#because ultimately it Could Not replace her son

[mishapen-dear]

That FAILED stamp on tbe qjaiden poster in the jail was so fucked before and its STILL fucked but theres like. a level of Get Fucked to it, now. before, it was like- you do all of That to her, cucurucho, and you fucking dare to label her a failure? an experiment that just didnt turn out? didnt act how you wanted?

but now its like Get Fucked. it doesnt matter how much work you put into her, into hurting her, into making her into whatever ~success~ you were planning. she isnt yours and you dont get to keep her. she left you. she never would have chose to stay on that island if bobby were around and you failed to replace bobby and you and your stupid games could have never made her go home. get fucked.

#suicide #qsmp jaiden #qsmp cucurucho #suicide is never a triumphant thing the fact that she chose to stay is HORRIFYING #but the very specific fact that cucurucho failed and lost all those hours it put into her #because ultimately it Could Not replace her son #and even attempting to do so made her Worse and this outcome more likely #theres something about that #and she fucking. She knew she was being manipulated #and she had gone along with it all before #but when it comes to the choice to stay with it or try to follow bobby #she followed bobby #get FUCKED cucurucho the loss of qjaiden is a loss for everyone but its v specifically a huge L for cucurucho #and its stupid machinations too #note that i do adore cucurucho and its stupid machinations #but i LOVE that the FAILED stamp isnt an indicator of jaiden- it’s an indicator of cucurucho #anyway fly high queen i hope you get to use your wings in whatever the canonical cubito afterlife is

[iqmmir]

Accidentally thouhght about ak*y*na . Kills myse

#.mimiming ❜ #why is it censored? because i decided that it would be for the best #soowon................ *looks into distance* #im thr biggest soowon fan ever that man is my Son (he is older than me) #i hate hate hateee how the fandom treats him #which is why i have the tag filtered #if you hate him at least do it right #'he manipulated and USED yona' he was like. seven when his father was killed by yona's father #his mother stopped viewing him as a child all the adults pushed him to become a replacement of his father #'We could not protect Yu Hon. We will not let Soo Won be harmed' #and please if soowon didnt kill il i would have #big fan of soowon guys. #imagine growing up and being pushed to become A Certain Way ever since you are like. Five #imagine seeing your mother die in front of you #imagine seeing your cousin getting love and attention from her father. the man who killed your father the man who keeps you chained #the man who is supposed to be your guardian treating you like you are scum #i think i would like il a lot more if he just. looked at soowon as soowon #not as son of yuhon #and yona and hak being probably the only ones who ever did that? it must have been painful #even kye sook.. he does see soowon as a friend and as soowon but ultimately he wants soowon to Become something #Become King . #whatever..kills myself

[domesantis]

Lotor and Keith: The Duo We Deserved

Disclaimer: it's been around 8 months since I've last watched voltron. details may be inaccurate

Sometimes I think we were robbed of what could've been an amazing friendship.

Keith's discovery of his Galran lineage and Lotor's of his Altean heritage, and their indirect parallel of upbringing, I hoped these two would form an amazing bond as they're the only people that could relate to each other in terms of ostracization due to their race. But that hope eventually dwindled down when I realized that the showrunners were definitely not planning that, and in fact, even makes Lotor a bad guy again.

At the very least, I had hoped for a heart-to-heart conversation about them being mixed race and flesh out that aspect of them more. Yet again, I was let down.

During Keith's entire life, he has been ostracized by his peers and constantly bullied for being different. It has been the fundamental characteristic of him— his preordained Galran traits— embedded into every crevice of his disposition and being unable to do anything about it. When he finds out about his Galran heritage, we finally conclude the reason, in profound realization, why he's never fit in much back in Earth. Ultimately, this would give clarity and closure to Keith about why he's the way he is, but what the showrunners overlooked is the inevitable, imminent consequence of an identity crisis.

He's too galra to be human (antisocial, rebellious, fierce and stubborn), but too human to be galra. (compassionate, warm, weaker and smaller in stature, humanly physical features)

This is his reality everyday.

I distinctly remember Sendak belittling Krolia because of her half-breed son, Keith. It went something along the lines of: "Is the Blade of Marmora so low on soldiers that they recruit a half-breed and his mommy in?" Which, most likely, amplified his identity crisis. Poor guy.

I feel as though the same case could be applied to Lotor.

Raised by only Galrans and raised to be one, his father, Zarkon, would also say that something was quite fundamentally different about him. Compared to a stereotypical, standard Galra, he seemed to be quite more compassionate and carefree as a child, showing great intellect and promise in other aspects yet lacking in the personality traits as a Galra and embracing more of his Altean characteristics.

Growing up, Lotor always believed in goodwill, altruism, and attempted to prove to Zarkon that he could successfully subjugate planets by sheer goodwill without repercussions. However, his father's constant abuse for millennia, and cruelly destroying said planet, would of course, send him to spirals and awaken his long repressed Galran characteristics: Tyrannous, vindictive, cruel and spiteful.

Both Keith and Lotor had been abandoned by their biological parents, one in a literal way, and the other, emotionally. Both of them had something just fundamentally, unutterably different about them that they couldn't quite explain, thus thwarting the standards of "what they should be".

If Keith and Lotor had formed a genuine, wholesome familial friendship to replace their absent/abusive parents, they could've established an actual safe space where they felt belonged and heard. The rest of the team may also provide an emotional connection towards them, however, nobody knows their pain more than each other. After all, they both went through similar experiences. Mixed race solidarity!

Also. I think it could've been a great way to represent mixed race people (I'm sorry. Is that how you call them? Is this offensive?). I'm not one myself, so I'm not sure, but this would've been so great to promote inclusivity and accurately represent their struggles in the actual world. This also could've been an amazing plot point for Lotor's character development and fleshing out his character more onto a much more profound and raw level. Instead, they threw it all down the drain by betraying VOLTRON then dying. Disappointed.

Also, I'll be diving deeper into Keith's identity crisis more in one of my next posts, and Lotor's tragic fate.

Get me out of this VOLTRON hellhole. The hyperfixation is too much.

#voltron legendary defender #voltron #lotor #keith kogane

[darthlordcommie]

Batman's Relationships with the "Batfam"

Alfred: Technically Alfred is his father-figure, but because Alfred actively chose to remain being Bruce's butler, and repressed his own issues, that just kneecapped Bruce's ability to heal, and enabled his worst impulses. Yes, they love each other, dearly. No, they will not communicate this unless they are on the brink of death.

Dick: I know, there's this whole thing with "eldest son". But first, Bruce was only in his early 20s when he took in Dick. And second, Bruce would have been actively avoiding trying to replace Dick's father, similar to Alfred. Their relationship is of close friends, and it isn't until they're both adults, well over a decade later, that either would even consider using familial terms to acknowledge each other. But that friendship is always the first level of their connection.

Barbara: There was hero worship that quickly died once Barbara got to see more of what Bruce is actually like. But there's still mutual respect and friendship, and Barbara is one of the few people Bruce actively listens to the input of.

Jason: Jason was the second Robin, but he was the first child who could accurately be called Bruce's son. When he meets Jason, Bruce is in a more balanced place in his life, he's on the path of healing, and he's willing to take in Jason not because he recognizes someone who's suffered the same way he has, like with Dick, but because he can help him. There's outright familial affection between Bruce and Jason, in ways we don't see with almost any other Batfam character. And then Jason dies, and Bruce's heart is shattered. Every single relationship Bruce has going forward is informed more by Jason's death than his parents'.

Tim: Tim and Bruce are a student and teacher. In many ways, Tim is Bruce's favorite student, but they aren't seeking family in each other, but that doesn't make their relationship any less deep or important to each other.

Cass: While a lot of comics tend to ignore or forget that Bruce outright adopted Cassandra to prove she would always have a home and family, the greatest truth is that Cass is Bruce's successor. Of all the batfam, she is the one who actively says she wants to take Bruce's place one day, and she believes in the cause of Batman stronger than anyone else. She was given a choice between cruelty and compassion, and like Bruce before her, she chose compassion. She's growing and improving, learning both from her own mistakes and from Bruce's, and ultimately, will be a greater hero than Batman before her.

Stephanie: A Mess. Not familial, but definitely a mess. Mostly because Steph's a victim of Batman writing at the time, and it never really got addressed to offer any improvement to her relationship with Bruce.

Damien: Damien is Bruce's son, but their relationship is fraught to say the least. Between being raised by the League, then Bruce being "dead" and Damien being raised/guided by Dick for a good amount of time, there's a lot of love there, but Damien is a victim of Bruce's decades of emotional repression and trauma in ways none of the other Batfam are, and both struggle to communicate, despite trying their best.

Duke, Luke, and Harper: All of these are colleagues at various levels of connection to Bruce. Duke is a younger vigilante just starting out, and Bruce is a grizzled veteran taking him under his wing, but not outright mentoring him the way he did the Robins. There's respect and teaching there, but not in the same way.

Kate Kane: They're cousins. They argue a lot.

#batman #bruce wayne #alfred pennyworth #dick grayson #jason todd #timothy drake #cassandra cain #stephanie brown #damien wayne #duke thomas #luke fox #harper row #barbara gordon #katherine kane

[linkspooky]

Hi! Thanks for your tremendous work, it's always a pleasure to read your blog! I just wanted to ask your opinion on Hidden Inventory / Premature Death Arc. I know this one is important to make parallels on different characters' stories, but I for me this arc is a surprise. I mean why would Gege suddenly make us involve in the future? 🥲 I just don't understand how he could come to telling us the stories from the past. Do you find it fitting?

Jujutsu Kaisen is a story primarily about cycles: the previous generation giving way to the newer one, spring turning into summer. In particular it's about the passing of the torches between generations. The elders in Jujutsu Society resist what is natural, they are such hardline traditionalists they often sacrifice the young because they refused to give way and let the new generation replace them.

Gojo Satoru's ideals which are in opposition to the elders state that not only should children be allowed to live out their youths, they should surpass their elders. Gojo is staunchly opposed to say, the elitist Zen'in who believe themselves the strongest, or even Sukuna the greater sorcerer of all time, in the fact he wants the kids he's raising to grow stronger than him.

On the flip side, Jujutsu Kaisen is also about negative cycles, like the curses which can never truly die so are exorcised only to be reformed. It's also about the cycle of abuse, such as Toji being abused by the Zen'in, only to abandon his own son in turn. The flashback arc is necessary, because the problems the current generation are facing started with the previous one. These problems persist because the cycle is unbroken.

Tengen in their explanation states that the distortion that caused Kenjaku's plans to succeed in the modern day happened eleven years ago, and he lists two reasons why, first Zen'in Toji who was not affected by cursed energy, and second Geto who could control curses.

Toji is hailed as the destroyer of destinies because he's free form cursed energy, but as for a more meta-textual reason why Toji gets as much focus in story as he does, is because much like Maki he's a product of the worst abuses of sorcerer society.

There's a reason for this line here when Toji appears before the collected members of the Zen'in Clan, Naobito the head, Maki the Toji of her generation, and Megumi who was almost sold to them and is Toji's son who he abandoned therefore another link in the chain of abuse.

All of these characters are effected by the cycle of abuse in the Zen'in Clan, yes, even Naobito and later on Naoya who appear to be at the top. It's that whole "Toxic Masculinity harms men" thing too. Naobito was not born a drunken, abusive jerk and he was likely not a good father in any capacity considering the way Naoya acts.

They're all trapped in the cycle known as the Zen'in Clan, and they all stare on in envy to the one they think is free, Toji, who escaped and became the sorcerer killer. Toji who, the whole clan was secretly fearful of because they believed he had the capability of killing them / also according to Naoya's take looked down on him because he was an otherworldly strength they did not recognize and tried to suppress him to make themselves feel superior.

Either way, Toji is someone who they have put down their entire life because he wasn't born to meet their standards, because he's something new and different from tradition and the big three houses are the worst traditionalists of Jujustu Society. The Toji they all fear however, is a monster created by the Zen'in Clan themselves. Despite being abused by toxic masculinity, Toji is also toxic masculinity incarnate. He drinks, gambles all of his money away, he's an absentee father, and his greatest onscreen time is shooting a girl who's about Mai's age in cold blood. If Mai was the ultimate victim of the Zen'in Clan's toxic masculinity, then Riko is also the ultimate victim of Toji's masuclinity which didn't just target sorcerers but reached out and targeted innocent girls (Riko) and children (Megumi).

The explanation of who Toji was in the past, how he both killed Riko and drove the wedge between Geto and Gojo's friendship creating the first dsiruption in the cycle is important because in the modern day the Zen'in Clan has not broken the cycle. The abuse of the Zen'in Clan is so bad, that one generation later they've already manufactured another Toji.

While Maki's rise to power is glorified a little bit too much, in story the fact that the cycle has repeated itself is not a good thing. Maki's lost her chance of happiness and reconciliation with Mai, she's won against the Zen'in but it's a pyrrhic victory, she's now strong at the cost of everything else. As I said before Mai is also a clear parallel to Riko, someone who just wanted to live a normal life cut down in the prime of her youth by a member of the Zen'in, who's death then sparks another person to spiral.

They're just girls who longed for an ordinary life and be together with their loved ones, and Maki and Geto are both haunted by the fact that they were unable to save them in the aftermath. Geto's actions are spurred by the way the world carelessly killed Riko, and Maki gives up on reforming the Zen'in Clan and chooses destruction after they swallow up Mai.

The flashback chapters do more than just give parallels between say Gojo and Geto's friendship and the current friendship between Megumi and Yuji, or even give us Gojo's backstory and insight to his character they also go to great lengths to show us how much things have not changed in the modern day Jujutsu World.

While the distortion that drove Toji to do what he did began in the Zen'in Clan, Geto is basically driven by the faults of Jujutsu Society as a whole. The death of Riko is his eye opening moment where he learns the truth of their society, the young are sacrificed for the old. It's not just the fact Riko died, but afterwards he witnessed crows of people appluading for it, and Toji acting like that death was nothing. There's also the fact her death / sacrifice was ordered by Jujutsu Society in the first place, but Geto thought he could overcome that cycle with strength alone until he couldn't. Geto's monologue that leads to his slow breakdown even refers to being a sorcerer as "an endless cycle."

The three years of Geto and Gojo's youth is referred to their spring, whereas Premature Death takes place in summer. Not coincidentally, in story Summer is referred to as the worst possible season for curses because curses accumulate during that time.

Jujusu Kaisen is about cycles, and the inability to escape them. Geto and Gojo's springtime of youth turns to summer, Geto begins to have doubts because of his inability to protect Riko, and his witnessing of sorcerers dying around him.

It's not just Geto's superiority complex, or his increasing antipathy for the weak normal people who demand sorcerers exorcise curses for them because they can't defend themselves. Geto also bears witness to the continued death of children around him. It's not just a hazard of the job, sorcerer society continually sacrifices young people to uphold the strict traditions of the elders.

Geto is moved by the mistreatment of the young in a way Gojo is, Riko's death is what opens his eyes, a few days Geto goes to the village he witnesses the brutal death of Haibara and Nanami's own feelings of helplessnes to stop it, and then his breaking point is when he sees two twin girls who are sorcerers ganged up on and imprisoned by an entire town, the same way that the indifferent crowds cheered for Riko's death and the same way sorcerer society considered Riko an expendable sacrifice to maintain Tengen.

Sorcerer Society's callous indifference to both the deaths of their sorcerers, but especially the young is what drives Geto to his breaking point. This is also the source of Gojo's ideals, because he realizes something went wrong with Geto and he doesn't want that mistake to repeat.

“For people like us, we naturally know how to get rid of the poisons within their heart. But for youths who hold onto a lot of sentimental feelings, it’s another matter altogether. Their heart might collapse just from getting struck by poison once.” “Isn’t it an adult’s duties to rid poison from a child’s heart? As a teacher, you should know this better than me, right?” [Light novel 1: Ressurection Puppet]

In Gojo's case he is actively trying at least, to raise kids in a way that they won't break like Geto did. It's the loss of Geto which inspires his current ideals. However, to dwell on this briefly Gojo is also still a very flawed mentor because he's a product of the system who raised him.

Kenjaku comes back in the form of Geto's body to defeat Gojo. Then Sukuna ends up taking Megumi's body away from him. There's a pattern here, two people who Gojo has a strong connection too have their bodies taken away from him. In Megumi's case this is where Gojo has failed to break the cycle because of his stated intetions, because Gojo didn't adopt Megumi to help him after his father died, Gojo swooped in to take Megumi because he was a potential weapon he could use against the elders.

The flashback arc ends with Gojo making his slightly predatory deal with Megumi, by threatening his sister's happiness unless he complies and lets Gojo train him instead of the Zen'in. Megumi is shown to be a child that's continually having trouble growing up throughout the story, because of his broken home situation.

The ending of Hidden Inventory could have been Gojo learning his lesson and breaking the cycle in regards to Megumi, but he deliberately did not, and so once again the problems the main characters are facing now is created by the failures of the past.

Gojo Mr. "I can totally beat up on Megumi, it's fine."

In this case though, Hidden Inventory is also about how the problems of the past are plagueing Megumi's life, because the primary villain of it is his father, and the ending of the whole arc is us seeing his first encounter with Gojo. Megumi is in this case the latest youth swallowed up by the old, because Sukuna is quite literally a member of the previous generation physically stealing his body away from him to prolong his life long after he died.

Tsumiki's death is also a repeat of the death of Mai Zen'in, and Riko Amanai. It's once again the death of an innocent being swallowed up by the toxic masculinity of Jujutsu Society, all while the person who wanted to protect them is completely helpless to stop it. Gojo also took responsibility for Megumi, and Tsumiki both and later on couldn't live up tot hat responsibility, Tsumiki is dead and Megumi is possessed.

The Hidden Inventory flashback arc is there to establish what is basically the beginning of the cycle in the story, so we can see later on how this cycle is repeating itself again and again without being broken even this late (200 chapters) into the story. With the eventual hope that if the adults like Gojo can't fully break the cycle, then the kids he raised will be able to do so in his place.

#jjk meta #metasks #suguru geto #satoru gojo #toji fushiguro #toji zenin #maki zenin #mai zenin #riko amanai #hidden inventory #tsumiki fushiguro #megumi fushiguro

[aimportantdragoncollector]

For the ask game, Yoichi used to be his brother's right hand man but he was hit by a quirk and disappeared. After AFO has made a bloodbath in order to deal with his grief, he eventually settles down, retires and has a son. The thing is that Yoichi wasn't hit by a disappearing quirk but by a time traveling quirk and he appears on one of Izuku's birthday, kinda expecting... to keep working with his brother? Please!

This Yoichi will be a scandal at the Firsts Club.

All for One was super-happy to see his brother, deliriously so, but he's not willing to resume his business. He made a promise to his wife to retire. Also, he doesn't want to miss his son's childhood. This All for One came to blame his villainy for losing Yoichi and he fears seeing Izuku get hurt.

Yoichi hangs around for a while trying to persuade his brother to become villains together again. He teases his brother a lot for getting old and having old man habits. However, Yoichi is always very polite to Inko and calls her big sis.

Izuku thinks of Yoichi as a cool uncle who gives him presents at first, but also notices that Yoichi has low empathy and extreme levels of self-centeredness.

Yoichi is scandalized and disappointed that his brother never gave Izuku a quirk. All for One blamed the quirk he gave Yoichi for getting him involved in fighting and ultimately leading to his death so he decided not to risk history repeating itself. Izuku has a good relationship with his father in this AU, but he becomes angry when he learns his father could have given him a quirk.

Toshinori is quirkless and Izuku's favorite teacher. (Izuku did not get bullied in this AU due a more involved father.) Nana Shimura is the number one hero. Tenko Shimura is a spoiled rich kid.

Once Yoichi realizes his brother seriously won't join him, he takes over All for One's old forces. Gigantomachia is loyal to Yoichi as well and grateful not to be forgotten. Yoichi also takes over the MLA by seducing Re-Destro and then killing him to take his place as leader.

Yoichi kidnaps Izuku to use him as a replacement big brother to become a villain with him. Izuku goes along with this partly to avoid angering the dangerous madman and partly because Yoichi promised to give Izuku his quirk after he finishes his strength training. All for One and Inko are on the warpath.

Yoichi: I've kidnapped you to become my new villain partner.

Izuku: Come over here and I'll bite off your--

Yoichi: And I'm going to give you my quirk because it's very wrong that big brother never gave you one. I'll still have my flawless looks.

Izuku: I meant to say, what some people call kidnapping, I call uncle-nephew bonding! I'm excited to work with you, new favorite uncle. Hey, how long do I need to train before I get the quirk?

#5 headcanons game #closed ask game #Yoichi Shigaraki #All for One #Dad for One

[a0random0gal]

If you had the chance to change something about the dance of the dragons (TV show or book), what would it be? For example, how a character dies, which team a house is on,or an entire character personally. How would you change it to make the story better, in your opinion?♥️🖤💙💚

Ohh anon i've got a list.

When it comes to the tv show there are a few choices the writers made that just don't sit right with me.

Laenor

I do like the characterization they went for, he's a pretty cool dude who really loves his weird, dysfunctional family. What I really don't like is how they handled his death.

See I truly can't stand it when a character is sugar coated just because they're the protagonist and thus must be righteous and always objectively correct.

So to witness the writers white wash his murder, having him flee to essos instead of being killed by Rhaenyra pisses me off. I get that after showing them being good friends it would be very odd to have her kill him.

But that's the thing, they should have opted for a more ruthless Rhaenyra in the first place!

Laenor's death in the books (at least for me) was the first instance of Rhae Rhae making morally wrong choices in order to pursue her ultimate goal. It was compelling! Here she just takes the easy way out, without having to make a tough choice.

Also his survival really fucks her up when you really think about it. Now all her sons are bastards since her marriage to Daemon isn't valid, and for the upcoming season 2, how are they going to handle Addam and Seasmoke? Laenor is still alive, his dragon won't accept a new rider. This doesn't make any sense and just causes plotholes what the actual fu-

Sidenote: After Laenor's very moving speech on how he was done goofing off and was now willing to really step up for Rhaenyra and their family it's super strange to imagine him ditching them all immediately afterwards Lol.

Rhaenys

My gosh, where do I even begin with this woman?

She too is pretty cool at the start, but then episode 9 rolls around and I roll my eyes.

She's so hypocritical. She tries to shit on Alicent for "toiling in the service of men." When that's all she does in the goddamn story!

She wants Baela to get Driftmark, tells Corlys about it, he shuts off the whole plan cause he wants a kid who he's not even related to on the driftwood throne, and when she complains about it he dismisses her.

So what does feminist Rhaenys do about it?

She... submits to her husband, something she conveniently forgets about when talking to Alicent. My god. Just remove this entire exchange, it hurts to watch.

And the coronation scene, Jesus Christ! It was so cool in the books, why did they have to ruin it? Had they replaced it with something better I wouldn't have complained, but this is just, the worst.

Rhaenys shows how badass she is by.... Brutally crushing hundreds of small folks to death and almost slaughtering the greens.

Cool, cool, absolutely necessary. Thanks Sara.

And you know what's even more infuriating? When she flees to Dragonstone to inform Rhaenyra of all that happened. She says she didn't kill the greens cause she didn't wish to start a war. I'm sorry what?

That would have ended the war at the start! As glad as I am that Rhaenys didn't barbecue them it makes absolutely no sense!

If she had killed them there would have been no dance in the first place!

I hate these dumb show only moments. They needlessly complicated an already complicated story and just mess everything up.

There's probably other stuff I could rant on, like how Aegon was made a rapist sorely to make the audience think:

Oh look! The greens are so baad, they believe a rapist alcoholic douche should be in charge instead of our empowered dragon queen, they sure do suck!

Or how house Velaryon was disrespected and mistreated by D*emyra but still somehow decided to support Nyra's claim.

They didn't really have a motive to be greens though, so I think they should have stayed neutral. Their fervent black support makes no sense.

The writers really should have given them more reasons to back up the blacks or had their beloved queen treat them better so that their loyalty made more sense ( I mean holy hell I wonder how they will handle the two betrayers and Corlys's arrest lmao).

But other greens have already shat on these awful decisions and I won't beat a dead horse.

Book

When it comes to fire and blood I surprisingly have very little complaints, except of course, the Jaehaera situation.

My poor baby deserved better, I've made a post about it in the past

(where I ranted and said stuff I kind of regret now, don't post while very angry guys I don't recommend it)

tackling how the little queen was unnecessarily killed off and how her death genuinely adds nothing so why was it added? God I get upset just thinking about it lol.

Some people say George did it cause he needed Aegon's kids to be born after Viserys's, and apparently he couldn't fathom a married teen not having kids until her 20s, which is veery weird.

The more plausible theory is that he got rid of her cause he wanted more Velaryon queens to showcase how close they used to be to the Targs.

Which is something I had understood already thanks to Alyssa, the sea Snake and all the Velaryons who were masters of ships but whatever.

#hotd #house of the dragon #hotd critical #anti team black #pro team green #rhaenyra targaryen #asoiaf #aegon ii targaryen #corlys velaryon #laenor valeryon #rhaenys targaryen #rhaenys velaryon #jaehaera targaryen #fire&blood #hotd season 2 #thanks for the ask! it was lots of fun to answer lmao

[melvisik]

OFMD - TREASURE, LOVE, AND EDWARD

Edited - Possible trigger warnings at the bottom under the gif of Edward and MerStede by @soapbubbles511. Thanks to @agneswarda for pointing this out in the reblogging tags.

Totally joining in with this discussion about the deleted scenes (even though I'm extremely late to the party)...

Source crediting set decorator Lindsey Cantrell's insta at linds_cantrell

Absolutely, Ed is a beautiful hot mess splayed out on the ground pouring whateveritis into his gaping mouth, and we were sorely robbed of some awesome shots (no doubt due to budget/time cuts). Also, the text here somewhat vindicates the fandom's in-depth observations as to the incredible weight of Ed's unhappiness at this point.

So here it comes, because reiterating fandom analyses and interpretations is fun...

One of the key elements we see in season one is Ed's desire for the fine things he's been denied in much of his youth, things his own mother told him they could never have. Mother Teach frames it as it being a matter of providence or even nature, because that isn't who they are rather than accrediting it to unfair circumstances they were born into.

Who can blame her really? The poor woman was a victim of the unfair social class/caste system of the 18th century and she had an abusive, degrading dick for a partner.

Anyway, that fine piece of silk she gives her son is probably one of the biggest symbolic tools in TV history - Ed's fondness for fine things, his wish to be one of 'those kinds of people' (despite the odds) thinking it will make it happy, his connection to affection, his first bond with Stede Bonnet both in camaraderie...

...and in love.

And then, of course we see this...

Well then.

Long before the unhinged binge-raiding, Ed had already accrued more riches than some uppity officer can shake a fucking stick at, but he had yet to find that elusive something he'd been pursuing since childhood.

Source

Cue Stede Bonnet, a constituent of that aristocratic world Ed's been dreaming about and a sweet representation of finery and refinery.

...sorta. Really, they just pass the time so well...

Extremely well, like 'welcome to the family'...

But at the beginning of season two, what Ed came to treasure most is gone, and he can't replace it no matter how many valuables he collects. There's a void in his heart he was on a rampant quest to fill, and just when he thought he'd found someone that can occupy some of that space, he's abandoned by him.

So, afterwards (and after some other stuff) Ed jumps from raid to raid as Blackbeard 2.0, raising hellions and sending them out to play, pillage, and plunder.

But he does this without any sense of care or pleasure. Another day in the life of a pirate. Make the plan, execute the plan, make the plan, execute the plan, and again, and again, and again... so fucking boring.

He's amassed so much stuff that the crew literally has to dump it overboard, and only more is coming in because he's determined never to divert from this strict regiment, whether it's because he intends to incite Ned Lowe into coming after him or to have it serve as a distraction from the unyielding pain.

Either way, he shuts down in a sort of resignation and fully conforms to the role expected of him, because they think it's just who he is...

In the interim, during those all too frequent moments of inaction, he self-medicates with drugs and alcohol and wallows about in misery, sometimes in Stede's old cabin surrounded by riches that are ultimately worthless to his broken heart.

It's a fairly common trope - a gut-wrenching display of unhappiness whilst surround by troves of treasure.

But we see here that Ed takes it a step farther, reverting to an almost childlike state and enacting his fantasy with dolls.

And with those cut scenes, we could very well have seen how he behaves similarly with the treasure, perhaps by playing dress up with the jewelry or admiring these objects that should, by all rights, represent the vast wealth he'd once hoped to achieve.

He's surrounded by the fine things he coveted in his childhood, but now he finds none of it remotely satisfying. He's had a taste of true joy, and all this stuff just listlessly lying around pales in comparison.

Is he having fun? Nope, because this was fun...

Is he basking in the splendor? Nope, because this was splendor...

Does he recognize the value of the treasure at his fingertips? Nope, because you know where this is going...

In fact the only stolen piece that means anything to him is fiscally worthless.

That figurine is a cheap representation of something intrinsically valuable. Just like the jewels, the furs, the gold, and every lifeless item in that room, it essentially means nothing save for the memory Ed attaches to it.

Ed's life has become that dull drag of monotony just like before. On the outset, that life was probably fun for a while and perhaps did initially satisfy his thirst for wealth, acceptance and attention, but over time he basically became married to his work, 'working for Blackbeard,' an unhappy husband to piracy.

This discomfort in a married state only started to alleviate when that bizarre, cheerful lunatic showed Ed that he can absolutely escape his situation and doesn't have to let his past prevent him from moving forward.

Ed was fully willing to give it all up. Stede served as a perfect conduit for this, but falling in love with him altered Ed's aim - he no longer necessarily desires the lavish lifestyle and/or identity of Stede Bonnet, but rather something loads better...

Then we have the sharp turn-around, and Ed is in an even worse state than where he started off.

He's been there, done that, and even trying to reach for an extreme version of Blackbeard just isn't quite cutting it.

Death seems to be the only unexplored avenue left to him. It might not make him happy, but then he was never meant for happiness, was he? He's just not that kind of person. But it can, at least, just make everything stop...

And these scenes could have shown so much of that - the impotence of all the wealth available for Ed's leisure and how spending the day with someone is the better treasure. This kind of treasure later only serves as a sign of Ed's guilt at the atrocities he committed, and it's only useful in helping others throw a big bash or giving other less fortunate kiddies a better chance than he had.

It really wasn't worth all that much to Ed in the end. Just as it wasn't worth all that much to Stede Bonnet either.

The man who sees value in what's thought to be worthless, who discerns fortune in a chest of blue dirt and exquisite detailing in a pile of junk, finds his ultimate treasure.

P.S. The treasure in that scene also possibly serves as reflection of all the 'finery' attributes Ed sees in Stede, the beauty and status he'd once craved presented up in a warm jaunty melody that somehow matches Ed beat for weird beat.

P.P.S. And for the fantastical lovers - Stede's the handsome prince (mer-prince in fact) that helps this beautiful princess escape from the dragon's hoard.

Warning: This post contains implications of suicide, abuse, drug use, and alcohol abuse. These subjects are delicate and complex and I am no expert, so if any information/opinions in this post are evaluated to be erroneous, seem careless, or cause too much controversy, this post will be deleted and apologies given.

Constructive criticism is welcome.

#ofmd #ofmd s2 #self indulgent #our flag means death #stede bonnet #edward teach #gentlebeard #blackbonnet #blackbeard

[armageddon-generation]

Justice for Brandon Routh: Everything Cut From Superman Returns that makes it Great

Ultimately it's good Superman Returns didn't get sequels because of Bryan Singer & Kevin Spacey, but I'm kinda obsessed with the forgotten middle-child of Supes' movies, and it's infuriating how the movie's thematic spine and most of its best character-beats got cut.

The Theatrical Cut of Returns is literally half a movie. Brandon Routh deserved so much better.

Sources:

Deleted scene compilation (+Return to Krypton)

The Shooting Script (available to buy)

Superman Homepage deleted shots Page 1 and Page 2    

Novelisation by Marv Wolfman (this, the graphic novel & junior novelisation all used the 2005 shooting script.)

Superman Returns: The Visual Guide (available to buy)

Chew Chan comic art

Requiem for Krypton: Making Superman Returns

Prequel Comics (based on scenes from early drafts, with stories by writers Singer, Dougherty & Harris):

Prequel Comic #2: Ma Kent

Prequel Comic #3: Lex Luthor

Prequel Comic #4: Lois Lane

Comic book recap

‘78 opened with a boy narrating an issue of Action Comics. Returns pulled back red theatre drapes on a comic narrated by Clois’ son, Jason. 

Actor Tristan Lake is recording the voiceover in Requiem for Krypton

From the Script (p.1):

RED THEATRE CURTAINS, drawn shut. The kind found in classic movie houses of yesteryear. The slowly open ... the film flickers to life, fading in on an old comic-book

SUPERMAN. A BOY'S HAND reaches into frame and opens it.

JASON (V.O.): On a distant planet orbiting a red sun, a wise scientist predicted his world's imminent destruction. Despite overwhelming evidence, his pleas to evacuate the planet were ignored, leaving him and his wife no choice...

He turns the page to a panel of JOR-EL and his wife, LARA

JASON (V.O.) (CONT'D): ...but to place their only son into a spaceship and launch it to another galaxy, in hopes of finding the child a new home. A child destined to become Earth's greatest protector...

“In Golden Age style art, Kal-El is placed in the rocket by Jor-El and Lara, comes to Earth, grows up with the Kents, & learns that he possessed amazing powers.”

The script cuts the Smallville part because it’s covered later in flashback.

5 years on, Superman has been mythologised. In-universe, to kids he seems as make-believe as comic books are to us.

This develops Jason’s POV of Superman. He was supposed to have this comic (from 'Uncle Jimmy') when he meets Clark in The Daily Planet

This could be why Smallville was cut; the public only knows about Krypton

The opening scene of Gertrude Vanderworth’s death was originally replaced by:

Prequel: Lex in prison 

Lex’s cell is covered in Daily Planet clippings. He nonologues to henchman Stanford

LEX: I didn’t get you visiting privileges to my private suite so I could repeat myself … My work was more than mere greed … It’s a calling. Why can’t they see the danger? He’s a vanguard for an invasion of super-powered beings. I knew. I always knew. Making sure there was a line of defence against him. The Conquistadors carried a plague that decimated entire civilisations. Who knows what kind of spaceborne diseases he carried? Oh, they may not appreciate my genius now, but they will worship me for delivering them from this menace they so affectionately embrace.

Kitty Kowalski & Gertrude Vanderworth

Lex has a medical exam before his release. His henchwoman Kitty is the nurse. She flirts with him but complains Superman is all Lex thinks about 

Lex burns his old toupé to “cleanse” himself

In flashback, Kitty sees Lex kill an inmate in self-defence. Lex threatens her to protect his perfect record. But Kitty says she’s his “biggest fan” & anger becomes lust 

This is in The Visual Guide (p.26):

"She witnessed Lex murder a fellow inmate. Kitty refused to squeal to the guards, and she and Lex made clear their attraction for each-other."

Kitty is the Vanderworth widow's maid & suggests Lex write to her

She doesn’t like the name Kitty: “My name is Katherine”

An imaginary Superman hovers above, watching Lex leave prison.

Gertrude Vanderworth is waiting outside:

LEX: Gertrude! I’m dying in here. I’m dying without you. Please, take me home. If only you could imagine the grotesque living conditions I’ve been exposed to, dear, sweet Gertrude. You’ve rescued me from Dante’s Inferno, from the depths of human depravity.

Shows how prison changed Gene Hackman’s Lex into Returns’ philosophical maniac

Characterizes Kitty as Lex’s ‘Harley Quinn-lite’ & makes her more active

Stronger explanation for Lex's escape than Clark missing his court date 

The comic's final panel is Lex looking up at the imaginary Superman in the sky, zooming out into space, then leading into...

The Opening Titles as Clark’s journey to Krypton:

(from the Script):

“Stars interspersed with DAILY PLANET HEADLINES tracing Superman’s history, many by LOIS LANE;

“METEOR SHOWER BAFFLES SCIENTISTS”

“CAPED WONDER STUNS CITY”

“I SPENT THE NIGHT WITH SUPERMAN”

“SUPERMAN STOPS CRIMINAL MASTERMIND, LEX LUTHOR”

“LEX GETS LIFE THANKS TO MAN OF STEEL: SWEARS REVENGE”

“ASTRONOMERS DISCOVER KRYPTON INTACT – SIGNS OF LIFE FOUND”

And then the biggest headline of them all:

“SUPERMAN DISAPPEARS”

More headlines follow as the world is besieged … war, famine, crime. Soon, these headlines push Superman to the back pages. Within years, he’s all but faded from public consciousness. Finally, one last headline:

“WILL HE EVER RETURN?”

IS IT KRYPTON? (p.12), LUTHOR GETS LIFE (p.24) & VANDERWORTH TOPS THE FORTUNE 500!! (p.22) are in The Visual Guide

This gives the indulgent title-sequence a purpose. It sets up the consequences of Clark leaving, his history with Lois & Lex, Krypton’s discovery, and the Vanderworth fortune Lex will steal

This transitions into:

Return to Krypton

Concept art by Ben Proctor

The script describes “the remnants of this great civilisation… cities, monuments… all made from the same crystal technology” not in the filmed scene

Clark finds the House of El crest in the “VALLEY OF THE ELDERS . . . a VAST CANYON OF CRYSTAL MONOLITHS arranged in a circle” with more family crests.

Clark's escape is more visceral (Script pp.2-3):

“GIANT SLABS whiz by ... thousands of pieces of glowing kryptonite are hurtling towards him ... Parts [of Clark’s ship] shatter and break off ... The crystal immediately GROWS BACK ... more kryptonite smashes against the window, cracking it. Crystals work quickly to repair the damage, but it keeps coming.”

The filmed version puts Vibes over story: 

The Valley of Elders returns on Lex’s New Krypton in the finale. 

Without the other House crests the El one feels random

Showing Krypton's achievements validates Lex’s plan to resurrect it.

Clark’s ship self-repairing introduces ‘growing’ crystals immediately

Opening an action beat is important because the next one isn’t for 40 mins

Famously, this scene cost $10 million. Videographer Rob Burnett said:

“This was always meant to be the original opening [it] explained why he was so weak when Martha found him [&] that Kal-El sweats in the presence of kryptonite which Luthor notices later ... It wasn't cut until some last-minute test screenings … people unfamiliar with Donner's Superman films & Kryptonian crystals/tech found this dialogue-less opening confusing & uninteresting”

To solve this dialogue problem it was suggested Clark bring his mother Lara's memory crystal with him. She would narrate Krypton's history as Clark explored, contrasting its past glory with its current ruin. But the scene was already finished & Singer decided:

I didn’t feel it ... No-one told me to do it. I had no time restrictions or pressure whatsoever. I just felt the movie doesn’t need this."

But Marv Wolfman did something similar when retelling Jor El and Lara sending Clark away in Chapter 1 of his novelisation:

“It had been a timeless city, strong and powerful. It survived the vast armies of three great nations waging war on its bloodied streets. It stood proud as the signing place of an everlasting peace . . . [Lara] spent her early years dreaming of living where Krypton’s earliest founders had once walked, did not want to believe that this magnificence and all it stood for would soon be gone. She had spent her first year out of university touring the city . . . She trekked out to the Valley of the Elders . . . the fabled roads that Sor-El, Kol-Ar and Pol-As, the chosen representatives from the three warring nations, must’ve taken when they created the original laws of humanity that governed Krypton. From the ground, those crystal monolith towers, reflecting the full spectrum of light, looked to Lara like hands raised in reverential prayer. Kryptonopolis had been grown from a single crystal more than 10,000 years before ... shaped by the earliest Kryptonians into vast cities millions of buildings strong"

The Visual Guide also explains the Valley of the Elders is “Where Sor-El, Kol-Ar, and Pol-Us established the laws that governed Krypton" (p.79)

This is a great parallel to ‘78's opening. That was Clark’s origin. Returns is him mourning

Seeing Krypton contextualizes Clark’s arc. We understand his alienation instead of being alienated by him

It bookends the movie with New Krypton, and gives Returns’ oft-mocked climax ‘Superman Lifts a Big Thing’, thematic weight: Clark is excising the grief that drove him from Earth

Lara's narration about the wonders of Krypton both heightens the tragedy & establishes what their tech can achieve, crucial to Lex's plan

Writer Dan Harris said:

“Lex Luthor’s trying to turn this world [Earth] into the dead world, the place [Clark] can’t live, so it becomes a person’s search for identity and home and their place in the universe.” (The Shooting Script interviews p.27)

Martha Kent and Ben Hubbard play Scrabble 

Martha spells ‘Alienation’ (THEMES!!) & touching Clark’s name carved into the table is lovely visual storytelling

Ben is there when Clark crashes. Martha stops him calling the cops.

BEN: Martha-

MARTHA: (firm) Tomorrow. Bingo.

She looks at him, stonefaced. He takes another look outside – and at her, and realizes what’s happening. He sighs and shakes his head.

BEN: A meteorite?

She nods.

BEN (CONT’D): Martha Kent, I knew you’d be trouble

There’s a blooper of this scene in Requiem for Krypton & it's mentioned in The Visual Guide (p.20)

Gertrude Vanderworth's death, and Lex stealing her fortune, is shown after Clark passes out in Martha’s arms when he crashes, followed by Lex taking the yacht to the Arctic

Lex Finding the Fortress

Cool details about the Fortress' warm crystals & creating protective weather patterns, explaining the storm around New Krypton in the finale

While exploring the Fortress they find Clark's garage:

From The Visual Guide:

"Lex lingers in a cavernous chamber he dubs 'the garage', where he sees evidence of the construction and launch of Superman's spaceship"

KITTY: So did he?

LEX: Did he what?

KITTY: Take off for his homeworld?

LEX: (looking at Stanford) Well… We gave him a little push.

In the novelisation (p.89)

Lex’s First Experiment

After plundering the Fortress, Lex would test the crystal immediately- “he created a kind of giant Fortress of Solitude in the ice” (Script interviews p.28), destroying the original. Such a great way to raise the stakes!

Extended Clark waking in his childhood room

Clark waking to his starry ceiling & the Kent family photos give his return more emotional heft

Extended Young Clark’s first flight, 

Which leads into…

 “Little Secret”- Clark finds the Kryptonian ship as a boy

From The Visual Guide (p.11): “When he holds the Father Crystal, Clark feels a primal connection to the vanished world of his ancestors”. Martha’s prequel comic shows Jor El & Lara reflected in the crystal.

The Father Crystal is the key to Lex’s plan, so it's important to see its importance to Clark.

'Little Secret' leads into: 

Martha Kent Prequel: The Kents tell the truth

The Kents find Clark on the cellar steps with the Father Crystal, staring at his ship.

They talk in the kitchen:

MARTHA: … I wish we could tell you more… well, anything about your real parents

CLARK: You are my real parents. Those other people, the ones that gave me away… They mean nothing to me. [he bends a fork in half]

JONATHAN: I understand that you feel that way now, Clark. But I have something to show you. [He leaves the room to get something]

CLARK:Ma, I- I… Am I even human? Am I some sort of monster?MARTHA: Clark Kent, bite your tongue! You are our son and we love you. That’s all that matters.

JONATHAN: Clark? This is yours. You were wrapped in it when we found you.

He gives Clark the cloth he was wrapped in when they found him - blue fabric with the “S” shield

This is a big change from ‘78, where Clark didn’t find the Father Crystal until after Jonathan dies. Martha wasn’t there & they didn't discuss it. The Fortress of Solitude made his suit.

Clark's anxiety is more in-line with MoS (“Can’t I just keep pretending to be your son?” / “You are my son.”). Rejecting Krypton is important, as his adult desire for a home drives him from Earth

Here we see Clark feel the alienation he fears for Jason in his final speech ("you will be different..."). Parenting is a big theme of Returns

Clark reads Why the World Doesn’t Need Superman in the Kent barn 

In the script, Clark taking the tarp off his ship leads into the Little Secret flashback- which the deleted scene cuts around. The shots following him back to farmhouse include this voiceover (Script pp.13-14):

LOIS LANE (V.O.): For five long years, the world has stared into the sky, waiting, hoping, and praying for his return. We have spent our days asking where he went, debated why he left, and wondered if he’s even alive…

People have always longed for gods, messiahs, and saviors to swoop down from the sky and deliver them from their troubles. But in the end, these saviors always leave, and we are faced with the same troubles that were there from the beginning.

So, instead of facing them ourselves, we wait for the savior to return. But the savior never does, and we realize it was better had he never come at all.

Reading WTWDNS is referenced in The Visual Guide (p.29)

Articulating Lois’ POV makes her more than a bitter ex. Even the Junior novelisation has this!

In the Theatrical Cut Clark returns to the Daily Planet trying to reclaim the old status quo, until he learns Lois has a family. Here, he faces consequences for leaving before learning Lois has moved on, so he’s less selfishly motivated, and returns to the Planet to actively reconcile with her

Parallels Young!Clark finding the Father Crystal- the inciting moment of ‘78’s plot

Martha encourages Clark to return to Metropolis / Clark meets Ben Hubbard 

This is a cute scene, humanizing Clark

Martha is selling the farm & moving to Montana

(Script p. 76), cut dialogue in purple

MARTHA: Clark, dear… No one will ever replace your father. But, Ben and I have found something special. Together. And, well, this might all come as a shock…

Clark gives her a look. Just level with me.

MARTHA: I’m selling the farm. We’re moving to Montana.

CLARK: Montana?

MARTHA: The lakes are great. And we love the fishing.

CLARK: Fishing?!

MARTHA: Clark, you’ve been gone a long time. And not even you can stop the world from spinning.

In the novelisation (p.76)

Building this subplot from a background character from ‘78 is neat.

It expands Returns’ narrow emotional scope: It's not just Lois moving on

Superman suit in Clark’s case & changing in The Daily Planet closet 

As Clark puts his suitcase in the janitor’s closet he opens it, revealing his Superman costume & a Kent family photo.

So, when he rips his shirt open there’s "NOTHING. Where's his suit? He panics, then remembers." . He must change in the Daily Planet janitor’s closet. As he leaves he "catches a glimpse of his reflection in a window -- he's still wearing GLASSES" (the Script p.44)

Love Superman in glasses as a metaphor for the transition from Clark to Supes. 

The Theatrical cut emphasizes Lois’ POV of Superman’s return but this is more balanced & impactful for Clark 

Lex and Stanford discuss Superman’s return

When Lex learns Superman is back he & Stanford discuss luring him away. You can see Stanford running to catch up with Lex before the Theatrical scene cuts away. Deleted dialogue in purple:

STANFORD: So, what are we going to do?

LEX: You’re going to modify it and attach it to the stern, I don’t care of the instructions are in Russian

STANFORD: You know what I mean, Lex. He’s not stupid. How long do you think it’s going to take him to trace all that stuff back to me– and you. He was supposed to die up there.

Stanford paces. Lex clenches, obviously stressed. He hears the WHIMPERING of Gertrude’s dog. 

Infuriated, Lex hurls the newspaper at it but misses. Enraged, Lex snatches a heavy crystal off the desk, when he STOPS. He stares at something on the NEWSPAPER

Lex bends down and picks up the paper. He smiles, and hands it to Stanford.

LEX: Stanford, you worry too much.

Stanford looks at the article, intrigued.

“WORLD’S LARGEST COLLECTION OF METEORITES TO EXHIBIT AT METROPOLIS MUSEUM OF NATURAL HISTORY”

Lex & Stanford faking Krypton’s discovery makes all Clark's problems his fault. Clark did nearly die, & it makes Lex a more formidable villain

It makes the plot more cohesive 

Clark being tricked by his nemesis > ‘he just left lol’

Lex’s desperation gives him depth. Stealing Kryptonite is now a response to Superman, where in the Theatrical cut it’s so underplayed it seems like just the next step of his plan.

Stanford and The Daily Planet

I can’t find it, but Mr. Sunday Movies  cites an interview where the actor revealed Stanford was a disgraced Daily Planet science correspondent, & wrote the articles about Krypton. 

More plot cohesion, connecting The Daily Planet & Lex plots. If Lois recognises Stanford when she’s on Lex's yacht, she could figure out Clark was tricked, helping her forgive him. 

Extended Clois outside The Daily Planet

Deleted dialogue in purple, (Script pp.58-60):

CLARK: Well … Maybe saying goodbye was so hard because he didn’t know whether it would be goodbye for a little while … or goodbye forever.

Lois doesn’t seem to be listening

CLARK (CONT’D, QUIETER): And maybe he had to go and he wanted to say goodbye, but he couldn’t find the guts to do it, because maybe if he saw you, even one last time… Well, maybe he was afraid that if he even looked at you just… once… he would never be able to… leave (beat) Maybe it was too difficult for him.

. . .

CLARK: So… Do you want to grab a quick bite? Catch up? My treat.

LOIS: Oh I’d love to, but Daddy took the car and it’s my turn to ‘cook’ the family dinner, which means I’ve got just enough time to get back to the ‘suburbs’ and order the Chinese

CLARK: Suburbs?

LOIS: Yeah, we have a really nice place on the river. You should drop in sometime.

CLARK: I’d love to.

Brandon performs this dialogue for a screentest in Requiem for Krypton

Much better reason for Clark not saying goodbye. Corny, but if your gonna justify an OOC decision, do it with the romance at the heart of your movie. 

Lois is much nicer & less dismissive of Clark. Theatrical Lois seems to actively dislike him.

Hints Lois feels stifled as a suburban mom

Lois Prequel: Writing Why The World Doesn’t Need Superman

The ‘Lois at home’ scene begins with a flashback:

Perry tells Lois to write a piece for the 5th anniversary of Superman leaving. She struggles with writer’s block at home, & goes out to smoke. She thinks Clark blows out her lighter, but she’s imagining it & realizes she must move on. That night she writes WTWDNS

Then Richard asks about I Spent the Night With Superman, then Clark is revealed to be watching at the end of the scene.

[After Clark flies away, Script p.63]

Lois picks up some food, then suddenly stops and turns to the window, staring into their backyard. Beat.

RICHARD: Lois? You okay?

Lois snaps out of it.

LOIS: Yeah, sorry. Hey, didn’t I have four won-ton’s?

Jason stuffs a won-ton into his mouth.

LOIS (CONT’D): JASON!

Lois & Richard dive, trying to snatch it from his mouth

A cute Jason moment, & Lois ‘sensing’ Clark makes his spying a little less creepy, selling their 'stracrossed lovers' connection

Superman On Patrol

Two scenes are omitted from the script (p.64) before the ‘Bulletproof’ bank robbery. Presumably they formed a full crime-fighting montage, like in ‘78.

The Visual Guide describes two cut sequences that perfectly fill that gap (p. 60):

“In Switzerland, he saved 12 stranded climbers from the peak of the Matterhorn. In Venice, he prevented the famous canals from flooding the city streets. Superman seems to be everywhere at once, but nowhere is he more prominent than in Metropolis…”

Full Deli Robbery Segment

MONTAGE REPORTER #3: Sir, after he captured the men trying to rob your Deli, did he do or say anything?

DELI OWNER: He tried the hummus. He said he liked it – and Superman never lies!

More action! More wholesome Superman! Expanding the scope of the movie beyond Metropolis!

Lex’s Plan

Higher-key Kryptonite heist where Lex’s gang fool guards and witnesses

The movie needs more energy. Like the stolen missile earlier, in the Theatrical Cut Lex’s plan is afterthought bullet-points 

When Kitty returns to Lex after Superman saves her, the stolen missile is being disassembled. Lex takes its explosive & the kryptonite he’ll stab Clark with 

Lois Prequel: Why she resents Superman and meeting Richard

After Perry demands Lois interview Superman we flashback to him doing the same thing after Krypton was found:

But Superman never shows. Months pass until “the world had to admit” he was gone.

The world turned to Lois as their 'Superman expert.'

JIMMY: Miss Lane. You okay?

LOIS: I will be once Perry lets me cover something over than Superman. He left. He's gone, and maybe he's never coming back. How many different ways can I write that?

JIMMY: I know Miss Lane. I miss him too.

The world refusing to let Lois move on by pigeon-holing her as ‘Superman’s Girlfriend’ is important context.

Now Perry refusing to let Lois cover the blackout is part of a sexist cycle she’s fought for years

Lois escapes to the roof for a smoke: "Even as the days kept passing, I held out hope. I mean, he never disappointed me before, right?'

Richard White introduces himself just like Clark:

RICHARD: Those things will kill you, you know. Hello, Lois. I'm Richard White.

LOIS: White, huh? Did Perry even read past your last name on your resume?

RICHARD: I won't deny what it looks like, but my uncle hired me because I'm damn good at what I do. And with you I see wasted talent. The Superman story is old news. The Planet's best reporter should be used elsewhere.

LOIS: You're certainly more insightful than you look, White.

Directly parallels Richard and Clark

And contrasts the rooftop interview with Superman immediately afterwards; we now know she waited here for Clark to return every night until she met Richard

Clark Visits the Fortress of Solitude

When Clark visits the Fortress of Solitude he has cut voiceover (Script p.89):

SUPERMAN (V.O.): Father... It’s been a long time since I’ve come to you… But I’ve never felt so alone.

EXT. FORTRESS OF SOLITUDE - SAME TIME

Superman lands & approaches the console. The crystal has been taken. WITH A VOICE ECHOING THROUGH THE ARCTIC LIKE THUNDER:

SUPERMAN: FATHER!!!

FATHER!!! Is OTT but important when Superman has so little dialogue

Clark is now clearly driven to the Fortress by Lois’ rejection. In The Theatrical Cut, he just checks in because it’s time for Plot to happen.

Losing Jor-El emphasizes the theme of parenthood- Clark loses a father as he gains a son- & justifies Jor El’s voiceover later

Lex's Fortress

In an earlier draft, Clark found the new Fortress Lex grew in his first experiment, and "Clark sunk it and put it underwater"

Originally “Richard & Lois flew there with Clark to investigate & take pictures" (Script interviews p.28) but later on these became satellite pictures that were delivered to the Planet. Lois saw them & understood what Clark had lost.

Lois seeing & understanding Cark's losses is important

Clark destroying Lex's Fortress would be an impressive action beat & Returns is desperate for those. Showing Lex's impact through action!

Extended dialogue on the yacht explaining Lex’s plan

LEX: It’s not just an island. It’s an entirely new continent. Virtually indestructible and self-sustaining. For lack of a better name, it’s Krypton. An extinct world, reborn on our own.

LEX: I’ll have ADVANCED alien technology thousands of years beyond anything anyone could throw at me. Weapons, vehicles, you name it. 

Gives New Krypton more credibility & makes Lex's plan more concrete, especially after Return to Krypton showcased Kryptonian tech

Saving Metropolis

Earlier drafts of the ‘Saving Metropolis’ sequence had “monster waves surging in every direction” (The Visual Guide p.70) Dan Harris also mentioned "waves coming in" and Clark “pulling a subway train out [of the ground]”. (Script interviews p.28) The script omits several sections that could fit these moments.

The script includes Clark saving people from cars set on fire by the gas explosion.

Again, Returns copies ‘78, but that earthquake was way bigger - a dam explodes, a bridge collapses, a train derails. Clark shifts tectonic plates to stop it.

Perry White meets Superman

I understand why this was cut but it’s still cool

The Missile Explosive

After Jason kills Brutus, the deleted scene of Lex finding Brutus’ body is followed by (Script pp.113-114):

INT. YACHT - PANTRY Lois & Jason sit against the far wall, exhausted & worried. The door swings open, revealing LEX. He looks at Jason & winks.

LEX: Catch.

He tosses SOMETHING into the room, wrapped in the handkerchief. It rolls towards Jason’s feet. LOIS CHARGES just as Lex slams the door. Jason removes Lex’s handkerchief, revealing the EXPLOSIVE from  the missile.

LOIS: Honey… don’t move.

Lois is panicked, searching for any way to get rid of the explosive. Finally; a SMALL AIR DUCT. She kneels & pulls at the VENT COVER. It won’t budge. She looks around & finds a LARGE METALLIC SOUP LADLE.  SHE JAMS THE LADLE INTO THE VENT, using it like a crowbar. 

JASON: Mommy?

LOIS: JASON DON’T MOVE!

Lois strains to pry the vent away. After what seems like an eternity, it finally pops off. She approaches Jason VERY CAREFULLY.

LOIS (CONT’D): Okay Honey, stay still…

Lois THROWS IT into the air duct … grabs Jason & rushes him to the other side of the room. The explosive drops down a series of air ducts … Silence. Lois and Jason open their eyes, relieved.

Then – BOOOOOOM! THE BLAST ROCKS THE ROOM. A burst of flame shoots from the vent. Lois shields Jason. The flames are followed by a GEYSER OF SEAWATER. The room is tipped upward. Water is streaming in. Lois tumbles backwards into the water, struggling to reach Jason, but she’s STUCK.

ANGLE UNDERWATER: Lois’ leg tangled in a LIFE PRESERVER.

LOIS: HELP ME! Oh God…

Water floods into her mouth. She disappears under the surface when the DOOR is RIPPED OPEN, AND THE SILHOUETTE OF A MAN STEPS INTO THE ROOM. He dives underwater.

The man rips Lois’ leg free from the cables and pulls her to safety. Lois finally opens her eyes and comes face to face with… RICHARD. She and Jason are stunned.

LOIS (CONT’D): How –How did you get here?

RICHARD: (obviously…) I flew.

Lex’s response to Superman’s son here is more appropriate & threatening.

Another setup & payoff with the missile explosive gives the film more structure. Plot, y'know?

Makes Lois more active

Richard/Clark parallels

Jason recognizes Clark 

[in the seaplane after Superman saves them from the yacht]

Jason curiously looks up at Superman.

JASON: Hey, you look just like–

SUPERMAN: (Cutting him off) Can you fly?

For a moment, it looks like Superman is speaking to Jason – then he turns his head to Richard.

Also in the novelisation (p.285)

More Jason/Clark connection & more payoffs (Jason suspected Clark's identity after seeing him next to Superman on TV earlier)

Context: New Krypton

The script describes it as “almost identical to the ruins of Krypton ... Unlike the ruins, this place feels like it could be full of life – what he hoped to find when he went to Krypton,” with buildings “resembling the Fortress of Solitude”.  made of the Fortress’ glowing white crystals, presenting the facade of life.

Clark confronts Lex in “an exact reproduction of the Kryptonian VALLEY OF ELDERS" (where we saw the El Crest in Return to Krypton). Flickering x-ray vision reveals “IN THE GROUND AND WALLS are pockets and veins of kryptonite” 

From The Visual Guide (p.79):

“New Krypton recreates its planet of origin according to an ancient blueprint, beginning with the vanished capital of Kryptonopolis ... [it] will eventually replicate the towering face of Mount Argo, the bottomless depths of the Xan Chasm, & the polished dome of the Krypton Science Council”

Superman hears something else in the wind, coming from inside the structure: a VOICE. Faint, but familiar. Maybe JOR-EL? LARA? It’s joined by other ghostly whispers before another familiar voice calls out:

LEX (O.S.): See anything familiar?

The ghostly whispers are a cool detail

Now New Krypton is literally a ‘dead world resurrected’, not just some land, & will terraform the whole planet. It brings the movie full-circle- Krypton followed Clark home

After beating a powerless Clark, Lex reveals the truth

LEX (CONT’D): Look, buddy. We sent you there to die, but ya’ had to come back…

Superman looks at Lex, his expression turning from agony to realization.

LEX (CONT’D): Oh yeah. All those photos? Those stories about Krypton still existing? It was me. (Beat) And him.

ANGLE ON: Stanford.

LEX (CONT’D): Thankfully the press doesn’t check facts like they used to. (Beat) Hey, you took away five years of my life. I just returned the favor.

In the novelisation (p.297) & literally every other adaptation of the story. Why the fuck would you cut it?

As Clark drowns:

“Crystals are growing towards him from every direction. ALL GLOWING GREEN from Kryptonite. He tries swimming to the surface, but he’s too weak. He’s trapped ... A mesh of crystal walls are closing in around him, over him like a tomb."

The tomb is a thematically resonant image (New Krypton = graveyard) & heightens the crystals’ threat

Jason ‘senses’ Clark instead of seeing him from the plane window

In the script, Jason wants to help Clark too- not just Lois & Richard deciding.

Jason looks out the window, pointing down to the water.

JASON: There.

He turns to Lois. Beat. She can’t see anything.

LOIS: You’re sure?

Jason nods. He’s certain.

While Clark in hospital, Lois names ‘New Krypton’

it's gone “into orbit somewhere between Mars & Jupiter. Supposedly it’s laced with Kryptonite & still growing”. 

Again, creates a thematic bookend with 'Old Krypton' in the beginning

Outside the Hospital

Ben Hubbard waits with Martha Kent- you can see his shoulder next to her in the Theatrical Cut

There are shots of Lois, Jason & Martha talking while they're in the crowd- presumably Martha offering support without Lois knowing who she is

Martha meets her grandson! The two mothers of Kryptonian sons talk!

Bringing Martha & Ben back ties the Smallville section of the movie back into the plot

Final Clois Exchange

SUPERMAN: Thank you, Lois.

Tears well in her eyes, struggling for something to say.

SUPERMAN (CONT’D): It’s alright.

It’s what she’s wanted and needed to hear for years.

It’s such a small thing, but gives Clois closure, and Clark more lines

OTHER CHANGES

Color-grade: Returns’ drab sepia look ruins beautiful cinematography. The original color-grade in the teaser trailer (which is like 70% deleted footage) is much better, as is this color-corrected shuttle sequence

A tighter edit to compensate for the action-light script. They went for a classic, unhurried edit, but you could shave multiple seconds off most shots without losing anything. The Superman Restored fanedit re-inserts 25 mins of deleted scenes and is still 8 mins shorter than the Theatrical Cut

Tldr;

Returns is inherently slow-paced. Even with a faster edit, adding all this would push it past 3 hours. Regardless, Singer shot his own film in the foot because his priorities were wrong: Outlined above is a more balanced, cohesive story with richer themes. The Lex and Krypton subplots are complete. Clark feels like the main character, & Lois is more sympathetic. 

Brandon deserved so much more.

#superman #superman returns #brandon routh #clark kent #lois lane #clois #cbm #richard donner #superman: the movie #superman ii #deleted scenes #krypton #lex luthor #martha kent #dc comics #dc movies

[phoenix-king-ozai]

Live footage of Azulon when the son he treats like trash and obviously wants his attention to the point he legit names his kid after him but with a more feminine sounding ending kills him after forty years of him being an awful parent: Shoced Pikachu face.

Yeah you can't tell Ozai didn't want to kill Azulon but simply never had the courage to go through with it. A part of me feels he was waiting for the bastard to kick the bucket and I'm of the opinion that outside of fear, the other reason he didn't try tripping the bastard down the stairs was because Iroh would get the throne anyway and whilst Azulon's death can be brushed off as the fucker just getting old, Iroh dying at the same time would raise red flags and it's only when Lu Ten dies and Iroh retracts his birth right does Ozai dare to even try insinuating he should get the throne.

I believe that Ozai and Azulon had a very complex, turbulent, and strained father-and-son relationship. My theory regarding Fire Lady Ilah's death is that she had complications while giving birth to Ozai and died in a traumatic childbirth scenario. Perhaps, Fire Lord Azulon desired to have another child in case of Crown Prince Iroh's death on the battlefield. Ilah probably was at the age where having another child was risky in her mid-40s or possibly infant Ozai burning Ilah alive from the inside out causing the Fire Sages to perform a bloody C-Section which led to her death due to immolation, blood loss, and overwhelming pain.

If this scenario is truly the canon case regarding Fire Lady Ilah’s death. Then I could see Fire Lord Azulon scapegoating Ozai for being the cause of Ilah’s death especially if Azulon forcibly demanded Ilah to conceive another child as a potential backup replacement heir for Iroh’s death in warfare along with the return of Sozin’s comet coming in the next half century. I can see both Azulon and a teenage Iroh resenting, neglecting, and verbally abusing Ozai during his childhood due to their beloved wife and mother dying horrifically in tremendous tormenting pain. Adult Iroh probably later resents and regrets how he and his father treated Ozai during his early formative years as a child and the negative effects it had on their relationship and Ozai’s own relationship with his own personal family with Ursa, Zuko and Azula…

However, I believe that despite the hateful resentment and negatively neglectful child abuse. Ozai during his youthful childhood and teenage years greatly appreciated, admired, and respected his father as Fire Lord and Supreme Commander of the Fire Nation Military and brother as Grand General of the Fire Nation Army. Ozai probably very much idolized and worshipped his father and brother as legendary war heroes and genius strategists who followed in his grandfather's legendary footsteps in achieving absolute victory for their homeland and people against the “barbaric snow savages” of the Water Tribes and “incompetent dirty filthy” Earth Kingdomers. Ozai probably later on during his adulthood began to resent Azulon for his maltreatment and neglect of him despite him being his ultimate idol as shown by his naming of Azula after him. Ozai also probably resents how Azulon values and has a better relationship with Iroh and Lu Ten than him due to Ilah’s death. I can definitely see Teen Ozai being fanatically loyal to Azulon just like Zuko was for Ozai due his exile.

Ozai is more ruthless, brutal, and vicious than his older brother Iroh. Iroh had taken after Ilah's influence and parenting style whereas Ozai had taken after Azulon’s influence and parenting style. Iroh probably is brainwashed and naive to believe that the Fire Nation truly cares about the prosperity of the other elemental nations whereas as Ozai is extremely realistic and pessimistic regarding the so-called “benevolent” plans for the other nations by their grandfather Sozin. Ozai probably internally realized and demoralized himself regarding the Fire Nation's true brutal, vicious, cruel, and selfish desire for imperial conquest. Which is why personality Ozai is much more strict, cold, ruthless and serious than his brother due to their different outlook on society and what it means to be a parent, warrior, and Fire Prince of the Fire Nation.

Ozai's parenting style is very authoritative, demanding, controlling, and ruthless like the Fire Nation Empire itself. Ozai most definitely inherited this style of dominating and vicious dictatorial parenting method from Azulon who inherited it from Sozin. Ozai treats his children more like soldiers and pawns for the Fire Nation's grand schemes and designs. Their happiness, wishes, and desires mean nothing to him to the cost of his family's Imperial Legacy. Ozai and Ursa used to have a happy family with Zuko and Azula, but Ozai "changed" when the children became older. I believe Ozai decided to allow Zuko and Azula to have a happy and "normal" childhood that he didn't experience as a child. However, once Ozai saw a chance in becoming Fire Lord and fulfilling Sozin's dream and legacy. Ozai gave up on the lenient and caring fatherly act because it was unnatural to him given his own personal childhood and relationship with his own father Fire Lord Azulon. Along with the fact that Ozai probably believes that with Ursa gone; he finally can stop coddling his children after their childhood has ended.

Unfortunately, Ozai cares more about the Fire Nation's imperialistic ambitions than the happiness of his wife and children. At the end of the day, Ozai doesn't understand and value the unconditional and pure love of a parent because he probably has never gotten to experience it with Fire Lord Azulon probably being resentful over Fire Lady Ilah's brutal and horrific death in childbirth!

Ozai's harshness and brutal parenting style and domineering expectations are because Ozai wants Zuko and Azula to both prove themselves. Ozai doesn't favor Zuko or Azula. It is about which child will succeed Sozin, Azulon, and his legacy as future Fire Lord. In fact, Ozai doesn't want Zuko or Azula to think that they are the “favorite” child. He wants Azula and Zuko to improve through competition. Because of the “only the greatest of pressures can forge diamonds” & “steel sharpen steel” mentality. Ozai has the mentality of an imperialist warlord. Ozai isn't trying to be the world's most loving and caring father but rather continue and build upon a powerful and dominant legacy that his forefathers had created before him. He wants Zuko & Azula to be cold, ruthless, heartless, vicious, and brutal imperialistic warmongers like him (Ozai), his father (Azulon), and his grandfather (Sozin).

#Sozin #Azulon #Ilah #Iroh #Ozai #Zuko #Azula #Fire Nation Royal Family #Fire Nation Parenting #Fire Nation Culture #Fire Nation Society #ATLA #Avatar: TLA #Avatar: The Last Airbender #Royal Fire Fam Cycle of Abuse #Fire Nation Royal Family Meta

[lemonhemlock]

i think when ppl talk about rhaenyra having a birthright they don't actually know what means. if that was true for rhaenyra she would have been her father's heir from the time she was born. but i kinda get why someone would use those words but that sort of language is a lot more convincing than "claim."

also rhae being 8 in the text when she's named princess of dragonstone versus 14 in the show- what kind of difference do you think there was, in terms of emotional impact on her? idk if that makes sense, lol. like book rhaenyra probably can't remember a time that she wasn't first in line to the throne, whereas tv rhaenyra can remember because for almost the first 15 years of her life she wasn't viserys' heir

Hi again!

Technically, Rhaenyra did have a "birthright" to the throne when she was born, but that was because she was the only (living) child. As soon as a living brother of hers was born, her birthright was to be second in line, after him. Of course, as soon as he died, she reverted back to being first in line. Until Aegon was born.

I think the age difference is really interesting in that regard, because the older Rhaenyra is, the better chance she has of understanding that dynamic and internalising it. Like you said, if she is named heir at 8, it's easier for her to forget that she wasn't always no1. But maybe it's also a little more, IDK the right term for this, maybe honest? For Viserys? In the books, he's 20 years old when she is born and 28 when he names her heir. Certainly, no one would have considered him at the end of his heir-making career, yet he still insisted on Rhaenyra. Whereas in the show, he is much older - his actor is a 50 year-old-man. Not to say he couldn't still sire children, but deciding on Rhaenyra when both of them(!) were so young is a detail that maybe someone writing an adaptation could focus on as evidence of true belief in her (if incompetent politicking).

Of course, a lot of this can just be attributed to GRRM's typical bad maths or attempt to force through as many events as possible within a tight timeline - which would explain why everyone is so young all the time.

Anyway, back to Rhaenyra, I think they did explore that a little, as they did give Rhaenyra lines to that extent - how Viserys always wanted a son, not her, how her mother died trying to fulfill Viserys' wish (and ultimately downgrade her in the line of succession), how Viserys intends to replace her with Alicent's son, etc. It's a very fucked up idea to ultimately wish for your replacement just so your mother could get a respite from the pain. NGL - that was a very compelling conflict point that made young!Rhaenyra sympathetic. Unfortunately, it went completely away with her adult self, which they sanitised into this blank canvas and stripped of most personality traits that she resembles a YA novel heroine.

Looking back, I wonder if it were not better to skip the last time jump altogether and just end the 10-episode season at Driftmark. They could have included 3 extra episodes to bridge the divide between young! and adult!Rhaenyra and explore some of the ways in which she ultimately found the position of heir dissatisfying. Which, again, could have been an interesting character exploration. Imagine finally getting the recognition that you wanted only to discover that you greatly dislike all the restrictions that come with that recognition and you become so cantankerous and disparaging of it that you end up wishing you never named heir in the first place, all the while living as if you have no responsibilities.

#ask #alicenttully #anti rhaenyra targaryen #for filtering purposes

[theladyregret]

So I recently just noticed something in Homeland that has me realizing some things concerning how the Do’Urden family has been functioning and the timeline thereof.

So, it’s stated that Nalfein is Rizzen’s son...but also Nalfein was born before Malice became the Matron Mother...because they say when Malice’s mother died and she ascended to Matron that Briza and Nalfein became nobles. It’s also not stated exactly which was born first and that it’s possible Nalfein could have been her first child.

...but it’s also stated that Zaknafein became Malice’s patron...and both of the children he fathered are younger then Briza and Nalfein.

What this means is that Malice was involved seriously with Rizzen longer then Zaknafein. He wasn’t just Zak’s replacement. She was involved with Rizzen enough to have a son that he fathered before she became the Matron Mother, then when she became Matron she made Zak her patron...but then later traded out Zak for Rizzen again...even though she easily could have just picked someone new.

She was less then 100 when she became Matron and over 500 when she died which means she spent more then 400 years with the guy...and while I can get why she’d continue to want to periodically be with Zak on the side, even outside of any emotional attachments(god forbid). Zak is a skilled fighter and any offspring he had would be likely to inherit something from that. Same reason why Malice slept with Uthegentel. Good genetics.

But Rizzen was always described as being good looking but otherwise common with no notable special skills.

This implies some things and also...makes what ultimately happened to him later even worse then it already was.

#the legend of drizzt #rizzen do'urden #drow #dungeons and dragons #house do'urden

[mollysunder]

Why Did Jinx Make Fishbones Look Like Finn?

You know, as much as Fishbones works as a touching homage to Silco, with its clever inclusion of Silco's visual motifs like his scarred eye and aquatic apex predator imagery. Fishbones also works as a subtle dunk on Finn.

Compared to the original canon, Arcane's Fishbones is more personalized to Jinx's history. So while Fishbones now captures a lot of Silco's style, Fishbones also gets a golden jaw, and only one person has that kind of prosthetic, Finn.

But then you'd have to wonder what makes Finn so special to include on this masterclass weapon that was Jinx's ultimate gift to Silco. These two chembarons couldn't be more different in style and motivation. They wouldn't be in the same room if they both didn't explicitly need something from the other. That's when I realized that in a technical level, Jinx and Finn serve the same purpose for Silco.

Jinx is a well known and feared agent for Silco that makes weapons and dishes out violence, she's practically a one woman army. While Finn's gang, the Slickjaws, operate as hired guns and weaponsmakers. Finn was probably so ready to undermine Jinx in the eyes of the other chembarons and Silco himself because she made Finn less relevant to Silco.

Finn could still be an important chembaron as his gang ran an lucrative industry in Zaun, but Silco never had to be completely dependent on Finn in his Shimmer operation because he had Jinx. And for a businessman like Finn, Jinx was practically working for free! So it's not like he could buy her out, or outright kill the boss's daughter. One, dumb move, and two, low chance for success.

This all begs the question, how deep did the rivalry and resentment run? Was it one-sided? Probably not, because Jinx isn't an idiot and knows when people don't like her. Jinx probably never killed Finn, one, because I'd doubt he ever talked about her the way he did to her face. Two, because she wouldn't outright disrupt an important business relationship for Silco, at least not until recently. But with Fishbones, that all changes, it's the pinnacle of her talents that far surpasses what others like him could do. Fishbones is not just an act of love and dedication, but a power statement against anyone who challenges her position. For Finn and the Slickjaws in general, she can easily replace them with whatever she chooses to make.

Alternate theory: Hell, maybe Silco had Jinx train under the Slickjaws, possibly in an apprenticeship like how Renni's son worked in Silco's factory. Renni's son was probably sent to study the alchemy of Shimmer production, he wore a mask like the original chemist in the Cannery did. And when Jinx proved to be incredibly talented in weapons-crafting and fighting, Silco likely made sure she stayed by his side. Finn could have resented that he lost out on a great asset that turned into competition.

#arcane #jinx arcane #finn arcane #silco arcane #maybe next season we'll see flashbacks of Finn just beefing with a younger jinx #the alt is intriguing tho #chembarons don't fully trust eachother but recognize the necessity of their heirs to understand the respective industries #which leads to a complex system of apprenticeships that can double as polite hostage situations #or just to wndear the next generation to the existing industries #who knows #arcane meta #arcane speculation #arcane headcanon #sort of

[immaturityofthomasastruc]

Something I dislike about Miraculous since season 3 is how all kinds of evil are carried by Gabriel which could sound good cool but that ultimately destroys he’s character

He was the basic:I’m your father,I hurt you because i love you and your mother

But then he kinda stopped caring for Adrien safety,then it came the “end the world”, Not even rewriting it but straight up destroying it

And now he has the sicko kind of villain having a obsession for defeating ladybug which doesn’t fit he’s character since unlike other villains like Eggman from sonic, he’s main characteristic isn’t a ego which got destroyed over and over again by a teen. That development from “I’ll conquer the world to make everyone gaze upon my brilliance” to “I’ll drown you,I’ll drown you like a basket of dumb puppy’s” or “that’s stupid,you’re stupid!!! STOP BEING STUPID!!!” or “now that you are this super thingy you think you’re better than me Dr.Ivo Robotnik? WELL YOURE NOT! I own you,I OWN YOUR PLANET, I own this planet! In fact F*CK THIS PLANET”. Since he’s character was about a EgoMegalomaniac which was defeated by a sassy Ego maniac but Gabriel goal was never for he’s Ego or to conquer or for revenge. So he’s later actions are kinda… out of character which is now he’s character which is sad

That’s because they tried to turn Gabriel into every kind of villain since he’s the only Maniac of the series. You know why Spider-Man has many enemies? Because each one does a thing Gabriel does but perfected it

Green goblin-insane megalomaniac with a giant ego trip which killed the man he once was replacing it with a monster which became obsessed with defeating the child who defeated him over and over again for years

Rhino-a maniac who does this for power and money, he nothing more than a criminal which is capable to getting he’s hands dirty

Mr Negative-a victim of someone else with a single yet selfish plan of revenge but he’s ultimately stopped by the third party of Spider-Man

The lizard-a victim of he’s recklessness but is nothing more than a man trapped inside a monster

Venom-someone selfish blaming someone else for he’s misery manipulated by a sinister creature with the same mentality

Carnage-a unstoppable maniac, abomination, MONSTER who lacks any care for human life and the monster covering he’s body is nothing but a fitting look for he’s interior.

Yet all those traits,all those ideas and arcs are molten into a character which ultimately does not work for how contradictory he ultimately is. If they want to do those arcs then fine but they’ll need more than Gabriel since he’s not the right villain for that history

I talked about this briefly in my analysis of him as a character, but the problem with Gabriel is that the writers seem to be divided on whether to make him a more sympathetic villain like Mr. Freeze or an unapologetically evil villain like Lex Luthor.

Both are amazing characters in their own right, but just because you put aspects of both of them in one character, it doesn't make the result a good one. Gabriel clearly has the charisma to be an irredeemable monster, but more often than not, the show goes out of its way to make you feel bad for him, even when he's shown to abuse his son emotionally and physically. You could have easily fixed the issue with Gabriel by revealing that Nathalie is the one who wants to recreate the world in her own image. Either that, or have her be the one who is more willing to hurt people than Gabriel is, while he cares more about the well-being of people like his son.

Like you said, Spider-Man's rogues gallery works because of how large it is, opening the door for all kinds of stories without needing to worry about ruining any previously established motivations, and instead focusing on how people who fell into similar circumstances as Peter Parker went down a different path than he did. They don't try to cram different character traits into a single villain and have Spider-Man fight them every week. They simply let each villain tell their own story, and that's why it works more.

#immaturity of thomas astruc #iota #miraculous ladybug #miraculous ladybug salt #gabriel agreste #hawkmoth #hawk moth #monarch #monarch miraculous #nathalie sancoeur #mayura

[aconstantstateofbladerunner]

Ask Game: An a.u. in where instead of being becoming a bitter and abusive businessman, Kotaro Shimura instead becomes a politician with the intent of making things better for heroes with families.

Kotaro remains bitter against his mother and the hero she replaced him with for all his youth. That is, until he finally confronts All Might. He gives him every bit of information about Nana he asks for, as well as the few personal belongings she left behind. He softens somewhat after hearing about her sacrifice and ultimate fate, but not much. Why didn't All Might contact him to tell him this sooner? Because Nana asked him not to. And All Might has learned from that situation to not have a family in the first place. Kotaro isn't exactly sympathetic, but he leaves without further trouble.

Things don't really change until his own daughter is born. Suddenly, he gets it. He would do anything for her, even if that meant removing himself from her life for her to live longer. Double so after his second child. His son, who loves nothing more than to sit in his lap while he works. Them, along with his beloved wife, finally fill the void where family is supposed to be. And then, one day while putting Tenko down for a nap, he remembers All Might. Sat alone in his office, not so much as a single picture on his desk. About how he's taken an oath of loneliness to assure his hero work doesn't bring anyone harm. Kotaro realizes it's not fair.

Things are actually worse for some heroes and their families now. Heros weren't celebrities in his mother's time. There are "fan-made" databases listing heroes' home addresses and the names of family members. It starts with a simple letter writing campaign. He shares his own story of family tragedy, and encourages others to do the same, to convince lawmakers in his area to put regulations in around paparazzi nd the publication of private information. The campaign goes viral, and soon it's a national conversation.

Many any politicians are hesitant to back such legislation; there's a lot of money in the celebrity culture around heroes, not to mention counter-campaigns by hyperfans. Kotaro realizes if you want something done right, you do it yourself. He runs for mayor of his mid-sized city first, on a campaign of safeguarding the right to privacy of all citizens, not just heroes. But in the middle of his campaign, Tenko's quirk develops and he accidentally disintegrates the family dog. if that wasn't hard enough, his opponent's supporters leak the story, saying he wants to make it easier for potential villains to disappear. He counters that he wants to prevent innocent people like his son from being tried on the court of public opinion for making a mistake. Right when it seems like his political career is going to be dead on arrival, he gets a surprise endorsement: All Might. He makes an impassioned speech of his own about how Kotaro's plans would make his own life easier and happier. Landslide victory.

Years later, many of his policies have been adopted nationwide after he proved they could work in his city. His long-term goal is a national standard, as an unintended side effect has been that areas lacking the regulations have fewer heroes. The day before he's to announce his bid for House of representatives, his friend Toshinori texts him a picture. A healthy baby boy with a tuft of green hair, captioned: Izuku. Happy and healthy, as is Toshinori's wife, Inko. Kotaro puts down his campaign plans, and goes to show his family their new cousin.

#answers

[aimportantdragoncollector]

Hello again. I want to discuss AFO AUs. I thought of the second one after reading some of your recent fanfics where you have AFO's mom in them. 3 AFO AUs:

Truth Hurts More Than Lies:-Early in AFO's life, he's cursed by a quirk user who had a power that can place a single restriction on someone, permanently. He's no longer able to tell lies and must correct misunderstandings if he realizes them.

His radical honesty wins him more favors than before. As he can't be a hidden manipulator, he instead has the personality of a bombastic podcast host who says whatever is on his mind and his hot takes attract followers who think like him. Given he can't deceive, he's instead honest in all dealings and doesn't plot to betray people. Mommy Knows Best:-Aoyama is one of many children gifted copies of AFO's mom's quirk. AFO provides detailed instruction and training in mastering the quirk to people who receive it. In fact, this is a vector so she can take over the bodies of these kids and become his spies and enforcers. AFO runs an organization staffed primarily with copies of his mother.

A World Of Liberation:-Destro's mother finds baby Yoichi and AFO and raises them as her own kids along with Destro. After AFO foils an attempt to murder her, the three brothers decide enough is enough.

Yoichi, Destro, and AFO all have very different ideas of what the end game will look like once they've won, but they're leaders in the revolution.

1. Oh dear, people actually might like AFO more as an honest asshole. He'd be able to retain employee loyalty. Scary thought. AFO's biggest weakness is being unable to keep people loyal to him.

2. An evil mother and son duo! Also a scary option because AFO would not fear employee betrayal since he replaced everyone with his mother. Poor Aoyama. If this is Dad for One, I imagine the Shigaraki mother as Aoyama attending U.A. and acting weirdly grandmotherly over Izuku.

3. This is a really interesting one! With a Yoichi-Destro-AFO team-up, this could go better than canon. Or it could ultimately turn out worse, as their ideals inevitably clash and civil war erupts. At least Yoichi doesn't have to worry about Destro falling in love with him in this AU.

#bnha #All for One