huihui delivers the line that changes everything. 我沒有吊著他。是他還愛著我，他要是不愛了，我做什麼都沒有意義. I am not stringing him along. It is that he still loves me. If he stopped loving me then nothing I do would have any meaning.

On the surface Huihui is roasting herself, saying she is only suited for a scumbag. But the more she talks the more it becomes a confession about how she actually handles love. She knows Zhang Shicheng is genuinely good and has waited for her for years. Precisely because of that she does not dare commit and she does not dare cut him off cleanly. When she says people like us lack something and also hate the very thing we lack, cannot even tell if it is hatred or longing, she is describing this very specific emotional knot. They hate being bound, suffocated, pinned down by intense love, but they also crave exactly that kind of intensity, to be the center of someone’s world, to be held onto no matter what.

That final line is the knife. If he stopped loving me then nothing I do would have any meaning. For her, Zhang Shicheng’s love is not just nice to have. It is proof that she still matters.

For Yu Shulang sitting there listening, this is the moment the mirror turns around.

He has just learned from Shi Lihua and Teacher Huang that Fan Xiao silently paid a price for him that nobody forced him to pay. Now he hears Huihui confess that she cannot let go of a man who loves her because his love has become part of her reason to exist. When he tells her to be honest, cut it off completely, do not let him keep hoping, he is giving correct advice, advice he has never truly been able to carry out himself with Fan Xiao.

Without anyone calling him out, he realizes he has been trying to stand on moral high ground as the one who escaped the crazy lover, but emotionally he is in exactly the same place as Huihui. He is disgusted by what Fan Xiao did to him, yet he cannot deny that the intensity of being seen, pursued, held onto is also something he cannot easily abandon. Just like Huihui he lives in that contradiction, hating the cage, longing for the certainty of you will never let me go.

This is why this scene is the final nudge. It does not make Fan Xiao a saint. It forces Shulang to stop lying to himself about his own feelings. He does not go back because he is fooled. He goes back because after this conversation he can no longer pretend his heart is cleanly detached.

Then, if you remember episode 12, everything lines up.

Back in episode 12, that long internal monologue laid bare his entire soul. Yu Shulang carries two abandonments, first by his birth parents, then by his adoptive parents. It is not just losing a home. It is being told twice, by blood and by promise, that he is unwanted. For him, abandonment is never just you left. It is I never had a real place in your heart. That is why his pain is not simple loneliness but this deep, destabilizing anxiety, do I even have the right to exist if I leave no trace in anyone’s life.

His foster mother and Zhang Chen are the first people to truly see him and need him, so carrying the family, earning money, being responsible becomes his basic way to connect with the world and to anchor his sense of worth. Fan Xiao then weaponizes his most vulnerable need. At first he offers extreme being seen, obsessive attention, possessive love, the feeling of being the one person someone cannot let go of. Then he destroys it, proving Shulang’s worst fear, you are not truly worth treasuring, you can be loved and still abandoned, still broken.

By episode 12, Shulang is trapped in a cruel paradox. If he keeps fighting Fan Xiao, the hatred and struggle at least prove he is still alive and still matters to someone. If he gives up and disappears, he falls back into that childhood void of being a transparent beggar that no one sees. His entire story is a tragedy about existence and visibility, not just romance. He is not just tired of a bad relationship. He is exhausted by the weight of living as someone who is constantly unsure whether he deserves to take up space in the world.

So when he goes to Fan Xiao first at the end, seen through that lens, his choice is not a random forgive and forget move. It is the culmination of everything. From Shi Lihua and Teacher Huang he now knows Fan Xiao did not just hurt him, he also bled for him, went to prison for him, took the heat for him, quietly rebuilt his future from the shadows. From Huihui he is forced to see his own emotional pattern, the way he despises and longs for the same kind of love, the way someone’s continued love has become proof that his existence has meaning. From episode 12 he is still carrying that fundamental terror of disappearing, of being unneeded, unseen, unanchored.

When he goes to Fan Xiao first, the meaning is this. It restores his agency. For once he is not the one being cornered, chased, dragged back. He chooses to step into that space with full awareness of both the hurt and the sacrifice. It shifts the axis of their relationship from pure coercion toward choice. He is no longer there because he cannot escape, but because, knowing everything, he cannot honestly deny that his life, his existence, his feelings have already been permanently entangled with this man.

It becomes his answer to his own existential question. Episode 12 asks, do I deserve to exist. Episode 15 answers, I know I am flawed, I know you are flawed, I know what you have done to me and for me, yet I still choose to stand here. That choice itself is proof that I am alive, that I am not just something thrown away.

A man with a lifelong abandonment wound finally faces the fact that someone did pay a price for him and that he himself is not innocent of clinging to that love. His decision to go to Fan Xiao first is not a reward for Fan Xiao’s suffering. It is a rare, painful, conscious act of self recognition. I see what you are. I see what I am. I see what we have done to each other. And with my eyes open I still choose to knock on your door.​​​​​​​​​​​​​​​​

Not you making me emotional about this all over again 😭

That point about Thee adjusting his behavior while still being himself? I didn’t even consciously notice that but you’re SO right. No wonder that confession worked - we’ve been watching him earn it the whole time.

adds this show to my “rewatch when I need to feel things” list

“Low rating out of spite” is absolutely valid criticism and I respect the pettiness. Sometimes the most honest review is just “they deserved better than each other” 😂

Thank you! The MDL comment sections basically wrote themselves into SATC characters - I just connected the dots 😄

Right?? Bad Guy My Boss set the bar for beautiful chaos and this one is delivering! 🍿
I feel you on the Jimmy thing. He’s giving “villain origin story but make it a romance” energy right now. Very one-note crappy, as you said. 😅 But if they can pull off a Sorn-level redemption? That would be chef’s kiss. My Stubborn really showed us how a good redemption arc can turn things around.

I’m cautiously optimistic they’ll give us enough depth to understand (not excuse, but understand) why he’s Like That™. Because right now he’s just… a lot.

But hey, the messier the starting point, the more satisfying the groveling arc will be! 😂 I’m ready to see what they’ve got planned to make us go from “this man is THE WORST” to “okay fine, I forgive you.”

Let the redemption journey begin! 🙏✨

OMG YES! Jimmy being worse than “bad boy my boss” is EXACTLY the energy we need. Like sir, the bar was already on the floor and you brought a shovel. 💀

Run showing up to stir the pot? PLEASE. I need that man to walk in with zero context and maximum chaos. Just pure mess-making energy. And Fah being the sugar-free diva? Icon behavior. We love a queen who keeps it real.

The fact that the plot moves at asteroid speed means we’re getting maximum emotional damage per episode. No filler, just chaos. We’re about to be FED. 🍿💕

I’m so ready for this beautiful disaster to ruin my emotional stability every week. Let the mess BEGIN! 🚂💥

Thank you so much - that means a lot. You’re right that this show really does leave a mark. There’s something about the way it refuses easy answers that keeps pulling you back to think about it. I’m glad the post resonated with you!

Thank you! I’ve been thinking about it nonstop, so it felt good to finally write it all down. ❤️

Oh god, the fact that Toh heard the warnings and said “noted, will proceed to ignore completely” is SO on brand. And drunk-in-an-alley Jimmy sounds like exactly the beautiful disaster energy I signed up for. Can’t wait to watch this trainwreck unfold! 🚂💥​​​​​​​​​​​​​​​​

I’m really glad it added something to your reading of the show! Thank you for reading!​​​​​​​​​​​​​​​​

Thank you so much - that means a lot! There’s something about shows like this that demand you sit with them and think through what they’re actually doing. Happy new year to you too!​​​​​​​​​​​​​​​​

Before ringing in the new year I have some time to write about To My Shore, and I’ve been thinking about this show nonstop, so here we go.

You Shulang refused to be Fan Xiao’s Bodhisattva.
More than once.

That’s the hinge of To My Shore’s Buddhist logic. He refuses the role of savior even when the story keeps handing him the script.

Okay so the Buddhist teaching in To My Shore isn’t sitting in quotations from sutras or in lectures about compassion. It’s embedded in the way the story REFUSES to let love override karma, consequence, and the limits of human beings.

There’s even a specific Chinese verb that haunts this story whether or not the characters say it out loud: du (渡). To ferry someone across. To take them from one shore to another. In Buddhist Chinese the shore, an (岸), is where all that samsaric turbulence finally calms down. One bank is delusion and craving and karmic entanglement. The other bank is lucid acceptance where you’re not being dragged around by obsession anymore. To du someone is to row alongside them through that current. You’re not becoming their owner. You’re their temporary ferryman.

And that’s exactly what To My Shore keeps denying its characters the right to do wrong.

No one gets to outsource their karma. Fan Xiao is the kind of person who in a more conventional melodrama would be redeemed by love: rich, traumatized, violent, convinced that if he clings hard enough to one person all his brokenness will be justified. And he wraps this in Buddhist language. He calls You Shulang his Bodhisattva, talks as if this man is his calamity, his trial, his destined deliverance.

That’s a very perverse use of karma. In classical Buddhist terms karma is not something you hand to someone else to process for you. No relationship, no matter how intense, cancels the need to face your own actions.

The story insists on this. Fan Xiao doesn’t get to say I was in pain, I loved you, therefore the harm I did is part of my path. Shulang doesn’t get to say I suffered, therefore I’m spiritually superior and obligated to stay. Both of them are pulled back again and again to the same core teaching. You cannot use another person to escape yourself. You cannot du someone by making them your emotional washing machine.

The Bodhisattva ideal in Mahayana Buddhism is luminous: someone who already could cross into liberation but chooses to remain in the world to help others cross. That’s the language Fan Xiao reaches for. He wants Shulang to be the one who never leaves, who keeps descending into his personal hell to haul him out.

And the story shows the danger of that ideal when you drag it into an unequal relationship. If Shulang accepts the role of Bodhisattva he legitimizes being hurt, surveilled, weaponized because he’s saving someone. If Fan Xiao insists on seeing him that way he turns his victim into a prop for his own enlightenment.

Buddhist teaching on attachment does not support this. What To My Shore dramatizes is that clinging to your savior is just another form of grasping. Calling it spiritual doesn’t make it less grasping.

So the crucial Buddhist move in the story is Shulang’s refusal. I’m not your Bodhisattva. I can’t even save myself. That’s not a denial of compassion. It’s a refusal to let compassion become a license for abuse. It’s the insight that the Bodhisattva ideal misapplied becomes an excuse to keep people in samsara instead of helping anyone out of it.

This is where du comes back in. To du is to ferry someone across. From delusion to clarity. From grasping to release. But the story quietly corrects a common fantasy. You do not conquer the river by loving hard enough. You cross it by letting go.

That’s why du wan (渡完), “the crossing is finished,” isn’t I saved you and now you belong to me. It looks more like this. Shulang sends the evidence. Fan Xiao goes to prison. The river of consequence doesn’t dry up because someone cried hard enough. They both step into it. Shulang declines revenge but also declines reconciliation on demand. Not killing you is already my greatest mercy is a Buddhist boundary. I will not add new harm but I will not erase the karmic imprint of what you did. Time passes. Lives diverge. When they meet again the power dynamic has dissolved. The old roles have been burnt away.

In Buddhist terms the crossing is finished when the roles drop. When there is no longer savior and sinner. Only two people who have each taken responsibility for their own side of the river. That’s du wan. That’s the ferry ride ending.

From a Christian‑inflected perspective you look for a moment of forgiveness. The scene where the victim says I forgive you and that forgiveness is the seal on a happy ending. To My Shore uses a different logic. What matters isn’t whether Shulang can pronounce absolution. It’s whether both men can stop using the relationship as a way to avoid seeing themselves. The Buddhist question is less have you forgiven and more are you still clinging. Are you still making this person carry your karma.

So when they finally stand on roughly equal ground the Buddhist insight isn’t love defeated sin. It’s Fan Xiao no longer demands to be saved. Shulang no longer defines himself as the one who must save or punish. Neither of them is chanting Bodhisattva over the wreckage to make it meaningful.

If they walk forward together after that it’s not because one has washed the other clean. It’s because both have accepted that love is something that happens AFTER you stop trying to turn another human being into your raft. The shore in the title, the my shore of To My Shore, only actually exists at that point. When both of them step off the boat whether onto the same bank or different ones.

Underneath the car crashes, the sex, the revenge, To My Shore is quietly orthodox in a very Buddhist way. Actions have consequences. Compassion without wisdom becomes a trap. You cannot awaken on someone else’s spine.

Its most Buddhist teaching is simple and hard. Stop insisting that the person you hurt must also be the one who saves you. Stop insisting that staying in hell together is proof of love.

When both of you can finally step off that raft whether onto the same shore or onto different ones that’s when the crossing is really done.

Over Christmas I ended up in the unlikeliest double feature: Sex and the City reruns with my family and Reloved being dissected to death on my timeline. Somewhere between Carrie and Big’s mess, I realized Reloved is basically what happens when you take 90s NYC commitment issues and add paternity fraud, ghosting, and two adorable kids.

For the uninitiated: Sex and the City was the late-90s show that asked “can women have it all?” which really meant martinis, designer shoes, and emotionally unavailable men who communicate exclusively through mixed signals. Carrie Bradshaw was the narrator, a columnist who turned her disastrous love life into weekly think pieces. Her friends, pragmatic lawyer Miranda, sex-positive PR exec Samantha, and romantic optimist Charlotte, served as her relationship advisory board, Greek chorus, and intervention squad rolled into one.

Now imagine that friend group watching a Thai BL drama where two exes reconnect as surprise co-parents.

Chaos, basically.

The premise? Two exes, Than and Akin, reconnect as surprise co-parents and must confront their messy breakup, lingering feelings, and whether love deserves a second shot.

Sounds romantic, right?

Wrong. The internet is DIVIDED.

What the Viewers Are Saying And Why They’re Exhausted

Let me break down the court of public opinion, which has basically turned into a Reddit tribunal:

THE CASE AGAINST AKIN. He ghosted Than for YEARS without explanation, believed his messy friends and one phone call over his actual boyfriend, never pursued a DNA test even after knowing the mom and helping take care of the child, and is now treating Than like a criminal while refusing to explain why. He has been declared a walking red-flag factory: jealous, possessive, and operating on the emotional maturity of a teenager who just discovered subtweets.

THE CASE FOR THAN, AKA EVERYONE’S GREEN FLAG KING. Than is loyal, emotionally transparent, great with kids, and has the patience of a saint dating a stone wall. Viewers are BEGGING him to develop some self-respect, set a boundary, maybe consider literally anyone else. There’s a business partner named Nat who’s looking pretty good right now.

THE MISCOMMUNICATION INDUSTRIAL COMPLEX. Every episode is the same: Than asks “why did you leave me?” and Akin glares and walks away. Repeat for 48 minutes. The show promised a complex, devastating reason for the breakup. What we got? Gossip, insecurity, and one unverified phone call. It’s like if The Notebook was just Ryan Gosling asking “what do you want?” for two hours while Rachel McAdams stares silently into the middle distance.

THE PATERNITY PLOT HOLE. Viewers are baffled that no one, not Akin, not the mother, not a single responsible adult, thought to confirm who fathered this child. If the kid turns out to be Than’s, Akin robbed him of fatherhood. If he’s NOT Than’s, Akin wasted years punishing an innocent man. Either way, we’re in “ma’am this is a Wendy’s” territory of bad decision-making.

Enter the Ladies Who Lunch

So naturally, I started wondering: what would Carrie and the girls think?

CARRIE’S TAKE. Carrie would be FASCINATED by the melodrama. She’d write a column titled “The Ghosting Paradox: When Silence Speaks Volumes But Says Nothing At All” and spend three episodes analyzing whether Akin’s behavior is self-protection or self-sabotage. She’d relate it to that time Big disappeared to Paris. Or was it Napa? Or his ex-wife’s book party? Either way, she’d eventually admit that Big at least CALLED.

Her conclusion? “Maybe the real second chance is the one we give ourselves: to walk away from someone who won’t let us in.” Then she’d buy expensive shoes about it.

SAMANTHA’S TAKE. Samantha would watch exactly one episode, pause mid-argument scene, and announce: “He ghosted you for YEARS? Honey, the only thing you should be chasing is an orgasm and a restraining order.”

She’d also point out that Akin raising his ex’s alleged child is “emotionally masochistic performance art,” and wonder aloud why everyone’s so hung up on paternity tests when there are perfectly good co-parenting apps that don’t require unresolved trauma. Her advice to Than? “Dump him, find someone who uses their words, and for God’s sake, stop making loyalty your ENTIRE personality.”

MIRANDA’S TAKE. Miranda would start out sympathetic. She understands complicated exes and co-parenting chaos. But halfway through episode three, she’d lose patience. “So he CHOSE to believe rumors over having an actual conversation? That’s not romantic, that’s a lawsuit waiting to happen.”

She’d draft a very practical email on Than’s behalf: “Dear Akin, either explain yourself in the next 48 hours or I’m blocking your number and moving on with my life. Regards, Someone With Self-Respect.” She’d also absolutely demand a DNA test and possibly recommend mediation.

CHARLOTTE’S TAKE. Charlotte would be CONFLICTED. On one hand, she’s a romantic who believes in second chances and the redemptive power of love. See: her entire relationship with Harry. On the other hand, she has STANDARDS.

She’d say something like, “I believe people can change, but only if they actually TRY. Where’s the grand gesture? Where’s the accountability? Where’s the proof he won’t just ghost again when things get hard?” She’d also be deeply concerned about what this relationship is teaching the children, and would probably suggest family therapy. Possibly couples therapy. Definitely individual therapy. Therapy for EVERYONE.

The Verdict

As I sat there, surrounded by empty wine glasses and my mother’s commentary (“Why doesn’t he just TALK to him?”), I realized something: maybe we’re all just tired of watching people choose silence when words would fix everything.

Reloved wants to be a sweeping second-chance romance. Instead, it’s become a masterclass in what happens when two people love each other but refuse to actually communicate. It’s like if You’ve Got Mail ended with Meg Ryan and Tom Hanks just staring at each other in Riverside Park, never speaking, for ninety minutes.

So here’s my Carrie Bradshaw moment: is a relationship really worth fighting for if one person won’t even tell you what the fight was about?

As for me? I’m Team Than Finding Literally Anyone Else. Preferably someone who’s heard of therapy.

Or at least someone who texts back.

P.S. If you need me, I’ll be rewatching the episode where Samantha tells a man exactly where he can shove his emotional unavailability. It’s called self-care.​​​​​​​​​​​​​​​​

Lin you posted this KNOWING it sounded like a Shakespearean love confession and then hit us with ‘btw they’re brothers’ 💀 you’re a menace to society🤪

I’m SOBBING into my store-bought orange juice that NO ONE made for me because I have zero people in my life who would manually juice fruit they KNOW I hate???

Bold of you to assume the wit and sardonic playfulness ever left, BradBluddy16. I’m just letting Van’s emotional devastation do the heavy lifting this time.