#write extensive meta essays about his writing

[torturedpoetemotions]

Stede Bonnet Deep Dive

(aka repository for all the fucks I refuse to give to all the terrible takes on this hellsite after season 2)

I decided to do a deep dive into Stede's character finally, because I keep seeing the absolute WORST takes about him since season two aired.

I'll preface this by saying I don't agree with the majority of the negative or critical takes I've seen about season 2. I don't think the harsh readings of Stede's character are based in a good faith or often even in a sensible reading of the source material. And I don't have the time or inclination to spend all my time refuting bad Stede takes on tumblr, so this one meta in explanation and defense of my goofy little guy will have to suffice.

This is not a carefully crafted piece of creative writing. This is basic five paragraph essay shit, but with way more paragraphs. Claim, supports, transition, repeat to conclusion. Don't say I didn't warn you!

First off, no, Stede is not the villain of this story.

Yes, that's a take someone actually put into my notifications with their full chest. By no definition of the word is Stede positioned as a villain in this story, and he isn't even a compelling case for an accidental villain. This show has done a wonderful job of setting down clear and specific criteria for what makes a character villainous or not in a fictional world operating on a very different moral and ethical framework from our own. And while you could maybe argue Stede would be a pretty bad guy by real world standards, to be this is a moot point. By that measure every character in the show is a pretty bad guy. It's a nearly useless metric.

Within the show, villains are people with privilege and power who use that power to harm others and refuse to change for the better. Stede begins the story with an immense amount of privilege and power and gives all which is in his power to give up at the end of season 1. He gains a different kind of power in season 2 and by the end of season 2, he's relinquished that as well. He rarely uses his power to hurt people, and never does he intentionally seek to hurt innocent people for no reason. That isn't to say no innocent people GET hurt. But he's never trying to hurt people unless they've hurt or threatened the people he cares about. He in fact uses the power he has to stand up for the people he loves, repeatedly.

From the very beginning, he uses his wealth and power to create a space where he, and by extension everyone on his crew, has the space to be themselves. In 1x05 he uses his class privilege and knowledge to punish the partygoers who denigrated Ed simply for not being "one of them." In 1x08 he uses his power as captain to stand up for Buttons against Jack's callous cruelty and remove him from the ship after Karl is killed.

In 2x03 he uses his relative familiarity with Zheng Yi Sao (second only to Olu in terms of members of his crew who have any such familiarity) to plead mercy for Ed's crew. In 2x05 he uses his position as Captain to convince the crew to give Ed a second chance, while also hearing and working to address and mitigate their concerns as much as possible. In 2x06 he takes the responsibility for rescuing his own crew from Ned Low, negotiates a peaceful resolution with his crew, and punishes only Ned as the admitted and obvious orchestrator of the attack and torture of his crew. In 2x07, he doesn't start picking fights to show how big and bad he is. The only two people he shows any violence toward at all are someone walking toward him with the stated intention to kill him and someone poaching a third of his crew right before his eyes.

These aren't the wanton abuses of power characteristic of a villain. These are the understandable actions of someone who feels a lot of attachment and responsibility for the people around him.

No, Stede is not a cruel person who likes hurting people.

Jesus fucking Christ. Like I get that we all have our favorites, but I swear to god some of y'all think that means that you need to turn every other character into pure evil just to justify your character's existence. This isn't even remotely true.

Stede does NOT like hurting people. He hates hurting people, in fact, often even when they kind of deserve it. He really hates it when they obviously don't deserve it! Nothing he does in all of season one is motivated by a desire to harm other people. Yes, even piracy.

Stede enters the show with a very romanticized view of piracy. The violence isn't the point for him, the point is adventure and wanderlust, and possibly primarily, escape. Escape from the confines of a life he didn't ask for and has never wanted. Escape from a marriage he didn't choose and didn't want to be part of. Escape from the rigid strictures of a social structure that doesn't make room for people like him (whether we're talking about his queerness or his neurodivergence). The point is to create a space where he can be himself, and then extend that to others as well. If I wanted to get real sad, I'd say the point is the hope that by creating such a space, he will finally find people willing to tolerate him, or even be his friends.

He also doesn't leave Mary or his children to hurt them. He leaves them because Mary makes it clear they won't be going with him, and he knows he can't bear to stay. And he's riddled with guilt about it, it's not something he looks back on with pride or with glee.

And let's get real dark for a second and acknowledge: for a man in Stede's time and position, if he was actually a cruel person who enjoyed hurting people and he wanted to hurt his wife and children? There would be very little if anything to stop him from doing exactly that. If he wanted his children and his wife to live in fear of his cruelty, he could do that without consequences. But the one instance where he does something that does make Mary afraid--attacking Doug in 1x10--is something he does on instinct and immediately regrets, apologizes for, and feels awful about. He then goes a step further to continue making amends with both Doug and Mary for the rest of the episode.

And that's another thing: Stede's reaction to finding out he's hurt someone is to be upset by that, and then to try and rectify it immediately. When Lucius calls him out for not asking how he is, Stede immediately re-engages with him and starts looking after his well-being, encouraging him to talk about what's bothering him and not to shut out the people who love him. When Ed tells him how much Stede leaving without a word hurt him, Stede accepts that and tries to correct Ed's assumption that it's because he, Ed, wasn't enough or wasn't cared about. When Ed voices uncertainty and regrets about the pace of their relationship, Stede--though quite obviously hurt by what he thinks Ed is saying--immediately puts his focus on making Ed feel secure again, telling him this relationship can be whatever they want it to be.

Now, Stede gets a lot of flak for his reaction to Ed's fishing job news, but let's be real here: it IS incredibly random. It comes out of nowhere and genuinely makes not a lick of damn sense. And it's a wild thing to drop on someone you've been building a relationship with, a wild thing to have decided in a single afternoon before you've even talked to them about it. I'm not going to take Stede too harshly to task for not reacting perfectly seflessly there. It doesn't erase all the times when he DID react by immediately putting the other person's feelings in focus. And those aren't the actions of someone who enjoys hurting people and revels in cruelty to those around him.

Hell, Stede doesn't even revel in hurting people who've actually done something to warrant it, most of the time. Stede isn't excited or gloating about killing one of his childhood bullies in 1x01. He's horrified by what he's done. He wasn't even trying to kill him! He was going for the "stun move." He's so racked with guilt for it the entire season that he hallucinates the man berating him. He takes clear pleasure in manipulating the French partygoers and turning their own game against them, but he's still primarily motivated by making Ed feel better (and fine, that's his one time out of ten, I guess). He also takes no joy in Chauncy's death, in fact he's horrified and traumatized by it. The Badmintons are two people who tormented him throughout his childhood, but he shows an incredible amount of regret and guilt about both their deaths, especially considering Chauncy's really wasn't his fault in any possible way.

The final scene with Chauncy on its own would counter the idea that Stede likes hurting people! Stede is distraught by the thought that he hurts people, sobbing about it in fact. He doesn't leave Ed to hurt him! He leaves Ed because he thinks that is IS hurting him, and wants to stop.

Even Ned Low in 2x06 is not something Stede savors or revels in. Sure, he enjoys the fame it brings, later on. But he doesn't kill Ned in service of that, and he doesn't revel in killing Ned. He isn't smiling, gloating, or smug when he does it. He's deadly serious, and protective of the people he loves, in a pretty blatant mirror of his confrontation with Jack in 1x08. And even once it's done, he doesn't derive satisfaction from it. He's blatantly and obviously distraught by it, flashing back to one of his most traumatic childhood memories. It's the rest of the crew that cheer when he pushes Ned overboard. Stede is silent except for excusing himself to go to his quarters. When he pulls Ed into the room a few minutes later, there are tears in his eyes and his expression is well...agonized, frankly.

Stede's also quick to forgive even pretty serious transgressions against himself, like Ed plotting to burn his face off in 1x06 or Izzy selling him out to the navy in 1x09 (yes, there was a time gap there, but Stede began acting friendlier toward Izzy and showing concern for him basically as soon as he realized Ed wasn't actually dead). That's not the behavior of someone cruel who enjoys hurting people, either.

Yeah, Stede revels in piracy and doesn't have big compunctions about hurting people who threaten him or hurt the people he loves. I'd say the latter, at least, is true for a lot of people even in real life. And as for the former, well. If we're going to say Stede is cruel for enjoying being a pirate, I think we'd have to throw a lot of other characters into the cruel pile, too. Like almost all of them.

Stede is not lacking in care for the members of his crew.

I've already written an entire meta on this, so I'll just link that here and reiterate that if this were true, at minimum, Jim, Frenchie, Izzy, Fang, and Archie would all be dead.

So he's not a villain, or cruel on purpose, or careless.

So who is Stede Bonnet, actually?

Stede at his worst is somewhat thoughtless and oblivious. We see this throughout both seasons, but it's far more prominent in season one. Stede at his best is generous and gracious and forgiving and kind. Stede when provoked acts to protect himself and those he loves without hesitation or pulling any punches, as already referenced several times in this meta.

Stede is, textually, canonically, a gay man forced into marriage with someone he couldn't love who also couldn't love him. Stede is a survivor of a childhood filled with emotional abuse at the hands of his father and physical abuse at the hands of his peers. He does not know how to reach out to people, both because nobody ever reached out to him and because any attempts at all that he did make were met with the kind of shit we saw from Nigel, Chauncey, and his father.

But Stede wants, so very much and so obviously, to have people to be kind to and generous and loving with. Look at how eagerly and excitedly he opens up to Ed, when he sees Ed meeting him with interest instead of mockery or scorn in 1x04. Look how readily he shares his things with Ed and with the crew throughout season 1. In fact he voluntarily left an economic system where it was acceptable for him to hoard wealth for himself, and entered into a system where it was expected for him to share any and all spoils among his crewmates. He loves to share things with people! He loves to try new things with them and show them new things. He's so eager to have any kind of friend.

Stede also begins learning almost immediately how to reach out to people, once he has an environment where he feels secure doing it. And he loves doing it! He'll even do things he doesn't like to make someone else happy, like take Ed to a party he really, really wants to go to even though Stede knows it will be awful (1x05).

He is quick to take feedback and course correct when someone points out to him that he's been hurtful to them or wronged them, like with Lucius in 2x02. Arguably this would also apply to Izzy egging him on to do the fuckery in 1x06. Izzy appealed to his sense of obligation ("I stuck my neck out for you") and his affection for Ed ("he adores you") and it worked! It worked because Stede cares about other people, about their feelings and their needs and wants, and what they think of him. He cares so, so much.

He has flaws, too, of course. As stated, he can be thoughtless and oblivious. He's new to having friends, and new to love, and he makes a lot of mistakes. But he also corrects those mistakes, once he realizes them or they're pointed out to him. And it rarely takes much urging. If anything, Stede's more stubborn when he knows he's right in a situation, but even when he's technically right, he ultimately prioritize other people's feelings (as with the probably-not-actually-cursed suit in 2x05).

He's a goof. And he loves beautiful things. But he's not the entitled, lazy shit his father accuses him of being. He doesn't have a lot of physical or combat skills, but he can learn those skills simply by doing it enough. We see this in season one with how he gets better at getting on and off the ship over time. He's also great at putting a positive spin or an optimistic face on difficult things. We see this with how he treats the patrons who come into Jackie's in 2x01, and also with how he approaches challenges throughout the season. He's someone who, nine times out of ten, looks on the bright side and tries to problem solve, rather than despairing.

He's much more skilled when it comes to coming up with and executing plans, even on the fly...something we see throughout the show. First with getting into piracy in the first place. Then with his first defeat of Izzy in 1x03. Then there's the quickly thought up and delightfully executed revenge on the French partygoers in 1x05, the quite ridiculous but ultimately successful fuckery in 1x06. The fuckery to fake his death in 1x10!

This characterization carries over into season 2, with Stede's nearly successful execution of a robbery at Jackie's in 2x01. In fact that likely would have gone off without a hitch if it hadn't been for Ricky's nonsense, and ultimately did put Stede and his crew in a much better position than they were before regardless. Then in 2x03, he planned the escape of his and Ed's crews and it went off beautifully!

He came up with the plan to escape Ned Low and his crew in 2x06 literally second to second, improvising on the fly as the situation developed until he and his crew were safe again. He successfully got the drop on the two British soldiers in 2x08, he just couldn't actually fight two well-trained men on his own. And it was his plan, ultimately, that got his crew and ship out of an entirely besieged and surrounded Republic of Pirates.

(That plan did not go off without a hitch, to tragic results. But I don't think that overrides Stede's skills in this area. Many of his plans do not end perfectly, but they end remarkably well given the odds. And given the odds he was presented with, the numbers they were up against? One single casualty is wildly successful (even if I'm wailing and gnashing my teeth about it and will be unless and until David and Co. fix it in season 3).)

And finally--and this is the one single gripe I have with the season, that Stede and Ed both said this and seem to actually believe it--this man is not fucking whim-proned. Ed. Ed is fucking whim-proned. That's a pretty core element of his personality, actually. And it's not always a bad thing, and sometimes it's quite fun. But Stede? No. Stede isn't whim-proned. Stede is motivated. Stede is decisive. Stede is tunnel-visioned, perhaps. But he actually doesn't just change up his entire life on a whim. He makes a decision about what he wants, once he realizes he can actually do that, and then he fucking sticks to it like a mosquito in tree sap.

He decided he wanted to become a pirate, so he took the time, expense, and effort required to commission a ship, have it built, outfit it with supplies, and hire a crew. He realized he was in love with Ed and rowed a dinghy from Barbados to wherever the fuck (if you go with history it was Topsail Island, which is nearly three thousand fucking miles away), rejoined his crew, and set about working in a place he was miserable, trying to slowly save enough scraps of money to buy a ship to get back to his beloved. He wrote Ed letters, it's implied every day while they were at Jackie's. He had his goal, and he didn't stop working toward his goal until it was met and they were back together. And once they were back together, he didn't quit just because Ed didn't "melt back into his arms," and--*gesticulates wildly at all of season 2*.

Where Stede thinks he's whim-prone has less to do with caprice and more to do with trauma responses. Every single time we see him do something impulsive, it's as a response to something traumatic. Braining Nigel with the paperweight? Impulse in response to Nigel triggering memories of his childhood bullying. Running back home? Impulse in response to being dragged out of bed at gunpoint, having every single one of your deepest fears and insecurities thrown at you, and then watching the person throwing them basically prove them true by shooting himself in the face trying to kill you. Pulling Ed into his room? Impulse in response to the trauma of being invaded, tortured, watching Ed and all their friends be tortured, and thinking they were going to die (and yeah killing Ned too).

All of this to say...Stede has layers, y'all. He's got good and bad points. He's got strengths and many, many weaknesses. But he is in no way the one-dimensional mustache-twirling villain or bumbling total incompetent id-driven asshat people are trying to paint him as for whatever ridiculous reason.

#ofmd #our flag means death #stede bonnet #ofmd meta #my meta

[linkspooky]

Hi! You’re truly an interesting and fascinating person. Your meta and insights are very useful. And as others said, extremely well put and though out. You’ve mentioned before that you read extensively… Is it okay to ask for your reading recommendations? Whether it may be essays or books or manga, I’ll happily take it! Of course, it’s okay if you cannot answer that (—w—)/✨But please accept my earlier compliments and heartfelt appreciation of your time in putting your analysis together! It’s always so fun reading them. That’s all, thank you!

(ﾉ∇≦*) ღゝ◡╹)ノ♡

Thank you so much. I am very bad at accepting compliments but I will try my best for your sake. I made a long list of my favorite books over here, but if you want more reccomendations here’s a few off the top of my head. 

The Farseer Trilogy by Robin Hobb. 

If you like the female characters written by George RR Martin, but George’s writing makes you a little ehhhh, than I highly recommend these books. They are a deconstruction of the standard fantasy tropes, but written by a woman TM with a lot more sensitivity. FItz is one of the most toxically masculine protagonists I’ve ever head, but also he’s my baby girl and I love him. There’s just a lot of emotional intelligence written with these books, and also it’s less triggering than Game of Thrones so if you want to read a deeply thoughtful fantasy series this is it.

Prince of Thorns, the Broken Emptire Trilogy. by Mark Lawrence

I just reccomended a series as a less triggering version of Game of Thrones, but do you want to read a fantasy that’s much more explicit??? Than read this one. The strength of this series is the main character as one of the most vile, but also uniquely sympathetic main characters in fiction and I like his journey leading to redemption at theend of the last book. The world of this book is also incredibly interesting, because the twist is instead of the standard fantasy setting TM it’s post apocalyptic with society having been reset to the middle ages due to a nuclear war. 

Boogie Pop Series

My favorite light novel series of all time is Zaregoto, but if someone were to ask me to reccomend them a light novel that shows to a person who’s never read light novels before the storytelling potential of them I’d say Boogiepop. Boogiepop is a cyberpunik / fantasy series where every single installment is an episodic adventure loosely connected to this world where these normal high school kids and people brush against these supernatural phenomena and they all have strong characters and themes that make you ask questions about real life. Good light novels, use the medium of short stories and light prose to try telling really experimental stories outside of mainstream with cult appeal that ask you really hard question. 

THe first six novels are translated, and if you read those six it will give you a complete enough picture to understand the appeal of the series. 

The Queen’s Thief Series by Megan Whielan Turner

I read this recently. If you want a series that is about the difficulty of rulers ruling without like a million subplots like there is in game of thrones, this is a much more concise series with a well written ending. Also, one thing I do like about the series is from book 4 onwards it’s told from the perspective of characters who usually don’t get a narrative voice in these kinds of series, book 4 is narrated by a slave, book 5 has a long subplot about the horrors of slavery as endured by a major character, book 6 is narrated by a character who is born both defroemd and autistic and they’re a fully fleshed out human being. They are capable of mistakes and learning, they have difficutlies with things but they work hard to make up for them, they are not secretly a genius even if they have a special interest in numbers, they also start improving and recovering when everyone around them starts treating them like a human being. 

The Count of Monte Criso by Alexandre Dumas...

s one of my favorite books ever, and I totally forgot to mention it on my favorite books list. It’s not only the greatest revenge story ever written, it makes a case for why straightforward revenge stories are not only bad, but kind of boring. 

Basically even Edmond Dantes, a character falselsy imprisoned, betrayed by both his closest friend and the woman he loved who has every right to his revenge chooses to abandon revenge in the end, because not only does it spiral out of control and almost hurt a complete innocent, but also his revenge while maybe desered wasn’t helping him heal as a human being the same way the love of the woman closest to him was.

Journey under the Midnight Sun by Keigo Hashino

I’m a fan of this authors other works, especially his detective novel, but if you want to read an emotional story that will cahnge your whole life, you should read the story of the two children in this book just trying to grow up and live their lives in a world’s that horribly unfair to both of them. 

In the Miso Soup by Ryu Murakami

I actually reccomend a lot of Ryu Murakami’s works if you’re trying to get into japanese surrealism and horror. Fair waning though, they are all, like, incredibly graphic. I’m reccomnding them to you as a horror fan. Piercing, by Ryu Murakami is also a good one.

The Portrait of Dorian Gray by Oscar Wilde

This is another one that almost made my top ten list. It’s in the same vein of horror as Frankenstein and Dracula, but it is also deeply existentialist and philosophical/ The horror element of this kind of takes a backseat, to the character discussing philosophy like the benefits and drawbacks of hedonism, and the human condition. Oscar Wilde is also, a gay man, who was tried for sodomism after writing this book, so there’s a strong historical homosexual subtext to consider when reading this book too if you’re considering reading with that sort of thing in mind. 

The Murder of Roger Ackroyd by Agatha Christie

This is my favorite mystery novel of all time. It basically invented the unreliable narrator trope, though, saying that is kind of a spoiler to the novel so I won’t say anything further. Edgar Allan Poe may have invented the mystery genre, and Sherlock Holmes may have popularized it, but Agatha Christie made it swaggy. 

The Decagon House Murders Ayatsuji Yukito

I have to bring up this author if I bring up Agatha Christie, because their debut work was written as a response to AND THEN THERE WRE NONE (please google the original title I don’t want to talk about it) and if you’re not comfortable with Agatha Christie’s works for reasons, they are a very smart and modern take on tropes that were popularized by Christie. They’re a part of the Shinhonkaku school of detective fiction, or Neo Orthodox which is basically a throwback to the classics. 

Goth by Otsuichi

Another one of my favorite japanese Horror authors, I reccomend Goth along with Black Fairy Tale, they are both horror pieces that focus on the characters and their struggles instead of gore which really creates an effective horror as you sympathize and despirately wish for the survival of the main cast. Also, this is a dumb observation, but Goth’s ideas are very.... gothic in nature. 

Literally anything by Shirley Jackson

All of her novel length works are worth reading, I’ve read them multiple times. The haunting of Hill House is famous, but I’d amost reccomend less well known ones like Hangsman or We Have Always Lived in the Castle, because they use Shirley Jackson’s trademark surrealism to illustrate their points so clearly despite not being straightforward horror like haunting of Hill House is. 

Okay, I can’t remember any more books I like, I hope that’s a long enough list to satiate your tastes. 

#askspookies

[susandsnell]

Coco ilu PLEASE drop the queer reading of Bunnicula essay 😭 hope ur having a good day, i am dying at the thought of (chester??) the cat looking at that tiny bunny sucking the red off an apple like 'i know what u are..'

!!!! I love you too, anon, omg, thank you so much for sending me such a delightful question! Had a surprisingly decent day as well, so I hope you had a great one too!

Thanks so much for asking me about Bunnicula - I read it in about second grade, after my 'introduction' to Dracula beyond pop culture was Dead and Loving It the year prior (and seeing Bela Lugosi clips on the old movies channels here and there), and this was a much more digestible, less terrifying experience of vampires for baby Coco.

First off, the "I know what you are" memes are funny, but genuinely, I think Chester the cat and Harold the dog were such an old married couple. They're not quite as acrid as Statler and Waldorf or as affectionate as Timon and Pumbaa, but the way they snark at each other, affectionately disparage one another's literary tastes, and tease about various neuroses, as well as playing Holmes and Watson for the mystery of the story speaks for itself! That Chester is the one who needs to overcome his prejudice of outsiders is an interesting wrinkle to this, but he's working on it through therapy and, literally, as the text says, "finding himself". I mean, if this isn't a gay cat unpacking his internalized issues and respectability politics with the help of the zanier Bunnicula and the more self-assured Harold, I don't know what is.

Next, there's Bunnicula himself; an homage to tropes of both classic vampire films and the trashy television fare of the mid-20th century, which is already historically very popular with queer people for many reasons - camp factor, the affinity many of the LGBTQ+ community towards horror, and especially how easily identifiable the vampire in particular is as a queer figure. The core message of the story is that of accepting and celebrating the differences of others; Bunnicula is indeed a vampire, but, being a vampire rabbit, only sucks the life out of vegetables and is therefore harmless - it's Chester's judgment of him making him an outsider that's the issue. (Sidenote that the concept is cute + funny + kid-friendly enough that it sidesteps the usual lame cop-out that is the vegetarian vampire.) The vampire as an outsider - and hence queer - is an age-old reading. Further, while there's definitely space for queer narratives of feeling like a monster and/or imperfect/toxic stories aimed at teenagers and adults, the vampire as specifically oppressed and in a work aimed at kids works uniquely well in this context since Bunnicula's harmlessness allows him to sidestep the usual conundrums of monster-posing-genuine-threat-as-stand-in-for-oppressed group (looking at you, Zootopia.). (Added addendum that while I mentioned narratives for kids having to exist in a simpler moral universe here, this 1:1 is an issue I have with many 'vampire as a stand-in for queer people' narratives -- True Blood/Southern Vampire Mysteries ran into it frequently, although otoh I found the latest Interview With The Vampire TV show to handle it with better nuance. It's tricky territory, to say the least)

The meta-narrative to this can't be ignored. The author, James Howe, came out as gay decades after writing this with his late first wife, Debbie, and has expressed many times that though he was closeted/uncertain at the time of writing the original novel, he on reflection must have subconsciously imbued it with themes of being a horror-loving, artistic, bullied outsider that reflected his own childhood experiences. Likewise, he's noted that Debbie, who was Jewish and had similar tastes and experiences, was probably doing the same. Since coming out, James Howe has engaged in extensive anti-bullying and equality-focused advocacy work, and has since made his priority incorporating themes of compassion towards the outsider in all his writings for kids - his later works have even featured canon gay characters. From what I've read, these themes have persisted through the rest of the Bunnicula series (though I think I only ever read the first book).

All this to say: Chester and Harold are married, Bunnicula is their flamboyant housemate.

#bunnicula #queer readings #this was fun! thanks for asking!

[newdougsblog]

The Tragic Hero Full of Fear

Hello everyone! Before I get into this, I’d like to thank @jasontoddiefor​ for both the name and being the main enabler of this fun piece of writing. I also want to thank all my wonderful friends over on Discord for letting me bounce ideas off of them and helping me. You are all amazing!!

Ok, so let’s get into it!

The first six Star Wars movies (the Original and Prequel trilogies) are commonly referred to as “the Tragedy of Darth Vader.”  But what makes these movies a tragedy? How is Anakin Skywalker himself, the main character of said tragedy, a tragic hero? In this meta/essay, I will discuss how Anakin himself is definitionally a tragic hero and outline his story as it relates to the structure of a classic Greek tragedy.  

This essay will focus solely on Anakin’s character as he is canonically portrayed.

The Hero

Let’s go through the main traits of a tragic hero (as per early literature) and discuss them in the context of Anakin Skywalker.

Possesses immense courage and strength and is usually favored by the gods

Anakin’s courage is evident throughout his entire life, such as when he participates in the pod race in TPM or on the front lines during the Clone Wars. 

While we cannot definitively ascribe Anakin’s abilities to any deity, we can associate them with the Force. The Force is able to somewhat influence the happenings of the universe in certain ways and takes the place of any sort of deity.

Whether Anakin is the “Chosen One” or not, his connection to the Force is stronger than that of any other Force-sensitive being, so he is consequently closer to it than most, if not all, other Force-sensitive beings. 

Extreme loyalty to family and country 

Anakin is consistent in his demonstrations of loyalty to those he has strong feelings for (whether those feelings be romantic or platonic).

His devotion to Padmé surpasses his loyalty to the Jedi, and he is always willing to go to great lengths to ensure their safety and well-being.

Anakin also exhibits a strong sense of devotion to his mother, Shmi. His devotion to her, and by extension her wellbeing, surpasses his duties as Jedi. 

In ROTS, Anakin says, “I will not betray the Republic… my loyalties lie with the Chancellor and with the Senate… and with you” (you, in this case, referring to Padmé). In this quotation, Anakin’s loyalties are made quite clear. At this point, he is not faithful to the Jedi, but to his government, its leaders, and, of course, his wife.

Representative of society’s current values

During the Clone Wars, Anakin is known by the moniker, “the Hero with No Fear,” and is one of the Republic’s “poster boys.” He is charismatic, kind, seemingly fearless (obviously) and a strong fighter, thus representing the values that were important to the Republic at the time. The last characteristic is especially important because of the assurance it instills in times of war. As a representation of the Republic, Anakin’s prowess on the battlefield creates hope for its citizens that victory is possible. 

Anakin also empathizes with the opinion that the seemingly outdated Jedi Code holds them back. In the Citadel Arc, Tarkin remarks that “the Jedi Code prevents [the Jedi] from going far enough to achieve victory.” Anakin actually agrees with this statement, replying that “[he’s] also found that [the Jedi] sometimes fall short of victory because of [their] methods” (Season 3, Episode 19). He shows a sense of allegiance not to the ancient ways of the Jedi, but to the newer, more modern ideals regarding military action. 

Anakin claims to have brought “peace, justice, freedom, and security” to his “new Empire.” While the Empire's interpretations of the aforementioned values are skewed, Anakin continues to represent them as Darth Vader. 

Anakin’s statement to Obi-Wan also mirrors Palpatine’s declaration to the Senate: “In order to ensure our security and continuing stability, the Republic will be reorganized into the first Galactic Empire, for a safe and secure society which I assure you will last for ten thousand years.” The people applaud this statement, demonstrating a general sense of exhaustion in regards to the war and a yearning for what this new Empire is promising them.

Lead astray/challenged by strong feelings

Though there are many, many examples of Anakin’s emotions getting the better of him, we’re simply going to list two:

Anakin’s fury and anguish after the death of his mom leads to his slaughter of the Tuskens

Anakin’s overwhelming fear of losing Padmé is ultimately what leads to his Fall.

Every tragic hero possesses what is called a hamartia, or a fatal flaw. This trait largely contributes to the hero’s catastrophic downfall. Anakin’s hamartia is his need for control, which partially manifests through his fear of loss. 

Let’s explore this idea in more detail. 

Though Anakin grows up as a slave, the movies neglect to explicitly cover the trauma left from his time in slavery. However, it is worth noting that slaves did not have the ability to make many choices for themselves; they didn’t even own their bodies. After being freed, Anakin is whisked away to become a Jedi. He does not possess much control over his life as Jedi, for he is simply told what path he is going to take. While Anakin does make this decision on his own, becoming a Jedi is a disciplined and somewhat-strict way of life and not one that allows for an abundance of reckless autonomy as he is wont to engage in. 

(Side note: I’m not here to argue about Qui-Gon’s decision-making abilities, nor do I wish to engage in discourse regarding the Jedi’s way of life. I am simply presenting and objectively stating these facts in relation to Anakin because they are pertinent to my point.) 

During AOTC, Anakin is unable to save his mother from death. As Shmi dies in his arms, Anakin is absolutely helpless. The situation is completely out of his control, and he is forced to contend with the reality that despite all of his power, he cannot control everything that happens. 

He also feels that he has a larger potential for power and is being held back by Obi-Wan: “although I'm a Padawan learner, in some ways... a lot of ways... I'm ahead of him. I'm ready for the trials. I know I am! He knows it too. He believes I'm too unpredictable… I know I started my training late... but he won't let me move on.” Anakin believes Obi-Wan, his teacher and mentor, is holding him back. He expresses a self-held conviction of his status and skills and does not trust the word of his superior. 

In ROTS, Anakin starts dreaming of Padmé’s death. Considering what occurred the last time he dreamt of a loved one’s demise, Anakin is justifiably (or at least justifiably from his point of view) worried. He consequently wants to stop these dreams from coming true in any way possible. His fear of death, especially that of his loved ones, represents his need for control over everything, even things that are uncontrollable. This overwhelming desire leads to Anakin’s drastic actions.

As Darth Vader, he no longer possesses such fears, for everyone that he loved is either dead or has betrayed him. He is the epitome of order and control, eliminating any who disturb this perceived equilibrium. 

However, this changes because of one person: Luke Skywalker. 

Luke reintroduces something that was (arguably) long-absent in Vader’s life, which is interpersonal attachment. Vader yearns for his son to join him by his side. When Luke refuses, Vader continues to attempt to seek him out. In ROTJ, Vader is forced to choose between the Emperor, a man he has long trusted and followed, and Luke, the son he never knew he had. Out of a desire to protect and keep what little family he has left (and likely a sense of “I couldn’t save Padmé but at least I can save her legacy by keeping her child(ren) alive and safe”), Vader defeats the Emperor and saves his son. Though his actions are definitionally heroic, Anakin never truly overcomes his hamartia. 

The Structure of a Tragedy

Classic Greek tragedies follow a specific story structure, which, according to the German playwright Gustav Freytag, is as follows:

We’re going to focus on the three aspects that best represent Anakin’s story as a tragedy: The peripeteia, the anagnorisis, and the catastrophe/denouement. These occur during and/or after the climax. 

The peripeteia is the climax/the turning point in the plot. Said change usually involves the protagonist's good luck and prosperity taking a turn for the worse. 

Within the tragedy we are discussing, the peripeteia occurs when Anakin chooses Sidious over Mace Windu and solidifies his allegiance to the Dark side, becoming the very thing he swore to destroy. It is at this point that things really start to go downhill. He kills children, chokes his wife, fights his best friend, gets his remaining limbs cut off, etc. 

The anagnorisis is the point in the tragedy when the protagonist recognizes their error, seeing the true nature of that which they were previously ignorant of, usually regarding their circumstances or a specific relationship (such as Oedipus’ realization that his wife was actually his mother). In most tragedies, the anagnorisis is in close proximity to the peripeteia. In Anakin’s story, the anagnorisis occurs during ROTJ. After being wounded in his fight against Luke, Vader watches as his son is brutally electrocuted by Sidious. It is at this moment that Darth Vader realizes that Luke was right—there is good in him, and he still has the chance to redeem himself. 

The catastrophe/denouement (since this is a tragedy, we’re going to go with “catastrophe”) is the end of the tragedy. Events and conflicts are resolved and brought to a close, and a new sort of “normality” is established. The catastrophe often provides a sense of catharsis (release of tension) for the viewer. The protagonist is worse off than they were at the beginning of the tragedy. 

The catastrophe within “The Tragedy of Darth Vader” transpires soon after the anagnorisis at the end of ROTJ. Though the realization of his capacity for good is the anagnorisis, the follow-through (via his actions), as well as what consequently occurs, is the catastrophe. As previously discussed, Vader saves Luke by killing the Emperor but does so at the cost of his own life. This serves as the resolution of the tragedy, for the hero’s fate has been confirmed—Darth Vader fulfills his destined role as the Chosen One and, in doing so, brings about his own redemption and dies as Anakin Skywalker.

In conclusion, the categorization of Star Wars as a tragedy is a choice that heavily influences Anakin, the protagonist and hero, of the story. He is without a doubt a tragic hero whose fatal flaw leads to his downfall. In accordance with Aristotle’s theory of tragedy, Anakin’s tragedy is constructed not by personal agency, but by the narrative itself.

Works Cited

“Darth Vader.” Wikipedia, Wikimedia Foundation, 15 Mar. 2021, en.wikipedia.org/wiki/Darth_Vader.

“Dramatic Structure.” Wikipedia, Wikimedia Foundation, 20 Feb. 2021, en.wikipedia.org/wiki/Dramatic_structure.

“Hero.” Encyclopaedia Britannica, Encyclopaedia Britannica, Inc., 19 Oct. 2016, www.britannica.com/art/hero-literary-and-cultural-figure.

Lucas, George, director. Star Wars: Episode III— Revenge of the Sith. Lucasfilm Ltd., 2005.

Lucas, George, director. Star Wars: Episode II— Attack of the Clones. Lucasfilm Ltd. , 2002.

Michnovetz, Matt. “Star Wars: The Clone Wars, ‘Counterattack.’” Season 3, episode 19, 4 Mar. 2011.

“Sophocles: the Purest Artist.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., www.britannica.com/art/tragedy-literature/Sophocles-the-purest-artist.

“Theory of Tragedy.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., www.britannica.com/art/tragedy-literature/Theory-of-tragedy.

“Tragic Hero.” Dictionary.com, Dictionary.com, www.dictionary.com/browse/tragic-hero. 

#star wars #Anakin Skywalker #greek tragedy #anakin the tragic hero #meta #so many meta ideas not enough time #wow thanks tumblr formatting for being terrible

[vrishchikawrites]

About YZY leaving YMJ/JFM with her kids Post-WWX Arrival

Dear Dee, feel free to delete or ignore this or post it, whatever floats your boat. This just stuck in my head after those posts and I had to blurt it all to someone. Thanks for taking the time to read my word vomit.

So I had to do this instead of an ask because it got long and I wasn't sure how many asks it'd need or how short I could cut it down without losing parts of the argument. And then other things came up as I was writing and, well.  Well..... >_>;;;; 

But you know, after that post/ask you had about YZY fics saying 'Fuck U' to YMJ/JFM & leaving both with her kids, I had a sarcastic 'yeah right' attitude about it. Mainly due to a lot of negation emotions to such an abusive (and delusional) bitch, partly due to how she wouldn't do that since it doesn't seem to be something her sort of character would consider either because she'd think of it as 'losing' (losing what, IDK, it's why I consider her type of person crazy) or she legit wouldn't think about such a viable action.

But then later, in the shower, I seriously went 'Wait, she can't fucking do that' and it wouldn't be about how MXTX uses her as a part of the narrative but entirely about the/their culture in the novel; the actions that have and would be taken in response; and her entire toxic personality as well.

1) We already know that the sects and the cultivation world in general is sexist, elitist and so Capital T 'Traditional' to the point that it's starting to petrify and any deviancy from this is an exception rather than the norm. YZY might be a madame of a great sect (for what that's worth considering how shit of a madame she's been and the titles she's chosen for herself) but she's still a woman even with her high rank and the things she's personally accomplished.

Even if she was in her rights to leave a 'bad' marriage, she'd be the one who'd get scolded more instead of JFM by her natal family, her former husband's family and by their entire society at large even if she had a few singular supporters. Because That's Not How Things Are Done in their society and I do believe that such a thing was rare even when it was accepted method by the upper echelons. Especially since it would have to be done by more than YZY simply deciding that She Wants Out and just- goes and Gets Out. With no serious allegations that would allow her to divorce or separate from YMJ/JFM without the input from her family, JFM's family and, I think, possibly some measure of compensation as well. And no, having or bringing in a 'bastard child' is not a serious enough offence for such a humongous decision. I think something more along the lines of treason or crimes against multiple, high-ranking parties would be more along the lines. Maybe.

And even if she does this, she'd be considered 'Used Goods' (such a terrible comment) and there'd be no other good/proper marriage prospects for a divorced woman with children let alone a woman like YZY with her entire abrasive personality and attitude put off even easy-going JFM.

(If she'd been widowed then it'd be more forgiven but I consider that a Real Bad End since, IMO, it would lead to the sudden and inevitable decline of YMJ either via mass exodus of disciples and/or residents of LP; being merged with another sect due to it's unstable leadership; or create an internal political war 'cause I bet you anything that the YMJ Elders/relatives (if they have any) Would Not Want YZY in charge of YMJ when she's already proven herself such a shit betrothed let alone madame.)

2) Speaking of families, while YMJ/JFM/LP as a whole might be glad to see YZY's back, I don't think her natal sect, MSY, will be glad to see her come storming back after all the effort they put into getting that particular marriage alliance with YMJ. And if she brings her children with her? Oh man, oh boy- mother or not, that could be considered as kidnapping or line theft (is that a thing?) especially if YZY is also seriously considering divorce proceedings and raising them as Yu and not Jiang. That could give leave to, for anyone more unforgiving and maybe JFM if he's pushed enough, disown both JYL and JWY from the Jiangs through no fault of their own (though I'm sure YZY would make it so as well as blame JFM for her own decisions and mistakes).

Therefore, any inheritance or benefits they might gain for being legitimised children of a great sect are forfeited. JYL will likely lose that betrothal with JZX because JGS will drop it like a hot potato and JWY won't be a sect heir because YZY literally decided to remove that by deciding to raise JWY as a Yu, no matter their blood relation to JFM. They leave him, they leave YMJ and everything attached with it. Which is if YMJ/JFM doesn't demand MSY to give back their heir/ess and to punish YZY for her actions. Or send all three of them back for the appropriate reactions/decisions.

Their society would demand no less in reaction because, to them, it would seem like YZY had gone mad and JFM would look weak (or weaker) and imply that YMJ is vulnerable and exploitable if JFM doesn't do something in response to her actions. That's not even getting into what the other smaller sects may try to do in an attempt to curry favour with YMJ or what LLJ or QSW would try in order to destroy or diminish YMJ. And whether JFM chooses to demand his children back or not, it may not change the fact that this may give him reason enough to choose a nephew or niece to be the new sect heir especially if, even after getting rid of YZY's poisonous influence, JWY grows up to be his mother's child more than his father's or even his own person.

Either way, such a thing would bring great backlash on YZY, and MSY as well as the collateral. No one would want to give face to her or her children because it would bring up some very uncomfortable questions and scenarios to the other sects- specifically, what would happen if the female members of their clans/sets decided to follow the footsteps of YZY and leave with their children and heirs. Especially if they use it as an excuse to leave for their own comfort and whims and not some legitimate wrongs and dangers. That would create some more restrictions on women thanks to YZY

3) And lastly, if any one of those idiot YZY stans think that she'd ever give up the status of being a madame of a great sect they'd be as crazy or crazier than her. YZY is all about status and power and face. Specifically, her status, power and face and how people in her reach reflect her or 'insult' her. She is a selfish, terrible, abusive and toxic person and can only see people in regards to how they would benefit her and the elevation of her and in no other way. Especially her family. They cannot be their own person, they can only be an extension of her and gods forbid they go against her.

We can see this in how she treats the people she supposedly loves. JFM? Arguments day in, day out along with accusations and slander of cheating, having one(1) supposed 'bastard' and being 'in love' with CSSR. Which all seems sus as hell. And that's when she's actually there and not out 'night hunting'. Even her 'training' seems to border on unhelpful rather then helpful if my vague recollections of juniors fainting from exhaustion can be relied upon (please call me out if they're not or find proof).

JYL? Berated by not being 'strong' but not helped at all to be 'strong'. It doesn't help that YZY seems to believe in the same standards strength in their society- that is, of martial masculine strength which does not and should not apply to JYL who has been said to be sickly. Which means h should have been learning a different way of cultivation/fighting anyway.  If that was something she wanted and had been offered in the first place- which I doubt. That isn't even getting into her repeated generational trauma mess of a betrothal which was decided only by those 'sworn sisters', accepted by her as a way out of her terrible home life and puts her squarely within reach of JGS who we know to be a womaniser, rapist, predator and a possible ephebophile considering we don't know the exact age of his youngest 'conquest' or the age of MZY's mother when they met which could be anywhere from 14 to 21.

JWY? Gods, so much meta on him and his(non-) relationships with his parents that I don't think I can contribute more to it. It's been all said and done. Unless people want me to stir the pot by saying that, maybe, just maybe, YZY resents JWY as much as she 'loves' him.Either because he's her son and yet never manages to 'accomplish as much' as WWX or because he's a boy and therefore, more benefits and allowances than a girl/woman- more than anything that YZY ever got without either a fight or screaming at someone about. *shrug*

So, in conclusion to this sudden an unexpected essay that I wrote(I'm so sorry about that, I thought it would be shorter -.-;;;;), YZY leaving YMJ/JFM with her kids? Impossible. Not without some sort of personality transplant or a complete AU. She's too prideful, too bitter, too angry, too everything negative and little positive. She's a resentful product of the values and restraints of her society taken to the extreme negative with a willingness to inflict her pain on others to an abusive degree. But she's also too obsessed and reliant on those same values and restraints to keep up the image of her status. So her? Giving those up? You'd be more likely to see WRH as a doting grandfather than that.

---

Dee - All of this is true and yes YZY leaving YMJ is highly unlikely. While there will be consequences if she decides to leave, she does canonically lives separately from her husband. They seem to be in a situation where they are married but living separately, which was a common way to end a marriage (at least in spirit) back then. She essentially had all the perks of being Madam Jiang but fulfilled none of the responsibilities.

Afaik, her training the Jiang disciples is a donghua thing? I may be wrong but I recall she spent most of her time nighthunting.

As for taking her children along with her- that's completely impossible. At that point, children were the property of the father. She could leave but she would've never been allowed to take JC.

#submission

[thealexchen]

One Year On: Life is Strange 2 Critique

December 3rd, 2020 marks a year since Life is Strange 2 ended. I was inspired by @smitethepatriarchy‘s text posts (here, but there are several other answered asks worth reading) and @suhaplays’s text post (here) criticizing Life is Strange 2 to write a critique about how Life is Strange 2 handled certain themes and social issues.

(tw: gun violence, police brutality, animal death, incarceration, racism. In this essay, I use the word “queer” in a reclaimed sense, as a queer person myself. Of course, spoiler warning for all five episodes of Life is Strange 1 and 2).

A year on, my feelings about this game have soured... a lot. When the game was first announced, I was overjoyed that our new protagonists would be two Latino boys. Finally, we would have a culturally meaningful, groundbreaking video game with people of color and their experiences at the forefront! 

Then the game was met with immediate backlash and I utterly exhausted myself defending it for weeks on Reddit and Tumblr. Throughout 2019, as the episodes came out I became increasingly disillusioned, frustrated, and disappointed with where the story was going. I couldn’t figure out why I felt so damn miserable while playing this game.

Then in the summer of 2020, when Tell Me Why began rolling out pre-release material, I noticed that they posted a Q&A about transphobia, gave content warnings, and discussed at length about their collaboration with GLAAD, Checkpoint, and the Huna Heritage Foundation to make the game with sensitivity and proper research. I cannot speak for trans and gender non-conforming people on whether Dontnod succeeded at doing so with Tell Me Why. But Life is Strange 2 did… none of that.

Essentially, I realized that the reason why I was so frustrated with LiS2 is because it focuses way too heavily on a trauma narrative. This comes off as insensitive to players of color without any content warnings or extensive research.

Sean didn’t have to get kidnapped, kicked in the face, and called a racial slur by a gas station owner. Daniel did not need to watch his puppy get mauled by a mountain lion for the sake of a “difficult choice.” Sean didn’t have to lose his eye for the sake of heightened drama. Sean didn’t need to get called a racial slur and humiliated by his native language/beaten in the desert for refusing to sing. Daniel didn’t need to get shot— twice. Hell, all of “Faith” probably could’ve been cut— how is a church cult that brainwashes Daniel and beats Sean half to death relevant at all to the story?

Even if not all of the game’s violence was racially motivated, the consistent trauma that Sean and Daniel endure does not make for positive representation— or even good characterization. There is a difference between sympathetic characters and well-written characters, and trauma does not make Sean and Daniel any more complex or likable-- just more fucking traumatized.

LiS2 is more grounded in reality, but that also makes plot holes that much harder to excuse (Daniel’s powers being spotted, most of the Parting Ways ending, Sean’s prison sentence). But most of all, it grounds all of Sean and Daniel’s pain and trauma in reality. 

There is no magicking away a town-destroying storm with time travel. Sean can’t keep his dad alive by ripping up a Polaroid. After Max unlocked her powers, she was still a Blackwell student, reconnecting with Chloe, taking photos, saving lives, and uncovering a murder mystery. After Daniel unlocked his powers, the Diaz brothers lost everything. 

The game never lets you forget that Sean and Daniel are homeless, wanted, constantly in danger, and that they are never getting their old lives back. It permeates the entire game, and for players of color, just reinforces a sad, miserable, grim reality about living in the United States. It is, as @smitethepatriarchy said, potentially triggering for players of color, and it is certainly not something I needed to be reminded of.

And the representation of POC? It feels shallow and ill-researched. It would only take a Google search to find out that Dia de Muertos (a holiday to honor the dead, no less) was from October 31 to November 2 in 2016, the year the game takes place, but Daniel only talks about Halloween in episode 1. Sean and Daniel never discuss any Mexican customs, foods, or holidays. Sean doesn’t speak Spanish with his immigrant father, only during a scene when he’s traumatized (again!) by two racists, and again when talking to Mexican immigrants— in jail. Daniel doesn’t speak Spanish at all. Most of their allies throughout the game are white, including Finn and Cassidy, who appropriate Black culture with their dreadlocks.

So what’s left? Sean and Daniel’s existence as people of color is, at worst, just a narrative prop to justify everything that happens to them. They are people of color on the surface only. In a meta-sense, the game only considers the color of their skin and their last names as what is narratively important… yikes.

I don’t have anything against people who genuinely loved the game and were moved by its messages and story. But I can’t help but feel bitter that white players have the luxury of only thinking of this game as a work of fiction and not feeling any personal reliability to Sean and Daniel’s racialized trauma.

I don’t regret playing LiS2, but I do regret all the time and energy I spent defending it in the beginning. I understand now that I shouldn’t let people’s opinions get to me, nor should I feel obligated to like or defend a game for its attempts at representation. But now, I think I understand how queer fans must have felt in late 2015 when Polarized released. After following the game for 10 months, to see that Chloe’s ultimate destiny was to die and Pricefield is another ship plagued by the Bury Your Gays trope (in the ending that the devs clearly put more work into) must have been just as disillusioning and infuriating. I understand why some fans were so quick to unfollow LiS or develop mixed feelings about the series, because that’s how I feel too after following LiS2’s development from September 2018 to December 2019.

Before I end, I will admit that Life is Strange 2 arrived at a time when I needed it. I still stand by my belief that DN did a great job characterizing Sean, Daniel, and Chris without toxic masculinity, which is the best thing they could’ve done for a male-focused follow-up to a game about queer women. I love that Sean is still a canonically bisexual man of color in a major video game and that DN didn’t forget their queer audience. I love the world and characters that DN built, but I still prefer AU fanfictions of their normal lives, without all that trauma. 

So, I will continue to treasure Lyla and her 10 minutes of screentime (aka the only shred of Asian American representation I can get from this series). I still reblog LiS2 fanart to support the artists. I still support Dontnod, because as Tell Me Why has shown, they are capable of researching and writing stories with more sensitivity. And let’s be honest-- I’m still gonna be hella excited if Life is Strange 3 is announced.

But so many aspects of Life is Strange 2 were bungled that it came off as a remarkably average and forgettable experience. A year on, I don’t hate Life is Strange 2, but I am writing this to move on from it.

Thank you for reading.

#life is strange 2 #life is strange #lis #lis2 #lis 2 #lis2 critique #pricefield #racism #sean diaz #daniel diaz #diaz brothers #sinn #fean #finn #lis finn #finn mcnamara #chloe price #max caulfield #lyla park #lis sean #lis2 finn #lis2 sean #lylapark #lis2 daniel #lis daniel #dontnod #dontnod entertainment #square enix #bury your gays #trauma

[hanijunk]

Alright boys, girls, and nonbinary folks of the world. It’s 5:36am (1/30 when I first started) as I decide to give up on my attempt to continue to focus on learning statistics, avoid studying for my two upcoming midterms, and put off my two actual essays for two different classes.

Instead we’re going into a dive about ✨ KazuFuuma ✨ . Is this me telling you you gotta ship it? No of course not, you’re entitled to your own ships! You don’t really gotta care about it as a ship. But I do want people to recognize it’s THERE canonically, and how disregarding it is extremely unfair to Kazuki as a character particularly. Also, I’m working on the assumption anyone clicking this at least knows the bare bones about what KazuFuuma (ex. You know they are a ship of Kazuki/Fuuma from Dolce, you know they are childhood friends, you know who Dolce is, you know about Honeyworks, etc.) I’ll be making references to specific things, but I won’t always go into heavy detail. Might just hope you know it or take my word for what it is, and go into analyzing it. Some I’ll put direct references to find, but some I’ll trust you can find it yourself. If you somehow read this MAMMOTH and want reference to a specific thing mentioned, hmu I can help you find it!!

Also I hate tumblr formatting sm if you legit wanna read this 7 page essay but hate tumblr format lmk I'll add it as a google doc link instead too. anYWHO

Before actually getting into the meat of things lemme preface some stuff.

Again it’s like almost 6am so this will be disorganized and very train of thought (and likely long due to the fact when I fly by the seat of my pants I’m known to get unnecessarily extensive). It’s definitely gonna be in large part why it’s important to recognize as a romantic relationship foundation and what about it shapes Kazuki’s character in particular. Maybe a bit of how it’s been built up and its general focus and implications. Dunno yet. We’ll see LMAOO

I say f*ck. Not a lot, just a handful of times. This ain’t something scholarly this is for my own enjoyment so if you don’t like that might not wanna read. And it’s not like spitefully I just curse a lot if you haven’t...read my tags before lol

Again this is through the lens of a Kazuki stan. Of COURSE I’m going to have some level of bias, but if anything that bias may help more than hurt because that means I become FIXATED and think a lot about Kazuki. Which plays into establishing just how important it is that Kazufuuma’s relationship is recognized, especially in a romantic light at this point. Lmfao. 

I’ll have a few more prefaces about the actual content below but to keep this from getting too long if you wanna read come below the cut owo

I have extremely limited knowledge of Japanese just taking a few classes in highschool (so like 3 yrs ago) and live in America. This means a lot of my knowledge is gathered through the english translations of the super duper incredible and lovely people in the Honeyworks fandom who provide translations (delaix and takanenene esp have provided so much for me being able to understand Dolce) and my own limited Japanese paired with Google Translate for things that remain untranslated.

This only will be drawing on information I have come in contact with and have access to and making assumptions based on that, most (if not all) of which is in the public domain. So things like the Dolce Manga Volumes released via Animate, exclusive 4komas, and Light Novels are out of my area for the most part (apart from again snippets of translations thanks to this fandom’s godlike and generous translators).

I will not be drawing on anything from the first Dolce album with the exception of Nade Nade. From a meta standpoint, I consider those songs as songs made as performance media as opposed to character explorations. Nade Nade is the exception because (1) it was released a whole year before the album and (2) you can tell it’s explicitly an exploration of Fuuma and Kazuki’s interpersonal relationship even if it’s in a slightly more performance based context than the songs that came out with the Dolce LNs. Easiest parallel I can make to show this is if you held Non-Fantasy, Yume Fanfare, and Samishigariya up against each other, you could tell the difference in intended audience and intended purpose the same way the Dolce 1st album, Nade Nade, and the songs of the LNs do respectively. Even if there is some basis to ground Kazufuuma, for the purposes of this essay I’ll be acting under the assumption the 1st album falls under the Non-Fantasy equivalent category.

THAT WAS A LOT OF PREFACING CONSIDERING LIKE 2 PPL WILL PROBABLY READ IT I just have a tendency to anytime I do anything analytical lay down ground acknowledgements for myself to work on just...cuz it makes me feel less guilty for any accidental misinformation even if I’m writing towards my future self to read lolll IM SORRY WITHOUT FURTHER TO DO HERE’S THE BRAIN DUMP

First let’s go ahead and establish why it needs to be recognized as an important relationship. Again, I’m a Kazuki stan. He’s my favorite character not only of Dolce but also of the entire Honeyworks series, and as much as I love him for reasons outside the ship, whether you like it or not Kazufuuma is an essential aspect of his character and narrative. Of course there’s the fact that him and Fuuma are childhood friends, so that’s going to in part define their characters and interactions with each other and those around them. They’re both going to be relevant to one another and important to one another’s stories to an even greater extent than the rest of the members of Dolce. But on Kazuki’s side at least, it’s an EXTREME amount. A running plotpoint in Dolce Diary is the sheer amount of dedication Kazuki has to Fuuma and how much his thoughts and decisions are influenced by Fuuma, whether it be how he feels happiest spending time with Fuuma, how he decided to get his piercing to represent he wanted to protect Fuuma, how he doesn’t want to dislike food so he can eat what Fuuma dislikes, etc. Not to mention running jokes about his borderline overprotectiveness and downright possessiveness of Fuuma, how proud he is when Fuuma gets praised, or that one 4koma that literally explicitly states he can read Fuuma’s mind when he thinks motherfucking ‘dirty thoughts’ about his childhood friend (Fuuma). I still don’t know what the fuck to make of that last bit. Genuinely. Or the fact it’s a fucking running joke. As in it’s not a one off. It’s been brought up multiple times. Kazuki what the fuck. 

That’s not to say that he doesn’t have character outside of Fuuma or he doesn’t interact with people other than Fuuma. He’s great friends with Sara, Girisha, and Kippei and is shown time and time again to have fun interactions with all of them, generally acting as the best support friend for every member of the group, not Fuuma alone. For instance how he helps Kippei with his self confidence issues or stays over at Sara’s to protect him from a cockroach (which he fails at lol). Nor is that to say all his interactions involving Fuuma focus solely on his devotion to Fuuma, especially in instances where the manga focuses on Dolce as a group dynamic (though even in that setting there are times where jokes about his devotion are thrown in). He’s kind, he’s stupid, he’s friendly, he’s an amazing character in his own right, and I love him for all those reasons. But that doesn’t change the fact a major part of his character and his character interactions are rooted in Fuuma, and arguably some of his most interesting, eccentric, and notable behaviors and traits revolve around Fuuma (again the mind reading for example).

Hell let’s take it one step further. If you look at the character bios of the Dolce members, you get everyone’s motives for being an idol and interests. Of them, Kazuki is the only one to have another character mentioned directly, not to mention that supporting Fuuma is explicitly stated to be his primary motive as to why he became an idol. Not even Fuuma’s sister is mentioned, though two arguments can be made for this. The first would be that Fuuma’s backstory about wanting to fulfill his dream for himself and his sister was decided later to explain Fuuma’s choice to crossdress though it can be argued it was intentionally done to leave it as a reveal at a later date, to which I would argue I don’t think this backstory was a choice in post. While Fuuma’s dedicated Dolce Diary extra exploring that backstory was released a little less than a year after Dolce was revealed, the preview to set up Fuuma’s backstory was actually the first thing released after the character bios on the Dolce Official Twitter page if you exclude a drawing of Dolce from Yamako. The second argument could be that information about his sister was intentionally withheld to set up the reveal when Fuuma’s extra released to explore it. However, going by that logic (which I do agree with), that would also mean that Fuuma’s inclusion and importance in Kazuki’s character bio also set up his dedicated extra, which I don’t think would be incorrect to assume considering what his actual extra turned out being.

Which brings me to the thing that makes it inexplicable to write off the romantic implications behind Kazufuuma: Kazuki’s dedicated Dolce Diary extra, Suki. I shipped Kazufuuma before even knowing of Suki, sure. But the fact that Suki even exists is a shock to me and drove into me the fact that Kazufuuma wasn’t just my own projection. Again, it’s not a surprise that Fuuma shapes Kazuki’s life. They’re childhood friends, of course they’re going to be important to each other. But this extra explicitly brought Kazuki’s feelings towards Fuuma under a direct spotlight. At first I was thinking oh, this extra was just to acknowledge the fact that Kazuki and Fuuma’s relationship can have romantic implications, but the end of it the conclusion that we got was that it didn’t matter what type of “like” he felt for Fuuma. Originally, I thought it wasn’t anything more than saying there are all types of like, and it doesn’t always need to be explicitly defined, but I appreciated the fact they were aware that they were writing Kazuki in a way that conveyed romantic implications. 

Then I thought about it because, again, I love Kazuki of course I’m going to think about his character extra, and realized...that’s not how these character extras have worked. There are only three character extras out as far as I know and have read: Fuuma, Kippei, and Kazuki. If we look at Fuuma and Kippei’s, each extra had a conclusion, sure, but they didn’t have a resolution. Rather, they were simply setting up explicitly what each character’s primary character arc and conflict were. Fuuma’s extra brought attention to the fact that he’s particularly a crossdressing idol by exploring the motives behind it. His choice to be a crossdressing idol is constantly under fire both by himself and the world around him. He’s not immune to those who consider his crossdressing strange, and a part of his story is both finding people who accept his decision to crossdress and to succeed for himself as a crossdressing idol. It’s an essential part of how we understand and define him as a character and it’s a central part of how he interacts with the world around him. For Kippei, it lays the severity of his insecurity under the spotlight and his journey and motives for improving himself. Again, this isn’t something isolated and resolved in the extra; his extreme insecurity and negativity is constantly affecting how he interacts with practically everyone from his fellow Dolce members to his fans despite the fact in all honesty? He’s fucking insanely talented in his own right, his own brother mentioning how smart he is and how he has amazing reflexes. For Kippei, his negativity is an essential part of how we understand and define him and central to how he interacts with the world as much as Fuuma’s decision to crossdress is to him.

Which brings us back to Kazuki, of course. In his dedicated extra, in the chapter that’s supposed to explore and establish and bring attention to an essential part of his character, the aspect of himself under investigation is how he feels about Fuuma. It’s not just how he behaves around Fuuma, it’s explicitly an exploration of his feelings, on top of the fact it’s explicitly an exploration about whether or not he likes Fuuma r o m a n t i c a l l y. Literally the conflict is spurred on by someone outright asking “Do you like him?” and having to clarify “I mean romantically.” What they decided to focus on for Kazuki’s character and emphasize and establish is that Kazuki’s like towards Fuuma toes the line between friendship and romance. His ambiguous feelings towards Fuuma (if we leave them inconclusive as Suki did) are just like Fuuma’s crossdressing and Kippei’s insecurity in the sense the weight of whatever those feelings may be are seen in how he interacts with the world around him and influences his behaviors. It would be another story if they introduced the potential and shut it down all within the extra, because then his central conflict would to me be less directly open to romantic potential and more simply about how his arc was meant to explore the dynamic of the behavior of an extremely dedicated best friend. The fact that he may be romantically attracted to Fuuma or may be only platonically dedicated to Fuuma is instead something that looms over Kazuki in the same way Fuuma’s decision to crossdress constantly looms over him. It’s what Dolce wanted to point to and say this is Kazuki’s central character conflict and central arc: exploring what type of feelings he has towards Fuuma. 

Sure, it can be argued that there’s only three Dolce Diary character extras, there’s not enough to be sure about that being the purpose of the extras unless we get the other two’s extras. First, at this point I honestly don’t know if or when they’re going to release an extra revolving around Sara and Girisha just because not only has it been over a year and a half since the latest Dolce Diary Character Extra (Kazuki’s) was released despite the gap between the first and latest Dolce Diary Character Extra (Fuuma’s and Kazuki’s) were within a year of release but also because the Dolce 4komas and comics they’ve been posting to Twitter have decreased (last one being over half a year ago) potentially due to them deciding to focus on releasing Dolce manga content through the purchasable volumes instead. (This is not particularly related to the Kazufuuma argument, just wanted to put out there my two cents on what Sara and Girisha’s extra/focal arc would be. Based on a large part of the Dolce Diary in conjuncture with Can’t an Idol Fall in Love, I’d argue Sara’s would be his journey to regain his passion for performing, and if it’s not that I’d say it’d be coming out of his self-imposed isolation and opening up to people again. As for Girisha, I have less of a concrete idea but I’m assuming it’d be something pertaining to how people often misconceive him whether it be in tandem with his determination, his optimism and sociability, or his stupidity/ability to ignore those misconceptions and work past them. But Girisha is treated like the comedic relief 90% of the time so I’m not entirely sure, but his primary conflict is definitely rooted in misconceptions of him being his roadblock imo. #MoreGirishaContentPlz) That being said, I personally feel like the three are already enough evidence, especially considering it would be honestly even more cruel for Kazuki’s character-centric extra to be focusing on something that wasn’t essential to his character and character arc, anyway. And though it’s not explicitly stated that these chapters are extras exploring a central character, you can kind of tell based on how they are (to my knowledge) the only Dolce Diary updates with cover/title cards each which include their focal character front and center. So working off that fact, the Kazuki-centric chapter established that a pillar to his narrative was his feelings towards Fuuma and that those feelings are still open to romantic potential. 

But if you follow me, this is why up until Can’t an Idol Fall in Love With Another Idol’s release, I was terrified of them writing that off. I would have been ok if it was just an arc that was given attention then continued to actively work in the background, as all the character arcs have been over all of Dolce’s content. The fact that they might be giving Fuuma a love interest and giving Fuuma a love arc while Kazuki’s feelings were still up in the air and were still the primary highlighted narrative for him would have been fucking scuffed. To me, it would be like… why would they make him so Fuuma-centric to the point that even his dedicated chapter was not just focused on Fuuma but focused on the ambiguity and potential of him having romantic feelings for Fuuma, yet reduce him to being Fuuma's designated right-hand man. Don’t get me wrong, friendships are just as important as romantic relationships. But again, rather than conclude Kazuki’s answer in Suki to be that his feelings were of friendship, they left it open ended and allow audience members to be actively aware that Kazuki’s feelings towards Fuuma still had potential to be romantically coded. It would just be so weird to quickly close off that narrative by giving Fuuma a love interest as opposed to letting Kazuki conclude it himself. It would be fucking beyond frustrating for me, at least Eventually, I kept trying to drive my hopes that they would explore Kazuki’s narrative at all down to the ground because it was a Fuuma-centric novel; maybe if anything they’d explore those feelings in his own novel after the fact. But then they kept having little drops here and there of Kazuki being even the slightest bit relevant and I’d go back to questioning “Are??? They??? Is this on purpose??? Do they know what they’re doing or are they just doing this because Kazuki’s just so important to Fuuma as his best friend that he’s there as his right-hand I genuinely can’t tell???” And um. Welp.

Safe to say Can’t An Idol Fall in Love sold me on the fact that they know what they’re doing LOL. And to anyone who thinks that Kazuki’s feelings can still be read as ambiguous in CAIFILWAI as opposed to explicitly romantic - whether it be due to a fear they may pull the “I like him as a friend” card or due to the disbelief that they have an explicit mlm main character in the Honeyworks series - I’d like to cover any bases that may make you think this way. If you think it’s just Kazuki acting like a protective friend, why do you think he calls Yui a rival? If you’ve only seen the MV and think it’s ambiguous or can be taken as the "likfe" for friend, then does that mean you think Yui’s feelings toward Fuuma are also ambiguous or as a friend? With the way Yui responds, she is trying to rival Kazuki’s feelings towards Fuuma. She and Kazuki recognize whatever feeling it is that they hold towards Fuuma, both of their feelings are the same type. I don’t think most people would argue that Yui’s confession about Fuuma was one of pure respect and friendship. Plus, if anything I’d argue of the three characters in the MV, Fuuma is the one whose feelings are left the most ambiguous despite him being the central character. It’s heavily implied that he may be forming feelings for Yui, but nowhere is it established either in the song or in the MV, especially if you compare it to Kazuki and Yui’s declarations or if you compare it to Sara’s feelings for Uru in Can’t An Idol Fall in Love. Fuuma’s romantic narrative here is trying to figure out how he feels for Yui, while for Kazuki and Yui they’ve established a rivalry because they both have mutually established they like Fuuma romantically.

If the MV isn’t enough for you and Suki isn’t enough for you for...some reason…??? You can check out the snippets of the light novel which the wonderful takanenene translated: one which revisits the conflict set up in Suki and one that covers the confession scene in the MV in more detail. If the fact that the conflict set up in Suki (aka the lurking feeling of not knowing if all he felt for Fuuma was only platonic or more than platonic) was specifically reestablished in the LN for anyone who didn’t keep up with Dolce Diary didn’t tip you off that it was something important, his behavior in the confession scene as depicted by the LN definitely should have. He’s possessive about his spot by Fuuma’s side. He doesn’t want that spot to be taken by anyone else. Even if he knows that they can help Fuuma, he wants it to be him. And this line: “Kazuki then trails off his words, quietly saying ‘That’s why…’ and then gave Yui a slightly painful smile, his cheeks turning red,” before he declares Yui a rival and states he likes Fuuma. If you can tell me you read that line and are still on the fence about Kazuki’s “like” towards Fuuma being romantic, please message me and I will see how I can get through to you. Like it wasn’t even just a romantically coded confession. It’s just a romantic confession. That “like” is romantic. And I’m so proud that he’s not only come to understand for himself how he feels, but that he’s confident enough to ask the person he sees as a romantic rival to speak in private and not only clarify her feelings for Fuuma but before she can even do that firmly establishes that he loves Fuuma with conviction. Kazuki my boy I’m so proud of you. *sniffs*

And that’s it for establishing Kazufuuma as at least canonically one-sidedly canon and why there’s not only no reason to deny it but also why denying it is a fucking disrespectful move towards Kazuki. He’s a character, sure, but that doesn’t change the fact you shouldn’t write off his struggle to come to be convicted enough to say it out loud. This has been something weighing on him at least a year, if not more (all I know is it started when both he and Fuuma were in some year in middle school). And as a character in a piece of media, I’ve been saying this the entire time, but brushing it off as non-romantic is literally chucking a fucking pillar of his character’s story into the gutter. And to those who may be saying Kazuki’s confession came out of nowhere and is pandering reread this entire fucking essay again I dare you to do it and tell me to my face it’s pandering. Again. Writing off the buildup as pandering is disrespectful to him, disrespectful to his character and narrative, and disrespectful to the wonderful people who have been creating Dolce so diligently and have crafted this narrative for us. Saying his “supposed feelings” and “ambiguous confession” is pandering is like saying Fuuma’s crossdressing is pandering which. If you say either of those I will find you and I will shank you in the fucking gut. Even if you’re not fully into Dolce, recognize these characters are actually very well developed and executed amazingly, as per every Honeyworks character that has come to exist. I don’t blame you if you weren’t aware of the weight of Kazufuuma, but now that you read this I hope you are. That’s mainly what I needed to get out there, but as follows will be me more exploring how Kazufuuma has been built up and generally waving my hand off at where it may be going. If you want you can dip, thanks for reading up to here because I know I repeated a lot because it’s just. So important to drill into your head and has been something I’ve been hung up about constantly. LOL

As for where exactly they’re taking it from this point on, I honestly don’t know. In all honesty, I didn’t even expect them to take it the direction they did. But honestly, I think the direction they went with it is really interesting and better than I could have imagined, in my opinion at least. Honeyworks never ceases to amaze me with their storytelling and narrative choices, and I don’t think there’s any that stand out to me as being severely questionable that they haven’t reapproached at some point down the line. And, again, I think they’re treating this with a lot of care and deserved respect. So I’m just gonna be gushing about how smart they set it up and how smart they’ve been executing it and maybe my own hopes on the direction it could go.

Whether they make Kazufuuma reciprocated I have no real clue or bearings, but to me my gut reaction is they will. Of course, I’m biased, but again if you trace things all the way back to 2018 and step through Dolce’s content and growth from there, I’d say even if they didn’t know if they could execute it like this and see it to fruition, I’d argue that Kazufuuma has been at least heavily implied since the beginning as a relationship they wanted to explore from both sides of the relationship. Obviously I brought up Kazuki’s character bio already, but if you look at the *goes to count* 5th Dolce Diary update already has a joke jabbing at the fact that Kazuki is technically Fuuma’s type (and the way Kippei and Kazuki excitedly react is so cute). The fifth update. And as stated before there are tons of Kazufuuma moments in Dolce Diary, whether it’s played for comedic effect or played straight (and this is post Suki but oh my god I’ve said it before I’ll say it again get yourself someone who looks at you the way Kazuki looks at Fuuma oh my jesus). But song-wise, I mentioned the one Dolce album song I would bring up is Nade Nade and this is where it comes! 

Not only is Nade Nade specifically focused on Kazuki and Fuuma’s relationship as opposed to the whole of Dolce despite being the first song, it included the setup/preview of the Fuuma-centric extra prior to the full release of the Fuuma-centric extra itself and was released early as fuck. Literally between the 6th and 7th update to Dolce Diary. Sure, it could be to isolate them as a duo for marketing purposes (they’re very often the two promoted idols together if the whole of the group aren’t included), but the way it’s established as a perspective song as opposed to a general idol duet is what fascinates me. Anyone who didn’t know about Dolce prior and only followed Honeyworks for music would be first introduced to these characters through this song alone, and maybe this is where my Kazufuuma bias comes from but I was one of those people LOL. I thought it was just a cute one-off relationship that they had set up for the purpose of a song and that it was an implied friends-to-lovers story that would never get a conclusion. Also I mistakenly thought Fuuma was a girl oop-. In the full context of Dolce, this song in part helped establish Fuuma and Kazuki more solidly as a unique duo out of all of Dolce, but it also specifically explored through Fuuma’s eyes just how much Fuuma recognizes and appreciates the unwavering support Kazuki gives him to follow his dreams as he wishes. For Fuuma, he loves Kazuki too, though whether it holds any romantic potential in the same way Kazuki loves him has never been explored to nearly the same extent. But Fuuma appreciates how Kazuki’s remained by his side and does everything he can to support him, so Nade Nade explores how his way of expressing his love and thankfulness to Kazuki is by never saying that he needs Kazuki by his side. He’s glad Kazuki’s always been there for him, and his reciprocation takes on the form of being ready to unwaveringly support Kazuki and not ask for more than he already has, even if it meant Kazuki would be leaving his side, despite the fact that he really does wish they could remain together forever just as Kazuki does. The one point he lets himself say something vaguely close to always wanting to stay together, he gets a surprised expression out of Kazuki and says an ambiguous “suki dayo.” Of course, this it much less romantically coded than what we get from Kazuki in Suki and CAIFILWAI, but there is an interesting emphasis put on it nonetheless. Keep in mind, this is all established through the song, which released long before not only Fuuma’s character-centric extra released but also Kazuki’s character-centric extra released, so there is at least a substantial setup for Fuuma’s feelings towards Kazuki’s being strong as well and possibly grow to be reciprocated one day.

I think for me the most fascinating part about Nade Nade is how they tied it back around to Can’t An Idol Fall In Love with Another Idol. Again, without remembering Nade Nade, I still thought CAIFILWAI was brilliantly explored and executed, even if some people would have preferred no love triangle. But honestly, revisiting Nade Nade makes me trust even more the direction they’re taking with this. Whether or not they make Kazufuuma canon mutually (which. Even if they for some inexplicable reason didn’t I’m going down with this ship.), I’m sure they’re putting a lot of thought into the story, because the last bit of Nade Nade directly parallels the misunderstanding that arose from Fuuma mishearing the Kazuki and Yui. Fuuma is resolved to support Kazuki in any area he’s given the chance, and that explicitly includes if Kazuki had some girl he liked, which is what he assumes is going on. The fact that they tied this back around in the form of a misunderstanding was really really smart and Honeyworks is always so good at parallels and references back to their older songs, but for some reason I didn’t expect this. I don’t know how to say why, but the fact that the song that started it all, kicked off both Dolce and Kazufuuma, was directly referenced both visually in the MV with a cameo at the start and narratively despite the central dynamic being predominantly explored in this story in particular was that of Fuuma and another potential love interest and involves said potential love interest for some reason makes me think that (sorry Yui) this is all planned out for Kazufuuma in the grand scheme of things. That being said, I don’t know if me thinking it was planned all along is just me with shipper goggles, but the idea it’s come full circle nearly 3 years later is not shipper goggles and a very very well done parallel in my opinion, whether this trajectory was their plan for Kazufuuma from the beginning or not. Just wanted to gush about that some more. 

There’s more I could go into especially if I went into specific details about interactions or specific implications established in Honeyworks' Dolce content about different characters that would be fascinating to explore in relation to and under the lens of Kazufuuma, but I think this is uh...plenty long enough. Plus, I doubt you'll stop seeing Kazufuuma posts from me so those ideas will probably just be miniposts or somethin.

Back to the overarching point of this segment, idk what they’ll do with this story in the end, but do I think Kazufuuma will canon? I’m used to looking at ships that aren’t explicitly apparent with a sliver of skepticism, but all things considered (as I stated before) yeah. I don’t see reason why they wouldn’t now that they’ve explicitly identified there is a romantic dimension to it ¯\_(ツ)_/¯ Like to me, the setup isn’t something that would be written off as unrequited? And this doesn’t have to play into why I don’t think it will canon, my personal opinion on the Fuuyui relationship (again albeit through the lens of a hard Kazufuuma shipper lmao) has it’s own merits and is really cute, I find it cute in the way I found Koyuhina cute. I personally never really shipped Koyuhina, and especially since they slipped Kotarou into Ima Suki Ni Naru I was more curious about who this kid was and how he played into things I didn’t really see Koyuhina as something that would come to fruition. Similarly, there’s more importance in the overall sense on Kazuki than there is Yui (considering he’s one of the 5 original and focal members of this generation of idols, this would be natural), as well as the fact there’s just way more foundation and exploration in Fuuma and Kazuki’s relationship than there is Fuuma and Yui. As for how much of a balance there is inside the LN itself, the fact that they seem to have spent a substantial amount relaying the foundation of Fuuma and Kazuki’s relationship and re-exploring it (at least in Kazuki’s perspective) at all on top of how much content there is covering their relationship prior to the LN ever since Dolce’s origin just feels like that relationship holds more weight. Pretty much Kazufuuma feels more established as a priority in general. The way I personally hope Fuuyui plays out is whether they wind up holding mutual feelings or not or whether Fuuma doesn’t feel that way towards Yui is they get a relationship akin to Kotarou and Arisa. Albeit, Kotarou and Arisa never viewed each other in a romantic light, but they had mutual respect and solidarity. That’s the type of friendship I hope comes out of Fuyui. And considering there hasn’t been a break-up in any Honeyworks’ canon relationships (nor do I expect there to be… they’re all perfect for each other LMAO) it would actually be interesting if Fuuyui get together but don’t endgame and Kazufuuma is established as the inseparable endgame after some realization or another, though I don’t expect them to go that route nor do I know if that’d be the best way to go about it anyway. Also final point, Honeyworks seems to have a thing for childhood friends trope anyway soooooo owo All in all, don’t know where they’re taking it, just excited to see where it goes. 

TL;DR of this *counts* 7 page essay, stan Kazufuuma. Not gonna proof this. Maybe I’ll edit and repost but yall are getting a confusing clusterfuck of ramblings over 2-3 hr periods of me writing across 3 different days at around 5am each day. Uh. If you got this far like and subscribe and-- jk plz reply to this mammoth anywhere you see fit or tell me if you have stuffs to add or counter or whatnot I like hearing people talk about Kazufuuma ;w; I am Kazuki and Kazufuuma brainrot can you tell after reading this? No? Lemme just remind you I’m K--

#honeyworks #dolce #kazufuuma #kazuki haiga #fuuma shirayuki #long post #analysis #character analysis #kinda? #nobody cares trash #also keep in mind this is PURELY for self satisfaction LMFAO read it if u wanna dont if u dont idgaf either way #anyway kazufuuma canon fight me #or have intellectual conversation with me #if you want it on a google doc bc it's easier to read hmu #if you can't tell i think about kazufuuma too much #how much of this is repetitive? probably a lot...

[haddocknumber3]

Why the Supernatural Finale was Bad and Misguided

(This is the script I wrote for a video essay I uploaded to Youtube so that’s why there are lines across the page at points because it was broken up into sections that I could record individually)

The Finale of Supernatural was bad.

There, I said it. Now I know the finale was pretty divisive and there’s a lot of people who really loved it and that’s absolutely okay. I do understand most of the viewpoints that have been made to defend the finale. First though, I want to give a brief history of me and the show.

I started watching Supernatural in Feb 2019 when a friend recommended it to me. Like so many other people who have fallen in love with the show, once I started watching I couldn’t stop. I absolutely loved it and luckily I started watching at the perfect time because I was able to watch the final season live with everyone else which is an experience I will always cherish, regardless of my opinions towards the finale.

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When 15x19 was released, I was on holiday and while I thought of waiting till I got home to watch it along with the finale, I decided to jump into it. Sadly, I was a little underwhelmed going into it because I saw a minor spoiler on Rob Benedict’s Instagram with him posing with Jared, Jensen and Alex saying “That’s it for me. What a ride. Thank you again to this amazing cast, crew, and group of writers past and present. And to the best fans in the world. My life is forever changed.”

Regardless of that though, I still really enjoyed the episode. It felt rushed but I was still really satisfied with it and I was pumped to see where the final episode would take things…

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In the week leading up to the final episode, I deleted all social media and stayed away from anything that could possibly provide spoilers for the finale. I was so damn excited. I was just as excited about the finale of SPN as I was about Endgame the year prior, which I’ll also be doing a video on soon. So when I finally got home from holiday I jumped straight on the CW website and watched the finale.

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Guess what? I absolutely loved it. I couldn’t have asked for a better finale. I cried my eyes out and I had never felt that level of heartache towards any piece of media ever, besides maybe Schindler's List and Life is Beautiful. But as the final scene played, I sat back with incredible satisfaction. I was so sad but so happy at the same time. However when I started reading the reviews I was taken aback by the negativity towards the finale. I genuinely didn’t understand and took the stance of ‘Oh these people just don’t understand the show they're watching and they just didn’t get it.”

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Yeah…I was one of those people. I read into a few reasons why people didn’t like the finale and I sort of understood their stance, but I still remained firm with my opinion. However, over the last few months my opinion had begun to change.

It’s now May 2021 as I’m writing this and I can firmly say that the finale of Supernatural is bad. Actually, it’s really bad. 

Not only have I now changed my opinion on 15x19 which I now consider to be a good, but not that great penultimate episode, but I genuinely believe that this finale, 15x20, destroyed the progress of 15 seasons worth of character development and story for a simple and misguided finale. In this video I’ll be breaking down why that is, and an ending of my own that would hopefully satisfy all fans. Here’s how to flush 15 years and 15 seasons of television down the drain:

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��Title card: ‘Thematic Inconsistencies’

A REALLY great video by Media Buzzkill called ‘The Fiction of Free Will: A Supernatural Video Essay’ breaks down the final episode along with the final season exceptionally well and I’ll link that video in the description because they go really in depth with the concept of meta and how it fits into the show’s narrative and man, I keep re-watching it because it’s brilliant and an almost perfect summary of my feelings towards the finale.

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The thematic inconsistencies present in the finale are quite astounding to be frank because the penultimate episode was the perfect way to set up the final episode, simply with the thematic question of: What do Sam and Dean do once the story is over? What do they really want out of life now that they have finally escaped the hamster wheel.

By the end of 15x19, there are a few thematic through lines that are present that should have been followed through on in the finale in order to make a satisfying conclusion to the story:

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-        The concept of freedom for the Winchesters and what that means for both of them as individuals. (I’ll talk more about this during the character section of the video as I’ve got a lot to say about it and I want to talk about other things first.)

-        Family don’t end in blood (this is made clear by the extensive and frankly amazing montage at the end.)

-        Meta narrative

Thematically, it’s clear from the Season 14 finale that the final season was going to be focusing on the brilliant meta narrative that the show had already been toying with for over a decade, ever since Chuck was originally introduced.

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In my opinion, this was the only direction for the show to go in during its final season as they would have been able to tie up all the loose ends the show had whilst making the season feel grand and conclusive. By doing this, it makes the entire show feel much tighter as a result. Why? Because, in retrospect it’s made very clear where the show is heading, and it also bolsters the concept of the meta narrative which then only really allows for one type of ending that would feel satisfying. That is; Sam and Dean defeating Chuck and gaining their freedom from the story.

Thematically this is pure genius, and it seemed like we were going to get that ending after all…  *sigh*

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Sadly, in the finale, everything that had been set up beforehand was utterly destroyed in one single episode. Instead of leaning into the thematic question of; what do Sam and Dean want now that they’re out of the story, the finale goes the opposite route and has them continue hunting. The exact same thing that they have been doing all their lives. It also strays away from that thematic question by doing exactly what shouldn’t have happened. Thematically, the finale stated that even though Sam and Dean had defeated Chuck and overcome his story, they still ended up meeting the same fates that they had previously wanted or desired. However, that’s another thing entirely that I’ll go into a little later. 

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Again though, the finale states that no matter what conflict you may overcome, no matter how hard you push to gain the freedom you never thought you could have, you will never achieve it because you're destined to the fate you previously desired/thought you deserved at the start of the story. This is genuinely the worst possible ending as it directly conflicts with the concept of the meta narrative that they had been building throughout the entire final season. 

A common defence of the finale that many people have given is that the show began with two brothers, so therefore the fact that it ended with the two brothers is narratively and thematically perfect. In some ways that is true and I’ll get into why that is later, but the way that was executed in the finale and how that concept was used, was terrible. 

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The show did start with the two brothers, alone on the road hunting the evil supernatural beings of the world. In the beginning, the themes were pretty clear. Family and love will triumph over any evil, and nothing is stronger than family, hence the phrase “Family don’t end in blood”. These themes were presented narratively through the brother’s relationship and how far they would go for one another to protect each other, even sacrificing themselves. However, this ISN’T how the show should have ended. Yes, those themes are still relevant and should’ve remained consistent even until the final episode, but to say that it’s perfect for the brothers to start the show alone and end the show alone with the same mindset and thematic outlook as the beginning is ridiculous. 

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To have the finale only centre around the brothers is a good idea, but the thematic choices along with the character’s fates was incredibly contradictory and awful to everything that had been set up before, but again I’m going to delve into this aspect a little bit later.

For the writers to revert the narrative of the final season back to the first season in the final episode is monumentally wrong and misguided. As a result of this, the final episode feels like a strange nostalgia trip, until you realise that it is an episode that literally belongs right in the middle of season 1. If Supernatural was only ever a 1 season show, then this finale would have been practically perfect. But it’s not. It’s a 15 year long show with characters that undergo incredibly difficult character struggles that allow them to change for the better. So for the ending to chuck them right back to where they started is frankly stupid and kind of insulting.

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Title card: ‘Characters’

Before I dissect the characters of Sam and Dean and their role in the finale, I’m going to lay out a brief thought process that I’m going to use when analysing them. You may have heard this in other formats but if you haven’t then I’ll reiterate it here.

Most characters must have two things in order for a story to be strong, compelling, and satisfying. Those two things are WANTS and NEEDS. When a character wants something, that’s what drives their motivation throughout the story and what guides their decisions. It also affects how they relate and interact with other characters. 

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A need is the thing the character must face and come to terms with, in order to complete their character arc and satisfy the requirements of the story.  By learning that what they want is either not achievable or goes against what’s truly important to them, they must satisfy that need for the benefit of themselves and the people around them. This makes for a satisfying and logical ending to the story as the character is no longer driven by something they want, but is driven by their need, depending on what it is.

Now, let’s go back to Supernatural shall we?

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In the beginning of the show, Sam and Dean started off wanting separate things since they were individuals who had their own goals, aspirations, and motivations.

Sam wanted to live a normal life; go to college, meet a girl, get a job in law, and hopefully start a family of his own. This changed however at the end of the Pilot to Sam wanting revenge against the demon that killed Jess.

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Dean wanted Sam back in the life of hunting with him as he didn’t want to go off to try and find their Dad alone. Dean also wanted to keep hunting as he felt like it was all he was good for and his only purpose in life. Also, its made quite clear during the first season that Dean has incredibly low self-worth. As pointed out in Castiel’s confession scene during 15x18, Dean thinks of himself as “destructive, angry, broken, “Daddy’s blunt instrument.” As a result of this, he’s made it clear that he wants to die. How does he WANT this to happen? Blaze of glory, going out on a hunt, dying bloody, the way he’s always thought he deserved, and due to his low self-worth, he has accepted that and come to terms with that fate, hence his macho manly man facade he puts on in front of people. That is what he wants at the beginning of the show. Even though he has died over and over again in gruesome ways, his permanent death was supposedly destined to be going out on a regular hunt, blaze of glory, saving people, hunting things, the family business. At least that’s what he thought he deserved…

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However by the end of the series, he’s gained enough self-worth to realize that’s not what he wants anymore. *play the clip from season 1 where Dean talks about retiring on a beach* also *play the clip in 15x19 where Chuck calls Dean the ultimate killer and Dean responds with that’s not who I am”.

This is a really good penultimate stepping stone in terms of Dean’s character arc and how it wraps up because he has finally gained a proper sense of self-worth, not by defeating Chuck, but by realizing that who he truly is, and who he really wants to be isn’t dictated by the story that Chuck had written. 

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Media Buzzkill mentions it in their video but something the final season really dropped the ball on was the parallel between John and Chuck; both abusive and neglectful fathers who tried to control their children’s lives. For Dean to finally overthrow Chuck and gain his freedom, thematically he could have gained his freedom from the path his father set him on ever since he was a young kid. But since the season didn’t lean into that parallel, this wasn’t officially a thing that was going on. However I still like to think of it that way. Back to the point though.

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As a result of Dean gaining his freedom from Chuck and finally claiming his own autonomy, he is now able to complete his character arc as he has put aside his WANTS that he had at the beginning of the show (dying young on a hunt, always having to protect Sam no matter what the personal toll it takes on him) and fulfilled his NEED to achieve a status of self-worth and self-actualization in order to benefit himself and the people around him. Another point to affirm this is the fact that this couldn’t have happened without the meta story being involved. In my opinion this makes it all feel like a very logical, consistent and satisfying story for Dean. 

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The reason why I mentioned this as the perfect penultimate stepping stone for Dean’s character arc is that the question raised at the end of 15x19 still hadn’t been answered yet: “What do Sam and Dean want now that the story is over and they’re free?” I also know what you're going to say. “But isn’t it all about wants and needs? If they’re free from the story then shouldn’t they need to learn something instead of just getting what they want?” You may have a point, however due to the fact that the show has surrounded itself in the concept of meta narratives, then this is where the wants and needs don’t necessarily apply. The reason is that the finale should have followed through on what Sam and Dean needed, which was, by the time the finale started, to figure out a life that was beyond the confines of the story.

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Dean

I’m going to focus on Dean first because that’s the main thing I have an issue with in the finale, but I will talk about Sam afterwards.

By the time the finale started, Dean had finally fulfilled what he needed, which was a stable life that was beyond the story. He wasn’t dictated by some grand plan anymore and he finally had the freedom he deserved. Yes, he wanted this, but he also NEEDED to realize that in order for him to truly break the cycle and get off the hamster wheel, he needed to achieve a proper sense of self-actualization. If he wasn’t able to do this, then he truly would always have felt like he didn’t belong, even if he had gotten what he wanted (getting freedom from the story.) The reason why, is that after learning everything he had about Chuck, his manipulations, how Chuck had been controlling them their entire lives, for him to defeat Chuck, but remain in the status quo of what he’s always known, it would naturally cause him to feel unsatisfied with life and therefore would make us feel unsatisfied at the way the series ends… 

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Yes, I know that his identity is tied to being a hunter. I’m all for that because yeah even though Chuck had been controlling them their entire lives Dean still loved hunting even towards the end. But for Dean to not even consider any other kind of life outside of “the life” is strange because it seemed like that was the only direction for the story to take…But no, he stays with the life and decides to continue hunting and serving the role that he had been placed in from the time he was born; saving people, hunting things, the family business. The role he had been forced into his whole life, destined for nothing more...

Back to the events of the finale…

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Dean has continued hunting and he continues to live alone with Sam in the bunker. Yes, the pie scene was perfect. Well, not perfect, Sam bringing up Cas and Dean barely reacting and just sort of hand waving it was...a big yikes. But this video isn’t about Dean and Cas’ relationship (p.s I do support and like Destiel but I’m not going to delve into that in this video as people like Media Buzzkill have already done that really well in their own separate videos, which I’ll link in the description.)

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When Dean and Sam go on that final hunt and Dean gets impaled on the rusty piece of rebar, it was random, out of nowhere and confusing. Some say that this was perfect because they weren’t being dictated by the story anymore and accidents can happen to anyone for any reason. That’s just a part of being human. Right. Okay. Well, yes that may be true that they aren’t invincible now, but my god does that spit in the face of everything the characters had fought for. To say that even after defeating Chuck, even after escaping the story that had been written for them, after 15 years of defying their destinies, A CORE THEME OF THE SHOW FROM THE BEGINNING OF SEASON 1, to say that Dean just ends up dying on a random hunt, alone, with only his brother by his side and no one else from the family that he and Sam had built over the years, and that despite his current needs, he is still ultimately rendered to be the self-destructive, suicidal-idealist, “daddy’s blunt instrument” that he was at the beginning of the show is incredibly disrespectful and in some cases quite dangerous to the viewers of the show who have suffered from mental health issues. Why? Because the finale, along with Dean’s death, states unintentionally that you will never break out of your cycle, you will never escape your original fate, you will never achieve freedom, you will never achieve happiness in life, and possibly the worst sentiment of the entire ordeal is that you can only find peace in death. 

What a fucking waste. What a disgusting travesty of a finale. My god. 

*sigh*

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I understand the nostalgia behind it all. I get the nostalgic feelings of a classic Monster of the Week. When I originally saw the finale, I loved it, as I’ve previously stated in this video. I’m pretty much a nostalgia junkie, trust me, I can see it. I got all the references and little nods to the rest of the series like John’s journal, that random Jenny vampire chick, Dean’s love of pie, “I can’t do this alone, yes you can, well I don’t want to,” when Dean tells Sam that he stood outside his dorm for hours before the Pilot, Carry on My Wayward Son playing as Dean drives in heaven, Harvelles Roadhouse, OG Bobby, 

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WAIT. HOLD THE FUCKING PHONE. Record stops (say that quieter)

When Sam brings up Cas and how he misses him at the Pie festival, Dean addresses it by saying “That pain is not gonna go away, right? But if we don’t keep living, then all that sacrifice is gonna be for nothing.”

I actually don’t know what the fuck happened, but the writers are not dumb...They knew Dean would be dying in this episode right? SO WHY HAVE HIM SAY THAT IF THEY DONT KEEP LIVING THEN ALL THAT SACRIFICE IS GONNA BE FOR NOTHING UNLESS THE WRITERS WANTED IT TO MEAN NOTHING. 

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I...I have no words. This fucking ending man. OKay, sorry, let’s carry on with the video because I’m legitimately mad now and just want to get through this. 

To finish my point about Dean’s ending, he needed to leave the hunting life in one way or another. If he didn’t, and stayed in the life just like in the actual finale, then I have no doubt that he would begin to feel unsatisfied with life and eventually quit hunting at some point down the road. What I’m trying to say is the only logical ending for Dean Winchester, the man who’s entire identity is centered around hunting, needed to leave that life for something better. This wouldn’t have worked in a regular story where there wasn’t the concept of the meta narrative because if Dean just randomly decided to leave the life, even though he was already firmly a part of it then it would indeed be out of character for him. But since this is a meta story, Dean needed to achieve a sense of self-actualization that was beyond the story that had been written for him since he was born. Few, sorry, okay, onto Sam now. 

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Sam

So I don’t have as much to say about Sam than I did with Dean but I still think that this was the wrong ending for him. It isn’t actually too bad if I’m being honest, but it is still regressive and quite similar to Dean’s ending in many ways sadly. But there’s a core idea at the centre of Sam’s ending that I do think was a good idea, but it’s buried under so much crap and nonsense that it was deformed into something misguided, even if the idea itself isn’t bad at all. I’ll start with that first. 

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Sam being forced to witness his brother’s death is nothing new. But now that he is experiencing his supposedly final death, this causes him to leave the life entirely and go live an apple-pie life. It’s clear from this that he has finally learned to let go of his co-dependency issue with his brother. He has moved on. 

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The idea of Sam letting go of his co-dependency with Dean is great and it’s something I’m going to use in my own ending that I’ll detail later in this video. However, this issue is that the decision to let go is forced upon him through Dean’s death. It’s not a choice Sam makes to move away from Dean and let each other live separate lives, therefore bringing forth their individuality which is something Dean desperately needed this whole time. By omitting Sam’s choice to let Dean go and live a separate life, he is robbed of his agency and therefore makes his ending feel unearned and forced upon him. You may say that this would be out of character and strange for the brothers to do. They love each other so therefore they have no reason to not be in each other’s lives. That is correct, but I didn’t mean that they aren’t in each other’s lives in some form, just that they are separated and living different lives than each other. I’ll go more into detail when I give my pitch for an ending. 

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The next point I want to make about Sam’s ending is that he also regresses to what he previously wanted back in the early days of the show. Yes, I remember that he already lived a normal life back in Season 8 which could be evidence to support the idea that he still wanted that in Season 15. But no, that was almost half the entire length of the show ago. Sam has moved on from the idea of an apple pie life; living with a wife and kid, owning a home, having backyard barbecues, you get the picture.

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How interesting would it have been if he actually decided to stay in the life in some way. Maybe not actually hunting, but working from the bunker and helping other hunters with lore or other aspects like that. Maybe Eileen is there too? Maybe they're working together as a couple, not hunting, but being a safe haven for hunters where they can access all the lore they could dream of and find safety there. Almost like an upgraded version of Harvelle’s Roadhouse. Just an idea, but that would’ve been much better than what we actually got. 

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Title card: Stray thoughts

When you look at Season 15 alone, there's quite a lot of things the finale failed to conclude, address or clear up. 

Cas’ grace was failing

This could’ve been a really great plot point to play throughout the season because it would cause Cas to contemplate his uses and worth whilst stressing about the whole situation with Chuck as well as the Empty deal looming over him. But they didn’t address it at all. It just kinda...faded away and wasn’t brought up again. It wasn’t a massive thing but it would’ve been cool to see how that could’ve played out. 

Ruby asked Castiel to save her from the Empty (15x13)

The demons rising up against Rowena (15x13)

Dean doesn’t ask Jack to bring back Cas from the Empty (15x19)

Sam forgets about Eileen in 15x20

No closure for Dean and Castiel

We never see any of the side characters again who got Thanos snapped in 15x18

Jack’s explosion in the Empty made the Empty loud

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Those are the main points that the final season and the finale failed to address and even though they are minor points in the grand pantheon of issues with the finale, they still add up for me and are quite frustrating to think about. 

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Title card: My Ideal Finale

So, after all that I think I’ve made it pretty clear how I feel about the finale. There’s a few other points I wanted to make about the narrative of the final season as a whole in conjunction with the finale but I feel as if I’ve already said what I need to say. 

I’ve seen so many other people give their take on how the finale should’ve played out so now I want to give my version of events that would’ve given the show the proper send off it deserved, and the send off it was seemingly setting up.

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My finale would start with the same hunt that happened in the real finale. However, the opening scene is them fighting the vampires. As they’re fighting, Sam is wounded and needs to be taken to hospital. After he’s treated there, they return to the bunker. Sam wakes up from a nap and talks with Dean. They talk about how that was a pretty close call. Dean mentions that it should probably be their last case. Sam looks confused, and doesn’t say anything. Dean seems hesitant to discuss the prospect of that being their last case but he begins anyway. He mentions that he feels as if he’s been given a chance at a new life now that they’ve defeated Chuck. He states that if he keeps doing the same old, same old, then he’s afraid that he’ll waste his chance at freedom. Sam understands but points out that if they don’t do this, then who does. Dean ponders this for a second, as he’s done so many times over his life. Should he continue to sacrifice his chance at happiness and freedom so other people can live safely? 

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Obviously this question has popped up a lot throughout the show, and they’ve always chosen to stay with the life. Maybe hunting was a part of who they were, but they now had a chance to try something new. With Chuck not writing their story anymore, they get to write their own. Going wherever the story takes them. Finally free. 

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After this scene, the pie scene from the actual finale happens pretty much exactly how it originally happened, except for a few changes of dialogue and the scene would be extended to incorporate a visit from Bobby and Eileen. When Sam brings up Cas, instead of Dean saying what he said in the actual finale, he would say something along the lines of this:

“Yeah, I miss him too.”

Sam notices Dean is looking quite sad and asks him what’s wrong. 

“He sacrificed himself for me.”

“It came out of nowhere. We were trapped and Billy was banging on the door trynna get in when he…he said that he made a deal.” 

A tear rolls down Dean’s face. Sam notices, and moves closer to Dean and looks at him with a classic empathetic look from Sam. 

Dean blinks a few times and wipes the tear away. 

“Ah, I’ll tell you later” said Dean, as he began to tuck into a pie from the box on his lap. 

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Bobby then pulls up with Eileen. Sam and Dean go and greet them. They talk about Sam’s wound, Jack defeating Chuck and how he’s the new god, Sam and Eileen, who steps out of the car and Sam and her kiss. Bobby also asks what they’re going to do now that they’re free from Chuck. This leads into the question of whether or not they’re still going to continue hunting. Eileen looks inquisitive at the brothers too as she also wants to know what Sam wants now that Chuck has been defeated and he’s free. Sam says he wants to stay in the life and that he’s open to see what happens. Dean says that he’s not sure. Sam glances over at Dean, who notices but doesn’t look back. It’s clear to both Bobby and Eileen that this is a conversation that both brothers need to have in private before they could properly reveal anything to them. 

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Bobby tells them that everyone is going to have a big get together in the town of Kansas at a pub the following afternoon. Sam and Dean agree that they’ll be there. While Bobby waves to them goodbye and gets in the car, Eileen gives Dean a look, indicating that she wants to talk to Sam alone. Dean obliges with a little smile. Eileen asks Sam if he’s feeling okay after the wound from the previous hunt (they would’ve already texted about it.) During this conversation, Eileen asks if he and Dean are okay but Sam says he’s not sure. She questions him a bit more and Sam reveals to her that Dean wants to quit the hunting life for good. She can tell by the look on Sam’s face that he’s bothered by this, but she can also see a slight hint of understanding too. She smiles at him warmly and places a hand on his cheek. They lock eyes. Sam begins to smile.

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Dean is back in the driver’s seat of the Impala and is watching Sam and Eileen with a sad smile. He looks down at the drivers wheel and the smile fades. He closes his eyes and after a few seconds, he whispers “Jack? Hey man, hope the new job is treating you well” Dean smirks, but it fades quickly and his face resorts back to the grim look of...despair. “I know you said you wouldn’t be hands on, I get that, and I thank you. Another Chuck isn’t what we need right now. But...Cas, he didn’t deserve what he got. I didn’t ask you this before you left because everything was so crazy and we had just defeated Chuck you know, and I know it's only been a few weeks but, please, please can you bring him back. He didn’t deserve to die for…

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Dean stops praying. He looks back to Sam and Eileen, who are still talking. Suddenly Jack appears next to Dean, just as a tear rolls down his face. 

Jack greets Dean in usual fashion. Dean looks surprised and shocked, but glad to see him. Jack tries to explain to Dean that he can’t meddle in the Empty’s affairs as they’ve already poked and prodded it enough. Dean refutes this point by reminding Jack of what Cas would do, what any of them would do if one of them was in the same position. They continue to discuss Cas and the Empty and how it could work, but by the end Jack doesn’t speak. Both of them sit in silence. 

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After a while Jack turns to Dean and says “I’ll do what I can, but if it’s not possible then I’m sorry.” Dean nods his head but before Jack disappears, Jack says “Dean, I know it might be hard to understand right now but there is so much to be done in the universe. Things that have to be put right, Chuck messed up and now me and Amara have to balance things out. I know that sounds like I’m interfering but we aren’t. We are ensuring that things are allowed to be as they are, instead of them becoming something else. That’s why I have to leave this world very soon, I only have till tomorrow afternoon for me to try and get Cas back. After that, it will be a while before I can return, and even then I don’t know when exactly I’ll be back. I also can’t stay too long in the Empty either after what happened before. I still have to respect it’s power and the fact that I don’t have any real control over it. I’m sorry, Dean.” Jack disappears before Dean can say anything else. Just then, Dean notices Sam walking towards the Impala and wipes away the tears. As Sam sits down, he asks Dean if he’s okay, and Dean responds “Yeah, all good here.” They drive off. 

The next scene is Dean sitting in his room on his laptop, a few beers by the side of the bed. He looks toward his table on the other side of the room. A paper lies on top. Dean appears conflicted, but decides to go over and pick up the paper. We see it’s a job form. 

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Sam is sitting down at the table in the library. He’s also on his laptop and seems very focused on something on screen. Suddenly he grabs his laptop and stands up. He walks through the bunker to the door of Dean’s room. He goes to knock but pauses. He looks back to the laptop, where we can see a news posting saying that three people have turned up dead with their throats ripped out. Sam and Dean both sigh at the same time (Sam would be seen sighing and then quickly cut to Dean sighing too.)

Dean grabs a pen and goes to write on the job form, just as Sam knocks on the door. They greet each other, and both are a little startled. Sam asks Dean what he’s doing and Dean briefly looks at the form, but ends up saying it's nothing. Sam tells him about the case he’s found and Dean’s face tenses, which Sam notices. 

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“Or not, if you didn’t feel like it.” said Sam.

“No. No, it's fine” says Dean, who sighs, stands up and then asks where it is again. Once Sam finishes telling him, Dean looks back at the job form. 

“Sammy, I don’t think I’ll be going” says Dean

“Oh, okay, no worries, I’ll just call one of the other hunters” says Sam

“I don’t think I’ll be going on any more hunts.” Dean finally says. 

Sam doesn’t respond and is taken aback. Neither of them talk for a moment. (There would be a wide shot from inside the room, showing them standing still and silent.) 

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Dean takes the job form from the table and hands it to Sam, who looks at it. He doesn’t take his eyes off it. 

“I applied a few days ago, and I’ve got an interview the day after tomorrow. But, it’s in Denver Colorado. I’m sorry I didn’t tell you, but I didn’t know how you’d react” said Dean. 

“Dean, I...I mean, I’m happy for you. I am. It’s just...I don’t know, it’s a big thing you know. But I thought we were done keeping secrets from each other, I thought we were over that crap” said Sam. 

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“This was different,”  said Dean plainly.

“How?” asks Sam. 

“Me, the guy who was destined to hunt till the day he dropped. You know this, that was who I was. Going out in a blaze of glory, bloody on a hunt” said Dean, “But now, everythings different. I realize now that...that isn’t who I am, and I can’t be destined for just that. If I was, then Chuck should’ve won. Because I’ll be damned if I let that be my ending. I’ve gotta write my own, and now with Chuck gone I finally have that chance. I can’t waste it Sammy.” As he says those last words, a few tears have fallen down his face. 

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Sam ponders Dean’s words for a few seconds then asks. 

“What about me? What am I supposed to do?”

Dean doesn’t respond. 

*a soft rendition of the piano solo in Americana plays, similar to the one played in 15x18, but softer and less solumn*

Dean looks sad, but also confident in his decision. Sam looks uncertain. 

Sam says:

“I can’t do this alone”

Dean responds with a sad smile: 

“Yes you can”

Sam says: 

“Well i don’t want to”

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Slowly, through facial expressions, Sam recognizes those words, and remembers that fateful night when Dean came to pick him up from college; when Dad was on a hunting trip, and he hadn’t been home in a few days. His face turns into a sad smile. A tear rolls down his face. Dean now has a tear underneath his eye too as he looks at Sam. 

Sam slowly hands back the job form to Dean (This would be a close up on the hand over process to emphasize the choice Sam is making through the motion of handing back Dean the job form) He puts his laptop down, and the two brothers hug. The two of them stand there together. The two have tears rolling down their cheeks. 

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*piano solo ends*

*fade to black*

*fade in on the Impala outside the bunker*

Sam is leaning against it and is texting on his phone.

Text appears at the bottom of the screen saying its the next day

Dean exits the bunker and asks if Sam has got the address of the place where everyone is getting together and Dean confirms he does and that it's on the edge of town. He mentions that Bobby had been working on it for a while before the whole Chuck thing and he said that it was a surprise. Whatever that means.

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As the brothers are driving into town, Sam asks what time the interview is and Dean says that it's at 9am the next day so he will have to leave that night if he’s going to get a good sleep and be up early the next day. The time at that point would be around 3pm. Dean then asks how he and Eileen are, and Sam says that they’re going good, but mentions that she was a bit shaken from being Thanos snapped (he wouldn’t actually say Thanos snapped but something like it.) 

The two sit in silence for a while, until Dean puts on the radio. ‘Back in Black’ starts playing. The two smile and look at each other, before turning back to the road. They continue driving. 

They finally reach the pub and get out of the Impala. As they stare at the exterior, a gentle rendition of the first section of Americana plays (the opening minute) but this time it’s slower and almost sounds distant, and wistful. The two brothers look at each other before approaching the door. Dean checks the time, and looks concerned. Before they can open the bar door themselves, Charlie opens it and looks gleefully at the two before embracing them both in a group hug. 

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“I’ve been waiting for you guys!” says Charlie.

“Hey Charlie, how’s it hanging?” asks Dean

“Come have a look” she says with a smirk, before leading them inside. The bar is revealed to be one that resembles the old Harvelle’s Roadhouse. There is already a crowd of people, friendly faces and some unknown people. Sam and Dean reunite with a lot of fan favorite characters, however, Dean still looks slightly pensive. Sam takes notice of this and puts a hand on Dean’s shoulder. They look at each other just as the lights in the bar begin to dim and a piano solo starts playing. The song being played is the exact same version of Carry on My Wayward Son that was played in Season 10 Episode 5 titled Fan Fiction. This time, there isn’t any vocals, it’s just the piano solo. It continues until the part in the song where it would say “...don’t you cry no more”, then suddenly the doors open and Jack slowly walks through. The outside light shines through and is almost blinding to Sam and Dean who are covering their eyes with their hands. The music stops, and Jack steps aside to reveal someone. Dean lowers his arm and sees a friend standing before him. Someone who had been there for Dean through thick and thin. Someone who loved him no matter what Dean had though of himself. 

__________________________________________________________

“Cas?” he murmurs, before running to him and embracing him with a tight hug. Jack closes the door and the light adjusts. Suddenly a male voice starts singing from the stage. Everyone but Dean and Cas look. The voice is the lead singer of Kansas, who begins singing the classic version of Carry On My Wayward Son. 

_________________________________________________________

Dean and Cas lock eyes, and as the words “lay your weary head to rest, don’t you cry no more” are said, Dean and Cas place their foreheads together and smile while holding each other. Sam looks at them with a smile, just as Dean turns to him. The song kicks in at that moment with the instrumentals. Everyone is dancing now just as Sam, Dean, Cas and Jack all reunite together in one shot. They all sing along to the song with everyone else. It then cuts to different shots of them standing and laughing as well as interacting with other characters like Jody and Bobby or Eileen. In one of the shots, Sam and Eileen kiss and Dean looks at them with pride. The next shot is his hand, and someone else’s hand interlocks with his. It cuts back to Dean’s face smiling, as he turns to Cas, who is also smiling. 

__________________________________________________________

When the song finally comes to a close, Sam and Dean are both standing out front. They are leaning against the Impala. 

“I guess that was one hell of a curtain call” says Dean.

“I wouldn’t call it that” says Sam with a chuckle.

“Even if this is the end for now, at least it’s our ending. Not Chuck’s, not anyone else’s” 

“Damn straight” 

Dean smiles, and checks his phone. From here, the exact same scene on the bridge at the end of the real finale would play out. But in this version, instead of walking up to the railing and looking out over a valley, Dean would hug Sam, then get in the Impala and begin driving off. The music would also be identical too. 

________________________________________________________

As the guitar riff is playing the main theme (like in the original scene, its when it cuts to a wide shot and pans out) It cuts to a close up of Dean and it slowly zooms into his face smiling with a tear in his eye, then it cuts to a medium shot of Sam standing tall and proud. Bobby, Cas, Jack, Eileen, Jody, Charlie, Donna, Garth, walk up next to him as the music rises. Then it cuts to an extremely wide shot from up above, showing the Impala driving away down the long road with the sunset in the distance as well as Sam and the rest of their family standing outside the bar watching Dean drive off. The End.

________________________________________________________

So that was my ideal finale. It’s not perfect by any means and there’s no massive final confrontation, and the emotional arcs could be more fleshed out and explored. Also, the explanation for how Jack convinced the Empty to give back Cas would also need to be explained but I didn’t want to give a massive exposition dump in this already long video. 

I hope you liked it and I hope that it was at least a bit more satisfying than the actual finale. 

________________________________________________________

To conclude, I genuinely believe that Supernatural had the opportunity to give it’s audience a revolutionary kind of conclusion. It had the chance to be one of the most satisfying endings to any TV show ever made. It had the chance to be something more...and yet, it utterly failed in everything it attempted and sadly destroyed 15 years of build up, progress, and intricate character development for a finale that squandered not only the limitless and amazing potential it had, but it also squandered many fan’s passion for the show itself. At least that’s how I feel. If the show had even ended on Episode 19, then it would’ve been an incredibly rushed and convoluted conclusion but it would’ve been satisfying and I’m sure in time the people who didn’t like the episode much would have eventually come around to it. 

But at the end of the day, if you liked or loved this finale then I am happy for you. Regardless of my feelings towards this finale, I know what it feels like to love a piece of media that most people hate. 

__________________________________________________________

That’s me with HTTYD 3. But that’s a topic for another day. What I want to say is that if you do love this finale then all the power to you. While I personally hate it, that should not take away from your love towards it. 

#spn #supernatural #spnfinale #supernaturalfinale #dean winchester #sam winchester #pie #cw #spnessay #finale #seriesfinale #bidean #cas #thiswasashitending #badfinale

[thestupidhelmet]

I always got the impression that during Zen breakups, Donna more sided with Hyde than Jackie. What do you think?

Donna is often seen through an undeserved negative lens by a portion of T7S fans. Contradictions in her characterization do exist, thanks to inconsistent writing. But when her behavior, dialogue, and choices are examined closely, her true character is revealed. I do this in the metas linked below.

In Defense of Donna (an essay in eight parts).

In Defense of Donna: Supplemental

In Defense of Donna (Yet Again) in Her Relationship with Eric

Was Donna Mean to Jackie from Throughout Their Relationship?

Analyzing the facts burns away the foundation on which the biases about and misinterpretations of Donna’s character are built. After the cut, I discuss in detail her reactions to Jackie and Hyde’s breakups. She’s a far better person, and friend to Jackie, than is often recognized.

Jackie and Hyde’s first breakup occurs in “Babe, I’m Gonna Leave You” (5x14), after Jackie shouts, “Get off my boyfriend!” to Annette about Kelso in the previous episode. Below is Donna and Jackie’s first discussion about it.

Donna: So, have you talked to Hyde about the whole, “Get off my boyfriend,” disaster? Jackie: No! And why is everyone making such a big deal about it? It's like every time I walk into a room, people look at me funny. Donna, how do you deal with it? Donna: Jackie, the reason people are making a big deal about it is because it sounds like you still have feelings for Kelso. Jackie: Well, I don't. I think the only reason I said it was because I was having an allergic reaction to the Formans' cheap, generic soda.

Here, Donna is being supportive of both Hyde and Jackie. She cares about them and their relationship. Jackie, however, has a tendency toward denial and self-delusion, which Donna has experienced extensively. She wants Jackie to be honest with herself, face reality, and not put herself or Hyde through the pain she went through with Kelso during seasons 1-4.

The next time in the episode Donna talks about this situation is with Annette at The Hub.

Annette: Guys, I really think there's some unfinished business between Michael and Jackie. When they were together, did she make him happy? Donna: Well, she totally dominated him and made him feel bad about himself. Annette: I guess what I'm really asking is, was she ever fat or anything?

Donna’s assessment isn’t accurate and nowhere near complete. This is not the fault of Donna but the writers, whose take on Jackie and Kelso is made clear in “Everybody Loves Casey” (4x26). Despite the few concessions the writers make during Jackie and Kelso’s exchange that give Jackie some sympathy, the onus for the toxicity of their relationship is put on Jackie. New “facts” that are never mentioned or shown in the series before this episode are introduced so that Kelso can give Jackie the responsibility for his cheating and the audience will agree with him, at least in part.

Donna’s assessment of Jackie and Kelso’s relationship in “Babe, I’m Gonna Leave You” reflects the point of view given in “Everybody Loves Casey”. What actually occurs during seasons 1-4 contradicts this assessment. Jackie encourages Kelso and bolsters his self-esteem (see “The Forgotten Son” [4x09] for one of many examples). She buys him so many presents that he owes her $8,265 in 1977 (see “Baby Fever” [3x07)], which is the equivalent to $35,525 today (due to inflation).

Yes, Jackie also berates him, but she most often does so when he mistreats her by lying, cheating, and generally disrespecting her. She also tries to control him in certain situations, like how many of her stuffed animals she’ll keep in his van or refusing to break up with him when he asks to in “Red’s Last Day” (2x02).

But the so-called total domination Donna claims Jackie had over Kelso is false. If it were true, Kelso never would’ve cheated on her with Pam Macy, Laurie, a girl from Sacred Heart. He wouldn’t have avoided her for a week after the first time they have sex or treat her like a servant once he gets in contact with her again. He wouldn’t have ignored her many nos about having sex until she’s exhausted by his relentlessness and given into what he wants. The list goes on.

The point, though, is that real!Donna would not have said Jackie “totally dominated [Kelso] and made him feel bad about himself.” Real!Donna -- who’d tried to get Jackie to break up with cheating Kelso then stay broken up with him -- would have said that Jackie and Kelso made each other miserable and that it wasn’t a healthy relationship for either of them. This assessment would have given Annette, a virtual stranger, enough information without betraying Jackie’s privacy.

Jackie enters The Hub soon after this conversation.

Jackie: Donna, Steven broke up with me. Donna: Oh, Jackie, I'm sorry.

Donna is sincere in her compassion. She doesn’t say, “You deserved it,” or, “What did you expect?” Her friend is hurting, and Donna feels for her.

This is the last interaction between Donna and Jackie before Jackie and Hyde reconcile in this episode. Donna’s empathy is obviously for Jackie. We get no scenes between Donna and Hyde or dialogue from Donna that shows she believes Hyde is in the right for breaking up with her. She just wants Jackie to recognize why Hyde might feel hurt by Jackie calling Kelso her boyfriend.

Jackie and Hyde’s next breakup happens in “Nobody’s Fault but Mine” (5x23). Kelso tells Donna about Hyde sleeping with the nurse.

Kelso: [Hyde] doesn’t know it but I saw him kissing this lady at the hotel. Donna: Oh, my God, that’s horrible. Kelso: I wanna do the right thing, right? So I’m thinking that I’ll just tell Jackie, and then she’ll feel really bad. Then I’ll console her, and -- presto! -- we’re making out topless! Donna: No, Kelso! The thing to do is to tell Hyde that you know and then give him a chance to tell Jackie.

Again, Donna is concerned for the well-being of both Jackie and Hyde and their relationship. She cares about both of them, but Hyde’s behavior / choice is likely incomprehensible to her at this point.

Once Jackie breaks up with Hyde and the full truth is out, Hyde calls Jackie at Donna’s. Donna wants Jackie to talk to him, but Jackie hangs up the phone, and Donna pleads Hyde’s case

Donna:  I think this whole thing was a misunderstanding. Hyde didn’t know what was going on. Jackie: I know, okay? But after Michael, I promised myself that I would never be with another boy who cheated on me. Donna: But Hyde’s so good for you. Since you started dating him you’ve completely stopped quoting Nancy Drew.

Donna’s point of view, again, reflects the writers’ -- that Hyde’s transgression is a “stupid, one-time thing.” If Hyde had actually been written as real!Hyde during this episode and arc (after sleeping with the nurse), he would’ve put Jackie’s pain and feelings ahead of his own, shown true and lasting contrition along with self-awareness, and not expect forgiveness.

Donna’s argument would be much stronger if Hyde hadn’t displayed similar behavior to Kelso’s in season 2 (e.g., acting entitled to Jackie’s forgiveness and growing hostile toward her when he doesn’t get it in his desired time frame). Hyde’s relationship with Jackie does inspire her to grow and change, but that doesn’t negate his betrayal of her -- or vice versa.

Donna needed to give Jackie empathy in this moment rather than try to fix what Hyde had broken, but she does so right after Jackie rejects Donna’s argument to give Hyde a chance. Jackie cries on her shoulder, and Donna holds her during it.

Before Jackie and Hyde reconcile in “Join Together” (6x02), Donna continues to point out the positive effect Jackie’s relationship with Hyde had on Jackie. She’s neither Team Jackie nor Team Hyde. She’s Team Jackie-and-Hyde. She’s supportive of and compassionate toward Jackie while also maintaining faith in Hyde’s innate goodness.

Donna believes that Hyde, at his core, isn’t a cheater. That he isn’t Kelso, but this doesn’t excuse Hyde’s transgression. What’s missing during this breakup arc is a scene where Donna confronts Hyde about what he did, why he chose to act out instead of talk to Jackie, and where she tells him he has to own his crap. This would have connected nicely story-wise (or grown out of) the lessons she should have learned with Eric in season 5 had the show not rushed into their engagement arc.

Donna could have brought up Hyde’s childhood, the source of his deep fear of abandonment, and how he allowed this fear to seep into his relationship with Jackie. Hyde, then, might have admitted he’d fallen for Jackie when she’d chased him back in season 3 and felt betrayed by her ultimately rejecting him for Kelso.

Hyde: I guess that crap came up again when she became my girlfriend. Part of me always believed she’d always go back to him.

Unfortunately, the writers didn’t make these story and character connections, and the characterization and story suffered because of it.

During Jackie and Hyde’s season 7 breakups, Donna behaves similarly as described above. She’s Team Jackie-and-Hyde. She supports both her friends and believes they’re happiest (and best) when together. She brings Jackie to her martial arts class to get out her rage at Hyde in a healthy way. She consistently teases Hyde about his love for Jackie so he won’t deny it to himself or quit fighting for it. She’s always got a hug for Jackie when she needs it, and she calls Hyde on his B.S. (finally) in season 7.

So, no, Donna doesn’t side more with Hyde over Jackie after their breakups. She an equal friend to both of them, despite the flaws in the writing.

#That 70s Show #That '70s Show #Donna Pinciotti #Jackie x Hyde #Jackie Burkhart #Ask #Anon #My Meta #My Essay #Essay #Meta

[sunlitroom]

Hi! For the ship chart - Gobblepot, Wayleska, BatCat, Nygmakins

Thanks for asking, anon :)

Well, I like all of these :D  But to elaborate.  And by elaborate, I mean - write a massive essay, because I’ve been in lockdown for over a month now.

Gobblepot - The best OTP of all OTPs

I’ve written a ton of meta (how unfashionable of me) and had conversations with very clever people about Gotham’s writing.  It has its flaws - as does everything - but when it does things well, it does them well.  Jim and Oswald are paralleled from beginning to end.  Even when they’re not technically sharing a story - it’s made clear that these people are connected.  Prisoners offered a good example of that, which I recapped here

Jim and Oswald’s connection is made clear right at the beginning - we start off with their story.  Jim’s freshly arrived in town, full of big ideas and hopes.  He has a shiny new job and a beautiful fiance.   Oswald doesn’t seem to have the same external trappings of growth and success - but he’s planted several seeds in the hope they’ll come to fruition later.

It’s interesting to see how reckless and brazen they both are in season one, too.  They both stare down the barrel of a gun at points, and practically swagger up to certain people and dare them to kill them.  They both retain their impulse to thumb their noses at authority, and do downright dangerous things - but they become increasingly less blithe about it over the seasons as their respective trauma accumulates.  There’s a joy in it at the outset, more of a desperate grimness as we go on.

We also get to see their vulnerabilities.  There’s little hints early on that there’s more underneath.  Jim might look like the invulnerable golden boy but - to quote a line from Silence of the Lambs - his face is all scars, if you know how to look.  Look at his immediate bond with the bereaved Bruce, because Jim saw his father die at the same age.  Look at Jim’s reaction when Loeb comments about not following in his father’s footsteps.  Look how quickly his relationship with Barbara falls apart - in fact, just look at it in the first place.  

Oswald’s vulnerabilites are more and less obvious.  He’s the Other to Jim’s all-American hero.  He’s flung about all over the place in season one - tiny-looking in comparison to the likes of Falcone and Maroni.  He’s left with a permanent limp after Fish’s beating.  Less obviously, we see that he’s strongly motivated by his need to make his mother happy, and that the notion of causing her shame hurts him to the point of tears.

All that kind of stuff, all the careful details, built slowly, really make it for me.  They’re built on later - in many ways they’re very different, but in others, very similar.

This difference/similarity plays out in their encounters, too.  They’re oddly fascinated by each other.  Oswald’s attraction is made very apparent from the outset .  Yes - Jim might be another piece on the chessboard (albeit one he won’t sacrifice) - but he blushes and stares and lights up when Jim appears.  Even later, when all the hurts and wrongs between them have mounted up, he still can’t quite resist gazing.

Jim’s a combination of uneasy but fascinated in Oswald’s company.   The early scene in the alley pinpoints it so well - the moment right after this one:

Oswald - who is adept at reading people (in season one, anyway) grins - because Jim is rapt.  He has his whole attention.  To steal a line from Hannibal this time. he watched the red sparks pinwheel deep in his eyes and felt the excitement of a child approaching a distant fair.  Although, in this case - it’s all more illicit and scary.  Jim knows he shouldn’t go to this fair, and this fair is a dangerous place.

And that odd fascination never really goes away.  Even at points when Jim is angered or revolted by Oswald’s actions - he’s never repulsed.  He’s more likely to shake him than turn his back on him.

This dynamic might morph a bit, depending on circumstance - but Jim always stands too close, stares too long, likes to tease, and is quick to head in Oswald’s direction when the chips are down.

A last point. Something else I enjoy is that they know the best and worst of each other, and seem to have an endless capacity for forgiveness.

Wayleska - sort of an OTP?  I do find it a heartbreaker of a ship.  

Pre-gas Jeremiah is so instantly smitten with Bruce.  That first interaction and he’s completely gone.  I’m posting the gifs again because they’re glorious.  I know they’re all different sizes, but meh.  

What makes it all so painful is that you can see - post-gas - this is still there.  He’s still head-over-heels, and there’s slivers of awareness there.  But the gas has twisted everything, and you can see part of him is mortified and pained at how this is all playing out.

Especially here, in these next gifs.  Even the big showy gesture is laced with pain, and afterwards just seals it

Given his secretive and hidden-away past, you could probably hazard a guess that this is the first time Jeremiah has been in love.  On top of that, he seems reserved and restrained by nature.  And here he is - being forced to reveal his feelings like this.  

On saying all that, I loved what I saw in show - but maybe prefer it as a pairing in fics.  Bruce - for me, anyway - doesn’t seem mature enough to deal with the intensity of Jeremiah’s feeling - pre and post-gas.  Maybe when he’s a little older, it’s something he could at least take in and process, but it seems a little one-sided in show just because Bruce doesn’t really seem to recognise what’s happening, let alone parry it.  

The only point where you could argue that he was aware, and that there’s feelings there, I think, is the fact that he’s so angry at Jeremiah.  With Jerome, Bruce almost felt responsible for his actions, and does what he can to mitigate them.  But with Jeremiah, Bruce refuses to even tell him that they have a connection in order to save people’s lives.  His anger and obstinacy feels more visceral and - if I prod it - looks like hurt and betrayal.  Bruce saw Jeremiah, at least, as a friend.  His reaction to the loss of that seems a bit disproportionate - so maybe there are nascent feelings there?

But generally. yes, better in fic where the writer can take more license and time with Bruce.

BatCat - It’s not an OTP - but it’s sweet and I like it?  I’m not so mad keen about how forgetful Alfred and Bruce can sometimes be of Selina in earlier seasons, and sometime tone-deaf at points later - but yes, it’s nice.

Nygmakins - I like this.  It’s maybe not an OTP - but I ship it.  The foundations aren’t quite as extensive as with Gobblepot - but they’re there.  They’re both seemingly sweet-natured, sciencey and fascinated with the darker side of life.  Very early on, we know they have interactions that we don’t see.  Lee apparently allows Ed to use the lab and exam room when he wants, and he dreamily remarks that she smells nice.

Later, we see more similarity as their duality becomes more apparent, and their shared taste for violence, darkness and power.  Lee enjoys the applause of the crowds in the Narrows just as much as Ed enjoys the audience adulation for his ‘gameshow’.  Lee’s revenge on Sofia is as protracted and merciless as Ed’s on Oswald.  

Last up - they both have a desire to be entirely seen, which is something they seem to find in each other.

Thanks for the ask, anon.  I fire the same pairings back at you, if you feel like answering :)

#Anonymous #ask #shipping

[fayewonglibrary]

A Cantopop Dream Girl’s First Film Reverie (2019)

By Oliver Wang

If you weren’t a devotee of the Cantopop world in the early 1990s, the casting of Faye Wong in Wong Kar-wai’s Chungking Express (1994) may not have caught your attention. Starring in her first major role, the singer looked much the fresh ingenue, cropped coif, tinted sunglasses, and all. Her character—also named Faye—was played with such a frenetic, awkward energy that she may well have been the blueprint for the “manic pixie dream girl” trope.

In Asia, though, Wong had already become one of the region’s biggest pop stars by 1994, and the movie premiered a month after Wong had released Random Thoughts, her eighth album in six years. To put her casting in contemporary terms: imagine a promising but still unproven art-house filmmaker convincing Ariana Grande to star in a low-budget indie film that happened to come out weeks after the release of her chart-topping Thank U, Next. For Wong Kar-wai (WKW), Chungking Express was a breakout international hit, but for Faye Wong, it was one highlight in an already meteoric career.

Landing a genuine pop star was a kind of capstone for a director whose previous films had already shown a deep love for the power of pop songs. A key scene in WKW’s debut film, As Tears Go By (1988), is built around a jukebox playing Sandy Lam’s Cantonese cover of Berlin’s “Take My Breath Away.” The mysterious, mesmerizing title scene in Days of Being Wild (1990), set amid jungle foliage, makes use of the minor 1964 instrumental hit “Always in My Heart,” by the Brazilian guitar duo Los Indios Tabajaras. One wonders if, in an alternate timeline, WKW would have made a great, taste-making DJ.

Chungking Express is WKW’s greatest “jukebox” film for many reasons, including its casting of Faye Wong and its prominent placement of pop tracks, plus the fact that the director uses not one but two different jukeboxes in pivotal scenes. The actual number of songs isn’t as extensive as in Scorsese or Tarantino films of the same era, but the four tunes used most strategically in Chungking Express are each repeated at least twice. In the film’s first half (which features a young Takeshi Kaneshiro alongside the legendary Brigitte Lin in her final film role), Dennis Brown’s somber 1973 reggae single “Things in Life” plays four times. In the second half, which focuses on the unconventional relationship between Faye Wong’s Faye and Tony Leung’s Cop 663, we hear Dinah Washington’s 1959 version of “What a Diff’rence a Day Makes” twice and the Mamas and the Papas’ iconic 1966 single “California Dreamin’” a staggering nine times.

Most of these uses are diegetic, played on jukeboxes, CD players, or stereos. As we, the audience, listen to the music, we’re also watching people on-screen listening to music. Because of this, the songs in Chungking Express don’t just enhance ambiance, they also craft character, and these two streams flow together sublimely with “Dream Lover,” the Cantopop cover of an alternative rock hit by the Cranberries from 1992, performed by none other than Faye Wong.

Born Wang Fei in mainland China, Wong moved with her family from Beijing to Hong Kong in the eighties to pursue a performing career. Her first record label, trying to avoid associations with the mainland, gave her the generic, Anglicized stage name “Shirley Wong.” Her early albums sold, but after a few years, frustrated with her lack of creative control, she took a hiatus and relocated to New York City in 1991 as a gesture of escape and self-discovery. We can only assume she was also immersing herself in the trans-Atlantic pop scene of that time.

We don’t know if Wong heard the original “Dreams” in New York, but by the time she covered the song on Random Thoughts, the Cranberries’ song had become a signature hit twice over. It was the Irish band’s debut single from the fall of 1992, but they also rereleased it in the spring of 1994, after the massive success of their follow-up single, “Linger.” My friend, music writer Ned Raggett, described it as “a brisk, charging number combining low-key tension and full-on rock,” which is to say it’s a song filled with a sense of taut control but also giddy release. It’s easy to imagine how Wong, seeking to reclaim her artistic autonomy, might have been drawn to it.

Upon returning to Hong Kong in 1992, Wong reclaimed her birth name by changing her stage name to Faye Wong, and she immediately began to score a string of best-selling albums, many featuring covers of alternative rock hits. “Dream Lover” isn’t the only example to appear on Random Thoughts; the album also includes a pair of Cocteau Twins’ covers.

Showcasing “Dream Lover” in Chungking Express so close to Random Thoughts’ release was surely a savvy marketing move, common in the Hong Kong entertainment industry. However, the use of the song—alongside Wong’s real-life stardom—also works beautifully with the narrative and logic of the movie. From the moment Faye is introduced at the start of the second half, she’s already living in a dream of sorts. When we first meet both her and Cop 663 (Tony Leung), she’s working at her cousin’s food stand and blasting “California Dreamin’” out of a kitchen stereo. It’s so loud that 663 has to awkwardly shout at Faye just to put in his order, but Faye seems unfazed by the volume. With each repeated playing of the song, we’re meant to hear it as a commentary on Faye’s dissatisfaction with the drudgery of work and her weariness of Hong Kong’s gloomy, wet climate. California—“safe and warm”—represents a fantasy to escape to, first in her imagination, later in reality.

“Dream Lover” obviously extends the same “dream” theme, but as it’s also performed by Wong the singer, in scenes featuring Faye the character, there’s a rich meta-text at play. In “Dreams,” the Cranberries’ Dolores O’Riordan sings of trying to grapple with her sense of fantasy and reality in the context of an existing relationship. Wong’s “Dream Lover” has different lyrics that seem to recast the song as one about a lover who may be real or may be imagined. That ambiguity echoes Faye’s infatuation with 663, which she goes out of her way to avoid making explicit. 663 may be the lover in her dreams but not one she is keen to pursue in reality. As if to stress this point, we first hear “Dream Lover” after Faye has stolen his apartment keys in order to sneak in to dust his shelves, swap labels on his pantry cans, even drug his water bottle so she can continue her clandestine cleaning while he’s passed out. (This probably seemed more quirky and charming in 1994. Today, it’d likely be cause for a restraining order and psych eval.) Faye wants to be in 663’s presence, but only indirectly. She has more of a relationship with his domicile than with him.

That first use of “Dream Lover” is played under a montage of an extended cleaning session, and cinematographer Christopher Doyle shoots Wong with a handheld camera, adding to the already off-balance feeling of the scene. My colleague Brian Hu has astutely noted in a video essay that this shooting style seems to deliberately mirror the aesthetics of Wong’s music videos of the time. Hu’s analysis posits both the movie and music videos were shot in such a way to present Wong/Faye as a “whimsical dreamer,” “a free spirit,” “inquisitive and mysterious.” Moreover, in real life, Wong left Hong Kong to “find herself” in the U.S., and that story would have been well-known to any Cantopop fan watching Chungking Express. Film Faye is so tightly interwoven with Faye Wong that one wonders, if Wong had been unavailable or uninterested in the role, would WKW have abandoned the character or storyline completely?                                      

When I first sat in a Bay Area theater to watch Chungking Express in the mid-nineties, I knew absolutely none of Wong’s backstory, and yet I still found the song immensely affecting, especially when it returns a second time, forming a coup de grace moment during the film’s final scene.

To recap: the last chapter in Chungking Express occurs a year after Faye has decided that, rather than meet with 663 at the California Bar, she’s going to travel to the actual California instead to see if it lives up to her dream. Now a stewardess, Faye drops by her cousin’s food stand only to find 663 there, no longer a police officer but now the stand’s owner. Before, Faye was the one infatuated with “California Dreamin’,” but now it’s 663 playing the song, also loudly, on the kitchen stereo. He is surprised but clearly pleased to see her. She, however, is nervous about having her “dream lover” in front of her and begins to make excuses to leave. At this point, the will-they/won’t-they tension from earlier in the film returns, and as viewers invested in their potential pairing, we’re left anxious that this moment too will end without resolution.

But 663 then retrieves the letter Faye had left him the night she departed. It’s a hand-drawn boarding pass but rainwater has blurred out the destination, and Faye offers to write him a new one. When asked where he wants to go, 663 replies, “Wherever you want to take me,” and the last we see of the pair is Faye inking a new pass on a napkin while 663 stares with affectionate intensity. One final moment flashes back to the stereo, where “California Dreamin’” had been playing just before. This time, it’s “Dream Lover” that swells up and kicks in before the end credits flash on.

Ending with a song as robust as “Dream Lover” doesn’t just reinforce the movie’s unique, unpredictable energy, it also captures something of how we often experience dreams themselves: as intense but disjointed bursts of images and emotion that we wake from, momentarily disoriented yet filled with feeling. The exuberance of the song offers a form of musical catharsis for all the deliciously confusing tension that’s built up over the past hour. We don’t know for certain what will happen to Faye and 663 after this scene, but what the sound of “Dream Lover” offers in the moment is a rousing sense of possibility. The song’s sonic verve—with its “low-key tension” and energetic release—fuels hope that our lovers may not be so star-crossed after all, as they pursue their romantic dreams, wherever those may take them.

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SOURCE: THE CRITERION COLLECTION

#2019

[hufflepuffhermione]

I was tagged by @herladyshipsnope to share my Downton Abbey opinions. I haven’t done a tag game in ages but I sure have lots of Downton opinions so... here we go.

1. When did you start watching Downton Abbey?

I’m pretty sure it was either late 2012 or early 2013. I was twelve. My parents wanted to watch it and since I enjoyed Jane Austen movies and other period dramas I had seen, I watched it with them. It was kind of the first ‘grown-up’ TV show I ever got into. And here I am... eight years later, still blogging about it.

2. Favourite series?

SEASON TWO. Objectively, season one has better writing (hmm that might have to do with the fact that Fellowes had cowriters in that series...) but S2 was where I really fell in love with the show and especially MM, and even now I’ve never found another season of television that has hooked me like that one.

3. Team Upstairs or Team Downstairs?

When I first watched it, I thought I’d be more interested in downstairs, but... a certain ship happened so I will say I care much more about the upstairs plotlines.

4. Favorite Downstairs character and why?

It was Tom before he switched sides and kind of lost his actual personality 🤷‍♀️ Otherwise, I’d probably say Anna? She deserves better.

5. Least favorite Downstairs character and why?

Bates. He’s kind of creepy, his moralism is really annoying (shut up I know Matthew has that same problem but that’s DIFFERENT and maybe someday I’ll meta on that point), and I was just so sick of the prison plotlines all the time. Also his relationship with Anna was overly controlling and I think she deserves better than him.

6. Favorite Upstairs character and why?

MATTHEW CRAWLEY. I’ve gone into some detail about why I love him and think he’s absolutely fascinating before, but in summary, I think he’s a lot more complex than people give him credit for, in a way that is pretty uncommon to see on TV. Also as we’ve noticed kind blond, blue-eyed, professional period drama men who go through war trauma and then marry the love of their life who they fight with initially and who is above them in class is apparently my favorite character type (see also: Dwight Enys). I don’y have all the words tonight apparently for why I love him but I’m sure I could spew out a whole essay for why I love him (and tbh I’m pretty sure I have in the past when people asked me for my Downton opinions?) But I’m sure anybody who has spent five minutes on my blog already knows I love Matthew so I’ll leave it at that.

7. Least favourite Upstairs character and why?

If I’m not pretending the last few seasons don’t exist... then I hate Talbot with the fire of a thousand suns. Is that mostly because I’m an MM shipper? Probably, but also he makes me very uncomfortable, he’s not a good person (see: him threatening Mary when she won’t marry him?) and he’s not even interesting. Fellowes really screwed that one up. But otherwise, I didn’t hate Cora but I never really cared about her at all.

8. Do you ship anyone?

Take a peek at my icon if you haven’t figured that out yet. Or scroll through my blog for five minutes. Or look at the extensive library of Downton fic I’ve written. You’ll figure it out pretty quickly.

9. Favourite quote?

“You’ve lived your life and I’ve lived mine. Now it’s time we live them together.” Or just... the entirety of the proposal.

10. Scene that made you cry?

So many... the train station scene, basically all of 2x05, the proposal (but happy tears there!), Sybil’s death, and I refuse to acknowledge anything after the S3 Christmas special but I did cry. And I have to admit the very last scene of the series made me cry even if I was not a fan of the last three seasons.

Tagging @galindadaae (who is normally the one I throw all of my Downton opinions on) and whoever else wants to do it

#alli says stuff #downton abbey #it’s been eight years and i’m still obssessed with the same period drama couple what does that say about me

[vecna]

Oohh for the fandom meme! Dragon Age?

Send me a fandom!

Oh boy, this is going to be spicy.

It’s also very Anders-negative, so apologies up front.

The character(s) I first fell in love with:

I’m actually not sure which was the FIRST, but it’s a tie between Morrigan and Alistair. I saw fanart of them going around at the time Origins first released, and that’s what got me to try the game! 

Alistair was a breath of fresh air, because at the time, I was used to warrior men in games being all Edgy and Rough, and he was the total opposite and a sweetheart.

And Morrigan was just instantly my goth wife, and had Claudia Black as a VA, so I was sold immediately.

Both still hold a special place for me!

The character(s) I never expected to love as much as I do now:

Loghain is the main one. He does a lot of truly reprehensible shit in the first game. But once I sat down and read the prequel novels about young Loghain, plus saw what he’s like if you recruit him, he grew on me A LOT and now he’s a top fave.

Nathaniel I expected to hate as soon as I saw his name + who his father was, but then the expansion came out and I ended up loving that dude almost immediately. I really wish he was around more after Awakening, and also really wish he’d been a romance option, especially for a Cousland haha.

Merrill is a weird one because she was totally uninteresting to me in DA:O, so when they announced her as a companion in DA2 I was like, “Ehhhh.” Then they punked me by making her adorable and sweet and now I love her.

Plus a bunch of side-characters like The Architect? I liked him a bunch in the novel + Awakening – although I found his Plan in the novel much more appealing. But as the years have gone by, I keep surprising myself at just HOW disappointed I am he’s never appeared again haha.

The character(s) everyone else loves that I don’t:

There’s a few, and all of them will get me yelled at, but here we go.

First: Isabela. This one’s a bit complicated, but it really just boils down to her attitude towards how you play your character. I actively dislike characters who are super sexual – regardless of gender. But Isabela in particular bothers me because she’s constantly pushing her lewdness and sexual humor on you, and when you try to discourage it, she admonishes you with, “Well, you’re no fun.” Her whole character is just… like that for me. Super pushy, overly lewd, gets uppity when you don’t have the same ~liberated~ opinions she does, and this is all played up in the writing like she’s this Empowered Woman the player absolutely must love, especially if they’re playing a male character lol. I hate her for the same reasons a lot of people hate Liara in Mass Effect, but with the addition of pushy lewd jokey characters always rubbing me the wrong way.

Second: Iron Bull. I’ve written a lot about why he makes me more uncomfortable than any fictional character I’ve ever encountered, and I just outright hate him, he makes my skin crawl. If you want details, feel free to DM me, I don’t really want to rant about it again publicly.

Third: Anders. Again, I’ve written a lot about him before, but. I hated him in Awakening, for a lot of the same reasons I hate Isabela in DA2. But the changes they made to him in DA2 are just kinda :/. While I absolutely agree with him about Mage Rights, the level of preachiness they added to him drove me nuts, and the fact that you’re painted as a Bad Guy if you don’t like him blowing up the chantry. And from a purely OOC standpoint: He’s become a figurehead for all the aggressive Discourse people in the fandom, and if I see someone list Anders in their sidebar bio, I know pre-emptively that their blog is going to be full of 6 page long essays of meta about how everything is Problematic, and no thanks.

To a lesser extent, I’m also not fond of Zevran. But in his case, it’s not anything major like the others, I’m just tired of Bioware’s habit of making the bisexual characters overly lewd sex-focused rogues/deviants.

The character(s) I love that everyone else hates:

Loghain, lol.

But also Sebastian Vael? There’s so much about him that I find genuinely fascinating, especially regarding his backstory, and his struggles between his feelings of responsibility to his family vs his dedication to the Chantry and bettering himself. He’s such a dear character to me, and such a pivotal part of any playthrough, I’m always blown away when I remember he’s a DLC character and many people don’t have him.

HOWEVER Anders being the fandom darling means that people tend to unfairly shit on Sebastian for reacting poorly to the Chantry explosion. People also like to label him as a poster child of a White Straight Church Boy, while refusing to acknowledge he’s… not straight, and not exactly a church boy either lol.

Also Vivienne, but I think that one’s really self-explanatory. I love her, and she gives a really needed perspective on the Circle, since most of the mage companions previously were apostates. But of course, she gets written off as a Chantry apologist, and an uppity bitch, when people would def love her for the same traits if she was not black lol.

The character(s) I used to love but don’t any longer:

Justice. And by extension, Anders. A lot of people like to rant about how Justice ruined Anders, but I always saw it the other way around.Justice was my favorite character in Awakening. The whole concept around him, that he was a Fade spirit who took human form and was experiencing life for the first time was SO fascinating. I felt like there was so much to explore there with his character.

Buuuut then they had him merge with Anders. With the narrative being that he WAS a spirit of Justice, but the moment he connected with Anders, it corrupted his entire spirit into something he wasn’t anymore. So essentially, the character I used to love no longer exists, thanks to Anders. And it reminds me of that phrase recently, about how the destination is so terrible you can no longer enjoy the journey? I can’t even appreciate Justice in Awakening anymore, knowing what happens to him.

To a lesser extent, Corypheus. He was SO COOL and the premise of him was AMAZING when he first appeared in the DA2 DLC, but then Inquisition had to go and turn him into a weird shallow mustache twirl villain.

The character(s) I would totally smooch:

None? Idk I don’t really have the Smooch Fictional Character gene.

The character(s) I’d want to be like:

MAEVARIS TILANI. May I one day finally have the confidence in my identity that she does, and also marry a sweet bear man who adores me.

The character(s) I’d slap:

Too many to list, really. Probably Anders.

The pairing(s) that I love:

THERE’S SO MANY. And most of them are with the PC, because I generally don’t ship NPCs together. But my top 3 are:

M!Hawke / Fenris is my ultimate OTP in the Dragon Age series, by a long-shot. Not even sure where to start on how much I love it, but two damaged guys leaning on each other to work through their respective loneliness and trauma is MY JAM. And lmao I love silver-sideburned Hawke chillin in retirement somewhere but being a supportive husband while Fenris goes off hunting the Bad Guys, it’s great.

Solas / Lavellan is a close second, with the caveat that I increasingly prefer it with a male Lavellan. Having the Inquisitor in love with Solas just changes the entire tone of the game for me, for the better, and him actually being the villain trying to end the world while in love with this normie elf is just (chef kiss). Too bad I’m burned out by how overly spammed it is.

Dorian / Inquisitor is in third, I will just always be fond of how it’s a story of the Inquisitor helping Dorian be happy with who he is, escape an abusive family, and realize that he’s allowed to be loved. Good shit good shit.

Some others:

Warden / Morrigan is probably my favorite Origins ship, and that only intensified with the way she talks about the Warden in Inquisition, esp if they’re Kieran’s other parent. What a cute goth family, regardless of the Warden’s gender, cause you can pry Bi Morrigan from my cold dead fingers.

Cassandra / Inquisitor might have a lot of Romance Cliches, but I adore it – although, similar others, I increasingly prefer it with a female Inquisitor. I actively dislike the weird no-homo rejection with her, and come on, a lady Inquisitor being her Knight In Shining Armor is just good storytelling.

Cullen / Inquisitor, for a lot of the same reasons as Cassandra. I love me a cliche romance, but I’m also fond of the narrative w/ him of someone he loves helping him heal through the lyrium withdrawals and take time to rest.

Josephine / F!Inquisitor is just adorable all around, and wholesome, and great.

Varric / Hawke COME ON HOW WAS THIS NOT AN OPTION.

On the rarepair end:

Sebastian / Hawke doesn’t seem like it would be a rarepair – you’d think everyone who loves Cullen/Inquisitor would love this one too. I do! But alas. That said, I’m also pretty aggro about this one with a male Hawke because SEBASTIAN IS CANON BI. WHY WAS HIS ROMANCE STRAIGHT.

Maric / Loghain is a rarepair I will take with me to my grave LOL. Never forget the scene where Maric thought Loghain was leaving, and bolted across the camp with almost no clothes on to beg Loghain to stay. Come on.

Nathaniel / Cousland is dear to me, and I love it so much more than Alistair / Cousland haha.

Greagoir / Wynne, I can’t believe this got validated in canon ahhhh.

The pairing(s) that I despise:

Again: THERE’S SO MANY.

Iron Bull / Dorian is my least fave by a longshot. Again, I have written about why I hate this pairing a great many times, but it’s awful and toxic and makes me deeply uncomfortable, and I could happily go the rest of my life without seeing anything about it ever again. Please keep poor Dorian away from that man. He deserves someone that doesn’t sexually harass him until he’s finally worn down into dubious consent (while drunk) and then outted to everyone about it.

Isabela / Fenris. Sorry, but it’s just bad writing that Fenris bails on Hawke because the physical intimacy triggered his PTSD and he needs space to process, but then will turn around and have a casual sex relationship with Isabela instead. Yikes.

Anders / Fenris. Aveline / Isabela. Alistair / Morrigan. All of the DA2 Hawke/companion rivalmances. I don’t enjoy “these two people hate and antagonize and want to kill each other… but they fuck” in any form.

Cullen / Amell. Yikes.

And basically ALL of the canon wlw pairings in this series suffer from the fact they have men writing them, and as a result they’re almost always some kind of abusive or racist, and skeeve me out. See: Celene / Briala, Leliana / Marjolaine, Branka / Hespith, etc. Please Bioware, I’m begging you to consult some actual queer women. It’s insane how badly they’re treated compared to how the canon mlm couples are written.

FINALLY, I recognize this will be the most unpopular of all, but. As much as I love M!Hawke/Fenris, I just honestly cannot stand seeing F!Hawke/Fenris. There are some pairings where I’m so attached to the m/m or f/f version, I cannot deal with the m/f version anymore, and that’s one of them. (The others are mainly non-Bioware.)

#LONG POST #REALLY LONG #SORRY #misc: text #misc: asks #misc: meme #series: dragon age #gen: bioware #utopianoverlord

[night-filled-mountain]

1, 4, 8, 18, 22 for the shipping asks!

1. What was your first OTP?

It was, er…Buffy/Spike from Buffy the Vampire Slayer. That’s a whole can of worms I don’t want to open too wide, but it definitely started me on a trend as far as het ships go, which looks something like this:

Woman is an epic heroine who radiates strength and virtue

Man is an angsty reformed villain who worships the ground she walks on, but is absolutely convinced that she could never love him and that he will never be worthy of her

Woman has her own darkness and angst, and is able to safely explore that with him; he may see a more complete picture of her than others do

Man nonetheless has to work Very Hard to transform his whole outlook and way of interacting with the world before she will even vaguely consider returning his feelings

He does the moral/emotional equivalent of crawling to her on his knees

She is proud of his progress, maybe finds that she cares for him, and maybe, maybe lets him touch her

…There’s a lot going on there that I don’t have time to unpack (with Buffy/Spike and this trend in general), but I was (and am) continuously frustrated when it gets reduced to “Girls like bad boys” or “Unhealthy dynamic where The Woman Has to Change the Man,” because that’s…not what it’s ever been about for me. I could write lengthy essays about this and still fail to express myself properly, so I’ll just say that these ships, for me, boil down to this poem, and leave it at that.

4. What is/are your favorite trope(s)?

…Oops. Kinda jumped the gun on that one!

Besides the above, which is…still pretty major for me, here are a few off the top of my head:

Same as above, but with any other combination of genders…except Heroic Man and Unworthy Lady. That one doesn’t generally do it for me, seeing as “flipped power dynamics” is a nigh-essential element of my het ships. (That said, Lilah/Wesley from Angel does come to mind…)

Slow burns. Slowest burns. Burns that burn at the speed of a melting glacier. I am an asexual who chose a wedding song that included the line “You would never hold me, I don’t like to be held.” I am Very Big on the gradual creeping ache of unfulfilled longing, whether it’s friends-to-lovers or enemies-to-friends-to-lovers or something else entirely.

UNEXPECTED ROMANCE (that still makes total character sense). This is definitely a factor in my thing for reformed villains getting with heroes/heroines. I just go nuts for feelings, conversations, tender touches, and character commonalities that come out of left field, as opposed to being telegraphed from the first chapter/episode. Honestly, few things are a bigger turn-off for me than instant attraction/love at first sight, unless readers/viewers are left in very long and genuine doubt about whether it’s requited (see: Beauyasha 😛). I’m also left very cold by Traditional Heteronormative Love (especially involving tall muscular dudes whose supposed hotness is dwelled on extensively). Give me two (or more) weird, broken characters who you never would have considered together, having a talk that suddenly makes you see the ways their personalities and experiences reflect or complement each other, and it hits you like lightning and leaves you smoldering for ages to come.

Bittersweet tenderness! Sad characters falling in love. Sad characters being loved. Sad characters being sad together and working together to soften the edges of their sadness. Wincing and downcast eyes and hesitant hands on shoulders. Very hesitant touching in general. Wry gallows humor, awkward prickly conversations, everything feeling off-beat (but in a healthy way?) even after mutual love/a relationship has been established. And all of the ways people help each other cope with trauma.

Hand placed gently on neck. Tongue against ear. Hands touching, fingers trailing down hips. All the little affectionate or erogenous touches that fall short of blatant sexual contact. ALSO DANCING. DANCING!!

…I feel like there are so many more, but I need to try and avoid turning all my asks into theses! Moving on…

8. Who is the most shippable person you can think of?

This seems so subjective to me! I’m tempted to say “Caleb Widogast” purely because I’ve shipped him with so many people, but that’s just because I really like Caleb Widogast and am hyper-tuned to his relationships, not because a scruffy traumatized wizard is inherently Good Shipping Material. …Or is he?

18. What is your favorite unpopular ship?

Fanny Price/Mary Crawford from Mansfield Park. Fight me.

22. Do you have any ships that you ship, but would never want to see as canon?

I don’t know about never, depending on the ever-changing circumstances of a canon that hasn’t ended yet. There are definitely ships that I love the idea of, but don’t go as hard for, because there are other ships involving the same people that I like better…but then you have open relationships and polyamory!

There are also ships that I would love to see in canon, but not yet, or not unless certain circumstances came about. i.e. I’ve talked before about how I adore Shadowgast in theory, but am very uncomfortable with seeing it happen if the power dynamic between Caleb and Essek remains unchanged, or if there’s anything transactional or even vaguely coercive about it.

…And then there’s the rare ship that’s affected, for me, by factors outside the canon–real-life elements, if you will. Which leads me to the prime example to use for this question: Beaujester. I love it as a ship. I think it is/would be fantastic. I think all the necessary ingredients are there, the friendship and chemistry, the unexpected factor, the major slow burn, the bittersweetness–everything. But I’ve never been able to really give my heart to it because of the Beauyasha flame burning inside me since the start of the campaign. And I can’t deny that my ship loyalty has been influenced by my meta knowledge of Ashley Johnson–how she’s had to miss much of both campaigns against her will, how she has trouble getting back into the swing of the story when she does return, and how she may well be hopefully considering Beauyasha as a potential part of Yasha’s story, a part that she’d love to explore if she ever gets a chance.

Now, all of this is completely disputable, including the notion that Yasha has or will develop feelings for Beau at all (I’ve seen it argued very convincingly that “Fire Under Water,” the love song on her playlist, is actually about Jester, and that is completely valid and intriguing in its own right!). But for the moment, my personal feelings and interpretations re: Ashley have definitely influenced my shipping preferences…and during the current plotline, I’ve developed such overwhelming Beauyasha Feelings (for the sake of the ship itself!) that I doubt I’m ever going back. (Though, once again…Beaujesteryasha? Sign me up.)

#asks from the askbox #shipping #buffy the vampire slayer #critical role #mansfield park #...i am too lazy to tag everything in this post right now