Ok but guys what if in s3 it starts with ed rowing away in a dingy again (like the same shot that's happened in both seasons you know what I mean) and it's all like omg they broke up again but then just pans to reveal that stede is just on the coast and ed is rowing out to catch a fish for dinner.
like do you see my vision
I know it's probably not going to happen but a boy can dream
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An aspect of Hilda the series that I feel isn’t talked about enough is the colonizer’s guilt and how it affects the main character.
What made me write this was watching the third episode of the new season, but honestly, it’s something we see throughout the whole series. Starting out with the elves in the northern counties, and moving on to trolls and now giants. Every season that came out gave us a chance to see Hilda deal with the feelings that arise from living in a society she knows is built on the occupation of another people’s native land and the oppression of those inhabitants.
She knows it’s not her fault, she knows she’s not the colonizer, but she’s well aware that she’s in the privileged side of her society. Seeing her grapple with the fact that her very existence in these spaces is only possible because someone else is getting the short end of the stick, to me at least, makes her that much more interesting of a character.
Because it’s not a matter of fixing what she’s done, but the privilege is still there and not even well hidden when she sees the day to day life of the people whose land has been occupied by humans/trolbergians. So whenever we see her rush to aid them, her borderline desperation to fix what’s been broken, it’s even more captivating because it’s not just the usual “I love helping people and having adventures” gist, there’s always this undertone of guilt for something she hasn’t personally done but still knows has to be held accountable for.
Hilda knows the type of oppression that people like her get away with. And she wants no part in it.
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A quick (it was going to be quick, but this turned out to be a lie) “Tech Lives” thought:
This is something I already covered in this post, but the placement of and the way Tech’s sacrifice works in the structure of “The Summit” and “Plan 99” is really weird if it’s intended as a genuine character death. Basically, tl;dr for the original post: it functions as a plot point/catalyst to get the rest of the episode moving, not as a send off/death for a major character, which is a large part of why it doesn’t read as a character death at all to more casual viewers (and why I kind of suspect the writers/showrunners didn’t intend it to be read that way).
I just finished summarizing “Truth and Consequences” and “The Crossing,” to my (still long-suffering) little brother, and they way those two episodes work together has kind of hammered home the point about Tech’s sacrifice not functioning in episode as a character death even more for me. Echo leaves—just leaves! He doesn’t even die, and he says it’s not forever and that he’s coming back—at the end of “Truth and Consequences,” and then that’s followed up with an entire episode about the other characters dealing with his absence. We get a character departure and then a whole episode about the aftermath of that loss. And that’s important, not just for the characters, but also for the audience, especially if you keep in mind that as dark as The Bad Batch gets, the target audience is kids around Omega’s age—ten to thirteen(1).
And, if we look at Rebels(2), which is the closest of the animated shows to The Bad Batch in terms of the kind of story it’s telling, it’s pretty consistent with the way that show handled the send off of a character the protagonist saw as a parent/older sibling. Kanan dies at the end of “Jedi Knight,” and then the follow up episode—“Dume”—is just about everyone else coming to terms with their grief.
Tech’s “death,” though? Six-minutes, forty-odd seconds into a twenty-something minute episode PACKED with other big plot points, leaving the other characters in shock and giving all of them—especially Omega—about ten seconds to sit with that shock before things keep happening, and then another thirty or so seconds later on to acknowledge their grief and shock again before the plot comes at them all like a freight train through the crystal palace. They’re not allowed to process it, and because they’re not, neither are we.
Which is all the more striking because there was absolutely a way to give Tech a definitive death and give the characters (and us) time to deal with it. Make “The Summit” three minutes longer. Maybe even two. Cut out the rigamarole with Tech running back to the cable car, the cable car getting shot, and Tech dangling at the end of the line. Have him call “Plan 99” choose to stay behind at the control panel because that’s the only way to get the cable car moving again. Have him send a signal to the car sends it hurtling away while the others are screaming at him to stop and get back on board and Echo is trying to get it to stop but can’t, because Tech’s overridden the signal. Show Tech getting shot down by one of the stormtroopers or a v-wing if you have to as he’s holding his place at the panel. You can keep Omega yelling at everyone to go back, keep Wrecker telling Tech not to do it, keep Tech’s last line as is. End “The Summit” with the cable car crash and then begin the next episode with the sequence of the rest of the batch running for the Marauder as Omega drifts in an out of consciousness.
Doing this, killing Tech off in a slightly different way at the end of “The Summit” rather than a quarter of the way through “Plan 99,” would have kept Tech sacrificing himself, but would have also (potentially) shown us a body and given the other characters (and the audience) time to process his death in the next episode before the other plot points started happening. It would have read as a definitive character death. Instead, the writers/showrunners decided to have Tech “die” in an incredibly non-definitive way in a situation that directly parallels what happened in “Faster” and allows for the appearance of that ice-vulture/survivor imagery we already saw with Crosshair, and which leaves everyone with no body AND absolutely no time to process it as a death.
So, anyway, Tech’s extremely alive.
1. I know people get kind of defensive when people say that The Bad Batch is a kids’ show, but I think that’s because we tend to use “kids’ show” as a pejorative. I’m not. When I say that The Bad Batch is for kids first and foremost, I don’t mean that it’s simple or bad or not worthwhile—I mean it as a point of high praise. It’s a kids show that goes some heavy places and refuses to speak down to kids, which is great. Kids ought to have good tv, too, and it ought to come in a variety of flavors.
2: I know we tend to like to compare The Bad Batch to The Clone Wars, but Rebels really is the closest parallel. Rebels was another linear story with a limited focus on one group of characters and definite start and end points. The Clone Wars was a sweeping anthology series both produced and aired in a non-chronological order, and which, as far as I can tell, was basically designed to go on ad infinitum until it either got cancelled (which is what happened) or they ran out of ideas, at which point they would do the Revenge of the Sith overlap stuff (what they did once they were allowed to bring it back and finish it off).
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I do gotta say tho, even tho I’m mad at aziraphale because he’s being a terrible boyfriend like what you said about the “I forgive you like” because WHAT. But also I really like the way the show really demonstrates the underlying cruelty of heaven and it’s angels. Really shows the hypocrisy of a group of beings who are supposed to do good, especially aziraphale who really buys into the heaven propaganda, who hurts people, particularly the person who means the most to him. Because like you said he fully just takes advantage of that devotion Crowley has for him. Insane, this shwo makes me INSANE
I missed this anon and yeah! The angels were one of my favourite parts of the season, and I think the strongest element aside from Neil Gaiman deciding he's just a simple man who wants to put his otp in situations. They are deeply awful and I kind of love them. They are the exact kind of moralizing hypocrites who are callous and cruel precisely because they think being on team good means everything they do is justified and it's actually impossible for them to be in the wrong (they're angels! is it even possible for them to do the wrong thing?).
but!! To me, they also seem like they're basically kids? Obviously they're not literally children, but there is this very consistent reoccurring joke about how childish/sheltered/immature they are. Muriel is the most obvious example, but the archangels come off like bratty twelve year olds to her sweet little kid.
Gabriel is basically teenager in love flipping off his family as he runs away with his backstreet guy. Uriel is constantly picking at Michael, Michael is playing at being in charge like it's a game, and it's ridiculously easy for both Aziraphale and Crowely to trick them obvious half assed lies. They're not allowed to ask questions! The Metatron treats them like badly behaved kids out past their curfew. At any point an old man with a beard may pop up to scold them and send them home, and they're all scared of doing something wrong by his standards and getting in trouble with this guy who is pointedly not God but who lines up exactly with the pop-culture idea of god the father, and who offers Aziraphale, among other things, a respite from the hard work of figuring out what the right thing to do is for himself. It's fine! You don't have to question the belief system you were born into or make a painful break with everything you've ever known! Aziraphale has had six thousand years on earth to grow up, but the other angels have been sitting in a sterile white box playing "i'm not touching you" games with each other and filing paperwork.
And I think that's extra interesting because this season also really emphasizes:
Heaven has Institutional Problems
Aziraphale isn't the only angel who's unhappy in heaven. Gabriel and Muriel were both completely miserable. They just didn't understand that they were unhappy because they'd never experienced anything else.
Angels who aren't Aziraphale can change and grow! There's very explicitly Gabriel being changed by love and Muriel growing up a bit on earth, and from a more fan-theory angle there's also Jimbriel, who I think is probably basically Gabriel minus the war and six thousand years of playing referee for Michael and Uriel while unleashing an assortment of plague and calamities on earth because that's God's will! Buck up champ.
We also get Gabriel and Beezelebub talking about how their underlings basically live for Armageddon, "if you can call that living." This is so bleak. They've all been on a six thousand year time out just dreaming of the day they get to beat the shit out of each other until they feel better, but it won't work because eternity is just more of the box.
Anyway I think it's going in a distinctly eden adjacent direction. Aziraphale is going to tempt those angels with knowledge and the capacity for change. I have veered so far from your ask anon i'm sorry you're right heaven really went all out on sucking this season & while Crowley and Aziraphale are both fucking it up Crowley refrains from being spectacularly cruel to Aziraphale about it and Aziraphale should learn to return the favour. I forgive you!! I forGIVE you. I forgive YOU. "you can be an angel again" is actually a worse thing to say than "you're a demon. i don't even like you." when he finally picks crowley over heaven i'm going to lose my mind.
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Hello, Eris Morn Fan... I want to play a game.
The rules are simple: You have 6 hours to write a fanfic, draw fanart, construct a lore essay, meta post, or other piece of Eris-centric speculative or creative content. However, in the course of creating this ... you must exclude The Drifter from her narrative. Platonic or romantic. As a co-starring character, or referential callback.
Not even a "trust" will be permitted.
Should you fail, Seth Dickinson will write into the next Collector's Edition booklet a scene where Eris comes out as lesbian and/or some combination of aro/ace, instantly collapsing both the D2 team's and fandom's interest in her as a beloved piece of M/F ship-bait and romantic prize for the funnyguy of the moment, the only two things women in this fandom (like most fandoms) are allowed to be.
Work quickly... time is running out.
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