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#My meta
theerurishipper · 2 days
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The thing I'm wondering about is why it's Batman who always gets the blame for what is more or less standard fare across the DCU. "Batman indoctrinates children into his war, the Robins are child soldiers!" But where is this energy for Wally West or Roy Harper or anyone else? Why doesn't anyone call Barry or Clark or Ollie out for indoctrinating children? And in the same vein, Batman gets consistently torn apart for not killing the Joker, when I don't really see any other hero get this? No one is writing hit pieces on Superman for not killing Luthor, but somehow saying Batman is a coward and in the wrong for not wanting to compromise on his principles is a significantly popular opinion? Like, there are legitimate reasons to criticize Bruce as a character (his controlling nature, his tendency to be cold and distant and push people away, etc.), but why is it always the wrong arguments (that have already been explained and explored in depth in canon) that always get the most traction? And why is it always Batman?
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heliza24 · 3 days
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Wilhelm's Journey of Radical Forgiveness in Season 3
So this is the next entry in my unintentional series, about how Young Royals embraces truly radical story telling. Previously I’ve written about Simon in season 2 and his arc of radical acceptance, and about how radical the act of quitting the monarchy could be for Wilhelm (and I have never been so happy to be right about anything). But now I’m ready to start talking about season 3, which I loved, and specifically about the theme of radical forgiveness, which I thought was laced throughout the whole season beautifully and drove Wilhelm’s arc specifically.
Before I jump in, I want to pause and really define the concept of radical. When I’m using "radical" in this context, I’m talking about something that challenges the nature of what we assume to be true. I’m talking about embracing an idea that may not seem logical at first, but feels emotionally true and necessary. And I’m talking about ideas that are revolutionary, that have the potential to change people and societies.
When I went in to season 3, I assumed from the beginning that it would end with Wilhelm leaving the monarchy. I have always seen this as the fundamental question of the show (will Wilhelm stay and fulfill his predetermined destiny, or leave and find his own path?). Wilhelm’s relationship with Simon is a catalyst for that decision and their ability to stay together depends on its answer. (There’s no world where Wilhelm remained prince and Wilmon was still endgame.) But during the gap between episodes 5 and 6, I realized that even if you could sum up Wilhelm’s overall series conflict as crown vs freedom/Simon, that was not the major thing driving him in season 3. Or rather, there was another dramatic question he needed to answer, or internal conflict he needed to solve, before he could decide to walk away from the throne and fix his relationship with Simon.
Season 3 starts with the private arbitration/settlement negotiation, and immediately establishes how inadequate legal and financial reparations are at mending the divide between Wilhelm, Simon, and August. Instead this setup pushes Wilhelm into more conflict with August, making him feel like he has to defend his family from August’s incursions. At the same time, the season also opens with the initiation reveal, and the immediate implication that Erik was one of the perpetrators of the sexual abuse that occurred and that August was one of the victims. Suddenly the audience is able to see that the perfect family Wilhelm thinks he is defending— including Erik’s memory— is so much more complicated than Wilhelm realizes. And at the same time, the supposed threat that August poses is also much more complex. No one is as black and white, as good or as evil, as we would like to believe. And Wilhelm’s arc this season is all about understanding this.
There’s one more component to Wilhelm’s arc this season, and that’s his relationship with Simon. As the season goes on, we see Wilhelm become more and more complicit in the abuse Simon suffers. As the season progresses, Wilhelm becomes an enforcer of the palace, asking Simon to give up more of himself, to compromise more of his values, to be with him. By episode four he is saying some pretty homophobic things (“do I have to represent all queers just because I’m in love with you” feels like a slap in the face) and by episode 5 he is subjecting Simon to a violent outburst, even if it’s not directed at him. Wilhelm says almost the exact same thing to Simon that Erik said to him in season 1 (“everything you do now represents me and the royal house”/“everything you do reflects on us as a family”). Kristina is explicitly asking Wilhelm to step up and fill Erik’s shoes this season, and Wilhelm obeys in more ways than one. Wilhelm begins to pass on the same cycle of abuse that is currently affecting him to Simon. The same cycle that has affected Kristina, Erik, August, and Wilhelm is affecting Simon now as well.
In order for Wilhelm to break this cycle, he has to be able to see what he is doing. And he cannot do that until he recognizes and accepts the nuances in both Erik and August. He can’t move on until he has made some sort of peace with both of them.
I think it was a genius idea to trap Wilhelm and August in Hillerska’s version of couple counseling (lol) and force them to talk to each other. (As an aside, I really do love how this show treats therapy as a thing worthy of being dramatized. It’s so powerful.) I also think it was important to see August begin to make some steps of his own, both in therapy and in the way he begins to give Wilhelm and Sara more space. We don’t really see the end of August’s arc of slow self improvement— by the end of the show he’s still very much trapped in the royal cycle and dependent on Sara in a way that’s problematic— but that’s ok because he isn’t the protagonist, and the important thing is that we notice that he is beginning to change, and so does Wilhelm.
The scene at the end of 3.4, when August tells Wilhelm about what happened during the initiation, is so important. August delivers that information genuinely, and not as a threat. And in that moment Wilhelm’s perception of his brother (and secondarily, of August) is flipped upside down. I think even more important is the kind of unspoken question lurking under this new information for Wilhelm: if I idolized Erik, and I detested August, and my image of both of these people was incomplete, then what does that say about me?
I think we can see Wilhelm questioning his perception of his family and of himself in a lot of subtle ways over the last two episodes. We see him put on nail polish and take it off. We see him afraid to ask his dad for more information about Erik on the phone, and then screaming at his parents for the way they abandoned him. We see him struggling to integrate this new information, and he completely neglects Simon because of it, leading to the breakup.
By episode 6, Wilhelm has lost Simon, reached a sort of catharsis with his parents, and maybe most importantly seen Hillerska itself— the setting where the abusive system seems to be baked into the very walls— crumble. All of the things he though were untouchable (his love for Simon, his parents’ authority, the everlasting nature of Hillerska) have completely changed. And I think all of that instability is what allows Wilhelm to finally accept that his understanding of both Erik and August doesn’t have to be permanently fixed either. I love the scene where August and Wilhelm meet at the party, August apologizes, and Wilhelm accepts his apology. And I also love the scene where Wilhelm throws out the broken frog prince snow globe, the one enduring symbol the show has associated with Erik and Wilhelm and their shared role over and over again. I know different fans will have different arguments about how Wilhelm feels about August at the end of the series, but for me their last interaction symbolizes radical forgiveness. By this I don’t mean that Wilhelm has to forget about what August did to him, just like he doesn’t have to forget the bad things Erik has done to others. But he does have to accept them as they are- full of flaws, but intricately connected to him. As part of his imperfect family. And he lets go of the violent anger that has plagued him through much of the series in that moment. That’s a type of forgiveness that makes a real change. It opens up a whole new avenue of possibility for Wilhelm. Because in extending that radical forgiveness towards August and Erik, he’s also able to forgive himself for the way he too has failed the people he loves.
Actually, I think there’s one more component necessary for that self forgiveness, which is Simon telling Wilhelm that he never gave up on Wilhelm himself, only on the Royal family and its rules. That one line is such a gift to Wilhelm. It allows him to see himself as an individual who is separate from his family and able to make his own decisions for the first time. It allows him to fully forgive himself, and to make the decision to leave for his own sake. It allows him to save himself. And then because he has saved himself, he and Simon can be together again.
So in the end Wilhelm ends up answering the driving dramatic question (crown or freedom?) but only after he extends radical forgiveness to his family members and to himself. I think it’s so beautiful, it makes me cry every time I think about it.
This theme of radical forgiveness is everywhere this season, not just in Wilhelm’s arc. It’s in Sara and Felice’s reconciliation, and in Sara and Micke’s relationship, and in the ways that Sara forgives herself and moves beyond shame (expect another meta from me about Wilhelm and Sara season 3 parallels soon, because there are many and I love them). It’s in the way that Linda and Simon forgive each other, and the way that Simon forgives Wilhelm, and the the way that Simon forgives Sara. It’s even in the ways that August grows in fits and starts this season too. I feel like I learned so much from this season. It challenged my assumptions about characters I thought I knew and reminded me to that there is beauty in acknowledging nuance in the world. And I think it will serve as an ongoing reminder for me that even when I mess up and do not live up to my ideals, I am still worthy of radical forgiveness. Growth can’t happen without that compassion towards ourselves and others. And if that isn’t the most perfect message to take away from this beautiful show that I have loved for so long, I don’t know what is.
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iamnmbr3 · 2 days
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"Yes, Riddle was perfectly ready to believe he was - to use his word - 'special,' " said Dumbledore.
-- Harry Potter and the Half-Blood Prince
I know that he's trying to imply here that Riddle already had budding megalomaniacal tendencies. But come ON. His powers were highly developed. He could move things with his mind. It's not unreasonable for him to conclude that he is special and can do things others cannot; that's just the literal truth. Also, I'd like to point out that Riddle actually first says "I knew I was different." But I guess Dumbledore wants to skip over that bit.
And over the implications. Riddle is, as far as he knows, the only person who can do what he does. He knows nothing about the magical world or what he is. For all he knows he really is haunted or possessed by a demon or something. Part of him must have wondered if he really was mad and imagining it all. His initial, violently fearful and aggressive reaction to Dumbledore when he thinks he's a doctor certainly is very telling and has a lot of implications about the treatment he's experienced during his first 11 years of life.
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oh so when Ollie says he's a vampire, he really means it, huh
- has to be invited in to Saltburn bc otherwise he wouldn't be able to ever enter that world
-the place is called Saltburn-salt is often used as warding against evil forces (but once invited into the protected space it is too late)
-he's there to consume these people, take their lives so he may live on (as the version of himself he sees as his due)
-consuming bodily fluids that are regarded as carrying someone's 'essence'/life (blood, seminal fluid)
-he's visiting people at night to prey on them, using their weak points, in this position behaves more dominantly than his daylight self
- a lot of this 'vampiric' behaviour is also mixed with sexuality, which is very much part of the vampire image
-destroying the mirror that doesn't show him (how he wants to appear...in the ending scene he no longer has a problem with it, relishes his new image as sy with status)
- Venetia, who he originally calls himself a vampire to, dies losing a lot of blood
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outpastthemoat · 2 years
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personally i think there should have been at least one episode where sokka collects aang and zuko and is like, “looks like we’re running low on supplies.  time for a GUYS-ONLY field trip.  three days of hunting and fishing and polishing our swords.  y’know, manly warrior stuff.  (aang, sotto voce: actually sokka i’m a vegetarian as you know--)  you girls have fun sitting around braiding your hair and talking about your crushes” and then the entire episode is just zuko and sokka lying around by a river, plucking blades of grass and staring up at the stars confiding in each other their deepest feelings and most secret insecurities while aang braids flower crowns, and whenever the screen cuts back to katara and toph and suki, they’re fighting and screaming and hacking away at river pirates and evil spirits and legions of assassins and hired mercenaries with swords.  you know, as girls do.
and when the boys finally drag themselves back to camp (they stayed up way too late discussing what true leadership really means and whether or not power always corrupts)  they find suki and toph and katara lounging around with black eyes and fresh bruises and bloodstained weapons and sokka shrieks, “what were you guys DOING while we were gone???”  and karata just shugs innocently and says in her sweetest voice, “oh, you know.  just girly things”
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percheduphere · 5 months
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LET'S TALK ABOUT LOKI'S SHOES (ACTUALLY, HIS WHOLE WARDROBE)
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Production costs aside, clothes tell the audience about how characters think of themselves.
Loki's shoes in the S2 finale raised a lot eyebrows, but I find them quite fitting: they are comfortable, practical, and most importantly, they are humble. The camera brings this to our attention to communicate his evolution in character.
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Loki has always dressed well, often times ostentatiously. Whether he is at war, passing as a Midgardian, or held captive as an Asgardian prisoner, Loki communicates his social class and sense of superiority through clothing. For him, clothing armors his fragile sense of self and against others' opinions of him. He intends to be perceived as deadly charming but ultimately unapproachable.
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His attire in the first Thor movie is roughly equal parts green and gold, signifying his royal status. His style is dressed down for his brother's misadventures in Jotenheim, yet overall both silhouettes are lofty, princely, but not hardened or threatening.
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In Avengers, Loki's look has more black and leather, with exaggerated emphasis on his shoulders meant to intimidate as he assumes the role of villain. The silhouette is very hard, heavy, and edgy. Gold detailing is prevalent as well. Combined with the goat's helm, this is Loki's most pretentious outfit, which speaks to an undercurrent of low self-esteem and a compulsive need to impress. There's no mistaking he is the main antagonist of the story.
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In Thor 2, Loki's attire is similar to Avengers but the overcoat is exchanged for a less bulky version (perhaps conveying he is less guarded now that the effects of the Mind Stone are no longer influencing him). Loki's role likewise pivots from the harsh lines of a villain to the more flexible edges of a reluctant villain-turned-ally. This aligns with his character arc when he protects both Jane and Thor, seemingly sacrificing himself.
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In Thor 3, Loki's silhouette is streamlined even further. The overcoat is done away with in favor of what appears to be a leather doublet, pauldrons, and vambraces. Gold accents are minimal. While stylish, Loki's attire is more practical than showy, and his helm serves the dual purpose of protection as well as weaponry. At this point in his arc, Loki has become a full antihero, joining his brother's side in rescuing as many Asgardians as possible, and eventually dying in a vain bid to protect Thor from Thanos.
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The TVA does something very fun and interesting in taking away Loki's ability to dress himself. Since Loki cannot use his magic in the TVA, he is forced to wear the same clothing as his captor/advocate, who eventually becomes his best friend and peer.
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Perhaps, on a subconscious level, this helped Loki to feel included. We know by his pwn admission that Loki fears being alone and desperately craves a sense of belonging. At the same time, he intentionally dresses to put people at a distance, thereby protecting himself from potential rejection at the cost of isolating himself further.
When Mobius gives him that TVA jacket for the first time, Loki seems uncharacteristically pleased. It is not an attractive jacket by any means, yet he neither scoffs at it nor refuses to wear it. Instead, Loki puts it on and is content when Mobius says it looks "smart" on him. He continues to dress like Mobius and, indeed, mimic some of his mannerisms such as placing his hands on his hips. Without clothing meant to push people away, Loki opens up, has more fun, and makes friends.
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Loki's choice of attire as he assumes the mantle of God of Stories (and time) is fascinating. Setting aside the clear design inspiration from the comics, Loki's silhouette is soft, remarkably so. His colors are earthy hues of green, and the only bit of flare are the light gold trimming and crown. The look brings to mind the garb of sages and wise wizards rather than royalty or warriors. He's powerful yet approachable because there is humility in his bearing. And that humility springs from a well of healthy self-worth, self-love, and a deep love for others.
The shoes are not meant to be attractive. They are meant to help him ascend the throne, nothing more.
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three--rings · 5 months
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One thing I haven't seen a lot of talk about in the fandom so far is about the financials of this season.
It took us two whole months to get a confirmation of renewal from Max, and I talked at the time that I think there was probably a lot of heated negotiations going on at the time with contracts and that's why it took as long as it did.
I think we see a huge number of indications of the compromises that were made in order for S2 to be made. One obvious one that has been talked about is being making in in NZ instead of LA, to save $.
But there's also the eight episodes instead of ten. And then the cast aspect. One downside of moving overseas was having to fly out and house the cast, not just pay day wages.
We knew immediately about Guz Khan not coming back, losing Ivan as a character. At the time I was sad but I thought it had the air of a pretty harshly practical call. If you went through the main recurring cast and said okay which character will affect the fewest things, has the least character interactions of anyone? It would be Ivan. (With the only competition being The Swede IMO, but he's Stede's crew and therefore a little more central.)
And then this season started and we got first The Swede sidelined and taken out of major scenes. And then I noticed that different members of the crew were simply absent for long stretches, like Wee John isn't around for ep 5 at all. And then Buttons takes flight.
Lucius and Pete aren't at the party for most of it. Fang isn't in the torture scene. Roach and Fang aren't in the bar. Etc. SCHEDULING IS HAPPENING.
The new characters are almost entirely played by NZ local actors, which is great, but also...cheaper.
In other words there are big signs that they did everything possible to give us a giant cast of almost everyone we love from S1, and cool new characters, in the most economical way possible.
And I'm grateful for it. I'm grateful we got S2, and it looks great, and it's well written, I'm having a blast, and we get to spend more time with this awesome cast.
But I also kinda think it needs to be said that the cost-cutting shows. That it shouldn't have been only 8 episodes, the pacing is off. That we miss every time someone from the ensemble isn't on screen.
That despite what they've put on screen looking very good, there's far less costuming budget, there's less elaborate sets, and it's a little disappointing. And it's clear it's not a lack of will or talent or vision but blatantly lack of money.
Look, streaming networks want brilliant shows that people love (that will get them to subscribe) but they very don't want to pay anyone to make them. That's like, the whole moment we're having right now.
Max puts out promos about how great it is to not have unions messing shit up in NZ. Well I have friends who are union costumers in LA and guess what union costumers did amazing last season. This season, well, I guess Stede got three whole shirts, so that's cool.
So I dunno. It's just stuff I think about. I'm not trying to be negative about the show in any way. I'm extremely happy with this season; I love it more than well, possibly any show I've ever been in fandom for.
But I see you, Max. You're cheap. You weren't that cheap when you were called HBO.
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sayuri-of-the-valley · 7 months
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On how Crowley and Aziraphale felt during the kiss (but mainly Crowley here):
Ok so first, the main idea for this huge meta is that a LOT of us noticed how the music from the kiss scene is similar to the nebula one, right?
Second, a lot of us also correctly noticed the parallels between the kiss and how it was to taste food for the first time for Aziraphale: bc of his reactions, the hand on lips, the similar way MS acted both scenes, the little inhale etc. So how was it for Crowley?
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Aziraphale's reaction to the kiss is practically a puzzle to solve on its own, so it's fun to analyse it, but basically, in a few words, Aziraphale kissed Crowley and he discovered he was physically starving for him, longing for him, yearning for him, for his kiss, and he had no idea. Just like with the ox. And now he needs to gorge himself in him but he can't. Great amazing heartbreaking chef's kiss someone give MS an Emmy.
But there's already so much amazing meta out there about Aziraphale x Ox ribs x The Kiss that I want to focus on Crowley here, and on the music.
So back to the music. The song in "Before the Beginning" and the song that plays during The Kiss (I Forgive You + Don't Bother) are so similar. They're not *exactly* the same, but they're totally reminiscent of each other. The viewer is immediately reminded of those chords that played in the opening scene. It's no coincidence that the fandom was talking about this fact only minutes after first watching those final fifteen minutes. This is an obvious intentional choice for storytelling reasons (David Arnold is a genius).
I have no expertise whatsoever when it comes to music, so I asked our friend @otsanda to see if that made sense and not only it does and she explained it, but she also uncovered so much more hidden meaning in all of it (musicians are amazing), so check out her meta about the music that not only serves as evidence to what I'm proposing here but it also has so much more juicy information in it 💖.
Back to the point: WHY thought? Why choose a similar song? Why intentionally COMPOSE a similar song for that moment?
Hear me out. WHAT IF, by reminding the audience of the creation of the nebula, they meant to convey to us that, for Crowley, kissing Aziraphale gave him the same feeling that creating his stars did?
THAT'S what the music is telling us. THAT'S why it makes us remember "Before the Beginning". It may sound cheesy, but Crowley may have literally seen stars when he kissed Aziraphale. He couldn't react accordingly (just like Aziraphale couldn't), bc it was an overwhelming and extremely sad moment (the music is also telling us that) for both of them. They knew it was ending . They were both having a moment of huge revelation that was fated to not come to completion. Crowley was right, it was too late.
It makes sense to show Crowley's feelings through the music, bc he was the one who started the kiss, and also he was wearing sunglasses in that scene, it's different from a character like Aziraphale that has all his million expressions for everyone to see at all times. And they've been doing this ever since s1 with the Queen songs that play in his car or in the background.
So my point is: the same song being used there makes me wonder if kissing Aziraphale finally gave him what he lost. His purpose. What Aziraphale was trying to give back to him by taking him back to heaven. There's no need for Heaven. Just kiss him, Aziraphale, and there he'll find the stars you want to give back to him. There you will one day see that smile on his face you saw Before The Beginning. Neil Gaiman and David Arnold I am in your walls 😭
This is what may lead us to see this happiness in Crowley again (not the action of kissing itself, of course, but what it represents to their relationship, them being together, them being an Us).
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As @otsanda said: from the music we can interpret that that moment was a Revelation for them. Almost a religious experience. Crowley found his purpose again. What he'd been missing the whole season (or even his whole life since the Fall, but we've seen him especially depressed this season).
I'm not even getting into the poetry of how one can interpret the parallel to the angel's reaction to the kiss as carnal, and the demon's as religious; that would be another whole essay but let's just agree that it's incredibly beautiful. (Let me be clear that I mean here Aziraphale's reaction is carnal specifically for Crowley, and Crowley's is religious specifically for Aziraphale, not religious as in "worshipping god")
"Do you ever wonder what's the point?" Crowley asked in s2e1. The point, for him, is Aziraphale (if you've seen The Good Place you know what I mean). I hope he figured this out with that kiss, even as heartbreaking as it was. Even if it was a (temporary) separation kiss. (I hope Aziraphale figures this out with time too, that he's more than enough to make Crowley happy, that Crowley doesn't need Heaven, or stars, that Crowley needs him.)
Maybe that's why Crowley didn't leave and kept waiting outside until the very last moment.
Aziraphale and Crowley both bit the apple at the end of s2. There's no turning back from that Knowledge now.
Edit: I just have to add here this brilliant colour analysis of the nebula scene by @halemerry. And it's pointed out that during the nebula formation there's a moment when it looks like two people embracing. And the fact that a similar song is used in the actual Kiss scene I just... I have no words
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gingiekittycat · 5 months
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"There must be something I can do for you."
OK so I have been trying for the longest time to make sense of why the fuck they KEPT GOING WITH THE MAGIC ACT when they realized they couldn't do miracles. And I think I've got it.
Once again, it boils down to misunderstanding and miscommunication (surprise surprise):
I fully believe Aziraphale thought he was doing Crowley a favor by offering to do his magic act. Crowley’s in trouble with the theater, the alcohol he was going to sell is ruined because of Aziraphale’s shenanigans at the church. To take some of the pressure off Crowley, he offers to perform.
Here's the thing, though. Aziraphale DOESN'T think he's a very good magician. Just look at how nervous he is! He has zero confidence. Even the coin trick he does for Crowley, he's shocked and delighted when it actually works because he doesn't think it's going to. He's pretending for Crowley's sake because he's trying to get Crowley out of the hot seat with the theater.
That's also why he chooses such a dramatic and dangerous trick for the stage: he has to make it good for Crowley.
Meanwhile.
MEANWHILE.
Crowley sees Aziraphale's offer to do the magic act purely as another one of Aziraphale’s whimsies. Which of course he is going to indulge, because he's a lovesick fool. He goes into FULL SUPPORTIVE HUSBAND mode, builds up Aziraphale's confidence, agrees to do the highly dangerous trick because Aziraphale wants to, because he thinks Aziraphale thinks he's good at magic, because he thinks Aziraphale really wants to get up on stage and perform, and he just doesn't want to see Aziraphale embarrassed... (Sound familiar???)
So. We get to the stage. Aziraphale doesn’t actually want to be there, but he's doing it for Crowley; Crowley doesn't actually want to be there, but he's doing it for Aziraphale. BOTH of them are complete idiots, because they're so enamored with each other and so fucking COMMITTED that neither of them wants to back down when they find out they can't do miracles. They just really want to make their husband happy--so badly that they're willing to risk discorporation for it.
In conclusion: they are idiots and I love them but THEY NEED TO COMMUNICATE JESUS CHRIST
It's no wonder the season ended like it did...
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tsilvy · 5 months
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"Crowley doesn't have Gabriel. Where would he put him?" says Aziraphale talking to Shax.
Where would he put him?
He knows. HE KNOWS. He knows that Crowley doesn't have a house anymore. That he's living in his car. But he hasn't said anything because he hasn't yet fathomed why Crowley wouldn't say anything. And he's trying to change that, too.
"You like waiting inside." Subtle, subtlest way to tell him that he knows, he understands, has noticed the telling signs. And he's saying it's very much okay for Crowley to keep staying in, whenever he wants, to consider the bookshop his place even when Aziraphale is not around.
The whole "our car", "our bookshop", "we both got plenty of use out of it". Look, I know what the common speculation about the plenty of use is, but realistically? He's heavily implying that Crowley, too, needs the bookshop. Not likes, needs. Let's spell out the analogy: I need your (our) car because I don't have my own car, the same as you need my (our) bookshop, which is my house, because you don't have your own house.
He's been dropping hints right and left that he already knows anyway, and that it's okay to ask, he'd totally say yes. And even if Crowley doesn't ask, it's still okay. He's saying yes already.
And I marvel continuously at the complexity of the character that is Aziraphale, because he can be the most infuriatingly callous bitch in the world, and then in the same breath he can be this sensitive, gentle, emotionally intelligent person who really, really loves Crowley more than he could ever put into words.
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wutheringskies · 8 months
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The XuanWu Cave Scene is basically Lan Zhan absolutely losing it
Lan Wangji really just saved Wei Ying's life, screamed at Wei Ying, shoved him like thrice, told him not to flirt with people if he doesn't mean it, bit him like a dog, cried, told him to shut the hell up and that he is a fucking menace, took his underrobe, then apologized to him twice sincerely, then told him not to over think anything, then saved his life, then made him rest and grill him upon his sleeping schedule, then antagonize him, then stroke his hair while he's sleeping and let him roll about in his lap, then be angry at being called boring and then sing a song he'd written for Wei Ying to profess his immense love for him.
like
lan wangji is a fucking 13 year old teenage girl in love with that one popular guy in school. he's LOSING his goddamn mind. it's on "red hot alert" and alarm bells screeching in his head.
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theerurishipper · 1 day
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Actually Batman shouldn't kill. The reason he doesn't kill is because he believes wholeheartedly in the good in humanity and the sacred value of all life. His belief in rehabilitation and second chances is meant to put him in contrast with the corruption in Gotham, both with regard to the corrupt justice system/police force and the criminals, who all take lives with no regard for its value. Being surrounded by such fatal violence and corruption on a systemic level and even being affected by it on a personal level, and yet finding the strength to not only rise beyond it, but to fight for a way to fix and save the very cause of such unfathomable pain is what defines the character of Batman. Batman is about protecting the innocent and fighting against injustice so that what happened to him never happens to anyone else. Batman is about breaking the cycle of killing and rising beyond it to become a beacon of hope for a better future. Batman killing and taking justice into his own hands is literally the antithesis to his character. If your Batman kills, then he is not Batman.
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heliza24 · 3 months
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kind of obsessed with the decision to start so fully in media res that the bad kids were not only down spell slots and hit points but also deeply emotionally exhausted from a summer full of unrewarded heroism and fully committed to new npcs. like what a good way to fully suck your audience back in and also honor the lapse of time irl and in story time. truly no one does exposition like D20, Brennan is never not smart about perfectly balancing world building, character background and plot hook. and since we know the characters and the world we could start this campaign fully *in* the plot right from the word go. and then instead of an inciting incident leading to a battle, or a break from the character's normal reality causing them to fight for the first time (ie the first season), the end of this battle is the inciting incident for the rest of the season. being in combat and saving the world *is* the normal reality for the bad kids. and this sets up FHJY as a campaign that can be focused on something other than that, because the story starts at the end of that normality, or when something in that normality shifts. (is the inciting incident Fig's new powers? or how this battle resolves? TBD! but I have a good feeling about it regardless). SO smart. because if we went from sophomore year straight to a campaign that was focused more around school and the normal experience of being a teen? it would feel weird. but this is the perfect set up.
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relaxxattack · 13 days
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trying to boil them down to their bare essentials for easier writing…. i don’t think i’m doing it right 😭
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enby-axels · 5 months
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imo reducing the jiang clan dynamics to "wei wuxian was only a servant, never family" undermines the tragic reality that he was both. his position was a dubious, unclear thing, complicated by his debts and the jiangs' varying intentions.
jiang yanli had called him her brother and treated him like one in direct defiance of their class differences and her mother's words. jiang fengmian had seen wwx as a replacement for his parents, not a son, as evident in his passive refusal to defend wwx and his prioritization of his actual son's life. yu ziyuan had seen him as an arrogant servant transgressing class norms and threatening her son's position, and she had consequently scapegoated him at every turn. jiang cheng, the youngest, inherited all of their sentiments in one way or another.
the love was there, it was not enough. so mdzs concludes the jiang clan sub-plots by having jc let wwx leave. that's important. he chose to let to go of the yunmeng shuangjie promise, the oath of fealty. because wwx's position with the jiangs — a brother, yet also a servant, an outsider, never an equal, certainly never a son, bound by duty — made a mockery of love. i think that's more tragic than him being solely a servant and nothing more.
and not to make this lan wangji (actually, everything is always about lan wangji), but that's why it's so important that wwx found a home in him, in a relationship that has no need for debts like "thank you" and "sorry."
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outpastthemoat · 2 years
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one of my personal favorite dichotomies in atla is how iroh, once the top strategist and highest-ranking general of the fire nation, now directs all his energy and considerable tactical experience towards attempting to keep his teenage nephew from throwing himself into life-threatening situations AND IROH REGULARLY FAILS TO PREVENT HIM FROM DOING SO.
he lead a six-hundred day siege and now iroh can't keep up with a sixteen-year-old armed with two swords and a passionate deathwish. zuko's motto is "act first, think never" and he's running rings around his uncle. it's like!!! who's gonna come out on top, iroh's west point education vs. zuko's deep and abiding commitment to always choosing the stupidest possible course of action, and zuko manages to win every single time
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