#so i can string them together with whole season context later

[ladyluscinia]

BLACKHANDS GIRLIES WE ARE REALLY IN IT NOW!!!

(aka Lady's OFMD 2x01 - 2x03 BlackHands rambling)

Link to the general non-BlackHands thoughts.

Screaming. Whooping. Cheering. *Singsong voice* My fucked up pirate husbands had mutual love confessions while the main fucked up pirate husbands are "on a break" after admitting they made each other happy! AAAAHHHHHH!!! Can't murder-suicide the other half of yourself! I am winning!!!

ADJSKLDFSKJFKDL

Ok. Deep breaths. This will be rambling but coherently (<- lying)

---

Breakup Boat - Izzy's Version

Fuck, I said in my general thoughts post that the extremities of Edward's cruelty & Edward's suicidal pursuit were working well, and nowhere is that more noticeable than in what Edward and Izzy have going on.

So in the timeskip between S1 and S2 we find out Edward has been raiding ships at a breakneck pace, uncaringly trauma bonding his crew (R.I.P. Ivan), going hard on murder & booze & drugs, and tormenting Izzy to the point my guy is literally having a breakdown in front of the crew. He lost the 1st toe for threatening to resign and accidentally setting off a Stede-hurt timebomb, and Edward goes to take a 4th because Izzy doesn't convince his whole crew to happily dump their pay in the ocean. "Threaten me again" has become "Give me any excuse" it seems, and Izzy has been complying. 😬 Edward (casually): "Take your boot off." 😬 Earlier Edward offers him rhino horn, too, and Izzy just says "No, not right now" leading Edward to call him a "lightweight", so I'm thinking Edward hasn't had exclusive rights to substance abuse as a means of coping, either. (Note: the rhino horn itself does nothing, so the substance abuse is booze and any actual drugs he's gotten his hands on.)

Oh, and they didn't include the shot where Edward throws a knife at Izzy? Did it just get cut, or are we getting flashbacks with more conversation later?

Going to rewatch the end of 1x10, Izzy's "smile" at declaring Blackbeard was back lasts a fraction of a second and looks just like his "everything is totally fine I swear" grimace-smiles from the beginning of the episode, so I think it's pretty safe to say Izzy did not ask for this and hasn't thought everything was fine for a single second since.

The Breakup Boat atmosphere is definitely fucked.

Now, personally, I'm still of the opinion we're not supposed to read this as a version of a domestic abuse arc (even with the intervention talk). (EDIT: clarifying thoughts and phrasing.) Because they still inject too much of it with humor and I can't imagine Edward comfortably coming out the other side at a happy ending if we frame it that way. Like there's black comedy and then there's "Wait, we're really just laughing this off?" I think horrific domestic abuse of your ex-situationship in a romance counts as the latter. But I do think it's revealed to be functioning as something adjacent - namely Edward's depression and suicidal tendencies have massively spiked post-Stede and he's actively seeking to a) confirm his own belief that he's unlovable, and b) get killed so everything stops hurting.

And Izzy? Izzy loves him and wants him alive. Worst thing Edward could hear right now.

Like oh my GOD IZZY LOVES HIM. As soon as Izzy hits his breaking point and realizes the crew have his back, he's emboldened to go stand up for them and himself to Edward. (He has been defending them already - the pre-intervention conversation open with him quietly alluding that they need a break - but this is more.) He ignores the boot order, ignores the threat, and finally asks the damn question:

"Who am I to you?"

This is where my linear coherency falls apart btw 🥴

---

Who KNOWS You?

"We've worked together for years. You know me better than anyone has ever known me, and I daresay the same is true for me about you. I have... love for you, Edward."

Oh fuck backstory implications oh FUCK.

Ok, I've already seen the posts doubling down on Izzy realizing he doesn't know Edward at all and I'm drawing my line in the sand. That's bullshit. That line there? That's straight truth.

To quote my own posts:

People will act like you are making bold and unsubstantiated claims if you say Izzy likes Edward as a person not just as Blackbeard, but I find the notion that “Blackbeard” as a human guy you live down the hall from is somehow substantially different / distant enough from the real Edward 24/7 that only liking Blackbeard is plausible to be a very bold claim.

(That conclusion comes from this post, but Izzy knowing Edward vs Stede knowing Edward was also a major point in my original overarching Edward Meta from Season 1.)

Of course Izzy knows Edward. He knows his talents and his weaknesses. He knows the shifts in his mood, his favorite foods to find in a hold, what tasks he used to pass off as often as possible. He talks about work with him because they live on a ship. Their state of dysfunction when we meet them doesn't negate that knowing.

Knowing each other so well actually made their dysfunction worse. Let them escalate more than two people less intimate could have managed, while also exacerbating their misjudgements into ruinous disasters. Izzy didn't know - probably in part didn't want to know - Edward was falling hard for Stede so fast. Edward didn't know or want to know that Izzy was reaching a breaking point for their relationship.

But still, crucially, Izzy did know Edward well enough to clock that something was fundamentally wrong in 1x10, and he knows what's wrong now. He knows Edward is hurting him and hurting the crew because Edward himself is hurting, and the whole point of this "I'm worried about you" talk is to try and fix it.

Unfortunately, Izzy has Stede so unspoken at the front of his mind that he accidentally quotes the man, and that sets Edward off on his interrogation / further terrorizing the crew Izzy is trying to stand up for. Which is why Izzy finally makes his choice to stop talking around the issue...

"The atmosphere on this ship is fucked. Everyone knows why." -> "Your feelings for Stede fucking Bonnet."

...and then Edward shoots his leg out. Not even looking at him.

Jump ahead. Edward says to Frenchie, "The new First Mate always kills the old First Mate. It's always been like that." - Has it though? Because that has some wild implications for Izzy murdering someone to secure his spot in Edward's circle of trust (...hot). And some interesting gaps for Edward if he was ever a first mate under Hornigold or anyone else. Or is this just him fucking with Frenchie because he knows "Trust is king. And queen. Trust is everything" is bullshit? Go, repression boy, go. Who am I talking about? Both. Both is good.

And then of course we get:

"Did you think I wouldn't know the smell of my rotting former First Mate?"

Knows him by the smell of blood and infection. By the avoidant look in his crew's eye. By the fact he doesn't know Izzy is dead. Their relationship is rot and ruin by his own hand but he would NEVER assume Izzy's dead until he knows.

"He was your friend," Jim spits in Edward's face.

Edward wakes up Izzy and even delirious, literal seconds after realizing he's down a leg, Izzy knows what Edward wants the moment he flips the gun. And he wants nothing to do with it.

He knows he can't. Won't. No matter how much Edward openly wants him to pull the trigger. (Edward knows him well enough to doubt, too. It's real convenient that his final staging has Izzy looking at the back of his head. No chance of his face giving anything away.)

Izzy's absolutely brutal in his assessment, trying to give some hurt back, but he's not wrong:

"Ohhhh. Oh, are you scared, Eddie? Too scared to do it yourself, eh? Go on, clean up your own fucking mess. I'm not doing it, I've been doing it all my fucking life. Fuck off."

All his fucking life.

I have to wonder... is this a conversation they've had before? Echoes of one? Izzy has a tactic here - dismissal. Refuse to play along with Edward's melodrama. Treat "I dreamt that you killed me" as though he's throwing a snit like a toddler. "Good for you" could have sounded like a question egging him on, but it comes out flat. A sarcastic sneer. Edward has always thought he'd go out with more of a bang. Loves a good fuckery. In his Purgatory he desperately wants Hornigold to recognize how unique and over the top his mutiny was. Not like those ordinary mutinies. Even his imagined death is being pitched over the highest bluff tied to a rock???

Izzy knows Edward is serious or he wouldn't be so fraught and sobbing as he laughs, but his words don't treat him as serious. Maybe a bit of derision has been effective at ruining the fantasy before? Suicide of a great leader is just so banal, you know? Quit daydreaming and pull off an impossible fix.

(Maybe "Fuck off" normally doesn't end the conversation, but starts the real one?)

Also "Eddie". First off of Izzy's lips at his cruelest, then Hornigold's. We heard it in S1 right before Edward committed to becoming the Kraken. At the time I thought he was bristling at the disrespect - "Eddie" is not "just Edward" - but maybe Frenchie stepped on a bigger landmine than we thought. Edward is so particular about names, and Izzy knows all the rules best, doesn't he?

Either way... This time the conversation ends with Edward leaving. "Farewell, old chum," he says without turning around. And when he hears the gunshot, he's not surprised.

Edward knows Izzy, too. Knows that the farewell may count as "closure" but Izzy is only going to take the ending one way. Izzy lifting the gun to his temple was the inevitable result of leaving that room. It takes seconds. Edward is still rising out of the stairwell when it happens.

We can't talk about knowing without touching on Purgatory, where Edward goes to know himself.

Lots of interesting stuff about Edward modeling his toxic spiral off of Hornigold as the fucked up example from his past. Probably where he picked up a lot of his piracy philosophy too. But the really juicy bit related to Izzy is the spectre of Hornigold confronting him about killing his dad and Edward's instinctive:

"I've never told anyone about that."

Hornigold calls him out for telling Stede, but it seems pretty likely that Stede is the only one he's ever had the conversation with.

However.

I still think Izzy knows. Hornigold even tells us how:

"A grown man covered in tattoos? Eh? With daddy issues?"

Edward didn't tell Izzy, and Izzy didn't ask for confirmation. But Edward will tell a whole crew of strangers about "the Kraken" killing his dad to win best ghost story. And that his dad was a dick. Izzy, who Edward loves and trusts and "outsources the big job" to, would not have much trouble connecting the dots between any version of that story / troubled childhood anecdotes / Edward's issues with killing / Edward's daddy issues.

I sincerely doubt "killed your abusive old man" is even an uncommon pirate backstory.

Izzy does know Edward - at his best and worst and everything in between. Knows him better than anyone. Suspects with certainty his darkest secret.

Izzy knows Edward, and Edward knows Izzy, and that's why everything fundamentally quakes for Edward in this self-destructive rampage when Izzy breaks their unspoken rule and tells him that he loves him.

---

Who LOVES You?

Jumping back to the (first!) literal, actual love confession we got, let's talk phrasing. Because yeah there's love there, but at the moment there's also a lot of other stuff.

"I have... love for you, Edward."

This is such a passive way of confessing, and there's the long pause as Izzy forces it out. People have attributed it to repression, or feeling ashamed of his love for Edward, or just not wanting to push it on him. I think "love" isn't a word they use out loud, so saying it is hard, but I also think Izzy's being passive because at the moment it does just feel like he "has" love. He doesn't want to actively feel it or offer it up right now, not with the complicated knot of anger and hurt and, tbh, probably some of his own depression. He "has" love because, despite everything, he still loves Edward.

And he does, is the thing! The whole goddamn reason Izzy is here, still trying to be a support for Edward is because he loves him. Literally anybody else would have left by now, or killed Edward, considering he's actively trying to push Izzy to the breaking point. And even at said point, when Izzy's finally standing up for himself, he offers Edward another chance to realize he's loved.

Edward starts dismissing him the moment he says the l-word, but Izzy continues:

"I'm worried about you - we all are. The atmosphere on this ship is completely poisoned. But if we could all just, maybe... talk it through?"

Izzy knows what's wrong and while he didn't originally think Stede was that important to Edward, he's put it together by now. And he's a huge fan of trying to talk through their problems, tries it multiple times even in the peak communication failure / stress powderkeg of S1, so of course he tries one last time to get Edward to accept he's not alone.

Instead, he accidentally invokes the ghost of Stede Bonnet and reminds Edward why he's doing all of this in the first place. Reminds him that he is unlovable while having the audacity to confess to loving him.

So Edward makes a big show of going out on deck, shoots Izzy in the leg, and tells Frenchie to get rid of him.

Frenchie doesn't, naturally.

And when Edward finds the crew saving the man who he just shot for daring to love him - because of course they are, he's their dick now - well... "He was your friend," Jim spits in his face, having just been thinking about their best friend (who they are more than a little bit in love with 👀).

How long do we think Edward stands there, looking at what he's wrought? How long does he sit at Izzy's bedside, looking at him "rather still" while he weighs if the missing leg proves his point where the toes didn't?

And you know Izzy's love is so bone deep and rooted in that it's unconditional by this point, because Edward did NOT prove his fucking point. Nothing he's done so far is enough to get the man who loves him to pull the fucking trigger. Down 3 toes and then a leg, asking first thing whether Edward was there for the other one, and STILL. STILL IZZY IS HEARTBROKEN AT THE REALIZATION THAT EDWARD IS READY TO END IT FOR REAL.

Still he won't pull the trigger himself. Not on Edward, at least.

And only after Izzy is gone can Edward return the words.

"I loved you. Best I could."

*screaming crying tearing at the walls*

He loved him.

HE LOVED HIM.

Edward's perspective of his relationships is fundamentally warped. Alongside his self-image. Probably has been for most of his life, going back to the self-hatred he ties to killing his dad. Stede leaving hurt him immensely (and predictably, Stede) in ways Stede will have to own up to, but it was Edward's own unaddressed issues - independent of Stede AND Izzy - that determined the appropriate response to that hurt was "realize that vulnerability and hope are lies and every dark voice in the back of your mind ever was telling the truth, actually."

Edward's conviction that nobody loves him and that he's not capable of successfully loving someone back is literally his depression talking. It is not rationally based in the reality of his life or relationships, Stede or otherwise. He may even have successfully beat back the sentiment for most of his life, with that getting harder and harder as time went on.

(He's expressed this kind of depressive-episode-driven warped view before, btw, and they explicitly parallel it in Purgatory just for me! The flashbacks of the bathtub scene while he attacks the spectre of Hornigold are my huge W in that episode. "It all boils down to this - you're afraid you're unlovable", said by the actual manifestation of Edward's suicidal self-hatred in Purgatory, is the new "That's why I don't have any friends." I think it's fair to question if he was a reliable narrator of his experiences back then, too. Jim and the crew certainly think he had at least one friend.)

Basically, "Best I could" now can mean a lot of things before. Young Izzy and Edward could have been much healthier than they are at present. Probably were, to be honest. It wasn't enough to save them from going sour, but it could explain why they've stuck together so long even as it has.

Izzy loves Edward. Edward loves Izzy.

LOVE LOSES. BUT LOVE WINS 😭😭😭

---

Kraken Era = Murder-Suicide, but Edward Wants to be the Murdered One

So, uh... *scrambling for notes* Where am I going with this? Fuck, I'm not even writing it linearly... OK!

Izzy KNOWS Edward - knows him going back ages, has seen his darkest and weakest moments - and even after 3 toes and a stress breakdown he still LOVES him enough to say it out loud (which I doubt these guys do, uh, ever). Which really throws a wrench in Edward's "Stede realized I'm inherently toxic and unlovable" theory, and prompts him to redouble his "prove to Izzy he doesn't love me" efforts by casually shooting him.

Afterward, he finally makes his passive suicidal intents explicit when talking (practically sobbing, in truth) to Frenchie:

"Never going back to land. We're gonna sail, rob, raise hell forever and ever, without end."

He's set on it, now. Izzy's potential last act was to finally rip down the illusion, give name to the hurt Edward had been running from since he first put on his Kraken makeup. So he pushes his little wedding toppers out the window, cleans himself up, and goes out to wave every single red flag imaginable for poor Frenchie's locked box.

Except it wasn't Izzy's last act, now was it?

But that's fine for Edward. That actually works better. He wants the hopeless situation to end, but he doesn't want to pull the trigger himself or he would have done it by now. After everything, surely Izzy should be ready to murder-suicide him??? He can't still love him, not after Edward so effectively proved he's exactly as toxic as his self-loathing depressive episodes say he is. It's poetic.

Edward underestimates Izzy. Knows him with his head, but the depression makes him underestimate his heart.

Edward doesn't get a bullet through the head, be hears the gun go off and - well - that's one way to spin "not even Izzy loves me any more" into a true statement.

Edward wants to live slightly more than he wants everything to end. It's the only reason he's alive. Before Izzy said Stede's name he was floating high on denial like that bird who never lands, keeping his depression and his destruction as a blast radius more than a dagger. He was lurching in the direction of dying by combat or by crew mutiny or by simple self-destructive behaviors, but he avoided thinking about anything long enough to have intent.

After Izzy's desperate attempt to intervene, Edward can't hide from his own reasoning anymore. Or his hurt. Or his self-enforced hopelessness. And with that comes aims. He has his rough night and then starts the massive red flag upswing. Cleans up. Gets ready for the big finale. He pushes Izzy with the "closure" conversation, trying to find a pressure point that will get him killed to close off the narrative with a artful bow.

Murder-suicide sounds like a fix to his problems, but he still wants to live slightly more. He still can't turn the gun on himself. He aims to be the murdered one.

After Izzy is gone, though, by Edward's own actions? That's the last straw he needs to commit in full. Thanking Frenchie? Just another final goodbye to get his affairs in order. "Take the day off, brother. Go live." The moment Izzy dies they all become dead men walking.

Thank FUCK that Edward a) still would prefer it if they snapped and murdered him / something out of his control killed him (he still wants to live), and b) still wants to die dramatically. A different man would have walked right back to his cabin and not missed.

Sidebar to appreciate the breakup boat crew some more because I love them:

Fang: "So... do we think he's better?" Jim: "Fuck no!"

Edward is ready to be the murderer with his cannon pointed at the mast, but he stalls on damning the whole crew to a watery grave (r.i.p. half of them), gives Izzy time to wake up and drag himself out to protect said crew, and then finally gets what he's been after.

Edward's motivations are already perfectly clear, but just to really hammer it in - he thinks he just drove a man he loved to suicide, and then he demands the couple he found kissing fight to the death with the reasoning:

"All love dies, I'm just hastening the process."

Jim literally just learned last season that was bullshit, my guy. It makes sense they are the one who finally puts a stop to him.

(Except the cannonball doesn't hit. There's no head wound. And Edward is alive when they take him back to the secret room, laying him out respectfully instead of letting the waves take him too. They don't even know if they'll survive. They certainly don't have anywhere to take the body, or a working ship to get there. Maybe they didn't notice because they didn't want to notice.)

(AND EDWARD STILL WANTS TO LIVE)

Both Izzy and Edward try to die. Both of them do - maybe, in the bottom of their hearts - want to live just a tiny bit more. They shoot each other. They say OUT LOUD they love each other (though Edward I swear to fuck you better say that to Izzy's face ohmygod). They are on this journey together.

BOTH OF THEM LIVE. AND NOW THEY HAVE TO DEAL WITH THAT.

(I feel like I wanted to add stuff about Stede & Izzy meeting again but like. I don't even know. Izzy doesn't even know. Is he protecting the crew? Deflecting? Edward's dignity (-ish)? Stede's good opinion of Edward? Dealing with his own massively fucked headspace? Ask me again on Friday. Fuck.)

My fucked up guys are in toxic fucked up LOVE!!!

#this is a monster and i can't trim or streamline it because i have TOO MANY FEELS and they are going to give me MORE #so if you find anything that jumps off topic or repeats itself or trips over itself that's part of the emotional throughline ok #tbh this is just my mass braindump to preserve the in the moment feelings and ideas #so i can string them together with whole season context later #also just an absolute MESS of links #our flag means death #blackhands #edizzy #blackbeard ofmd #izzy hands ofmd #ofmd s2 #ofmd s2 spoilers #ofmd meta #parallels #edward teach #izzy hands #WE WON! LOVE LOSES! LOVE WINS! #ladyluscinia #breakup boat #tw suicide

[robertfettuccine]

My Post-May the Fourth Bad Batch Thoughts

there's lots of 'em

[spoilers]

To start off, I was So excited for the finale I stayed up to watch it when it came out (1am in my time zone) and idk it didn’t feel worth it to do that during finals week after watching the ep

Maybe I had too high expectations but I figured that to wrap up the entire show we’d at least get an hour? Maybe more? I was hoping for something like the s1 premiere but no 51 minutes and you suffer.

Ok I've decided to put my thoughts into 15 minute increments for Organization Purposes

Part One thoughts:

Ok so right away I feel the "wrecker is gonna die" vibes. "Can you make it?" "Try and stop me." It feels very final it feels like he won't. I def thought my first time around that he wasn't gonna make it

The way Hemlock holds that gloved hand... I thought surely that had to be important somehow. I've been wondering about it since he was introduced.

Echo looks like handsome squidward sorry

The way Omega rewires the droid.. Tech. But the way she starts giving orders to the rest of the kids is so Hunter. She really is her fathers' (plural) daughter.

Sidenote the way her theme combines with a light, string-heavy version of the Bad Batch theme while she and the kids are getting ready to leave the vault... mmmm me when music

Ok back to the Batch and ough.. Wrecker is seriously hurt this had me so nervous they're out of med patches I thought for Sure he was gone

Imagine you're in the military and you get sent to some super secret boring base and your whole job is to stand around and guard a submerged lizard (?) and you're already confused and over it and then you find a bunch of kids in your walls???

WOw this is really minor but the cut from the kids and the Zillo to Echo and Emerie at 9:46 felt Really awkward. That's all.

the HAND thing again what is With that Hemlock??

Wrecker again with the Dying

REX MENTION!!!!! WTF IS A BAD HELMET PAINT JOB

"Clone Force 99 died with Tech" what a great line. If only it carried emotional weight within the rest of the story. If only the character's actions made that make sense. Hmm.

"If we all go in, we're not all making it out" see this is why I thought I was getting rogue one'd

"Omega needs you both" is sweet and cool, but she doesn't. She's proved this whole season that she's competent on her own. Idk.

Plan 99 namedrop? Also crosshair's self hatred and guilt is so devastating he's constantly trying to atone and it's so.....

Tech namedrop????? And for WHAT??????????

nOO that stormtrooper.. they done squished his ass

Jax is afraid of heights! Just like Wrecker!! Good character moment for everybody.

Part 1 TLDR: The first third of this episode was full of contrast, which was super interesting to watch. Omega and the kids are doing great, the lighting on them is generally softer and.. idk, lighter. They get hopeful music and they succeed. The Batch on the other hand..... everything is so ominous. It feels like somebody's gonna die (and it feels like it's Wrecker). My main gripes: some of the jump cuts feel like the episode was hastily stitched together and they don't make sense, I don't really know what to do with that knowledge. The Plan 99 conversation didn't make any sense within the context of this season (I'll elaborate later). Positives: Omega is really winning this ep, you can see all of her brothers in her and it's beautiful. What they've done with her theme in the music I Love. That moment with Omega and Jax when he says he's afraid of heights is really sweet.

Part Two Thoughts:

Ok starting off strong, Scorch questioning his orders for a bit? He's going to lose brothers? The door closes before we can hear what he says over the comm? I really thought maybe Scorch redemption.

Ok Hemlock is activating the CXs. There's four of them.

They all have different armor.. and different body types.. very similar to the batch....... hmmmmmmm

CX-2!! *clown noises*

Ok close up on the same CXs from before. One of them uses blades. One has.. sci-fi brass knuckles? CX-2 is there. This feels like Evil Bad Batch.

THE CLOSE UP ON CX-2 SPECIFICALLY WHY IS HE IMPORTANT

wrecker dying again uhnnnnnnhnhhhhhhhhhh

The brass knuckles CX just grabbed a panel of Something and used it as a shield. That's Plan 82. That's Wrecker's job.

WHY IS THERE ONE WITH GOGGLES JUST LIKE TECH'S? WHY

Goggles clone duel wields sword-vibroblades. ?

The one with the staff.. Hunter?

Ok Vibro-Sword CX, why toss the Sword to CX-2 so he can cut off Crosshair's hand? Why not just do it yourself? Those things have enough reach that he could have sliced it off himself.

The way CX-2 talks is Just like Crosshair. The inflections are exactly the same.

Ok I get Hemlock's a sadist but why keep the Batch alive at all? Seems like that's more dangerous than experimenting on them is productive

Echo and Omega's reunion is lovely. "Hey kid. And... other kids." he's doing amazing

Using the Chief Scientist's datapad just like last time Omega escaped... nice.

Hemlock's hand again.

Ok so crosshair just gets a hand stump and we move on?? This whole scene felt weird and out of place to me but Especially that.

Yeah!! Clone rebellion. Echo is Fives if he won (and had no melanin)

Maybe Electrostaff CX is Wrecker? He seems taller and has a wider build.

But nvm Brass Knuckles CX plays wrecker's part in the batch and Electrostaff doesn't

GOGGLES AGAIN WITH THE SWORDS?? WhY isn't CX-2 fighting with the rest why is he with Hemlock why does he stand out so much WHY

"My work will always be Kaminoan" yeah Nala Se isn't redeemed for me she's still a supremacist and a eugenicist and she and Rampart both deserved what they got. Satisfying ending for them both though.

Part 2 TLDR: This part had a ton of potential. There were a lot of suspenseful and mysterious shots. The story started getting more intense, even though the kids escaped successfully. There was weight there, and as an audience we could tell how much was on the line. I loved watching this part. My main gripes: Honestly none with this part alone. All of it felt pretty in-character, it had depth, it had weight, and it had meaning in the story. It makes less sense when we get to Part 3 though. Positives: I absolutely loved watching this part of the ep. It had me on the edge of my seat trying to figure out just what was going on with the CXs and who wasn't going to make it out. Giving Echo the chance to continue his brother's mission and free the clones was great. Nala Se and Rampart both got a fitting end, I was very satisfied with that as well.

Part Three Thoughts:

Wrecker is fighting Staff Guy (possibly Evil Wrecker) oh that would've been so cool

And they just STABBED HIM?? JUST LIKE THAT?? What was with the focus on CX-2 throughout the ENTIRE SEASON when he literally Didn't Matter At All???

We're not even gonna talk about the hand then huh. Ok.

Closeup of the Goggles Helmet?? What was the purpose. What was it.

And then they have SOmeone pick up the sword and helmet all ominously and then it's just some guy. We see his face. It kinda looks too small for his body. Like bad photoshop

Ok so echo doesn't have lungs? or like..

There is Such a focus on the Goggles. Like we were never supposed to see his face. Like it was maybe supposed to be suspenseful.

Ok why so ominous if Wrecker is just gonna shove his face into a wall instantly? Why all the suspense and cool shots?

When CX-2's ship blew up I thought for sure it was from Rex or Phee's ship. But no. (can regular DC-15s even Do that?)

HNNNNNHG wet hair Hunter

SCORCH?? Ok so he could have been some random guy and it wouldn't have made a difference. What was the purpose. Why did he have a name? Why bring in a Legends character just to get rid of him in the most anticlimactic way possible?

Hemlock threatening Omega literally doesn't make any sense? It carries Zero weight. Omega even brings it up and Hemlock doesn't respond. Because it doesn't make sense for his character. Why.

Nice little callback with Crosshair's shoulder rest

Crosshair shooting Omega's binders off should be a tense moment but it's not. There's nothing at stake here. We know he won't shoot Omega. What am I supposed to be feeling?

Ok seeing Hemlock just get absolutely Pelted was nice

She hugged Crosshair first. Maybe we can start resolving some of his guilt. If we actually took time to show characters processing their emotions.

We're Still not talking about the hand? That feels notable, is that just me???

Ok and everyone just.. leaves. We just leave. It's done? Where was the climax supposed to be genuine question

Ok so we're namedropping now. Project Stardust with a nice subtle imperial march in the background. Okay?

We are back on Pabu now. The clone kids are there. The clones are there. The kids are there. Emerie is there. Everybody's happy.

Where is Phee?

Echo's ending is actually fine. I went into this ep the first time thinking for Sure he was going to die. Instead he's doing what Fives died trying to do. He's the last Domino but he doesn't have to fall and I think that's ok. But why isn't he with Rex in Rebels?

"With Hemlock gone, and his data destroyed, they're finally safe" - M. Night Shyamalan in the ATLA movie because we must Tell our audience Everything. Seriously why are we telling the audience something they can see? Why does Omega say that out loud? Nobody would say that. It's obvious. That line was just SO out of place

No real goodbyes for Echo though? No sweet character moments? No reactions from anyone?

Nice clones theme though. Fives would be proud.

All the dialogue between Omega and Hunter in this final scene just feels so.. off. Lazy. Show us what's going on, don't tell.

Why do Crosshair and Wrecker feel like such an afterthought here? Why is it so Awkward? Why were they over saying goodbye to Echo and Omega and Hunter weren't? It feels like they weren't supposed to make it out. It feels weird. It feels forced.

Part 3 TLDR: This was the part of the ep that just fell flat for me. It had some cool moments, but it felt really rushed and poorly thought out. It feels very out of place with the previous 30mins. It almost feels to me like it was rewritten, although I may just be delusional. My main gripes: This part of the ep should have had the big emotional moments and also wrapped up all the loose ends introduced in the rest of the season. It did none of that for me. Why cut off Crosshair's hand to have none of the characters really acknowledge his sacrifice? That isn't a resolution to his arc. None of the Things that happened to the Batch this season were processed at all, and everyone except Hunter and Omega was pretty much sidelined towards the end. CX-2, who was built up all season, died in a super unsatisfying way. The dialogue and staging of that final scene felt super off. The cavalry never arrived. Positives: As always, the Kiners killed it. The music was great. I love a happy ending, that rarely happens in Star Wars and I would've absolutely eaten it up under the right circumstances. Watching Hemlock finally get it was super satisfying. Echo's ending as a continuation of the Domino Squad's quest for clone individuality was really fitting actually. That One shot of Tantiss... glorious.

Epilogue Thoughts:

The way the city is set up on Pabu makes it look just like Tantiss in the overhead shot.

Aww the red bandana in Omega's hair

Hunter aged much better than Rex.

"We want to keep you safe" "You're our kid Omega" OK WHERE IS THE WE? WHERE IS THE OUR????

Ha she's taller than him short king Hunter wins

"Keep an eye on Wrecker and Crosshair" you're not gonna say bye? They aren't gonna see you off?? No way Wrecker would be ok with that

The GOGGLES :((((

Omega's lil salute like Tech in S2E4 Faster my heart

Where are Crosshair and Wrecker in the epilogue. It feels like a weird choice to leave them out. They're just as much her dads as Hunter is.

Epilogue TLDR: Honestly I liked that this was their ending. Finally, some Star Wars characters can have peace. With that said, My main gripes: significant lack of Crosshair and Wrecker, who absolutely wouldn't have let omega leave without saying goodbye. Similarly, lack of Phee, who seemed to be becoming a mother figure to Omega. I can't imagine she wouldn't have seen her daughter off. Positives: old Hunter. We don't get to see that many clones age, and Rebels animation, as much as I love it, just didn't quite do it justice. It was great to see some characters get to actually live out full (ish) lives at peace. Also older Omega's character design was peak.

Oooookay so this ended up being a Lot longer than I intended it to be when I started writing it but I just had a lot of thoughts on the finale and needed to put them somewhere. I loved the experience of being a part of the Bad Batch fandom from start to finish, and I made some great memories for sure. While the finale wasn't necessarily what I was hoping for from this show, I loved being delusional with everybody. Plus, this isn't the end. (we know they won't give up the clone wars animation style it makes them too much money)

#star wars #the bad batch #the bad batch spoilers #my post #tbb echo #tbb tech #tbb hunter #tbb crosshair #tbb omega #sorry for the actual very long hyperfixation ramblings #this was Not my intention but here we are

[aq2003]

I listened to the tenth doctor song recs and they were all so fucking on point. Also Inertia as a fourteen song ohhhhhh my god. Amazing. Pompeii is for sure a ten song but also the tendonna of it all. Every Will Wood song was SO spot on. I was going to send my favorite lyrics from one of them, but then it became like half of the song, and then I ended up wanting to do it for each one, so just trust me when I say I see the vision. Flight of the Crows made me insane. Similar to the Will Wood stuff I was gonna send some specific banger lyrics but it was just the whole song. 10/10.

(post for context) YEAHHHHH!!!! i am still trying to clean my ten playlist up ie only let in songs that super fit my very specific meaningless criteria and organize it by each of his three seasons so that you can vaguely string together his arc just by listening to the it. it's a difficult balance so it's def a work in progress hdkgldjhfkw

inertia is fun bc i found it and went "woah, fourteen!" then i later found a fancam of him to it. like so true op we are melding our minds together. and pompeii...ohhhh god the tendonna huh. not even in the sense its about donna but like. this song is in the s4 specials/pre-waters of mars section of my ten playlist bc it's her haunting the narrative so bad. this random song can represent the fires of pompeii/waters of mars narrative connection SOOO well

will wood has so many ten coded songs it's insane i think my favorite one that i listen to and think the blorbo thoughts about changes every week. currently feelings the shrimp emotions about against the kitchen floor though bc. The tenmartha huh. good lord. what the fuck

also a couple of the songs i recced (cicada days and flight of the crows) i originally found from this post from @alexmey-does-an-arts, they've got more ten-coded songs there that you might also like!!!

#dr who #10 era #what else. oh yeah i have a flight of the crows amv for ten (and maybe fourteen) in the back of my head #when i'll make it is anybody's guess though

[mishasminions]

Here’s why the Supernatural Series Finale Sucked

(AND IT REALLY ISN’T JUST BECAUSE CAS/MISHA WASN’T IN IT)

First of all, I’d like to state, that this perspective is coming from someone who has watched, invested in, and dissected this show for 15 years. I’ve tried to rationalize and justify every single decision each of the main characters made throughout the years, and I’ve always tried to make sense of each of their story arcs from a “bigger picture” standpoint as each season progressed.

Anyway, before I can properly explain why the finale sucked, let me quickly take you through 15 seasons by segregating them into 3 eras, because you can’t really comprehend what Supernatural is about and what it’s become without going through how it tried to expand its universe.

SEASONS 1-5: THE KRIPKE ERA

Now, we all know that Kripke was always set in wrapping up Sam and Dean’s story in 5 seasons, and he did just that.

So, in this era, Supernatural is about two brothers who set out on a journey to fulfill “the family business”. They hunt mythical monsters that terrorize the world, while battling the monsters within themselves. Their ultimate “big bad” is an apocalypse.

Towards the end of this era, we find out that Sam and Dean are actually a parallel to Biblical characters who are brothers turned rivals. And that Sam and Dean’s destiny is to go up against each other.

However, as a dynamic, they have always been about making their own choices, choosing free will, and having a brotherly bond that can power through against any obstacle at any given day.

So, this era is neatly wrapped up with its finale. The characters grow, and get justified endings.

Dean, a man who thinks of himself as two things: 1. Sam’s older brother and protector; and 2. Daddy’s blunt little instrument.

He’s spent his whole life believing that that was his only purpose, and he knew that the only ending he’ll get would either be a bloody death fulfilling his duty to the family business; or laying his life on the line to save his brother.

Dean gets the ending he thought was never possible for him, something he thought he could never deserve. After years of living and dying for his family, he gets a shot at having an apple pie life--to settle down with a nice girl, raise a kid in a house with a white picket fence. With Sam gone, Dean’s responsibility now is to himself.

Sam, on the other hand, never wanted any part of it, because he wasn’t groomed the way Dean was, and because thanks to Dean, Sam wasn’t traumatized or forced into growing up too quickly the way Dean was.

So Sam aspires for a normal life, and works the cases with Dean so he can maybe get some semblance of it, when everything they set out to kill are laid to rest.

Ultimately, Sam performs a selfless act for his brother, who has given up everything for him, and for their cause--to save the world.

The journey is this: Dean sacrifices everything to save Sam, and Sam sacrifices himself so Dean could live.

Apart from being Dean’s “savior” and guardian angel, Castiel’s role in this era is to serve as a mirror to Dean’s journey. Castiel goes from being heaven’s foot soldier, following “God’s orders”; to an angel who learns to choose and feel for the first time in his existence.

After they realize that they’re both daddy’s blunt instruments, Dean starts choosing his own path for himself, and convinces Castiel to join him. Castiel stops following heaven, and starts following Dean.

In the end, with his newfound understanding of the world thanks to Dean, Castiel goes back to heaven to reform it.

We’ve resolved the biblical arc, and the character journeys.

SEASONS 6-10: THE SPIN-OFF ERA

So this is where the show realizes how vast its universe can be, so it tries to expand it by tapping into uncharted lands and experimenting with it.

They take on heaven, reform hell, explore purgatory, have the angels fall, turn Dean into a demon, and kill Death.

Dean and Sam recognize their codependency, and try to rise above it.

They go back and forth between which brother will risk it all for the greater good every other season.

Dean and Cas strengthen their relationship by recognizing the impact they have on each other’s lives.

Cas structures his life and decisions around Dean (Seasons 6-7), and Dean learns to trust and fight for Cas (Seasons 8-9).

Sam and Cas bond (mostly over Dean) because of their shared rationales in decision-making.

Dean, Sam, and even Cas also forge relationships with the people they work with. The concept of “found family” is introduced here.

This era was heavy on the plot while establishing, reinforcing, and solidifying relationships and dynamics.

At this point, it wasn’t just about the brothers anymore.

If Supernatural had ended in Season 10, the logical finale would’ve been Team Free Will, along with the family that they’ve found, going up against the latest big bad (Death or whoever). Maybe they lose them along the way, maybe they all make it out alive, or maybe they go down swinging, but at least the show recognizes and supports the message they keep saying, “Family don’t end with blood”

SEASONS 11-15: THE REWRITE ERA

This is where the show runs out of ideas and decides to invalidate the seasons that came before it.

From bringing Mary back (basically rendering their whole journey pointless because they’ve literally started hunting because of her death), to changing the stipulations in being Michael and Lucifer’s vessels (another character struggle rendered useless), to God himself breaking the fourth wall by saying that the Winchesters get away with everything because “they’re the main characters in his story and everything they’ve been through was just part of a badly written narrative”.

But what we’re getting from this era is that Sam and Dean, along with Cas (who has also deviated from the story) ARE trying to escape a badly written narrative.

That’s the “big bad” in this era. The writer.

At this point, the characters have picked up so many strays (including those from alternate universes), and have settled into their roles in their “found family”. Dean, Sam, and Cas all become surrogate dads and uncles.

They’ve also graduated from the whole “we’re on different sides” and “going behind each other’s backs” drama. And they just want the whole family together.

They’ve all resigned themselves to the cause, but they’re also tired. Dean allows himself to contemplate about wanting more out of life or at least getting a vacation. Sam, on the other hand, realizes his capabilities as an effective leader. Castiel learns to love another being that isn’t Dean (spoiler: it’s Jack).

However, they also realize that they’ve just been puppets on a string all this time.

So what they want now, is to write their own story, and make their own choices knowing that God/the writer isn’t the one fueling their narrative.

So here’s why the finale sucks:

Andrew Dabb, the current showrunner, said that there would be two finales.

15x19 - The finale to wrap up Season 15, and 15x20 - The finale to wrap up the series by “resolving the characters’ journey”

In 15x19 the boys find a way to de-power God/the writer. For the first time in their whole lives, they are free from the story. Their lives are completely theirs now. They can make their own decisions. There are no more “big bads” to fight

And here’s what happens in 15x20:

Immediately after being freed from their story arc, Dean and Sam go back to hunting the monster of the week.

Dean eats pie, gets nailed (literally), makes a 10-minute speech to Sam because he knows he’s dying, then he goes to heaven.

Dean is greeted by Bobby, his surrogate Dad who he hasn’t seen (fully alive) since Season 7. Bobby’s expository dialogue comprises of him explaining that he got out of heaven’s jail, that John and Mary are next door, and that Jack and Cas fixed the dynamics of heaven off-screen.

The first thing Dean decides to do is go for a long drive in his Impala (as if he hasn’t done enough of that already).

Meanwhile, Sam decides to stop hunting after Dean dies, he gets the apple pie life he hadn’t wanted since Season 8 (while Dean was in Purgatory), and names his kid “Dean” for effect. He grows old and dies.

Dean drove around in heaven for so long that Sam catches up to him.

They hug. The end.

Great, right?

After 15 years of struggling to battle their own respective destinies, going up against big bads and even bigger bads, then finally being able to take charge of their own stories, Dean and Sam regress to hunting the monster of the week, and get killed off by a nail and old age. Okay.

Sam gets to retire and have a family, sure, but they still focus on him and the kid he named after his dead brother. Still just “Sam and Dean” through and through. Nothing to do with found family. Just lineage. Just blood. And it ends there.

See, the problem here is that this ending would’ve been passable in The Kripke Era. But we’re 10 years down the road since, and while Sam and Dean are the original main characters, the show isn’t just about them and their codependent relationship anymore.

So you see, even if you take out the whole “Castiel deserves to be in the finale because he’s also a main character with an unfinished story arc” argument, the finale still does no justice to the series it tried to “wrap up”.

But anyway, now I’ll make the case for the problem with Castiel not being in the finale:

In 15x18, we get a 5-minute rushed confession from Castiel to Dean. The context of which are as follows:

1. Earlier in the episode, Dean had wounded Death with her scythe. We later find out that this wound is fatal.

2. Their friends start to “blip out” in a Thanos-like snap, and Dean thinks that Death is causing it, so Dean seeks her out, and Cas goes with him.

3. Dean and Cas anger Death, apparently for no reason because she didn’t even do the thing they thought she did. She chases them to try to kill them

4. Dean and Cas lock themselves in a room. Dean starts a pity party.

5. As Dean goes through hating himself out loud, Cas decides to inform Dean of the deal he made with The Empty. He then proceeds to explain the stipulation of the deal (that he would get taken once he experiences a moment of true happiness), then discusses his newfound happiness philosophy. Dean is getting whiplash.

6. Cas goes on to imply that the one thing that he wanted that he knew he couldn’t have is Dean Winchester reciprocating his romantic feelings for him. (Don’t even try to fight me on this because Cas already has Dean’s platonic love, and he knows that Dean thinks of him as a brother, so if he really meant this in a “familial” way, then why would he think that he couldn’t have the thing that would make him happy?) So Cas’ realization is that telling Dean about his feelings is enough to make him happy.

7. Cas tells Dean all the reasons why he loves him (thereby combating Dean’s self-deprecation tirade), and all the reasons why he’s worthy of his love. Meanwhile, Dean is still winded from the fact that Cas is about to sacrifice himself for him again.

8. Dean never gets to process anything, because Cas is shoving him out of the way, as he and Death (who busts through the door) get taken by The Empty.

After this episode, Dean never speaks of it. Misha Collins supposes that Dean doesn’t reciprocate. Jensen Ackles says that Dean didn’t really get to process it because it was too much, too fast, and that Dean, still dense as ever, thinks that Cas, a celestial being, doesn’t interpret human feelings the same way.

So what was the point of this confession?

Politics and sensitivities of a 2005 network television aside, what does this do for the story?

Cas proclaims his romantic feelings to Dean, but Dean never acknowledges it, doesn’t even give it a passing thought afterwards. So Cas’ big declaration goes unheard.

Cas cashes in on his Empty deal to kill Death (who was dying anyway), in order to save Dean who dies two episodes after.

Dean makes no effort to save Cas (despite being really broken up about his previous deaths, or even spending a whole year in Purgatory looking for him), even after they’ve beaten God, not even asking Jack (who has all the power in the universe) to bring him back (when Jack has already done it before, with less mojo).

Dean moves on to fight the monster of the week. Somewhere off-screen, Jack rescues Cas from The Empty, but Cas uncharacteristically doesn’t even bother to go to Dean? (Every single time he comes back, Dean’s always the first person he goes to)

And Cas, who apparently helped craft and reform the new heaven, isn’t the one who welcomes Dean and explains the new dynamics of it?

Sure, Jan.

Supernatural, you’ve created a finale that only your casual viewers and people who dipped out after Season 5 can appreciate.

Just goes to show how much you actually valued the people who actually invested in your story and characters, and consistently helped keep your show on the air.

[RT this on Twitter]

#SUPERNATURAL #DESTIEL #15X20 #I KNOW I SAID THAT MY LAST LONG POST WAS MY LAST ON EVER BUT I REALLY DIDN'T THINK THE FINALE WOULD BE WORSE THAN I THOUGHT IT WOULD BE #INSIGHTFUL INSIGHTS #UNTAGGED #PERSONAL

[theseerasures]

Re: that anon who asked about the shuffle step of the themes of sacrifice

I also found the ideological shift in the volume very interesting, and I think she most interesting bits are with Team RRAYNBOW. Like I think the dynamic between Yang and Ruby and their respective missions this volume is very interesting (if maybe a bit underdeveloped, atm at least). You said a little about it with Team JOYR in Chapter 7. Do you have anymore thoughts about the "shuffle step" in regards to that?

i’m gonna admit upfront that i find this question kind of perplexing, because i don’t know what “ideological shift” it could be alluding to when imo our heroes didn’t so much pivot (or shift, or shuffle step) ideologically so much as make a series of context-specific decisions according to what they felt in the moment they could live with, or would die for (don’t make me tap the sign, etc).

what i DO think might be helpful, though, is to lay out what was at stake in each of the weighty choices/discussions our heroes took part in, from the very beginning of the Long Night to the end of volume 8, to see what (if any) throughlines persist or change. so:

Cordially Invited (7.8) to Out in the Open (7.10): our heroes are all in accord. transparency (telling the truth to Robyn) and collaboration (working with/helping Mantle) are paramount, and Ruby specifically takes steps to remedy her own wavering in that earlier in the season, by letting Oscar tell the whole truth to Ironwood. what’s key about this run, though, is that our heroes aren’t calling the shots yet. they advocate for certain actions when advising Ironwood, but they still trust him to take charge of deciding Atlas/Mantle’s fate.

Gravity (7.11): the Big Shift in terms of status quo. our heroes (JNR more implicitly) remain in accord--abandoning Mantle is the line in the sand they refuse to cross. but what does RWBY advocate for, if not Ironwood’s plan? they all agree that the best thing to do is to stand their ground, but for what? Blake and Weiss are comparatively silent on that front, but Ruby and Yang are more explicit. Ruby makes her plea about Amity--that if they hold out long enough, they can do what they always planned, and unite the world, and get help. Yang’s argument is that Huntsmen and Huntresses don’t back down from a fight. (she’s also the first person to suss out that Amity isn’t ready for launch.) this difference is going to come up later.

The Enemy of Trust (7.13): Oscar makes his last individual plea to Ironwood. his reasoning, much like Blake’s (and presumably Weiss’), is simply that abandoning Mantle is a sacrifice of such magnitude that it becomes unconscionable. it’s wrong because it’s wrong, and Ironwood’s rebuttal that it’s pointless to argue about philosophy when Salem’s right on their doorstep, is dickish, but not incomprehensible. Oscar is still looking to retain the advisory capacity that Team Unwieldy Acronym has had for the entire season, and guide Ironwood to making the right call, but that bridge has already been burned. they have to decide the fate of Atlas/Mantle now if they want to save both.

Divide (8.1): The team is no longer in accord. Ruby and Yang recognize that though they agree about Ironwood, their reasons for not abandoning Mantle are different. Ruby’s looking at the big picture, both in terms of what they have to do for the world, and what the world can do for them. Amity looks to be the only obstacle to getting both and saving everyone. Yang thinks it’s pointless. Yang didn’t want to abandon Mantle because that’s just not what you do, but she has no expectation of fighting toward any good outcome. she’s gonna do what seems more readily achievable, which is saving whatever lives can be saved. Ren and Nora split along similar lines more acrimoniously, because Ren at this point is desperate for tangible success and Nora is...just as desperate for total consuming optimism. Blake throws her lot in with Ruby, Weiss abstains, remaining the most quiet on the fate of Atlas/Mantle despite being Atlesian. Jaune and Oscar, though they go with Yang, mostly go for pragmatic reasons.

Refuge (8.2) to Midnight (8.6), Yang’s Team: the plan to help with Mantle is almost immediately derailed when the Hound kidnaps Oscar. i’ve talked about JYR’s plea to Winter in War, but that of course is not the first time that team chooses the few over the many; they do that IMMEDIATELY after Oscar is kidnapped, when Fiona calls for their help and they--without even verbally consulting with each other--go for Oscar instead. in that moment the more proximal thing they can and need to achieve becomes rescuing their friend, whose captor was still in view. but crucially: as soon as they lose Oscar in Fault, and especially after they discover the Grimm River in Amity, JYR had been on their way back to Mantle, and presumably, back to the less impossible thing to do, the thing they promised the Happy Huntresses they’d help with. running into the AceOps and Salem’s invasion throws a monkey wrench into that plan. suddenly rescuing Oscar becomes possible (though not probable)...

War (8.7), Yang’s Team: but not if Ironwood blows up the Whale, whereupon the equation changes again because now doing nothing for Oscar means leaving Oscar to certain death. tbh the confrontation on the airship is about like fifteen different things at once, because the variables keep changing and everyone is having their own argument over whether to rescue Oscar, and why. Yang’s response once she hears about the bomb is mostly you can’t; it is once again just not what Huntresses do, with some personal stakes thrown in. for the AceOps it is about the weighing of lives, and how they can’t put the mission to save Atlas on hold for one life. Jaune is the one who thinks of an idea where they might be able to do one without delaying the other (the second time this season Jaune has suggested the “go for both” option), where they would be the only ones risking their lives, and no harm comes to the greater good. only then does Ren jump in and shift the argument to caring and friendship; that is to say, after the stakes have been lowered so it’s not Oscar vs. Atlas anymore. i don’t think it takes away from his big moment, though: we know from Fault that Ren has taken Yang’s challenge of “let’s do what we can do” and run with it, and come up with “and what we can do is nothing because we’re not ready and we get everything wrong,” so him vowing to do whatever we can here is important. the point is clear: Team Hero draws their strength from their friends, and they’re willing to die for each other...but the question of if they’d let the world burn for their friend is put off for now.

Strings (8.3) to War (8.7), Ruby’s Team: in contrast to Yang’s plan faceplanting at the first hurdle, Ruby’s plan...works. they accomplish their primary objective! but they had to pay a steep price, and the only immediate consequence of that victory was entirely negative. Nora threw so much of herself into Ruby’s optimistic gamble that she now has lasting scars, and if they had never gone to Atlas Command Penny would not have been hacked (so easily; she might have been regardless). Ruby successfully put the ball in the world’s court, but that the problem: the ball is in the world’s court, and the longer it stays there the less sure she is that help will come. and it IS just about the help they’ll receive by War; Salem batting away Atlas’ hard light shields has shifted the goalposts from “hope the other Kingdoms can prepare :/” to “BLAKE’S PARENTS CAN YOU PICK US UP???” the question of Atlas or Mantle rears its ugly head for the first time since Gravity, and this is the first time Weiss is the first one to advocate, and she says we can’t leave--which, not coincidentally, is also what RWBY said to Ironwood in Gravity. May’s argument, of course, is driven by far more compassion: the need in Mantle is greater, and having finished facilitating Ruby’s (and Robyn’s) plan she’s going to do what Yang decided to do, what Joanna wanted them to do, which is fight for every last life. there’s no longer any big wheels to turn, nor any big powers to convince; all they have to do is decide what they themselves will do, and who to fight for. and Weiss finally shows her hand here. she believes in not leaving Mantle behind, but when it comes to the faces she’d fight and die for, Weiss’ are still in Atlas. Blake and Ruby are the ones to abstain this time, and notably when Ruby tries to argue that they’re all in this together it’s much less effective, because...there’s nothing left for them to do together. Ruby is out of concrete solutions.

Witch (8.9): what goes easily missed here that in retrospect is very important is...Oscar kills Hazel. (which means that an Ozcarnation killed BOTH of the Rainart twins.) we all thought he doubled back to make a sacrifice play, and he did, but not for himself. he received Hazel’s verbal consent, and Hazel would have died regardless, but the point still stands. he had to kill Hazel to neutralize Salem, to buy them the time they desperately needed. an unsettling portent for what comes later, innit? it highlights what his own kidnapping, Nora’s injuries, and Penny’s hacking already illustrates, which is that they are now risking every inch of their body and souls in this fray, and it also illuminates the other part of that, which is that by continuing to throw themselves back into this conflict, they now control the fates of other people as well. Hazel trusted Oscar to make the right call, but Oscar had to make the call.

Risk (8.11): where we ultimately land with the splitting of teams is that: Yang’s team went out to achieve the easily graspable, and they ended up forging alliances they never anticipated and dealing a devastating blow to Salem. Ruby’s team went out to achieve what should have been much more difficult, and they did, but with little palpable impact beyond the negative. what comes out and blends exquisitely with their conversation about Summer is that yes, Ruby sent out the call to warn the world, because she believed in humanity and unity, but Ruby sent out the call because she wanted help. she wanted people--say, parental figures--to save her and tell her things would be okay, and she wanted back the innocence to believe them. Ruby didn’t ask to be the face of the war against Salem, and she most certainly does not want to be in charge of it; she has lived with the material consequences of her family being the centerpiece of that war for her entire life. the Hound reveal is the final twist in the knife of Ruby’s childhood, because now the figure on the highest pedestal in Ruby’s mind has been perverted to a malevolent specter, and if that’s the case there are no more adults. THEY have to be the adults now, and look what a terrible job she’s done with that. Yang’s response is that Ruby is not alone--either in her traumatic fall into adulthood, or in her choices not panning out as expected. all they can do is the best they can in the moment, and Yang’s probably going to keep defaulting to what feels more tangible to her, but that doesn’t mean she wants Ruby to stop going for pie-in-the-sky options, either. Summer is still Yang’s hero, which means Ruby is too. what matters most is that they remain responsive to the moment, and don’t get bowled over by despair when something inevitably go off the rails.

so given all these developments, what are we to make of the plan from Creation (8.12) to The Final Word (8.14)? we start with the archetypal Third Option, as championed by Ruby and Jaune: use the Staff to save Penny and Mantle, and Atlas along the way. but the priorities of the plan--civilians first, presumably even before the Relics or the Maiden powers (though the question of one of them or a Relic is really only answered by Winter, who does not speak for Team Hero)--have Yang all over them. we have to do this for Yang isn’t just because Yang’s gone, it’s because they know it’s what Yang would have wanted, and they will respect that. they made a Ruby n Jaune style Big Plan, but when that plan fell to pieces there was no time to think of a fourth, or fifth, or sixth option that would get everyone out, so they had to improvise and double down on what they all agreed was most important. the choice between their friends or the people could no longer be deferred, or augmented, so they chose. civilians, then the Relics and the Maiden powers, then each other. and when any of them wavered--Blake, Ruby, Jaune--someone else checked them, reminded them to trust and respect what they all committed to. they’re still drawing strength from each other, still dying for each other, but they acknowledge that they are not directing just their fates with their decisions anymore. they took a huge desperate gamble to save Atlas/Mantle, and it worked, but what they gambled with was their own lives. and they made themselves make peace with that--that they���d have to do what they can, everything they can, without hoping for salvation for themselves, even from friends or family.

in the end, what comes across just from doing a close reading of these moments is that RWBY’s views on sacrifice, logic vs. sentiment, the greater vs. the few, etc can’t really be plotted on a solid line. that’s why i can’t really think of what happened this volume as a palpable shift--because so many of these choices were context and character dependent. what i DO think happened with our heroes’ ethical beliefs (or “ideology” ig) is that they were tested across a sequence of stressful and traumatic situations, and as a result they had to compromise on a few things they hoped to never have to compromise in order to shore up defenses on what they were certain they could not live without, or would die for (or both! in the case of six of them). if they have to die like every other Huntsman in history so be it, but they refuse to be so cavalier with the lives of others. none of that is meant to be definitive, however: in-universe RWBY is far from over, and Team Hero is going to get to re-litigate and reexamine these questions from lots more angles, out-of-universe...RWBY is far from over, and the point of the show is not to provide an ethical rubric against which the audience can judge themselves and the characters. there are things--like y’know. genocide--that this show will always consider to be beyond the pale, but in terms of grayer complex questions it is content to simply feel out what is and is not allowable in each particular instance, without trying to resolve all options into One Correct Option.

because sometimes you do just have to sit with the discomfort of there not being one right choice or one golden rule, and sometimes you are awash in the consequences of not only your own actions but the actions of others. and then you have to keep going.

#Anonymous #rwby #helen writes meta #people often complain about how takes on rwby fights often rely on video game logic that doesn't exist #but i'm starting to wonder if takes on rwby OUTCOMES aren't driven by similar logics #where...idk paragon outcomes are supposed to always lead to good things #and our protagonists are always making their choices without the horrible telltale countdown bar over their heads #but it's...not like that. there is no secret golden ending to unlock and if this volume has driven anything home it's THAT #when i say 'rwby is a show about being kind' i don't mean 'rwby is actively providing instructions on how to be kind' #i mean 'rwby looks on all of its characters--even the worst villains--with a sublime and terrible compassion'

[kuekyuuq]

Gloria, Jet-lags and Imps [6x11]

Let’s jump right in:

Kinda love how Kara lamp-shaded addressed the fact she didn't tell the gang about her adventures in the PZ. She’s not wrong, tho.

...what do I want to say about Mxy using what's basically a well-known gay-anthem to tell his tale? I mean, it didn’t lead anywhere. The original song is about freeing oneself, liberation, stepping out of a (gone bad) relationship and moving on, stronger for it - empowerment. The only connection I could make, is that originally it was Nyxly’s aim to just do that (freeing herself and her kind from an oppressor), but in the way Mxy performed it, that part of the parallel was long over before he even reached the chorus. It’s also a popular Karaoke song, tho, so... he chose it because it’s catchy? I’ll try not to overthink it for now. At least, the Superfriend’s reactions were fun.

Nia exiting the elevator, "And what's this Old Stone?" I love it when ppl enter a room / situation and pick up on words that they couldn't have possibly heard. I think cinema sins ding such... Are we to assume, she dreamed Mxy's rendition of ‘I will survive’? Or is the elevator not sound-proof at all? (If it’s the latter, Nia later apparently telling Brainy “in private” between scenes / during the elevator ride about her Nyxly adventures, was a silly thing to do.)

So, "Jared" created the ring Old Stone to rule them all, it got shattered into the Paragons totems? Nyxly needs the totems and to get them she needs a crystal which also belonged to "Jared" - who happens to be Mxy's ancestor, which is why she needs Mxy / his blood, too.

I have one important and incredibly relevant question here, tho... 

With the introduced imps and their names... Why’s dude named Jared of all things?!

Really, did I mishear that? If so, I’ll leave it as is and never edit, bc that would be hilarious in its own right 😋

...

Not sure what to make about Supergirl paraphrasing a Dirty Dancing quote.  "Nobody puts Mxy into a power crystal on my watch."  ...is he Baby now? (Seriously, though: Which of the writers thought that was a fitting quote to use in that particular context?)

...now, is the exposition section of the episode over yet?

Sensitive Brainy sensed something was up with Nia. He can relate... Nia doubting Kara would understand, too, is ridiculous. But I get it... insecurities and all. But, I mean, just 5 minutes later Kara announces she wants to save Nyxly despite her wrongdoings. And yet Nia still remains convinced, Kara wouldn’t forgive her own personal mini-me... After having witnessed Kara forgiving Lena for a whole season of the writers being stupid messing up to the nth degree. But I digress, Lena’s Lena.

...how old is Nia meant to be again? Just asking out of completely unrelated curiosity.

F*ck. They really went with NewFoundland...

Imma assume it was an executive choice after realizing they couldn’t find enough actors and actresses with a convincing Irish accent... maybe. Again, no offense to Newfoundland! Just... we got the insinuations of Ireland, not Newfoundland... And truthfully, when I think of magic, Ireland is an easy association. Whereas I only due to this whole debacle learned Newfoundland has Irish ancestry. So, okay, the show forced me to learn something new... I give ‘em that.

An easy journey, she said.

Lena's been off-screen for two whole episodes, Kara announcing at the beginning of ‘Dreamweaver’ [6x09] Lena being “back east” (at least insinuating Lena’s left the west-coast already), which span over at least one full day (feat. a scene at night), and ‘I still rise’ [6x10] at least another a whole day (the whole Nia’s mom back for a day deal). And, now, after at least 48 hours she barely just arrived.

Lemme check how long a regular plane would need to fly from California to NFL......... ... .. .. So... approx. 10 hours with at least one layover. 

Yeah, using a private jet made it easier, but apparently also much, much slower...

Or, Lena randomly went some other places / did some sight-seeing in NFL before she decided to finally visit her mother’s hometown...  [Either that or the timelines don’t match up and Lena’s scenes are flashbacks of sorts.]

Optimistic and relaxed Lena is a sight to behold. I rewound 3 times, just to enjoy it for as long as possible. We all knew it was going to be short-lived... 

Let’s check off a few more items...

OMG, Kara hiding behind Alex at the mere sight of the PZ-projector broke my heart!  😢

"Elisabeth Walsh" is the new 'the one you shall not name'. ...poor Lena. 😭

Oh, so Mxy wants to be Patrick Swayze instead of Baby... gotcha.

...is this going anywhere?

KITTY!!! Okay, this must be the best opponent in the history of CWSG. 

Despite the horrible CGI, SG using her heat-vision to project a laser-beam to distract the cat had me in (happy-) tears! 🤣

Gotta love the civilians of National City quickly returning to business as usual once the giant cat is gone. Even the police officers looked rather chill...

Nyxly did look fabulous this episode ^^ 

Andrea being Lena's rock is both great and annoying. I can't fault Andrea. It's just, that we still have to see an on-screen interaction between Lena and Kara and that bugs the heck out of me. I can’t help it. I’m sorry, Andrea.

Nia: "...is my fault." Kara: "Nu, is MY fault!" J'onn: "Stop fighting, kids!" Space-dad has spoken.

Mxy used an LuthorCorp copy machine... and of cos it's faulty. It's not an L-Corp product.

Kara forgiving Nia came as a surprise to her... Oooookay. I mean, the show has been writing Kara a bit inconsistently the past two seasons... so, yeah, maybe being unsure which of her traits apply this week was not such a far stretch...

Maybe it's the hair, but I wished, Florence was played by Alex Kingston.

So, not-Alex-Kingston shows Lena herself with a funny wig and tells her how her mother was still watching her...

If it wasn't for Katie's acting skills (I love her.) I would have already hit my head against the wall repeatedly. Something about these scenes had me constantly cringe and I made it through 5.5 seasons of this show already... Can’t quite put my finger on it, but it was highly distracting from the story that explained Lena’s mom was special even to another witch, where there was domestic abuse, and an accidental murder. Y’know, important stuff, deep-cutting stuff! 

At least, poor widddle Lena got some closure there. Elisabeth was a good cookie. And filled with magic. And Lena’s gotta have that ‘spark’, too... 

....so... Lena’s gonna stay in NFL for how much longer, to train becoming a witch?  Please, just hand her a how-to manual and send her back home, to figure it out on her own, please... (Yes, that would be horrible decision-making, but I need her back with the team!)

On to the finish line: 

So... Mxy IS Nyxly's brother? Wait, that doesn’t sound right... then Nyxly would have the same blood... Did I miss something? Can someone explain, please? Or is he her ex, and that’s where his rendition of “I will survive” makes sense?

Hnn... I can't help, but think Kara's speech for Nyxly was 85% based on her experiences with Lena in s05.

Awww... he said "stronger together"... Mxy... I hope, you'll be okay!

Lena believes in magic now. And I absolutely love how Lena wants to science magic XD

...but apparently magic isn’t science that hasn’t been explained yet, but parallel... powers? concepts? ether strings?

Nyxly has a loyal henchman now. Which was a bit heavy-handed. Took way too much of screen-time, so it better leads to something interesting.

And Kara is on a warpath now. Wooooot! Girl’s got enough.

...what else? 

Did I miss a third Patrick Swayze hint / quote / mention?  I learned, these things come in threes... Y’know, basic writing rules... 

I guess, for once the episode title was meant to be taken literally, Mxy popping up between characters, to try and help. (I need in-show footage, of Mxy sneaking up on ppl, without his powers, on all fours / crouched, just to get the desired effect.) I mean, I’ve never really watched Malcom, but wasn’t he like what Mxy usually is? A bit of a trouble-maker, prankster, chaos-ensuing wherever he goes? ...well, in that case, the episode title didn’t hold up, as Mxy’s scenes were not fun or really goofy. Yes, there was some superficial humor, but just to serve Mxy dealing with not being able to use his powers, which in turn was only barely scratched at (although it turned out to be his final character development crisis, appreciating not having powers and - in turn - facing consequences for once). Again, a whole lot going on in the episode, so a lot of that may have ended up on the cutting-room floor.

...where’s Kelly? Secretly adopting a kid, maybe?

...Kara’s still a reporter, right? I mean, whenever it serves the immediate plot, yes? ...Not even a throw-away line, that she has to pop up at CatCo for appearances sake? Since Andrea is already upset with her AND looking into her friends’ identities? At least, Kara should take a peek to make sure Andrea hasn’t uncovered anything yet... No?

Well, that’s all I’ve got for now. Kue out.

#Supergirl #supercorp #Mxy in the middle #6x11 #mxy #nyxly #lena luthor #magic #lena's mom #fiction dissected #fandom #episode #Nia nal #dreamer #brainy #brainia

[chalkrevelations]

WELL. Episode 3 of Word of Honor.

First of all: If you are NEW or JUST VISITING, this is a re-watch, so there are SPOILERS not just for this ep, but for the ENTIRE SHOW. A lot of them, actually. Scroll away and come back later if you haven’t seen all 36.5 eps and want to watch it unspoiled.

So, this ep feels a little disjointed. I don’t think it actually is, not in the way the back nine are a speedrun where the writing starts to feel like it’s thisclose to coming off the rails, but it feels like it, in that we’re now getting a double handful of threads thrust at us that are only just starting to be woven together into a plot, and it’s the kind of hot mess that any fiberwork looks like before the pattern starts to show itself, particularly when you’re using 15 different color threads from jump. There’s generally a major theme or issue or overriding concept that stands out to me in each ep that, you may have noticed, gets primacy of place in these reactions, but honestly, y’all, I really struggled to figure out what that might be for this episode, because a lot of this, on re-watch, strikes me as groundwork for later developments. Wen Kexing gives us an “as you know, Bob” speech about the Amory and the Glazed Armor, we meet approx. 3.2K new characters, and I feel sort of like I should start keeping a chart of who’s supposed to have a piece of the Glazed Armor and who actually does have a piece of the Glazed Armor, but it’s already so confusing that it might be too late.*

ANYWAY, on re-watch, I can absolutely see the value of spending Eps 1 & 2 on introducing us to Zhou Zishu and Wen Kexing and getting us pulled into their orbit, because then we have scenes we’re already invested in to maintain our interest as the background politics begin to frustratingly play out with a bunch of people we don’t know or have any investment in yet. I mean, y’all. I forgot just what an ill-tempered gremlin ZZS was in these early eps. He is so fk’n put out that these people will not let him drink himself to death in the gutter in peace! Or, you know, in occasional Nightly Nails Torment. And the exasperation from both ZZS and Chengling over WKX’s antics – both of their faces are priceless in the scene when they discover he’s the one who’s bought out all the rooms at the inn. I literally lol’d. Again. Even knowing it was coming. All of this interaction is so delightful. This is actually the ep that provoked my very first WoH keysmash flailing Tumblr post and inaugurated the “wen kexing’s thirst is practically a third character” tag. I guess the biggest throughline for this ep is that we can continue to see how everything changes when we know about their previous relationship – things like WKX’s insistence that they have a “deep bond through fate” take on additional layers of meaning rather than just sounding like some dude who’s trying to pick you up at last call. Interesting that ZZS describes WKX at one point during their push-pull conversational dance as “like a wretched soul that keeps haunting around.” You mean, like a GHOST? Like a Ghost Valley ghost? Like the almost forgotten memory of a past life ghost? ZZS wants to know why WKX keeps following him around, and it would be nice if WKX would just come clean, but that would be too easy, wouldn’t it?

ZZS, re: Chengling: I do my best to ensure what was entrusted to me.

WKX: :makes (already! in ep 3!) yet another in a series of bad decisions not to say anything about the fact that he, himself, was in fact entrusted to ZZS:

Show: Here’s the first of many helpings of heartache to come. EAT IT. EAT IT ALL.

(Me: Well, here’s another AU idea: What would the course of this relationship be like if WKX flat-out asked ZZS what ZZS’s relationship to Four Seasons Manor was, and bare-faced claimed sanctuary as long-lost shidi Zhen Yan at this point? Because I bet there are plenty of ways that could actually go wrong. Not to mention the deliciousness of just watching them navigate a relationship shift that sudden. I feel like, at this point, WKX would have to be actively confrontational about it, would have to throw it in ZZS’s face – it would need to be something he did in the heat of anger, in order to have this pushed out past all of his fears. Like, you say that, but where were you when I needed you? Also, you think so, well what if your responsibility actually turned out to be the TERRIFYING GHOST VALLEY MASTER, what then, huh? And ZZS, still pretty actively suicidal over all of his failures, having to deal with what’s now being presented as YET ANOTHER FAILURE.)

Also, the theme of “knowing” (zhiji, the one I know) is starting to slide in sideways – we’re seeing a lot of back and forth between them asking about seeing the other’s “true face.” WKX says that he’ll tell ZZS what he (WKX) wants from him once he gets to see ZZS’s true face (LIES, it’s going to take a lot longer than that). ZZS asks to see WKX’s figurative true face, and WKX looks kind of sad and contemplative as he warns that it may be unappealing or terrifying. So, you know, we’re starting to poke at all the softest, most tender places and the issues that are going to stab me repeatedly in the heart for the rest of the show. We’re also already seeing the way Xiao Chu just layered in references throughout the script when she wrote it that call back to each other – it’s like almost any line of dialogue references three other lines of dialogue (and that’s without even getting into all of the literary references that I’m missing because I don’t have cultural context). You get things like WKX’s little speech right at the end that it’s hard to tell a ghost from a human, which on its face might be referring to the two “ghosts” that were coming for Chengling that he took care of and act as an admonishment to ZZS not to be so quick to assume they’re actually from Ghost Valley, but it also refers to WKX, himself, and specifically lays the groundwork (“someone wearing a ghost mask is not necessarily a ghost”) for his conversation in a later ep with ZZS when he asks if ZZS thinks he’s a good person, and also calls back (“someone who looks human may not be human”) to the line from earlier in this ep, itself, when WKX tells ZZS that perhaps WKX’s true face is terrifying. And so we get a nicely little wrapped package of the dichotomy of WKX and his issues. (As a somewhat related aside, A-Xiang’s little face when Zhou Zishu says all of the ghosts of Ghost Valley are full of evil (at 6:55). D: This reaction is obviously for herself, but also may be the first time she acts as proxy for Wen Kexing, as well.)

What else, what else?

So, nobody has a good opinion of the jianghu. WKX is going to be constantly all, “You killed my father, jianghu, prepare to die,” but ZZS also goes off about how it’s just about greed, hatred and ignorance, and yeah, I guess he’d have a pretty bad impression of it, when Prince Jin and Tian Chuang seemed like a better option than the pressure he was facing, trying to keep Siji Manor Sect alive back in the day. We talk a lot about WKX’s childhood trauma, because it’s so awful and right in our faces, but I don’t know how much we actually talk about the fact that ZZS was a teenager not much older than Chengling when he inherited a sect and tried desperately to keep it from being torn apart by the rest of the jianghu. I think we see some bitterness come out in the first few episodes – frankly, in this ep, he doesn’t seem to make much of a distinction between Ghost Valley and the rest of the jianghu. Also interesting that the metaphor he uses about the jianghu’s and Ghost Valley’s greed for the treasures of the Armory is “reaping without sowing,” given what we find out is actually in there in Ep 36.

We see our metaphor of light get pulled out again – this throughline strikes me as more like beads on a string than a thread, at this point, but maybe I’ll notice it more on this second time through … Anyway, WKX’s comment at 9:11 that it’s almost dawn is notable. Indeed, but is it because your plan is beginning to work and you can see the destruction of Ghost Valley and the jianghu coming down the pike, or is it because you’ve found your shixiong?

I notice WKX has color-coordinated ZZS and Chengling in the robes he bought for them, has already grouped them together, marked them as belonging to each other – he’s already subtly treating them as each other’s family. The show, with a particular lack of subtlety, also will have ZZS there to wake up Chengling from nightmares later in the end of the ep, as Chengling calls out for his dad in his sleep.

OK, Deng Kuan is the guy in charge of the Yueyang sect contingent that arrived in time to see the Mirror Lake chaos in Ep 2 and has taken charge of cleaning up the bodies in this ep. I actually overlooked him, pretty much, the first time around, but here, he’s already got Shen Shen yelling at him (in a completely ridiculous fashion) for not getting there in time to save the Mirror Lake Sect, so he’s just going to be a punching bag through the whole show, apparently. Shen Shen is wu-di, fifth (little) brother, and he refers to Chengling’s dad as si-ge, fourth (older) brother, so Shen Shen appears to be the youngest of the Five Lakes sworn brothers, leading me to believe that some of what makes him so insufferable through a lot of the show is baby brother syndrome. Also, Shen Shen and his group find the Soul Winding Threads of the Hanged Ghost … supposedly. I mean, the Hanged Ghost was the guy who we saw get got in Ep 1, soooooo …. (remember these Soul Winding Threads, btw).

*This got super long so I’m’a put this last bit under a cut, but I did try to start a running tally of who’s holding a piece of the Glazed Armor:

Each of the Five Lakes Alliance sects is supposed to have a piece of the Glazed Armor, yes? So, as of the end of Ep 3 (hierarchical bro-titles are from didi Shen Shen’s POV):

- Yueyang Sect, led by Gao Chong (da-ge) - presumably still has his

- Tai Hu Sect, led by Zhao Jing (er-ge) – presumably still has his

- Danyang Sect, led by Lu Taichong (san-ge, presumably) – apparently the sect has already been attacked off-screen (by “Ghost Valley?” and WHEN?), as we learn in Ep 3 that Lu-zongzhu has been killed and his remaining two tiny disciples have fled to the protection of Ao Laizi and Tai Shan Sect, one of the lesser sects, and are believed to have taken Danyang’s Glazed Armor with them. We learn this from Tao Hong, Lv Liu and Begger Gang Chief, but I notice that Gao Chong only mentions the Mirror Lake massacre as the precipitating event for the Hero’s Conference and total war on Ghost Valley – he doesn’t even mention Danyang Sect, so does Five Lakes not know about this yet?

- Mirror Lake Sect, led by Zhang Yusen (si-ge) – Zhang-zongzhu killed by “Ghost Valley” in Ep 2, Glazed Armor “missing” and speculated POST EP 2 to have been taken by Ghost Valley (but will turn up in a few eps, thanks to our little Goldbean)

- Dagu Shan Sect, led by Shen Shen (wu-di) – presumably still has his

And then we move to:

- Tai Shan Sect, led by Ao Laizi – in-world speculation is that he now has the Danyang Glazed Armor. We do see him near the end of the ep with the two tiny Danyang shidi, where he makes the intriguing comment that he’s going to follow their shifu’s last wishes and keep their Glazed Armor from falling into the hands of the Five Lakes Alliance, so what exactly was going on between San-ge and his sworn brothers at the time of his death? This group also is apparently being pursued by Shen Shen to get their Glazed Armor, and they make him sound awful. You need better PR, Shen Shen.

- Ghost Valley – POST EP 2, speculated to have taken the Mirror Lake Glazed Armor (FALSE)

NOTABLY, “Ghost Valley Master” set a lot of this chaos in motion in Ep 1 when he claimed that Hanged Ghost (who got got a scene earlier) had stolen HIS piece of the Glazed Armor, although he shouldn’t have a piece (supposedly) until after Ep 2, when he’s believed to have taken Mirror Lake’s. So, what piece would that be, exactly, Terrifying Ghost Valley Master? You wouldn’t be lying in pursuit of chaos would you? (Somewhere, WKX gasps theatrically behind his fan, and he doesn’t even know what motivated it, this time.)

#zhou zishu #wen kexing #gu xiang #zhang chengling #shen shen #deng kuan #word of honor #word of honor episode reax

[hopetofantasy]

Culture, parallels & meta - S3 E1

Previous season Prologue: Vlogs (1) - Vlogs (2)

°

Zaterdag 21:43

The time lapse already showing us a string of places that will be important later, like the dark alley, the Meir with Noor’s workplace, the university neighborhood, the Scheldt river where the boys hang out, ...

Perfect parallel: 

The second season starts Zoë’s POV with a (washing machine) door, whilst the third opens with a door to a party that Robbe attends.

Robbe glances back at Noor passing through the shot this episode, an action he repeats when he spots Sander in the second episode. - A very subtle hint to where his love life may lead.

The first one starts with two unknown LGBT+ girls kissing at a party, the last episode shows two known LGBT+ boys (Sobbe) kissing at their own party.

The aerial shot through the floor to introduce us to Robbe’s POV here and the aerial shot through the roof to say goodbye to him in the last episode.

Moyo saying “No one would do you” to Aaron in this episode, Aaron realizing “No one here wants to do me!” in the last.

Where’s Wally? Noor greeting Marie, accompanied by Jana and Britt. Max dancing with Keisha in the crowd.

How ‘meta’ of you: Newsflash, yes you are!

Nod to the OG: 

The deliberate messy POV: following everyone that we know already and then slowly settling on the Isak version in a tub.

Robbe saying Noor looks like ‘Natalie Portman’, which is what people said to the OG Emma when they flirted with her. Everyone, except Isak, that is.

Oop, there it is, the homophobia / heteronormativity: Moyo keeps pressuring Robbe into explaining what type of girl he likes. The boys laugh it off when he answers that ‘he doesn’t have a type’.

Lost in translation: Moyo mocks Noor’s Dutch accent, making his ‘g’ and ‘st’ sound harsher, while also adding ‘hoor’ at the end - a typical word used by the Dutch to emphasize a point.

Blink-and-y’ll-miss-it: Jens is playing with the weed bag. Keisha is one of the girls that Moyo mentions as Jens’ ex-girlfriend or ex-fling. Not only did Noor nót flush the toilet, but she didn’t used any toilet paper either!

°

Zaterdag 22:44

C is for culture: 

Noor rescuing Robbe on her scooter - In Belgium, you’re allowed to drive a moped or scooter once you’ve reached the age of 16. Nothing is needed if the vehicle doesn’t go above 25 km/h. If it stays between the range of 25-45 km/h and max. 50 cc, you need to pass a theoretical exam, 4 hours of driver’s ed and a practical exam to get the license. Anything other than that, has a whole new set of restrictions, types of driver’s licenses and minimum ages.  Noor and Robbe are, however, still breaking the law. As long as you’re not 18, you’re not allowed to have an extra passenger with you. Especially if they’re not wearing a helmet. (Plus they ignored a red light. Those rebels!)

“You do know that you always have to have it with you?” - The Belgian law states that everyone above age twelve, has to get an ID to identify themselves. Some might have had a Kids-ID already - for travel purposes - but that’s not mandatory. However, once you're fifteen years old, you’re obligated to carry your ID with you at all times.

Perfect parallel:

Luca being all jealous whilst staring at Noor and Robbe making out in S3, her glaring at Maud and Robbe every chance she got in the last season.

Robbe and Noor having fun on the scooter while screaming and Robbe filming their adventure in this episode. Robbe and Sander doing a similar thing, but on their bikes in a later episode.

Wink to other remakes: Robbe sporting a brown jacket. (Eliott, anyone?)

Surprise bitch, guess who: It’s Willem Chanterie, the on-set costume designer and social media production assistant!

Blink-and-y’ll-miss-it: Noor has a ‘Fuck Trump’ sticker on her helmet. Robbe says “Hey, it’s red” in a very clear Antwerp accent. 

°

Zaterdag 23:11

Hello from the outside: The garbage truck they sprayed, still drove around the city regularly. The art piece itself is named ‘#Genoeg mama' (= ‘#Enough mommy’). It blames the consumer society as toxic, making young people its victim.

Oopsie: Inside the graffiti den, Noor suddenly sports a tote bag with supplies, even though we never saw her wearing that in the previous shots.

Blink-and-y’ll-miss-it: Noor has black combat boots. The photographer is obviously Sander, in case you have missed that subtle clue.

°

Zondag 13:41

Lost in translation/Oop, there it is, the homophobia / heteronormativity: 

“Check die pekie’s”. The word ‘pekie’ is actually Amsterdam slang for ‘beautiful girl, girlfriend’. In recent years, more and more Dutch slang are making their way into the Flemish dialect, because of the Dutch rap songs gaining popularity with the youngsters.

“Vamos, flikkers”. The word ‘flikkers’ can mean ‘wussie’ as well as a derogatory term for ‘homosexual’. Again establishing the fact that the boys use a lot of homophobic or toxic words for each other.

Robbe’s clumsiness meter: +1, him tossing the bag behind Jens instead of into his hands.

Blink-and-y’ll-miss-it: There is a football right next to the skateboards.

°

Maandag 16:04

C is for culture: “The whole art school was talking about it” - 

Secondary school is divided in four sections: general, technical, art and vocational. Which section you choose can have effect on further education. In one of these sections, you pick what you want to study from your first to last year (‘directions’). That means that you have some courses purely focused on the direction and others that are obligated for everyone, regardless.

Art high schoolers can choose to go to work or study a specialization afterwards. Their coursework isn’t solely art based, there are general required courses too. That’s why some foreigners - including the Dutch - come to Belgium, since they’ll get a more rounded and higher level of art education than in their countries. ‘de!KUNSTHUMANIORA’ is the high school in Antwerp Noor goes to and is known for having students with unique styles.

Perfect parallel: 

Noor waiting outside the school for Robbe and him reacting somewhat confused here, Sander doing the same and having an instantly happy Robbe in a later episode.

Robbe having no problem kissing a girl ‘as a straight guy’ in front of the gates in this episode and scared for what might happen if he kissed a boy ‘as a gay guy’ later on. 

Blink-and-y’ll-miss-it: The insta caption underneath the art work says ‘An inspirational message on a Sunday! Just discovered this in Antwerp city today. Artist unknown... Can you remember when you last called on your mother?’ (That last sentence, oooofff, the symbolism!)

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Dinsdag 14:57

C is for culture: 

“Yes, mini enterprises are so chill.” - Mini enterprises are often used as a tool for Economics in the fifth/sixth year. The goal of these is to ‘learn whilst doing it’. Like the name specifies, mini enterprises are actual miniature companies set up by a group of students. During the school year, they’ll try to work together on commercializing a product. All aspects of entrepreneurship are at play here: writing a business plan, holding meetings, doing bookkeeping, marketing the product, produce and sell it, ... If the enterprise idea is good or well executed, it might even win a national prize by the company making this education formula.

“What if he contacts child protection services” - Actually, those services doesn’t really exist in Belgium. There are, however, other youth organizations for these types of things, like JAC - Youth Advice Centre, CLB - Centre for Student Guidance and the Centre for Mental Healthcare.

Perfect parallel: The boys hyping Aaron up to walk over to Amber and talk to her - yet he fails in this episode, them doing the same and he succeeds (after some fails) in the last episode. 

Oop, there it is, the homophobia / heteronormativity: Jens saying “Damn, seems like someone is on his fucking period”, after Robbe snaps at him due to the difficult telephone call with his dad.

Lost in translation: Jens saying “Mijn kop staat er niet naar” (= “My head’s not standing there”) can actually mean different things: I’m not in the mood, it’s not the right time, I don't want to do it, my head’s all over the place, ... It depends on the context, on which interpretation would suit the situation the best. 

Blink-and-y’ll-miss-it: The girls are all fawning all over Britt’s cellphone, so there is a good chance that they’re discussing (pictures of) her boyfriend, Sander. Also, Jana’s braces are gone! 

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Donderdag 17:13

Perfect parallel: Robbe stating that he can’t talk to his dad or he’ll fight and Zoë getting that, as she said a similar thing to an understanding Senne about her parents in S2. 

How ‘meta’ of you: Ah, yes, fandom ship names in SKAM. We applaud!

Oopsie: If you look really hard, you see that the body type and hair of Robbe’s dad, doesn’t correspond with the version waiting at the restaurant later on.

Wink to other remakes: This shot reminding you of a certain S3 trailer?  👀

Blink-and-y’ll-miss-it: The numerous references to Zoënne’s relationship in their room (relationship pics, Senne’s guitar). The paper Milan gifts to Robbe is the written permission by his parent to live with them, as is obligated by law.

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Vrijdag 20:04

Perfect parallel: 

Senne pulling Zoë up after a kiss here, just like with their first kiss in S2.

Robbe pushing Milan away after thinking he wanted to kiss him at the party in S2, them hugging it out in after talking about it in S3.

Blink-and-y’ll-miss-it: Zoë and Milan making some healthy party snacks like cauliflower and cocktail sauce, cheese with tomatoes and salami squares. She pulls back the bottle of gin that Milan wants to steal. Senne also bought paprika and tortilla chips from Colruyt (a discount store).

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Vrijdag 20:54

C is for culture: “Noor, Robbe’s girlfriend” - (Teen) dating culture is different in Belgium. Usually, if you have kissed, hung out, texted or just said/did something to show your mutual interest, you’d pretty much consider yourself in a relationship. It can go from 0 to 100 very quick. Unless there is, of course, an agreement that what you’re doing is no such thing. Also, nobody really ask you to be their gf/bf. It just implied or stated to their family or friends. 

Perfect parallel: 

A reluctant Robbe pushing himself to do stuff to Noor (playful dancing, kissing, riling her up) as far as putting his hands on her bra here. A totally different, excited Robbe not even thinking twice about doing these things to Sander, even licking his nipple during their reunion.

Noor pushing Robbe on the bed and climbing over him, whilst Robbe looks all sad in this episode. Him pushing Sander on the bed and being happy as Sander crawls over him during their reunion.

Oop, there it is, the homophobia / heteronormativity: Robbe tries to convince himself into liking heterosexual sex with Noor and fake laughs with his friends about having it.

Where’s Wally? Keisha laughing with Amber and later dancing with Marie.

Blink-and-y’ll-miss-it: Jens is talking to Senne. The decorations behind Milan saying ‘Welkom Robbe’ (= ‘Welcome Robbe’). Noor has a beautiful tattoo of a pin-up girl covered with butterflies on her lower arm.

#wtfock #wtfam #skam #skam belgium #cpm rewatch

[chaeshosie]

What’s Happening with Legacies Season 3 and How do all the Theories Fit?

hello quick disclaimer i am very confused with tumblr and i haven’t used this in years i’m just lazy to summarize the essay so i’m putting it here

also this is a 6-page essay i just think i should warn people beforehand

~~~

Season 3 focusing a lot on consequences and obsession

As we’ve seen through most of what season 3 has been released so far, a lot of the character arcs and plot developments that the writers are trying to pull off have something to do with consequences. Some of the observable ones are the consequences of Hope’s actions from the recent episodes, Josie trying to find a sense of normalcy at MFHS after dealing with the consequences of Dark Josie during the earlier parts of season 3, the consequences of Lizzie kinda betraying MG in 3x08 being MG leaving the school, etc. I think that the “big bad” of the season isn’t really a creature, Malivore, or the artifact, but rather the antagonist of the season considerably be the consequences that the characters deal with as a result of their actions. If we take into thought the Puck theory and how his character in the Shakespearean play mismatched the couples, the dynamics between the characters and the ship of the show (mostly Handon-Hosie) in the episodes after the 3x03 can be considered the consequences of Puck matching the wrong people together. The most noticeable of these consequences are Hope and Josie’s lack of interactions and Hope’s obsession with Landon.

While we’re on the topic of obsession in relation to consequences, let’s tackle how 2x11 can possibly be foreshadowing to Hope’s character arc in season 3. Hope and Alyssa Chang are essentially reflections of the same character. They’re both considerably reckless with magic and both come from tragedies in their families (parents’ deaths) that they at least partially blame themselves for. In 2x11, the audience watches as Alyssa tries to kill Kym and MG while under the influence of the Obsession arrow. What we can consider the consequences that Alyssa faces here is not only Kym leaving, but also MG (who she had a crush on) distancing himself from her. Now we can see parts of that being reflected in Hope’s arc throughout season 3, most noticeably starting by around 3x04. Hope has been obsessed with Landon and even just protecting him in general (but let’s be honest, it’s been like that partially in season 2 also) that she’s going through such lengths just to make sure that Landon’s safe. This reaches to the point that she’s already hurting the people she loves like Josie and Lizzie while her obsessive love for Landon seems to be her driving force this season. This very much reflects how Alyssa willing to hurt MG, whom she had a crush on, just to get what she wanted. I think it’s good to note also that in this episode, it was Pothos that was pulling the strings and not Cupid. In mythology, Cupid or Eros is the god of attraction, affection, and passionate desire while Pothos is the god of longing, yearning, desire. Seeing as to how obsession is quite linked to one’s desire we can see how this plays out for Hope’s arc involving her desire to keep Landon alive while balancing her relationships with the other characters. In relation to Hope and Josie or rather Hosie in general, longing and yearning can be referenced to how they’ve been slowburn for most of season 3 with their very small amount of interactions and how their ship has always been mostly about longing and yearning, even stemming from Josie’s crush on Hope when she was younger.

Even the references they make throughout 3x09 have something to do with consequences and/or obsession. Let’s start with the monster references they’ve made. In fact, the first monster Hope references, which is a cherub, is very often mixed together with imagery of Cupid. Cherubs are known for helping people deal with sin that separates them from God (Judaism) and also said to keep record of everything that happens in the universe (Christianity), but more on that will be expounded later on. On the other hand, pixies grant wishes in exchange for favors, which can fit to the kitsune!Hope theory with its similarity to how kitsune grants supernatural wishes in exchange for kindness. The Jinni reference can be related to how Lizzie was “obsessed” with trying to find the perfect reality; we’ll go back to this reference in a while. We also have a reference to an artifact similar to the Inari wishing pot which is the Monkey’s Paw. The Monkey’s Paw is said to be a story that acts also as a cautionary tale which reminds us that unintended consequences often accompany the best intentions.

Now that we’re on the topic of artifacts, let’s talk about what the artifact, which is believed to be an Inari wishing pot, is connected to the whole plotline of season 3. We see three different historical figures connected to it, namely Einstein, Rasputin, and Napoleon. In relation to consequences, these three people have all experienced some kind of consequences that may or may not be related to the artifact. But with the fact that the writers take the effort to acknowledge that they owned the artifact, it can be assumed that these consequences have something to do with the wishing pot. We’ll focus on Einstein more compared to the other two because he was seen having a direct relation to Clarke in the flashback scene in 3x09. Considering that in the scene where Einstein and Elsa were seen, it looked to be like they were leaving their house so I assume this is when they left Berlin to go to the United States. Based on what I researched on this history, before they reached the train station, Einstein and Elsa had to close up their house at Caputh. In the scene, we saw them about to leave their house right before Clarke and the guys he was with (I’m guessing Triad at the time) raided the place looking for what I assume would be the artifact. Clarke also mentioned that they had to find it before “der Fuhrer” got there. “Der Fuhrer” was actually a term used to refer to Hitler at the time, which lines up well with history given Einstein’s historic distrust of the German political body especially with Hitler’s sudden rush to prominence. This line suggests two things, either Clarke meant that Hitler and/or the military was going after Einstein or that Hitler knew about the artifact’s existence. Moving later on to history, Einstein was said to indirectly have caused the atomic bomb due to a letter he wrote to the U.S. President Roosevelt about the Germans possibly making an atomic bomb, which then led to the death of thousands with the bombing of Hiroshima. In fact, if we look at the history of these three historical figures, their “consequences” have something to do with death. Einstein with the deaths caused by the bomb, Rasputin having been said to predict that if he died because of a Russian nobility, their whole family would be assassinated (which did end up happening), and the deaths associated with Napoleon due to his persistence towards victory with the French Revolution. Given that we’re going to see a banshee in 3x10, a supernatural creature which is said to literally be the “harbinger of death”, I’m thinking that we get to see these consequences to Hope’s wish of bringing Landon back finally coming into play, seeing as to how the consequences of the past three historical figures had something to do with death. Aside from that, as observed by some people, the wishing pot can be seen in the background of the season 3 poster as some kind of window of sorts.Interestingly, windows are often associated with symbolism for opportunities, fresh starts, beginnings, protection, views or opinions or perceptions. I think the opportunities part could be attributed to “opportunities” that would come depending on what wish you made with the Inari wishing pot while the “fresh start” could not really be fresh but more in the sense of Hope starting to finally have something to her character or possibly even a fresh start as a tribrid (??). Windows can also mean that one is too quick to judge, which can be applied to how Hope’s obsession over Landon has made her too quick to judge everything around her thus affecting her relationships with the other characters in the Super Squad.

Hope’s Character Arc and How the Theories Affect It; The relation of Kitsune to Sprites in the context of the Puck and Kitsune!Hope Theories

Now that we’ve covered most of what 3x09 really adds to the theories, let’s go to the theories themselves. So for this, we’ll be covering the Puck theory, possessed!Hope or kitsune!Hope theory, and the “the Landon that came back is actually MaliLandon” theory. Let’s go over the Puck theory real quick first. So in short, a sprite named Puck Goodfellow was the MOTW in 3x03 aka the musical episode and was sort of a “good” monster in the sense that he didn’t really directly affect the plot or try to kill the students but then he was more of a psychological monster that influenced the relationships of the characters with one another (Hope and Landon in particular). Seeing as to how he was able to control or implant memories/thoughts into the students’ minds makes me assume that he has some kind of telepathy powers. In fact, in some folklore it is said that some sprites have telepathic powers, specifically to project thoughts in the sense of psychic persuasion and confusion inducement/misdirection which I think is what we see Puck actually practice a lot in that whole sequence with MG trying to figure out his identity. Although they actually did tackle three celtic supernatural creatures in season 3 alone, I think Puck is the one with the most important role. Several stories describe sprites as mystical beings that either help humankind or trick some unsuspecting human into a sad tragedy of sorts. I think we would be able to watch Puck do both of that as seen in the earlier episode and later on in season 3 if/when he does come back. 

So how does the Puck theory relate to the kitsune!Hope theory? Well in Japanese folklore, sprites exist as yosei. They’re said to more or less have the same powers as yosei are simply the Japanese counterparts for sprites and the difference is mostly just in the term used to call them. Yōsei or Yousei, are small magical creatures (specifically fairies or sprites) which can regularly attract ghosts to them. What differs Yōsei from their European counterparts is that they can learn the human spoken language, and they also have mastered sign language. The one thing that actually directly links Puck (as a yosei/sprite) to the whole theme of consequences surrounding death is that many folklore actually included beliefs that yosei could bring the dead back to life. The thing is though, that there’s this thin line between yosei and yokai, the latter being where kitsune usually falls under. In fact, some kitsune are often mistaken by several folklore to yosei (depending on which story you read). One example would be Hakuzōsu, a kitsune that takes over the place of a monk it killed, who is often mistaken as a yosei in some stories. The essential difference between yosei and yokai is that yosei are shape shifting animals and water-spirits and city ghouls (if you know spirited away, those are practically yokais). Meanwhile, yokai are, yes, demons, but are the embodiment of a moment: a feeling of dread and bewilderment, or even awe and wonder of an event; OR a strange sound or peculiar scent. This doesn’t necessarily mean that yokai are automatically evil, it’s just the strong association of a specific distinction to them such as emotions or a scent. This is the reason why some kitsune are often mistaken for yosei, as they are also shape shifting animals with a strong connection to nature. Some yosei can also be mistaken for yokai, one example being tsukumogami which are spirits that haunt household objects. This is why some stories have both kitsune and yosei interacting with one another or at the very least acknowledging each other’s existence, a favorite reference yosei make about kitsune being the Tamamo No Mae. Another thing that helps connect kitsune to the whole theme of consequences involving death is that kitsune can be consumed by negative emotions easily, especially when it comes to seeking vengeance, to the point that it can lead to death. 

How I think the rest of s3 will play out if these theories do end up happening, esp with artifact

Now that we’ve established the connections between the Puck theory and the kitsune!Hope theory, this is how I think these two theories would play out in season 3 alongside the Inari wishing pot (the artifact) and the possible MaliLandon theory. 

First of all, let's connect the theories to the episodes of season 3 that have already aired, basically 3x01 to 3x09. In connection to what Clarke said in 2x01 about Hope being Malivore opening the gates which would most likely end up allowing other monsters including the kitsune to escape at some point during season 2. While Hope was in a coma from 2x16 to 3x01, it's assumed that the kitsune possessed her, which would be easier for the kitsune since it's easier for them to possess people who are asleep or in a comatose state. From late 3x01 to early 3x03, this is the closest we get to Hope's actual personality outside of being obsessively in love with Landon. We even get to see Hope being critical of Landon and upfront with him in the end of 3x02 and for the first three-fourths of 3x03. In fact, we can actually connect Hope starting to become more attached and we could say obsessed with Landon after her interaction with Puck. For most of 3x03, we see Puck mess with the minds of the students, making them believe that he was always a faculty at the school. This could obviously be taken as a form of psychic persuasion as part of the telepathic powers that several sprites have. Then we see Puck talk to Hope right before she goes on stage to sing Always and Tomorrow. Interestingly, their conversation hardly has anything to do with Hope and Landon's relationship entirely. In fact, it was more focused on her legacy as a Mikaelson and how opening herself to feel that heartbreak that came with the loss of her parents is what allows her to grow. It would've been the perfect chance to see Hope grow as an individual character outside being Landon's girlfriend and finally see her live out the Mikaelson legacy along with the build up of her character in The Originals. But instead we see her sing a song directed towards Landon, get back together with him, and proceed to become more and more obsessively in love with him in the future episodes. I think that Puck didn't exactly put any kind of love spell/potion on Hope, but rather he mostly used psychic persuasion. The fact that we've already seen him do it throughout the episode might as well be the writers priming us to consider the possibility of Puck telepathically messing with Hope's brain. But if you take Puck's lines about losing people and feeling that heartbreak and think of it from the kitsune's perspective. Many kitsune usually travel in packs (similar to werewolves) so imagine what it would feel to the kitsune who's been consumed by Malivore thousands of years ago, having lost the rest of her pack at this point and as alone as Hope probably does. I honestly think that the kitsune might have even possessed Hope not purely out of spite or for revenge against Malivore, but because it was still weakened from being stuck in Malivore for so long without being able to feed that it relied on a powerful body she could find. And honestly, what's more powerful than a tribrid? So I think Puck's words spoke not only to Hope, but to the kitsune as well. But along with these words, Puck did some kind of telepathic psychic persuasion that allowed the kitsune to surface more with Hope and have more control. Considering how both Puck and the kitsune know what it's like to be stuck in Malivore, it would be understandable for Puck to take the kitsune's side. This is also putting into consideration that by the time of the musical, the kitsune must have spent a few weeks to at least a month in Hope's body which would allow them to have enough strength to gain control. In the episodes after 3x03, this is when Hope begins to use her "wolf eyes" more. The noticeable difference though with her eyes is that they are more gold-toned compared to the usual yellow color of the other werewolves' eyes. This along with gold lighting from the previous season 3 episodes can be attributed to the connection kitsune has to the color gold. Aside from this, kitsune often flash their eyes as a sign that they're in control (this was also utilized in a korean show centered on kitsune/gumiho so I'm taking reference from that also). Then we reach 3x04 where it's very possible that the kitsune killed MaliLandon/Landon by having sex with him, taking his life force, and reducing him to his original goo form. The catch that the writers included here is that he took Hope's Mikaelson necklace with him, which can also possibly be the kitsune's life orb in its jewelry form. Then we move to 3x05 where the artifact is first introduced. Seeing as to how the artifact is an Inari wishing pot based on the jewels, structure, and the fact that it opens, it makes sense for Hope to be the only one able to open it considering that she's possessed by a kitsune. Here we get the wish that Hope makes which is to bring Landon back. But then we also put into consideration the kitsune's wish which is to get back their life orb. I believe that the artifact mixed these two wishes together, bringing back MaliLandon and creating a mirror version of Landon that's the more "idealized, perfect" version of him. This is in the sense that a new malivore portal appeared (which would give the kitsune a way to get the necklace back and a way for MaliLandon to come back) and hope got her idealized version of landon (which was missing the necklace because he's not really Landon or MaliLandon). By 3x08, Hope starts to work to get Landon back which ends up with her putting Lizzie and Josie in danger. Considering how the Malivore portal can be assumed to have opened somewhere around 3x07 and Hope getting Landon back the episode right after, this could be the artifact granting their wishes. But then to get her idealized version of Landon, the wishing pot can only grant wishes involving material things. This is where the dark magic in 3x08 comes in which gives the artifact something tangible to form into that idealized version of Landon that we see in 3x09 and possibly the later episodes as well.

Focusing now on 3x09, the lines "those who don't learn from history are doomed to repeat it" vs. "those who do not remember the past are condemned to repeat it" are very easily applicable to the situation with the artifact and with Hope's character arc. We see that Hope has already seen firsthand what obsession does to a person yet she still hasn't "learned" from it which is why she's repeating it in season 3. Aside from this, we can also take into consideration that Puck matching the two people together and being wrong could also mean that he does end up fixing it later on. The line is also a reference to Handon and how they’ve broken up and gotten back together way more than the number of k-pop albums I have. And that they also need to learn from the history of the artifact and the consequences that come with using it. The line about not remembering the past can be a direct nod to how those who are consumed by Malivore are forgotten by everyone. This could be in reference to how the kitsune was forgotten by the world because of being consumed by Malivore, and this is also considering that kitsune existed mostly in the Edo period (1603-1867) which is also near the time Puck must have existed (if we take into Shakespeare’s years of being alive which were 1564-1616). This allows us to consider the possibility of Puck and the kitsune having at least aware of the existence of the other considering the close relations between a lot of the supernatural creatures. That being said, this could have a factor in the psychic persuasion that Puck did in 3x03. To address what other people are saying that “Puck’s dead why are you still making theories you’re just desperate” whatever, remember that sprites/yosei are literally shape-shifting animals and/or spirits. Puck could’ve easily just shapeshifted when the Necromancer stabbed him, especially since the original form of sprites are usually depicted as small creatures that are often not easily noticeable by the human eye. In relation to the kitsune, the color of Hope’s wolf eyes have become more similar to the common yellow color of other werewolves as compared to the gold color earlier in the season. This is most likely because of the kitsune spending too much time away from her life orb (in the form of the Mikaelson necklace) which caused it to lose its control over Hope over the episodes.

Given that Hope/kitsune has already used the artifact, certain consequences which would most likely involve death would follow in the next episodes; explaining why we get a banshee in the 3x10. I think that there’s three possible options to how this would go: mirror version Landon would die which would cause Hope to go crazy obsessed over protecting him again, the kitsune would die because of being separated from her fox marble/life orb for too long, or Alaric would die since they’ve been hinting at it already with the sphinx which would allow for Josie to enter the storyline and back into the SBS drama. Given that the mirror version of Landon is bound to die anyways since it’s not really Landon but something that the artifact conjured from dark magic, he has to die at some point. Given how Hope feels this need to protect Landon, I think that there would be some kind of conflict with Hope’s character in that context when it comes to the two versions of Landon (mirror version Landon and MaliLandon). On the other hand, if they go through with the kitsune dying, I think it would end up being anticlimactic in the sense that they never really had to deal with the kitsune in the beforehand. Lastly, if they do kill off Alaric as part of one of the consequences  from Hope’s wish would obviously cause something to come up between Josie and Hope’s relationship, especially given that Hope had guilt tripped Josie to help her in 3x08. This would also cause another rift between Hope and Lizzie given how Lizzie reacted for the most part of 3x09. This would allow the audience to see Hope finally go through the consequences of everything she’s done in 3A just to get what she wants.

On how Puck and the kitsune can come into play in 3B, I think that Puck would most likely come back after the death to sort of patch things up in a sense which works with his “putting people back together.” I also think the part of his plan to “break people apart” would be pertaining to separating Hope and the kitsune so that Hope wouldn’t be possessed by the kitsune anymore. Once the two are separated, this would allow Puck to “put them back together” by suggesting a sort of team up between Puck, the kitsune, and the Super Squad to get MaliLandon and the kitsune’s life orb back. This would serve the goals of the kitsune and Hope so it also seems likely that they’ll reach that agreement some point in time. Lastly, Lizzie saying people get hurt whenever Hope gets in the way and that she’s only there when she needs something could be some sort of foreshadowing towards Hope needing something from the artifact which was her wish, even if it is very OOC for this line to describe Hope’s character in the earlier seasons, but it also hints on the possible consequences being that someone gets hurt, possibly leading to the death of someone that majority of the characters have a direct relationship to. Oh and also, Emma being in Shanghai seems to be either intentional or coincidental considering one of the most popular kitsune figures, Tamamo no Mae, was born in China.

~ END ~

i have no idea what tags to put lmao

#legacies #hosie #legacies theory #legacies season 3 #kitsune!Hope #hosie rain kiss

[rachelbethhines]

Tangled Salt Marathon - Freebird

This is a fairly decisive episode in the series. I personally like it, but I can’t act like I don’t understand when others say they have problems with it. Because it is very flawed. 

Summary:  When their caravan breaks down, Rapunzel and Cassandra wander off, where they eventually meet a couple only known as the Mother and Father, who trick them into drinking a tea that turns them into birds. Though assured that they could use magical eggs to return to normal before they lose their intelligence within an hour, the group finds out that the Mother and Father have been tricking and imprisoning innocent people as birds.

Why Don’t You Have Time Cass?

So the conflict of this episode is that Cass wants to get their quest over and done with while Raps wants to treat this journey as a fun vacation. While Rapunzel has been lollygagging up till this point, and with a good reason as we’ll find out this episode, there’s no given reason why Cass is in such a hurry herself. 

There’s no overarching threat in season two, no motivating reason why Rapunzel needs to go on this quest, nor even a basic ‘ticking clock’ that the heroes have to beat. The lack of an external conflict undermines the internal conflicts that the writers want to push. 

These Villains are Such Outliers in the Show That They Make the Episode Feel Misplaced 

I don’t mind the central conceit of Mother’s and Father’s presence here. They are a standard fairytale trope and this is meant to be a fairytale after all. However, up till now the more the fairy tale aspects of the series was kept to a minimal. There’s zero explanation why the wider world would be full of magic and mythical creatures if someone as well traveled as Eugene was oblivious to their presence before now. 

My guess is that since Rapunzel herself is magic she naturally attracts other magical things to her that normal people don’t usually experience. But that’s just a guess, it’s never explained in the show and it needed to be since beforehand magic wasn’t considered common. 

Mother and Father are also out of place here because they’re played fairly straight. Other mythical and magical beings are played with a twist or are tongue in cheek about their existence. Plus, as pure villains with simple goals, they contrast too starkly with the more complex villains the show was pushing both before and after this. 

There Needed to be More of This in the Show

I couldn’t find a single image that broke down my thoughts about this scene so here, have the whole song. In my opinion it’s the best one out of season two and you could spend a lot of time breaking down an analysis of Cass and Raps characters and their relationship dynamic from it. 

Or at least what their relationship dynamic should have been. 

For you see, this is the only point in the series where Cass and Raps actually feel like friends. You get an understanding of why they would hang out together despite their differences. Yet this one episode isn’t enough to sell their ‘unbreakable bond’ by itself. We needed more scenes like this, more episodes that focused on them actually being friends and enjoying each other’s company, and more conflicts that that didn’t just boil down to petty jealousy in order to make their later breakup work. 

Behold the One and Only Time Rapunzel Actually Admits Fault and Means It

This is why I like the episode. It’s the only one where the premise of the series works. 

Cass and Raps have a genuine and understandable conflict, they feel like real friends here, and more importantly we get to the heart of Rapunzel’s issues and have her acknowledge what she’s doing wrong. It’s scenes like this why I had hope she would learn and grow and eventually come to realize how her treatment of Varian and others were wrong.   

Even after this point, while she still is selfish, Rapunzel at least stops purposefully dillidalying. Oh there’s still plenty of filler to come, but from here on out it’s typically either something external holding them up or they’re on the go throughout the episode. So it does feel like she has learned something here. 

Sadly this is damning with faint praise as that’s the only thing she seems to have learned. 

There’s Still Holes in the Girls’ Motivations Though, Because of the Lack of Set Up 

What did you drop Cass? What on earth did you actually give up for Rapunzel? You achieved your goal of being a guard and now are the personal bodyguard to the crown princess. That’s a high honor and what you’ve been wanting.

Also it’s not like there’s anything back in Corona waiting for you except for your dad, which, given that you’re now 23, it’s kind of expected to move away from him at some point regardless. I mean, if you have a close relationship with your parents into adulthood, great, but you’re typically not reliant upon them for your whole life and there’s nothing wrong with going off on your own to purse your interests and goals. 

Even then, Cass winds up throwing her relationship with her dad away the same as she throws her relationship with Rapunzel away, so it’s not like he was that important to her either. There’s also no other friends nor romantic partners in Cass’s life according to season three, so, once again, what was she giving up here in season two? 

This goes back to what I was talking about throughout season one, how Cass’s goals and motivations are just shifted around to suit the plot rather than having any follow through or internal consistency.  

We Still Don’t Know What ‘Destiny’ Means

‘Destiny’ isn’t a reason in of itself to do something. Rapunzel being scared because she doesn’t know where her future will lead is understandable, but that then begs the question of why is she even bothering with this quest. There still needs to be an external threat to motivate her into doing what she’s doing. Either keep the rocks active, have another villain racing her to the end, or a ‘ticking-clock’ prophecy that she either can’t avoid no matter what she does or that has a consequence if she doesn’t succeed.  

So Hookfoot, Why are You Just Standing There Doing Nothing?

There’s no reason why Rapunzel had to be the one breaking the eggs to free everybody. Especially since she doesn’t have hands right now and all the guys do. Even if Raps just wanted to make sure everyone else was freed before her, there’s still no reason why the other characters had to stand around doing nothing. 

Also, hi Faith. What are you doing here? 

So Are We Just Going to Ignore the Fact that Eugene Is Literally Right There? 

Like I’m sure the idea is that, in the confusion and with helping everyone else, Eugene just wasn’t made aware of what was happening with Rapunzel, until after the conflict had been resolved anyways, but that’s not made clear and it highlights one of the core fundamental problems with the show. 

Characters’ previous relationships and dynamics are ignored into order to push the focus back on Rapunzel and Cassandra and that’s poor writing. If you can’t get the audience to care about the relationship you’re writing without undermining other relationships that the characters have, than you haven’t a compelling relationship. Just an annoying one that’s going to piss off most of the audience save for the most hard core of shippers. 

And keep in mind, a romantic ship isn’t even what the creators were shooting for here. They fully intended for Rapunzel and Cassandra to be viewed as sisters. If you ship Caspunzel, that’s fine, but just know and recognize that there was a lot of gay baiting in the series. Some done on accident by the storyboard artists because Chris didn’t inform them of the sister plot twist, and some put in there by Chris himself to string along Caspunzel shippers into sticking around since they were the only part of the fan base left who weren’t pissed off after the events of seasons two. 

Yeah, This is a Lie 

Look, I don’t mind the Cass is a villain twist in theory, there were indeed things to work off of to justify it, but it’s wasn’t built up to well enough and there wasn’t enough motivation for it on Cass’s end. I’ll get more into it as we go along, but the lack of a clear underlying goal during the conflict here undermines that other conflict later in the series. 

Conclusion

I still like this episode, but I get it when others say they don’t. It doesn’t work in the context of the wider story because it’s ironically the only episode that does present the Raps and Cass conflict right. It can be frustrating to come back to this episode and see all of the wasted potential. Just like how it’s frustrating to go back to Varian’s arc in season one and realize how much was wasted there as well. The show had a lot of interesting ideas and setups that were let down by later creative decisions.  

#tangled #anti-tangled #Rapunzel #cassandra #tangled the series #rapunzel's tangled adventure

[kasienda]

An Open Secret

I’m so excited to post this story today! It is written for the @mlsecretsanta 2019 Secret Santa event for the lovely @ladybuginettes!!  This story would not be in the shape that it is in without the help of @floraone and @tinacentury for all their aid and feedback! 

This is a fic where they both know (Almost immediately! Promise!), but can’t openly talk about it. ... 

Chapter 1 (of Four): A Revelation

Adrien had never understood his relationship with Marinette, but after knowing her for two years, the dynamic was comfortable. He had no explanation for her tendency to make word soup or sounds of astonishment in his presence, and only his presence as far as he could tell. It was easy to be patient with her when her antics made him feel warm. He had long ago stopped feeling awkward around her sometimes strange behavior. And as a bonus, Adrien had gotten amazingly skilled at deciphering whatever she was saying, maybe even better than Alya at this point. He secretly coveted the moments when he caught her off guard because her eyes would get so big and they were the loveliest shade of blue - the same shade as the sky on a cloudless day. So even though he didn’t understand it, he considered her to be one of his closest friends. He relied on their dynamic; he treasured it. She was one of the most consistent sources of inspiration for his smiles, and she often gave him a warm fuzzy feeling. She made him feel like he had come home. He didn’t even feel that way when he went to his actual home. But that week, something had shifted, and that adorable stuttering Marinette that he counted on for those warm squishy feelings every day vanished overnight. And some doppelgänger Marinette had taken her place. That Monday, she had walked in and said good morning as smoothly as a pebble polished over centuries of crashing waves, her eyes dancing in amusement rather than panicked nerves. Then she had winked at him and walked away with a little sway in her hips. Winked!

Keep Reading on Ao3 Keep Reading on FF.net Note: the Ao3 and FF.net versions are better because they have formatting. I didn’t take the time to italicize all the words in the tumblr version. Go read it, in one of THOSE places! (You can read it here too if you prefer). 

Even her tendency to trip over her own feet had disappeared, and he found himself missing his encounters with her stumbling down the stairs or the moments when his or her papers scattered to the floor like confetti after an unexpected collision. He no longer had an excuse to catch her or help her up. How else was he supposed to touch her without invading her personal space? Instead, she offered eyerolls, smirks, and finger guns. Actual finger guns! He had no idea what to think! On a few occasions, her eyes seemed to convey entire paragraphs of information - willing, begging him to understand. He couldn’t interpret any of it. Her behavior felt familiar, so familiar, but he couldn’t put his finger on it. It was like struggling to remember a vivid dream that evaporated upon waking like a drop of water on a hot desert stone. The sudden shift in their interactions left Adrien feeling uncertain and off balance. In class, he could feel her gaze on the back of his neck, and it was all he could do to stop himself from spinning in his seat to consider the new enigma she had become. During breaks and passing periods, his eyes always found her, and it was becoming increasingly difficult to focus. Today, he was supposed to be helping the class decorate the school courtyard for the Christmas season. He, Rose, Mylene, Nino, and Alya had been assigned to the railings along the stairs and second floor. Rose stood on the ladder above him, pinning up strings of lights and paper streamers, and he was supposed to be handing her the adhesives whenever she needed them. But his attention was on the girl wearing twin pigtails across the courtyard with a clipboard in her hand directing others in their mission of creating a more festive learning environment. A sharp flick to his ear tore him from his thoughts. “Ow!” “Pay attention, Sunshine!” Alya scolded. “Rose has called you like three times!” “She has?” he repeated dumbly, looking up apologetically at the girl above him on the ladder. “I’m sorry, Rose. I don’t know where my head is today.” “It’s okay,” Rose assured. And then she giggled. “It looks like your head is over there with Marinette!” Alya smirked, and his cheeks burned at the observation. He resolved to stay focused, dutifully and mindlessly handing Rose and the others whatever they needed when they needed it. Thirty minutes later, they had the whole railing and wall behind the stairs decked out in shiny glittery red, green, and gold decor, and Adrien had long ago mastered the ability to carry out instructions mindlessly while his brain continued to ponder the girl who sat behind him in class. He didn’t notice the ball that Kim had thrown had hit the ladder. He didn’t notice the ladder rocking precariously back and forth, and he didn’t notice that the hinge was slipping upward instead of staying in its locked down position. He did hear Marinette scream his name. “Adrien! The pen!” Several things clicked in that moment, and time seemed to slow down as if he were in an akuma battle. The ladder was collapsing, and Rose was going to fall. He was on the wrong side of the ladder to catch her. Adrien’s eyes flew to the pen in Alya’s hand as she and Nino looked on in horror. He grabbed the pen and wedged it into the ladder’s hinge, as he kicked the ladder’s base, causing it to tip in the other direction toward him. Rose lost her balance and fell right into his arms with a startled squeak. “Oh my god! You’re the best, Adrien!” Juleka exclaimed, already prying her girlfriend from his arms almost the second she had landed there. Everyone in the courtyard had started clapping at the unlikely rescue. “Adrien!” Alya gushed, even as she high-fived him. “That was amazing!” “It was Marinette’s idea,” Adrien deflected, his hand rubbing absently at the back of his neck. “Adrien! I’m so glad you were there. I couldn’t get there in time,” Marinette said with a relieved smile. “Anytime, Mari,” he said with a grin, offering his fist. She met it with one of her own and a pleased smirk before she walked away and went back to directing their peers now that the disaster had been averted. “Dude! That was some quick thinking!” Nino praised from behind his shoulder. Adrien shrugged. “It was Marinette’s plan. I just executed it.” “What plan?! She literally said two words!” Adrien shrugged. It was just like he always understood Ladybug’s extravagant plans from very few context clues. But of course, he couldn’t tell Nino that he had had a lot of practice understanding Ladybug. The thought was like being struck by lightning. He whirled around toward Marinette. She smiled at him. He couldn’t smile back. He stared at her like the dumb blond model that he was often accused of being. Everything this week had felt so familiar, so right, because it was. His jaw was on the floor, and his eyes were open as wide as saucers. He couldn’t have strung two words together at that point, which was just as well because it probably would have said the wrong thing and ruined both their identities, and she’d be pissed at him for all of eternity. Something shifted in her expression. And her warm open Marinette smile transformed into Ladybug’s grin. He was looking at Ladybug right now. In her civilian clothes. That she made herself, no less! He knew Ladybug’s name! How many times had he seen that exact expression? The upturn of just one side of her lips, one cheek slightly puffed out, her eyes dancing in amusement at whatever dumb joke he had just told? A calm washed over him as the shock and panic receded, replaced by a tranquil certainty. Really, who else could Ladybug have been? It was so obvious; he couldn’t understand how he had never seen it before. And it wasn’t something he could unsee or unlearn. Their eyes met. They locked gazes, and she nodded. She had already figured it out. Approximately a week ago, judging by when nervous Marinette had disappeared. “Dude!” Nino prodded, poking him in the shoulder. “You okay?” “Y-yeah,” Adrien managed, tearing his eyes away from his classmate, his partner, the love of his life, toward Nino, trying not to show the giddy joy that was flooding his system. He had found his lady. And he couldn’t say anything! And not just because they were in the courtyard surrounded by their classmates. He literally couldn’t say anything! Not to Marinette! Not even to Plagg, who had confided two weeks prior that Master Fu was growing increasingly paranoid since the location of his home and hideout had been compromised. Their master had apparently decided that Chat Noir and Ladybug would have to give up their miraculouses if they ever discovered each other’s identities. It wasn’t fair! Why couldn’t this have happened like three weeks ago? But really, it was his own fault. How could he have been so blind? So oblivious for so long?! Adrien was lost once again in his own swirling thoughts. He didn’t know how he made it back to class, in the front row next to Nino like he did every single day after the lunch break. But every hair on the back of his neck went on high alert when Marinette came in only to take a seat behind him… like she did every single day. It’s just Marinette! But it wasn’t. It could never be just Marinette again. That was Ladybug sitting behind him, able to notice every misplaced blond lock of hair, every wrinkle in his overshirt, every time he dropped his pencil or bounced his knees in absolute boredom. So naturally, he was extra fidgety today. Even Ms. Bustier noticed. “Adrien,” she said, a gentle hand on his shoulder. “Are you all right?” “Fine!” he croaked around the lumpy ball in his throat. “I just had too much caffeine this morning,” he lied easily, as if his whole world hadn’t been knocked completely out of orbit. Ms. Bustier smiled pleasantly and continued to move through the classroom as they all started their reading. He tried to focus on the passage. He really did. But it was a lost cause. There was just no space for the story to enter his head when his brain was already full of his own spiraling thoughts. Ladybug was Marinette. How many times had he called Marinette “just a friend”? Plagg had given him such a hard time every time he said that. The little bastard had known! God, he wanted to strangle the little black kwami. Marinette was the love of his life! And he could not be more happy about it! She was so amazing! She was passionate, creative, and someone who actively stood up for others. God, he had looked up to her before he had known about her alter ego. Now, she was so completely out of his league. He slumped down into his seat as his euphoria crashed as low as he had been high seconds before at that revelation. Because what reason did Marinette have to like him? What did he have to offer someone like her besides emotional baggage and lame jokes? Plus, Marinette liked someone. His eyes scanned the rest of the class. Was it someone he knew? No one here popped out at him for holding Marinette’s attention. Maybe it was someone she knew from elsewhere. He tried to stamp out that line of thinking! He had told her before he would respect her feelings. He would! As impossible as that sometimes felt, he knew he wasn’t entitled to her attention just because they had both been chosen. He knew that he wasn’t entitled to any of it, even though he wanted her favor more than anything. But right now, they had other pressing concerns. Because they both knew. (At least, he was pretty sure). They weren’t supposed to, and if Plagg or Tikki found out, they’d have to give up their miraculouses. And he couldn’t give up being Chat Noir. He couldn’t go back to being locked up in his room alone with no outlet for release. Not now that he knew what freedom tasted like. The bell rang, and the sudden burst of activity as everyone packed up left him reeling. Marinette was already halfway out the door. But they needed to talk. “Marinette!” he called after her as he slammed his tablet into his bag, moved around the desk, and took a few quick strides to catch up with her where she had stopped at his call of her name. “Yeah?” she asked, her blue eyes were soft, so deep, and so very familiar. How had he never recognized them before? She was smiling at him with genuine affection; it made him feel warm. “I was w-wondering if… uh…” Great. Now he was the one stuttering… “Yes?” she prompted patiently, one side of her mouth upturned in an amused smirk. “Could we grab some coffee together?” His fingers twitched, and his stomach fluttered with nerves. God, it was hard to look at her. Her lips parted. “Not a date!” He rapidly corrected before she could respond. He couldn’t handle adding another no to his growing list of rejections at the moment. Her smile lost some of its luster, her shoulders stiffened, and her gaze glanced past him. God, had he screwed this up already? Was she angry that he knew her identity? It had always been so important to her. “You want to get coffee?” she repeated. “When?” “I… ummm… now?” His hand rubbed the back of his neck. “I wanted to talk to you about something.” “Of course,” she agreed readily enough, but her voice had dropped to a whisper, and her eyes remained glued to the floor. All of her warmth from seconds ago had evaporated. They walked together two blocks to a nearby coffee shop. Not a word was exchanged. His skin buzzed in nerves at the awkward silence. He could not for the life of him figure out why this was suddenly so hard. This was Ladybug. They saw each other every day. She had seen him trip over his own feet, chase laser pointers, and she had caught him from falling off a building. He trusted her more than he trusted himself. They had rapport. And banter. So why couldn’t he say two words to her now? They ordered their drinks. He had offered to pay, but Marinette insisted on separate checks. They finally settled on either side of a small table against a large window, the cold emanating from it encouraging them to keep their coats on. “So… what did you want to talk about?” Marinette finally prompted in the silence, her hands wrapped around the hot cocoa as if to warm them. Her eyes stared blankly out the window. And for the millionth time that day, Adrien had no idea what to say. He hadn’t thought this through at all. They were in a public place and he was keenly aware of the kwami nestled comfortably in his jacket. He had never thought there’d be a time when he wished the kwami wasn’t present. “I… uh… well, I r-realized today…” And for the first time in thirty minutes, her expression softened. She reached across the table and captured his fidgeting fingers and calmed them with a gentle squeeze. “It’s okay,” she whispered. Her fingers stroked his hand, tracing phantom patterns onto his exposed skin, and a second later he realized her fingers slid over his ring. His miraculous. And then she repeated the pattern. His eyes met hers, and she nodded. That was as much confirmation as he needed. He glanced at her earrings while he pulled his other hand to his own ear, and gently tugged on his own earlobe as if he was merely scratching an itch. She nodded again. And finally, his internal storm abated, and he only felt calm. Things were obviously different, and they had to find a new dynamic, but he was always okay when he was with her. Together, they could get through anything. “Well see,” he started for the kwamis’ benefit, proud of how steady he held his voice. “I can’t actually say. I wasn’t thinking. It’s somebody else’s secret, so I can’t talk about it. I shouldn’t have said anything about it to you at all.” “That’s okay,” she said with a smile. It was small, but it was genuine once again. “I know exactly what you mean.” “This is really happening, right?” The question burst from him without thought. He knew he was pushing it. Plagg wasn’t an idiot and he assumed Tikki wasn’t either, but he had to ask. She giggled. “Let’s have lunch! And we can talk about anything and everything that is not a secret.” He smiled. “That sounds amazing!”

#mlsecretsanta #miraculous ladybug fan fiction #post reveal pre relationship #Adrinette #for ladybuginettes #mostly fluff #light angst #pining #friendship

[villanevest]

"You're Her Type": Anna and Eve and the Garden of Evil (+ how Eve and Villanelle learn and love)

hello everybody i have had more wine so now you're going to be subjected to my Opinions. today, we are going to be talking about eve and anna, specifically in the context of their respective relationships with villanelle. i believe that, as we wind up to another season finale, and our characters make some pretty defining choices about one another, this is a comparison that killing eve invites -- it's no coincidence that after six episodes of relative radio silence on the matter, konstantin returned anna to the show's discourse in 2x07. so buckle up. a little signposting: first we're going to break down how eve and villanelle engage with the idea of love, then contrast anna and eve's moral frameworks, and then finally explore how anna and eve have gone from almost mirror images of one another to completely divorced in villanelle's mind, and why that's a good thing. i will try and keep this shit concise, but y'all know how these turn out.

now as i've mentioned before, killing eve is a precarious cantilever of parallels. eve/villanelle are obviously our most important and riveting example of this -- initially, they have their resemblance, but we watch as they slowly and softly kill their old selves until they complement each other seamlessly. but eve/anna is a crucial secondary parallel because it contextualises the primary; it situates villanelle and eve's mutual obsession. 

i believe that as we progress through our formative years, the people around us provide us with experiences and patterns that teach us how to love, and what to expect from love. this can sometimes set us up for life (leaving us with a model that drives us to seek out healthy and productive dynamics), but sometimes, it means we don't know how to recognise or cultivate genuine affection, and we get trapped in damaging cycles. i've said before that i think eve sits on the psychopathy spectrum, but i also think that growing up, she had strong examples of relationships, which is why she is such an accomplished long-term chameleon -- she was able to maintain a marriage and friendships. yes, this was partially through self-repression, but at a base level, eve has the formulae to pass in these typical emotional environments. 

villanelle, on the other hand? anna tells eve that villanelle's father was a drunk, and her mother passed away. i doubt that villanelle had ANY actual relationships, let alone good ones, with family. she's exceptionally intelligent and a very fast learner (which anna asserts and we have confirmed on-screen almost every episode), and she's versatile. this is why she's able to craft and adopt the perfect character/personality for a particular situation -- she's built up a repertoire of dialects, micro-expressions, cue responses, etc. that allow her to smoothly navigate short-term interactions (e.g. with Sebastian, with Gemma). but prior to anna, villanelle has no people she can invest in and expect a returned investment, so she's never had the opportunity to develop skills beyond the superficial. she gets what she wants through charisma, a calculated blend of innocence and sex appeal, and transactions (i do this, you do that). 

but then villanelle meets anna, and undoubtedly forms an imprint on her of some kind, as her first "reciprocal" relationship -- the first adult to treat villanelle like she has value. obviously, the ethics of student/teacher affair are EXTREMELY dicey, but getting into that discourse will take us outside my intended scope. so here's how eve and anna differ. 1) proximity. villanelle and anna are together all the time, and this gives rise to their relationship. villanelle and eve, in the first season, are almost always apart. initially, their fascination is at least partly driven by mystery. it's not a "crime of opportunity". this is pretty much the most difficult long-distance mess imaginable. essentially, villanelle and eve both take an active role -- they pursue each other deliberately -- rather than a passive one. it's not a matter of convenience. 2) commitment. for anna, villanelle was an avenue of tourism, a compartment kept self-contained which anna could visit to re-explore youth and sexuality. but villanelle was not allowed to bleed into the rest of her life; anna wanted to keep job-husband-image just-so while also having villanelle when desired (cake had and eaten too). eve's whole life, however, orbits villanelle. her husband, her friends, her job -- these are discarded as acceptable sacrifices on the path to villanelle, rather than prioritised. while anna (potentially due to guilt) idealises the memory of her husband, eve considers niko disposable, and is a clearer iteration of herself without him.

3) psychology. anna is inarguably fucked up (she had an affair with her STUDENT), but i don't think she registers as a psychopath. she displays empathy, remorse, reticence to cause harm. eve? villanelle kind of nailed it with the "like us" thing. and this brings us to how anna and eve each fit into villanelle's life, and way of life. im making an absolute reach of a biblical reference with my title, but if for a minute we did position anna/eve as adam/eve, we end up with two items of real relevance. firstly, that eve is the one who takes the bite of the apple, and secondly, that eve is created from anna/adam. the apple as we know is symbolic of the temptation of sin. eve eats, and is cast from paradise forever. what i love about this, though, is that our eve isn't cast from paradise, she's cast from prison. eve's boring office job in witness coordination, her stale marriage, her enactment of normality day in, day out -- it isn't a utopia, not by any stretch. and i think that's only really starkly apparent to eve after all those trappings are gone; once she feels "wide awake", she realises exactly how long and how deeply she's been asleep. but anna? anna doesn't give in, or rather, she doesn't give in enough. she sleeps with villanelle, and spends time with villanelle, but when she's confronted with villanelle's capacity for violence, she retreats. she calls the police and cuts villanelle out of her life (which im obviously not going to criticise her for; it's a justifiable response), although it's too late by then. she's stranded in this halfway purgatory -- a woman whose adolescent lover murdered her husband; a woman who isn't good but won't commit to being bad, CAN'T commit. anna is undoubtedly morally grey, but (and bear with me here, because i can't think of a better way to articulate this) anna is kind of weak. she never had the guts to look at her situation for what it was, to bother to try and see villanelle beyond what she wanted her to be. she was using villanelle -- someone she could feel good about helping while simultaneously bringing excitement to her mundane life -- and set her back down when villanelle became too much trouble. what we and Villanelle learn from this is that certain parts of who she is are attractive (irresistibly so) to other people, and others are repellent. 

which obliquely brings me to the second point, that eve is created from anna. as early as 1x02, we have our attention directed to the physical similarities between anna and eve, which is perhaps part of the initial draw to eve for villanelle, but we also have their differences immediately emphasised. eve is unique from the outset, because these repellent qualities -- the enjoyment of destruction, the dramatic flair, the violence, the efficiency -- are what excite her about villanelle in the first place. villanelle's beauty/charm/off-beat humour/loyalty all come into the picture later. at the beginning, there's just a string of bodies, and that's what sucks eve in. don't get me wrong, i think it's very much villanelle's personality that eve is obsessed with -- we could see her professional but  lack of personal interest in the Ghost -- but she has always understood villanelle in the context of her darkness. it never surprises her, only intrigues her. in 1x08, we have a number of direct comparisons between anna and eve, or at least, the show recreates the same situations with each of them and watches them respond entirely differently. 

we have anna pulling the gun on villanelle. the entire time, villanelle is relaxed, stating outright that anna doesn't have what it takes to shoot. she waits her out. she has no intentions of killing anna, even though she tells irina, "i don't love her anymore." we'll come back to the significance of that statement. 

later, in the tea room, eve has a gun levelled at villanelle, but again, villanelle is certain she won't fire. eve admits that no, she can't use the gun, but rather than turn it on herself as anna did, she makes villanelle an offer: come with me; it can be just the two of us, and we can talk. in a high stress environment, eve's response is to treat villanelle like a person, not a weapon or a thing. 

so villanelle runs. and that brings us to their final interaction of the season, when they meet in villanelle's paris apartment. as they lie together on the bed, eve pulls the knife, and villanelle tells her, "you can't."

this is where eve cleaves distinctly and irreversibly from anna in villanelle's mind. like i said, a fraction of eve's initial appeal is her similarity to anna, although it's also obvious that villanelle is very much attracted to eve in her own right (in 2x03, she calls the woman she sleeps with "eve" and not "anna"). but then in 1x04, eve gets out of the car to face villanelle, and villanelle has dinner with her in 1x05, and eve begins to overwrite anna in villanelle's mind. how can we be sure of this? because in 1x08, when villanelle is sneaking past anna and irina in the apartment, she pauses and stares, even though it's vital that she get to her passport quickly. what's notable about this particular moment is that this is the only shot where anna could easily be mistaken for eve. this is what prompts villanelle to linger for that extra beat. 

so we have that initial similarity, then a merging, then an overtaking. but when eve stabs villanelle, she becomes removed entirely from anna in villanelle's mind. she goes from "you're like anna" to "you're more interesting than anna" to just "eve". because along many other things, eve has the capacity to surprise villanelle. she doesn't take the easy or the expected choice. not only does she understand villanelle's language of extremities and violence, she speaks it. this is what villanelle means by "like us" in 2x07; she and eve are more similar than they are different. 

and now we're circling back to villanelle's defence to irina -- "i don't love her anymore!" obviously, this line carries all kinds of implications, but the most critical is that villanelle conceptualises herself as someone capable of love. she doesn't say "i don't like her anymore" or "i don't want her anymore" or "i'm not obsessed with her anymore". she chooses and uses "love". 

with anna, though, it never could be a mutual, reciprocal love, because she and villanelle don't mean the same thing when they use that word. they have fundamentally different understandings of what love means. so even though, ostensibly, it seems like villanelle broke her learned pattern by seeking anna out, she actually perpetuated it -- anna is another authority-position adult who discards villanelle, who misunderstands her and pushes her away (again, fair enough; villanelle is very complicated and dangerous). but eve? look at eve's initial constructions of love. she loved bill, but remains infatuated with his murderer. she loved niko, but when he questioned her rather than supported her, she discarded him too, and went from upset to acceptance in a matter of DAYS after what was presumably a 15yrs+ partnership. 

and then look at her with villanelle. it's not conventional or healthy, but they have a much more compatible interpretation of interpersonal relationships. they're both quite manipulative, but they don't see this as an issue -- the manipulations are a means to the end of helping the other. villanelle is very transactional (she sends eve clothes and perfume, wants to make her favourite recipes), but eve responds very well to the expressing affection through gifts and gestures; far less well when niko and kenny try to show care by giving eve instructions or suggestions. they each romanticise eve stabbing villanelle ("i think about it all the time"), yet neither of them believed villanelle would go through with the hit on eve, because violence plays a deliberate, rather than random, role in their dynamic, which they both comprehend innately. eve stabbed villanelle to assert their equality; she probably did it because villanelle's first response was to say, "you can't", and eve needed to prove she could. but they're on different terms by the time they meet again, and harming each other is no longer a productive currency, no longer has purpose; instead, they hurt others, and help each other, as a way of affirming the growth of their connection. 

for eve and villanelle alike, the other represents a deviation from their established learned patterns, but an important choice for them personally. eve isn't going for the stable, normal relationship that she's been brought up to seek out; instead, she's gravitating towards the possibility of someone who embraces her complexity and darkness, and will give her space and means to explore and express herself. and villanelle isn't recreating a nonreciprocal relationship where she is used/enjoyed and then discarded; she's chosen someone who has the potential to be longer-term, who genuinely cares about her holistically. 

from where we're standing before the finale, it looks like they may learn to "love" each other, in the way they are each capable of. villanelle and eve aren’t a relationship that can exist in heaven, because they’re not people of paradise; whether they’re the apples or the snakes or the gods in this equation, the pertinent fact is that are each other’s gateways into a world that fits them, and gives them what they need. is that fucked up? absolutely. is it kind of nice? I think so. it’s certainly gripping as all hell to watch.

xx. see y’all on the other side if we survive tomorrow’s episode.

#villanevest #villanevest writes #villainever writes #killing eve #ke #killing eve analysis #ke analysis #ke essays #villanelle #eve polastri #anna killing eve #anna leonova #villanelle x eve #eve x villanelle #killing eve s1 #killing eve s2

[doomonfilm]

Review : Tenet (2020)

In a perfect, pandemic free world, my fall would have been more than likely centered around the release of Tenet.  Christopher Nolan has earned his spot as a filmmaker who releases event-level films, and the anticipation for Tenet was through the roof, even before COVID-19 shifted the way of the world away from the theater experience.  I was bummed to miss the film in the theater, but after a long and patient wait, it hit streaming services, which finally gave me the opportunity to experience what looked like a brain-bender of a film.

After being captured during a siege on a Kyiv opera house, a CIA agent (John David Washington) attempts to commit suicide via a cyanide pill, only to be awakened by his CIA superior Fay (Martin Donovan).  Our revived agent, now going by the title Protagonist, is briefed on an organization known as Tenet and assigned a role in stopping an upcoming war threatening to destroy the past through “inversion”, a practice in which the entropy of object is reversed, causing them to look as if they are moving backwards through time.  The Protagonist is educated on inversion by a CIA scientist (Clémence Poésy) before visiting arms dealer Priya Singh (Dimple Kapadia) with the aide of his new partner Neil (Robert Pattinson).  The meeting puts them on the track of art appraiser Kat (Elizabeth Debicki), who has a dangerously contentious relationship with Russian figurehead Sator (Kenneth Branagh).  As the duo investigates deeper, they are thrown into a whirlwind of time, pitting them against numerous unknown enemies and situations.

The way that Christopher Nolan is able to take a specific genre and infuse high-level thinking and abstract ideas is a unique gift, especially when it comes to Hollywood fare.  Tenet takes the spy genre and uses it to reflect on the way we view time, life, and in many ways, cinema itself.  The whole idea of inversion therapy shakes up our understanding of causality, fracturing it in such a manner that he can then move sections of his narrative around and present them in one of the most temporal-shifting ways since Quentin Tarantino’s Pulp Fiction… specifically, the story tells a bit of itself, shows you key information from later in the run of events, brings them together, and then explodes out the view of the world, making a sort of ‘folded string’ style of experiencing time.  Aspects of parallel experiences, time paradoxes and world-breaking events fall right in line with the danger of nuclear holocaust and the real danger of military level combat.

Inversion and entropy also lend themselves to many, many visually stunning sequences, and quite a few of them, while making logical sense, are very hard to process the first time they are seen.  The fight scenes have so much going on in terms of choreography and coordination that they hide a major narrative reveal, and they serve as an introductory point of understanding that makes the madness and chaos of the final sequence easier to comprehend, which allows the viewer to keep track of the many moving parts in the run up to the story’s resolution.  The action and motion-based aspects of time work emotionally as well, with many characters finding richer connections as their level of familiarity wavers through temporal peaks and valleys.  Most any film that takes a deep dive into how time works will be confusing on some level, but Nolan handles his lofty concepts with the calm assurance of a seasoned storyteller, giving us enough context visually and expositionally to suspend disbelief and immerse ourselves into his world.

The immersion is incredibly easy in the case of Tenet, and this is chiefly due to Nolan’s affinity for using practical effects as much as possible.  On top of this practice, the inversion concept seemingly forced Nolan to take your common aspects of spy films, such as car chases, explosions, gunplay, hand to hand combat and life or death races against time, and infuse them with fresh ideas that are new or rare to the screen.  The scope of the story is broadened by the use of real locations and a vast array of actors that represent many different nationalities.  The score pulls you in deeper with its pulsing sense of life, and it also serves to inform the viewer as it chooses times to run forwards and backwards, generally in league with the action on the screen.  The screenplay is extremely tight and rewarding at its conclusion, with so much eventually revealed that it ends up lending the film to rewatches in hopes of catching tiny details that may have been overlooked.

Many people criticized John David Washington for a flat performance, but in my opinion, he serves as a steadying force in an initially confusing series of events and exposition, allowing us a clear logical and emotional focal point as our understanding of events unfolds.  Elizabeth Debicki, by contrast, brings an innocent victimhood to the table that slowly gives way to a caged animal looking for the opportunity to land a retaliatory strike.  Robert Pattinson brings the sly assurance of a seasoned veteran to the table, as if he is running off of the knowledge of knowing what lies in wait.  Kenneth Branagh leans all the way into the worst aspects of his antagonist character, being equally despicable in terms of his wife, his property and any advantage he may happen upon.  Dimple Kapadia presents an air of class in a world full of unscrupulous individuals.  These actors make up the core cast, with Martin Donovan, Fiona Dourif, Yuri Kolokolnikov, Himesh Patel, Clémence Poésy and more adding to the textured world of Tenet. 

In many ways, I feel that Tenet was one of the biggest victims of COIVD-19 changing the way that we absorb film.  Much like social media, anything given the time and opportunity to scrutinize will fall victim to nitpicks and negative observations, but in the realm of a theater experience where one is disconnected from reality (even if briefly), I feel the viewer would find themselves too locked into the ride to pick it apart.  While not the best Christopher Nolan film, I must recognize it as the stunning achievement it is, and give it its props as one of the best of 2020.  

#ChiefDoomsday #DOOMonFILM #ChristopherNolan #Tenet #JohnDavidWashington #RobertPattinson #ElizabethDebicki #DimpleKapadia #MartinDonovan #FionaDourif #YuriKolokolnikov #HimeshPatel #ClemencePosey #AaronTaylorJohnson #MichaelCaine #KennethBranagh

[mxlxdroit]

black sails s1e8 “live”blog

context: i watched about half of this episode because i thought it was the first episode (who knows why), and then watched the full thing with my family this afternoon, so this really isn’t a liveblog. but hoo boy do i have thoughts, so here’s an abridged version

jack’s the perfect person to run this brothel, especially with his partnership with max. also, his little voices when he’s mocking people are so funny. that said, the choices they make here come back to bite them in the ass in the next few episodes. they’re new at this and it shows

everyone hates john silver and it is SO funny

knowing what’s going to happen to mr gates makes the scene where him and flint are drinking together and swapping stories really sad :( gates is flint’s only real friend- we never see him this relaxed and happy with anyone else. gates is also one of the most decent men in this show- spending two weeks in new york trying to deliver a dead friend’s letter is uncommonly kind

‘keep wondering’ flint is such a BITCH and he KNOWS it. i love him

i legit thought silver didn’t know the schedule and was stringing flint along the first two times i watched the front half of this ep. i have a lot more respect for him now

calling a dead friend a ‘lying sack of shit’ is so funny but SO crass. also weirdly affectionate

‘there are no legacies in this life, are there? no monuments, no history. just the water. it pays us, and then it claims us; swallows us whole, as if we’d never been here at all.’

i love where they take anne and jack’s arguments/anne’s inconsistent attitude re: max- it’s an unconventional resolution to the very boring love triangle/jealousy deal i thought it would become. also add a tick to the ‘fuck you, jack’ counter

i had no idea how they were going to resolve this. the ship just wasn’t fuckin there lol it feels like the rug’s been pulled out from under you. the music... the whole season of buildup... it’s a great (horrible) moment

mr scott i love you, you’re the best, and you deserve better than... everything

charles fucking vane. i really don’t like him. the best part of his character is how absolutely whipped he is for eleanor

fkjsfsfjfsd gates is RIGHT of course but mr dufresne won’t fucking listen and has to mutiny in the middle of this incredibly important mission, at the most important time... the first time i’ve really liked silver. also, flint is inhuman he can swim while shot

flint sounds batshit crazy next to mr gates. unfortch. also, not looking forward to seeing what flint’s like when silver is his closest advisor, he’s going to go off the fuckin deep end

wish i could take a screenshot- there’s a shot of flint where a shadow from his hair meets a slice of light going under his nose up across his cheekbone. it’s rly cool

flint is a weird dude. i don’t think he likes killing, at least not in close combat. he certainly hates to lose people he loves (esp if he... kills them 😬)

vane: i’ve been watching you since you were thirteen! isn’t that romantic? eleanor: what the fuck you’re blackmailing me i hate you. vane: hurr durr that’s hot

literally everything goes to shit in this episode, huh

except max and eleanor’s relationship, sort of? they’re talking again, and kind of at peace with where they’re at in the moment

‘on sand, nothing is fixed. nothing is permanent. and fates change so quickly...’

‘today, you have everything you ever wanted’ uh. not really. neither of you have each other anymore, and i think that’s more important to you than you realized

flint wakes up shirtless and injured for what, the third time now? this whole show is just an excuse to have men with long hair walk around either half-naked or soaking wet, glower menacingly, and be covered in blood, and i respect that

alright that’s a wrap on season one! season one had a lot of setup, but i trust the show to use that for good payoffs and development in later seasons. also, fully three quarters of the female characters are wlw, and i really respect that. on to season two!

#chris liveblogs black sails #black sails #chris watches tv

[mrsmess]

Brutal Binaries: Characterization in Gilmore Girls and The Marvelous Mrs. Maisel

Books and literature are important in Amy Sherman-Palladino’s stories, if not as interests among many of the characters then as a system for references. In Gilmore Girls, literature is painted as being Rory’s biggest interest, and Ayn Rand’s The Fountainhead is featured as one of her favorite books. Rand’s ideas of strength and weakness appear in The Marvelous Mrs. Maisel too and is partly crystalized through Abe Weissman’s line, repeated by Midge in the pilot: “Don’t pick a weak husband!” making it clear that strength of character is an important indicator of value in these stories. It seems fair to assume that there’s an idea of what weakness consists of for contrast. This text is meant to explore what ASP’s definition of those terms might be, using her characters as material.

ASP’s main female characters share or have many overlapping traits: They are charming, not too concerned with propriety, and those who are seem to be in a habit of dominating those social games. They are all flawed in their separate or collective ways but sympathetic, both in the eyes of the viewer and the surrounding characters. They are loved.  

The male characters generally serve as the more destructive or distractive forces in these stories. When the male characters make mistakes, they will normally have more trouble than their female counterparts recovering from them, having their arcs end in tragedy or villainy. Mind you, these terms are used loosely as this kind melodrama rarely plays out in full in ASP’s worlds. She writes the folly of everyday life, will normalize even the darkest narrative turns with humor, and her capacity for writing humanity makes you feel for characters even when you as a viewer long since have lost the will to sympathize with them, and that is a great feat. It is clear that she loves her characters, even the undeserving ones. All the same, ASP often uses binaries, scales, to measure how worthy a character is. Strong or weak. A character might possess strength and be forgiven for a whole bunch of other flaws, but a character being a particular brand of weakness will be unredeemable.

For reference: Rand’s definition of weakness, at least in The Fountainhead, is the lack of self. Keating’s weakness is not that he’s unsympathetic - even if he is, just like Roark – but that he has no vision, no personality of his own, he is defined entirely by others’ expectations and opinions of him. Roark is the polar opposite, he needs the approval of no one, is pure drive towards his visions which generally no one gets but him. It is worth noting that him being wildly unpopular affects his ability to make ends meet, while Keating gains success.

Most of ASP’s heroines are portrayed as naturally possessing strength with a few anomalies, they make mistakes, have to complete their learning curves, but in the end, get back on the right path. The right path is the one leading them to themselves, allowing them to fulfill their visions or individual narratives. To live one’s own life, not someone else’s, is imperative to these characters’ stories. Often the heroine’s journey will be one of choosing between what is right and what is easy. She will occasionally choose wrong, which will be illustrated by her incapacity to maintain her decision, she cannot hold back her inner strength, its tide will rip her from what’s easy, from the status quo, and funnel her closer to what is right.  

There I go, using over-dramatic terms again, not necessarily applicable on ASP’s particular brand of drama; What is right does for instance not necessarily mean morally or ethically right, even though it will often host an aspect of those, but mainly it’ll mean what is right for the character – what enables her to fulfill her true potential. 

These binaries; right and easy, strong and weak, will have representation in the shape of other characters. In MM the scale is made up of Susie, representing what is right, and Joel, representing what is easy. The same parallel can be drawn to GG’s Lorelai, who’s binary consists of Luke and Christopher, and many will argue that Rory’s would be made up of Jess and Logan. The contrast also exists in many other characters, and is sometimes fluent, depending on comparison and on whether they’re main or secondary characters.

The comparison holds more water when we look closer at the different characters. The traits shared by the “easy-path-characters”, henceforth known as EPC’s, are: privilege, playfulness, charm and wit to match the lady’s, impulsiveness and to different extents thrill seeking behavior, while at the same time avoiding confrontations with the heroine. The wealth or materialism is important because it provides the comfort of the easy existence available to Midge, Lorelai and Rory, but there are always strings attached, usually a demand that you compromise part of yourself.

The EPC’s might have an inflated ego or at least a sense of entitlement, paradoxically paired with a low sense of self. This seems to derive from being raised in the lap of luxury while being treated like a mere part of a fancy exterior. They are tied up in tradition, family, and walking their own paths, would be at the expense of their privilege. They have been taught that they are nothing without it which leads to a perpetual sense of being worthless outside that very specific context. This makes them incapable of fully appreciating the impact they have, or could have on the heroine’s life which means that they instead wind up failing her in some way.  

All EPC’s also supply gateways to tradition via marriage. Something the female leads share an aversive attitude towards, for different reasons, in this respect Midge is something of an anomaly because she starts out exceedingly happy in her gilded cage, but outgrows it as the series progress. The marriages depicted as positive or lasting in the stories always consists of a careful and complex balance between the spouses, and is not static, but a living, breathing, changing thing of its own.

Let’s take a look at the other end of the scale, the “right-path-characters”, henceforth known as RPC’s. Their shared traits are anti-social behavior, different degrees of unpopularity, low social status and lack of wealth, or in Luke’s case an unwillingness to flaunt it. All of these “lacks”, self-chosen or otherwise, signals an indifference to public opinion, that in turn may be translated to strength, or ASP’s idea of it, a form of incorruptibility. They share harsh backgrounds, with absent or incapacitated parental figures forcing them to make their own way from early on, and to protect, sometimes viciously and unwarranted, themselves. Their personal integrity is strong, their endurance high. They are aware of how little they matter, their insignificance, in the grand scheme of things, but know, or learn, that they at least can change things for themselves and for the people they care about. 

And that’s another thing: words and actions. The RPC’s will use words carefully or remain silent, they will often let actions speak for them instead – making them an interesting contrast to the always chatty heroine. Honesty is important, even when it’s harsh. These characters make it clear that the approval of others doesn’t matter, meaning that the things they do say can be trusted.  

“You have to pick your friends as if there’s a war going on!” Abe says moments later in the aforementioned scene, another testament to the choices ASP might have her heroines make at the end of the day. Trust is vital, and betrayal is unacceptable. But not that our heroines don’t try to accept, forgive and love. We, as viewers do that too. We try.

Lorelai’s and Christopher’s backstory is the very thing that both makes you root for them and simultaneously see how hopeless it is. On paper it looks great, same wit, same world, a child together, and you could base the fall of Christopher on plenty of things from the original show, if you wanted to. But I won’t get into those now, mainly because the ship has sailed, or sunk, if you will, before we even meet him. He’s not around, he hasn’t been around, and even though he has a good enough excuse - he was a kid – he is a father that in a best-case scenario will have to play the role of step dad to his own child, because he wasn’t there. The last we see of him is in the revival; He’s been swallowed by the business he didn’t want to go into, by a family he didn’t want, and by oblivion, when his daughter asks him not to come to Lorelai’s wedding. It is sad.  

Looking at Joel: He’s a klutz, not realizing what he has in his great wife, taking out his failings on her, he’s ignorant as to his role and responsibility in his own life, and lacks the ability to foresee what his actions will do to both him and his family. None the less, we as viewers see him with the eyes of Midge and might find him endearing. However, the match is impossible. The balance between them is off. She’s so much, as Joel himself notes, he is so little, because of the rash, and childish decisions he’s made so far, and the only redemption arc available to him is realizing and accepting that he is inadequate. He and Christopher have an eerily similar arc in that respect.

The strength it takes to go out on your own, to follow your own path, is a reoccurring theme in these shows. Independence is paramount but not an easy choice, all our heroines face this, as well as the EPC’s, and RPC’s, but with different results. 

It is worth noting that all of the EPC’s double as romantic options, whereas the RPC’s don’t, necessarily. Even though Luke is endgame, there’s a romantic history with Jess, and a hinted undertone romance with Susie (people referring to her as Midge’s boyfriend, as well as season one’s final show-down being between her and Joel), the RPC’s mainly supply support in areas where our heroines doubt or have lost confidence in themselves, functioning as guides of sorts allowing the heroines to thrive from the interactions.  

The point might be that women often are taught define themselves from their romantic lives, something men are rarely expected to do to the same extent, and that the only way to be whole is to figure out who you are, and what you’re capable of without some other half. Seems basic enough, but it is a lesson worth repeating. And if you should opt for the romance after that, ”you want a husband who’ll take a bullet for you!” Abe says. 

#meta #gilmore girls #the marvelous mrs. maisel #potential spoilers #comparative analysis #possible gibberish #literature

[blogs-of-our-lives]

Season 53 Episode 95: Lani Has A Secret

           I like to describe my relationship with Beth as ‘friends with benefits,’ only instead of sex the benefits are that we get drunk and watch Scooby-doo. Off the top of my head, we’ve watched the entire original series, the majority of What’s New Scooby Doo, Scooby Doo and the Witch’s Ghost, Scooby Doo and the Loch Ness Monster, Scooby Doo and KISS: Rock and Roll Mystery (yes, that KISS), and a pretty big portion of Scooby Doo and the Reluctant Werewolf. That’s a lot of Scooby Doo. So when we hit rock bottom (Reluctant Werewolf), we kind of silently agreed to find a new hobby. I suggested Mothman Prophecies, starring Richard Gere (who should have known better than to be in the movie). For whatever reason, Beth wasn’t interested. Killing time one night, we discovered Days of Our Lives. All the most recent episodes are available on the NBC website, dating back about a month or two, if anyone is interested in watching them. Otherwise it’s on at two in the afternoon most days.

           Now, Days has been out since 1965. By the time we landed on the moon, the United States had been enjoying a solid four seasons of Days of Our Lives. Martin Luther King Jr. might have seen a couple of seasons. And I’m willing to bet that someone at Woodstock had enjoyed a few episodes. So naturally I was unwilling and unable to start from the beginning of the series. If I watched an episode a day every day, I wouldn’t be caught up for over 30 years, and that’s not counting the fact that they’re still producing episodes. If I watched Days of Our Lives all day every day, it would take me 418 days to catch up.

           I started with Episode 95… of Season 53. Holy shit.

           This might help put into context how old this show is. There’s a character in this episode named JJ. It’s hard to guess his age, but I’m going to say that he’s – at the youngest – only in his mid-twenties. He’s the child of Jack and Jennifer, two characters of the show. Jack and Jennifer started dating, got married, had a child, and that child was JJ. He then grew up as the show went on, until he is old enough now to consider marriage. There are characters that are born into the show, and the show begins to follow them after they age to an adult. I’ve never seen anything like it before. It’s like the children are born into a nightmarish hell of being forced to continue where their parents left off. This show has outlived many. People have been born into the shadow of Days of Our Lives and have died under its inky wings of death.  

           The description of the episode I watched is “Gabi is booked on murder charges; Brady and Eve go on their first real date; Lani makes a confession to Eli; Claire realizes Ciara and Tripp are keeping a secret.”

           I admit, the murder charges bit caught my eye. I like a little bit of mystery, especially when I expect the rest of the show is filled with love triangles and comparatively boring day to day minutiae. I was terribly wrong with that assumption, but I’ll get to that later.

           Now, Days is pretty self-aware. It knows that nobody cares enough to watch each episode. So the characters use names enough for the casual viewer to catch on quickly. I learned who Gabi, Lani, and JJ were pretty quickly. Ciara, Claire, and Tripp don’t make an appearance until the end, which I didn’t mind, because his name is Tripp. Anybody who names their child Tripp doesn’t deserve to have a child.

           Gabi seems to be a person of interest in some kind of investigation. At first, I suspected some kind of white collar crime, but I was wrong. They’re reviewing security footage. A character named Rafe tells Gabi that she may be a suspect.

           And all of a sudden we’re with Lani and JJ, who are eating together at some kind of café. Wait, what? Mid conversation, after just a brief lull, the viewer is immediately taken to a different set with different characters and a different plot. There was no segue, nor even a real stopping point. It may have been mid-sentence for all the sense it made. It was about as jarring as if the whole episode was just a long and complex intro to a Scooby Doo movie I was tricked into watching. You quickly get used to the storyline jumping, however.

           JJ is without a doubt my favorite character, because in the few episodes I’ve seen of him. He doesn’t really do anything. When he speaks with Lani, she goes on a long rant about how difficult being pregnant is, despite the fact that she’s about two weeks pregnant. Note the word choice I used. She ranted to him. They didn’t have a conversation, because that implies he participated. She spoke at him. There’s only one circumstance that makes it okay for someone to talk to you like that, and usually you call the other person “professor.” But that’s not why I like him. I like him because it happened to him with another character. This poor guy’s luck, that he just happens to run into the two most narcissistic and talkative people alive. The guy probably hasn’t been home in three days, his boss is calling him wondering why he hasn’t shown up for work, his family is texting him worried sick, the police are starting a missing person report because these two people just have to have JJ be the one sitting across the table as they talk pretty much to themselves.  Meanwhile, JJ nods.

           In a flashback, Lani is speaking to an older woman, possibly her mother. Lani’s character is keeping some kind of secret, though it’s unclear from whom. Her father? JJ? Any of the other male characters? “If you don’t tell him, I will,” her mother ominously warns.

           After there’s a pause in the baby conversation, we’re back to Gabi and her investigation. Apparently she’s suspected of murder. “I can’t go back to prison,” she said.

           Did you say back? You’ve been to prison before? Honestly it doesn’t even matter at this point. We’ve burned through about half a bottle of Grey Goose between the two of us, and I don’t even care if Gabi goes to prison anyway. I’m all about JJ and Lani, and whatever secret she’s keeping from him right now. Beth, if you’re reading this, martinis are gross, and I wish you liked tequila so I could make a better mixed drink. If anyone has any good vodka drinks, for the love of god let me know.

           Throughout all this there’s a date between Brady and Eve in the background. Apparently they used to have a no strings attached type arrangement. Neither are particularly interesting characters and the date is terrible. At some point they turn it into a business meeting and start brainstorming ways for their magazine to reach out to the young white woman demographic. Their waitress (who happens to be Claire) is a young white woman, so they ask her what product would interest her. She answers, “Um… a time machine. Definitely. Yeah my boyfriend and I are in the ultimate long distance relationship.” This is really interesting for several reasons, one of them being that a few episodes later the thumbnail is her, naked in bed with Tripp. I don’t have a good feeling about their relationship.

           “Poor girl,” Eve said afterwards. “Probably thinks that she’s the only person in the world right now that’s alone.” I’m noticing that about once an episode there will be a really well written quote. Every so often they’ll strike gold, then go back to their usual writing quality.

           The best part of the date is that Eve has a glass of wine in front of her, without any condensation on the glass. Which makes sense, because as time goes on, the condensation will change, and the viewer can tell when different takes are being used in the final cut. For the same reason, movie studios have employees making sure that costumes and props stay consistent from scene to scene (making sure a watch doesn’t switch hands, for example, or that the actors don’t move their silverware). So Eve’s glass of wine is probably just a glass of apple juice at room temperature. Brady, on the other hand, has a mixed drink filled with ice, which he frequently drinks from. In conclusion, I’m pretty sure the actor who plays Brady had actual alcohol in his glass. I can’t say I blame him.

So now we move onto Tripp, Ciara, and Claire. Ciara is Claire’s aunt (they’re the same age, both mid-twenties), and for some reason they both live in an apartment together. That’s fine. Tripp also lives there. Also fine. Claire looks like Elsa Jean. Like, a spitting image. If you don’t recognize the name, don’t bother googling it. She just has light blonde hair and a VERY strong jawline.

           Ciara and Claire get an invitation for Rafe’s wedding to… Gabi I think? Ciara invites Tripp to be her plus one. “Too bad Theo isn’t going to be there,” she said, looking Claire dead in the eyes. “You’ll have to sit all on your lonesome.”

           Wow. That’s a real bitch move, Ciara. Capital B. Worse, that was a binch move.

           Not much interesting happens in the Claire, Ciara, and Tripp storyline. Tripp seems to like Claire. Ciara seems to like Theo. Judging from his body language I get the sense that Tripp is into Ciara as well. There’s nothing else worth noting, which is perfect because the next (and final) 5 minutes are the most exciting.

           Lani’s father, Abe, is walking down the street with Lani’s mother. Back in the 1980s, Abe was murdered by a character known as “The Salem Stalker.” I’m not making that up. Abe was killed thirty years ago. He’s alive now. I’ll explain why some other time.

           JJ stops him. Reaching into his pocket, he pulls out a wedding ring. “I’d like to have your blessing to marry Lani.” Dun dun duuuuun.

Gabi is arrested on suspicion of murder. She’s led away by Rafe, while Eli watches from his office. Lani comes in, teary eyed. Every time we’ve seen her character, she looks like she’s on the brink of crying. Her hand on her stomach (which isn’t showing because, as I mentioned before, she’s like two weeks pregnant), she tells Eli it’s his baby. GASP.

           He has a terrifying series of emotions over the next couple moments, ranging from excited, guilty, and furious. Eli seems like an okay dude, but he doesn’t seem to be the most emotionally stable. The episode ends before he can say anything.

           Just like that, I was hooked. Up until that point, it was just a mediocre show. It was no Scooby Doo, and it was no Mothman Prophecies. But then in those last five minutes, a character gets arrested (again) for murder, Lani reveals she’s pregnant with Eli’s baby, and JJ asks Abe for his blessing. What a way to close out an episode.

           Next episode has spies in it. It’s up to you to figure out if I’m joking or not.

#days of our lives #review #pregnancy #drama #soap opera