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violetasteracademic · 28 days

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My Two Cents on the People Magazine Article (and Elriel coming home!)

I'm sure this has already been dissected to death and I am potentially late to the game here (I only just saw the article this morning!) but I would like to share some thoughts and insight!

While by no means am I saying this to claim I am *the* expert of all experts, I would like to share that my background and previous career was in entertainment. My twenties were spent in Los Angeles, and (some of you other current or previous LA/New Yorker's may identify with this) you really learn how the sausage gets made and exactly how much money, planning, and prep goes into what we are meant to perceive as "natural." I don't mean to take the shine off of it! Just sharing my experiences. I can't share everything because some of my friends were under NDA's at the time of their employment, so I'll just give a brief overview.

Example: Late Night talk shows and many other major "live" productions that have "live" interviews are, well, not actually live. They typically film in the early afternoon even if they are set designed to look like its nighttime. And while it is in front of a "live" audience, the audience is instructed on when to clap, when to laugh, ect. This is because the interview has already been planned out, and questions approved ahead of time. This is why, even though it seems totally fresh, there are things the "host" received ahead of time. For example, all of the baby pictures and sweet photos of Sarah and Josh and then all of the staged "walking and talking photos" for the MASSIVE Today Show interview and article. And yes, this is the article where we got this absolute banger:

That "felt" like a live interview followed up with a giant article to accompany it, but was actually a full on pre-planned production. Seriously massive for Sarah. And if there's time, you can even do multiple takes and use the best shot for the "live" show. I've seen people comment on thinking Sarah seemed "not excited" in that interview and she was worried HoFaS would bomb, but I'm telling you guys, I don't think she has ever that much pressure or "lights, camera, action" on her before compared to her usual casual "chat" style interviews. Babes was nervous, and she crushed it.

Now to breakdown the new People Magazine article:

This article is being presented as "Everything You Need to Know" aka "we are your trusted resource on all things Sarah J. Mass."

People Magazine, while serving as your "trusted resource" for the world of ACOTAR, would not say the protagonists of ACOTAR are the sisters for zero reason whatsoever. What's interesting is both Lucien and Azriel get small nods, but very little otherwise and zero mention of the ship. Just Elain, baybee dolls. This further cements that this designed to portray the Archeron sisters as the leads of the series.

Now, taking a look at the author of this article to see if she specializes in anything, she really doesn't. Miss ma'am writes about everything under the sun!

She also did the Ultimate Guide to Emily Henry's books. (Major Emily Henry Stan over here. Who is dying for Funny Story to come out?!)

This is a Northwestern University journalism grad who has been with People for a few years. She certainly understands what it is that needs to come from these articles, and that is interest, clicks, money, and trust.

There is simply no reason for major networks like Today and People to invest in these thorough and in depth articles and interviews, on screen and on page, with Sarah and continue to hint towards Elain or questioning the mating bond if it will serve no purpose in improving their reputation or generating interest in the plot of the books. That is simply not how this works, and is antithetical to keeping the gears of these machines well oiled and functioning as intended.

If you read this whole thing, wow! You are an MVP. With nothing but respect to you all, I'm not sure how long I will keep this post up or how much I am willing to talk about my time in LA. I unfortunately had some experiences I am still recovering from and already feel a bit anxious putting this much information about myself out there. But for those who catch it, I hope you enjoy and can feel comforted that this is all a part of the plan. There's a reason you see repeats of themes and conversations in all her articles. It's because they are pre-planned and executed with the goal of reputation and selling books in mind.

*** Thanks to Sara Anne (@SaraAnneReads on Tiktok) who shared her insight from working on the marketing team for a magazine in 2019 that adverts have to share if an article is paid for in someway, no matter how small. Thus I have removed my statement on *this* article potentially being part of their paid marketing budget, as there is no indicator of that on the article itself which is required by law.

However, this could be what is called "Earned Media" where a marketing/publicity rep for SJM and/or Bloomsbury *could* have reached out to people magazine and basically said hey, if you want to write about this, we have an announcement coming up soon so it could be relevant and worth talking about. To which the rep for People would say to the rep for SJM, hey, thank you so much for the heads up. There is no exchange of goods or currency and no promise verbally or in writing to do the article so the ethics stay above board, but all parties benefit from earned media. Sarah's team has now earned additional buzz for the upcoming story, and a news outlet has articles out on a trending topic. However, earned media does not have to be disclosed and therefore we have NO way of knowing if this occurred here or not!

She also shared with me People's statement of integrity where People state's their high standard for ethical practices and journalistic credibility and accountability. (I mean we know they are the kings and queens of "a reliable source close to the individual," but still)

She also caught with her eagle eye that Bloomsbury explicitly states the detailed marketing plan once books are announced, including details like year-long social media campaign, arc readers, ECT. So with Sarah already posting about the next ACOTAR, we can safely assert that is part of the existing laid out marketing plan, and assume additional articles surrounding ACOTAR are all to further generate buzz.

Analysis: Elain's book announcement is coming SOON and marketing is already underway!

#elriel #elain x azriel #pro elriel #elriel endgame #elriel supremacy #azriel x elain

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cybertron-after-dark · 2 months

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I was gonna ask a question but i honestly forgot it 😅 so just tell me something you want to rant about

If you do happen to remember what you were gonna ask feel free to do so, do not worry about spamming my inbox bc I live for that shit.

As for the rant

Transformers Rescue Bots had some of the best, kindest, and most respectful representation of neurodivergence I have ever seen in media and I'm tired of pretending it didn't.

While there are obvious complaints to be made about neurodivergent traits (especially autistic traits) usually being portrayed in media by inhuman characters like aliens or robots, this being a case of both, I feel like thats a pretty negligible sin given just how human the show makes the robots feel. (Also it was like 2011 and we were STRUGGLING for any scraps of rep anyway)

But like. The behaviors all these robots exhibit are all shit that I do that was always deemed unacceptable when I was a kid and seeing it portrayed with the level of kindness and gentleness they do in that show has me fuckin crying a little man. I wish I had actually watched it when I was younger and it was first airing because maybe if I did I would've had an easier time explaining what the hell was going on with my brain a LOT sooner.

Blades being anxious, overly sensitive, and WHOLEHEARTEDLY queer (which they had the absolute unparalleled balls to just casually confirm by having him swoon over "hunky vampires" in one episode and NOBODY commented on it. Fucking iconic) and getting so so deeply invested in the shows and movies he loves that he acts out the roles with enough passion to steel his nerves and completely flourish.

Boulder getting really confused at concepts that are basic and intuitive for most people, but still being so fucking intelligent, and never being made to feel stupid for the mix-ups, as well as just being so wholely, unabashedly in love with the planet he's found himself on, even if he doesn't understand all of it (Also apologizing to inanimate objects when he knocks them over 😭)

Chase being obsessed with rules and law because he NEEDS the structure to not fall apart at the seams, even feeling the need to fabricate a minor crime to justify using the emergency line to get a hold of the firehouse when he can't find the other bots. As well as just fully not understanding comedy (BUT TRYING HIS DAMNEDEST), taking things super literally, and having a lot of trouble with tone and expressions (even though you know just how deeply he feels All The Time).

Heatwave being desperate for attention and recognition, but completely allergic to asking for it. And honestly allergic to showing any genuine emotional responses other than aggression. The constant sarcasm and sass and defensiveness that he POORLY maintains because everyone knows that underneath that tough guy front is the loneliest robot on earth that wants to be loved SO bad but would rather jump into unicron's mouth than voice it because if he lets his guard down who knows what will happen to him or the people he cares about.

Just. All of it man. Seeing them exhibiting all these behaviors and quirks that all too often get met with poor reactions from people who don't want to deal with what they don't really get, but here they're met with patience and understanding?? It's got me fucked up. They get to be functional adults that struggle with what they have going on but still push through. They get to have unconditionally loving relationships with people that treat them with respect. And that's the kind of shit that gives me a lot of hope for folks like me because maybe some neurotypical kids that watched it picked up on what's helpful when their friend who acts like one of the bots is going through it. And maybe some neurodivergent kids watched it too and for the first time they just felt SEEN.

Okay rant over, I'm gonna go cry over some plastic robots 👍

#post written while ugly sobbing a little #rescue bots was written with this complete and utter kindness baked into it #as much as i praise the show for the comedy and character aspects #which are still wonderful in their own right #it must not be understated how genuine and sweet and compassionate the writing is #the funny little flash animated robot show did more research than sia ever did with her shitshow hatecrime of a movie #maccadam #transformers #rescue bots

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starwars-art-events · 5 months

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Star Wars Art Events: Original Characters Edition

Hello there!

This is an informal, for-fun art trade event, meant for people who enjoy drawing for others. It's a pressure-free and casual trade! No need to create a big masterpiece--just something others would happily enjoy.

The theme this time around is Original Characters! Your art should feature some original character (OC) for Star Wars. You may create your own OC, make art of one you've already created, or even make something for someone else's OC (with permission, of course)! Any sort of content--within limits--featuring the OC(s) will be welcomed. The OC can be one of many in the art, or the sole focus. As long as the OC is of notable importance, you can submit the art to the event!

Types of art welcome:

Drawings (digital or scanned traditional)

Short comics

Short animation

Photo edits

Video edits (music or otherwise)

Music creation

Moodboards/photo collages

Quotes-and-photo collages

Other (contact moderator ASAP)

Dates to post:

December 29th-December 31st

Information:

This is a broader event, rather than a trade. There is no signing up for it--if you want to join, you simply have to make art and post within the time frame (though late acceptions are okay this time, as no one is depending on others).

That being said, if enough people WANT a trade, either send a message/ask to here or the moderators. We can create smaller pockets of trading if desired.

You don't have to be "great" at any art to join! This is an informal event with no level restrictions. The important thing is that your art absolutely must have effort. For example, a moodboard should be cohesive, and it should contain enough photos that it could be worthy of giving as a gift. Make sure you are satisfied with what you are giving out (to your abilities levels, of course--don't expect the Star Wars Mona Lisa if you aren't to par with DaVinci's skills!).

Important note: All skin tones and disabilities must be accurately portrayed. No skin tone should be lighter than the actor/character's actual skin colour. Disabilities must be depicted correctly. If not, you will be dropped. The same goes for respecting canon cultures. Please refrain from depicting Children of the Watch or Tuskens without their garments, unless the scenario is explicitly of situations where the removal of clothing/armour/helms is acceptable. Please cover the heads of Twi'lek women, and that of Mirialans. These requests are not only personal wishes of the moderators, but also just basic decency. Do your research portraying someone different than you. Do not fall prey to harmful tropes. This hurts others.

IF YOU HAVE ANY FURTHER QUESTIONS, PLEASE DM THE MODERATOR. You may do so here, or at @engagemythrusters or @darlin-djarin.

#star wars art trade 2023 #star wars art events #if I made a silly mistake on this post please let me know. my brain was in 7 places trying to make this so I don't know if I missed info

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numbskullsofhoenn · 3 months

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ooc. genuine question about the ragebait pkmn irl accounts

Why are those a thing. What lore does it provide for a random ass character to be racist, ableist or transphobic under the label of a roleplay account. Why is that a thing.

I'm not saying that they aren't topics that can be discussed or handled ic but. Idk. the accounts that are made just to make fun of groups of people behind a character just so your blorbos can go "g-guh! well! i'm in the right!" and be the hero or whatever

I think most rational people can piece apart that being racist and/or homophobic is bad. We don't need to portray it directly in roleplay form just to prove a point of some kind. Characters can come from a disapproving family and still thrive as a trans person because that's character development! To grow beyond your familial judgement in order to be comfortable with yourself. But straight up being a terf in rp form isn't that engaging. It just kind of makes me sick

saying this bc i just saw an account on my dash that was saying shit like "only women can have periods and be pregnant" or whatever in rp form and i just don't think that's cool. there's no reason for that. there's no sick lore behind that. And if you're actually being a terf quit hiding it behind a character bc considering you're responding to normal ass people, not rp accounts, under your post kind of implies this wasn't even meant for roleplay in the first place and that kinda makes me upset

can we stop treating blatant ableism/racism/transphobia/homophobia in poor taste in the community so casually please

#ooc post #mod egg/piton/pao speaks #ooc pkmn irl #pkmn irl #cw transphobia

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seananmcguire · 11 months

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Hi Seanan! I recently threw some more of your creatures into the my DnD5e-ish game I'm running- I homebrewed a Cait Sidhe race, and let my players rescue a colony of Aeslin Mice (redubbed "loremice," so I don't have to figure out what "Aeslin" means when my players ask.) The mice have so far named a God of Smokey Rescue, a God of Deceptive Size, and a God of Ominous Declaration. :)

I realize I could make up whatever rules I want for their specifics, since it's my game and I haven't gotten my players to read your work yet, so they wouldn't notice any inaccuracies. But I think it'd be cool to portray them as accurately as possible to the way you see them.

So! If you're willing, I have a couple questions!

1. Do you know what the rough ratio of Shadow Roads distance to not-Shadow-Roads distance is? I'm homebrewing a spell for the Cait Sidhe Shadow Roads thing, and I'd like to give my Cait Sidhe player some hard numbers to work with when they wanna push the limits of their range.

2. For the same player, can you share what the Shadow Roads look like to a Cait Sidhe? We can assume Tybalt isn't as blind as October is in there, but I can't remember her ever asking him precisely how he navigates.

3. I was gonna remove the Aeslin "God/Priestess" gender distinction for my loremice, because the women at my table would have questions and I wouldn't know how to justify it. I don't expect you'd mind much, but it feels mildly disrespectful to the source material anyway (like, what if I'm just using this as an excuse to remove it, because I dislike this Aeslin habit myself?). So I'm torn. Do you know an explanation I could give my players to make sure they don't mistake the mice as sexist?

3.5. I was also considering a compromise solution to this. I'm considering making all the player characters "Gods" to the mice initially, then having the mice switch to using "Priest(ess)" to refer to PCs who converse most directly with the mice, who make the most effort to force their way past the HAILs and be treated as equals. I'd have them act slightly more casual and less reverent to the Priests and Priestesses, make it easier for them to hold productive conversations with the mice than it is for Gods. I felt this could pay enough homage to your work to alleviate my baseless guilt, while beating the potential sexism allegations. And since I have you here on Tumblr, I wanted to get your input on it- is that uncomfortably far from your vision of Aeslin Worship?

If you can't answer any of these, either because they feel spoilery or because you haven't canonized answers to them in your own head, that's fine! I can figure it out. But you've found time for my Tumblr asks before, so I figure I may as well run it by you.

Maybe I'll add Cu Sidhe as a playable race next... if my players are mature enough to handle how I believe it's pronounced, haha.

This is all very neat, but I started my numbered list before I said that, and can't get out of it!

About 1:10.

The Shadow Roads are absolute blackness even to the Cait Sidhe. They're just a little warmer/it's possible to breathe there, if not comfortably. They navigate by feel, and generally "know" when it's time to exit to the "real world" again.

It's not disrespectful to the source material, honest. The mice who live with the Price family, whether Portland or Penton Hall, are still operating under a foundational commandment that Beth Evans didn't know she was giving, when she told them they couldn't set her above her husband, who they had already declared a god. So the mice aren't sexist, because they barely comprehend human sexual dimorphism: they're just following the orders they were given when they were first adopted by this particular liturgical tradition. A colony that hadn't received that commandment could pick any other set of titles. As a rule, you will have two: one for people who are worshiped but not listened to, and one the other way around.

That works!

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aihoshiino · 4 months

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chapter 138 thoughts

ruby's honkshoosnorkmimimi pajamas are back fuck 137 this is REAL cinema

All joking aside, there's a lot less to talk about in (MOST) of this chapter, though that's obviously by design. This is a cool down chapter (FOR THE MOST PART) to give us (SOME) breathing room in the aftermath of the RBKN fight and while it's not totally devoid of substance, it is for the most part just a good time spent with some members of the cast who haven't gotten as much focus lately and it does what it sets out to do pretty well, aside from some minor gripes here and there. I won't lie, I smiled a ton while reading this one even if I don't have so much as half as much to say about it as I did 137.

That said, my first gripe off the bat is the biggest one which is, once again, the total lack of reaction from Aqua to… literally anything that just happened. 135 didn't really go that deep into his feelings and despite 136 very deliberately highlighting Aqua's presence during the filming of that pivotal scene and even focusing on his stunned reaction to Ruby's adlib, he is jarringly absent from 137 and the return to Aqua focus here (even if we are still being excluded from his POV) feels all the more sudden and strange for not patching that back up. I've already said a ton about what I think of Aqua being written this way recently so I'll just reiterate that if this is an intentional choice, I still really don't like it.

Moving onto things I did enjoy about this chapter: basically everything else! For some reason that panel of Taiki outside Aqua's place in his car absolutely fucking killed me, if nobody makes an edit of him saying GET IN LOSER WE'RE GOING SHOPPING i'm gonna have to do it myself. frill's lil sippy drink too. god bless.

Taiki and Frill are honestly kind of he MVPs of this chapter. Their banter is fun and Frill is, as usual, an unparalleled delight. Her inviting Memcho along and casually admitting it's because Mem is her oshi……. Frill is the most powerful Oshi no Ko character because she can effortlessly flirt with girls AND boys. Bisexual women truly are stronger than God.

himekawa crashing his car is like the funniest thing that's ever happened in this manga imagine being the wettest funniest most pathetic little failboy in a manga where aqua hoshino is the lead character

mem continuing to be the last person to realize she's in the manga she's in was also really good. the psychological toll of being the only normal person in oshi no ko

The talk that the gang has when Mem finally starts putting two and two together is basically my other only gripe about this chapter, though I do really like it in a lot of other ways. Mem's expression when she finally puts together just how young Kamiki would have been when Himekawa was conceived and what that means for both Kamiki and Airi was more excellent expression work from Mengo -- tbh she has been killing it on the character work in general these last few chapters.

This does, however, imply something very interesting about the movie which is that Kamiki's victimization at the hands of Airi may not be part of it. If it was in the script, this would not be new information to Mem the same way Himekawa and Aqua's relationship is but she seems genuinely sincerely aghast when she puts it together. This (AMONG OTHER THINGS) raises some really interesting questions as to exactly how Kamiki (or 'Boy A', as it seems) is being incorporated into the movie's story and how his relationship with Ai is going to be portrayed.

From here, this potentially recontexualizes Himekawa's lack of reaction to the script. He didn't learn this information through those means and in fact seems to have taken the role specifically because he already knew and because he feels some sense of responsibility or even just a desire to take on and purify the weight of the sins his parents committed. This does resolve my issue with how quickly Himekawa seems to adjust to this new information, because it turns out to not be new info… but it does end up just sort of coming back around to my original issue of Himekawa not being given the time or focus to process this.

Honestly… now that I think about it, it's kind of a lot worse?! Given what he shared of their (presumed) family history with Aqua in chapter 68, it's pretty clear he had no idea what Airi had actually done. Aqua himself only finds out the truth in chapter 98 so we can presume he shared this info with Himekawa at some point… just, you know, entirely offscreen with no indication this had happened or that they were still in regular contact and, once again, with no time or focus spent on Himekawa finding out and coming to terms with the idea of his mother being a child rapist. We've had almost 40 entire chapters since that point… are you really gonna tell me we had no time for that??

It's frustrating for a lot of reasons but mostly because it makes this conversation fall a little flatter than I think it COULD have if we had more time following Himekawa as he processed his feelings about it. Just one of those things I wish OnK would take more time to breathe with.

rip himecarwa we'll never forget you

ANYWAY. LET'S TALK ABOUT THE REAL STAR OF THIS CHAPTER. BARKBARKBARKBARKBARKBARK

i'm only mostly kidding here the explosion of kamiki thirstposting in the wake of this chapter was so funny we are all hoshino ai

Anyway, all joking aside, this was a really interesting conversation in terms of the implications it has for Kamiki's involvement in the movie. Off the bat, it addresses the issue that's been kind of the elephant in the room which is that you can't just… make movies about real people without their permission! This chapter explicitly clarifies that everyone involved in the movie gave their permission for it to happen (which explains some of the in-universe fictionalized elements; without permission to do certain things, the story has to be changed to accommodate it) but that the movie equivalent of Kamiki doesn't even have a name. Given that this is a movie intended to 'kill' Kamiki as revenge, it raises some shrimptresting question as to wtf the final product will even be

This also confirms Kamiki to be at least a step or two ahead of Aqua here; some folks were speculating that he had Nino as his spy on the production but given Kaburagi's presence here - and the fact that he most certainly seems to know more about Kamiki than he's letting on - it looks to me like my man already has people at the top feeding him information. Not only that but he's sponsoring the very movie supposedly set to destroy him? Very shrimptresting… I don't know that we'll find out what Kamiki's up to anytime soon but hearing more about his involvement was exciting anyway.

also just one final shout out for that final page of Kamiki. It feels like Mengo changed his design a bit so he's not so much of a flat out Aqua Clone and I do like said changes. my man hasn't slept a DAY since ai died.

#oshi no ko #oshi no posting #onk spoilers #csa mention

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seyaryminamoto · 1 month

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Do you have any particular thoughts on Netflix Avatar Season 1? I haven't watched it myself but I would be curious to hear what you have to say.

I do indeed! I didn't watch it right away, but I have watched it indeed. I think there are merits to certain changes they did, I can see the sense in many of them, that doesn't mean EVERYTHING they changed was good, but it does feel like they were engaging with the original content in a far more creative way than a lot of people are willing to acknowledge or try themselves. No, it isn't a perfect remake of ATLA, but being the critic that I have been of the original show, nobody could ever convince me that the original was perfect, just as this new show isn't perfect.

I want to make a big post on the subject one day and try to get to everything it brought up... once I have more time on my hands, I'll try to do that. But, to give you a bit to chew on... I'll try to do one good vs. one bad on my part, of whatever I can remember right now.

GOOD: I actually do not mind the multiple prologues in the first episode, even though I don't think the changes were handled perfectly. I do believe that showing the genocide is not nearly as bad a choice as a lot of people pretend it is (the way it was portrayed is questionable mostly from a tactical point of view but that's just me being a freak about that... studying basic warfare really fucks up your suspension of disbelief when it comes to war scenes). Mainly, I think it IS important to show it due to the amount of people who are still convinced that Aang didn't suffer nearly as much as most other popular characters did -- that soooo many people have made these claims without a care in the world throughout the twenty years since ATLA first aired proves that the genocide was not treated with the severity it should have been by the OG show. I'm not even sorry to say it. It doesn't feel like a trivialization of violence, it feels like actually setting straight the degree of violence a genocide entails. People asking for a less intense version of genocide basically appear to be asking for the actual gravity of such events to be sanitized so they can chew on them more easily... and that's exactly what leads to it being trivialized, minimized and not taken seriously, if you ask me.

BAD: I don't particularly like the way Fire Lords are so... casual with commoners. Both Ozai and Sozin stood on the same level as a rebel/spy right before setting them on fire, no doubt it's meant to be some sort of flex, but... men of their ideologies and pride would not want to be up close and personal with anyone they consider that far beneath them. Odd choice there, imo.

MOSTLY GOOD: Aang does feel way more serious and has much more dramatic gravitas in everything he does. And this is not a bad choice, in essence. I don't particularly love that they tried to lessen it with occasional "Aang's a silly kid!" verbal reminders that don't actually have any proper visual evidence, because most the silly things he's up for are things the two older kids (Sokka and Katara) are perfectly fine with doing too, hence, he doesn't feel childish at all and it comes off out of place for him to talk about being more childish than he actually is. So... they really didn't need dialogue to try to emphasize his childhood if they weren't going to write him being a goofball. It's fine if he isn't one. He always could be a more serious character, it's only a problem when there's no further substance to him than just brooding (which is what I remember from the Shyamalan movie...).

WEIRD: Aang and Katara both had weird scenes of standing around doing nothing but smiling at their hometowns in episode 1. Maybe it was done as a parallel between them, but it felt a bit... overly theatric? If that makes sense? Like... I know we need to see their daily lives and the context in which they've lived... but it doesn't feel entirely logical for that to happen with them just standing in place and smiling fondly at their world. Most people do not do that in their daily lives...?

GOOD: ... Contrary to what a lot of the fandom seems to think, I actually like the suuuuuper slowburn Kataang here because any potential romantic payoff those two might get isn't nearly as in-your-face as it was in canon. The way their friendship is growing feels far more organic. And some of my favorite character moments in the show were actually between them. Which is not something I'd EVER say about the original show. There's a different sense of maturity for the characters here, and I like that.

BAD: I... do not like Sokka's changes. No, it's not about the sexism. It makes sense to me that this aspect of his character would be changed, updated in a sense: you can even still read him as sexist in some regards! It just isn't as simplistic and straightforward as it was before. But that's... not what bugs me the most. The show genuinely surprised me by taking him far more seriously as a character than I anticipated they would, but they absolutely picked weird choices with him in stuff like his family issues (... the Hakoda changes are just straight-up cringe for me, there's no justification for making him some sort of bitchy soccer mom who congratulates his son but then shits on him behind his back??), his insecurities as a warrior and the frequent remarks about how maybe that's not his path in life even though he does just fine at it, and... his romantic relationships. It's wild, because I actually think they did Sukka a thousand times better than it is in canon, and yet in doing so, they absolutely deadlocked themselves into a whole other problem: Sokka bonding that much with Suki and then hitting on a random Fire Nation soldier like two episodes later?? Then having the romance of his lifetime with Yue by the end of the season?? Ngl, it feels like we're watching one of those sitcoms where characters switch love interests in the blink of an eye. Changing this element of his character this way, when Suki's romance in particular was given new qualities and way more substance... may not have been a great call since it makes him come off insanely shallow, ready to get with any girl he comes across, and frankly, he didn't feel like that in the original show to me. He's also not really funny when he's supposed to be? Part of what made Sokka funny originally was his role as a voice of reason while everyone else ignored him. They occasionally tried to mimic that here... but in ways that didn't really work? Also, the Ron-Weasley-In-HP-Movies brand of comedy of "watch this guy scream, it's soooo funny" is... so trite at this point. Please, don't. Personally, this really feels like a whole other character who isn't Sokka. And some people might think that's great... I'm not one of them. Maybe I'm just experiencing the crisis a lot of people are over Katara with Sokka? But where changes with her do seem to go for things I actually wasn't fond of in her character, I don't really feel like they did better with Sokka in the least.

GOOD: ... "Katara learned waterbending too fast", they say: she did in canon too. A month of training under Pakku is not nearly enough time to justify her being deemed a master in canon. Complaining about how she didn't get that training at all here and still got deemed a master gets a "meh" out of me because I frankly do not see it being remotely as different from what canon did as people want to think it is. Katara was fighting Pakku with way too much power in the OG show for a kid who never got formal training to begin with, and somehow nobody minds that. I don't think someone who was on that level of power in the OG show was nearly as inferior to a seasoned master as a bunch of people want to believe. So... outrage about how they sped up her learning process when we in fact see a LOT more internal growth for Katara, and a lot more depth to her bending source here, makes no sense to me.

Along with that: bending has always been connected with a bender's internal energy, which is related to their peace of mind and internal balance. This show did not invent that. Firebenders are the ones who are most explicitly shown to be connected to their feelings that way, sure, but if you needed ATLA or LOK to non-stop feature characters talking about how a person's chakras had to be cleansed and their hearts clear and their every spiritual thread cleaned up in order to reach their best possible shapes as benders? You probably have bigger problems in analyzing this show than just whining over whatever the liveaction did. A straightforward connection for Katara with her emotions and bending isn't a negative choice in the slightest to me, more so with a character who has constantly been characterized as deeply connected to her emotions: it makes sense that her bending works and evolves the way it does in the liveaction to me. Sorry not sorry.

BAD: Zhao. Uh... I've seen people say they like him here? I felt like I was watching a con artist. It's not the actor's fault, clearly he was given this concept to work with and he did the best he could with it, but the idea of removing Zhao from all prior connection to the Royal Family, making him a total unknown who came out of nowhere and rises to prominence through conniving and scheming feels like they decided to merge him with Long Feng, maybe? And it might even backfire if they DO have Long Feng next season (... they should???) and he has a very similar profile to what they did with Zhao. I didn't enjoy his characterization at all, he was just... weird. So, not a change I was big on.

GOOD: Iroh. My god. I hate the fact that I'm saying this. But I will say it was insanely cathartic to watch that EK soldier beating him up. And that's not all: Iroh actually seems to be struggling actively with right and wrong here, showing hesitation over the war, and most importantly... HAVING A PERSONAL DYNAMIC WITH AANG??!!! I never imagined I would be that happy to see that, but I was. The few moments those two had together were damn solid, some of the best in the show (and the best for Iroh, sorry not sorry, I have never ever been an Iroh-Zuko obsessive fan and I genuinely find myself more intrigued by Iroh's potential bonding with other people, never thought about it with Aang but this show 100% blindsided me with it in a good way). It seriously made me mad that the OG basically never gave them that chance besides... that one scene in the catacombs that was very much just Iroh being a fortune cookie? Aang actually being an element that basically waters the seeds of doubt in Iroh's head is a GREAT change. I said it and I'll stand by it.

BAD: Hahn and not because of the usual reasons: their characterization rework of Hahn was fine. More than fine. The actor they cast was also very pretty! All of which makes it EXTREMELY questionable that Yue somehow has this perfectly decent guy and... uh... chooses the reworked Sokka instead? Like, I know that's how the OG story went, but when you turn Hahn from an opportunistic dick to a perfectly admirable warrior and individual, and feature Yue saying he's great but he's "not the boy of her dreams" (you... dreamt about him ONE TIME?? He's never been in the Spirit World besides that, so wuuuut...??), it makes her choice in romantic interests feel extremely questionable and weird. I'm all for Yue being given more to work with, but this seriously feels like she's... a little crazy. Hahn comes off waaaaaaay too decent for her not to be interested in him... ofc, as long as she's someone attracted to men, which, considering she picked ANOTHER GUY, it's to be assumed that she is?? Ergo nothing makes sense to me. Come to think of it, a lesbian Yue rejecting Hahn is probably the only way her rejection of Hahn would make sense... and it would also not cast such a questionable light on reworked Sokka if he and Yue weren't romantic at all, right after he had that big connection with Suki back when the show began?? So, heh, maybe lesbian Yue is the only thing that would've made sense if Hahn gets reworked for the better like this, sorry not sorry....

GOOD: The full-blown, outright display of Ozai's abuse on Azula rather than subtleties and insinuations. Again, much like in Aang's case with the genocide: PEOPLE DENY AZULA WAS A VICTIM OF ABUSE ALL THE TIME. People pretend Ozai actually loved her on some weird level or that she FELT loved, ergo she was fine and Zuko's the one who was abused. This is not new. We've been dealing with people barking that kind of nonsense since almost twenty years ago. And the backlash from that exact crowd when this show made it evident proves that they refuse to accept Azula as a victim of abuse to this day. Ergo, sorry not sorry: I'm glad they handled it as they did here because it makes it undeniable that Ozai is pushing Azula to extremes and she's pressured to deliver and become the weapon he wants her to be.

BAD: ... the Mother of Faces. That may have been the most egregious offensive and bullshit moments in the entire show. I was so mad when she was brought up at all. It was awful. I hated it. It really must be my most hated moment in the whole thing. UGH.

GOOD: Katara apologized to Sokka once. You know. One time. That, I think, marks the single time in any official Avatar content where she has done that. Call me a salty asshole, but I'm genuinely impressed that they did that, so they get a point for it.

BAD: Bumi. I know some people think the rework for Bumi is great... I could not disagree more. His treatment of Aang is really unacceptable, his behavior is very irresponsible but this time in a vindictive way... I was even reasoning with the fact that he knows Aang is the Avatar, which ALSO happens in the OG, without having known it in the past! The difference? It feels too arbitrary and random that he'd know that here, whereas in the OG show, he IS random and arbitrary, yet somewhere amid so many nonsensical ramblings, he shows insight and intelligence that makes you think there's more to him than meets the eye. I may need to rewatch episode 5 of the OG show in order to confirm this, but I also think that most of the implications there regarding his challenges is that they were actually harmless even if it doesn't look that way all along. Here? They're not harmless at all, he's basically vindictively trying to get Aang to either die for his "sins" or get himself killed through him and neither thing sits well with me at all with this character.

GOOD: Gyatso, expanding on his character and making him a much more straightforward equivalent to Iroh for Aang actually is really helpful, it makes him less of a "stock character" victim to the Fire Nation, it gave him more depth and it makes Aang's bond with him feel much more real. I am very sorry to all OG apologists, but I continue to believe Aang's cheerful behavior was written primarily to appeal to the children demographic that Nickelodeon was aiming for as their audience, which meant he could not be particularly human and truly grieve for everything he had lost. This show doesn't hide that pain at all, and it's particularly good that it does that by showing what a constant presence Gyatso was in Aang's life and by letting them have a manner of final farewell in that episode (... even if I didn't particularly like the episode, but still, it wasn't a bad idea to do that).

BAD: ... call me a consistency freak if you will, but I did not spend all these years obsessively trying to make sense out of the wobbly worldbuilding of the Avatarverse to be told that the entrance to the Cave of Two Lovers is within Omashu and that it leads into the arena within Bumi's Palace. Sorry. I can't accept that. I can't. I legit laughed throughout that whole situation because that's not where the cave of two lovers was, the badgermoles would be causing earthquakes non-stop through the city, and the sewers system would not even work because they'd constantly get fucked up by the creatures (as we know, there's a scene in Book 2 of the kids climbing out of the sewers, so either they won't do the pentapox or they'll forget about the badgermoles conveniently by then...). So. No. Sorry but no. Also, why did they kill Oma??? I know they turned both lovers into women, but... precisely because they did that, why exactly was there any need to change which one died?? Either one you kill is a woman now anyway so... what's the difference? WHY the difference?? Odd.

GOOD: ... Zuko keeps a notebook on his research and investigations into the Avatar. There were many changes to his character but that's the one that stood out the most to me. He actually seems a little bit more methodical, if not smarter, but you know? Kinda smarter anyway for at LEAST thinking that keeping a book with the results of his investigations could help?? Feels like he's actually trying rather than just whining about how rude the world is and how hard he has it. Which, in the end, might ALSO come down to him actually having some hope that Ozai didn't hate him irremediably... which, too, is a good change. I've talked about it before, other people have too: a firstborn firebending male prince has no business being discarded because of incompetence unless he's just THAT pathetic, and even in canon, Zuko wasn't as bad as to justify pushing him out and treating him as shittily as Ozai did without an actual, THOROUGH, exploration of Ozai's motives. You can elaborate, but the show never really did it, and if anything, it offered a bunch of conflictive information about why Zuko thought his father liked him. Here, it makes more sense that he thinks Ozai isn't as much of a bitch as he really is: the Agni Kai is a lot more interesting because they merged both Zuko vs. Zhao and Zuko vs. Ozai into one. The fact that Ozai actually burns Zuko and defeats him BECAUSE he was punishing him for not taking advantage of an enemy's weakness? It's a million times more telling about Zuko's character than what we saw in canon, where he was down to fight an old man out of hybris and then shat himself as soon as his father stepped up instead. So... I don't like this Zuko, which tells you they're doing him right anyway x'DDDD but I find there are a few elements about him that make him at LEAST a little more respectable than he was in the OG show. Among them? He's not constantly ranting about honor but actually lashing out at dishonorable choices out of principle, which makes it sound like he has a WAY better grasp on that concept than he does in canon :'D sue me. This is a Zuko rework too, and fortunately, not ONLY geared towards sanitizing him (even though there IS a fair amount of sanitizing too... which annoys me, but what else could we expect in the era of political correction).

BAD: ... Why the fuck did they decide the way to fix Iroh harassing June was to make her horny for him? Please? Of all things??? All they had to do was just... not make any romantic/sexual implications there. At all. Was that so hard to achieve? This is probably the second worst thing for me in the entire show, ngl. I do not understand the need for it at all. Most of all when they CLEARLY changed it due to knowing Iroh absolutely was a bastard in the OG with his behavior towards her. Isn't it easier to just NOT put any implications of attraction in there? I mean, I should be happy June didn't fully harass Iroh but the way they presented it, it felt like he wasn't even comfortable with it either! This... is not the way you take revenge for a character sexually harassing another one. Bad, bad take, I don't know what made them do this but they absolutely did not "fix" this, they overcorrected it and made it gross as fuck to me anyhow, most of all with the context of knowing that Iroh was the one being inappropriate as fuck back in the OG.

ALRIGHT. I know there's bound to be more, and I probably could think of more soon but I think I'm giving you this for now or else I'll end up making my major post here x'D

All in all, I don't think this show is unwatchable, I absolutely understand people who think it was fun, I also understand people who couldn't get used to the changes and outright dropped it. What I can't understand/accept is either pretending this show is the greatest thing ever (much like I don't think the OG ATLA is...), or pretending that it's the worst one either. This show engaged with a lot of elements in different ways than the original did: not all of it was a miss, not all of it was a hit. And I feel like it's a matter of fundamental, human decency and respect not to go completely berserk taking a ten-ton dump on this show, which to this date is the biggest production in Hollywood with a primarily Asian cast and crew of all time, from what I know, by pretending it has destroyed this franchise completely and that any support for it must come from brainwashed idiots or "not true fans". The gate-keepy attitude comes as absolutely no surprise in this fandom, ofc, but it's still disgusting to see. You CAN be critical of this show with dignity. You CAN do it while respecting other people who enjoyed it completely. It's not too much to ask. I may have learned that lesson the hard way with the ATLA comics, but even then, it wasn't my M.O. to jump into every single comics-positive post to tell people why they sucked and how dumb they were for enjoying them.

That's what I've got for the time being :'D hope it's enough for now.

#zuko-always-lies #natla #it's not perfect #neither is the OG #oh I didn't mention it in the final paragraphs but #I find it particularly hilarious when people rage at the new one #for things the OG did too #like I'm sorry here but you can't come to me and praise the OG for the exact stuff you hated the remake for #at least be consistent??#anyway anyway there we are for now

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zcorners120 · 2 years

Text

brother's bestfriend

synopsis; you and Charles had never liked each other, you being more fond of Arthur, but it all turns around when Charles sees you with a fellow competitor..

Warnings; none, charles being jealous ;), slight fluff?

this is abit of a longer one !

MASTER LIST

Y/N and Arthur, a dynamic duo. Growing up together you've always been connected at the hip, you just click but in a platonic way. You'd always support him at races, join him in training sessions at the gym, support him in interviews. You were even nicknamed the 'Leclerc Princess'

Your association with Arthur was always positive, however with the other Leclerc boy it was quite the opposite.. You and Charles had never really gotten along; your 'hopeless optimism' irritated him, and his 'constant arrogance and pessimism' drove you insane.

Most times you had managed to stay out of his way and chose not to answer questions about him in interviews.

On a radiant day in Monaco you were hanging out in the Leclerc household, as per usual, laughing with Arthur about something stupid. You were filming a 'try not to laugh challenge' where you had water in your mouth.

{ insert super duper funny hilarious video here }

Arthur couldn't remain calm as he let out the most animalistic screech you've ever heard, water spraying out of his nose like a fountain.

You couldn't handle the sight, water spraying from your mouth as you run away from him laughing, laughs heard from the pair of you were echoing around the house.

You run away, lungs hurting and walking towards the bathroom to clean yourself up until you bump into something solid.

"Ma puce, what's going on? Did Arthur make eye contact with a girl that's not you?" Charles questions, looking downwards at you, with headphones and his mic on.

"Uhm, water challenge.." You say, a smile cracking through your face.

"Children." He blankly says, before going back into his room.

Charles POV:

"I'm back, it was just Y/N and Arthur." He replies to his stream, and to Max and Carlos.

"Yes we heard, you have a nickname for her? Mate, that's some deep love shit" Carlos jokes, with Charles' eyes going wide, not realising his mic was on.

His stream chat was blowing up with new theories of possible feelings under the mask of hatred.

"There's nothing there, I call her a fly because she's stupid and annoying, you know how much we don't like each other." Charles shuts it down quickly, hearing Max agree in the background.

Reader / Y/N POV:

You heard his hurtful words, but knew it was him boosting his ego, 'the feeling is mutual' you repeat to yourself in your head.

You went back to Arthur's room and ensured that you were both even more annoying. Simply out of spite.

It came to race day for Charles, so you joined Arthur as he wanted to support, for you mainly to just watch the race. You could see Charles doing some interviews not that far away, and Arthur went to get some water.

You wore a white knitted dress, something simple but casual for the Monaco sun. Your dainty gold jewellery made your skin look so elegant, and complimented your outfit.

You could see Daniel walking towards you, a friend of yours and Arthur's, and Charles' competition. He jogged over to you, a wide grin plastered on his face, pulling you in for a hug, then sliding his arm to wrap around your waist.

You talk about the upcoming race and plans for afterwards, to celebrate whoever's victory it is.

"You best be cheering for me Y/N!" He teases, and gives you a quick kiss on the cheek to say goodbye.

You're left with a slight blush painted across your cheeks, until your hand gets pulled into a corridor.

"Since when are you friends with him?" He taunts, his eyes haunting into yours.

"What do you care? We were just talking.." You retaliate, confused.

"Y/N, you can't talk to him. Nope, you can't." His brain was racing with thoughts, but having one thing clear. You were his to mess with.

Your eyebrows knit together, portraying your bewilderment.

"You're only mine to make fun of." He says sternly, then turns his head to the sound of clicks, and camera flashes.

He groans to himself, knowing that this is going to get plastered all over social media after the race. He grabs your hand and leads you into his private changing room.

"Why are you acting like this? Charles are you jealous?" You tease, blush spreading across both of yourselves.

"You've got me Cherié." He sighs, but smiles.

#charles leclerc fluff #charles leclerc #fanfic #imagines #ferrari #ferrari f1 #formula 1 #charles leclerc x you #charles leclerc fanfic #ricciardo #max verstappen #arthur leclerc #imagine #jealousy

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unironicallycringe · 2 years

Text

they are gay

UPDATE: I fixed it, apologies, today is filled with a lot of pain meds. Anyways. I wrote the oneshot finally. Ghirabeck crackfic, written as seriously as possible to produce silly fluff, in...

The Real Treasure Was The Unlikely Romantic Bond We Developed Along The Way

Rated:T Word count: 2,024 Pairing: Ghirahim/Linebeck No content warnings

If there were an onlooker to observe, they might have thought that the Famed Adventurer Captain Linebeck had gone entirely mad.

The man was prowling through the old wreckage of a capsized ship run aground. The broken vessel bridged the rocky intertidal, its stern having lodged itself in a sandy berm where the shore blended from sea to land. He balanced across half-submerged masts and algae-slick rocks as the tide came in, speaking aloud as though having a full conversation with no one in sight.

The captain's presence lent a colorful splash to an otherwise dull shore. He was obviously a man of fame and wealth, and one who took great care to look the part. He wore his signature blue mariner's coat, its brass buckles gleaming under a recent shine job, while his bright red neckerchief adorned the space under his chin. Right above, a trimmed goatee and mustache gave him just the right dash of roguishly-handsome flair. The style was intentional, portraying a proper gentleman while still entrancing the imagination with hints of adventure. Of curious note, however, was the large sword strapped to his back. A man like Linebeck was more suited to a thin rapier, perhaps a scimitar at the very most; an obsidian, spiked greatsword was not his style, nor should he have even been capable of lifting it. The weapon's incongruity was more than a little noticeable.

"First Mate, a report please! Where did you say you got that treasure map from, exactly?" Linebeck asked aloud.

There was the slightest shimmering sound in response, quiet enough to make the captain seem as if he answered his own question moments later.

"The merchant from the shop ship? Ohh, I don't trust that, not one bit, you know!"

He paused, and in the silence came another breezy shimmer before he continued.

"It's not to be rude, I just don't think that he can verify the integrity of a ware like that. He doesn't have the treasure-hunting know-how, the hands-on experience, the keen-eyed passion! Not like us! I don't think he ever even leaves his ship. For all we know, he could have been sold a fake, and then we look like fools for buying it…"

There was a titter like the rustle of leaves. Linebeck rubbed at tired eyes with the heel of his palm.

"Oh, darling, won't you just come out and help me, then?"

In a flash of golden diamonds, another man suddenly appeared from inside the sword. This newcomer was gray-skinned and white-haired, and he was tall enough to tower over the captain. His garb was just as meticulously coordinated as the captain's. He wore a billowy, crimson blouse with ruffled cuffs, and a single, diamond-shaped earring dangled from his right ear. When he spoke, his voice was lilting and haughty.

"As you wish, Captain," this new entity chuckled. "Though, I had hoped a simple hunt like this would be no match for such a man of the sea as yourself…"

"Alright, alright, no need for that now, Ghirahim! Besides, I'm only having trouble searching because…well, because…" Linebeck quietly glanced around for an easy excuse. He frowned up at the sky through holes in the ruined ship's overturned hull. "Why, it's because the weather is just so dour! It's giving me a headache. Barometric pressure and all that, you know."

"Current barometric pressure shows no indication of a coming storm," Ghirahim remarked, casually cleaning his nails. "Nary a cloud in the sky, too."

Linebeck simply fell back on stubborn confidence, his pretense of choice.

"Right, well, I just know these things by instinct even before a storm blows in. You see, I'd been out sailing while you were stuck in your sword in that temple after all. I have fresher experience with these seas and her stormy temperaments."

"Oh. He just knows these things, he says," the sword spirit scoffed melodramatically. "I suppose that makes me mistaken then, and you don't need any of my other wisdom. I'll just have to pack my little rucksack and take my leave from this scavenger hunt then, for Captain Linebeck just knows these things far better than a sword spirit..."

"Now, now, I didn't mean it like that! No need to be like that!" the captain backtracked. Ghirahim's threat had no teeth whatsoever, and it was obvious he just wanted to be paid his fee of compliments. "Let's just forget about it and focus, darling? Why, I think you're quite wonderful at, uh…forecasting the weather! And countless other things! Really, you're perfect in so many ways."

That resulted in an approving hum from the playful demon. "Hmmm…fine, it's all water under the bridge. I just think you're funny when you put your foot in your mouth."

Ghirahim twirled his hair in a finger with a long, thoughtful look. Then, he turned on his heel, moving towards the upside-down cabin towards the stern.

"Why don't we check over here again?" he said abruptly.

"Certainly, I was just thinking that."

"Great minds think alike, then."

Linebeck eagerly trailed behind him. His eyes darted over the area with renewed vigor now that he had his exploring buddy fully present.

"Do you imagine it could've been buried in the sand during the wreck?" he suggested. "I was wondering, but I've no shovels on hand."

"Perhaps! Orrr… maybe it was stowed securely enough as to stay aboard while the wreck drifted," Ghirahim returned. He offered a knowing smirk before directing Linebeck to the ceiling - or rather, the ceiling that used to be the deck floor. The sand here sloped steeply upwards, bringing them within such easy reach of it that Ghirahim had to crouch to avoid bumping his head. "Did you know that pirates often use secret compartments to hide their stolen goods and jewels? Now that's a good start."

Linebeck's eyes lit up with excitement.

"Oh, yes, you're quite right!" he smacked a hand to his forehead and laughed a little, then proceeded to check each of the planks above their heads. "Of course! There could be a secret trapdoor on the floor of this very cabin! I'm sure I would have thought of that, had it not been for this dreadful headache…"

With his morale boosted, Linebeck analyzed the old floorboards attentively. He didn't notice Ghirahim wasn't actually looking very hard, instead only smugly observing. Eventually, the demon subtly shepherded them to a space where Linebeck pointed out a hidden, rusty lock that caught his eye.

"A-ha!! Ghirahim, look there! I think I've found something promising!" he sang.

"I'm looking! Good eye, Captain, well done."

"Let's hope the reward will be well worth the splinters…"

Linebeck produced a lockpick and fiddled with the old mechanism briefly. It clunked and scraped in protest before it yielded, allowing the trapdoor to fall open with a creaking groan. He stepped handily out of the way just as a large chest tumbled free from above. But instead of landing still like well-behaved loot, it bounced and rolled down the sandy slope in a bid for escape, headed towards the rising tide.

"Gah! An escape artist, eh?" Linebeck called, scrambling after it through loose sand. "Come back here, you slippery eel!"

Linebeck slid and sprang forward, catching the rogue chest just as it leapt from a rock towards the waves. Far from his earlier frustration, he laughed aloud in the triumph and fun of it all. The chest was surprisingly lightweight, but it didn't dampen the success. Regardless, treasure was treasure. He dragged it safely back to dry land and waved up to Ghirahim.

"Got it!" he cheered.

"A stunning display of dexterity, Captain," the demon yelled back. "Now what's inside?"

Linebeck's fingers searched for the chest's latch. With no lock in sight, he wrenched the lid open and peered inside…

…only to tilt his head in bewildered confusion.

"Huh? What's this?" he blurted. "Did some ruffian get to most of it first? There's just this paper hat and note left...oh, hold on, Ghirahim come look. There's some jewelry that looks exactly like your earring…"

Ghirahim appeared beside him suddenly in another shower of diamonds. The demon tapped his chin, trying very hard to look puzzled.

"How curious! 'Tis almost like … a matching piece to mine," he said innocently. "That's a paper crown, by the way."

Linebeck narrowed his eyes at Ghirahim in suspicion.

"Curious indeed," he said. A smile began to tug at the whiskered corners of his lips as understanding quickly dawned on him.

"Well? What other plunder is there? Does the note share any fanciful tales, Captain?"

Captain Linebeck did his best to fight off that growing smile and look serious.

"Ahem. Let's not get too hasty! We'll do this properly, shall we?" He began pulling each item out to appraise it, standard practice for the record-keeping of his hauls. Ghirahim summoned up quill and parchment to complete the scene.

"First Mate, if you'd please log Item #1 as Suspiciously Familiar Earring Which Certainly Wasn't Left By Anyone I Know." He hooked it into his left ear, opposite the one worn by the demon.

"Mhm, yes, counted and logged. What luck! Blue is definitely your color."

"Item #2: Paper Crown Belonging To A… " –Linebeck stifled a snicker as he read the cursive script across it– "...To A 'King Sexyman'. A historic find and a valuable artifact, I'd say."

"Logged with amendment: Well-Folded Paper Crown. Fine craftsmanship."

"Where did you even get this?"

"Who, me?" Ghirahim feigned ignorance poorly. "Why, I've never seen this treasure before, Captain, on my honor, cross my gem."

"You're not very good at lying…"

"That makes two of us. What's next?"

"Other than the note, there's more jewelry." Linebeck showed off a few other gifted trinkets one by one. Then, he came to two additional golden rings inlaid with sapphires. "You're giving me quite a few earrings, darling."

"Those aren't for ears. But worry about that later, handsome." Ghirahim shot him a wink. "Anyways, I'm simply dying to know what that note could possibly say, aren't you?"

Linebeck sighed, having already given up his play in favor of flushed cheeks and his persistent grin. He unfurled the parchment scroll to read aloud. Its writing was calligraphy of gaudy flourishes typical to a certain sword spirit.

"To My Dearest Captain Linebeck:

I hope you don't find the contents of this chest disappointing, for it was already empty when I got here. It seems our friend Beedle sold us a useless map. But fear not: I procured some other baubles to place inside for your enrichment and amusement! Besides, should you choose to look again, you may find that the real treasure was in front of you all along..."

Linebeck snorted. "Did you draw a winking face at the bottom here–?"

He turned to look at his companion, but the demon wasn't by his side anymore. So expectedly, he returned his attention to the emptied and open chest.

Ghirahim was now sat inside it, fluttering his eyelashes prettily with a hand under his chin.

Seemingly at a loss for words, the captain buried his reddened face in his hands.

"This is…wow…" His shoulders shook with muffled laughter. "Oh, how in the world did I end up finding someone who is so … well, so …"

"So clever? Beautiful? Creative? Excellent at designing surprise bonding activities? Please, take your time."

Bending forward, Linebeck merely captured the demon's lips with his own. His companion's mischief briefly melted into something softer, quieter. When he pulled away, he found that his had, too.

"...so perfect, actually," he finished. "Quite wonderful at many things, really, including surprise bonding activities."

Ghirahim grinned widely, but his voice was only a whisper. His fingers found Linebeck's to intertwine in.

"Speak for yourself. I dare say, you're the one with a new crown to boast of your perfection." He snapped the silly craft into existence and placed it atop Linebeck's wispy olive hair. That earned another shared snicker and the captain nuzzled his nose into the sword spirit's cheek.

"You know, in truth," Linebeck admitted. "I do believe you're my favorite treasure to have found."

#loz tumblr sexyman #ghirahim #linebeck #ghirabeck #legend of zelda #phantom hourglass #skyward sword #my art #digital art #loz fanart #legend of zelda fanart #my fic #loz fanfiction #loz fanfic #oneshot #fluff #forgive me for any ooc vibes esp on linebeck1 its crackfic so i mean....yea lol #but also i was only able to get limited experience of his character since i dont own the game #anyways hope u like this silly commemoration of our to sexymen finalists In Love

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astrum-aetherium · 11 months

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Henry would definitely like to spoil his partner and I cannot be convinced otherwise. I just know he would do it.

agreed — on so many levels. i've discussed this from an intimate perspective a few posts back, but i'll gladly reiterate and summarize my thoughts in order to summon the notion back into mind in all its enticement and freshness.

despite his apathy and iciness, we know him to be a giver at heart. there are plenty of instances in the book where that is clearly portrayed — be it because of his wealth-induced blindness to materialistic goods and the value of money or not — as he frequently seems ready to offer the people he's closest with his (detached, yet in a way caring) support. when richard is in the hospital, he's constantly there and providing him with means to pass the time; he offers money to the group on various occasions; invites richard out to eat; pays, after all, for everything bunny wants him to (i know, i know — it's mostly because of blackmail, but even in one of the first scenes we get of richard and bunny talking about him, bunny says that he has been like this for a long time).

therefore, yes — he would definitely spoil his partner. it would be nonchalant and not at all flamboyant, of course, just casual and unassuming, as though it were nothing — but it would certainly mean a lot. he would always pay for all meals, even coffee, anything, without question. as a matter of fact, he would condition you to not even consider drawing your wallet when you're out with him. this would occur regardless of your own social status, regardless of whether you're in need to be paid for or not — it would simply be par for the course, a caring gesture you know him to enjoy doing. however, i don't think he would be the type to give you actual money unprovoked, unless you ask for it, of course — he would consider it rude to intrude like that, especially in the context of caring for a (romantic) partner. his generosity would predominantly manifest in the form of indirect covering of costs and gift-giving.

to stay on the topic of that, he would pay intricate attention to regale you with gifts from time to time. once again, it would be completely laid-back — he would remember something about a pair of tights or a hair clip that you'd mentioned a while back and retain it in mind, then randomly acquire it one day, and just leave it on your doorstep in a beautiful gift bag or simply give it to you in the university hallway as though it were a casual thing to do. this notion, of course, can be extended to a more intimate setting — when the two of you would find yourselves in confidence, he would even present you with something as intricate and delicate as expensive lingerie, or a silk robe, or anything that could singularly be enjoyed in moments shared between the two of you alone. he wouldn't expect any gratitude in return, nor any action as a means to pay back, yet you would certainly be willing to provide — either on your knees for him or in the form of wearing that very present as soon as you can, only to let him peel it back off of your body again.

#henry winter imagine #henry winter x reader #henry winter thirst #henry winter smut #astrum asks #indulgent thoughts #no but he actually would i see him as incredibly generous but like in that super nonchalant way #screaming inside at the thought i really would love to be spoiled lol #of course i had to make it smutty i am ME

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one-equaltemper · 8 months

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join me in my far-too-long note that borders on an essay about chapters 28-30 of be my baby

i'll be honest, writing things like this inherently makes me feel like a terrible writer because i obviously didn't *clearly* get my point across and maybe i need to go back and edit the offending chapters, but for now...a note.

you will notice we're keeping a very casual vibe here because i haven't bothered to capitalize anything. we're just friends, having a chat! i'm definitely not wringing my hands and a little bit frustrated because that would be defensive and i do not want to come across as defensive. so here we go, under the cut, so you can avoid spoilers in case you're not caught up:

there have been lots of thoughts and, i think, a bit of confusion over an aspect of the argument between draco and hermione beginning in chapter 28. to the best of my knowledge this stems not from the argument itself — draco telling hermione that pansy (his second ex-wife whom she knows little about) has contacted him and wants to have a chat — but about what happens after.

hermione is overcome with feelings and her first instinct is to get away. i don't want to say she's a runner, because i don't think she is, but i think she's the type of person to need a little bit of time to herself and to her thoughts to understand and come to terms with information that is particularly inflammatory or worrisome. however, as she makes to move away from draco, he essentially refuses her the privacy.

first, i get it. draco comes off looking extremely controlling in this moment. i knew it would be difficult going in to write the scene, but i felt it was important for reasons i will explain.

second, lets talk about the rules.

in chapter five, draco first asks hermione to text him when she's out and let him know where she is and where she's going. it's just a check in text, but it's one of the first rules that they put into place.

in chapter 12, titled manners, draco asks hermione to hold his hand while they're walking outside. the rest of this chapter delves in draco showing her that maybe she's not actually all that ready to dive headfirst into a dd/lg relationship, but that rule still stands.

three, their relationship type. are they in a 24/7 dd/lg relationship? no. does it extend beyond the bedroom? yes. this is not just a sexual thing for them and some of the rules that they both agree to reflects that.

so, what happened? what was i trying to portray?

essentially that you don't get to pick and choose which rules you want to follow when you're in a relationship like this. hermione knows she's not supposed to wander, she knows she's supposed to hold his hand when they're out or, at the very least, stick close to him. argument or not, draco is still responsible for her.

draco gave her another option; he told her that he could take her back to his flat and she could determine from there whether she'd like to be alone. he simply, at the end of the day, asked her to remember their agreed upon rules. when hermione continued to refuse and he could see she wasn't going to do what he asked, he begrudgingly allowed her to separate herself from him as long as he could see her.

however, it was still against the rules and is part of the reason for the punishment in chapter 30.

if draco comes off as controlling, it's because he is. i'm not trying to hide that. i know, hermione knows it, astoria knows, theo knows it. even draco knows it. he has a deep need to control everything around him.

i know this story is not going to be everyone's cup of tea but my real goal here is to look at the nuances in a relationship like this. it's not always sexy or attractive. sometimes it's beyond complicated and it's just the nature of the dynamic. that's what i was trying to show.

i hope this makes sense and answers some of the questions and concerns from those chapters. i will go back and see what i can do about making these things clearer, but hopefully this note helps.

#be my baby #oneequaltemper #i definitely rambled way too long #it's nothing bad i literally just spilled every thought in my brain into this

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sideprince · 7 months

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A movie question I wanted to throw your way: what do you think about the decision to use a decent amount of physical acting on Rickman’s part for comic effect? I’m thinking his snatch of thin air in Philosopher's Stone, his creeping along the table towards Ron and Harry in Chamber, his dramatic point in that same scene, his walk up to the stage for Dueling Club, his whacking students in Goblet and Order, etc.

On one hand, I feel like this does match the tone of the books; he canonically lurks and prowls and points and snatches at the air, and his menace is often undercut by a physical description that’s meant to be some level of comedic. On the other hand, we don't see Snape nearly as much in the movies as we do in the books, so this aspect of his character seems somewhat overinflated by the movies?

TLDR I don’t think these decisions in the movie were completely out of left field, but it also feels off for some reason. Idk I don’t know how exactly to verbalize my feelings on the matter and wanted to hear your thoughts!

It will probably come as no surprise that I feel like any answer to this question is inseparable from the absolute hatchet jobs that are Steve Kloves' screenplays for the HP franchise. This reply is going to end up inevitably long (you ask me about my favorite subject, you suffer the consequences), but all of it is ultimately framed by the problem of having to make the best of a badly written script. (**edit: This post is way too long. Run away. Don't look back.)

The writing doesn't support the story

The first thing that jumps out to me is that there's a separation between where and how these comedic moments are used, up until the end of GoF and after. They're more a part of the story only until Harry's story arc reaches the point of Cedric's death, when he first witnesses death in the way that allows him to see thestrals after. GoF is when the story takes its first dark turn, and up until then the tone and story is much more in line with children's literature, so it makes more sense that Snape is portrayed in a bit of a playful way. After GoF - even though the films reveal it as an aside and much later than the original story does - Snape resumes his role as spy and becomes more integral to the story as a key character and is thus no longer just a foil in a children's story. I think what doesn't work about it is the inconsistency. The books have comedic moments with Snape too, which are cartoonish, up until the end of DH - I feel those are also out of place, but at least their existence gives a basis to what's done in the films.

Nevertheless, one of the biggest problems with the films is that they're badly edited. I'll leave that analysis for another post (you're welcome), but essentially these comedic moments feel inconsistent in part because there's often a disconnect between the performance a director has asked of his actors and the tone that's established in the editing room once pacing and a soundtrack are added. Any vision a director had for these films was muddled by the involvement of big studio producers and limitations. This is made more jarring by the way that Kloves has interjected light, funny moments in awkward ways throughout the scripts. He struggles overall to convey the world that Rowling has created, and if it weren't for the brilliant production design of Stuart Craig, Kloves' failures would be much more obvious (again, worthy of its own roast post).

Take the scene where Snape whacks Harry and Ron on the head in Gof: why are the students all studying in the Great Hall? Why are various years sitting together? Why is Snape overseeing them? It's a scene almost verbatim out of the book (Fred asks Angelina to the ball casually, he and George tell Ron and Harry to get dates "before all the good ones are gone," we find out Hermione already has a date), but like pretty much every scene that originally takes place in the Gryffindor common room, this one is moved to another location for no discernible reason. The main difference in the change is how restrictive it is: in the common room the children are free to be themselves, but in the Great Hall, under a strict teacher's nose, they have to be quiet and restrained. Another subject that would need its own post is the myriad of ways Kloves goes out of his way to rewrite settings and characters to avoid allowing them to express themselves or grow as characters, and how hard he works to stifle and limit them in ways that are convoluted and work against the story, as if he himself couldn't deal with any kind of emotional vulnerability (in a way, his scripts are a desperate cry for help). This directly contributes to why so many of Snape's comedic moments feel off.

The changes in the scene in GoF don't even make sense from a production perspective, as they required more actors, more lighting, and more setups. Instead of using the cozy setting of the common room to establish camaraderie between the students, Kloves replaced that energy and lightheartedness with Snape in a way that's uncharacteristic. The scene, as he wrote it, is already light and has humor, but Kloves doesn't trust it - he feels the need to exaggerate it and the casualties, as always, are the characters and their portrayal. It's as though he's following a formula and saying, "this page number/scene number must provide relief from the tension of the story" and then doesn't consider how following that directive fits into the rhythm of the narrative. It's closer to being an isolated scene akin to a comedy sketch than to a scene that's part of an act that's part of a film. It's worth noting that, in GoF, Kloves interjects this scene as if he's forcing this moment of comic relief into a story that didn't require it and then relies on playing off of Snape's usual seriousness as its crux. In OOtP, when there's a callback to it as Snape smacks Ron with a book again, it's no longer the point of the scene, but an aside in a comical montage focused on Umbridge (OOtP was also the only film not written by Kloves, so this moment is more likely the result of Michael Goldenberg trying to maintain a consistency with Kloves' work). Overall, I think that feeling of something being off is, again, more rooted in the writing than the performance.

Rickman as an actor playing Snape

There's a lot of criticism in the Snapedom of how Alan Rickman portrays Snape, but not enough acknowledgment that none of the characters are portrayed well, and most of it comes down to Kloves' writing of them. Book!McGonagall insists that all students under 17 are evacuated before the Battle of Hogwarts, where Movie!McGonagall only cares that the Slytherin students are locked in the dungeon, everyone else can stay, what does she care if first years die? Book!Hermione is intelligent and empathetic while Movie!Hermione is a two dimensional maternalistic harpy whose main job is to be a mouthpiece for plot exposition. Book!Ron is funny and brave and fiercely loyal, while Movie!Ron throws Hermione under the bus, is cowardly, and is reduced to a flatly written sidekick. Book!Harry is complex and while I could list a million examples, I'll stick to this one: in PoA when he finds out Sirius betrayed his parents, he's enraged but has no reply when asked if he'd want to kill Sirius. Movie!Harry says with conviction, and without prompting, that he wants to find Sirius with the explicit purpose of killing him. Every single character takes a hit because of how Steve Kloves writes them, and Snape is, sadly, no exception.

While some film shoots allow for improvisation, a big budget production on a tight schedule with scenes that require a lot of prep work can't afford to make many changes. So, for example, while Ralph Fiennes was asked to improvise his scene as Voldemort at the end of DH2 when he re-enters Hogwarts victorious (and that's why the dialogue is redundant and that weird hug with Draco continues to plague us), it could be done because the wardrobe and set and cast were already in place and the time required had already been scheduled in. It wouldn't be possible, though, to add an additional scene - like Snape going feral in the hospital wing at the end of PoA - unless it was written into the script. Additional actors would be required, which would mean coordinating with their schedules and adding them to the budget, not to mention scheduling in additional days with the crew who may already have other work lined up. It would require either pushing every other shooting day back - which is near impossible - in order to use the hospital wing set while it's still up, or tacking on production days to the end of the shooting schedule and rebuilding the set on those days. This can be done for necessary pickups that round out existing scenes, but you can't really say, "hey I decided we need a scene here that didn't exist before" without causing huge problems. Because of how contracts work, any significant scene changes would have to be sent back to Kloves who would have to write alternate scenes and/or dialogue, and even then if you wanted to fix a specific character's arc - like Snape's - you would have to add in so much that it just wouldn't be feasible. Screenplay lengths have to fall within a certain number of pages, because each page is approximately a minute of screen time, so adding a few more to a finished script mid-production is very difficult. The actors have to make the best of what's on the page. Which brings us to Alan Rickman, his choices as an actor, and what informed both him and the character of Snape.

Alan Rickman was a RADA trained actor, so his approach to a character involved a lot of physical work as well as character analysis. As far as I know, he was the only actor to contact JK Rowling directly to ask about his character, because he wanted to make an informed decision about how to play him since Snape was so nuanced and gray. Unlike some of the other actors (like Michael "DIDYAPUTYANAMEINDAGOBLETOFFIYAH" Gambon) Rickman read the books - those that were available when he took on the role, and each as they came out afterwards - and used them to inform his understanding of his character beyond what Kloves wrote (presumably in crayon with all the e's backwards). In interviews and Q&A's it's clear Rickman was fond of the HP books and story, and had a thoughtful process taking on Snape's character. He did not see him as a villain, because, as he's said, he didn't approach characters with that kind of judgment. And while I'm sure the egregious amounts of cash Warner Brothers threw at the actors was inevitably a factor for all of them, several of the ones playing teachers or other adults have said that they took on their role because a child in their life insisted on it, despite them being unfamiliar with the books, whereas Rickman's process was to read Rowling's books in order to decide whether to take the role. Again, he was a RADA trained actor, and thus had a meticulous approach to his work that followed a thoughtful, considered process and a decision based on whether he felt he could embody a character in a way that did them justice/if they were interesting enough to him. By the time he started shooting PS, he also had experience directing a film and was working as a director in theatre as well as still acting, so he understood the process from the perspective of not just an actor, but also as someone behind the camera, someone working with actors both as a peer and director, and someone sitting in an editing room.

We know from his diaries that he became increasingly frustrated with how his own process and expectations clashed with that of the producers on Harry Potter. He wasn't interested in renewing his contract after the first few films (goodness knows how much money they offered him in the end - his wife has said that he never let anyone else pick up a tab in a restaurant and if they argued, he would just say "Harry Potter."). He writes about seeing the films at premieres and being frustrated with how little story and development there is (especially for Snape), which makes me think there are deleted scenes somewhere that haven't been released. At one point he writes about a premiere party where he had internally lost patience with the three Davids (Yates, Heyman, and Barron). It's obvious that there's a discord between the work he wanted to do with Snape's character and what choices the production made:

He describes how, during the filming of the Yule Ball scene in GoF, there was an attempt to get him to dance but he refused because he didn't think Snape would dance:

It was a rare moment of potential for improvisation because, again, the set and cast and timing were already accounted for, and in this case there wasn't even dialogue. The scene where he smacks the boys with the notebook - as far as I know - was scripted. So there's a difference there in how much freedom he had, as an actor, to say no to what he was asked to do. Even in the above diary entry it's clear that, given his way, he felt the character wouldn't even be present in that scene, but he had no choice. This tells me that when he had more freedom to make choices, he did so based on his understanding of Snape as a character and, given that he was an actor who was both very respected (and got away with more than most) and also someone who could get argumentative about his character choices, I think this is the most apt lens to examine his physical work with Snape through.

Knowing that he wasn't interested in continuing the role of Snape after the first couple of films and that he was often frustrated with the lack of characterization and story arc, his physicality in his first scene in CoS (when he reprimands Harry and Ron for flying the car) says a lot. (Caveat that one of the reasons he didn't want to renew his contract was that the shooting schedule restricted his schedule and he wanted work on other projects, but I can't help but wonder if that had been the case had HP provided a more satisfying process.) It's almost certain that he had read all the available books by the time the scene in CoS was filmed, including PoA where Snape becomes apoplectic with rage in a way that, to a child reader, is comical (and intended to be) and to someone analyzing Snape is clearly rooted in triggered trauma.

Alan Rickman knew from the outset that Snape's motivation was his love for Lily, so he would have understood the dynamic between his character and Sirius re: who Snape thought sold Lily out to Voldemort. He would also have understood that Snape's reaction in PoA was more about distress and anxiety, and that this was connected to the promise Snape had made to protect Harry for Lily's sake. This would have therefore informed his portrayal of Snape's anger at Harry in CoS, and it's reasonable to assume that Rickman was trying to walk the line between the way Rowling portrayed Snape in full unhinged rage in PoA, what this tells him about this character when angered, and the connection between the moments in PoA and CoS when it comes to Snape's anxiety over Harry's safety. Unlike the author of a book however, who has full control of how they tell a story, Rickman was an actor in a film - an inevitably collaborative medium which therefore made his portrayal reliant on the decisions of others as well.

Chris Columbus, the HP movies, and feral Snape

PS and CoS were directed by Chris Columbus, the guy who directed both Home Alone and Home Alone II and Mrs. Doubtfire. He was a successful director from the 90s tradition of children's movies whose sensibility was informed by the era's attitude towards children's media: kids wanting to see themselves in narratives, in ways that felt empowering and allowed them to process the confusion of a world run by adults in playful, quasi-cartoonish ways within a 3 act structure where the villains - mean adults - get their comeuppance because it feels fair. One thing that set Harry Potter apart was that the villain was not the mean adult; Snape, the mean adult, is a character kids can hate and project their own experiences onto, but Voldemort is a true villain who represents evil and is vanquished by the hero. Chris Columbus established a tone for the first two films that was no longer apt by PoA, not only because it didn't work for the story, but because that 90s era of children's movies had ended and the culture moved on to more complex narratives (and Columbus has focused more on producing than directing since, because his style doesn't work for audiences anymore).

What's ironic about the way Snape's scene at the start of CoS comes off is that, in the book, there's a great comedic moment that's left out:

This is cut from the film, and instead it's Filch waiting at the top of the marble stairs who catches Ron and Harry being late and delivers them to Snape (I don't know why, the scene in the book is much more dynamic and would have taken up about as much time on screen). Rickman, meanwhile, is using the information he's gotten on who Snape is from the books, and imbuing some of that feral Snape energy into his portrayal of a Snape who is genuinely angry:

(Thank you for making these gifs @smilingformoney , they are truly the gift that keeps on giving.)

The thing is, no matter how much of feral Snape Rickman brought to this, no matter how menacing his performance is, this moment still lives within the dynamics of a Chris Columbus children's film. It gets cut off by Dumbledore's entrance - meant to be a comeuppance for Snape, since Dumbledore (being the voice of wisdom and fairness in this world) prevents him from punishing Harry and Ron (you know what, at least in the books they got detention, but ok). Despite Rickman's performance, Columbus as a director has framed this scene in the same context as the one Kloves cut. The tension is brief, and the focus is on Snape being foiled, because it's what children want to see - a mean adult experiencing consequences. It's down to the editing and soundtrack, choices Columbus made in the editing room. In addition, we don't know how many different ways an actor tries a scene, only what ends up in the final cut of a film. The process of the work done on a set is often much richer and more diverse than what an audience sees in the finished film.

Tbh I think this is also why Snape's feral moments were cut from PoA: it's a darker film, but had to straddle the line between being for both children and tweens and not getting too playful, nor too intense. As much as I want to see feral Snape on screen, it's extremely difficult to make work in a narrative that is about Harry and his friends. It either skews too intense, making the audience uncomfortable because seeing an adult becoming unhinged and in pain is difficult and frightening for most young people, even adults, and would therefore take away from Harry's goals and narrative as well as his changing relationship to Sirius (all of which is already barely supported by Kloves' writing). Alternately, it could also skew too comical and over the top, which takes the audience out of the tension of the film's climactic moments.

If Snape's story had gotten more focus and screen time, an unhinged moment would be better justified because the audience would have been more invested in the character and their arc. PoA sidesteps pretty much all of the most compelling parts of the book, which is the realization that Harry is not only connected to Sirius personally, but that his dad, Sirius, Lupin, and Pettigrew created the Marauders Map, that they were animagi, that Harry's patronus takes the form of his father's stag, and that Snape was initimately connected to all of them as well. For me, reading the end of PoA was what cemented Snape as someone who would be crucial to the narrative and whose role would increase as the series went on. As a result of Kloves skimming over these essential plot twists, Snape is a minor character in the film, showing up mostly as a foil who tries to expose Lupin and then catches him and Black in the Shrieking Shack (this also sets his character up to be minimized in every film down the line, which has a worsening impact as Snape becomes increasingly integral to the plot).

One thing I find interesting is that Snape's comical physicality changes over the films. In PS and CoS he's menacing, a looming, larger than life figure the children fear and easily assume to be a full-fledged villain. By GoF there's a relationship embedded in how he interacts with Harry and his friends. He's no longer terrifying, just intimidating, more of an adult Harry challenges than someone he must defeat. The comedic effect now comes from a rapport within an established dynamic between characters. By HBP, the only comical moment is at Slughorn's party, and it's no longer Rickman who uses physicality - the action happens around him, and the comedic effect is in his lack of reaction to any of it. In other words, he's no longer the comic one, he's become the straight man in a (badly written) comedy sketch (with abysmal timing, what even).

Ultimately, as with most of the characters in the HP films, Snape is undermined by the writing. Rickman was stuck working within the confines he was given. No matter how well he may have understood the character, the limited screen time and character development were always going to stifle how Snape was portrayed on screen. I'm very much pro Let Snape Be Feral but I also don't fault Rickman in how little we saw of that.

How Feral is Snape?

If I'm honest, I feel like the Snapedom has taken the Let Snape Be Feral thing and has started forgetting that he wasn't all-feral-all-the-time. The point of Feral Snape is that it's a heightened state of tension in a character whose trauma is being triggered. Apoplectic Snape wouldn't have an impact at the end of PoA if that was his usual way of being. And, as you so brilliantly showed @said-snape-softly Snape's speech patterns are primarily quiet and controlled, his speech gets softer the more dangerous his mood, and it's only after he reassumes his role as a spy that the description of his speech becomes increasingly volatile (but is still controlled). Feral Snape's definitive aspect is the lack of control shown by a character who usually is so exceptionally capable of self restraint and compartmentalization. So again, while I would have loved to see Feral Snape on screen, I think it's also important to acknowledge that this is not the defining feature of his character and is more about what those moments mean to his arc. Their absence is primarily due to poor writing that didn't create space for them (including what leads up to them), and the direction that didn't carve out any kind of niche for them, not Rickman's choices as an actor.

In fact, Snape as a character is defined by descriptors of his voice more than any other character by far. I have my own theory about why this is, and it has to do with Alan Rickman being inextricably connected with how Snape is written. Chris Columbus said that Alan Rickman was always Snape as far as he was concerned, because when JK Rowling showed him a sketch of Snape she had made, it looked exactly like Rickman. I don't think this is accidental.

Alan Rickman was always intended to be Snape

First, what's important to remember is that before Harry Potter, Alan Rickman was best known in the 90s for playing both villains and sad romantic leads. His signature defining feature was his voice. I think it was Ang Lee who described the casting choice of Greg Wise and Alan Rickman in Sense and Sensibility as wanting Willoughby (Wise) to be dashing and Brandon (Rickman) to be sexy (if this was Emma Thompson and not Ang Lee, my apologies, I can't remember where I read this and can't find the source). This is how Rickman was perceived by audiences up until Harry Potter. And I know a lot of the Snapedom considers him to be sexy as Snape too, but the general audiences of the films don't, so please don't @ me, I'm just setting up a point here.

This is relevant because, as we find out in the end of the books, Rowling wrote Snape's motivations to be rooted in romantic love (I'm very nobly putting aside, for the sake of focusing on Rowling's intentions, my personal interpretation that Snape's feelings for Lily were platonic, please acknowledge how brave I am for this). She pulls a lot from gothic tropes into how he's written, and as much as she's talked about the character having been inspired by a chemistry teacher she disliked, and as much as she's talked about Snape being both morally grey and someone she personally dislikes, she also romanticized him. Between this and what Chris Columbus said about her sketch of him, it's hard for me to ignore that this character, conceived of in the 90s, wasn't written with Alan Rickman in mind from the beginning, especially since Rowling herself has said that she envisioned him in the role. Whether or not he lived up to Rowling's imagination is, frankly, his choice and Rowling's problem.

The story of how Harry Potter was written according to JK Rowling is that it started with the idea coming to her on a train ride in 1990. She completed the PS manuscript in 1995. While everything I'm about to say is absolute conjecture, I can't help but wonder at the connection between these films and the way Snape was written (spoilers ahead, no regrets, these films have been out for over a quarter of a century - forgive my reviews, I can't help myself):

1988: Die Hard comes out. Alan Rickman plays Hans Gruber, a villain who is a genius, composed, controlled, and soft-spoken. (Great film, a classic, the only valid Christmas movie.)

1990: Truly, Madly, Deeply. Rickman plays a man whose wife can't get over his tragic death, nor can his own ghost, who comes back to spend more time with her. No one else can see him, and they can't really share a life anymore. She eventually lets him go as she realizes that his spirit doesn't belong in the mortal world and her own life can't move on as long as she clings to it. (Beautiful film, will break your heart and put it through a shredder.)

1991: Robin Hood, Prince of Thieves. Rickman is the Sheriff of Nottingham, an unhinged, feral villain who wears all black complete with billowing cape. (Terrible film, disaster of a period piece, Rickman's performance is the only redeeming thing about it. Halfway through its press tour talk shows started booking Rickman instead of the lead, Kevin Costner, because Rickman stole every scene.)

1995: An Awfully Big Adventure. Rickman is an actor who comes back to his hometown to revive his role as Captain Hook in a local theatre production of Peter Pan. In the process he has an affair with a young ginger stagehand who reminds him of his lost love, a vivacious woman named Stella with bright red hair who, as far as he knows, birthed his child - a son - before she died. It turns out the girl he has an affair with is his daughter, which he realizes when he visits her home where she lives in the care of her aunt and uncle - whose name is Vernon - and connects the dots of who this girl's mother was. (He then rides his motorcycle out to the pier, screams "Stella" at the heavens like he's in a revival production of Streetcar Named Desire, trips and hits his head on the edge of the pier and falls into the water, drowning. I can't make this up. Mike Newell directed this. The same guy who directed GoF. As if following in the vein of the 90s movie obsession with incest as the controversial-trope-du-jour wasn't enough. I don't even need to review this, just sum it up.)

1995: Sense and Sensibility. Rickman plays Colonel Brandon, a forlorn, grieving man who lost his first love at a young age and spends most of the film pining for the only other woman he's ever had a romantic interest in. Wears all black, rides a black horse.

Given what a well-known actor Rickman was in the 90s - especially in England - and how connected his characters all seem to be to various aspects of Snape, it's hard not to see a connection. The entire premise of Truly, Madly, Deeply sounds like the inspiration for the Resurrection Stone in Deathly Hallows. The redheaded lost love whose child is left in the care of an Uncle Vernon in An Awfully Big Adventure is difficult to look past. All of these characters either exude menacingly soft-spoken Snape energy, feral Snape energy, or forlorn because of his lost love Snape energy. As a result, I feel like it's almost inevitable that Rickman inspired Snape, especially when you consider how known he was for his voice and how frequently Snape's voice is used to describe him. When Rowling said that she envisioned him in the role, it makes me wonder if she meant during the casting process for the first film, or well before it. I think his previous roles were a contributing factor in how the character was written in the books. After Tim Roth - who was originally cast in the role - had to back out due to scheduling conflicts, she got her way. Authors don't often get to choose who plays their characters, but in this case it worked out as the production thought Rickman was a good fit as well.

I'm done, I promise

So where does this leave things at the end of this horrendously long post? Rickman's choices of how he physicalized Snape - comedic or not - are only part of a larger whole. He was playing a character who was written based on his other roles, and limited by the shortcomings of how Steve Kloves translated that character from Rowling's books into his own screenplays. Whatever Rickman did on set was limited by that writing, by the directors he worked with, and by the choices made in the editing room.

I'm fascinated by the idea that Rickman was playing a character written with him in mind - but not really him, the him who embodied other characters whose echoes show up in Snape. It's difficult enough to contend with an actor playing a character in a screenplay you wrote with them in mind when you're directing your own script, because they'll never be what you imagined in your head. But for that process to get filtered through several directors, a team of producers, another writer who changes your work, and an editor, let alone throughout a decade of films - that's downright wild. The original intention gets lost and reinterpreted like a game of telephone, and I think that a lot of the consistencies between Movie!Snape and Book!Snape are down to Alan Rickman's nuanced and generous nature as an actor. If I'm honest, I'm not convinced that every Snape moment that comes off comical was meant to be so by Rickman. But again, film is such a collaborative medium that his intentions aren't the only ones that matter, ultimately, at least they aren't the only thing that ends up in the final cut.

My take, personally, is that I'm more interested in critical analysis than personal criticism. I respect that everyone has their own vision of a character and fandom is absolutely here for, among other things, having a place to share those thoughts and feelings. But a character is rarely going to appear on screen the same way you see them in your head, and that's not always going to be a fault, even if it's a disappointment to you. It's interesting to hear different people's perceptions, but there isn't that much to discuss there - you can't refute how someone feels, and you can't argue that their truth is what it is, to them. Whereas with critical analysis there's a lot more to talk about and examine, so it's where my own interest is much more invested.

#asks #long post #said-snape-softly #do I have regrets about the length? not one.#is anyone still reading? not one.

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chirpsythismorning · 1 year

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Personal opinion; I think the Duffers are doing a mistake by not promoting Byler as a possibility at all. I know some people are gonna say that it is because they are trying to keep Byler as a plot twist, but still, they can promote the idea of it without going too far.

We like to say that how the 'ElMikeWill' love triangle is not acknowledged as a love triangle by the GA, Melvins or other fans, but honestly? It is not that it is not acknowledged as a 'love triangle' by non-Bylers, it is that it is not acknowledged as a love triangle by the show, creators or writers. It is not promoted like how Stancy versus Jancy thing is promoted. Mike’s not conditioned as having to choose between El and Will. Honestly, If I were to make my audience get warm for the idea of Byler potentially happening, i would put content regarding it, would try to portray the situation as a love triangle, like ‘Which person Mike is going to choose?’ questions would be on media outlets. Remember that the Duffers still refer to Stancy versus Jancy thing as a love triangle, they portray it as a situation where Nancy has to choose someone, media outlets talk about the love triangle aspect. Whereas for Mike and El and Will, there isn’t something like that. Mike’s not conditioned as being in a love triangle where he has to choose. Will’s situation only gets referred to as relatable and him getting acceptance. They portray Mike and El as a legitimate couple without any question, etc. That’s not exactly portraying as ‘love triangle’ situation here.

Take this as a criticism towards how they're approaching the situation, I guess. Now, I do not know what they're going to do once the trailers or filming or promoting whatever start in a couple of months. But so far, I think they just... are doing nothing and it is not good, imho.

This is all fair!

I do believe that they're going to have no choice but to be more obvious about byler endgame in promo for s5. And so I agree that in large part how I feel about their approach thus far does rely on what is still yet to come.

Personally, I think it's going to be impossible to throw in happy couple milkvan moments, seeing as there wont be any scenes like that. Not saying they wouldn't trick fans with simple fast shots of them side by side dispersed throughout a teaser or something, I just don't think they're going to go all out with trying to convince the audience that Mike and El are romantic in official s5 promo.

S5 is going to be a point when baiting milkvan romantically would be an odd choice if they want people to fully accept byler romantically. So, I do sense that a shift will happen as s5 gets closer and when promo really starts ramping up.

We already technically saw that with s4, where they didn't really prioritize Mike/El in official posters, like at all? We got couple posters for Netflix covers with Jopper/Lumax/Byler, while the one featuring El was her on her own? Then there's the Cali poster with Mike looking at Will, his feet pointing towards him, literally detouring in Will's direction like that meme... Them willing to be that obvious for s4 posters tells me that the s5 posters are going to be even more obvious. If you think about it, it honestly would have been weird to have no byler in s4 posters, same with no byler in s5 posters, only for them to end up together? Thus far that has not been the case tho bc s4 was unhinged as hell, and so it's likely s5 is going to be the same and then some.

That's the other thing about promo with like official posters and trailers, in that they hold a lot more weight to representing the deeper message of the story, especially when the show is complete with all five parts making it like a whole experience. The posters for every season will be highly regarded as holding the truth to what was truly going on. While I do get being frustrated that they don't post enough about it casually on social media, it's just that, tbh no ones going to be using simple social media posts as hard evidence from way back in the day at the end of all this (it's more just a fun addition to the real shit). They're going to be looking at official promotion that was very intricately planned out with easter eggs and very specific foreshadowing in mind, ie. official posters, teasers, and trailers.

When it comes to the whole love triangle thing, with byler paralleling to jancy and milkvan paralleling to stancy, I think there are a couple reasons why they themselves can't acknowledge those parallels.

While I recognize those parallels, and I do agree on a basic level it's all intentionally paralleled deliberately in certain aspects, I still don't necessarily think these love triangles are intended to be seen as identical situations. They have different stakes and completely different circumstances, beyond the most basic similarities between them in that we're also dealing with 2 sets of siblings that are quite similar in character and so no duh they parallel each other.

The main thing that I think gets overlooked is that byler is meant to be a sort of callback to all of the queer-baiting in media that has led us to this point. The only reason they made the choice to go about byler this way, was to subvert a very deep rooted expectation that a boy and boy ending up together on a mainstream show cannot happen. They are feeding this expectation to an audience that is happy to abide by this norm, which is what is going to make the surprise of the boy and boy ending up together, and the fact that this time the gays were actually right instead of wrong for the #1,239 time, just makes it all the more epic.

While they are attempting to follow that same pattern of every other show on the surface, they are hiding the truth in the details. This means that they can get away with quote--unquote 'queer-baiting' within the show itself by making it arguably obvious Mike returns Will's feelings, but because they never acknowledge that it's happening at all outside of the show blatantly, they're technically not queer-baiting.

Them not outright acknowledging the love triangle going on, outside of the subtext on the show itself, works in their favor in fandom spaces as well, where it's super easy for fans to stay in denial because of all of these different things at play, most of all ensuring they can fall back on the safety-net that queer-baiting will always be the norm. The Duffers are nurturing that assumption, while also trying as hard as they can to hint to the audience in the details how close minded that assumption truly is.

They're setting the audience up basically. Those that aren't willing to consider byler even when presented with hard evidence, wont. And those that are willing to consider byler when presented with hard evidence, will. Both sides are able to be somewhat comfortable in their assumptions, bc the side that is unwilling to consider it has history on their side, whereas the side willing to consider it knows that the evidence is too astronomical to not be entirely intentional.

That's the whole reason they did the monologue with Mike saying I love you 9 times... because it allowed that sector of the fandom to be comfortable in their assumptions based on what was being superficially told to them, despite everything being shown to them surrounding that event outright contradicting those assumptions.

It's all very, very intricate, as they are making decisions with the audience's reactions in mind.

I am glad you brought up the love triangle parallels, bc this concept was eating my brain the other day. Though, I was more so hung up on the fact that them not acknowledging those parallels also could in and of itself mean that the rules don't necessarily apply identically to these love triangles?

Arguably, fans are still going to ship Mike and El just like fans are still going to ship Nancy and Steve post s5 regardless of them not being endgame. But, is that what they want at the end of all of this? I think with Nancy and Steve the stakes are nowhere near as high as the sort of build up and tearing down of Milkvan, in that, by not at all acknowledging Will's role in these events like they do with Jonathan, they are saying that it isn't as simple as Mike just falling out of love with El like it was for Nancy with Steve, only to realize her feelings for Jonathan.

If it was that simple, they wouldn't have needed to carry out this fandom wide misinterpretation of Mike not saying I love you over the course of 2 seasons and STILL at the end of all that, have that audience completely in the dark about Will's role in that conflict, unless the truth is way more complex here than it was for Jancy/Stancy.

I mean you could obviously make the argument that from the beginning the Duffers framed Stancy very negatively, so maybe at the end of all of this, they do want to make it obvious that they never wanted us to ship either of them in the first place? HOWEVER them holding off on this concept outright with byler is why I think it would make sense for it to be this big thing, bc otherwise why save it for the last season? It would feel sort of anti-climactic if they treated it just like the other love triangle's situation bc of the confusion they have caused? This is no doubt going to be fucking breaking news to the majority. They're gonna need a recap and context of everything that was left out or intentionally kept from them, otherwise they're not going to be able to subscribe properly to what happens in s5.

And then there's a whole other layer of familial implications we're dealing with. Like with Jonathan and Steve, they don't have to deal with the complexity of being siblings like Will and El do. Will and Mike ending up together means that El and Mike will literally be ending the show in a sibling dynamic. And so, I do think it makes more sense for them to really want to separate the viewer from being able to ship Mike and El together, especially when they're already a little nervous fans will be too homophobic to accept byler as it is. This would make a lot of the familial references with Mike/El in earlier seasons hit a lot harder too, assuming rewatch value with byler endgame was on their minds.

So, I guess I will say I would agree fully with all of your points if this was an average love triangle, but that's not the case here. We're dealing with a bizarre love triangle by definition and I think there's different stakes that make their approach to this valid. When it's all said and done, it will make a lot of sense even if it doesn't right now.

Though, if i'm being completely honest, I think what plays the biggest role in their reasoning is hiatus. Like it truly comes down to the audience having almost 2+ years to ruminate over what happened in s4 and sort of work through that and drive themselves crazy.

If they had treated byler as an equal option to milkvan blatantly in casual promo for s4, while still attempting to make it seem like milkvan was endgame, it would have been dubbed queer-bait irrefutably. Or worse, most fans would have figured out byler was likely to happen, making the 2 year wait and the hype of s5 promo sort of fall flat bc everyone saw it coming.

Instead, a lot of people are fully confident it cannot and will not happen. Like they are 100% convinced. And we still have at least a year for them to work through that assumption...

Something to also keep in mind, is how they've dealt with leaks worse and worse over the years. And so a lot of these really exciting surprises they have, get discovered before they get the chance to reveal them. But bc so many people are homophobic, they can have a lot of evidence for byler and still manage to make this a surprise to those people. That's what makes this revelation so fun to them. Because it's soooo obvious in their eyes and yet most of their audience doesn't want to see it. Like that's gotta be very satisfying for them in a big way. I can't even imagine.

How I see it going down, or at least how I think it would make sense for it to go down, is while hiatus is still going strong, they want to keep both sides fairly confident, but especially milkvans side because that is eventually going to disappear at the end of all of this. The clock is ticking. When it's over it will be over forever. And so I understand why they're trying to hold onto giving those fans hope that milkvan will happen bc they only have so much longer for that to even be an assumption before the truth is eventually revealed.

And yet still, there will be a point when they want the audience to like s5 and accept it as the best ending, and that will mean that s5 promo will present a major shift in terms of them sort of agknowleding that the fans who have been paying attention know that the writers care about the details. That people who say the deatils don't matter are not going to be ready for what is to come. That is going to very likely be the wake up call to those that have been using stuff like them forgetting Will's birthday means that they forget things and therefore nothing can be that deep. It will no doubt be a punch in the gut for sure to those that have been in denial about that, but it's going to happen and it's probably going to happen within less than a year before the premiere.

6 months is another time frame that I could see them getting more brave.

3 months is when it's going to start getting real.

1 month and weeks, days before, it's going to be crunch time. They're going to be very heavily encouraging rewatching the show. They're going to be getting defensive arguably to prepare themselves for the inevitable backlash.

But they also know that it doesn't matter because at the end of the day, the truth was hiding in the details all along. It didn't come out of nowhere. It was right there. I think they feel comfort in that no matter what, bc anyone claiming it came out of nowhere at the end of all this, is gonna look stupid when the creators themselves are saying that is the opposite of the truth.

And then when s5 finally does come out, likely in 2 volumes to hold onto the hype as long as they possibly can, before it ends forever, that's when it will really set in that they're not going to hold back anymore and this is officially canon now. That's when the cast will fully agknoweldge it and talk about it and how they dealt with keeping it in the dark for so long and why felt the need to do it this way. And that's when hopefully you and all of us will get the closure we need.

The idea is that the satisfaction of being the first ones right ever in the history of mainstream television, is going to be immensely satisfying. Arguably, seeing those who vehemently denied it happening's reactions to it happening, will make all of the doubt along the way worth it.

#byler #byler endgame #st promo #st5 predictions #i feel like the shift already lowkey happened with s4 promo tbh #like almost all milkvan posts were sort of mocking them #they barely got featured on posts comparing st couples #if i'm being honest the painting bts was the official shift for me #arguably the definition of a cultural reset #s5 is really just going to be s4 on steroids #also them not allowing noah and finn to do press at all together #means they are likely saving press with them for s5 #not only do fans have to accept byler endgame #they gotta see the actors playing them praise it and show support and give their thoughts on the experience #i know it doesn't make sense now #it's also hard arguing with antis and being treated like your crazy #talked down on like 'hey frequent queerbaitee! know your place'#they treat ppl who fall for queerbait like they're the ones that are part of the problem...#they don't realize how horribly they are missing the point #the problem isn't people harmlessly shipping fictional characters #it's when they do so and then the creators feed off of that for hype and use it to promote the show despite knowing it will never happen #and then bc networks are too scared of having gay characters #*enter the bury your gays trope*#the culture has always been to get brownie points for featuring a gay character only to kill them off to appease the homophobes #that way the gays can have an oz of representation and the homophobes don't have to deal with the complexities of queerness #everyone wins right?#no...#that's the whole problem they are trying to poke fun at #they literally had mike and will bury a dead body to poke fun at how absurd this norm is #it's a love letter to a history of queer people being told their crazy for seeing things only to be right this time. it's pretty cool

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genshingorlsrevengeance · 2 years

Text

(Genshin Impact) Jean, Eula, and Lisa with an Dullahan S/O

Jean was aware of supernatural forces in Tevyat.

Though she didn't expect her S/O to be among said supernatural forces.

One of the first things she learned in their relationship was what they were. A Dullahan.

(Jean) "Erm, pardon my ignorance, but what is a Dullahan?"

S/O sighed and made Jean sit down.

(S/O) "I don't think I can really tell you with words alone so...Just stay calm alright?"

Jean was about to ask what they meant before they removed their head from their neck so casually.

If there was a picture that could accurately portray her reaction, it'd be this.

S/O could see the color drain from Jean's face out of shock, they quickly reattached it and tried to keep her calm.

(S/O) "Our heads can detach from our bodies, so don't panic if you see me drop it sometimes."

(Jean) "..."

(S/O) "Jean?"

After half an hour of reassuring her that they're okay and she doesn't have to vomit from the sight of a head being so easily removed from the human body, she finally gets it.

Though in all honesty, she wants her lover's head attached at all times for rather obvious reasons.

Sometimes it does have a tactical advantage of scaring the absolute piss out of everyone.

S/O uses it in battle to help Jean out with shock tactics, only working on human enemies.

A Treasure Hoarder knocked their head off with a shovel, making the attacker do a double take.

(Treasure Hoarder) "W-What the hell?!"

(S/O) "OH YOU ASSHOLE!"

It makes everyone stop dead in their tracks to turn back to S/O's head.

(S/O) "DO YOU KNOW HOW LONG IT TOOK TO GET THE HAIR RIGHT THIS MORNING?! WHAT ARE YOU STANDING AROUND FOR, DO SOMETHING!"

When S/O's headless body starts throwing hands, it makes everyone run in absolute terror. Jean stood and watched this horror go down as S/O continued to grumble.

(S/O) "Little help here, Jean?"

She hesitantly picks their head and gently puts it down on the body's neck.

Her hands are shaking the entire time, still not used to this sight.

(Jean) "G-...Glad I can be of help."

She never knows what to say or do in a situation like this.

What could you even say for a situation like this?!

Eula didn't know too much about supernatural forces until she saw her S/O's head pop off like a doll.

She gasped audibly before S/O rushed to her to calm down and explain.

It didn't help the body was moving independently from their head, only adding into the shock.

The whole situation creeps her the absolute hell out.

Eula can't even make her normal vengeance quips because it knocks the wind out of her everytime the head comes off.

During battle she has to constantly remind herself that her lover's head can come off at will and the love of her life did NOT just get decapitated.

In a lethal sense, anyway.

(Eula) "Uh...here, back on. Just keep it on your shoulders will you?"

She doesn't wanna think about it too much.

Thankfully, Lisa has actually read about Dullahans before meeting her S/O.

As to actually witnessing their head being so easily removed from their body, S/O would be the first she's seen.

Lisa is completely taken off guard for once, and not for any cute or romantic reason like she hoped for in a relationship.

She can't help but stare in a strange mix of horror, curiousity, and shock.

Lisa manages to barely compose herself as she asks them all sorts of questions about the out of body experience.

In battle, Lisa hears S/O's head on the floor cussing up a storm as their body was chasing after someone.

It was almost enough for her to faint, honestly.

Though she managed to hold her lunch in and put S/O's head back to it's rightful place.

(Lisa) "Let's go home, shall we? I don't think my head can talk too if it comes off..."

#genshin impact headcanons #genshin impact imagines #genshin impact x reader #jean gunnhildr x reader #lisa minci x reader #eula x reader #jean gunnhildr #lisa minci #eula lawrence

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lathalea · 2 years

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It sadly seems many in this fandom don't even know Thorin at all. He's a traditional man who would never agree to any of the modern quips of today. He would be in a committing relationship with one woman, if he were to ever have one, and there's no way that him or any of the dwarves would agree to strange gender ideologies and gay pride. This group of beings from middle Earth would know nothing about this stuff and if they found out about it, I'm sure they wouldn't agree to it. The issue is, too many people are flooding your ask with these strange questions, being completely alright with retconning their favorite Tolkien characters with modern day tactics. It just doesn't make sense. Do you ever wonder how weird this stuff can be?

Dear Anon,

Thank you so much for your ask!

There is a lot of information to unpack here and quite a few questions to reply to, so bear with me while I do it. In the meantime, have a nice and hot Thorin pic:

(If you hear a sigh, it's Lathalea swooning.)

“It sadly seems many in this fandom don't even know Thorin at all.”

The Tolkien fandom is a huge group of people from all over the world united by the love of JRR’s works. There are hardcore fans and casual fans. Some of them only read the books, some saw only the Rankin/Bass animated version of Hobbit or the 1985 Soviet television play, and others fell in love with Peter Jackson’s movies. I’m sure you know that in all these adaptations, Thorin’s character is portrayed differently from the book. You can argue whether these adaptations were close to the source or whether they served the purpose, but that’s not the point here.

It works similarly when it comes to Thorin fans. Some of us prefer one version over the others, and others create a completely new interpretation of this character in their minds. And some of them put their ideas on paper (umm… computer screen). Even if this or that specific version of Thorin is not 100% the Thorin you or I like, it doesn’t mean it shouldn’t exist.

Various versions of this really inspiring character fulfil each person’s specific needs. Personally, I don’t think there is anything sad about making people happy this way. When I read a fic or an imagine where Thorin does not act in the way I prefer, I simply stop reading and move on. Someone wrote a story that made them happy, someone else liked it, and that’s fine. Not every work of fiction has to cater to everyone's needs.

The same goes for writing asks or requests about Thorin – if someone feels the need to be comforted or supported by a specific version of their favourite character, I’ll be happy to create a story about it if I can. We are living in crazy times, some of us are directly influenced by war, health issues, abuse and so on — and that is the least I can do to help.

(Here Lathalea makes simping sounds.)

“He's a traditional man who would never agree to any of the modern quips of today. He would be in a committing relationship with one woman, if he were to ever have one…”

If we are talking about the canon version of Thorin, I agree with you here. If he was to survive BOTFA, he would most probably marry a Dwarf-woman of childbearing age, mostly to strengthen the line of Durin and provide the heirs to the throne of Erebor, plus to secure some alliances with another large Dwarf house by the way of marriage.

Of course we can also say that he would not marry anyone because he is a Dwarf focused on his craft — and that would also be valid, especially since he has Fili and Kili as heirs (if we’re assuming they survived BOTFA as well). If you read my stories, you have most probably noticed that the first version is the one I choose most often – because I like my fics to stay as close to canon as possible, and I imagine that the Dwarven culture draws from the early mediaeval traditions (plus the Scandinavian culture because we know that Tolkien was partially inspired by it when creating Aule’s children). But that’s my own private headcanon and it’s okay if you see it differently.

(Here Lathalea dreams of combing his hair.)

“...and there's no way that him or any of the dwarves would agree to strange gender ideologies and gay pride. This group of beings from middle Earth would know nothing about this stuff and if they found out about it, I'm sure they wouldn't agree to it.”

What if I were to tell you that for Tolkien’s people of Men in Middle Earth, Dwarves most probably had “strange gender ideologies” too? Some examples:

— People of Men thought that there are only male Dwarves in existence and that their children were “born” out of stone. — Dwarves respected their women greatly and considered them extremely precious (while people of Men often treated women as subservient to men).

— Both Dwarven men and women had beards and wore similar clothes in the outside world, so they all looked like men to the outsiders. Among the people of Men, it was the opposite — and women often had a limited amount of roles to fulfil in their lives.

Having said that, if we were to follow Tolkien’s canon, we have no way of knowing exactly how the gender dynamics or ideas look among the Dwarves. This was the race not created by Eru, but by Aule, in secret, and therefore they are different from the Children of Illúvatar. We only know the Dwarves are very secretive and there are many misconceptions about them. We don’t know what they would think about any concepts we take for granted in our modern societies :)

The same would happen if we invert the situation: for someone raised in, say, the USA, in modern times, the various concepts of gender that have existed in our world throughout history (for example in the North American indigenious cultures, in the ancient Mesopotamia, Egypt, Greece, India, and so on) will probably feel strange, too. And it is totally understandable, mostly because we weren’t raised in those cultures. The same goes for the world of Tolkien. You probably know of his times, his background and worldview that influenced his writing, so I’ll skip it and go straight to fanfiction.

When it comes to fanfiction that is less focused on staying in line with canon, anything can happen there. It is every writer’s creative playground. Some even say that it is both its greatest blessing and a curse ;) But, as such, this playground gives every fan an opportunity to experience certain concepts and ideas in a safe, controlled environment. To experiment. To think out of the box. There is nothing wrong with playing around with different ideas if one feels inclined to do so. That’s how great stories and classic pieces of literature came to be. And there are many great fics that deviate from Tolkien’s writings at the same time being inspired by them.

But of course if those kinds of stories are not your cup of tea, that’s totally fine, too. One of the basic rules of fanfiction says “don’t like it, don’t read it”, after all, and I follow it every time I read anything new.

(This is the scene where Thorin kills Azog and survives and lives happily ever after and Lathalea will die on that Ravenhill. See what I did there? ;) )

“The issue is, too many people are flooding your ask with these strange questions, being completely alright with retconning their favorite Tolkien characters with modern day tactics. It just doesn't make sense. Do you ever wonder how weird this stuff can be?”

I hope that what I wrote above explained my point of view. And if you read Thorin's my replies to these asks, you have most probably noticed that I imagine Thorin as a person firmly set in his times and having completely different concepts and worldview than the one many modern people have.

I completely understand that the ideas offered by many Thorin simps that stray from canon don’t have to make sense to you, and that’s okay. My headcanon of Thorin is also close to Tolkien’s canon and being a writer, it makes me happy to explore this character within those bounds. Each of my “iterations” of Thorin in every of my fics is slightly different from the others and yet I try to follow the path staked out by Tolkien to the best of my ability.

There are, however, many writers or artists who choose different paths and interpret our beloved Thorin in other ways — and that's okay, too! They are very much free to do so as long as they are having fun! The possibilities are endless and so is our imagination.

We all have different definitions of “weird stuff”. There are probably many people saying that my fics are weird because, for example, I don’t write Bilbo x Thorin romance. It is all relative. I don’t feel qualified enough to judge others. I just believe in unrestricted creativity and say ‘no’ to gatekeeping.

Thank you for coming to my Thorin TED Talk ;)

(Thorin's brooding skills are legendary. But it's not surprising. He's a very skilled dwarf, is he not? 😈)

Tagging all the Thorin simps, including @fizzyxcustard @linasofia @xxbyimm @legolasbadass @middleearthpixie @i-did-not-mean-to @shiinata-library @frosticenow @sweetestgbye @onlywifetothorin555 and everyone else who adores our majestic dwarf :)

#thorin oakenshield #lathalea speaks #ask box #thorin #character headcanons #headcanon #fanfiction #lotr #tolkien #Marxist anon

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