Years of torture and loneliness, and yet Ford still has the sweetest, most tender smile here in pictures with his family. I can't tell you how happy that makes me. All of the nostalgic, strangely 50s, 80s, and 2010s childhood vibes with a poor-ish and quirky American family and the types of magical mysteries feel straight out of my own 12 year old mind. It takes place in everyone's childhood at once with no set year. The obsession over the path not taken is a burden all writers and multiverse wanderers bear, so I loved getting to see what might have been.
Loved seeing Alex and Ariel's similarities to Dipper and Mabel! Creative journaling, crush of the week, everything pink and boy band and glittery, wealthy divorcee grauntie with family bonding trips, an eccentric pathological liar of an old man relative, fantasies of mysteries and aliens and conspiracies, evil Robbie kid, from Piedmont, and exact same reading taste. Ariel even pursed a more scientific route while Alex went to art school... just like Stan and Ford, they drifted at college. Alex is Stan and Dipper, while Ariel is Ford and Mabel.
The original version of Dipper might be even better than show Dipper whom I love?? He's so X-Files eccentric, future FBI agent, and the child of black coffee and anxiety. It's like they cracked up his personality. They somehow wrote Mabel as boy-crazy without making it her personality, and she isn't muted or standing next to Dipper at all, but instead equally a main character in her own right. That is such a hard balance for most men to write, but she was written like such a real little girl. I love how Soos bridges the twins' world of childhood to the adult world. He's childlike enough to be on their level while still being in Stan's world. While Wendy represents what they are closer to becoming. Teens. Wendy is the confident teen who Dipper could become, while Robbie is the insecure teen he might become if he continues down that path. Dipper wants to run down that path while Mabel is taking a fearful step back. Every episode in some subtle or obvious way carries on the theme of growing up. Monsters aren't the scary part of the show. Leaving childhood behind is. Emotion was always put before the plot, and that's what made every adventure so captivating. Dipper goes from rushing childhood to savoring it while Mabel learns to appreciate the older parts of childhood.
The Shack conveys Stan's personality marvelously while simultaneously carrying on so much of what Ford left behind, conveying Stan himself perfectly. They are the dark inverse what if Mabel and Dipper could have become. Even when being written, Ford was like a black hole, silhouette made by the form of Stan's light. An afterthought created to fill in the gaps of Stan's issues. All things he hated being defined by. Stan is the "extra Stan," but Ford was created to be a foil in another's story. He was designed to be loved and hated by Stan in equal measure.
I was robbed - ROBBED I SAY! - of apocalypse Ford and Wendy bonding with huge guns as well as grifter duo Dipper and Stan!
I love how last-minute Pacifica became a love interest. It felt really organic and natural that way. Not destined or planned from the start. She just grew, and his confidence from seeing her as an enemy gave him the strength to actually talk to her and later get to know her without stuttering over every word. It makes her redemption and friendship with Dipper feel realer.