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#tua meta
Luther having to keep his siblings in line would have lead to misplaced resentment, made worse since he is a safer target for anger than Hargreeves, who has total power over them. Diego taunting him about their father just sounds like more of the same animosity Luther is used to from a childhood in competion against him but Diego is trying to get his brother to recognize that Hargreeves treatment of them was wrong. Luther's in a place, so dependent on Hargreeves, that he can't afford to see it.

Definitely. They all hate Reginald, or harbor some level of resentment toward him, but they can’t fight back. Any sign of animosity toward him will be crushed swiftly and without mercy. But the kids have all this anger toward their dad, so who do they choose to let it out on? 

Easy. Their dad’s Number One. 

Luther doesn’t have a fraction of the power Reginald has, but he’s been elevated to the position of Number One, so he must have done something their dad approved of, right? And he never speaks out against Reginald, always gets uncomfortable when they start to criticize him, which is annoying as hell and also kind of insulting. So the kids make Luther their target, vent some of their misplaced anger on him. It probably doesn’t make them feel any better, but they’re not about to stop. 

Luther, meanwhile, is probably being told that he maintains his position as Number One by always behaving like Number One. I wouldn’t be surprised if Reginald threatened to give his position to Diego, when Luther did something that displeased him. This would have fueled their rivalry and kept them from speaking to each other in a civil manner, which could have led to the discovery that Reginald was shitty towards them both and, therefore, the real enemy there. Reginald probably fostered animosity between his children so they wouldn’t band together to unseat him. 

Diego has definitely come to see how fucked up their childhood is, but instead of approaching Luther with gentle words and a plea for friendship, he comes out swinging. He tries to rouse Luther’s anger toward Reginald through blatant body-shaming and harsh words at their dad’s funeral—both of which backfire. Yet I think Diego is afraid to be seen as weak, and he’s afraid kindness will be mistaken for weakness, so he doesn’t take the only approach that would smooth over their childhood animosity: coming to Luther, hat in hand, and asking if they can bury the hatchet. 

Luther’s identity is still wrapped up in being Number One. He’s still convinced he’s nothing without his rank, and that his rank is something fragile that must be upheld at all times, through all his conduct. So when Diego attempts to rouse his anger, all that fury is directed right back at Diego. He’s probably afraid to criticize his dad at all, a fear that was likely instilled in him in childhood. 

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(Part 4/I am an awful person) Grace was taught what she was taught. Does as told. She had no autonomy of her own. Thusly the 1950s aesthetic is subtly terrifying on her "husband's" part. As of pogo he was doing a very difficult act. If he does nothing these kids will break, stand up too much and he'll be discarded. He did what he could in a terrible set of circumstances, and I'm honestly convinced the guilt still eats him alive.

Grace was certainly programmed to be the perfect, obedient housewife and mother—but I think she grew beyond her programming, and I think she did it somewhat quickly. In a flashback, we see her serenely moving through the chaos of pre-mission preparation, helping each child in turn. Most of the things she does—helping Ben with the zipper on his suit, giving Allison a repaired domino mask—directly play into what Reginald wants in that situation; and her compliment to Vanya is brief and doesn’t hold back progress at all. But when she sees Diego trying to work through his stutter, she stops, and gently reminds him to “picture the word in your mind.” This has nothing to do with the mission. It has nothing to do with getting ready for the mission. Diego could go through every single mission without saying a single word and it would likely only add to his strong-and-silent persona. Yet Grace helps him anyway, because Diego is embarrassed by his stutter and wants to speak. 

She wasn’t programmed to be independent, but she found ways to obtain pieces of independence anyway. However, she always uses this independence for the good of her kids, not for her own good. She doesn’t use it to leave the Academy after Reginald’s death, or to claim a room for herself. Every time she exerts her own will, it’s to help one of her kids. What’s interesting about this is that, while she praises Reginald and gently admonishes Diego for hating him, she seems to have recognized that he was not the perfect man he told her he was. She seems to know that he didn’t always have the kids’ best interests at heart, and so when she acts on her own, she counters Reginald’s toxic influence—even as she denies that this toxicity has harmed her as well. 

Pogo is I think one of the more misunderstood characters in this fandom. See, in the comics, Five learns that Reginald granted Pogo humanlike intelligence and sapience through a series of brutal, gruesome experiments that clearly traumatized poor Pogo. Yet Pogo remains loyal to Reginald, because (as he says at the funeral) “in all respects, he made me who I am today.” I think Reginald would have made it clear that he was the reason Pogo had the life he had, which would have made Pogo reluctant to show any signs of rebellion. 

Additionally, Pogo probably remembers the lab, or pieces of it. He probably remembers the pain, the humiliation and fear he felt. Yet he knows that the trauma Reginald put him through gave him intelligence and reason, so I think that on at least one level, he sees his own abuse as necessary. Because of this, it’s not too much of a leap to assume he sees the kids’ abuse as necessary. If abuse granted him intelligence, then it has to have some benefit for the kids. Going along with it clearly tears him apart inside, but there’s not much he can do—and there might not be not much he thinks he should do. 

(Part 6/ I can’t count) I blame the sorry excuse of a man that was so sociopathic and cold as to create these circumstances. I blame Reginald because if the children were the soldiers, and vanya was the civilians. If Grace was a symbol of the post war dream, and pogo a good will ambassador esque presence, then Reginald was the problem. Reginald was the untouchable power. He was the old man sending children to fight his war. He could have used his resources the right way

(Part 7/ oh the irony) He could have helped sway laws, or used his disgusting wealth to change things. But he didn’t because he was in love with the carnage and violence. I don’t really think he even gave a damn about right and wrong. I think he just really loved the destruction, because when someone stands behind a cause to the point of sacrifice, normally THEY go in harm’s way. Normally they sacrifice something of their own. He didn’t give a damn about good or bad, he just wanted to play god.

Reginald is definitely the real villain here. 

I think we get a peek into his psyche in his flashback: He’s on an Earthlike planet, taking the hand of his dying partner as missiles rain down from the sky. I don’t know what his backstory is, and I don’t know how much of his comics origin they’re adding to his Netflix backstory, but it seems evident that he escaped a planet in dire straits, possibly one at war and on the brink of collapse. 

If this is the case, then it would explain why he’s so adamant his children become soldiers and go to war as soon as they’re able. If he escaped a planet torn apart by violence, he might not see violence as something to be avoided, but as something to be utilized: When they bring you war, don’t pray for peace. Strike first, and make that strike so devastating that they never want to fight again. He doesn’t see violence as a means to start war, but as a means to end it before it begins. That he’s using actual children as his strike force doesn’t matter to him. 

He certainly could have used his immense resources for good. He saw wars begin and end; he watched social movements change attitudes as opinions swayed this way and that. Reginald had over a century of perspective to offer, over a century of wisdom—and he eschewed that in favor of forcing his own children to go to war. And when his ruthless methods damaged his children, he blamed them for not being strong enough. 

Diego said it best. “He was a monster. He was a bad man and a worse father, and the world is better off without him.” 

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I don't think Luther does anything for glory though. I think he does it because he's supposed too. I'm not even convinced WHATNEEDSTOBEDONE(TM) is even connotated towards morals or feelings in his head. He'd hate himself otherwise Diego similarly can't let go of war. (See everything he does ever) As of Allison, compared to most girls she's seen so much, hurt so much. If anyone deserves fame it's her right. And if she has to manipulate people well hasn't she saved them ten times over ?

I agree. Luther doesn’t appear to enjoy any of the “saving the world” business at any point in the series. Watch his face when he’s planning their next move, or looking for his old research from the Moon, or any number of things that go along with trying to prevent the apocalypse. He doesn’t look miserable, per se, but he’s definitely not having fun. It’s the face someone might wear at a job they’re not particularly fond of, but one that pays the bills. Reginald framed the Umbrella Academy as this magnificent thing from which his kids could derive all the glory they ever dreamed of, but Luther sees it more as something that has to be done. 

Lest I give the impression he just doesn’t emote all that much, I want to point out one instance where Luther is grinning to beat the band and having the time of his life: while doing that weird crab-dance-thing to “I Think We’re Alone Now.” He doesn’t like being the hero. He’d rather kick off his shoes and be his fun, goofy, pleasantly weird self. 

Diego was always raised to see himself as second best. He was Number Two, not Number One, and if he’d been a little bit better, a little bit more diligent, a little bit less himself, he could have been Number One. That’s what Reginald told him, anyway, and while Diego acts as if he doesn’t give a shit what his dad said, it’s clear Reginald’s childhood treatment of him wounded him deeply. And in some ways, I think he’s reluctant to let that wound heal. If he lets it heal, he’s afraid he’ll forget that what his dad did and said to him was wrong and he’ll accept reality as second best. So he’s still at war, because he’s afraid peace means surrender. 

I think Allison never really processed her childhood trauma. She grew up, and she was left with this awful wound that she didn’t know how to treat. So she distracted herself from the pain with things that made her happy. And since she had the power to get anything she wanted with just a few words—well, why shouldn’t she? She wanted to feel better. She needed to feel better. Reginald never taught her to respect other peoples’ boundaries or autonomy, so she didn’t bother. Like she tells Luther later, “I told myself it wasn’t wrong. I just had an advantage.” 

Another part of Allison’s response to trauma comes, I think, from the worldview Reginald instilled in her. He brought those kids up to see the world as a harsh place filled with people waiting to do evil. If anything, going to Hollywood would only reinforce that view. So Allison probably saw her power as something anybody would use, if given the chance. She probably thought anyone would do what she did, if they were in her shoes.

(Part 2/2) Poor Klaus turned to drugs after both “wartime” and actual wartime. Drugs and alcohol are sadly common with post war soldiers.I am like 90% sure his childhood kept him from being destroyed by vietnom Five is grown. He has to be grown, to be strong. Youth is weakness. He use to think that was a lie but after the apocalypse he would do anything to not be caught scared and unaware again.

War is hell, and Klaus’ childhood was hell. Reginald could have made it a little more bearable, had he approached Klaus’ powers with anything resembling compassion. Maybe he could have built a device that would allow him to spot where the ghosts were, and get Klaus out of there before the situation became too overwhelming. Or maybe he could have held family seance nights, where Klaus practices conjuring while everyone stands around protectively and hurls insults at ghosts who get too demanding. There’s a number of things he could have done, but because Reginald saw Klaus not as a child but as a tool, he decided to try and force him to overcome his fear. And, predictably, that attempt only made his fear worse. (Sadly, this is a technique too often utilized by real-life abusive parents. The results aren’t much better.) 

I see Five as the one in that house who left too young, grew up too fast, and—as you said—saw youth as weakness. He was stranded in a world harsher even than Reginald could have predicted, and he wasn’t prepared. He had to leave childhood behind quickly, or die. So he survived, carved out a life for himself, and left the unprepared, frightened version of himself in the past. The way Five sees it, he survived far worse than Reginald’s abuse. So I think that when he looks at his siblings, and all the ways they’re fucked up by their upbringing, he doesn’t have a lot of sympathy for them. I think many of his interactions with his siblings are fueled by impatience and more than a little condescension. 

(Part 3/I lied) Ben is an obvious one. He’s gone, as gone as the men in the trenches, as gone as the British casualties of ww2, as gone as the lost generation itself. Vanya is the civilian. For whatever reason too unskilled, too weak, too useless too ever be of use. So she’s told bow her head, be quiet, never complain, don’t get in the way. I don’t think she hates her siblings for treating her that way. I think deep inside she hates herself for someway deserving it.

Ben is dead, but he’s not gone. He’s stuck on the sidelines, watching his family struggle. It’s probably awful to watch them go through hell and not be able to do anything about it—but we see from his interactions with Klaus that being left behind has made him bitter. He no longer has any of the things his living siblings take for granted, and he hates watching his brothers and sisters squander everything he lost. Klaus is probably his biggest target because 1) he’s the only one in that family Ben can actually talk to, and 2) his entire life, up to the point he meets Dave, revolves around getting high. 

Vanya probably internalized the abuse when she was younger. I think it’s almost guaranteed she did. But in the present, she seems to have realized this. She knows she internalized the abuse, she knows internalization fucked her up, and so she’s rebelling against that earlier attitude by externalizing everything. In the scene where she walks in on Luther’s emergency meeting and reads them the riot act for leaving her out of it, a quick look at the circumstances shows that it was Vanya’s own choices that led to her being excluded from that meeting. She chose to leave the Academy, rather than stay the night. She chose to stay at Leonard’s, rather than at her apartment for which Allison had the number. She chose to make herself unreachable, yet when she sees her siblings have left her out of something yet again, she immediately blames them. And when Allison points out that she is not being fair, Vanya turns it back on Allison rather than ask how she’s being unfair or reassess her own behavior. 

That’s not to say those are the only two options. There is a whole sea of healthy options between “blame self for what other people do” and “blame others for what I do.” In my experience, healing from internalization isn’t found by blaming others for one’s own behavior, but in going through each painful memory and asking, “Okay, is this my fault? Did I do this, like my parents said I did, or was this someone else’s choice that I blamed myself for?” It’s a long process, and a painful one, but ultimately liberating. I hope Vanya will find a happy medium between the internalization of her past and the externalization of her present, but she’s not there yet. 

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Hot Take, but Luther deserves at least like. 1/3 of the blame for the apocalypse and for Vanya going full White Violin. Vanya just wanted to make up with her family and everyone else was like “she’s our sister, let’s just talk to her!” but Luther is all “No, I’m Number 1, we do what I say, wah!” Like people are saying Vanya is unsympathetic, but she gets betrayed by everyone she trusted and thought she loved her. Luther has no excuse, he’s just an asshole who keeps making terrible decisions.

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I don’t know but I just find kind of beautiful and poetic that as Klaus starts to actively getting sober and he becomes more emotionally open, his clothes change with him too. From always being tucked in a jacket to short sleeve shirts and vest, from all black and dark to colorful as the rainbow.

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How Luther and Vanya Talk About Trauma, Part Six

This is Part Six of my series analyzing how Luther and Vanya both address their own trauma and respond to the trauma of others. I’m almost finished with the episodes, although I still have a lot to say that will probably wind up in a quote-free final thoughts piece, so stick around for that. 

If you missed previous installments of this series, or would like to read over them again, you can find them here: 

Part One 
Part Two
Part Three 
Part Four 
Part Five

They can also be found under the tag “how luther and vanya talk about trauma.”  

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How Luther and Vanya Talk About Trauma, Part Five

Episode Six: The Day That Was (aka Goddamnit, Five, Stop Fixing Things!) 

Here we are at Part Five of my series analyzing how Luther and Vanya talk about their own trauma and respond to the trauma of others. I’ll be honest: this one gave me more than a few fits, trying to figure out how I’d count each character’s trauma mentions in this and the next one. The day restarts from the beginning, and despite some significant differences, many events do repeat. Vanya’s outburst remains the same from this episode to the next, but Luther’s interaction with Klaus is far different from his interaction with Allison. I think what I’ll do is count Vanya’s outburst in this episode and her outburst in the next as separate mentions, although I won’t include an analysis in my essay on Episode Seven. 

If you want to catch up with previous installments, you can find them here. 

Part One 
Part Two
Part Three
Part Four

You can also find them under the tag “luther and vanya talk about trauma.” 

Keep reading

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How Luther and Vanya Talk About Trauma, Part Four

This is the fourth installment of my series examining how Luther and Vanya address their own trauma and respond to the trauma of others. My goal is to look at each significant mention of Luther’s time on the Moon/ his forcible mutation and Vanya’s exclusion, compare and contrast, and see how these instances line up with the common fandom perception of these characters. 

If this is the first time you’re seeing this series on your dash, I’d definitely recommend starting with previous installments. 

Part One 
Part Two 
Part Three

Keep reading

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Tv Pogo

It’s easy to imagine why Pogo went along with Reginald’s plans for training the children and keeping Vanya in the dark about her powers.

I believe Pogo himself was dependent on Reginald. Oh, I’m sure his feelings of gratitude for Reginald (in getting him out of a literal cage and Reginald’s experiments that allowed his consciousness to be better able to understand and be understood by human beings) was real. And he truly believed Reginald was a good man at heart.

However, unlike in the comics, where those like him abound. In the tv show, it looks like he is one of a kind and is almost just as house bound as Grace. It leads me to surmise that Pogo had nowhere else to go. Or at least believed or was made to believe that it was dangerous for him to exist outside the Academy. Perhaps, Pogo was as much a victim as the kids. But unlike most of the kids, he became loyal to his abuser.

Hence, I think his attitude to keep in line with Reginald’s schemes also stems from an undercurrent of fear (from getting punished or kicked out of the house) as well as his high regard for Reginald.

This makes his actions of perpetuating Reginald’s lies and secrets understandable. Though it doesn’t excuse it.

Even after Reggie’s death, Pogo continued to act on Reggie’s wishes. Which pretty much tells some viewers which side he was on. And it’s not the academy students

I think one of the reasons there’s resentment of him in the part of vanya fans as well as why vanya killed him was due to the betrayal factor.

Vanya trusted and loved Pogo. She truly believed he had her interests at heart. From the way they embraced back in ep 1, I wouldn’t be surprised if pogo was there to comfort vanya as she was growing up in a house that deemed her as useless due to her lack of powers and what vanya sees as her lack of talent.

All those years and Pogo never said a word. All those years being on a pill and Reginald repeatedly telling her she was nothing special. And Pogo probably telling her she doesn’t need powers to be extraordinary even while knowing her true nature.

That feeling of betrayal coupled with not being able to fully control her emotions and powers led to pogo being impaled on antlers. In addition, I suspect that poor pogo became a stand-in for Reggie as the man was already dead and who better to take her resentment out on than Reggie’s right-hand?

This does not excuse Vanya’s actions either. But I do understand where she was coming from

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Speaking of Diego and Vanya.

I really don’t get why they would erase their past in the tv show. Like okay, they didn’t have to elaborate on their relationship on s1, we already have much to focus on.

But if it is indeed true, and the writers intend to change the dynamic with Klaus and Diego, they are gonna miss important points in all 3 character arcs.

More under the cut.

Keep reading

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How Luther and Vanya Talk About Trauma, Part Three 

Before I begin my analysis of Episode 4, I feel I should warn you: I kinda break my own rule here. Namely, I said in the beginning that I would compare Luther’s mentions of his time on the Moon to Vanya’s mentions of her exclusion, and sort of implied I’d leave it at that. But after seeing how Luther approaches his own forcible mutation, and thinking on it for a while, I concluded that I can’t limit Luther’s trauma mentions to the Moon. The moment where Reginald mutates him without his consent and leaves him alone to adjust is too pivotal for his character, the way he talks about it reveals a lot about how he regards his own trauma in general, and it actually sets up an interesting contrast for how he addresses his time on the Moon after the big reveal in Episode 6. 

So, from now on, if Luther or another character brings up his mutation, I’ll include it in my trauma counts. If it turns out I’d forgotten about another trauma Vanya addresses later in the series, I’ll add that one in too. 

Part One

Part Two

Keep reading

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7 Hargreeves as 7 seals of Apocalypse. They are all the reason.

The Fife joked about being the horsemen of the Apocalypse is not in fact a joke (although I doubt that he knows about it).

All seven Hargreaves are seven seals of the Apocalypse (from the sacred texts).

The first four seals are called the four horsemen of the Apocalypse.

The first seal (First Horseman):

symbol - the crown. (It fit Luther and his ego as a leader and #1). Personalizes an aggressive war (conquest) and power.

The second seal (Second horseman):

symbol - the sword. (Diego and his knives). Personifies the war in general, but especially civil war. Diego always questions Luther’s authority and snaps at rest of his siblings.

The third seal (Third horseman):

symbol - the scales. Most often personifies Famine but I also seen it interpreted as Lie. There are several interpretations, some of which involve the fact that wealth is concentrated in the hands of the elite. (Allison is a rich Hollywood movie star and can turn a lie into reality).

The fourth seal (Fourth horseman):

Death. (I think it’s obvious why it’s Klaus).

The fifth seal:

The souls of the martyrs call for revenge. A plea for justice. Five is a martyr who was trapped in postapocalypse for 45 years and he seeks revenge on Comission.

The sixth seal:

symbol - the darkness. Personalizes natural disasters, in particular earthquakes. (Ben. Everyone remembers what’s on his statue? No? “ May the darkness within you find peace in the light” Darkness literally lives inside him.)

The seventh seal:

symbol - seven trumpets. (They are held by seven angels) also - silence.

In the texts described that at first there were silence like before the storm and then one of the angels throws a censer filled with fire on the ground and it causes fire and earthquakes. Trumpets sounds and angels are called upon to bring down the wrath of God on the Earth.

 (Calm before the storm, silence, sound and destruction, moon falling on Earth. Vanya).

This makes me wonder - can the Apocalypse be averted or it’s inevitable?

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hey wanna see some painful screenshots

vanya was staring at five for several moments before he stabbed his knife into the table, indicating that she knew that he was about to bring up time travel and was deeply concerned (further supported by her eye contact and head shaking while five was arguing with reginald). so basically, i’m thinking they had at least one conversation about this the night before and vanya might have even tried to talk him out of it.

this page (the page where vanya talks about five being her sole confidant and her best friend who listened to her violin playing) is not the one with the final equation that let five travel back to 2019. he flipped to that page on purpose just to quickly reread it and him putting his hand on the passage where she talks about him is literally him tenderly touching the words. then he flips forward to the page he actually needs, which is on the very first page of the book.

afterwards, while he’s waiting for the portal to fully materialize, he’s clutching the book nervously. his hand is holding the book open not at the front cover, but back again to the page where she talks about him.

here’s reginald’s book flipped open to the page about vanya. it’s hard to see, but he appears to have said something in her bio about five (towards the bottom of the bio you can see some words followed by #00.05) but for the life of me i can’t read it and i wanna know what it says DAMMIT!

during the scene where vanya is destroying the house, the only time five appears is during the family portrait scene in the living room. while young vanya is saying “you forgot about me” and reginald says “i did not” and vanya cries for reginald to acknowledge her, the rest of the kids look totally emotionless and are confidently facing the camera. except five, who looks like he’s trying not to intervene and is clearly upset.

also here’s five’s face when vanya has them all trapped by her powers. the rest of the guys have their eyes closed and contorted in pain. five is staring at vanya. in pain. ouch.

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i won’t stop talking about this show and you can’t make me: ep 5 rewatch recap

  • I wish they’d shown five finding Dolores in the apocalypse originally - because he has her when he’s still visibally young, and I wonder what possessed him when he was still fresh from time traveling to grab a mannequin.
  • They hint at it, in Five’s monologue about working for the commission, but I wonder if next season they’ll go the comics route, and have it be so the commission cut out his humanity, spliced him with famous killers. The commission is an obvious enemy for season 2, but I can’t help but wonder if Five will prove an antagonist in some way as well
  • They just cut to the bus scene and I have it paused because I literally don’t want to deal with this right now.
  • FUCK okay. I know I never shut up about how good robert sheehan is but just give a minute to scream about this scene. Like the direction in this show is constantly brilliant but this scene takes the fucking cake. Mary by Big Thief, the soft blue tones of the bus and sky contrasted by Klaus, bloody and dirty. And Robert Sheehan, putting every other actor alive to shame. There is such an inward sorrow, an unmistakable grief to how he plays Klaus here. A lot of actors honestly kind of suck at fake crying but I can FEEL the pain in this scene, can tell it’s so large a sorrow that I can’t comprehend it from my limited life experience. The breathing, and the lip quiver, and his EYES. And then when he gets off the bus, and looks around like he doesn’t know where to go or what to do, but his eyes land on the briefcase and it’s ITS fault that he had to go through that, and the only thing he can do is take that pain out on the briefcase. The scream. Clawing at the ground, the clinking of Dave’s dog tags. Fuck. Give the man an Emmy. Give the man all the Emmy’s.
  • I know it’s cause Leonard is manipulating her and separating her from the family but Vanya being confident enough to give Allison a little bit of shit gives me life. Literally all she’s ever needed is somebody to see something special in her for her to come out of her shell. Too bad the first person to do it was manipulating her to cause the apocalypse
  • Actually - is Leonard canonically trying to CAUSE the apocalypse, or is it just an unintended side effect? I’m still a little confused by that.
  • “Can you imagine sharing your birthday with six world famous assholes who all know they’re better than you” this is such a funny line in retrospect, and it makes me laugh how much it must have grated on Leonard and he couldn’t even show it. Lmao get retked u fuck.
  • My poor baby can’t even take bathes without getting flashbacks. And GOD the merging of the orchestra and the helicopters and his screaming.
  • I love all the set design in this show but they really outdid themselves with Klaus’ room. The posters and the drawings and the casual bong on his bookshelf.
  • It’s also. sweet. in a way, how Five tries to connect with Klaus over time travel. He misses the point, obviously, focuses more on the how and the when then the fact that Klaus was tortured and kidnapped and experienced the horrors of war, but there’s still an unprecedented moment of understanding there. Five isn’t alone in what he’s experienced anymore.
  • Diego thinks Patch’s death was his fault and it’s too fucking sad to handle.
  • I love how they integrate Diego’s stutter into small moments, how it hasn’t gone away completely. Like when he deactivated Grace, or in “oh come on man, you know I can’t drive” “I don’t c—“ - he mostly has a handle on it, but in moments of pain, or like here, when he wants to tell Klaus to fuck off so he can do his thing but feels too guilty or obligated to actually do so.
  • Cha Cha and Allison researching right next to one another is peak comedy.
  • I can’t get the idea that Klaus first realized that getting fucked up gets rid of the spirits when he broke his jaw when he was 12 out of my head. It’s just stuck in there and it breaks my heart.
  • I wonder how many times Diego’s had to step in for Klaus, how scripted deescalating strangers so they don’t fuck with his brother is. How many times he’s had to pretend Klaus’ strange behavior when he’s fucked up is irregular, out of the ordinary for him, and worthy of being excused. And I love that Diego has no idea what’s going on but still fights these total stranger vets for Klaus.
  • Hazel and Agnes are too sweet to handle. Whoever thought of this sub plot: I owe you my life.
  • ANOTHER MOMENT OF AN ALMOST CONNECTION. Maybe Diego can’t understand the drinking, or the drugs, or much else about Klaus, but when Klaus says he lost somebody, his whole perspective changes. Patch’s death is still so fresh, and even though they’re dealing in completely different ways, he can understand that pain.
  • Ik they’re actors and it’s their job but I cannot imagine being Tom or Aidan and having to pretend that a mannequin getting thrown out of a window is a serious, life of death situation. How in the fuck did they film that without bursting out laughing.
  • I never realized how Allison and Vanya’s argument about Leonard in Vanya’s apartment is foreshadowing to when Vanya slits her throat. Fuck.
  • Klaus’ sad little “but I’m a soldier” :-(
  • Why, why does Diego just stand there like a statue every time somebody is firing a gun at him.
  • I can never quite decide if Vanya is unknowingly controlling the conductor during her audition with her powers or if they’re just … there. Either way I think it’s a nice little moment that, while obviously foreshadowing how the world is gonna end, also promises that Vanya’s powers can be used for good in the future.
  • LITTLE MOMENTS OF CONNECTION ARE EVERYWHERE IN THIS EPISODE. First Five and Klaus, then Klaus and Diego, and now Five and Luther. “Solitude can do funny things to the mind”’ with the camera on Luther. They both know what it is to be alone, and even if they can’t show it right, they value their siblings that much more for it. None of them quite realize that despite their differences, they Do understand one another in a way.
  • Luther’s little wave at Klaus and Diego in the ice cream truck is too much.
  • God I love, love, love the frozen in time moment. The colors are so good, the camera work, the wide shots. CINEMA.
  • Five: GUN.
  • And the little comic book moment of forced perspective, and Five moving the bullet. God it’s good.
  • And Ben’s little moment of joy at being in the car with his bros. I love him.
  • Vanya’s powers cracking the window in Leonard’s murder attic, and going all the way to the academy, Pogo noticing - I really hope they expand more on her abilities in season 2.
  • I hope we get more of Grace next season, of her growing. She’s such an interesting character, and there’s so much potential there.
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i continue to babble about rewatching this show: ep4

  • Big big fan of the fan service with non-monkey Luther lounging mostly naked in bed. Big fan.
  • Also a big fan of how they show us Luther’s isolation being the last one in the Academy. And how it’s honestly just a precursor to his isolation on the moon. He’s been alone for a long long time. That poor boy. - it’s also an interesting choice that they show him peaking into Allison and Klaus’ empty rooms. Allison’s I guess is for obvious reasons I don’t like thinking about but Klaus? Why Klaus. Luther can barely seem to stand Klaus.
  • Why did Reggie just. have that serum sitting around. just curious. Also what the fuck what the fuck I still can’t believe he did that to Luther it’s so horrific.
  • “Around me you don’t have to apologize just for existing” FUCK Leonard plays Vanya so fucking well. Like god damn. He’s such a scumbag but he does what he’s trying to do so well.
  • I still can’t believe Robert Sheehan subjected us to those faces in the torture sequence. why did I have to see that.
  • Klaus is really the definition of “gets kidnapped but is so annoying they give him back”. I love him.
  • Diego going to Patch after he deactivates Grace is so fucking soft. And sad.
  • Allison kicking Leonard is so fucking satisfying. Get him babe. She sees RIGHT through his shit.
  • Five, once again: KNIFE.
  • Luther and Diego’s little spat in Five’s room is such a good example of how, in a way, one of the main conflicts of the show is Luther vs. Everybody else. His isolation both at the academy and on the moon alienated him from the (already strange, abusive, and isolated) life he lived, and everybody he knew. He feels so abandoned by the people who were supposed to be his family. Conversely, none of them - especially Diego, who hasn’t necessarily processed his trauma but understands what a monster Reggie was - can reconnect with him, or empathize with him, because in their eyes Luther is still on Reggie’s side. He’s become a lasting symbol of their fathers abuse and control even after he’s died.
  • Hazel: “Hey watch your language.” Klaus: “but that’s my emotional support ghost.” - Also, I love how he asks why they’re touching his ‘personal stuff’ like they haven’t kidnapped and tortured him. Like that isn’t yards ahead of rifling through people’s shit in lines you don’t cross.
  • “That’s my … asthma medication.” This is also another one of my favorite lines.
  • Hazel and Cha Cha in edibles while blowing up the lab is. such an iconic fucking scene.
  • The fucking rage I feel at Reggie locking baby Klaus in a mausoleum is unreal. Holy shit. Plus, the idea that’s what Klaus sees / goes back to when he’s in withdrawal? That’s too much man!
  • And Ben trying to help Klaus through withdrawal. How many times has he had to do this? How many times when Klaus was too piss poor to pick up and couldn’t get the cash somehow? When he was in jail, or in rehab, or just in some shady abandoned house or back alley? Ben has really had to play witness to his brother actively pursuing his own destruction.
  • “Maybe it’s not about why we left. Maybe it’s about why you stayed.” GOD these morons can’t communicate with one another for shit but there are these little moments where they’re almost there, when they almost understand one another. The bridge almost gets built and then it gets walked away from or ignored or ruined every time.
  • Why was nobody concerned about a drunk child in the corner of the library. Where were the librarians.
  • the power. The Sheer Fucking Power. Of Klaus saying Zoya Popova’s name to Cha Cha, and finally USING his powers in some small way instead of just being haunted (no pun intended. or. maybe a little intended) by them is so much. Baby I’m so proud of you.
  • Oh Patch. I still can’t fucking believe they killed her. I really really hope she comes back next season, I love her.
  • “I need to find out his connection to these lunatics before somebody else dies.” OUCH. I didn’t catch that line the first time around.
  • God, Diego finding Eudora is so. so fucking heart breaking. He’s still so clearly in love with her and now those Hazel and Cha Cha killed her. And with the background music, and David’s acting. Fuck.
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How Luther and Vanya Talk About Trauma, Part One

In this fandom, I’ve heard a lot about Luther and Vanya. 

Most of the things I’ve heard about Luther are negative. He constantly whines about his time on the Moon. He won’t shut up about how he had it worse than everyone else. He invalidates his siblings’ trauma. Meanwhile, Vanya is spoken of as if she’s his polar opposite: a kind, timid woman who genuinely did have it worse than everyone else but suffers nobly in silence while quietly ensuring her siblings are okay. I wanted to see if these perceptions were accurate, so I decided to take an empirical approach. During my sixth rewatch, I noted every time Luther mentions the Moon or Vanya mentions her exclusion, as well as how each of them responds to hearing of someone else’s trauma.

I want to stress that I am not out to throw one character under the bus. I’m not out to prove that Vanya is the actual worst and that Luther is the literal best, or that Vanya is amazing and Luther is awful. I’ve just heard a lot about both characters from within the fandom and I want to see how strongly the show itself supports the fandom’s perceptions. I won’t be examining every quote they have, and I won’t be looking at every scene they’re in. A deep study of both characters would certainly be fun, but for now, I’m only interested in how they address their own trauma and how they respond to the trauma of others. 

Keep reading

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the rewatch recaps continue. ep 3.

  • I need more of Vanya’s book. I would literally pay money for Netflix to put it out. And I have so many thoughts about her writing it, and publishing it without the other siblings permission. Their reactions - both in the flashback and in the present, esp in ep1 - are varied but ultimately never positive. I wonder if she expected that, I wonder if she ever felt guilty about it.
  • Fuck the conductor, man. Leave Vanya alone.
  • I love Grace to death but I also love the real Stepford wife vibe when it’s still unclear to the audience if she murdered him. The small moments of genre jumping really make this show
  • “It’s not spandex, it’s leather” Diego …….. sweetheart. you fucking drama queen.
  • First time I watched this I really thought Vanya was gonna ask First Chair lady out in that bathroom.
  • Cameron Britton is such a good actor, christ. I’ve only seen him in MindHunter before this and he’s so different in this role vs that one.
  • I know Ben obviously can’t assist Klaus in his dumpster diving adventures but there’s something so priceless about him complaining while sitting there as Klaus shifts through garbage.
  • Klaus is such a drama queen but also the “I love you … eVeN iF yOu CaNt lOvE yOuRsElF” line makes me wonder how many times he heard that from his siblings before they all moved out. And then I get sad.
  • Why isn’t the small child ever pulled over for driving. Why.
  • Ik I can’t geek out over every shot in this show but I actually CAN and the “some things just take time” “something’s just stay broken” and then the cut to a wide shot with all that physical and metaphorical distance between Allison and Luther is … so good.
  • ALSO the transition from Allison talking to everything in her life being a lie to Leonard in the woodshop is really good, subtle foreshadowing.
  • I love love LOVE the subtle implications that Five isn’t totally stable, that the time travel and what happened in the apocalypse did mess up his mind. The ash / snow in the van as a flashback transition.
  • “Does it matter? It’s Klaus.” OUCH. Also I love how … I don’t know, constant? Robert is in his portrayal of Klaus. There isn’t a single moment of laziness. Even when we’re not supposed to be looking at him, and should be paying attention to Luther and Five, he’s just subtly tweaking out in the back. He’s so fucking good.
  • “But the truth is you’re just as messed up as the rest of us, and we’re all you have. And you know it.” BOYYYYY Luther does NOT acknowledge how fucked up they are as a group that much / that it was Reggie’s fault, but this is a good little moment that shows that even if he’s doesn’t want to deal with it, or put all the pieces together, some part of him knows that they’re a fucked up little group that can’t navigate the outside world because of what they’ve gone through.
  • Hazel and Agnes are the best part of this show. (HOW COME YOU’RE SO LIGHT AND FLUFFY!!!!!!!!!)
  • Does the Commission / Hazel and Cha Cha not realize Five was part of the Umbrella Academy? That they need Agnes to mention the tattoo to ultimately find him is … strange.
  • the fact that Klaus just GROWLS at Ben is so. baby child. the other siblings can see you. please stop growling at air.
  • Ellen Page is. so tiny.
  • Wow I like. really hate Pogo this time around.
  • The way they pepper in flashbacks to them as children is so fucking priceless. The glimpses of the before. How they’ve changed in some ways and stayed the same in others, and their relationships have deteriorated
  • “Sometimes, I wonder if she’s lonely.” Diego leaving the shot, so it’s just Grace with her paintings. Fuck.
  • Klaus smoking in the bathroom as Hazel and Cha Cha pass is extra funny when you consider that they’re just walking through this house wondering why the shit it reeks of weed
  • I never realized there were seven shots in the portrait of Reggie. CINEMA.
  • I know Allison doesn’t want to use her power anymore but like. sweetheart. maybe make an exception when somebody is trying to kill your entire family.
  • I LOVE the subtle dynamic shift between all of them when they suddenly have a joined enemy again. How they just fall right back into it.
  • Jesus Christ. David’s acting when Diego deactivates Grace. Just. Holy shit. The fact that he uses his knives to do it. The STUTTER re-emerging. Fuck. Fuck. Fuck.
  • ALSO grace making a cross stitch of a broken moon. POETIC CINEMA.
  • I get SO MAD for Vanya when Diego and Allison tell her she’s a liability. How the fuck was she supposed to know the house was going to get shot up. How is coincidentially being in the house at the same time her fault. What the fuck guys. And they send her right into Leonard’s arms.
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Part 1 | Part 2 (Luther) | Part 3 (Diego) | Part 4 (Allison) | Part 5 (Klaus) | Part 6 (Five)

Originally posted by 7thhargreeves

Vanya’s story genre is “Superhero”. (Or maybe more accurately anti-Superhero?)

“An extraordinary hero finds themselves in an ordinary world and must come to terms with being special or destined for greatness.”

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