#after he was gone from the narrative so like. not his fault later seasons would make him look bad in retrospect | Explore Tumblr Posts and Blogs

immaturityofthomasastruc · 3 years

Text

Gabriel Agreste: Interesting Villain, Horrible Character (400 Follower Special)

I'm honestly surprised more people didn't want me to talk about Gabriel, especially with how often I rag on how horrible of a person he is. But, three character analysis posts later, and we're going to talk about why the main villain of Miraculous Ladybug is a real letdown.

Gabriel Needs to give the Whining a Rest

The interesting thing is one of the few things I actually liked in Season 3 was Hawkmoth. His plans actually made sense (for the most part), and by playing the long game, he managed to turn Chloe against Ladybug and deprived her of several key allies. Granted, Season 4 immediately undid the latter, but I was still impressed by his strategy.

Generally, one of the better aspects of Gabriel as a character was just how over the top he was as Hawkmoth. Keith Silverstein is clearly giving it his all with his performance, and he is just so enjoyable to watch as a cartoonish supervillain.

And therein lies the first major problem with Gabriel as a character. While he is fun to watch as a simple supervillain, the show tries to give him more depth and unintentionally makes him worse.

In Season 2, when it was revealed that Gabriel was Hawkmoth, many fans speculated on what he needed the Miraculous for, until the Queen Bee Trilogy showed it was to save his possibly dead wife, Emilie. The idea of that is so the show can give more depth to its main villain, and I think it's an interesting idea in concept. After all, the road to Hell is paved with good intentions.

The problem is just how radically different Gabriel is normally compared to how he is as Hawkmoth. He always goes on about how he's “doing this for Emilie”, but it's hard to really sympathize with him when you consider he constantly gives evil monologues and evil laughs, really getting into the supervillain role. And let's not forget all of the “I'm going to wear Ladybug's skin as a suit” faces he loves to make.

Clearly this man is the picture of mental stability.

Gabriel's motivation for being Hawkmoth when compared to what he actually does as Hawkmoth is shady enough, but the thing is that the writers clearly want the audience to at least feel a little bad for him. They want to make the audience sympathize with him despite the way he acts with or without the mask. Without Miraculous Ladybug, he is routinely putting innocent lives in danger and never once shows regret for his actions. All he talks about is how “he's doing this for Emilie”, or that “he'll get their Miraculous soon”. There's no real reason to feel bad for him other than “because the script says so”.

Let's compare Gabriel to Malcolm Merlyn from Arrow. His big plan in the first season of the show is to create a machine that will cause an earthquake to destroy a crime-infested portion of Starling City, claiming to be trying to help everyone, but it's clear he is only doing it out of revenge for his wife getting killed by a criminal from that part of the city. In addition, throughout that season and future seasons, he always makes sure his plans lead to him benefiting in some way, showing he isn't just some noble man trying to achieve his goals with a less than noble method.

If we got some moments that showed that what Gabriel was doing was selfish, it would make him a more complex villain. But we don't get anything like that. What do we get instead? Well...

I Could Really Care Less About Emilie Agreste

We have known Gabriel's motivation has been to save his wife for a little over two years at this point, but at the same time, it's hard to believe that motivation because of how underdeveloped Emilie is as a character.

There have been a total of two lines in the entirety of the show that explain what happened to Emilie, and they're both vague as hell. One of them was from “Feast” that implied Emilie used the broken Peacock Miraculous.

Adrien: My mom used to have dizzy spells… just like Nathalie.

And the other that outright tells the audience what's happening to her in a clip show that most people will skip.

Nathalie: As I've watched Emilie falling deeper into an endless sleep, my sadness for her has deepened, too

That is literally all we get for an explanation, and nothing else. We have no idea of what she's like as a person or what her relationship with her family was like other than Gabriel and Adrien saying they miss her. Other than the way the narrative says she's important to Gabriel and Adrien, we don't really have a reason to care about her as a character. There have also been some lines that imply she went along with Gabriel's questionable parenting techniques, like how he was apparently only homeschooled as a kid (Origins) and never had a birthday party growing up (The Bubbler), so how do we even know if she's a good person? In fact, why not set up this question as a mystery to make the audience wonder if Gabriel has another reason to bring Emilie back?

It ultimately turns Emilie into a plot device and not a character that Gabriel and Adrien only bring up to make the audience feel bad for them, and meant to justify Gabriel's actions by saying that he's “doing this for his family”.

But hey, if he's doing this all for his family, surely Gabriel's redeeming traits come from his relationship with Adrien, right? Right?

As a Parent, Gabriel is Far From the Best

I've talked about this briefly before, but parenting in Miraculous Ladybug is written in such a black and white way, even by the standards of this show. Parents are portrayed in one of two ways. They're either amazing people who love and support their children unconditionally, or they're awful people who treat their own children like trash. And much like a lot of things in this show, there are times where the latter is treated like the former.

There are so many times where the narrative insists on making you see Gabriel as a troubled, but wellmeaning person who tries his best to be a good parent to Adrien, but it is far from the truth.

I'm not going to beat around the bush. Gabriel is a terrible parent. Like, he is awful at being a parent in so many ways, even before you find out he's Hawkmoth. In his first appearance, “The Bubbler”, he delegates getting Adrien a birthday present to Nathalie, his assistant. He literally can't be bothered to take time out of his schedule to get his own son a present for his birthday. And as the show goes on, he becomes more controlling and forbids Adrien from going out with his friends in other episodes (Captain Hardrock, Silencer). While this could be used to show Gabriel getting worse, it's never acknowledged in-universe, with Adrien continually defending his father essentially keeping him on house arrest.

“But IOTA!” You might say. “Gabriel has made efforts to bond with his son in some episodes.” While that might be true, most of those come right after his Akumas have almost gotten Adrien killed. He only hugged Adrien and made an attempt to learn more about him after Simon Says invaded their home, he only decided to watch that movie Emilie was in with Adrien after Gorizilla nearly dropped him off a building, and he only hugged Adrien again in public after he was turned into a gold statue by Style Queen.

In fact, let's talk about how Gabriel acts in the Queen Bee Trilogy. He actually decides to quit being Hawkmoth, but it's not because he realizes all the damage he's caused. Instead, he gave up because his “magnum opus”, a stronger than usual Akuma that only got the advantage on Ladybug ironically because of dumb luck, failed. Sure, he says he can't keep putting his son in danger, but he rarely ever acknowledges that he does so in the first place. When Riposte wanted to fight Adrien, Hawkmoth did nothing to stop her other than giving her a stern warning earlier on and nothing else. Where was this attitude earlier?

Hell, even then, he immediately goes back to being Hawkmoth as soon as he sees an opportunity, not even a day after his “mAgNuM oPuS” blew up in his face (because I guess Scarletmoth was just Plan B). If he made such a big deal about caring for his son, why didn't he try harder to spend time with him? Has he ever had doubts about what he's doing before? If Chloe didn't show up as Queen Bee, was he going to follow through on his promise and try to be a better father to Adrien instead of trying to get Ladybug and Cat Noir's Miraculous?

And yeah, the whole irony is that Gabriel is doing this for his family when he is unknowingly fighting his own son, which could lead to some interesting drama if done right. The idea of how Gabriel would react to his son being Cat Noir could really lead to some internal struggles for him to go through. But then we got “Cat Blanc”, which shows just how terrible of a character Gabriel is.

In an alternate timeline where he found out his son was Cat Noir, what does Gabriel do? Does he try to steal Adrien's Miraculous while he's sleeping? Does he reconsider his actions or realize he was endangering Adrien's life?

NOPE! He just decides to akumatize him all while emotionally tormenting him, before causing the end of the world.

This is honestly one of the most appalling things I've ever seen in any TV show, because it's basically an abusive father ordering his son to listen to him all while referencing his (kind of) dead mother to back up his point. And rather than use this to show how despicable Gabriel is, the episode decides to blame Marinette for this happening. Yes, according to the show, her present to Adrien caused several events to happen which caused Cat Blanc, but this logic makes no sense. It's like blaming the JFK assassination on the man who sold a gun to Lee Harvey Oswald, instead of, you know, Lee Harvey Oswald.

Not only was this episode yet another excuse to blame Marinette for something that wasn't her fault, it leads into the biggest problem I have with Gabriel as a character.

Sympathize with Gabriel? Surely, You Jest

After everything I've gone over regarding Gabriel as a character, after all the awful things I've talked about, are you really surprised that I don't feel bad for him at all?

Gabriel is just an awful character and a despicable human being, but the show just keeps wanting me to feel bad for him. It's just so hard to when you consider everything he's done has made him anything but sympathetic. I'm just saying, it's kind of hard to feel bad for someone who tries to start World War III with the only justification being “i'M dOiNg It FoR mY fAmIlY”, especially when he treats his family like crap.

The writers go out of their way to show how horrible Gabriel is as Hawkmoth/Shadowmoth, but they think because they throw in a few moments where he looks conflicted, we'll immediately feel bad for him. What makes so many people interested in seeing Chloe become a better person is that they can tell she's the victim of a troubled upbringing, and know that because she's only a teenager, she still has room to grow as a person, represented by having more honest moments of vulnerability. Gabriel is a grown man who once caused the apocalypse because of how terrible of a parent he is, and has even fewer sympathetic moments than Chloe does. Which one of these two is supposedly irredeemable? The answer may surprise you.

But the frustrating thing is that this kind of villain could have worked. Instead of making him this mustache-twirling psychopath, show how much Gabriel regrets what he has to do, but keeps pushing onward despite all the lives he's risking if it means that he can save his wife. Instead of making Gabriel like Lex Luthor, make him like Mr. Freeze, who is basic a better written version of him.

youtube

But as it stands, there's a good reason why Gabriel gets little to no respect as a character in the Miraculous Ladybug fandom, as a villain, or as a father.

#immaturity of thomas astruc #iota #miraculous ladybug #miraculous ladybug salt #gabriel agreste #hawkmoth #hawk moth #shadowmoth #shadow moth #emilie agreste #adrien agreste #cat noir #chat noir #cat blanc #chat blanc #nathalie sancoeur #mayura #marinette dupain cheng #ladybug

306 notes · View notes

seyaryminamoto · 3 years

Note

Do you think canon Zuko has any understanding of the idea of duty? That he, especially given that he aspires to political power, should act like his status as Prince gives him certain responsibilities? That doing what's best for the for Fire Nation or the world might require him to do things which make him unhappy or uncomfortable or require him to make grave personal sacrifices? Does he even understand duty as a concept?

Oof. Complicated questions, thus, this sat in my inbox for a veeeery long time.

I honestly, seriously, genuinely... don't think Zuko truly understood, at any point in canon, what it really meant to be a leader. I know many of us (and I think you, too?) don't particularly like the comics, but in my opinion, The Promise did a surprisingly decent job at highlighting several problems left in the wake of the end of the war, and perhaps unintentionally, this is one of the problems: upon becoming Fire Lord, Zuko is remarkably erratic, unsure of his choices, even seeking advice from his FATHER, of all people, because he has no idea what he's doing.

In the most favorable possible view of Iroh, he taught Zuko to be a better person. I don't entirely adscribe to this belief, but fine, let's concede that he did, or else this answer would never end: not just because you're a good person, however, are you guaranteed to be a good leader. Zuko, as we both know, is far from the best person in the world, and he is prone to making impulsive, emotional mistakes that can cause harm and trouble, and typically, Zuko doesn't face the consequences of most his actions, or the narrative just pins the blame on someone else. When we see this sort of behavior in a real-life politician, the immediate reaction we would have is "this guy is awful at his job", and sadly, I find myself thinking that quite often when it comes to Zuko's canon tenure as Fire Lord.

So... what is Zuko's concept of duty? Going by his pursuit of Aang in the first two seasons, duty is a task given to him by someone whose approval he seeks (in this case, Ozai) and he must pull it off, no matter what, to gain said approval. By Book 3, this logic still applies fairly easily to how Zuko acts over Iroh: I've highlighted in the past that the main motivation for Zuko's redemption is Iroh, doing right by Iroh, making amends to Iroh, regretting how he treated Iroh. He points that out explicitly in Ember Island Players, he does it as well indirectly by bringing up Iroh first of all, when confronting Ozai: this is his main priority. Ergo... I'd honestly say it's safe to judge that this is what Zuko regards as duty, as what he has to do. Iroh wants him to be Fire Lord? That's exactly what he becomes. The difficulties and complications in this particular line of work are taken for granted, and so, we have an outcome that was remarkably well depicted in The Promise, despite that comic's many glaring flaws: Zuko gets swept back and forth, twisted left and right by all the pressures and responsibilities, because he has no idea what he's doing as Fire Lord, and no idea/experience in how to be a real leader.

As far as I can tell, the core of the matter is that nobody really seems to have taken Zuko all that seriously as future Fire Lord. Ozai, evidently, wasn't training Zuko to be his personal heir. Ozai himself is a questionable source of information regarding learning what it means to be Fire Lord, considering he, as well, wasn't raised to take that role, just as he didn't raise Zuko for it. Yet Iroh didn't exactly teach Zuko how to lead anyone either, as far as I can tell: his lessons were meant to be of a more personal nature, and even then, Zuko had lots of trouble accepting most of them. Iroh's firebending lessons to Zuko were typically stunted in the basics because he was hot-headed and rash about getting to the intense and interesting stuff...

So: neither Ozai nor Iroh gave Zuko actual responsibilities. Ozai gave him a punishment Zuko was trying to endure however possible, a punishment he wanted to prove himself unworthy of by finding the Avatar and "regaining his honor". Then, Iroh punished Zuko as well by giving him the cold shoulder in Book 3, then he escaped and Zuko did everything he did, after betraying Ozai, to prove himself worthy of Iroh's kindness once again. It's not actual duty, the way it is in Azula's case: no doubt, Azula wants Ozai's approval too, but she has the madman's trust when it comes to finding her brother and uncle, to taking down the Avatar, and to conquering Ba Sing Se, as far as anyone can tell. I do doubt Ozai gave her all these missions at once, but he gave her the resources through which she pulled off ALL of them: she had the firebending procession, she had a ship, she had a train-tank, she had mounts... Zuko had a rundown ship that looked like a 1:10 scale version of every other ship in the harbor back in the very third episode: he was being punished. In contrast, Azula is entrusted with a mission, with LEADERSHIP, while Zuko has no visible, tangible, objective experience with the latter (consider how Azula steals the Dai Li's loyalty from under Long Feng: when did we see Zuko pulling off something like this? Even with Jet, Zuko was more of an associate to the Freedom Fighters, and Jet was still the leader).

I've always thought Zuko wasn't prepared to be Fire Lord, and the main reasons are the ones you indirectly point out through this ask: Zuko doesn't seem to treat the throne as a responsibility, but as his right. I won't get tired of pointing out that this was NOT Zuko's birthright, he was NOT born thinking he'd be Fire Lord: he was born to the second branch in the Fire Nation family. We literally SEE the day in which Lu Ten's death is revealed to him. According to somewhat official sources? He's ELEVEN in Zuko Alone's flashbacks. I, personally, think he looks a little younger than that, but I think that's the official wikia age, no idea where they got that info but that's what it says. Meaning...

Zuko, objectively, only had been crown prince for FIVE YEARS.

Zuko was NOT raised, not by his mother, not by his father, with the belief that the throne would one day be his (Ursa is gone before Ozai is crowned and Ozai clearly wanted Azula for the job rather than Zuko).

And yet, when you backtrack to the show? It seriously looks like that was the case. He clings to the throne in Books 1 and 2 as though he had no other purpose in life, as though this was everything that was promised to him (in contrast, Azula only ever indicates wanting the throne in Sozin's Comet: Part One). Even when he's an outlaw, discarded and cast out, he STILL talks about the throne, as though most his identity were built upon the notion that he must become Fire Lord: why? How come? Within five years, he's crafted his entire existence around being the heir to the throne? That's... a bit weird.

And a bit wishful, too. Which is why I commend that the comics show him struggling as Fire Lord, if anything they should've had him struggling MORE than that, because Zuko is simply NOT prepared for these responsibilities. He never gave any indication, any sign, of seeing it as such. He sees it as his right, his birthRIGHT. Why? Why more people don't ponder how utterly strange this behavior is, beats me. But it really does bother me that Zuko built his entire existence around being Fire Lord in a very similar way to how Korra built her own about being the Avatar. I have very little praise to give LOK in general, but the premise of Korra learning she was a person, a human, and not just the Avatar felt like the perfect parallel to Aang's story, where he was very much anchored in his humility and belief that he was just "one kid", and his rejection of his duties as the Avatar was meant to change gradually as he learned to accept himself as he was. Korra, however, never fully hit the mark with this subject, in my personal opinion... much as Zuko doesn't hit the mark either, since the show's only direct attempt to "deconstrue" Zuko's clinging to the throne happens in one dialogue, and his attachment to the idea is built up again, right afterwards:

Zuko: And then ... then you would come and take your rightful place on the throne? Iroh: No. Someone new must take the throne. An idealist with a pure heart and unquestionable honor. It has to be you, Prince Zuko. Zuko: Unquestionable honor? But I've made so many mistakes. Iroh: Yes, you have. You've struggled; you've suffered, but you have always followed your own path. You restored your own honor, and only you can restore the honor of the Fire Nation. Zuko: I'll try, Uncle.

And there we have it. The only point in the show (that I can remember) where Zuko seemed to not feel worthy of the throne and questioned he should be the one sitting on it (RIGHTFULLY!), buuuuuuuut he goes right back to wanting it, right afterwards, based on how this single exchange was enough for him to be 100% determined to take down his sister, merely a few lines later.

As for his willingness to make personal sacrifices... some might say he was outright willing to die for Katara in the finale -- though I'll point out he was trying to redirect the lightning anyway, didn't do it as well as he should have, but he wasn't exactly, consciously, trying to DIE for her... --, some might say that he left Mai behind in the FIre Nation, and that as well was a sacrifice... but was it? We don't see him missing her, or suffering about her fate, at any point in time after SHE sacrifices herself for him in the Boiling Rock (my biggest gripe over this particular canon couple is this, tbh). I feel like the show generally presents Zuko's situation as somewhat... self-sacrificial? Especially in Books 1 and 2, and yet that's really not the case: it isn't Zuko himself who makes the choice of traveling to find Aang, it's a punishment inflicted upon him.

This particular view upon his circumstances makes it so Zuko is never responsible for... well, any of his choices? It's always someone else's fault, therefore, whatever he suffers through, there's always someone he can (and usually does) resent for it. Therefore... I can't genuinely think of anything Zuko sacrificed in order to come as far as he did. He was forced to let go of things by his father, typically, by Zhao as well, maybe, but even then, it's not like we saw that he has a super healthy and happy relationship with, I don't know, Earth Kingdom people (his only meaningful positive EK bond was with Jin, which went nowhere and goes forgotten after a single mini episode)? The Palace staff? The commoners of the Fire Nation (they just treat him like a hero and he seems awkward and distant about it anyway, like he can really just do without their worship)? He doesn't have other friends beyond Azula's own friends... thus, he doesn't sacrifice anything that really matters. And in a sense, some people might say he doesn't have to sacrifice anything at all: he already went through so much strife and struggle that why would he need to sacrifice anything else? But the thing is... you DO have to learn to make such sacrifices if you're going to be a good king.

So often, people who devote themselves to their jobs have to consciously neglect their families, to name one thing: Zuko neglects Mai and she explodes at him for it in The Promise, then he just tries to get her back at all costs in Smoke & Shadow, with no thoughts given to the fact that maybe he isn't ready to juggle both a relationship and the throne, that maybe Mai could be happier with someone other than him, someone who can give her the attention and relationship she's looking for... THOSE are the sacrifices I'd be referring to, personally, sacrifices where his happiness and peace of mind have to be set aside for the sake of something much more important than himself, and I expect that's the kind of sacrifices you're referring to, too. I seriously don't think he's ready to make them, and with the comics as reference, there's seriously no evidence to suggest he's prepared to accept these burdens that come with the heavy mantle of leadership and ruling. I've never seen any signs of him being ready for it, myself. Maybe I need to reexamine the show and see if maybe I'm missing something... but I don't really think I am.

The worst part, for me, is that Zuko isn't even doing the bulk of the things he's doing in pursuit of genuine happiness: he's doing it over a sense of destiny. He never stops to reason with that destiny, to wonder if maybe he doesn't need to be Fire Lord, if maybe he could have a life beyond that role. Book 2 veeeery briefly suggests he MIGHT be on his way to questioning that destiny, but as I've said before, I don't see the sense in Zuko's big change of heart after the Appa incident considering we don't really understand what he's learned, other than how to be the perfect nephew for Iroh, apparently. Zuko never really is happy, as he says in the show: his happiest moments are with Mai and they're only like a 25% of his relationship with her, everything else is a mess (and his relationship with her isn't exactly the core of his character, either). So, the way I see it... Zuko is even worse off than it looks at first glance. He's out to fulfill a destiny he has never stopped to reason with, a destiny he's 100% sure is his, despite he has only been on that path, objectively, for five years? Despite he wasn't raised all along under the belief that this was what he was supposed to be? If given a chance to be genuinely happy, what on earth would he even do? A lot of the growth I gave him in Gladiator was based on that particular question: is the throne really what Zuko needs to be happy? It doesn't look like it, even in canon. If it's not... then it's not happiness he seeks, it's some sort of sense of assurance that he's doing the right thing, according to the figure of authority he follows at a set point in time: by Book 3, said authority is Iroh, and Iroh wants him on the throne. His motivation, as far as I can see it, is as simple as that.

Long story short... I don't think Zuko really has a strong grasp on many concepts that he absolutely should have reasoned with and worked out in order to become Fire Lord. In a sense, he's way too young for the role he's given, for the heavy burdens he has to deal with, and I'll NEVER see the sense in not having Iroh taking the throne (beyond how "poetic" the creators and writers found it to crown Zuko to finish his story, of course), at least for a short time, before Zuko can be ready. This is exactly why I wrote things that way in my oneshot where Azula takes Zuko's role, more or less: Iroh serves as regent while Azula prepares for taking the full role of Fire Lord when she's ready. I love her, she's awesome, I absolutely adore her character... but I don't think an Azula who was sidelined and sent on a long voyage with her uncle for YEARS could possibly be ready for the responsibilities of being Fire Lord right away.

Meanwhile? Iroh was given leadership of military missions enough times that he became a general in the Fire Nation forces. By all evidence, he was Fire Lord Azulon's pampered and spoiled son, whom he DID prepare for the duties of a Fire Lord for as long as Iroh was born: Iroh literally had fifty-ish years of preparation, as far as I can tell? How is he NOT the better suited person to take the throne, if just temporarily, while his nephew learns what it really means to rule by watching him, or by maybe learning leadership by managing smaller duties first, a specific town or city, and then putting his knowledge to good use by becoming Fire Lord properly?

Eh... because it wouldn't be an epic enough finale for the show, I suppose. That's the only answer I can find for this particular question.

So... yeah. That got long :'D but in short... I don't think Zuko has a strong grasp on responsibility and duty, let alone on the burdens inherent to these concepts. Yet more reasons why his character's arc can't hit all the marks it should, imo, to make it as great as the whole fandom is already convinced it is.

#zuko-always-lies #more zuko meta #and it got long #:'D #if anyone needs a read more #let me know and I'll add it #but for now #it is what it is #you know it really is sad to write all this when I'm more or less making peace with Zuko via Gladiator #and actually making him reason with soooo much stuff #that he never really had to in the show #*siiiiigh*#he'll never be my fav #that much is obvious #but he could be MORE #and it's sad that he's not #very sad

131 notes · View notes

curioussubjects · 3 years

Note

I feel bad discussing spn now that’s over but I’ve been wondering. Do you think dean actually meant it when he said “why does that something always seem to be you” (15.03)? Usually people blurt out what’s on their mind all of a sudden even if they didn’t mean to say it out loud. But it comes out because the person either thinks about it or actually believes it. Do you think at one point Dean truly blamed Cas for Mary? I mean, putting 15.09 aside of course.

Why do you feel bad discussing SPN now the show’s over, anon?? Don’t feel bad!

The short answer to your question, in my view, is that Dean was lashing out because of how his unaddressed trauma over Cas dying (cf. 7x01, purgatory, 12x23) gets entangled with him processing his grief over Mary and Jack. Everything is further exacerbated by Chuck’s villain reveal, and the events that lead to Rowena’s “death.” The longer answer to this question starts with acknowledging that feelings and trauma are complicated things that aren't always rational. And that's the crux of the matter for Dean in that moment he lashes out at Cas: he's not behaving rationally. We know Dean is angry, and historically doesn't handle anger well at all, but we also know, even without 15x09, that what Dean is really feeling is fear. In that moment, Dean is angry, and he's scared. If you watch the scene closely, too, you'll notice that Dean is still present enough to regret saying "why does that something always seem to be you" to Cas. He tenses up, he looks down and only looks up again in stubbornness defiance when Cas says he can't even look at him. Then Cas leaves, which has always been an issue for Dean. However warranted Cas's decision to leave was, it still hits Dean as rejection, too. All this is to say that the break up scene is extremely fraught, and Dean is the type of person who needs time to process events and emotions, and time to process is something he hasn't had since Mary disappeared.

So you ask: ok, cool, but what does all of that have to do with Cas dying, Liv? And here's where I say they have everything to do with Cas dying. I've talked about this before in tags and in other posts that I can't think of right now, but there are common occurrences in the events that have led to the more traumatic Cas deaths. If we think of Cas dying in 07x01, the context for that is as follows: Cas needs to solve a problem, he wants to ask Dean for help, but the desire to not burden him with it is greater, so Cas ends up handling the problem solo, which leads to disaster and also him dying. Or, well, apparently dying. But as far as Dean was concerned, Cas was dead, and he did struggle with it a lot during season 7. Now, fast-forward to s12 and the context of how Cas ends up dead then: Cas needs to solve a problem, part of him does want to cooperate with Sam and Dean to solve it, but he ultimately decides his desire to bring Dean a win, and to shield him and Sam from actions they'd suffer from are greater. Predictably, Cas ends up handling the problem solo, which leads to complications, and him being killed by Lucifer. Cas's death in 12x23 is significantly more traumatic to Dean than the one in 07x01 as season 13 starts with a grief arc that is devoted to Dean's suffering over Cas -- to the point that suffering overshadows even his grief over Mary. Granted, these are somewhat reductive summaries of the events of seasons 7 and 12, but the fact remains that those two deaths were remarkably similar as well as traumatic.

If you look at trauma theory in regards to literary analysis, you'll notice that a key element is repetition. The story of trauma is a story of echoes, which is partly why triggers are what they are for people who have PTSD. In particular, a situation doesn't need to be an exact replica in order to evoke a traumatic memory. A situation need only be similar enough to the traumatic event to cause a trauma response. Therefore, if we keep in mind that the events leading to 15x03 aren’t exact mirrors of 07x01 or 12x23, but too reminiscent for comfort, then Dean’s behavior toward Cas starts making a bit more sense -- not excused, but understandable. A quick summary of these similarities goes as follows: Cas notices there’s is something off with Jack because of his soul; he decides to investigate on his own to avoid worrying the Winchesters and also because of his own fear of losing his family. He only comes forward with what is happening after something potentially disastrous has happened (Mary’s death). Later, Cas deviates from the agreed plan to close the wound leading to hell, which leads to another disastrous consequence (Rowena’s death). What does this look like? Cas makes a decision to act on his own, and doesn’t tell Dean (or Sam) about it, something goes wrong, someone dies. Notably, here, moreover, is that Cas obviously doesn’t die, but he has paralleled Mary before (when he was dead in s13) and there’s an argument to be made that he would eventually parallel Rowena (with heaven), but that’s from a metanarrative perspective rather than Dean’s, and I digress.

Oh, It’s worth noting, too, that the way in which the arc starting with 14x18 and culminating in 15x03 presents a similar, but not quite, chain of events as those of previous seasons signals the intentionality of the trauma narrative.

But anyway, as we were: the resonance between the traumatic and triggering events, with the latter being traumatic in their own way, make Dean response in a way that is unfair for the situation at hand, but betray a deeper truth about Dean’s state of mind. Backtracking a little from 15x03, the first instance of Dean lashing out at Cas happens in 14x18 with the (heartbreaking) line: “Then you're dead to me.” At face value, those words are a condemnation of Cas and indicate a complete breakdown of the relationship, hinging on Jack having hurt/killed Mary. There is, however, another angle there, pain simmering beneath the surface, which makes more sense in its direction to Cas: the last time Jack, Mary, and Cas were involved in a tableaux like this, Cas died and Mary was gone. In what is an inversion of events, Mary is dead and Cas is...there, but as an echo of Jack’s birth, to say Cas is dead is a statement of fact: he did die, then. And as he was a parallel to Mary in the aftermath of Jack’s birth (and the rehashing of the John, Dean, Sam drama through Dean, Sam, and Jack), so is he a parallel to Mary here, except in circumstance. Both Mary and Cas had been after Jack. Mary happened to find him first, but Cas could’ve easily been the one to find him. Easily been the one who died. See the issue? This is obviously not to say that Dean’s grief and rage weren’t about Mary herself, but that the situations are entangled and murky.

Further entanglement and murkiness happen when Cas is forced to change the plan to seal the hell wound in 15x03. We all know, including Dean, that there was nothing Cas could’ve done instead of what he did. But besides the change of plans, there’s an undercurrent of anxiety of the wound closing before Cas makes it out. He does, of course, but that’s the what if, always. And to illustrate the possibility, Rowena sacrifices herself to close the wound. It’s not coincidence that the similarities here are tenuous considering the stress burden from everything that has happened since 14x18 has continued to grow with no respite.

The stage is set then for the confrontation that leads to Cas walking out of the bunker. Dean is clearly on edge, and Cas is in a particularly vulnerable and hopeless headspace:

CASTIEL: Sorry about Rowena. DEAN: You're sorry? Why didn't you just stick to the damn plan? CASTIEL: Belphegor was lying. DEAN: Belphegor's a demon. CASTIEL: He was using us. He wanted to eat every last soul to take over Hell, Earth, and every... DEAN: Yeah, and we would've figured it out... after. With Rowena. CASTIEL: The plan changed, Dean. Something went wrong. You know this. Something always goes wrong. DEAN: Yeah, why does that something always seem to be you?

The reason I went of this long journey to come back to this is so as to make clear that what Dean is talking about here isn’t about Rowena at all, and it’s not about Mary either. We know Dean didn’t really blame Cas for Mary, and that he didn’t blame him for Rowena, either. But do those bolded parts sound familiar?

CASTIEL: Listen. Raphael will kill us all. He'll turn the world into a graveyard. I had no choice.

DEAN: No, you had a choice. You just made the wrong one.

CASTIEL: You don't understand. It's complicated.

DEAN: No, actually, it's not, and you know that. Why else would you keep this whole thing a secret, huh, unless you knew that it was wrong? When crap like this comes around, we deal with it... Like we always have. What we don't do is we don't go out and make another deal with the Devil!

CASTIEL: It sounds so simple when you say it like that. Where were you when I needed to hear it?

DEAN: I was there. Where were you?

DEAN: You should've come to us for help, Cas.

How about:

DEAN: Cas, you can't – With everything that's going on, you can't just go dark like that. We didn't know what happened to you. We were worried. That's not okay. CASTIEL: Well, I didn't mean to add to your distress. I – Dean, I just keep failing. Again and again. When you were taken, I searched for months and I couldn't find you. And then Kelly escaped on my watch, and I couldn't find her. And I just wanted I needed to come back here with a win for you. For myself.

[...]

DEAN : We will find a better way. CASTIEL: You mean, we? DEAN : Yes, dumbass. We. You, me, and Sam, we're just better together. So now that you're back, let's go, Team Free Will. Let's get it done. CASTIEL: I'd like that. DEAN: Great.

“Then, you’re dead to me.” “...why does that something always seem to be you”

Because it’s Cas, and Cas being dead and gone. The tragedy of the divorce arc is that Cas ends up gone, too. However, this time, it’s Dean’s fault for not stopping him. Here, Dean’s fear of Cas dying leads to the anger that ultimately pushes him away. So, yeah, Dean meant what he said, but not in the way Cas took it. Not in the way it appeared as.

The other tragedy of Supernatural ending as it did is that Dean never got to heal from that trauma, he never got to confront Cas for it, either. Make no mistake, the empty deal is another spiral of Dean’s unaddressed trauma over Cas dying. The beats are the same, and the result is Cas, gone, and Dean, shattered. Sadly, we never got our final resolution, the climatic reunion that would mirror Dean’s prayer in purgatory and Cas’s confession in the dungeon. It’s a story left unfinished.

#destiel #dean winchester #deancas #supernatural #spn #spn meta #questions and answers #my writing #i keep saying the remaining huge piece of unaddressed trauma from dean is cas's death #remember that thing i keep repeating about dean's unaddressed trauma re: cas?#as you can see i do yell about this a whole lot #this thing got SO LONG ANON IM SORRY #ksjdhfkasjhfklasd #hopefully it's helpful?

320 notes · View notes

retro-wallflower · 2 years

Text

I think we all blame Merlin a little too much on things aren't exactly his fault. him being the main character kinda pushes the narrative into blaming him because he feels guilty, despite evidence to the contrary.

like I often hear people saying Morgana wouldn't have gone evil if Merlin had been more honest with her. but even though he kept his magic from her when she probably deserved to know, he still accepted her magic when she told him. she confided in him about her magic, her fears and her feelings on uther and Merlin was there for her. he listened to her and supported her, accepted her magic even though in Camelot most people wouldn't. having an ally like that in a place where there isn't many makes the world of difference.

after Merlin sends her to the druids, we don't really see her confiding in him again. she didn't have to feel quite as lonely as she did because merlin would've been there for her.

in the witchfinder, when Merlin is accused of magic, Morgana doesn't stand up for him. because one, she was likely in shock and two, she doesn't want to implicate herself. there's almost a sense of 'him or me' in the episode because when you're oppressed you're terrified you'll be found out. so both Merlin and Morgana don't make the most of a friendship which could've been so much more to them - they could've helped eachother feel less isolated, listened to eachothers woes, guided eachother from darkness when it beckoned.

Merlin doesn't take any action against Morgana, even though he's being incessantly told to, he shows her kindness. until in the fires of idirsholas. Morgana is on the precipice here, between good and evil - she knows she's the center of this spell but doesn't tell Merlin or Arthur. again, because she doesn't want to put suspicion on herself. merlin doesn't do anything to her until Arthur's life is on the line - he waits and waits until if he didn't stop this spell, Arthur would die.

in the later season we hear Morgana blame uther for what happened to her, then Arthur for following in his footsteps. she's bitter that Merlin poisoned her, but never brings up when she had the chance to confide in him, when he was her only ally. she doesn't blame him for her being alone, only for ruining her and morguese's plans.

but Merlin blames himself for all of this, for not being better to Morgana, for not trusting her with his magic, for making rash decisions and eventually for poisoning her. he bears the burden of how Morgana turned out, because he had knowledge she didn't. knowledge that could've changed things but, like Morgana, he was scared.

that's not to say Merlin telling Morgana of everything he knew about destiny and magic would've stopped her from betraying Camelot. I think Morgana was built to stand up against the oppressors, she always fought against uther when she disagreed with him. and this manifested over years of loneliness and fear that I don't think Merlin could've prevented.

it was a combination of choices from so many different people that led Morgana to join Morguese and those like her. while merlin undoubtedly holds some of the responsibility, it's unfair to say he was the catalyst for her turning to dark ideas when things that didn't even involve him (like in to kill the king) planted the seeds for her defection.

#i think fans myself included blame merlin for a lot things #probs because we see everything from his perspective #how his choices effected people and their consequences #and his subsequent guilt #but it wasnt just merlins choices that led morgana down that path #imo #it was uthers choices arthurs and morgana herself #we dont really see any healthy uprising in the show that i can remember rn #like everyone has different reactions to being systemically opressed and hated #but we only really see the two extreme ends of the spectrum #subservience self devaluation and hiding from merlin and outward anger and violence from morgana #morgana was right to stand up against uther and fight for her right to exist #but especially as time goes by and she goes through trauma after trauma the way she goes about it gets worse and worse #to the point that shes killed innocent people and is willing to hurt anyone that gets in her way #so no merlin is to blame for morganas downfall #i dont think him poisoning her in 2x12 made her go to morguese #i think she wouldve done it anyway at that point #anyway all my opinion just had to ramble 😌#bbcmorgana #merlin #merlin emrys #morgana #morgana pendragon #lady morgana #merlin and morgana #morgause #arthur pendragon #uther pendragon #merlin meta #morgana meta

20 notes · View notes

katytheinspiredworkaholic · 3 years

Text

Deleted Scenes: A Character Study (Part 1)

Longer title -- “Deleted Scenes: if the Criminal Minds writers had any idea how to incorporate dramatic back story into a working narrative, A Character Study”

Every once in a while I get impassioned about something that happens in the show, or more importantly that doesn’t happen in the show -- but should have. This will probably be one of at least a handful, but for now, enjoy the pinnacle of my rage. Fueled by all the OPENINGS for Hotch to talk about his past and the writers taking advantage of NONE OF THEM, but this was my breaking point.

Rating: General

Warnings: mentions of past child abuse

Pairing: none

Characters: Hotch, JJ

Episode, and placement: Season 10, Episode 05, “Boxed In”; after the episode

Word count: 2,404

Ao3 Link: https://archiveofourown.org/works/29796501/chapters/73302726

A Prime Example

Very few things get to Aaron Hotchner. Especially things that are said with no relatable context to him or the details people don’t know about his life. His past, in particular. He pushes them back in compartmentalized little boxes, carefully labeled and sorted and set aside to be unpacked at a later date. They aren’t important when he’s on a case. When a twelve-year-old boy is missing and his life hangs in the balance. When time is of the essence.

Which is why, on numerous occasions, he lets the things people say slide.

Especially on the topic of Nature versus Nurture.

He, himself, has written a handful of papers and reports on the very argument. There’s no doubt that Nature and Nurture have complicated roles in why ‘bad people do bad things’, in layman's terms. But the stigma surrounding it, cutting it into a black and white, all or nothing scenario will always rub him the wrong way. Not because he believes in it, one way or the other, but because he lives it. Day after day.

It’s not his team’s fault that they don’t know that. Hotch keeps those parts of his life to himself. Lessons only he has learned, and has grown from, and keeps as careful guidelines.

Until this case.

“I guess we all become our parents at some point.”

The way JJ had said this -- steady, with no hesitation, despite the choice in phrasing indicating it could be a right or wrong assumption -- gave the statement an air of inevitability. Creating a precedent in her mind that set Hotch's teeth on edge, though it had not been the appropriate moment to correct her on it. But it's not the first time JJ has said something along those lines.

“Does the son of a sociopath even really have a chance?”

Not a lot gets to Aaron Hotchner. Every other remark, observation, detail of an unsub’s correlation between their upbringing and their crimes he doesn’t let sting his exposition. It has never affected him before, and he vowed it never will. His father doesn’t get to take that away from him, too.

But the inevitability of her statement, indicating it was only a matter of time. No matter what he has done with his life or the person he has worked so hard to become and imbody, ultimately it wouldn’t matter in the end. That one day, Aaron Hotchner would be just like his father. He doesn’t know if he’d be able to live with himself, if that were to happen.

That single, throw-away sentence, with a pedestrian phrasing he has heard over and over again, gets to Hotch. It buries itself in him like a tick and refuses to let go, not for tweezers or fire or smothering indifference. It is still there, echoing in his head as if shouted down a long tunnel, even after they get back to Quantico and are finishing up the closing paperwork later that week. He finds himself barely able to glance at JJ for longer than a moment without hearing her words once more, and Hotch berates himself for it. Over and over again. This is why he shuts it all down and doesn’t talk about it. This is why he keeps it buried, where it will never resurface. It interferes with the present, with his work and his friendships and his relationship with his son.

His past needs to stay dead and buried in a plot in rural Virginia, where it belongs.

“I have those reports for you, Hotch,” JJ says, as if procured by his musings. He glances up for the briefest of moments, barely a blink, to acknowledge her and nod in thanks as she leaves the folders on his desk. Then he’s turning back to the SWAT team justification reports and expects that to be the last of it. Drowning himself in his work, where everything is strict codes and formal speech patterns and no emotional influence whatsoever.

Which is why he is surprised to hear JJ address him, again. Never having left his office.

“Sir?” The formal term catches his attention even more. “Is everything alright? Did something happen after you missed Halloween night?”

“What?” The question genuinely throws him off, though it doesn’t show on his face. He had missed Halloween, the first time he had ever done so, but Jack understood. He was always much more accepting of the parameters of Hotch’s job than Haley ever was. It was all he’s ever known. “Oh, no -- Jack had a fun night. Slept on the couch so I could see him in his costume when he got home. How was Henry’s night?”

“He and Will had a great time,” JJ answers, her careful, worried expression not waning in the face of Hotch’s slightly more upbeat tone. It’s something he slips into subconsciously when speaking about Jack, or to Jack, or anywhere Jack might hear. Compartmentalization. “I just… noticed you seem off.”

Hotch nods once, in acknowledgement, because he knows he has. He’s working on it. There was no need for an intervention like this. He’s the Team Leader and Unit Chief, he wasn’t the one people were supposed to be checking on.

“Delayed reaction to the case,” he answers, looking back to the SWAT team report and signing off on another section for mobilization after hours. Overtime justifications. Bureaucracy needs the ‘i’s dotted and ‘t’s crossed. “Nothing to worry about.”

JJ takes pause, and still doesn’t make for the door of his office. Like she needs to elaborate somehow, now that Hotch has left a small crack of an opening into his inner sanctum.

“I know we all have cases that hit us too close to home,” she concedes, the start of a much longer speech. “Young boys, even the troublemakers --”

“No, JJ, I appreciate the concern,” Hotch interrupts, and does his best to appease her by keeping the hardness off his face. “But it’s nothing to do with Jack or facts we found. It’s a personal matter.”

“Of course, it’s just --”

Years ago, that would have been that and JJ would have left his office. But time and history have blurred their relationship from boss and subordinate to friends and family. Personal matter no longer meant private, it meant a switch in barriers. It meant family.

She steps closer to his desk.

“You are always there for us, for these kinds of cases.” Her blue eyes bore into his, a technique Hotch recognizes as a fellow parent, to get through and make sure the person they are speaking to is really listening. “But, do you ever allow anyone to be there for you?”

He sighs through his nose. She’s not going to let this go, he can see that. No profiling needed.

“Sit.”

Closing the file, Hotch resigns himself to the fact that this was something inadvertently he’d been wanting to talk to JJ about, anyway. She had been a profiler for the team almost nearly as long as she’d been communications liaison, now, and although this could have waited for her performance review -- it tied into what was bothering him. The small smile of victory, and relief, slips from her lips as she sees the serious set to Hotch’s mouth. JJ is one hell of a profiler. The best ones did it without even knowing they were doing so.

“Wait… is this about me?” she looks mildly scandalized to even have to suggest it. Although really, it shouldn’t surprise her too much. Hotch knows he isn’t great about making things about himself, even when the conversation is supposed to be. So he gathers his thoughts, with such little prep time, and decides to start with where this whole debacle had begun.

In the car. When JJ had made her off-handed comment.

“The events of our lives shape us, and bring us here. As they do for everyone. It’s a technique that also helps us narrow down our profiles. How we were raised, what he have gone through. Heredity factors.”

JJ is staring hard at him, now. Deciphering the point, attempting to look ten steps ahead when Hotch has barely revealed three.

“You’re talking about Nature versus Nurture.”

“You could say that,” Hotch acquiesces. “In a lot of ways we are our parent’s lineage. Unless we choose not to be. I only became a prosecutor because my father was. But now, here I am.”

The parent’s lineage is a direct drop towards the conversation in the car. Both JJ and Hotch are intelligent adults, as is the entire team. Sometimes the most direct reference isn’t needed. Sometimes a key phrase is what links the mind back to the moment, replays it in the mind’s eye so it becomes fresh and there’s no confusion. Fewer words can connect more than a thousand, Hotch had learned that early on as well.

“I was… I was speaking more toward behavior,” JJ elaborates, still unaware where the conversation is going. How this has correlated to Hotch’s odd mood.

“I know you were. And my statement still stands,” Hotch answers plainly. “I’ve noticed that sometimes agents, myself included, let bias dictate their profiles. And we need to stray away from that kind of influence.”

JJ’s slight frown becomes defensive. Confused, but not angry. She’s learning quickly, Hotch notices.

“Nature and Nurture are a part of standard psychology practices. With a lot of information and testing to back it up. Spence could give you statistics for days, I’m sure. It’s proven.”

“Yes, as a theory. Not as a rule.” Hotch continues, giving her that steady, stern but gentle tone that borders on chastisement.

“I have yet to see an exception to that rule, when it comes to children of violent offenders,” JJ buckles down. “If they are the target of that violence, it warps them, Hotch. Plain and simple. How do they recover from something like that?” She’s shaking her head, getting caught up in the emotional aspect of it all over again. The hopelessness of its appearance.

“Any way they can.”

Now he has JJ’s attention, because she hears the shift as soon as it forms on his tongue. The air heavier, hazy like an old memory.

“Sometimes they leave home as soon as they graduate just to escape the situation, and spend their whole adult lives trying to eradicate it. By burying themselves in, say… Law School.” JJ’s stare goes vacant, and Hotch at least has the decency to look away from her as he continues. He has a point to make. “So they can put away people like their abuser. But when that’s not enough, prosecuting after the fact, they start to focus on ways to catch the offenders in the act. Save victims in the real world. Use what they know from experience, but in the field, so no one else slips through the cracks.”

“H-Hotch, I--”

“If there was a file on me as detailed as these on my desk, and there probably is somewhere in this building,” Hotch barrels on, not letting JJ get a word in edgewise. “Then the first seventeen years of my homelife would look nearly identical to John David Bidwell's childhood.” He didn’t need to go into further detail, though bullet points from the case all bust flash between them in neon.

Strict, domineering father figure. Church every Sunday, as a control and appearance factor. At home: a constant deluge of beratements, fear, shouting and fists. Something was always wrong, someone always deserved a punishment. No one was safe. They did what they could, followed the rules to a tee, but that wasn't always enough.

They survived, because that's all that they could do.

And he had.

“If you really require a physical, living exception to the rule, I’d like to hope we know each other well enough that you would consider myself that exception.” It’s the closest he’s ever come to admitting what happened in his father’s household, and Hotch knows that’s as far as he will let it go. No elaboration needed. “Even if I can be ‘a bit of a bully’.”

Stunned and shocked, the last part probably wasn’t needed. But, again, Hotch has a point he’s trying to get across -- and he wants it to make an impact.

“Hotch, I’m so sorry,” JJ croaks out, and he still can’t look right at her.

“Don’t be, you didn’t know,” he soothes her, swallowing a little hard. “No one on the team does, not even Dave.”

“--No one?”

“The only one who probably did was Gideon, but not because I told him. He was just that good of a profiler. You will be, too, one day -- I see that level of potential in you. Profilers are always learning, evolving, developing their skills.” Hotch finally turns his head, and catches sight of JJ with her eyes bright and her nose red. Her tell-tale physical signs that she’s been holding back tears. “Let this be one of those moments.”

She nods, wipes at her eyes discreetly, and collects herself with more strength than Hotch or anyone else ever gives her credit for.

“Was he ever convicted? Your father?”

“No,” Hotch says, level. “He died of colon cancer ten years ago. He never even met Jack. Neither did my mother, though I am sorry for that.”

Silence stretches in the wake of Hotch’s reveal, and JJ only breaks it when she can’t seem to keep it back any more.

“You’re… you’re not really a bully. You know.”

“Yes, I am,” Hotch tells her, the smallest traces of a smile smoothing the sharp edges of his face. “But only when I choose to be. When it matters.”

JJ huffs out a watery laugh, scoots to the edge of her seat as if to stand, but hesitates once more.

“You didn’t have to tell me. But thank you. I’m… I’m glad you felt that you could.”

The sentiment warms the inside of Hotch’s chest, ice cold from the memories he never dredged up if he could afford it. It helps ease them back under the floorboards of his mind, where they belong.

“Thank you for listening.”

She was right. He didn’t confide in anyone, and he doesn’t know if this will help him -- more than likely, not -- but it helped JJ. And that’s what mattered. His team. His family. Growing, learning, becoming all the better for it. The best people he had ever known.

The family he had chosen for himself.

“Goodnight, Hotch.”

“Night, JJ.”

-end scene-

#I got irrationally angered and wrote a thing #criminal minds fanfiction #Aaron Hotchner #jennifer jareau #no ships #angst #cw: mentioned child abuse #katyswriting #idk what I'm doing but I'm doing it in style

60 notes · View notes

jadelotusflower · 3 years

Text

Robin Hood Rewatch: 1x13 A Clue: No

“Previously on” recaps can be annoying, but there is an art to it and I love a good one. This is a very, very good one, summarising the last episode with ramping tension as the music builds, then cuts to a different take of the last scene as the theme song starts, and we’re into the opening credits.

This is a long one, so it’s going under the cut:

Guy estimates that the “inner circle” of Robin’s gang is “a dozen at the most” and I find it very funny that neither he nor Vaisey have twigged that it’s always the same five people around him. What’s more annoying than funny is that they don’t know how many are in the “outer circle” because that really should have been A Thing in the show (Forrest and Hanton should have come back to guest star! I will never let this go!) After all, we see Little John with more men in the first episode, there are other outlaws in the forest/across the shire that are either working with Robin, or pose a risk to them, and I wish this had been explored.

Djaq manhandling and holding her sword to Pitts’s throat - I love Djaq.

The first arrow Robin shoots is intended for Vaisey, but one of the guards inconveniently walks in front and gets it in the chest. The second arrow is intended for Vaisey as well but he ducks (”my tooth!”) so we can’t fault the writing for a credible attempt at Why Doesn’t Robin Just Kill The Sheriff, because in this scene at least, he tries.

Bye Pitts. You certainly were.

I actually really love this scene (which probably seemed odd given the high body count), but Robin drawing his sword and charging, with Much, Djaq, and John backing him up to avenge Marian’s apparent death/make a final stand, as the music shifts from the jaunty Rescue Theme to Marian’s Theme, just gets me every time.

Although thanks to the cast commentary, I can’t unsee Djaq flipping that guy over her head twice, but hey, it’s a badass move. Clearly they didn’t shoot enough coverage of this fight, because we get the same action from several different angles.

Other than the flashback in episode 8, I think this is the only time we see Robin in Crusader mode, and just how lethal he (and the gang) can be when unleashed and with nothing to lose. Even when the enemy retreats Robin remains kind of wild-eyed with rage unsated, and it takes a beat for him to snap out of it. It’s symbolism time - he sticks his sword in the ground and leaves it there, and we don’t see it again this episode (or much in season 2).

There’s some nice acting going on from everyone in this scene - just utter exhaustion, Allan and Will oblivious to why the rest are so distraught, Much taking it upon himself to tell them but can’t say the words, and Robin with the finality of “she’s dead.” Their faces!

Djaq is still holding two swords as she enters the cave, which is a nice character beat - no doubt the fight also brought back unpleasant memories/triggers for her, and she remains on edge, for the moment unwilling to give up her defences even when the threat is gone.

I really love this scene too (the gang mourning Marian) and I think it’s quite deftly written - Djaq’s immediate reaction being the importance of a quick burial (as per Islamic tradition), Robin trying to keep it together, attempting to ask John/Will to build a coffin but unable to, so deflecting to ask Djaq to prepare Marian’s body, before trying twice again; John soothing him and taking charge. Will’s single tear and speaking of Marian’s goodness. Much responding with “Good? Oh, she was... She was...” looking to Robin because of course his thoughts are for Robin’s grief before his own, and also that his own relationship with Marian was complex. Allan: “She was alright...yeah” that says so much, and of course John’s “Her, we liked.” Again, some fine acting, kudos everyone.

“I loved her and I never told her” is ironic because Robin still won’t tell her until halfway through the next season, and if he had in the aftermath of her apparent death he could have spared himself a lot of the angst of the rest of the episode. But of course he doesn’t tell her, doesn’t learn from this moment, because emotions are hard, and sometimes we make the same mistakes over and over again.

I really love that it’s Allan that notices that Marian is alive, and his little “told ya” flourish.

Score note: while Marian is “dead” her Theme is strings, when she opens her eyes, it’s back to the guitar.

Guy’s guilt in finding out his impending marriage to Marian is based on false pretenses - would he still have forced the marriage if he’d known that from the start?

Djaq still has her two swords as they take Marian back to Knighton.

Guy, if your first instinct when told Marian is not at home is that she’s run away rather than marry you...maybe take a hint? “She cannot run from me” is a big yikes, and this confuses me as to Guy’s motivation in this scene. Did he intend to tell Marian the truth, but then convince himself otherwise (because “the excitement of the wedding” =/= “the wedding excites her”), but then why so angry when he thinks shes run? The difference between getting someone go/being left, I suppose.

Illness is a perfectly plausible explanation for delaying the wedding that no one seems to think of.

Edward is actually pretty bang on in this scene with Robin from a father’s perspective, telling him to let Marian go if he cannot stop it, and do the right thing. On the other hand...

“I am sick of doing the right thing” is why Robin is such a compelling character for me - because it is hard to always be good, to be held to that higher standard, and make the unselfish choice. I enjoy narratives that explore that, and this show is surprisingly unflinching about it, exemplified by:

The next scene, which is one of the most emotionally brutal/hard to watch of the entire show, in which Robin lashes out and does everything to drive Much away, including calling him “a pox” and a “small man” until Much’s heart visibly breaks.

Now I don’t want to excuse Robin here, because he is objectively awful to someone who doesn’t deserve it, who is trying to give him support but also telling him some much needed hard truths (even if it is slightly self-serving, which is what what seems to set Robin off). But at the end of the day, if he loves Marian he needs to accept that it is her choice to marry Guy, to “do the right thing” to (she thinks) protect her father - and later of he does just that. For now Edward and Much are both right, it is more important for him to try and protect the king from Vaisey, because if he is ousted and Richard back on the throne so many lives would be improved, including the people of Locksley. But Robin has been pushed to breaking point all season, and has now snapped and can’t see reason, but is stuck in his own grief/rage.

But unlike previously, when Robin said regrettable things in the heat of the moment and then immediately took them back, this is a calculated attack designed to hurt Much the most, because he loves Robin so much that it takes A Lot to push him away. It’s a bold move to make your hero so unlikable in such a moment, because Robin really is unforgivably cruel here, and trust the audience to understand why. I mean, I don’t want to bang on about the PTSD, but it’s (partly) the PTSD, based on a triggering, precipitating event causing a self-destructive spiral. Robin needs some Ye Olde Therapy.

For all the talk about Robin getting his title and lands back, nothing is said about what happens to Gisborne once he does, other than that they can’t prove he was the one who tried to assassinate Richard. Because really, Richard probably would believe Robin even though the tattoo was burned away, and Guy’s certainly committed other crimes that could be testified to just like they’re intending for Vaisey - and let’s be real, it’s not like a king needs evidence to order someone’s death (hello, season 2 finale). Boom - Guy executed, marriage to Marian annulled, problem solved!

So, the scene between Marian and Guy, in which Marian is more concerned with whether or not Guy tried to kill the king than the fact that he stabbed her. But its understandable, because Marian thinks there’s no way out that doesn’t risk her father’s life, and it’s easier to convince herself that maybe Guy didn’t do it to make the best of things. I think she does have some kind of feelings for him, or is at least moved by his feelings for her, and believes if nothing else she can influence him/continue working from the inside; giving up the mantle of the Nightwatchman but doing the same work (in a different way) as Lady Gisborne.

And then it’s Robin/Marian angst, round 3, and it’s a far cry from their interaction in the cave milliseconds away from “I love yous” - in both tone and body language they’re back in defensive positions talking past one another. The tension, it be thick.

Marian is making her best rationalisation with “deprived of love” and Robin not at all buying the Woobification 101. Once she tells him her decision to marry Guy, he accepts it, but it’s Marian’s reaction that’s telling, she’s surprised that he doesn’t argue, deep down she wants him to fight for her, to say that the real reason she shouldn’t marry Guy is because he loves her. It’s quite a contrast from the previous scene where Guy was very open about how he feels about her, while Robin deflects, but while she was conflicted about Guy trying to kiss her, she’s frustrated, disappointed, and angry when Robin leaves.

But really, this is rather unfair of Marian, because Robin did already declare himself in the cave (”we should be together”) without her reciprocation, so expecting him to take the first step again without any encouragement is a bit much.

Would a depressed person sit slumped against a tree all night?

“But by taking Marian in holy wedlock, I will wash away those crimes. Her pure heart will cleanse mine.” Yeah...not going to touch that one. I appreciate that there’s a lot going on with Guy and many, many people find it compelling, but I’m afraid it’s not really a narrative that interests me.

Speaking of pure hearts: Much. Faced with the same choice he was counseling Robin on, but with the additional wrinkle of knowing the king’s an imposter, he still decides to stop the wedding. “Her heart belongs to another” is A Moment and I don’t know exactly why but I find his very soft pleas following this and calling her “my lady” very affecting.

She’s beauty and she’s grace, she punched Guy in the face.

“A trap. I knew it.” I haaaaate this line. NO YOU DIDN’T KNOW IT ROBIN YOU KNEW NOTHING OF THE KIND IF YOU HAD KNOWN YOU WOULD BE EVEN MORE OF A DICK FOR LEAVING UGGGHHHH.

“We can’t be seen together” Right in front of my salad two guards on front gate duty, who get front row tickets to the kiss. Look at them! They’re right there! This show drives me absolutely bonkers sometimes.

I do love this dress though.

“An audience with the king has been suspended!” Going out on one last pun.

Regardless, I really love this episode. Despite the lack of fallout from the emotional wringer they all went through, I can’t help but smile when the gang does their silly little jump for joy at the end.

#robin hood bbc #robin hood rewatch #1x13 a clue: no #long post

23 notes · View notes

kitkatopinions · 3 years

Note

OZPIN

Ozpin for the RWBY character asks.

My top three ships for the character

Note: For these ships, I’m exclusively talking about gray-haired Professor Ozpin, and I’ve long written Oz to be at least somewhat affected by the age of his hosts, I’ve long written him to be around the same age as Ironwood and Qrow (I mean, he looks the same age and I missed Raven’s lines suggesting he was a teacher or headmaster when Team STRQ was in school,) and I’ve also long headcanoned that when he first hosted in Ozpin, the person he was hosting in chose to merge with him right away. So while he was Ozpin, there was no ‘Ozpin talks sometimes, Oz talks sometimes,’ or sharing a head. I’ve never done much shipping for Oz, but all that kind of lines up to at least make that version of him pretty shippable.

So yeah, Ozpin/Glynda could be a power couple of wholly devoted, tired, stressed caregivers trying to mentor sixty some kids at once. XD Ozpin/Amber has literally no real content, but they could look good together and she’s a non-character like Summer, but I see them as having had a lot of similarities in being kind and soft spoken. I also don’t mind Ozpin/Roman as a ‘once upon a time, Roman used to flirt with him all the time before anything went bad and Ozpin responded with amused tolerance and never really took it seriously, but a lot of their acquaintances thought they were seeing each other... Which would just make it hurt worse and be one more thing Oz blames himself for when Roman falls into a life of crime,

My three least favorite ships for the character

Oz/Cinder, as previously stated, once someone kills someone, there’s no coming back from it. Also, he doesn’t need to get romantic advancements from any abusive manipulative magic girl who just wants to use and hurt him and abuses children on the side too. Oz/Hazel. Hazel is an abuser! He beat Oz! He blamed Oz for things that weren’t his fault and used him as an excuse for all his vile actions. Gross. And Oz/Salem takes the top spot for very obvious reasons. This one’s even more gross than Oz/Hazel.

My biggest criticism for the character

Honestly, the way he’s treated by the narrative of the show with much less sympathy than he should be. I love flawed characters, leaders that do their best but make lots of mistakes, but the narrative treated him as one hundred percent in the wrong, no discussion, and therefore deserving of Qrow hitting him (out of character moment!) and Team RWBY ripping his secrets from him forcibly, making him relive his trauma in high def, yelling at him and then being glad he was gone, and not wanting him back and then only begrudgingly and seriously accepting his apology (out of character, especially for Blake!) Especially since Ruby also didn’t have a plan and lied about potentially life saving information to an ally and then even when she made her broadcast to the world, she left out tons of information there too! Which, don’t get me wrong, is understandable for her, but the narrative should’ve recognized that she was doing the same things Ozpin did and they should’ve had her gain sympathy and understanding for him. And the narrative also gave credence to Hazel somehow, treating it seriously when he warns Oscar ‘no more Gretchens’ despite Hazel being a super abusive, murderous bastard who was trying to murder kids and making the world a worse place. I’ve had so many people tell me ‘Team RWBY are going to apologize to Ozpin and realize they were wrong to treat him the way they did,’ but it never happened. Because the writers wanted us to think of Oz as a morally gray person who had to be taught a lesson by Team RWBY, rather than an abuse victim who deserved some sympathy and understanding who shouldn’t have been abused again just for making a mistake. I don’t know why the writers thought pretending Team RWBY and Qrow were in the right would be okay, but I hate it.

My favorite thing about the character

I love Oz so much, but my favorite thing about him might be his dynamic with Qrow in seasons 3-5. Of course it all went bad in season 6, but I love a close friends, almost brothers dynamic where one does everything for the other and is wholly devoted to him, would die for him at the drop of a hat. And I love a mentor-father figure always throwing himself into protecting a kid and leaning on his shoulder while the kid is nervous, but excited and happy over it and wanting his affection and approval... And with Oz (and the headcanon that he’s affected by the age of his host,) I get both! There’s a lot more to love, but that’s my favorite thing. God, they flourish in fan fictions...

A headcanon I have about them

I already touched on some of my headcanons for him and his host, but also...‘Ozpin’ was that host’s last name, and his first name was actually Orpheus, but his team in Beacon and his inner circle only ever called him by his last name.

What I would change about them if I was making a re-write

Okay, so hear me out, I’d still have people get mad at him for all his secret keeping and having no plan to defeat Salem, and I’d probably still have him temporarily retreat. But A. I wouldn’t have the punch, and instead, I’d have Qrow more ‘quietly disappointed’ than anything else and he’d regret it almost immediately and feel guilty about it (even though in that case, his feelings would be valid,) and B. Blake would be on Ozpin’s side. Seriously, Blake knows what abuse feels like, she knows it’s hard to trust after, she knows Oz has been through worse, even more than she can imagine. She should’ve been standing up for him, saying that even though he was wrong to lie, she gets why. And C. I’d have the people who have a harder time understanding and especially Ruby learn and grow and start to realize how much weight was on his shoulders while they make many of the same mistakes. D. I’d have Ozpin start coming back in V7, and apologize to Qrow in private (and have Qrow apologize back,) and then I’d have him mostly silent, ‘coming out to talk’ only really to James or Qrow and communicating through Oscar when the need calls for it, and he’d kind of step down and let James (and kind of, Ruby) make the choices for the group. Ruby at the very least would apologize to him by the end of the seventh season. And I’d totally still have him kidnapped and taken to Salem because I love that sweet sweet whump, but I’d have Hazel die like the unredeemed asshole he was and I think I’d have Qrow involved in the rescue somehow.

What I I think of their character allusion and what (if anything) I would change about it

Oz acts as both the Wizard of Oz and the Princess Ozma character merged into one allusion, and I honestly think some of it is really cleverly done. The Wizard of Oz had arrived in Oz and was treated as a god, and decided to lean into it due to Oz’s lack of current leadership and used his magician tricks to make it seem like he had magic (reflecting Oz agreeing to Salem making them seem like gods by using what was - in their world - perfectly ordinary magic, which Oz did in an attempt to grant leadership to a world he was tasked with improving.) The Wizard is treated as a king in Oz and is presented as a magic infallible solution to all of Dorothy (and her group’s) problems, only for that to be proven to not be the case, as he can only grant temporary pacifying placebos (reflecting Oz’s attempts to keep Salem back and present a false time of peace to the world while fighting a secret war that he has no plan to be able to end.) The wizard temporarily leaves the Land of Oz only to return to it later (like Ozpin dying only to come back,) and when he returns, he acts as a guide to Dorothy and dumps plot exposition about his origins (guiding the kids, the Lost Fable,) and is then permitted to remain in the Land of Oz by a magic girl who is the true leader (reflective of Ruby and the group ‘graciously’ letting him stay in their group.) Then, there’s Princess Ozma, the extremely benevolent and kind ageless fairy princess, descended from a long line of fairy princess’s, who is the rightful ruler of the land of Oz. Princess Ozma was friendly to outsiders and disliked violence, preferring peaceful solutions to conflict, and when she was first introduced in the books, it was while trapped in the body of a young boy named ‘Tip’ with no recollection of the life as Princess Ozma. I think all of that pretty obviously lines up with Ozma/Ozpin the RWBY character really well! I don’t mind this conjoined character allusion. I’m actually pretty dang fond of this one, I think this (along with Sun) is one of the few well done character allusions in RWBY.

14 notes · View notes

littlefoxwithbighat · 3 years

Text

Hi! This is talking about the plot of the dream smp in a meta sense and its a bit negative. The person behind this blog wants to remind you that you can skip if it's not for you and they still love the SMP. :)

ALL DISCUSSION IS ABOUT CHARACTERS. DON'T ATTACK CCS OR I WILL STEAL YOUR KNEECAPS.

I can't lie; I'm really annoyed and worried at the way the writers are handling Tommys character at the moment, and am increasingly concerned about it messing up the plot.

I wasn't very happy with the finale. I don't think that means all is lost, I think they can pull it back but it's going to take some work. I was worried about the way that things were handled before but the green festival was actually very well handled, so my worries were mostly assuaged. But yesterday? I don't know.

The fact nobody lost a cannon death is kind of disappointing. The weight of blowing up an entire city/ (country?) brutally is somewhat lost if there is no human loss. Nobody was hurt physically and the only people this had a big mental impact on was Tommy and Tubbo, everyone else wasn't very attached to L'manburg or had gone rogue, or were detatched from the while situation. And maybe it's the fact it's happened to them before or that they still have each other or that it seems odd/ frustrating that they still care so much about this place or that it was always a losing battle and they knew it, but I dont find myself really pitying them like I probably should. And I think that comes down to character growth or lack thereof, which I'll discuss later.

Niki and Fundy have started a villain arc, or at least a violent nihilism arc, and I actually don't mind it, in fact I'm a fan but it wasnt really foreshadowed, or really just showing them cracking as much as it should have been. I would guess this has mostly been started for both of them to tie Niki into the plot and I can't blame her for wanting that. Fundys acting is very good, and I REALLY hope the writers handle this well. For Fundy, regarding the fact that his father is going to be resurrected and that Fundy is following in his footsteps... If the writers don't realise that connection and make this a big step in Fundys narrative I will scream. Also Funboo bros are very interesting character foils and I hope their relationship is maintained so that they can play of off each other and also man I just really want them to keep being friends, it's a generally positive healthy relationship that makes both characters sympathetic and we need that right now. As for Niki, her character motivations seem to be mostly centered around Tommy and on the one hand I'm like ehhhh, because Tommy's character already gets a disproportionate amount of attention in terms of narrative, and I get it, but recently he's been a bit TOO much of the protagonist for a multi-person POV improve server... and I'm apprehensive. However on the other hand this has potential for a nice confrontation between Tommy and Niki. If that happens I want Tommy to be aware that this is going to happen and not talk over Niki, and I don't want it to be brushed over. I think it would be best if it was just the two of them. This also gives a nice chance for Tommy to examine his trauma with Dream and explain his motivations and Niki to get her anger out. I also want it to end positively, because it absolutely can and lack of communication when the viewer knows how to fix it is OK as a plot device sometimes but incredibly frustrating if it keeps happening (cough, Tommy and Techno).

Ranboo is reacting to the plot amazingly and I have as usual only praise for him, go, you funky enderman boy, go.

Wilbur is getting resurrected which is a thousand percent because Will wants the plot back and honestly I don't really mind, I think he'll do a good job. However I really hope he speaks to everybody about their characters, particularly Fundy, Ranboo and Niki because I don't want their characterisation and arcs to be thrown away.

Tubbo is doing very well, and I don't have many complaints to be honest. I hope he continues to get in with the acting with no shame, because he's an amazing VA when he wants to be, but sometimes he undercuts serious moments a little too much by laughing. Same criticism for Phil actually. But both are doing good.

On the theme of that, while I don't mind tension relievers or humour in serious moments there are sometimes too many. It was a lot worse about a month back and it was improving, but it seems to be creeping back in and ehhh. It's kind of Marvel-esque and not in a good way? I think it has a lot to do with bloopers and for some reason there are loads at the moment? Like Wilburs arc had almost none and this arc there's at least 2 every moment. Which isn't always their fault but maybe they need to take more steps to prevent them.

Techno is doing OK, he's quite a meta character so I'm not too mad about him undercutting serious moments but sometimes he does do it too much or in the wrong place. Like making jokes about Connor completely over the top of Tommy and Tubbos reunion, you know an event which has been foreshadowed for yoinks, prevented them from getting a proper flow going and kind of ruined it. And that made the reunion really dissapointing, which is a shame because it could have been so cool. However his characterisation is consistent and dedicated, his goals and relationships are clear and he's getting humanised more which is nice, and his monologues are great. I'm curious to see what he does now NL'M is gone but I have total faith in him.

Now Tommy. Oh Tommy. His character is such a mess at the moment, which is a shame because there were moments I saw people doubting his character choices and I was behind him.

Firstly the relationship with Techno fell apart. That was inevitable. Tommy didn't care about anarchy and Techno didn't care about the discs and both of their goals would impede the others. But the way Tommy talks about Techno is so... No? And now I understand that Tommy is going to have a biased perspective on the whole situation, and that's fine and good, but his character is so wrong about Techno it feels weird and painful? Like even from his perspective it went down differently to how he talks about it. They don't listen to each other and it's like watching two people scream at a wall.

The issue is the relationship was fairly well developed. I struggle to see Tommy saying he saw Techno as a friend but Techno never saw him as a friend because hold on, what? Techno, here's a respiration helmet because of that one of thing you told me about your trauma, a disc because those make you happy, plus top tier armour and weaponry, plus I'm going to spend time with you, calm you down from panic attacks, hide you and protect you from Dream, let you wander around L'manburg and achieve your own goals and help you plan things out Techno and Tommy didn't get ANYTHING from that? Plus after Techno opens up about his goals and his trauma, do the one thing that would hurt him the most, (use and then betray him) and then directly oppose his goals after he helped me? Ugh. It just leaves a bad taste in my mouth. I know he would never let Tubbo get hurt and thats fine, but there were ways around that. If you're framing this character as the protagonist, then he needs to be sympathetic or at least grow and Tommy using Techno again without remorse and then refusing to listen to his perspective or show any gratitude for anything makes it difficult for viewers to empathise with him in my opinion. Have him betray Techno and then listen to Techno when he explains why Tommys betrayal hurt him and apologise, fine. Have him listen to Techno and try and find a way to keep Tubbo safe regardless, fine. Have him betray Techno but apologetically and still trying to avoid Techo getting crushed or killed, fine. But THIS? Im sympathetic towards Tommys character but this throws away so much potential character development for Tommy, where at least he saw Techno as a person, and not only that but a nice person who despite everything has set aside everything to help him? And then for him to be exactly where he was at the end of season 1, both literally, and emotionally ? I understand this is a child soldier with trauma but this is supposed to be our protagonist and if he doesn't grow, and isn't sympathetic and destroys someone we care about, how can we root for him?

Now all of this could be forgivable, not great, but forgivable, if Tommy had moved on from the discs. The Goddamn Discs™. And the worse part is all the dominoes were lined up to suggest he had! We had his moment of "he watched me" where he realised Dream was the villain and controlling him, "I've become worse than everyone I hated" good, amazing, I see where this is going, "The discs were worth more than you ever were!" and then he retracts and apologises and you think horray! Tommy has realised the discs were being used to control him and if he doesn't care about them, they hold no value! Now he's going to realise that his friends are more important and he's going to stop going after the discs. His new character motivation can be killing Dream and protecting his friends, especially Tubbo. It's clearly angled this way, and this way the plot progresses and Tommy with it. What marvellous character development. Look at him go.

And THEN, after everything that's happened he says the most important thing is the disc and I want them back!?!? EH !!? Why... Who... Who gave the OK on that writing decision? That's so static and boring and unsympathetic! And then he's back to asking people do fight for L'manburg? What?

I'll be honest I was kind go hoping either Tommy or Tubbo would die with L'manburg. I didn't mind it they didn't, there are a thousand ways to make the plot work without them dying, but this was not a great one.

PLEASE let Tommy have some growth. Yes he's had some from not caring about L'manburg to fighting for it in season one, but that was ages ago and he doesnt seem to have changed since then in any way that really counts. And I know this is harsh and he's traumatised but you have to understand I am talking about this in a sense of characters and narrative and NOT in terms of real life. Tommy needs to be better and dynamic because he is a charcacter and I want him to be a good one.

Having said all that, here are my thoughts on the future of the SMP.

Firstly, I am worried that becuse it is such a good source of content, especially for Tommy that they will never ever kill his character and leave him fighting with Dream for eternity. And I love the Dream SMP but I've seen stories that get dragged out for plot or content, and however much you think you want it to never end, let me tell you, yes you do. It will get stale and repetitive and I want the dream smp, or at least Tommys arc to go out with a beautiful and brilliant and fabulous plot ending instead of being dragged into the dirt. And then maybe new characters take the spotlight. Just please god give it a goode ending.

I also really hope they don't throw other things away to make Tommy the centre of attention, especially if it's destructive to the plot, or kind of weird and obnoxious.

Secondly, I am intrigued about the prison and Schlatts book to Dream and Technos favour and the egg and what that entails and I hope they really think through those plot points carefully and make them work, and don't forget them or throw them away.

Thirdly, I am intrigued for Wilburs return and hope that he manages to fix it cohesively without too crazy a change of pace and style and keeping characters (especially Ranboo and Fundy and Niki) consistent.

I hope they prep for the future and think things thought and communicate with each other.

It might be interesting to see other countries finally discussed but I don't know how much that would intefere with other plot points so we'll see.

That's all! Reminder that this is about characters and plot and this is just a few criticisms. I love the dream smp, but there are somethings I wanted to get of my chest. Please be respectful and feel free to discuss in the notes. Also, again, no hate to any CCs!

#mcyt #mcytumblr #dream smp theories #dream smp analysis #dream smp #dream smp spoilers #dream smp meta #tommy mcyt #negativity #negativity tw #dream smp plot

34 notes · View notes

turtle-paced · 4 years

Text

GoT Re-Watch: Fine-Toothed Comb Edition

This post is also available on my wordpress.

All right. We know what this episode is. We know what we’re digging into here. Only one more recap to go after this one…

8.05 – The Bells

(1:59) We open the episode with a bit of mild treason. Someone (Varys) is spilling the beans about Jon’s parentage.

(2:35) This isn’t spelled out in so many words, but the strong implication here is that Varys sent this little kid to go poison Dany. This didn’t come out of nowhere, but boy did it ever escalate quickly. Make one decision Varys disagrees with, even when he’s got no good alternatives, and bam you’re up for assassination.

Note how Varys’ actions here aren’t given much scrutiny. This is because it would reveal the hypocrisy in a second flat. When Varys says the ends justify the means, the narrative is silent. When Dany says the ends justify the means, the narrative goes out of its way to demonise her. I don’t believe the ends justify the means, but there is a fundamental lack of consistency here.

(3:52) Not to mention the goddamned fucking nerve of portraying Dany’s refusal to accept food as evidence that her mental state is deteriorating, when the show not one minute ago established that her food was poisoned. It’s the famous question – is it paranoia when they really are out to get you?

This is not a case of Dany harbouring the irrational and unfounded belief that her breakfast will coagulate into the Dread Brunchmonster and devour her. Given that Dany’s soldiers are watching the poisoner, this appears to be a case of Dany forming the belief that someone is trying to poison her and being justified in her belief. I gotta say, looking at the evidence and coming up with an accurate conclusion based on that evidence does not support narrative contentions of irrationality.

Unfortunately for Dany, the narrative’s out to get her as well. She cannot win. Eat the poisoned food and die, refuse the poisoned food and have Varys imply damaging things about her mental state.

(4:37) Varys is committing all the treason in his last scenes. This is the worst of the lot, in the sense that he’s soliciting Dany’s #1 fan for a coup on an open beach in plain view of her Hand, who knows that Varys can now be counted a political enemy. Square character pegs, round plot holes. Was Varys ever established to be this incompetent? But we’re getting close to the end here and he needs to die, so bye!

Notice also the competence flip. Varys is trying to do “the right thing,” so he sucks at it. Much like Jon’s ineffectual when he tries to do the right thing. Hell, pick a Stark, any Stark, and they were probably ineffectual when they tried to do the right thing. Compare Euron, who’s only out to kick shit down, and succeeds when he’s got no right to because he’s doing a shitty, plot-convenient thing. Now Dany’s in that Euron zone. She’s effortlessly detecting Varys’ treason because the narrative has decided she’s a bad guy now. We’ll get back to this when the fighting starts.

(5:19) If I was tempted to count one thing this season, one thing, it would be how many times Jon says “she’s my queen” or variation.

(6:03) We track Tyrion into this scene. It becomes quite noticeable at this point that we aren’t seeing much from Dany’s PoV, but approach her actions from the viewpoint of the men around her. We don’t get insight into why Dany thinks someone’s betrayed her or her emotional reaction to coming to this conclusion, we only get the scenes of Varys (absolutely positively 100% justifiably, for certain) betraying her, and Tyrion approaching her with the news. Keep that in mind for later.

It’s also worth mentioning the weather flip. Last season Dragonstone was perpetually sunny. Now it’s gone back to Stannis-in-charge weather.

(6:11) Oh my god! She’s not perfectly groomed! Flee for your lives, people, if she can leave her hair unbrushed she’s capable of anything!

Now, not taking care of your appearance and hygiene can be an indicator that someone’s got some mental issues going on. Depression, pretty commonly. But to understate the issue just a bit, depression does not automatically translate into mass murder. Not all mental disorders are the same. And sure as shit not all people with mental disorders are violent. Most aren’t. Nor is this a careful depiction of a character struggling with mental illness that does result in violent tendencies. This is just flat out crazy = violent, “madness” striking out of a clear blue sky because the writers said so.

(6:57) So, basically, this game of telephone worked exactly like Dany thought it would, for the exactly reasons she thought it would. Dany’s relationship with reality is still going strong.

Dany’s “madness,” right now, is basically the fact that she’s upset over being betrayed, and grieving and angry after recently witnessing the violent deaths of two close friends. The emotional reaction to this doesn’t even look disproportionate. The narrative is Very Concerned that Dany is crazy…but all they’ve shown us is a woman going through a real rough time.

Equating a woman experiencing turbulent emotions with insanity is sexist as fuck and does no favours for people experiencing mental illness, either. Hysterical women! They cannot be trusted to lead.

Mind you, it’s not an improvement when the writers apparently drop the insanity angle just as abruptly as they introduced it. Problems for later!

(7:44) “She trusted you to spread secrets that could destroy your own queen.” Now this, this isn’t so well-supported. Sansa hasn’t spent much time with Tyrion in season eight, and as far as we can tell, never observed his relationship with Varys. She’s been in the same scenes with them, but I think she’s only heard them exchange one line of dialogue, in a group setting. Why would Sansa think that Tyrion would immediately tell Varys without clearing it with Dany? Why would Dany think that Sansa would do this? (Undermine her in a general sense, yes, Dany’s got good reasons for suspecting that. Undermining her in this specific way…not so much.)

This, I think, is a case of the writers not keeping track of which characters have seen which interactions. Resulting in all characters knowing all the same things about their relationships.

If you’re going to hinge plot developments on this sort of thing, you have to set it up. If Sansa’s machinations are the starting point of the rumours about Jon’s parentage, leading to actual betrayals of Dany, you have to show how that plan worked. (See also: Littlefinger’s downfall.)

(9:25) It may have come about for stupid reasons, but Varys’ arrest is, I think, nicely understated. No dialogue, just Gray Worm entering Varys’ room with shackles.

(10:31) Varys nods his acceptance that Tyrion told on him to Dany. Seriously, though, what even was Varys’ plotting this episode? Show!Ned could have given him a few pointers.

Then he gets a few lines about how he hopes that he’s wrong about Dany, because Varys enlisting a small child into his assassination plot was only for the best. His desire for a better world was right and noble, despite the fact he was willing to use violence and treachery to achieve his ends. (Don’t think about it too much, okay?) Jon and Tyrion are clearly in denial over Dany’s mental decline.

(12:12) And that’s the end of Varys. Didn’t take long. Varys had to lose a lot of competence very quickly to enable that loose end to be wrapped up so quickly.

(12:58) This is a scene from Dany’s PoV, inviting the viewer to share her grief over Missandei’s death. I think this might actually be the last scene we get from Dany’s PoV.

(14:24) “This was a victory for [Sansa].” What’s also apparent at the end of the series is that we’re now at a point where we’ve got reasonable men trying to work together, and women pit against each other at every side. The surviving male protagonists have cordial relationships with each other, by and large – and the surviving female progatonists hate each other, by and large. The surviving female protagonists identify the other female protagonists as threats. The exception here is Sansa and Arya, but remember season seven? Oh boy, I sure do.

Forget the question of who’s more at fault for the Dany-Sansa conflict, because the answer is “the writers.” They’re the ones who can’t imagine that Dany and Sansa might be able to talk out their problems honestly, even if they don’t like each other, distinguishing each from Cersei’s inability to collaborate.

Again, for clarity – the problem isn’t that female characters are in conflict, the problem is that the majority of the female characters are in conflict, almost exclusively with other female characters, where the men are talking about their problems reasonably.

(15:56) Doubling down on completely awful ideas (yes, the bad ideas are increasing exponentially), we’re back to the idea that Dany is sad/insane over the fact that nobody loves her, and Jon’s romantic rejection furthers her mental decline and determination to kill her way to the top.

This is just…completely awful.

First, there’s the fact that Dany’s inability to win love in Westeros is a massive plot contrivance. Why hasn’t this character been able to gain affection? Because the writers haven’t been allowing the consequences of Cersei’s actions to play out (you know, the ones from the time she blew up the Sept of Baelor and murdered a lot of very popular political figures), making Dany look worse in comparison. Also because xenophobia, which for some reason the narrative is now actively supporting.

Second, after all the traumatic bullshit this character’s been through, it’s romantic rejection that sends her over the edge? Seriously? Rejection sucks, but come the fuck on. Is Dany going literally insane over rejection remotely in character, from what we’ve seen of her over the course of the seven previous seasons?

Thus far the dragon queen has needed a man like a fish needs a bicycle. This is flippin’ insulting.

Oh and it’s bad writing for Jon because we still don’t have the info that he’s squicked out by Dany being his aunt. No insight into his identity crisis whatsoever.

(16:07) We’re having the same argument yet again. We’ve been having this argument off and on for two seasons. Yes, Dany assaulting the city will cause a lot of casualties. This is bad. In-universe, however, the people who’ve been advocating for not assaulting the city directly have had their chance, and they failed. Dany gave their ideas a shot and they didn’t work. So what’s the greater evil here? Assaulting the city directly, or leaving Cersei in charge?

Note that the showrunners have ceased to talk about or show what makes Cersei in charge such a colossally bad idea in general. We’ve seen her actions against Dany, and they were bad, but we haven’t seen her going out and oppressing the population for a few seasons now. We get a line about the consequences of resisting Cersei, but when we’re told and not shown, this doesn’t have the same impact. We cannot even establish that this happened. Could’ve used a scene of that, instead of that garbage with Euron. Plus, over the course of the series, Tyrion has been quite consistently wrong about how willing his sister is to use violence and when she’s willing to use it.

Furthermore, we’ve got some double standards here! I know, I’m as surprised as you are. Dany is proposing a plan that will cause a lot of casualties, and this is used as justification for the men around her thinking she’s unfit to rule. When the series’ male leaders proposed and enacted plans that would kill a lot of people – including Tyrion, defending King’s Landing against Stannis! – that was not used to determine their fitness. Fitness for leadership was judged on other qualities.

(16:17) “You can’t expect them to be heroes, they’re hostages,” says Tyrion, apparently forgetting that his earlier advice to Dany relied on the people of King’s Landing rising up against Cersei.

(16:47) Now we’re turning a long-term argument, i.e. leaving Cersei in charge will cause more deaths over the long run than assaulting King’s Landing will in the short term (keeping in mind just who blew up the Sept of Baelor), into further evidence of Dany’s insanity and/or evil. You can think what you like about this argument, but it’s not an unreasonable argument to explore.

The showrunners have posed us a nasty ethical and moral problem in this plot. As wars tend to throw up. The only thing they seem to have to say about solutions, though, is “not this way.” Worse, they’re not actually addressing the counter-arguments, and basically going for the ad hom “but Dany is crazy and/or evil” instead.

(16:58) “If the city surrenders, they will ring the bells and raise the gates.” Continuity alert: back in S2, it was said outright that bells =/= surrender.

(18:04) Just establishing Jaime’s offscreen teleportation.

(18:14) Another undeniably crazy and/or evil moment from Dany: she puts Tyrion on a performance improvement plan. The madwoman. It’s not like he’s failed her before!

Oh, wait. He’s barely done anything but fail her.

(18:31) Scenes of overwhelmingly white civilians (over the course of the episode, I did spot a few people of colour amongst the King’s Landing extras), complete with vulnerable young children, continue pouring through the gates of King’s Landing. And yes, I do have to mention that they’re overwhelmingly white, given the subsequent depiction of Dany’s loyalist armies, who are overwhelmingly people of colour. We’ll talk about that then, when we’re fully dealing with Dany as a villain.

(19:54) Exhibit…what are we up to? I lost count…in “the writers kinda forgot Tyrion’s orders directly led to the death of Davos’ son, and they both know this.” Davos is fucking committing treason for Tyrion now.

(20:11) Oh, god, it’s Arya and Sandor encountering a nameless guard. This is going to be “witty,” isn’t it? Much like the writers have no way for Tyrion to elicit character-sensitive information but drinking games, they’ve got no way for Arya and Sandor to prove their likeability except random encounters with guards.

(21:15) Show!Tyrion’s shithouse Valyrian is basically Bella Swan’s clumsiness. It’s an endearing flaw that’s meant to show they aren’t perfect – but in its shallowness only shows that as conceived, this character was not given enough real flaws.

(22:24) Just confirming that Jaime’s here for Cersei, even believing her cause to be utterly futile. I really hope nobody was invested in Jaime/Brienne, because that’s just fucking brutal.

(22:36) Convince Cersei to change her course of action? To recap, Cersei’s lied about sending people north to help fight the zombie army, hired someone to kill the pair of these dunces, and rejected Dany’s most recent offer of peaceful surrender by murdering her BFF in front of her. Given the slightest opportunity to screw Team Let’s Not Get Turned Into Zombies over, she has screwed them over. What grounds do any of these characters have to think they’ve got even half a chance to convince her that this time, this time, she should really not screw them over? Fourthtime lucky?

At least Jaime’s got the excuse of a self-destructive co-dependent relationship. Tyrion’s just throwing Jaime’s life away here.

(22:49) “To be honest, I never really cared much for [the civilians of King’s Landing].” If it weren’t for, you know, the other thing, this might have been the worst characterisation thing this season and this series. This blatantly does not accord with the Jaime we saw develop over the course of season three. The reveal that Jaime gave up whatever good name he had in order to protect five hundred thousand people from burning to death calls for a substantial reevaluation of his character. It puts a lot of his actions and reactions into a very different context.

And now, in his last episode, the penultimate episode of the series, we get “lol no never mattered to me! All incest, all the time, baby!”

Flippin’ insulting. To any viewer who was remotely invested in Jaime’s storyline or character.

(23:02) Continuing to use Cersei’s pregnancy to humanise her. This just – I’m not sure if I can fully articulate how much this bugs me, and on how many levels. I’ll come back to the issue as the episode progresses, especially in her death scene, but for now…

Cersei’s pregnancy is not going to automatically radically change who she is as a person. I mean, it hypothetically could, it’s not outside the realms of possibility, but it’s by no means a given. She’s a grown-ass woman who’s already given birth to three children (possibly four, depending on retcons). She’s got a bunch of other strong life experiences and strongly-held beliefs. This pregnancy does not define her life. If she’s been saying “no, fuck off, I think I can win this and that will be best for my unborn child,” perhaps that’s worth paying attention to? Perhaps it’s her argument that needs to be addressed, rather than simply saying “but the baby”?

Note to characters: the issue you’re having with Cersei is that she mistakenly believes she can win the war, not that she’s hanging on to her position out of self-destructive spite. She might be deluding herself, but if anyone’s trying to convince her, they have to deal with that delusion. Not rely on appeals to emotion alone.

(23:50) Now it’s Tyrion committing some mild treason. To save Cersei. Who hired someone to kill him and Jaime both, in the last couple of episodes. Remember when Tyrion had actually complicated feelings about Cersei, back in the day? When he hated her for the shit she pulled and the way she treated him, but couldn’t totally give up on caring about her because she was his sister?

Yeah, I can’t help but notice that the more the show wants to demonise Daenerys for her actions in removing Cersei’s regime, the less complex Tyrion’s feelings about Cersei become.

(24:12) “Sail right past the Iron Fleet and into a new life?” Jaime asks, and Tyrion responds, “There isn’t going to be an Iron Fleet much longer.” And, what, Tyrion thinks that Jaime can sail right past Dany’s own forces, dragon included? Like finding Cersei won’t be real high up on Dany’s to-do list following gaining control of King’s Landing? Granted, if last episode is anything to go by, Dany’s field of vision while riding on Drogon is severely limited, but even so.

(25:39) So the brothers Lannister share their final farewell. Speaking of relationships that became less complex. This hits basically the same notes as their parting at the end of season four did. How has this relationship changed? How have the people involved changed? Where’s the progress? Where’s the journey? What is the story?

(25:54) The omissions from Tyrion’s book arc are rubbed in as he thanks Jaime for not treating him like a monster.

(26:37) Now here we have a shot of a bell tower, and I think I might be done with most of my substantive commentary for this episode. I’ll do a bit of narration so people can keep track of who’s going where and the like. We’ll try to keep the teleportation to the show and not the recap. There’ll be a few things of substance, and we’ll get to them, but most of the rest of this 77-minute episode is noisy destruction.

At least it’ll be well-lit noisy destruction. Ugh, and to think I asked for a daytime fight scene in my pre-S8 wishlist.

(27:03) Establishing the Iron Fleet with their ballistae, and Euron’s presence aboard.

(27:15) Establishing more Lannister forces on the walls, also with ballistae. The amount of hustling and bustling and locking and loading going on, this is shaping up to be a real fair fight.

(28:16) Arya and Sandor have made it inside the city.

(28:44) Jaime is also trying to make it inside the city. He took his glove off especially for this purpose. Meanwhile, the Golden Company march out.

(29:15) Here’s a nice detail – the Golden Company’s shields all have golden skulls painted on them.

(30:31) Cersei heads out onto the balcony, because that’s what she does these days, watch things from her balcony. She’s wearing a nice shade of red today, and it couldn’t possibly be coincidental that Cersei swaps back to the red outfits as Dany moves into all black outfits, could it? Huh, so weird. And extraordinarily subtle.

(31:30) We’ve got a bit of a subplot with this mother and daughter trying to enter the city. I sense heartstring-tugging…

(33:03) And now, establishing Daenerys’ location. On a dragon. In the sky. The music kicks in with her arrival.

(33:31) Daenerys starts doing what she should have done well over a season ago, and starts torching the Iron Fleet. Note that all aimbot tendencies have been turned off, today. Diabolus ex machina is no longer affecting Dany because she is the diabolus ex machina now, and nobody will be able to stop her. The forces of evil (as defined by the show, not me) will now be delivering an almighty curbstomping to the forces of also evil, and the innocent bystanders. It’s gritty. It’s real.

(33:58) It’s not too late for Euron to make his final miraculous escape from a ship just torched by Drogon, though. See you in half an hour, Euron! I’m sure you’ll make things worse when you show up.

(34:07) So that’s the Iron Fleet dealt with! Man, why didn’t Dany just do this back in 7.02 or 7.03? This is super easy! Could have saved a lot of lives amongst Dany’s Ironborn allies, Dornish allies, and Reach allies, too. Were their lives not worth preserving? Shortened the war, saved a lot of lives there. Increased resources available to deal with the ice zombies, possibly spread out the impact of those losses…

(34:47) So that’s the Lannister forces on the walls dealt with! Man, why didn’t Dany just do this back in 7.03 or 7.04? This is super easy!

I note that Dany’s attack on the Red Keep, while causing a lot of fatalities amongst the men on the walls, hasn’t caused any destruction in the city as yet. You wouldn’t want to rely on a fire not spreading, and anyone worried about the risks would be fucking right to do so, but it would seem to indicate that a bit of targeting can go on here. It’s not a case of “use fire in city = fwoosh!” Almost like risks can be managed, chances taken…

(36:20) So that’s the Golden Company dealt with! I’m glad they were in the story! They sure had an impact!

You know I’m looking at all this fire and destruction and thinking, wow, a character sure was set up to fail in multiple ways these past two seasons…and not very well, either.

(38:22) Dialogue! What a novelty! Anyhow, Qyburn tells us that all Cersei’s anti-dragon weapons have been destroyed.

(41:15) The Lannister soldiers defending the streets start to throw down their swords. Here is where the episode gets…nasty. Also the situation with Daenerys and her cause becomes narratively irretrievable. The fight is over.

We’ve got a lot of close up shots of Dany, but she hasn’t had any dialogue since…lemme check…about the seventeen-minute mark of the episode. We have not been tracking what she thinks of the city’s fall. The story decided she was a bad guy now at the end of the last episode, and we’re just cementing it now.

(43:07) The bells start ringing here, officially signifying surrender.

(43:31) But wait! Dany is listening to the bells and breathing heavily! She sobs, takes off towards the Red Keep –

(44:33) And starts randomly spraying fire on civilians. That’s right! No dialogue! No nothing! Dany hears bells and fucking snaps. Goes from liberator to mass murderer in a second. Starts killing thousands of people without a word. Because after everything, it’s the surrender she can’t handle.

This just doesn’t track. I’m sorry. It doesn’t. We spent all that time debating how much force Dany should use against legitimate military targets, even when the possibility of severe collateral damage was involved, and in this moment Dany starts going after civilians directly. Clearly a different sort of thing. Where is the connection? The logic? “Dany is willing to accept the risks of high collateral damage, therefore she’s just a bell ring away from murdering civilians deliberately and personally.” “Dany is willing to use extreme force against active military targets, therefore she’s willing to use extreme force against surrendered enemies and civilians.” What?

There are ways you can bridge those gaps. There’s the way I think the books may well go down in TWoW – Dany misjudges the risks out of aggression (and ignorance of the magical explosives in town), and her actions end up causing far more destruction than she was okay with. There’s the way where Dany believes that the civilians are a threat to her, out of paranoia or delusion (note: this requires more set-up than Dany not enjoying herself at a party and failing to brush her hair after her spymaster tried to poison her). The show’s done neither, leaving us no explanation for why Dany has crossed what’s a pretty clear moral and ethical line, above and beyond any moral ambiguity in using her dragon against a military target.

If we’re going for “her logic is twisted because she’s ~crazy~”, the viewer still needs that explanation. Why did she think this made sense? This is a huge, radical action in the story, whether Dany’s insane or whether she drank evil juice with her non-poisoned breakfast, so where’s the scaffolding around this decision? She couldn’t even shout down to Jon that it wasn’t over until Cersei is dead?

Also note that the close-ups on Dany’s face and the heavy breathing would indicate that this is an emotional decision for Dany. These close-ups have been used thus far this season to indicate her growing insanity/“insanity”. Another issue to discuss next episode.

Mostly, I think the showrunners have subbed Dany in for JonCon – who, unlike Dany, does have bell-related surrender trauma. Here’s the thing though, and I know this is a minor point easily missed in these thousand-page apiece books: JonCon isn’t Dany. Find/replace is not a good way to adapt cool storylines from the books.

In addition to this, it’s real fucking irksome that after all the song and dance a few seasons back about the strong female characters taking charge, we get this. Female characters in charge, yes, but female characters who are both crazy and/or evil, which we can see because they keep blowing up the same damn city. I hate that this is the final conflict of the series. What’s more dangerous than the humanity-obliterating ice zombies? Women being in charge of Westeros, because they keep blowing up the same damn city. I hate that this is how they decided to treat arguably the series’ most prominent female character, let’s make her Cersei at her evilest, but even eviller and more fiery. Isn’t it cool that we went back on what was thus far a pretty straightforwardly heroic narrative, blowing all her moments of moral ambiguity and ruthlessness far out of proportion to her arc as a whole to that point? I bet this will subvert everyone’s expectations!

I just – I just want to know why. Really I do. Why was this decision made? What did the writers think the connotations of their decisions were? How did the writers think this would play? Honestly, now.

This also marks the point where the episode starts to just fucking suck to watch, because it’s another half hour of previously sympathetic characters mass murdering civilians. Half a fucking hour. Mass slaughter of extras. It’s destruction porn, nothing more. It’s not designed to make the audience think about the moral hazards of war and power, it’s meant to hurt the audience.

Asshole storytelling – the story gave the audience something to want, in Daenerys, won over several seasons of seeing her overcome internal and external obstacles. It gave the audience Daenerys’ success. And then the story abruptly yanked it away by having Dany mass murder thousands upon thousands of innocent civilians, and told the audience they were stupid for not seeing it coming earlier.

*sigh* Let’s get the rest of this over with.

(45:05) Jon is mildly bemused by Grey Worm murdering a Lannister soldier unprovoked. Can we buy a reaction? Nor does he do anything you might expect a leader to do, such as exert authority over the situation on the ground.

I mean, I know that they’re going for Jon being shocked into numbness, and as a member of the audience I can relate to the emotion. But when everyone’s reaction to things is Dull Surprise, nobody’s reaction stands out.

(45:23) Okay. Crucial seconds after the fact, Jon starts reacting. What this scene also does is establish that the Northern armies are getting well into the sacking and slaughtering (as does the extended sequence of wanton slaughter afterwards). That’s yet another thing I’m going to be keeping in mind for next episode.

(46:42) Speaking of Dull Surprise. The problem’s not Peter Dinklage (nor Kit Harrington, actually), the problem’s the lack of variety in response.

(47:03) Davos here starts ushering civilians out of the line of fire and proves himself far more effective a leader in the moment than…well. Just about anyone else present, actually.

(47:43) Oh no! The Dull Surprise has taken over the extras, too!

(48:10) Jon Snow, still wandering around scenes of carnage as they just sort of occur around him.

(49:03) Lena Headey’s doing her best with this “keep the emoting minimal” instruction, but yeah, nobody thus far has been allowed to have a reaction to Dany burning a city down for funsies beyond maybe a slightly dropped jaw.

(49:29) Meanwhile, Jaime has made it all the way around the Red Keep.

(49:35) …where, quite coincidentally, Euron is hanging out. So I was wrong, it was twenty minutes until he showed up for his last diabolus ex machina.

(50:17) So this isn’t so much a climactic duel against an epic backdrop as a misplaced ego fight. Euron’s revolting and basically a plot device for bad things to happen to other people, Jaime’s burned all sympathy anyone may have ever had for him, they’re fighting over Cersei of all people, Euron’s only doing this to be fucking obnoxious one last time…what’s the audience supposed to hope for here, beyond “I hope you both die”?

(50:33) While Jaime and Euron fight, the Red Keep’s getting absolutely torched.

(51:51) Two minutes of Jaime and Euron flailing at each other, concluding with Jaime getting stabbed, nobody cares…

(52:08) Qyburn continues to give Cersei notifications on how fucked her situation is, and he convinces her to leave. Strange, he never once mentioned the fact that she’s pregnant to do so.

(52:48) Green fire is visible in the city, another thing which makes me think that the showrunners were lifting from the books. Badly, with key things out of context (like the order of events), but grabbing from planned book events nevertheless.

(53:33) Back at the Euron-Jaime dick-fighting contest, Jaime stabs Euron. Still don’t care.

(54:09) Euron dies insisting how awesome he is for stabbing Jaime. How nice for him.

(54:35) Arya and Sandor make it into the map room. They’re not even dusty.

(54:43) We get a close-up of Sandor, Arya fuzzy in the background, as Sandor tells Arya to go home. This, much like the scene they shared last episode, puts Sandor in the protagonist role. Not Arya.

For a while now, Arya has felt like an afterthought. Her skills built up to killing the Night’s King through the magic of hasty retcons, but as far as an internal character journey goes, she’s been a side character in other people’s development. First Sansa, now Sandor. Again, this is something I anticipate talking about in a bit more detail in the next episode’s recap, but I think the showrunners lost sight of Arya Stark as a character in the last few season, and started bouncing her between plot points they wanted her involved in.

(55:04) Sandor stops here to tell Arya the point of their respective stories. Somewhat belatedly, I might add, given that she’s already slaughtered most of House Frey. Just in case it wasn’t coming across, or was somehow undermined by the events that are about to transpire.

(55:32) After being informed of the futility of her quest, Arya remembers, “Oh hey! I have a few things to live for! Thanks for pointing that out!” She doesn’t come to this on her own, she has to be told this.

(56:53) Sandor appears on the stairs, ready for Cleganebowl.

(57:36) Gregor rather abruptly kills Qyburn (bye!) and Cersei excuses herself from a scene she clearly has no business in. Seriously, it’s like she alked onto the wrong set.

(57:59) So here we are for a far more hyped up duel, another fight to the death against an epic backdrop. And again: why should I, the viewer, care? Sandor just said that this was absolutely pointless, that they’re both going to die anyway. The stakes of this fight…aren’t real high. The emotional torque relies on people wanting Sandor to get revenge at the direct expense of finding some way to move on with his life – the very path he just told Arya was a better one.

(59:20) Ah, the true love of the series: Cersei and Jaime. Reunited at last. What even are the choices here. Never mind, let’s just enjoy Lena Headey’s Cersei.

(1:00:46) More Cleganebowl. It’s a fight. With a zombie.

(1:02:00) Arya heads out into a rapidly crumbling and burning King’s Landing.

(1:03:31) Swapping between Cleganebowl (still a fight with a zombie) and Arya (still in a city in the process of being destroyed).

(1:04:12) The woman who was trying to get through the gates earlier with her daughter helps Arya to her feet. Oh yeah, there’s definitely going to be some heartstring-yanking here. Back to Cleganebowl.

(1:06:05) Which ends when Sandor tackles Gregor out the collapsing walkway into the flames below. Again, I got nothing. This fight meant nothing. It did nothing. Except help contribute to the undermining of Arya’s story, such as it became (do as I say, not as I do!) and kill off some useless characters, uh, provide fanservice, uh, wrap up loose ends.

(1:06:20) Back to Jon, still just kinda existing in the devastation, now with greener fire. Clearly he needs a dragon to scream at.

(1:06:44) Fucking finally! Jon does something useful and effective, in starting to arrange for his own forces to leave the burning city. About twenty minutes after he should have, but he got there in the end.

(1:07:10) Back to Arya, who’s most definitely dusty now. Writers seem to be trying to fake out her death an awful lot this episode. How many buildings can fall on the poor woman?

(1:10:17) Sure enough, the woman who tried to help Arya, and her daughter, are tragically incinerated in front of Arya’s very eyes. Didn’t see that coming, did you?

(1:10:25) Back to Jaime and Cersei in the collapsing tunnels of the Red Keep.

(1:10:49) Only their escape route is blocked.

(1:11:15) Ramin Djawadi doing his best as per usual brings in an echo from “Light of the Seven,” aka the music that played when Cersei blasted the Sept of Baelor. She did that! Just in case people and/or characters can’t recall as far back as season six.

(1:11:28) Unfortunately, we get this bullshit for Cersei and Jaime’s respective deaths, which is all about how she wants to live because she’s got a wanted pregnancy. I’m not averse to showing that Cersei is human with human frailties, but the viewer is fundamentally being asked to feel bad for this woman because she is pregnant. Ignore the woman (and the entirety of her life), focus on the pregnancy. We also have some goddamned icky creator comments contextualising this scene as Cersei being just a girl seeking comfort from a man, or some such bullshit that infantilises Cersei and reduces Jaime’s range of appropriate emotions in this situation.

It also continues to be extremely gross that the writers are treating Cersei’s romantic relationship, and her motherhood and potential motherhood as her foremost humanising, sympathetic characteristic – while out there unloved, infertile, human-childless Dany has snapped and started murdering thousands of people because nobody loves her.

I’ll have more to say about gendered character death next episode. Yes, I’m keeping a list. It’s getting pretty long.

(1:12:42) The music switches back to “The Rains of Castamere” for the actual Lannister deaths. Rocks fall. Jaime and Cersei die in each other’s arms.

(1:13:15) Ash falls in King’s Landing, and Arya wakes up yet again. This is like the third time in the past twenty minutes. Would you believe she’s still in a burning city?

(1:14:59) A random blood-spattered white horse appears on the set for Arya to ride. The symbolism here would be anvilicious, if not for a) the next episode and b) the fact that this goes nowhere. In case you didn’t get the point, though, there’s been a lot of death this episode!

#anti got #fine toothed comb edition #cw: violence #season eight #now to crack open a bottle of red wine

207 notes · View notes

stray-tori · 3 years

Text

Emma’s character arc in the anime (or what I think it is, anyway) (anime-only)

Her "nothing has happened in a year and it's my fault" vent is -- a) kind of meta (they literally have only been passengers in their s2-story so far*. rescued by mujika/sonju, directed by Minerva, chased out by the farm force & now on the run. right now, they have so small agency in the story and not only is the narrative acknowledging it, Emma's development herself seems to be a result of it)

* in part that's also true for s1, they have always been carried a little. By Krone, for giving them the pen, and by Norman for generally being the connecting piece until he was gone and even then he outlined most elements of the plan for Emma.

-- b) interesting because right now it makes her the opposite of Norman who despite not being in the season for almost half of its run time, arguably made more goal-related progression (i.e. stealing children from farms - assuming it was them -, while Emma couldn't even go back for the Phil and others; probably having a base to bring the children they steal (i doubt the group that was with him are ALL of them), while Emma's base, the bunker, had to be abandoned). He’s the plot-driving character even when he's not there and now that he is, I'm assuming there will be more of a lead / idea of where to go from there.

It feels like a foil setup but I'm not entirely sure for what.

so, clearly this season's theme is not burdening everything by yourself - proof:

Ray spelled it out in ep1, Gilda reaffirmed it in ep2 and the opening’s visuals with her in the vidaflower field also seem to carry the whole “we’re finding hope together” angle

Emma did agree to it but then still said “I’m fine” after the vidaflower scene and is now blaming herself for everything that has been going subpar

also, the tidbit about the older kids always leaving more food for the younger ones also fits this theme, though it's not just Emma in that regard. and Lani and Thoma were the “don’t burden everything on yourself” argument in that scene.

I actually think Emma has slowly become more self-burdening, because I feel like back in s1, while she always seemed strong, it never felt like she actively hid from anyone. She did some things by herself like figuring out the room measurements, but she still felt free to bring up anything to the others and involve the children (place trust in them) later with the execution of the escape plan. Even when Norman's life was on the line, she never really intended to fully sacrifice herself like Ray had with the distraction plan or Norman did with his shipment - she never said anything like taking his place, she was still very much in the "we" mindset (at least if I remember correctly). We haven’t seen her work together like towards the end of s1 where she coordinated everyone - even when the kids were a huge part of the solution, like Chris knowing the bunker’s layout, it wasn’t because she told them to do that.

In a way, I feel like Emma's development actually made her more like Norman (who usually used to keep stuff to himself, and tried to juggle all the conflicts himself, and in the end, took the burden of making the plan work even at the expense of his """"death""""). Heck, her words after the vidaflower scene ("I'm / it's okay" (daijoubu)) is something Norman says/said a lot, it's basically his trademark pff-

So I can't help but assume these are connected, and Emma is - whether intentionally or not - trying to mirror Norman because in her mind, everything's been going wrong since he wasn't there to aid them anymore (which she's actually right about, which leads me to my next point).

The fine line between character angst and the savior trope. I hope the anime will use this whole setup with Emma’s arc instead of just being like “ah, Norman Christ has arrived, our lord and savior, how good that we don’t have to worry about anything anymore”. Because they actually, in-universe, acknowledge that "nothing has happened" and that's imo a fine line they have going on right now, which could lead to some interesting character moments.... or they completely ignore it and thank god, our lord and savior.

Because it's not a problem that they are being carried, in fact, as mentioned before they have been carried outside of s2 as well, by Norman specifically as well too. He's always been a sort of savior figure, even after his death he motivated them to go on (see ghost Normans, see Emma talking about how she promised him, see Ray on the ground wanting to continue because he promised (to Emma too but you get the point, and Norman was the one who initially saw through his plan)) - he IS in a lot of ways, a savior. So I'm not saying it's bad narratively if now he's back and the plot moves more towards the goal again. I'm saying it's questionable, if now Emma's and the narrative's acknowledgement of that lack of progression go away too. Because THEN it's actually just "everything is solved now and we're useless without you", and I think it NEEDS to develop Emma further in order for that angle to still be there (and to still be kind of questionable), but to be narrative-ly significant because it's part of Emma's arc and therefore her later actions.

In short, Emma’s low-point revolves around the stagnation and to resolve it (the lowpoint) with Norman’s return would be questionable.

SO I have hope for juicy angst but also see how this could horribly backfire.

Now, I've been trying to figure out were her arc is going, considering all of that.

"Burdening everything by yourself is bad" theme

Emma hates herself for not being able to do anything

Norman is her opposite / foil in that regard

So possible ways to go here are

a) further make Emma feel inferior to Norman, since she never got to do all those things she took upon herself and make her mental state even worse

b) it will probably lead to Emma contributing whatever she can to her family’s rescue, no matter what it takes out of her.

likely both.

The interesting thing is that while narratively this sets up a sort of opposite-dynamic between Emma and Norman, they do both share the self-burdening-thing now (I doubt that changed about Norman, but maybe it did); so I feel like this can only end in a "who's more self-sacrificial and bottling up" contest.

Taking the theme into account, I feel like it’s going for one of the following things, maybe multiple:

a) they all work together in the end to reach their future (probably Ray has to bonk them both and be like "shut up, we're doing this together" because I feel like he's the only one who actually got out of his self-damning hole somewhat)

b) the kids come barging in with the/a solution while Norman and Emma are busy trying to be self-sacrificial (Lani and Thoma HAVE been observing and trying to balance the self-sacrificial out throughout the season, mostly by humor, so I feel like that could work even if I don't know how it could be DONE so hmmm)

c) if someone has to do a sacrifice like Norman in s1, it won’t be done through trickery of the others, or won't work / will be stopped / backfire

Because I don’t think what will happen is that someone actually gets to sacrifice themselves without massive consequences from the other characters because that’d contradict both the overall season's theme and if it was forced upon the others, it would just mirror s1 and show no narrative growth.

It's a fickle situation because I feel like the natural evolution of this arc would be to have Emma be, the "hero" or a leader-position or something of the sort. But the self-sacrificial theme forbids her from doing it on her own or by massively hurting herself in the process so.... ahhh idk how they'll handle that!

because I like the "together" message it seems to be aiming for but at the same time, having a character struggle with not being able to do anything by herself in the same like 6 episodes as “yay, we need to do it together!” is a little risky since while it could work, doing teamwork in a way where everyone is important, while also not validating Emma's belief is.... hard.

It could work if Norman’s arc is the opposite, to let others do more for him and let Emma take over (who needs to built confidence as a leading figure); but even then Emma has to be driving force. If Norman initiates that, he’s actually saving her in every sense.

#tpn #tpn s2 #tpn anime #the promised neverland s2 #tpn anime-only #tpn emma #tpn theory #tori has opinions #tori talks #long post

16 notes · View notes

gallavictorious · 3 years

Text

11x01 Reaction Post

Random thoughts on and reactions to 11x01; no careful analysis or anything, just the bits and pieces that's not likely to make it into meta proper but which I still want to make note of so I can go back later and remember what my initial reaction to the episode was (since my impressions are likely to change as the season unfolds). Mostly Gallavich related, because duh, but there's disordered rambling on a bit of everything. Under a cut (God I miss LJ sometimes) because this got long.

Ian looks damned good as the homocidal muscle. I don't do AU:s, but if I did... On the other hand, Frank as a member of the Chicago “Eight” looks like a werewolf. Less interested in that AU. And listen, I get that they couldn't get Emmy Rossum for this, but I really miss Fiona showing up in a few random olden day pictures. She's gone, but she's still a Gallagher dammit! Carl at the slaughter house looked weird – and part of me thought that was appropriate because slightly off editing would be a sweet way of communicating that it's all bollocks, but the rest of shots looked okay (Debbie as a milk maid and Frank as the aforementioned werewolf) or good (everything else) so no.

The sound of a baby crying is a horror matched only by persistent lack of sleep so I feel for Lip and Tami so much. Here's to all parents who managed to get through the first year without murdering anybody! I think that maybe you don't get enough credit... I, for instance, want to kill someone just hearing Freddie cry in the background for half a minute. Not sure it bodes too well for their relationship for them to be so ready to spend every night apart like Lip suggests, but a, what wouldn't you do for a good night's sleep, and b, love the thought of Lip spending more time at the old house. Could see them breaking up during the course of the season, though. Not sure how I feel about that – Tami's my favourite out of Lip's love interests, but having too many of the couples staying together all through the finale wouldn't feel quite right (for Shameless) and I don't see them breaking up Ian and Mickey or Kev and V. Don't really expect Sandy or Debbie to last either, but since it's more of a casual thing it might have more of a casual end.

Do you remember when the promo dropped and there was Concern about That Look on Ian's face after he kisses Mickey, and I tag theorized about it being because Mickey stole his coffee? Turns out there wasn't really A Look in the actual episode, but I sure as hell was right about the coffee, and I want noted somewhere. Maybe there should also be a small diploma? A golden statue seems a little over the top, but I mean, if you insist...

I appreciate that Ian is very adament about it being their money but when Mickey thinks it's their breakfast it's suddenly every man for himself. Do you share or not, Ian? Hmm? (Let the record show that I'm joking, please. Ian is damned right to take his toast back, and I say this as a “person most likely to steal their partner's toast right out of their hand”. I also love that Mickey completely gives up on breakfast when he can't have Ian's toast and just grabs a beer instead.) The kitchen scene is glorious and I just really like their dynamic here; the casual kiss, “I only make breakfast for husbands who have jobs”, how relaxed it is even when Ian's a bit annoyed, Mickey being so... Mickey. I do wonder what went through his head when Ian started talking about their wedding present money, though – he seems worried for a moment, but then shrugs it off, and that could be either bravado or just actual lack of concern. I tend mostly towards the latter, since Mickey quite genuinely figures this isn't a big deal (even though he still recognizes that Ian will probably think it one). Please note that he immediately offers to get money when Ian mentions that they need more of it coming in. Not his fault Ian vetoes his methods, right? (Also love that Ian's objection is due to him not wanting to be separated from Mickey, rather than any moral qualms about robbing stores.)

Okay, the gag ball. Would they really keep it like that if they were actually using it? Maybe either of them just tossed it there after taking it off, I suppose... Yeah, I don't know. Not what I'd imagined them being into, but that might be my own extreme lack of enthusiasm for gag balls and harnesses talking. Either they're into it and if so, you do you, boys, or it was a gift and they're keeping it around and semi-prominently on display for shits and giggles. (But if it was a gift, they did try it at least once, right?)

Mickey in the bath remains stupidly and surprisingly gorgerous. Incidentally, I really don't think his question about the meds is any indication of him not thinking them important, but there's little wonder that Ian bristles at the mention of them. Maybe not be an ass just to prove a point, eh, Mick?

I've already talked about how hard Ian is trying here but let's just take another moment to congratulate our boy on his persistent attempts at mature communication. Though he might have given some actual consideration to Mickey not wanting to save the money if he's really serious about them making decisions together... But he gets there! I think this whole situation – which would royally piss most people, including me, off – is actually particularly difficult for Ian, because he might well see Mickey's behavior as uncomfortably reminiscent of Frank and Monica's destructive habits and yeah, that would fuck him up. And still! He forces himself to calm down! He takes Mickey's hand! He refuses to let himself be distracted by Mickey looking SO INSANELY PRETTY I CANNOT EVEN UNDERSTAND IT! Ian, I salute you!

[starwars_eu_nerd_mode]KORRIBAN! YES! HA! TAKE THAT DISNEY! You take your new so-called “canon” and your “Moraband” and you fuck right off. I salute you, Bitcoin Boy![/starwars_eu_nerd_mode]

Ah, the porch scene... This one I do have a bunch of thoughs on that will probably make it into meta proper one day, so I'll leave it for now. It was the one that took the most thinking about for me to square (still not a lot, it should be noted), but now I'm actually very happy about it. (Full disclosure: none of their scenes feel quite right the first time I see them these days, because I'm just so very on edge about what's to come that I kind of miss the forest for all the trees you know? It's not a Shameless thing – it's always like this when I'm extremely invested in something and have waited for it for some time. Will it fit with how I see the characters? Will it be cringey? Will Mickey suddenly profess a love for hideous Hawaii shirts? Also, what are they saying because English is hard... But then I watch them a couple of times and they sink in and I start to get giddy over them. I guess watching actual canon unfold always requires a little bit of re-calibration if you've been busy fanoning while waiting for it to arrive, and while I love that sort of interpretative work, there’s also the fear that the show will veer off into a direction I cannot easily follow.)

Mickey's insistence that he spelled monogamy wrong does genuinely amuse me. Not to mention the whole “No more parking tickets for me!” - “You don't have a car, dumbass.” Also, Mickey being friendly with Carl kills me, in a good way. Family FTW!

Frank's storyline fails to stir even the vaguest hint of interest in me, as per usual. For all his talk of family in this episode, the lack of interaction with any of his kids is striking. If he's to have any value at all this season I'll need him to get involved in the rest of the Gallagher's storylines (which seems like it might be happening at least for a bit later on, so I'm vaguely hopeful?). I find but faint intrigue in Carl's and Debbie's stuff, but it doesn’t annoy me either so I'll call it a win. Kev and V are (almost) always a delight, but do anyone else feel like their kids are only props, even to them? I don't know... I just don't think there's a connection or sense of realness to their relationship, you know? Maybe it's just me... Anyway, here's to hoping V turning pageant mom changes all that! Oh, and I'll need Liam to have some more screentime and stuff to do.

The Tommy and Kermit thing was weird. Eh. Whatever.

Sandy is so gorgerous. I can't. The Milkoviches really be bringing it this episode.

This is only the second season I've watched episode by episode as it airs (other one was S6) and it's a curiuos experience. I think that by and large, and particularly in later seasons, Shameless works better when you binge it, but I love the delightful anticipation of waiting for a new episode and the feverent discussion that follows. Sometimes I also despair over the ferverent discussion that follows, but... you know. It is what it is. Admittedly, any attempts at meta this early in the season is a precarious venture at best, since we don't have the whole story, and it might be wiser to abstain but it's just so much fun, so I'm not very likely to stop.

All in all, I love the Gallavich stuff, am intrigued by Lip & Tami and Kev & V's lives, okay with whatever Debbie and Carl's got going on, hot for Sandy, bored by Frank, and missing Liam. It sets up a lot of promising things, but as an episode all unto itself it felt a bit empty – probably because there were no real plots and the storylines didn't intersect as much as I would have liked them to. Shameless is best when it's about family, which both the show and Frank seems to recognize, but there's little narrative follow-through on that realization in this episode; everyone is pretty much doing their own thing. Adored the Lip and Ian convo, and that house party scene was wonderful, but so short. Think we'll get more of all of them together going forward, though, and more actual plots too, so I'm very excited about it all. Can't wait for Sunday!

#11x01 #shameless spoilers #episode reaction post #random ramblings #my stuff

27 notes · View notes

darlingsdevil · 4 years

Text

The Ballads of Rebirth (Arthur Morgan x Reader)

Chapter 17: Epilogue

Masterlist

Tag list: @rollyjogerjones

A/N: This is it. This is the end. I wrote a little message for all of you to read, it would mean a lot if you did.

When I began this story a few days after Christmas, I wrote it on a whim. The story brewed in my mind for perhaps a max week before I began writing it. The original idea was inspired a lot by Big Fish the Musical, the musical I was in, in early December. I remember I used to write day after day and could get a chapter up daily, until around the sixth or seventh chapter. I can’t quite tell you how I did it, but I know if I hadn’t gotten that far so quickly, I would have never finished this story, it would have been added to my never ending pile of unfinished WIP’s. The Ballads of Rebirth was supposed to go in an entirely different direction that I had planned, Lee and Arthur’s feud was supposed to be way worse and bitter, and would have ended up with Arthur beating up Lee. Lee was supposed to be much more of an antagonist in the final chapters, a way worse of a person, but I couldn’t do it to him. In many ways, he was flawed, he was selfish at times and quick to judge, but he was still loving and goofy. I know people were not going to like him, they were rooting for Arthur after all. But I still love Lee, he was my first official rdr2 oc, my first fully fleshed out character. Quite frankly, I didn’t really ‘know’ who he was until I continued writing it, I had no personality built out for him until I began writing, and I just chose what felt right. That’s what happens with a lot of my stories, I write what feels right (which usually leads to plot holes because I don’t write shit down). But regardless, I love Lee, and I hope you’re satisfied with the ending I gave him.

There were a few times that I thought about giving up, that my story was absolute shit, that my plot holes were too confusing and my narrative was weak, and I was close to quitting. Until people began asking me when the new chapters would be out, what would happen next. While the numbers may be small, the dedication is what kept me going. And yeah, maybe my story isn’t the biggest rdr2 fic, maybe it’s not talked about in discord servers, but I don’t care, all that matters is that the fans that have stayed have shown me that I should continue writing, that there are people rooting for this story. I know, my story is full of plot holes, I know people don’t like Lee (which I’ll forever be bitter about), I know my story has grammatical errors, I know maybe I shouldn’t have killed off Mahala, I know there’s a lot I could have done, but there’s a lot I still did. As much as I think my story is weak, I’m still proud of the fact that I made it, that it is my own, that I created it and stuck through.

Sometimes, it’s not about what you could have done, it’s what you did. And that’s more valuable in many ways. Creating anything is powerful, and The Ballads of Rebirth taught me that.

So thank you, to every commentator, every person who left a like or kudo, every person who left an ask in my inbox, and especially everyone who complimented my writing style (which is apparently unique? and also these comments are a huge ego boost to me so if I’m cocky, it’s those peoples fault). Thank you for sticking with me, and I hope you enjoyed what I made.

I know I did.

••

Here Are Some Songs That Inspired This Story

1. Setting Sun - Lord Huron (Main inspiration)

2. Prologue - Starry (What I consider to be the main theme)

3. Sunlight and Storms - Starry (Inspiration for Lee and Reader’s relationship)

4. The Road - Starry (yeah.. I know there’s lots of Starry, but regardless, Arthur’s arc inspiration)

5. After The War - Stars (wow lots of star-esque things, Epilogue inspiration, I recommend listening to it while reading this)

•••

PS. The AU ending will be posted with the main story, as I realized many of you may not see it otherwise.

•••

Time passed quickly and solemnly. Life was peaceful and quiet. And you loved every second of it. After you and Arthur had left Richfield in search of the life you had lost, you and your husband had found it with Charles, in a small cottage down the road from him. Charles was happy to see you and Arthur returned to him.

And life was quiet, for a long time it was. You heard nothing of Micah and Dutch, the Pinkerton’s had stopped searching, it seemed the outlaw way had died out long ago too. You were scared Arthur or you would somehow slip back into it. you would blink and suddenly be pulled back into the life you so desperately tried to avoid, but the pull never came. The older you got, the lesser and lesser that percentage became.

The people of Wapiti had long since moved. You visited Mahala’s grave frequently, and thanked her for bringing Arthur back to you. You were sure you would have liked her.

You thanked Charles too, for being quick to find him. It was strange to think that without Charles’ swift action, Arthur would not be here today. Instead, you would be visiting his grave instead of Mahala’s.

John was exceptionally pleased to hear Arthur was still alive. Abigail wrote frequently to you for many years, you missed her dearly, but you had faith you would be reunited once more.

“Honey?” You called out to the doorway behind you.

“G’morning. I got what you asked me to pick up,” Arthur replied. You looked over your shoulder and smiled at him. He placed the box down at the table.

“Thank you. Breakfast is almost ready,” You said, scrambling some eggs on top of the stove. Arthur came up behind you and wrapped his arms around your waist.

“Someone’s touchy today,” You laughed, shaking your head.

“Missed you.” He nuzzled his face into your neck.

“You were gone for a day.”

“I’m not allowed to miss my dear wife?” He pretended to sound hurt.

“Not when you’re distracting me,” You replied nonchalantly, continuing to prepare the omelettes.

Arthur laughed heartily in your ear. “I give up then,” he said, removing his hold from your waist and putting his hands up in defeat.

“It’s almost ready, sit down.” You put the finishing touches on the omelettes and put them on plates. Arthur sat down at the small table while you fetched some forks. You stared through the window while your hands grabbed two forks, seeing the daffodils on the window, Arthur had bought for you a few days earlier.

You walked over to the table and set down the two plates, taking a seat across from Arthur. He grabbed at the plate hungrily and began to eat.

“You sure are hungry.”

“Starvin’. Been a day since I’ve had your lovely cooking,” Arthur smiled at you. You picked up your fork as well and began to eat.

“I forgot the coffee, hold on.” You realized after a few moments and walked over to the countertop to fetch the pot of coffee, pouring two cups for Arthur and you. You made yours how you liked it, and brought cream and sugar over to Arthur.

“Thank you,” He replied to the gesture, grabbing his cup. He put in a few spoonfuls of sugar and some cream, always the one with the sweet tooth.

You sipped your coffee while you ate your breakfast, glancing out towards the front windows. It was a nice day out, clear of clouds with a nice breeze. The garden still needed tending to, but at least later you could sit on the porch with Arthur.

“I invited Charles over for dinner tonight, by the way. I’m making roast beef and potatoes, and maybe an apple pie, I haven’t decided yet,” You shrugged.

“Make blueberry.” Arthur replied, picking up a newspaper from yesterday that was on the table.

“Blueberries aren’t in season.”

“Okay, then raspberry.”

“Not in season either.”

“Really? Well shit. Apple will have to do then.”

“You don’t like my apple pies?”

“What? No, I do! You just make them a lot. I feel like we’re having them every week,” Arthur laughed nervously.

You pretended to glare at him, “Then I’ll never make another apple pie again. You’re getting pie with no filling in all of them now.”

“Now I didn’t say that! I’m just saying, you make apple pies a lot, I like variety sometimes.”

“You lived with the gang for 20 years and ate the same stew for every meal but you’re complaining about me making apple pie once a week?” You raised your eyebrow at him.

“That’s why I like variety now. Couldn’t have it for so long, that once I get it I’ll never go back to eating the same thing.”

“Mhm.” You dragged out the sound, nodding sarcastically.

You stared at Arthur, he stared at you, a slight smile on his lips. “Just admit you don’t like my apple pies.”

“Would it make you happy if I said that?”

“No. Yes. Maybe. I don’t know!”

“Listen, I like your apple pies, honestly. I just like some variety, that’s all,” He said, attempting to quell your fake anger.

“I’m never making an apple pie ever again,” You replied dramatically, slumping onto the table, reaching your hands out to hold his.

Arthur chucked at your dramatics.

“Just eat your omelette.”

•••

You thought of Lee frequently. Not that you yearned for him, or missed him, you simply wondered how he was doing. And in a way, he had heard your thoughts, after about two years of silence from him, Lee sent a letter.

“You have a letter,” Arthur had said one night when he came back from town, placing the letter on the table in front of you.

“Who’s it from?”

“Lee.”

“Lee sent me a letter?” You asked in disbelief, grabbing the envelope and examining the name on the front. Leroy Rinascita. Clear as day.

(Y/N),

It’s been quite some time since you left Richfield. I hope this letter finds you well. I took a chance and sent a letter to Valentine, a city Arthur had mentioned to me before, so if I don’t hear from you, I assume you’re somewhere else off in the country.

I hope you’re pleased with the choices you made. How is Arthur, by the way? I know we started off on the wrong foot (for good reason) but overall I found him to be a good, kind man. I can tell Arthur makes a good husband. I pray he’s not too angry with how I acted earlier towards him, water under the bridge, right?

I apologize for not sending a letter sooner, or perhaps I’m sorry for even writing this, in case you find this letter strange. I just wanted to know how you are doing. I’m doing well too. I’ve found someone as well who I enjoy very much, they live with me now. I guess you can say we got married, about two months ago actually. It wasn’t a conventional marriage of course. You actually already met them. I’m not sure you would expect who, but for the sake of prying eyes, I won’t reveal who they are in this letter. Other than marriage, life’s been pretty normal. The general store is doing well, there’s some new projects in the city too. A new candy store opened by the pier after the old one unfortunately burned down a few months after you had left. Richfield is bigger now, I feel like it’ll never stop growing. More and more people show up everyday. I barely even know the neighbors names these days.

As for my father, I’m pleased to say he’s still kicking. Somehow, the cancer went away, I couldn’t tell you how, the doctors can’t either. I’m really grateful for you convincing him to stay alive, to stay for me.

Your locket is still with me, I found an old family photo of my father, my mother and Anastasia as a newborn. It was strange to see my mother’s face after so many years, I had nearly forgotten it. I have an older photo of Anastasia too on the other side, my partner isn’t in the locket, only because I see them daily. I don’t need to be reminded that I love them.

But enough talk of me, how are you doing? I know it’s been a while, but I still care about you, and hope to know you’re doing well. Give Arthur a hello for me as well.

Regards,

Lee

You were happy to know Lee still cared, in some horrible nightmare you imagined that he despised you, that you were simply a dark phase in his life. And you were even happier that Lee had found someone and was truly living the life he had wanted. In a way, you were the same as him, both yearning for peace and quiet.

“Lee’s been doing well. I’m glad he sent this letter, he says hello to you, Arthur,” You told him, setting the letter down on the table.

“Good. I’m glad Lee’s doing okay.”

“Yeah, me too.”

•••

Even though Beecher’s Hope had many people living off its land, it did not feel crowded. Perhaps it was the sky that made it feel that way, the sky was endless, and when you and your family worked underneath it, it did not feel so small. The sky was infinite.

“Jack, will you go get Anne for me? She’s out by the chicken coop,” You had told the teenager.

“Sure thing, Aunt (Y/N),” He replied, walking towards the front door to fetch Anne for dinner. Although the Marston and Morgan houses were separate, the two families had practically lived in both. Jack was eating over for dinner, John and Abigail claiming you as his babysitter. Not that he needed one — or perhaps Uncle did.

“Arthur? Will you set the table for me, please? I have to go get Anne washed up once Jack brings her in,” You called out to Arthur behind you.

“Sure.” Arthur responded, he picked up the dishes next to you and began placing them on the table.

As you finished up cooking, you heard the shrill voice of Anne calling out to you. You immediately swiveled around as her tiny legs bounced up to you.

“There’s my little one!” You said joyously, she wrapped her arms around your leg and giggled. She was a near carbon copy of Arthur. She had his nose, his eyes, his mouth shape, but she had your hair and complexion. Regardless of who she looked more like — she was yours.

“Mama! I brought you a feather from the chicken coop!” She reached into her tiny dress pocket and pulled out a white feather. It was bigger and heavier than a chicken feather, you wondered what type of bird it was.

“Sorry, Uncle Arthur, she kind of made a mess in the chicken coop,” You heard Jack say to Arthur.

“You did? Oh thank you, sweetie.” You beamed at her, she watched you take it with big proud eyes. You placed the feather in your pocket, it’s long feathers sticking out.

“You’re welcome, mama.” You noticed the dirt on her face and on her knees as she said that. You scooped her up in your arms and took her into the bathroom to wash up.

You set her down next to the sink and began washing her knees with a wet washcloth.

“Mommy?”

“Yes?” You hummed, continuing to scrub the dirt off her knees.

“When is the baby coming?”

“Not for a couple more months.”

“Daddy thinks it’ll be a boy,” She told you matter of factly.

“Daddy thinks lots of things.”

“He told me he’s sure about this one.”

“When did daddy say that?” You asked, dipping the washcloth under the water, beginning to wipe the dirt off her cute face.

“Today. He told me while we were looking for flowers for you.”

“Okay, well, what else did he say?”

“He said he wants to name the baby Henry Hosea.”

You blinked at the name. Henry Hosea did sound nice. After all, Hosea was technically your adoptive father, as well as Arthur’s. Neither of you had really ever brought him up, avoiding that painful topic entirely. And Anne knew nothing of your past occupations, it was a story for another time, when she was older.

“I like the name Hosea,” Anne responded after being met by your silence.

“It’s a nice name,” Your voice nearly breaking. You subdued the tears in your eyes, after all that conversation was for another time.

When you finished cleaning Anne up, you brought her to dinner and sat her down next to Jack. You brought the food out to the table, making sure to put the apple pie right in front of Arthur.

•••

In many ways, time had been kind to you. It had been patient and nurturing, time allowed you a second chance at life.

It had given you the life you had wanted, one full of peace, love and family. Your life was quiet at Beecher’s Hope, filled with no revenge story. Time had dragged out your lesson for many years, but now you were reaping the fruits of your labor.

So now, as you cradle your newborn son, watching Anne and Arthur play in the field, her giggles dancing over the grass. You thank time for being there for you. For giving you what you wanted, for letting you learn to grow. For giving you a family. For returning Arthur to you.

In many ways you were thankful, thankful for the lessons you had learned, thankful for the house you lived in, thankful for the food on your table. Thankful for Mahala, thankful for Lee, thankful for Anne, thankful for Arthur and thankful for your son, Henry Hosea.

A cool breeze swept over the field, causing the grass and flowers to dance in the wind. Anne began to pretend she was a bird and Arthur raced around trying to catch her, both laughing in unison.

You looked down at your newborn son, his eyes closed over his resting face.

“One day I’ll tell you where your name comes from. I’ll tell you all about the life your daddy and I lived. And I’ll tell you about the life I had after that, and I’ll tell you about why I’ll never go back to either. One day I’ll tell you all about it,” You said quietly to your son, a promise to him and time, and no one else.

And in the end there was a man and a woman, and a daughter and a son, living to the world, thankful for every moment they get to spend with each other.

And Mother Nature rejoiced, for the man on the mountain and the woman in the city had found each other.

••• The End •••

#arthur morgan x reader #the ballads of rebirth #rdr2 #red dead redemption 2

66 notes · View notes