when you're into the Big Ship™ in a Big Fandom™, you have the luxury of having an OTP - a real One True Pairing, where you can read about just them for ages, and you will never run out of fics, and everything is perfect and beautiful and nothing hurts
but when you go to a smaller fandom, you'd better pray to whatever god you worship that someone else in this room ships the same thing that you do, and that if they do, they're writing more than late-night crackfic, because you're on thin fucking ice!
and how small is your small fandom? is it less than 100 fics? maybe even...less than 20 fics?
welp, then it's time to make peace with that god and either open up a text document or learn how to ship everything, because it's swim or drown babey! and your ship is sinking fast
anyway all of this is to say that after hanging out in small fandoms and shipping less-common pairings for a while, going back into a Big Huge Fandom™ is wild because suddenly it's like...wait, why didn't I ship these people again? I don't remember. why was I only sticking to one ship in this fandom?? boring of me, honestly. these guys should make out.
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what r some of ur fav kacy moments?
a FANTASTIC question. here's a top ten in no particular order:
the parking lot scene. kate is not the bad guy! let's kiss under the parking lot lights! they did not go get that beer and i love that for them.
that one scene in season 3 where kate is bringing ernie mochi and lucy says that kate is looking fantastic today. something about that whole interaction just... got me. the grin on lucy's face. the way kate smiles back over her shoulder. pls tell me about your acting choices and why they made that 15 second scene endearing.
first date reenactment. those freakin dorks, i swear to god. kate's "well, i don't seem like a lot of things" lives rent-free in my head.
OF COURSE the scene in 3x04 where they have to dip into that storeroom to avoid the bad guy and they're, like, 2 inches away from each other. maybe i've watched that a few times.
the first kiss in the pilot. i'm split equally between the original airing with the smash cut kiss and the extended scene because i originally thought that lucy initiated the kiss, but finding out that kate was the one... mind-blowing.
the 2x01 episode kisses (plural!) because i love domestic kacy. i could write about that allllll day. i was not expecting lucy to straight up (ha) get into kate's lap at the outro of that episode. sigh. that was such an opening episode.
kate waiting at lucy's desk in 1x10 after the whole finger business. i just loved how kate said she was more comfortable with things at dinner and then just casually sits at lucy's desk waiting for her to come back (which is why 1x11 is so fucking crushing).
the scene in that episode in season 2 where lucy is helping Joe, the sailor with the memory problem. and joe elbows her in the jaw and lucy and kate are in the kitchen in the office and kate is snippy because she's worried. i'm not mad kate says, definitely not happy.
and speaking of lucy being beat up... the scene in 1x07 (? maybe) where lucy agrees that secrets can be fun and kate ducks her head and says something like, "want to tell me more about secerts" or whatever (i am not searching for the lingo, sorry). like, goodness. kate. relax.
the 'move in' scene where kate is so far behind on the conversation and she's just blinking as lucy explodes. i love a good "why are we fighting?" "we're not!" in shouty volumes and then the break in the tension where they realize they're definitely arguing scene. and they did this one perfectly.
okay, that was a nice little walk through my mind. now i need to go watch all these scenes (shoutout to the people who upload their scenes to youtube, they're the real ones).
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"Dooku had not loved her.
She had thought he had. Not as a woman, of course, or even a daughter, but as an apprentice. Someone who showed promise, who he enjoyed training and shaping."
-Asajj Ventress, Dark Disciple by Christie Golden
Frankly, he probably did love Asajj as a twisted Padawan figure - and that was the problem. People Dooku love tend to have a pretty short shelf life; Sidious already went through so much trouble to eliminate the first batch of them (with some serious help from Dooku himself) he's not going to go down that path again with his already problematic ex-Jedi apprentice getting nice and stabilized by a mutually beneficial relationship.
It's an interesting piece of characterization, almost worse than if he had moved entirely beyond the concept and capability. This tragedy that Dooku does still seem to love, or close to it, but that love doesn't fucking save anybody, least of all himself.
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At the end of my latest TLT reread and it’s been physically painful attempting to read the last 40+ pages of Nona. Like, the short shrift that Gideon/Kiriona gets given by the people in the story…the theoretical good guys who honestly only see her as a thing, as a means to an end with an inconvenient dead soul attached to it… It makes me want to rip my own heart out of my chest.
Nobody has cared about Gideon her whole life. Most people, in fact, if they remembered about her at all, went out of their way to tell her how much they wished she didn’t exist. In the final chapters of Gideon, she finally gets the thing she’s been desperate for her whole life: somebody telling her that they need her, they care that she exists, and they badly want her to go on doing it. This allows her to make peace with the prospect that at the ripe old age of 18, she needs to die so that that person can go on living and living and living, using the castrated remnants of her soul as fuel to do so. Not a great way to go, but at least Gideon would get to be useful to somebody, would get to be remembered for something.
And then she wakes up in the wrong body, and finds out that her sacrifice - her attempt to be useful in the most selfless way possible, in that her self will no longer exist - has been rejected. And not only that, but the person she tried to give herself to - the one who was supposed to care about her - went to extreme lengths to make completely sure that she no longer remembered about Gideon.
She literally cut Gideon out of her brain.
And now, drifting along in the worst sort of half life where she’s inhabiting her body but it’s no longer really hers, in very obvious fashion - there’s holes in it, her heart is missing, and it’s got her shitty father’s handprints all over it (not even touching how much of a violation that is), indelibly - she finally meets back up with the small group of people who could theoretically be relied upon to be glad to see her again.
But then the one who was supposed to care about her most tries to kiss her (massively OOC for Harrow), and turns out to not even be there - it’s some weird baby inhabiting her body, and doing a really shit job of it too. The rest of them won’t stop talking about how they need her to break into the Tomb - as if she was just another key, same as the ones they worked together to acquire in Canaan House, just bigger and more inconvenient - and/or how they both fucked and killed her mom, who also (surprise, surprise) wished that Gideon had never existed, but saw her as a thing that needed to be done for the good of the mission.
Ultimately, they all make it abundantly clear - Palamedes, Camilla, Pyrrha, and especially Nona, all these people who are supposed to be kind and good and right - that they would prefer she wasn’t there. That it just be her body, with no Gideon attached - at least not Gideon the way she is now, broken and rejected and miserable. They would all far have preferred that she not have her own inconvenient thoughts and feelings and desires and impulses - that she just be inanimate and let the important people, the grown ups, get things done.
They wish she didn’t exist. Same as everybody else in her life, save one, and now she’s left wondering whether Harrow really meant it at all. Because if she did, she wouldn’t have left Gideon to Kiriona’s fate.
And honestly? Really, truly? I know everybody in the fandom loves Pal and Cam and Nona and Pyrrha, but in the end I couldn’t give less of a shit about them. They are fucking side characters, and as intriguing as Nona has been from a worldbuilding standpoint, I ultimately resent having been forced to read 400+ pages of filler bullshit about fucking side characters. I am a butch, and I’m here for my sarcastic, loving, angry, vulnerable, forgiving, and yes, inconvenient sword butch. I’m here for Gideon. But Gideon has been fridged for the last two books of the series in which she is supposed to be a, if not the, main character.
And it feels like almost nobody else in the fandom feels the same way, which, fine. I’m used to that. I’m also used to being told I’m projecting; and I’m used to being told that I’m inconvenient too, in my thoughts and my opinions and the mere fact of my existence. I spent the first eighteen years of my life being told I was inconvenient. Yet another point of overidentification with Gideon.
But in case anybody still thinks that Nona proves that Gideon was an asshole all along, think about all of the above. Think about how it would make you feel to come back from not just death but from the erasure of your existence, something you chose in order to save the life of someone you loved, and be told that you’re inconvenient. Think about how you’d feel if you’d been told all your life that it would be better for everyone if you didn’t exist. And then tell me that Kiriona isn’t in the right and that I should give a rat’s ass what happens to literally anybody else.
It’s Kiriona Hours up in this House, butches. We’ve spent long enough caring about people who would prefer we weren’t around. For once in our entire lives we were told we were important; we were told we mattered; we were told we were the main character. We were going to, if not get the girl and save the world, at least get to do something real, something important, something like being the hero.
But that’s over now; we’re back to being wrong and bad and inconvenient thanks to the simple fact of our existence. So it’s time to embrace it. Let’s be a little shit. Let’s be kind of a dick. Let’s have our own agenda, let’s play our cards close to our heartless chest, let’s allow our circle of empathy to contract to ourselves and maybe one more person. That’s where I’m at right now. And I don’t see that changing anytime soon.
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I've recently been watching these very interesting Star Wars video essays on YouTube (yeah I know, a rare breed) and it brings up these comments Lucas has made about how he views Star Wars as almost like a silent film in terms of how important the visuals are to him in comparison to the dialogue. But this essay also points out how important Lucas finds all of the "rhyming" moments in his trilogies and the way he utilizes them to remind you of something else for emotional or thematic reasons. And there's so many of them, both in visuals and in dialogue, and it's interesting to consider how important this is to him, the repetition for a purpose as well as the storytelling through visuals above everything else and then to look at Star Wars since the Prequels came out and realize how little has really been able to match up to those ideals since then.
The ONLY thing that's come out since the Prequels that I think really hits these two things the same way is, in fact, Andor. One of the things I noticed about the way people discussed Andor as it was airing in a way I haven't really seen for any of the other shows or films was the visual SYMBOLOGY. So many times I saw people noticing the Imperial cog everywhere, from the aerial shot of Narkina 5 as the prisoners escape to the architecture of Mon Mothma's house. There were people picking up on the use of items in Luthen's shop that are familiar from other things to give this idea that Luthen is from another time, he's attempting to preserve this world he lost, that if you're not looking closely enough you won't notice what he's really saying or doing with this shop. The color choices for the different locations and people got analyzed because the people involved spoke about how they intentionally utilized color to SEND A MESSAGE about the characters and the world. We know that the people who made the costumes and sets really worked hard to treat Star Wars almost like a period drama and study the history of the franchise as if it were a real place so that the things they came up with felt like they belonged in this world everyone knows so well even if it's completely new. And of course there were all of the myriad references to things from Rogue One, the constant repetition of "climb", the sunset on the beach, etc.
Nearly EVERY SHOT in this show was created with so much intention behind it in order to say something meaningful about the characters, the world, this specific story they're in, and the overall saga of Star Wars itself. It's insane how much greater impact this show was able to achieve through the incredibly careful usage of visual symbols and thematic repetitions, much like Lucas did before them. It feels like they didn't just study the history of the galaxy far far away, but they studied the history of STAR WARS and what Lucas was trying to do and say with this story. They peeled back his onion a bit more and were able to create something that really has that same visual feel even when it's not created for a child audience. It also is experimenting with its narrative style through its structure and through Cassian's character being allowed to be somewhat more reactive than proactive, and while that didn't work for everyone, it does feel like it's following in Lucas's footsteps of experimentation through Star Wars. Push the boundaries of what Star Wars is and can be and what you can say with it.
But this only works because they peeled the onion back enough to TRULY understand all of the messages Lucas was sending with it. They got the heart of Star Wars and despite its lack of space wizards, despite the lack of most major characters in the Saga, this was a show that honestly got the message more than just about anything else Star Wars has put out since the Prequels. The choices between selflessness and selfishness, the themes about how you always HAVE to make a choice even when it feels like you don't have any (sometimes ESPECIALLY when it feels like you don't have any), and how important it is to make sure to choose the path of compassion above everything else. The themes of connection to others, the symbiotic circle and the impact even the smallest person can have on world around them, it's RIGHT THERE and it's CENTRAL to Andor's storyline.
So yes, it experiments a little with narrative structure, but it's possibly the most Star Wars thing to exist Revenge of the Sith because it honestly truly GETS what Star Wars was about, both in its themes and in its filmmaking. A lot of people said that Andor didn't feel like Star Wars to them, usually because of the lack of space wizards and the fact that it's not a story aimed at children. But to me, Andor is EXACTLY what Star Wars is and has always been. They're stretching the boundaries of what Star Wars can be, but it's saying the exact same things Star Wars has always said, it's just saying it slightly differently. This doesn't feel like fanfiction to me, not really. Unlike things like the Mandoverse or the books, Andor isn't just taking some of the toys out of the sandbox and going to play with them somewhere else. Andor is IN that sandbox. It's building a slightly different sandcastle, but it's still within the sandbox, using the same sand that Lucas did.
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