"I would've preferred it if Amalia were our Queen instead."
"Like many others, sweetie, but you can't say that right now."
"Where did Amalia go, Mum?"
"She's gone explore the world, like she usually does."
Okay, but this little piece of dialogue is crucial to understand so many things about the Sadida and their opinion on their royal family.
And we stan that little girl. Yes, baby, I, too, wish Amalia was queen instead. I don't trust Armand and Aurora as far as I can throw them.
It's already been established Armand resents his sister not only because of her wanderlust or the fact that their father seemed to favour her, but because so does their people.
The fact that there are apparently many who support Amalia, the younger princess, over her brother, the Crown Prince, comes to show that for the Sadida actions speak louder than words.
There is no denying that both royal siblings care immensely about their kingdom. Armand was in the front lines when Nox attacked alongside King Oakheart and many of Amalia's best, most mature moments were in relation to her wanting to protect and serve her people. Like when she decided to stand up against Armand and inform their father of Nox's attacks back in season one, or how she was more than willing to forego her chance to marry for love and marry Harebourg instead if that meant her kingdom would survive Ogrest's Chaos in the OVA.
The difference between the two of them, however, especially in the eyes of their people, is their actions or, more accurately, the consequences of said actions.
Armand is the Crown Prince, and he remains in their kingdom carrying out his duties while Amalia went off to explore the world and have fun, away from her duties. At first glance, that should make Armand the better choice in the eyes of the Sadida, except that also means they've probably been far more subjected to his less pleasant moments.
Having to watch your tongue out of fear of severe punishment or even death just because the prince is sensitive over his bad breath is overkill, plain and simple.
Not to mention, every time Amalia left her kingdom, her adventuring evolved into a life-or-death mission to save the world.
With Nox, the fact that she ran away allowed her to gain the intel needed to go back home and warn them of the upcoming attack. Something Armand refused to do anything about until King Oakheart entered the picture and took matters into his own hands, all because he couldn't believe his sister would ever be more than a spoiled brat trying to run away from her responsibilities.
With Quilby, what at first was a simple, humanitarian mission to retrieve his dofus and welcome the Eliatrope children eventually turned into a desperate battle for the survival of their world.
Again, in the OVAs, the entirety of the Sadida kingdom was aware and celebrated Amalia's sense of responsibility and selfless decision to enter an arranged marriage for their sake. I haven't watched beyond the Throne of Ice, so I don't know if the Sadida ever found out Harebourg's true plans for their forest, but if they did, all the more reason to respect Amalia for refusing to put her people in jeopardy.
Finally, people talk. In season 3, it's made apparent that since Aurora entered the picture (at the very least), the royal siblings' relationship has strained practically to the point of no return. And while Amalia isolated herself and mourned her father's deteriorating health, it's very likely the castle guards and servants bore witness to how the prince's treatment of his sister worsened each day. So I wouldn't be surprised if word got out and the rest of the kingdom sympathised with Amalia either.
Now, it is true that while Amalia does have a sense of responsibility and duty to her kingdom and a deep love for her people, despite her royal upbringing, she is not really made for the stifling life of royalty. Hence, her constant wanderlust. In that regard, Armand is indeed the most reliable of the two.
It just so happens that when it comes to personal flaws and his treatment of others he is wholly unreliable. It's his way or the highway. And that is a very terrifying quality for a king to have, to be unable to compromise.
But most importantly, what really sets these two apart in the way their people perceive them is that while Armand is a prince, Amalia is a hero. And she has proven time and time again that she will do everything in her power to assure everyone's safety and well-being.
And that alone speaks volumes of a ruler's true character.
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The deeply moralist tone that a lot of discussions about media representation take on here are primarily neoliberal before they are anything else. Like the shouting matches people get into about “purity culture” “pro/anti” etc nonsense (even if I think it’s true that some people have a deeply christian worldview about what art ought to say and represent about the world) are downstream of the basic neoliberal assumption that we can and must educate the public by being consumers in a market. “Bad representation” is often framed as a writer’s/developer’s/director’s/etc’s failure to properly educate their audience, or to educate them the wrong way with bad information about the world (which will compel their audience to act, behave, internalise or otherwise believe these bad representations about some social issue). Likewise, to “consume” or give money to a piece of media with Bad Representation is to legitimate and make stronger these bad representations in the world, an act which will cause more people to believe or internalise bad things about themselves or other people. And at the heart of both of those claims is, again, the assumption that mass public education should be undertaken by artists in a private market, who are responsible for creating moral fables and political allegories that they will instil in their audiences by selling it to them. These conversations often become pure nonsense if you don’t accept that the moral and political education of the world should be directed by like, studio executives or tv actors or authors on twitter. There is no horizon of possibility being imagined beyond purchasing, as an individual consumer in a market, your way into good beliefs about the world, instilled in you by Media Product
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there was just something so genuine about kirk realising they’d need money in the 21st century, spotting a chess table and .. just .. sitting down and playing random strangers for a few spare notes at a time. no competitivity, no real sense of urgency, no hard feelings, he just spends the whole afternoon betting strangers he can win and winning every time because of course he can. ‘one dimensional’ chess is a cake walk compared to the chess he’s used to.
and no one leaves that table feeling like they’ve really lost out. it was a good game, kirk wins fair and square, they enjoy their time with him, he even gains a crowd as people get invested in the matches. he shakes their hands and they move on. it was such an endearing way of showing us the kind of person kirk is. charming, easily personable. he finds a fair way to get by in a completely alien situation that still matches his skillset.
I don’t know, it was such a short scene but it showed us so much without any dialogue. They could have shown la’an and kirk figuring out how to grab some quick cash in a bunch of different ways, but they chose one with a lot of heart and that’s why I really love this show.
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Things that absolutely fucked my shit up this episode, an incomprehensible list:
- Ellie liked the smell of Frank’s sleeping bag
- Joel still wearing Frank’s shirt
- Joel staying up all night to guard while Ellie slept
- “They’re not gonna hit you. Look at me, they’re not gonna hit you.”
- “Mom! Mom! Mom!”
- The way the doctor gave the lines “I delivered you. I held you in my hands.” and “I’m your doctor” so simply when asked for reasons why he shouldn’t be killed
- Ellie’s smile when Joel tried to tug the gun from her hand
- The way Joel bumbled his way through trying to make sure Ellie was okay, and ask if she wanted to talk about it after she shot Bryan
- All of the superhero drawings on the wall that Sam drew of him and Henry
- The mask that Sam had drawn on his face
Something about how everyone is undeniably human, and how unafraid they are of not shying away from that.
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