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tenebriism · 15 days

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slam dunks prom into your inbox for that ship meme

Send Me a Ship and I'll Tell You . . . [ ACCEPTING ] ;;

IGNIS X PROMPTO :

Who is more likely to hurt the other?

Not on purpose, mind you, but Ignis would absolutely hurt Prompto more. Ignis is similar to Gladio, in that he's the blunt 'reminder of reality,' which can, oftentimes, come across as uncaring and harsh. He wouldn't MEAN to hurt Prompto, but there are a lot of times he may unintentionally shoot down that sunshiny demeanor and cast a cloud over it, and there would be many more occasions where he would have to put Noctis first and, to some extent, neglect Prompto. It's a lot of the reason why Ignis is so hesitant to get into a relationship; Noctis comes first, no matter what, and in past romantic pursuits, this HAS raised several issues.

Who is emotionally stronger?

Ignis. You have to be as advisor to the future king. In fact, Ignis struggles to show emotion, in general, because he's been taught, in a way, that weakness and vulnerability impose upon his ability to do his job.

Who is physically stronger?

Ignis. Prompto is definitely strong in his own right, but Ignis was trained since he was a little kid to prepare him for his role as the heir apparent's advisor. There aren't many who can trump him in a fight,

Who is more likely to break a bone?

Prompto, haha. Dude is, without a doubt, more accident prone than Ignis.

Who knows best what to say to upset the other?

I think this is where Prompto would shine. Ignis approaches most situations with logic, whereas Prompto feels with his heart more than his head. Logic is great in some situations, but not all; sometimes, someone may just need a hug, or the right words to pick themselves back up and press on, and Prompto has always been the 'optimistic sunshine' of the group.

Who is most likely to apologize first after an argument?

I'd say both! Neither of them wants to do wrong, and they're mature enough to realize when they have.

Who treats who’s wounds more often?

Ignis treats Prompto's wounds. He's the healer of the group for a reason.

Who is in constant need of comfort?

Prompto. Ignis doesn't seek it; he was trained to handle matters on his own without seeking comfort but Prompto (especially after THAT PART OF THE GAME) needs more validation.

Who gets more jealous?

Prompto. He's shown to have more doubts than Ignis, and worries about his place in both their group and the world itself, so I can see those uncertainties rearing their ugly head in certain moments.

Who’s most likely to walk out on the other?

I dunno, this one is tough. I think Ignis would probably up and leave first? I feel like Prompto would be the one who would fight for their relationship more, and Ignis would just deem it easier to call it quits if Prompto is the unhappy one.

Who will propose?

I could see either of them doing it! Or... WANTING to do it, but I think Prompto would seize the opportunity before Ignis.

Who has the most difficult parents?

Canon wise, Prompto, the poor guy. :/ Even outside of the LITTLE we got in regards to Ignis' family, Verstael was... UGH. If we're talkin' my personal backstory for Ignis, then Prompto still takes the crown, but Ignis does become somewhat of a decent contender.

Who initiates hand-holding when they’re out in public?

100% Prompto. He's definitely going to end up being the more affectionate one between the two of them, even after they've been together for years and years and years. Ignis just tends to be more private and reserved, especially in public, but as he gets more comfortable with the relationship, he'll return Prompto's affections more and more frequently, and initiate it more, too.

Who hogs the blankets?

Prompto, haha. Ignis is the most orderly, unmoving sleeper in the world. He'd let it happen, too.

Who gets more sad?

Prompto. Ignis definitely gets sad, but he swallows it down like it's soup and puts on a stone mask. Prompto feels a lot more than Ignis does.

Who is better at cheering the other up?

Prompto. Mr. Ball of Sunshine right there~

Who’s the one that playfully slaps the other all the time after they make silly jokes?

Oh my gosh, 100% Prompto. If Ignis EVER did something like that, the world itself would end.

Who is more streetwise?

Prompto, just from experience alone. Ignis was raised in a very strict, culturally limited bubble, so his 'street smarts' are a bit... lacking.

Who is more wise?

Ignis! Has to be. Ya don't get to be the Advisor of the Heir Apparent without being INSANELY wise.

Who’s the shyest?

Prompto. Ignis isn't 'shy,' he's just a bit... socially awkward.

Who boasts about the other more?

Prompto. He seems like the type to put Ignis on an unnecessary pedestal.

Who sits on whose lap?

Prompto is the lap sitter, and Ignis welcomes it. :)

@madeimpact ;;

#madeimpact #[ // gently cradles promnis #I ADORE THEEEEEEEEEEEM QA Q THE DEFINITION OF 'OPPOSITES ATTRACT SOULMATES'#thank you for this hun!! <3 ]#muse ;; IGNIS ( ANSWERED ASK )#muse ;; IGNIS ( ♥ PROMPTO . MADEIMPACT )#muse ;; IGNIS ( ♥ SHIP . PROMNIS )

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rubykgrant · 1 year

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One time I had a dream that I was watching a movie, which must have been made in late 80s or early 90s, because it had a fairly young-ish Rick Moranis as the star, in which he was a dude who was driving along and got randomly abducted by space aliens one day on his way to a job interview... but that wasn't the main plot of the movie. The space aliens took him to some research facility on another planet, full of other creatures from other worlds... but that wasn't the main plot of the movie. As the space aliens that have captured him and all these other creatures begin to run experiments, it all suddenly is put on pause, because another group of space aliens have begun to attack this facility, so the first group evacuates before they get killed, and this new group rushes in to steal supplies... but that wasn't the main plot of the movie. Now it was Rick Moranis, the only human, in a huge facility that was essentially a prison, with several other space aliens who had all been stolen from their homes, free from their confinements but unable to escape. He was a guy who had studied anthropology, linguistics, and was also working in technology/communication, so he figures out how to use a translation device, and talks with the rest of the space aliens so they can figure out how to get back to their homes... BUT THAT WASN'T THE MAIN PLOT OF THE MOVIE.

No, this was all the OPENING. The main plot was, the Rick Moranis guy and the other space aliens finally make transportation for themselves and all return home. For him, he's been gone 20 years. The ACTUAL MAIN PLOT OF THE MOVIE is him reconnecting with his kids, now grown (he and his wife had been divorced, but he still had good relationship with the kids... however, their mother died shortly after he went missing), trying to make a believable excuse regarding why he's been gone (because nobody would believe "space aliens abducted me", and he doesn't want too much extra attention), and discovering that when he didn't arrive at the job interview, which was in fact a chance to pitch a movie script he'd been working on, and "friend" of his took all his story notes from his apartment and pitched it as his own idea! The movie has was made without him, with the "friend" taking all the credit, and has gone on to have 10 sequels, 3 spin-off TV shows, and is currently going through the process of being re-booted. Rick Moranis guy is trying to deal with the difficult task of getting to know his adult children he hasn't seen in 20 years, and the legal issues of his ideas being stolen, leaving him with no credit or income after the fact.

It was a weirdly charming sci-fi comedy with a lot of emotional moments, and cool practical effects. My dream got all Jim Henson's Creature Shop about it. I'm not sure how it was gonna end, I woke up

#my thoughts #my dreams

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oftenderweapons · 3 years

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Dirty ABCs | Namjoon and Vixen

Pairing: Namjoon x Vixen (OC)

Wordcount: 2.1k

Genre: headcanons

Rating: 18+. Minors, do not interact.

This just me having a little bit of fun in between collabs and commissions with an NSFW alphabet, so I can also get to know my characters better (yes, they're just characters. Do not assume the boys like/dislike any of the things I mention). A new drabble should be out soon, but just in case you missed it, here's Jimin's post-Soowoozoo smut! Please, read the trigger warnings carefully 🥺💖

Here's my masterlist! enjoy!!!! 💜✨

Trigger warnings: cumshots, cumeating, creampie, marking, unprotected sex, switch!vixen, switch!joon, daddy!joon, DDLG, lapdance, stripping, masturbation, voyeurism, exhibitionism, roleplay, homework within a professorxstudent roleplay, positions (doggy, missionary, reverse cowgirl, bend over), intimacy kink (?), bondage (hands tied, gags), impact play, oral sex, oral fixation, biting, casual mention of foot fetish, food play, choking kink, erotic massage, jealousy (kink), sapiosexuality, size kink, mention of infidelity and sharing partners, mention of outdoor sex, sex toys (dildo, vibrator, manacles, cockring, paddle, buttplug), edging, orgasm denial, orgasm control, overstimulation, BDSM club, uhm...bicuriosity ig?, thickdick!Namjoon, bubblebutt!Vixen impressive sex drive (?)

Aftercare: Namjoon is the kind of guy who’d gladly collapse in bed after some good, nasty fucking. He puts plenty of energy in it and he isn’t content until he’s barely alive before calling it a night. Yes, both him and Vixen need to force the other into heading to the bathroom and cleaning up before falling asleep. When he goes especially hard on her, aftercare becomes a way to relax for both of them: he needs to pamper her to even things out, and she in return likes spoiling him, giving him cuddles, letting him fall asleep with his head on her chest while she strokes his hair. Yes, his favourite cuddle is her touching his hair and chatting about how they felt during sex.

Body part: He most definitely has a thing for legs, hips and ass. Vixen is all about his chest and arms — but, truth is she’s absolutely crazy about his neck.

Cum: He either cums inside or on Vixen’s ass. No other alternatives for him. He hates cumming in her mouth, mostly because her cunt is soooo much better to him; and then again, that means he can eat her out right after — or mark her up and shove his cum back inside. Vixen is a fan of him cumming inside, she’s pretty much traditional about this.

Dirty secret: Namjoon loves when Vixen doms him. He’d never admit that out loud but he’s praying for her to tie him up and strip for him before performing a lapdance and fucking herself with that glass dildo he bought her… He’ll just wait… hopefully… Vixen wants Namjoon to give her homework on some impossible topic and then punish her for every mistake she makes while he’s dressed in a suit and glasses.

Experience: We know all about Joon’s and Vixen’s bodycount. Joon had four, possibly five partners, one of which broke his heart. He wasn’t entirely vanilla with them, but Vixen is most definitely the spiciest he’s been with — and the most rewarding. Vixen had two partners before Namjoon and her first boyfriend was way more experienced than Namjoon is, but that is not an issue to her. She knows if she ever asked him, they could try out pretty much anything.

Favourite position: Namjoon is mostly about doggy and missionary. Doggy for enthusiastic fucking with that teenage eagerness that characterises them both. Missionary when he needs to make love to her slow and steady — though he admits Vixen on top of him in reverse cowgirl is also a hot topic for him. Vixen likes good old missionary since she likes Namjoon’s body shielding hers. She also enjoys bending over for him — especially on the back of the sofa.

Goofy: neither of them is that goofy when it comes to sex. For them is a moment to get rid of tension and gain more intimacy. It’s a moment of communication and connection, and a very spiritual one at that. There might be little giggles and laughs here and there when they’re in a playful mood, but even then they’re more happy than goofy.

Hair: Namjoon trims his hair slightly, just to keep things neat and tidy. Vixen used to shave at the beginning of their relationship. She waxed a few times, to try something different and to feel Namjoon’s tongue better when he goes down on her. She switched to trimming when she found out Namjoon enjoyed a more natural look.

Intimacy: Nothing isn’t intimate between these two. Brushing their teeth together before going to bed? Religion. Getting dinner ready? A ritual. Making love? Therapy. Fucking like gorillas? Relief. These two share one single soul. They’re each other’s temple, and their bedroom is their church.

Jack off: These two? Masturbation galore. They’re the literal proof that being in a relationship should never stop you from taking care of yourself. They masturbate together while they watch porn, they masturbate to the sight of the other one doing it or just watching them. Namjoon is a huge fan of watching Vixen touch herself. He can do it with his hands tied, untied, or stroking his cock. He really doesn’t care as long as he can watch. Plus the fact that the wall dividing his bedroom from the shower is made of glass really gives him the best view when he has morning wood and Vixen is washing herself. And that goes both ways. She likes watching him while she showers, putting on a bit of a show. Vixen also likes watching Namjoon masturbate, though she prefers putting her hands on him. And Namjoon prefers her hands to his own, especially since she’s so fucking good at that.

Kink: We all know these two are the resident DDLG freaks. Other than that Namjoon suffers from a pretty severe case of voyeurism. On the side, all giving, we have oral fixation, impact play, marking, biting, cumplay and cumeating, and a very mild, very experimental foot fetish. He’s also into roleplay, especially regarding school/university environments. To that, we need to add on Vixen’s end exhibitionism and food play, and then, all giving, choking kink, exhibitionism, bondage and gags, erotic massage.

Location: these two need someplace private, since they can’t get in the mood unless they’re 200% sure they can take their time and relax and be as loud as possible. Namjoon would never stand the idea of them getting caught: he needs to protect Vixen. And Vixen would never try something in public. She knows he’d be too focused on the possible dangers to properly enjoy the experience. That doesn’t mean that they don’t tease each other in public. Vixen likes when they talk dirty in public so once they get home Namjoon rips her clothes off her.

Motivation: Namjoon gets turned on whenever Vixen looks incredibly refined and elegant, completely out of his league. Pair that up with someone flirting with her and he goes out of his way to remind her why she got his ring on her finger ten months after they first met. He also gets hot under the collar when he’s reminded of how fucking smart she is; that makes him both proud and horny. On a baser level, she just needs to grind against his thigh, rub her ass on his crotch, kiss his neck or suck his fingers to make him instantly hard. Vixen gets horny very easily when she sees him exercise power — which happens pretty often with him being the leader. Also watching him tower over someone who isn’t her makes her a little volatile — that’s her daddy, he’s her protector.

No: easy. Sharing. Even simply her moans being overheard by someone would make him nervous. Once he used to share everything about his sex life with his friends, but after he and Vixen got engaged, everything involving her without clothes on became a 100% restricted topic. He still happens to talk about sex with his friends, but he must be in need of desperate help in order to share details. Vixen agrees on sharing being a hard no. She also thinks doing stuff in public is absolutely a hard no: she’s far too attached to her job to risk a scandal ruining it. And of course she would never stand Namjoon’s career and reputation going downhill.

Oral: Both fans, Namjoon both on the giving and receiving side, though he prefers giving by far. Vixen is also a fan of receiving. If Namjoon weren’t so damn intimidating, she would enjoy giving more, too.

Pace: depends on the mood. Playful or angry? Then he’s fucking her like she’s nothing but a cocksleeve, straight up jackhammering his way in. Loving and emotional? Then they’re going slow and steady so they can feel every inch of their flesh meeting and parting and squeezing and squelching and sliding.

Quickie: yes, but not excessively. Vixen can only consider a quickie as a form of foreplay. There’s no way to satisfy her unless at least two rounds are involved. Namjoon is more than happy to take his time with her. If they don’t have that much time, they prefer masturbating together — quick, efficient, delectable.

Risk: No? The only risk he would take would be fucking her out in the open, but someplace where the possibility of getting caught is lower than 0.1%. He’d book super secluded villas for their holidays and fuck her until she’s begging him to give her a break.

Stamina: Namjoon hasn’t got too much stamina and Vixen doesn’t either, they just deprive and tease each other when they want to make it super special, otherwise they would be lazy and take naps in between a round and another. And they can truly deal with that brilliantly since they are great at foreplay and that makes up for their rather weak stamina.

Toy: These two are shameless about their toys. Vixen has a thing for dildos, and Namjoon loves spoiling her with those. She has a couple vibrators too, but she’s not that much of a fan: she has a practical one, when she needs things done quick and easy and another one that looked way too cute for her not to have it. In addition to that, they have manacles, a cockring, a paddle and a quite interesting plug.

Unfair: Being with Namjoon is all about the pleasure. He’d much rather overstimulate Vixen rather than deny her. Also because he has very poor control over his instincts and he can’t deny himself. He would tease, edge or deny Vixen only to punish her and make sure that she actually reads that as a punishment and not as some sick way for her to get exactly what she wants (aka spanks). Vixen is more on the teasing side, and she enjoys controlling Namjoon’s orgasms, but she’s very fair. They like to play dirty, but they make sure everyone gets what they need.

Volume: Namjoon is all about low and deep. His moans, groans, growls and grunts all come in a very quiet, although very eloquent way. He prefers keeping it quiet so it feels more intimate. Vixen on the other hand is very vocal, especially when Namjoon goes down on her or is trying to overstimulate her. She’s still considerate about the people living next door, but at the same time, she has a thing for doing it in the studio so she can be as loud as she wants, much to Namjoon’s — and his private tracks’ — chagrin.

Wild card: if it weren’t for his jealousy and his position, Namjoon would love to fuck Vixen in a room full of strangers, just to show how good he can make her feel, and to enjoy just how deranged she would get once adrenaline started kicking in. Claiming her in a semi-public context would help him sate his possessiveness for a good while. Vixen instead would love to go to a BDSM club with Namjoon and watch scenes from other people — maybe, potentially, join? — she most definitely wishes she had done stuff with a girl before getting with Namjoon.

X-Ray: Namjoon is packed. Length is not exceedingly more than average. But match that with more than impressive girth? That’s a wild ride. It most definitely takes a stretch. Vixen has rather small boobs — but she’s more than stubborn to make up with a full, round bubble butt.

Yearning: at the beginning they go pretty wild. Vixen is used to getting at least an orgasm before falling asleep — every night. Of course that tones down once she gets with Namjoon, especially since she learns to prefer quality over quantity and he refuses to get stuff done in ten minutes. She easily slips into a two to three times a week regimen, but deprive her for longer than ten days and she’ll feel neglected. Of course she’d take care of herself, but that doesn’t mean she wouldn’t start drifting away as she’d feel emotionally neglected too. Namjoon considers himself happy as long as he can have a full weekend of fucking: he tends to cram all the sex in days where he can relax since during the week he’s often too tense to initiate anything sexual. But he wouldn’t deny it if the fancy struck him.

Zzz: He falls asleep like a bear. He goes positively lethargic the moment he hits the bed after cleaning up. Vixen finds it extremely endearing. She usually takes longer, but not too much. She likes cuddling him while he’s sleeping.

#Namjoon x vixen #namjoon headcanons #namjoon x reader #namjoon smut #namjoon alphabet #kim namjoon smut #kim namjoon scenarios #namjoon x yn #bts headcanons #bts headcanon

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starbornsinger · 3 years

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Elriel/Gwynriel/Elucien Theory Time :)

Ok so in regards to the Az POV chapter, I have some thoughts. This is super long and detailed and also tearing down ships, so uh, beware.

⚠️ACOSF spoilers (duh)⚠️

So I was re-reading the thing and as I was reading the conversation between Az and Rhys, it kind of hit me. I used to be an Elriel shipper until ACOSF, and I was really all for it.

But I don't think they're in love.

See, earlier in the chapter, Az is thinking about how jealous he is of the other couples. We know he isn't very lucky in love, and seeing Elain and her mate and their mating bond upsets him. I think he fancies Elain because she's beautiful and sweet, but I don't think he's in love with her. I think she's another thing he can't have, and he feels frustrated and it only makes him want her more. Because he thinks, why shouldn't he have her? Why is the Mother so cruel as to deny him love? And he thinks, "well all my other brothers have Archeron mates, why don't I? It must be a mistake!"

I think what Azriel's biggest issue is though, is that he wants love so bad, he's willing to risk it all for the first girl he feels attraction too. It also feels relevant that the primary thing we see in his POV is his physical attraction to her, his sexual attraction. We don't see much of how he thinks she's so sweet or so clever or so gentle, but instead how nice her tits are and how badly he wants to kiss and fuck her. I think he doesn't particularly want Elain, and while he likes her, I think what he really wants is love. True love, just like his brothers and friends. He thinks the Mother must be wrong because they both got Archeron sisters while he didn't, and his attraction to Elain makes him wish they were Mates so he could finally have that true love that's entirely his own.

But she's not. And he can't. I think what Azriel wants most isn't Elain. He wants her sexually, and he admires her and has a crush on her, but the thing he focuses on and gives him the most emotion is that she has a Mate and he doesn't, and that everyone does but him. I think he wants someone like Elain and wants to feel happy, but I think he doesn't exactly want Elain. When he thinks of her, he doesn't seem to be truly in love as we've seen other SJM couples are. And sure, it's early, but it's also been like— 2 years. I don't think they're in love sadly, I think Azriel just wants to move on from Mor and finally find love. He has a type, and when he found someone who loosely fit into the mold of his ideal partner, he jumped at it because he's desperate to have someone love him. All his life, he's struggled with self-love and love from others, and I think that it's deeply affected his relationship with love itself.

Physical attraction and desire and interest isn't love. And the idea of her being mated already only makes him mad— that of course the first girl he likes for the first time in 500 years, of course the girl that could help him move on from Mor, is mated. I think that only makes him feel more passionate towards her; and Rhys notes how he seems to think he has a claim to her, when he doesn't. It makes Az angry, not because Rhysand thinks he's being possessive and reckless, but because it's true. He genuinely can't have her.

As for Elain, I think she's far too hesitant to be with him. She reminds me of Daisy in The Great Gatsby, and how she claims to love Jay but she won't leave Tom, or jilt him. Now this is a different situation, because Daisy was selfish and didn't want to give up her comforts and stability and fame. Elain, on the other hand, doesn't seem ready to have a serious relationship with Az. I think she is still severely affected by Graysen's rejection, and is still clearly not over him. I don't think she's ready to accept Az fully and be with him, and I also don't think she's ready to reject her mating bond with Lucien.

I don't know 100% what's going on with Elain, but what I do know is that clearly she is intrigued by Lucien in some capacity. Ok Elriel shippers, don't come for me, but there are several scenes in which Elain seems to want to talk to Lucien, or whatever the heck. But also seems disinterested, like when she dismisses his Solstice gifts and doesn't speak to him.

However, I don't think she's resentful towards him exactly, or at least that isn't the main reason she's like this. While we know he was helping Tamlin lowkey, Feyre and the IC all understood he was on their side, and was their friend. So it seems kind of odd to still bear a grudge against him, but who knows.

But funnily enough, she has yet to reject their mating bond. If she's so disinterested, or hates him so much, why hasn't she turned him down? Mother, she's barely spoken to him at all. I think the obvious reason behind her disdain or distancing from Lucien is her connection to Graysen and her human life. Of all the sisters, Elain has not yet adapted to or accepted that she is Fae— or if she has, she's sure as hell not happy about it. Even Nesta in ACOSF mentioned how she actually likes her ears now, and we know Feyre has totally accepted being Fae. But with Elain, she had the most human connected life of them all, and to have it taken away from her is shitty.

For Elain, her happiness seems to come from a love of gardening, of family, of people. She has very little human things to hold onto, and adding a Mating bond to the mix right as she's made Fae is like she's had all her humanity stripped. She doesn't hate Lucien, she hates the bond. She dislikes that it's chained her to someone and taken away her choices, which we know is a big deal for the sisters after being imprisoned, kidnapped, and Made. I think Elriel is an infatuation, because even though she doesn't love Az, he's helping her rebound from Graysen (and giving her control and power over her love life). He's a choice she (can't really) make, but a choice nonetheless. With Lucien, she feels she has no choice with him, and no control over her obvious attraction I say obvious because mates have a primal attraction of some level to each other , and is probably afraid that accepting the Mating bond will remove any last connections she has to who she used to be, and the human she feels she really is.

But she also hasn't rejected it, because I think she realizes that Lucien is a genuine and kind and hot guy, and that rejecting him would be a stupid idea. He's been very patient and very kind and accepting, and has always given her the freedom of choice when it comes to the bond. I think Lucien is the kind of guy that would be very easy to fall in love with, and I think Elain sees that and knows it.

Also, I think with ACOSF, it feels relevant that Cassian pointed out specifically how Elain looked beautiful in black at the ball, but it looked horribly wrong on her. With SJM the devil is always in the details, and I think it was a clearly accentuated bit of symbolism. Although Elain looks beautiful, the black dress wasn't for her. And although Elriel is very sweet, it won't work out. She won't thrive in the Night Court, or with Azriel. Az doesn't challenge her or meet her as an equal (like all other SJM ships), and they don't push each other to be better or to accept themselves or whatever etc etc.

And I really used to like Elriel, but I think that surprisingly, Elain will be the one who says "stop, I can't do this" to Az. I think she knows she isn't ready, and I think she knows they aren't meant to be. Even if a Mating bond was put in place between her and Lucien, I still think their relationship wouldn't work because they're both too insecure, too closed off, too non-communicative, and too stagnant together to be a healthy or good match. I think with Elain they would struggle to understand each other even if they were fond of each other and can relate on some level, but at its rawest form I think they won't truly be able to be themselves with each other.

With Elain, Azriel's shadows— a key part of him— disappear. While I initially thought, awww that's so cute, she's a light in his life, I soon realized I was wrong. Az's shadows are not just a part of him, they're an extension of him, of his will and subconscious and emotions. So Elain chasing them away, while chasing away the shadows and darkness seems cute, isn't a good thing. Most of the time with shadows, we think "ew bad!" Because they have an inherent connotation of negativity or sorrow or depression or darkness etc etc. And while this is partially true, Azriel's shadows and darkness are a part of him. His sadness and struggles are a part of him. And his shadows aren't just representative of that, they're also a representation of how he overcame his abuse and turned that fire (pun unintended) and anger and trauma into something beautiful and powerful and a weapon. I think they can serve as an armor and a shield, and while that's not good, I also don't think they should fully disappear.

More on that: with Azriel's shadows, we know they're a part of him, right? So I think an important part of self is self-regulation. Rather than be consumed entirely by shadow, or totally exposed to the light, I think he just needs his shadows to be calm and present, but not controlling or hiding. I think the whole "Elain bringing him out of the shadows" bit sounds cute at first, but then you have to think of it like this. In order to be with Elain, he would have to change. He couldn't be a spy or a shadowsinger or a torturer, and he couldn't be dark and introverted. With her, he has to push that aside. Those are key parts of him, key parts that would have a big impact on their relationship. Elain can't be with someone with so much blood on their hands or a history of violence or darkness. We know that, because we know that sort of thing upsets her and she doesn't like it.

Azriel can't just be himself with her, he has to become someone else. And while he's attracted enough to not care, after awhile, that grows exhausting. Being in love and not being your true self, all of it, is exhausting. And while some might argue "why can't he be his true self?!" well my slime, I think we both know that even if we wanted him to, Elain would be silently resigned about it. I don't think— no, I know— Elain can't be with someone like Azriel. Even if they have feelings, even if they have lust or affection, it isn't love. They aren't in love, and they won't work out no matter how much we want it to.

Onto Elain: with Elain, this all ties back to what Cassian said in Hewn City. She looks beautiful in black, but it's wholly wrong for her. The Night Court is wrong for her, and darkness is wrong for her. While some yin-yang relationship tropes can work very well, I don't think this will. She doesn't like the darkness or accept it, and she doesn't want to be a part of it. I think the Night Court is good and happy for her when she makes her own little garden world, and only then, really. It's like living in the middle of the desert and only thinking of the beach: it's not the right place for her.

I think the Spring Court needs her, and I think she needs it. Here's more on that.

So we've seen the set up and execution of the fall of the Spring Court. We know that it's in shambles and is weak and needs a new/better leader than Tampon. I feel like SJM is setting things up for a new book focused in the Spring Court, because in a lot of ways, it's becoming the centerpiece for action in Prythian (aside from the Night Court). I genuinely believe that as Tamlin's second, Lucien will take over the Spring Court as High Lord. He doesn't fit in with Autumn, didn't fit in with Night, and wasn't really a part of Spring. But with Spring, it was where he was happy, where he felt safe, and the home he chose. Chosen homes and chosen families are a big deal for SJM, and I think that Lucien will return to the Spring Court to try and help it, because Mother knows it needs it. I think Elain belongs there, not only because she needs to be in an environment suited to her, but because she needs to heal.

We've seen a theme of helping others heal in order to heal ourselves, and I think a good book idea (and what I think an Elain book would be about), is healing the Spring Court and helping it. Elain is a gardener. She wants to see things grow and blossom, wants to get her hands dirty and dig in! But she can't do that in the NC. I think she needs something new and fresh and blossoming that she can help and tend to, and I think the person that can be at her side for that is Lucien. I think with Azriel, she can't see growth and life and flowers. He's a different kind of person, far too different, and the two wouldn't mesh well. Elain isn't like Persephone and Azriel isn't like Hades; although she's flowers and he's death and they're attracted to each other, they don't fully accept those roles and cross into each other's. Elain could never be a killer or someone who wears black or thrives in a darker place, and Azriel couldn't be someone who is in the full heat of the light and wear bright colors and be cheerful and flowery. In a dream world, yes, but I think in this one, no. SJM loves to create realistic relationships and realistic relationship conflict, and I think we'll see this here. Even though they want it to work, and in theory it should, it won't. I think they know it too. Azriel's shadows vanish when she's around, and Elain struggles to feel comfortable in the darkness and Night Court, and fit in with the others in the black dress that is wholly un-Elain.

I also think that this relationship doesn't bring development to the table. The forbidden love concept is adorable and a trope I love, but this love isn't one that will push them to grow. Azriel can feel loved and happy, but can he feel fully accepted? Can he stop being ashamed of his shadows, of his violence? Of who he is? Can Elain break out of her shelf and be more assertive, and truly grow and change? Can she be herself and be happy? The answer is a sad no. Their relationship is sweet and cute, but it won't truly work. I genuinely believe Lucien is a better match for Elain, and while the Cauldron isn't always right (like Rhysand's parents), it usually is. If he isn't, then I'm all for independent Elain.

Now onto the moment you've all been waiting for: who should Az be with?

Gwyn. :)

#acosf spoilers #gwynriel #a court of silver flames #elriel #elucien #gwyn berdara #gwyn x azriel #azriel #acotar #acotar theory #acotar thoughts #acosf

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loveatfirstwriteblog · 3 years

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A Complete Analysis of Harry Potter

Like a lot of kids, we probably grew up on Harry potter. We were obsessed and rightly so. The universe created in the world of Harry Potter was, and is, a hugely successful one because of the fact it gave kids a world where magic exists! It seemed to be a great world to live in and it made even better with the fact that it included elements of empowerment, Whether it be showing girls can be just as successful if not more in various pursuits(Hermione), or the fact that even if you have a history of bad events, you can have a good heart(Hagrid), Harry Potter teaches us a lot.

JKR has written a mind-blowing plot in a world of magic, wizards, witches, wands, potions, friendship, love. Our inner-five-year olds--and actually most of our young adult selves too--jumps around excitedly at the beautifully penned words that creates an exit out of this world and into one where magic does exist.

As you get older, though, you begin to think of Harry Potter in a more critical fashion. The thought of “oh my god, it’s magic” no longer completely overrides my mind, but more of “but what are the laws regarding this? Can people just do this whenever they want? Are there no ethics?”

No matter how much we’re going to expose the flaws and plot holes in HP now, we’ll always love the books--we grew up on them! But some things just niggle you as you get older, and that’s what we’re going to be focusing on in this post.

Something I adore about the HP books is that everyone, including the “good guys”, has flaws. Harry has a “save the world alone, do first, think later” complex, a driving force that makes him go save Sirius, Ron is very, very insecure to a point where he ditches Harry twice, probably when Harry needed him the most, Hermione is a judgemental, narrow-minded nag (her thoughts on Luna, divination, Trelawney, basically anything that doesn’t fit her black and white world), Molly Weasley is misogynistic and blatantly favourites her children—probably being one of the main factors behind Ron’s insecurities, Arthur is condescending towards Muggles and makes several comments you cringe at while reading the books as a young adult/adult, Sirius, Snape, and Lupin still haven’t let go of their childhood grudges and hatred, etc etc etc.

These flaws are what make these characters so three-dimensional, so layered, so human. But the problem was, most of these flaws are never intentionally acknowledged. And honestly, that could have been such a good character arc, because the main characters are mostly students. No student is the same through their teenage years—they change, they evolve, they get over their flaws, they try to better themselves. I would have loved to see Ron becoming his own person, Hermione opening her mind up a little, etc.

Neville is not one of my favourites, but I love his growth and development, from someone who was scared of his potions professor to a man who faced down Lord Voldemort. Ginny Weasley could have had character development, from the trauma she went through in second year, but that was never written in. She went through this terrifying ordeal when she was only twelve years old, and jump to a year or two later and she’s absolutely fine, with no transition from her trauma whatsoever.

Some of JKR’s characters are brilliantly written and fleshed out, but some of her others lack the structure and complexity that usually comes with being vital to the plot—Ginny Weasley for one. Her internalised misogyny also plays a huge part in the way her female characters are written. We see this again in the case of how she wrote the character of Ginny.

Ginny Weasley is not a favourite of ours (if you don’t know that by now). She feels a lot like a convenient male daydream—when she waits for Harry to notice her by dating other guys, gets annoyed by Hermione “not knowing quidditch”, etc etc—and fits the “not like other girls” archetype too much, almost like she was made for it (hint hint). She’s portrayed to be strong-willed, spunky, and independent, and I love the idea, but I really don’t see it. To me, she’s a very shallow character, the least fleshed out one.

Just like James Potter wasn’t necessarily redeemed just because JKR said he was, and Ginny isn’t interesting just because JKR writes that she is.

Hermione also fits the archetype, but she’s JKR’s self-insert, so we really can’t say much about that.

To make things worse, Ginny and Hermione are pitted against each other in a very subtle way. Ginny is the sporty, pretty, flirty girl who’s never single from book 4. Hermione is the not-conventionally-attractive, nerdy girl who’s had a few dates here and there but never a relationship. They’re very different characters (the only thing they have in common is the archetype) but they’re against each other in the defence of Harry.

Another place where JKR’s misogyny shows up is the way other girls are written. Lavender Brown is shown as vapid and immature, just because she likes clothes and boys and didn’t know how to handle her first relationship. Cho Chang is perceived as shallow because she’s emotional. Pansy Parkinson is seen to be throwing herself at Draco Malfoy. The Weasleys hated Fleur because she was beautiful and sexy and French, and that was ever really resolved in the end (Molly accepted her, but we never got Ginny’s and Hermione’s opinions again). You see where we’re getting at? The typical “girly girls” are portrayed as insipid, shallow, emotional, and boring, while girls like Hermione and Ginny are seen to be fun and multilayered.

The problems with Harry Potter don’t just stop with non-fleshed out characters. There are plot devices that go unacknowledged, issues like blood purity—which is the basis of Voldemort’s tyranny—are never really resolved, huge Chekhov’s guns that aren’t fired.

A common misconception, which if cleared up could probably expose a load of problems in wizarding society by itself, is that the wizarding world is racist. It’s not racist. Muggles and Muggleborns are not a different race, they’re a different class, at least according to pureblood wizards. Mudblood is a classist insult (a direct reference to nobility blueblood and aristocracy).

Another factor that wasn’t talked about but made the HP world so complex and realistic is the inherent classism in every single pureblooded wizard, including the Weasleys.

The “Light” wizards all operate on the notion “at least I don’t kill or torture Muggles”. The Weasleys refuse to talk about Molly’s squib cousin who’s an accountant, the Longbottoms were so desperate for Neville to not be a squib they nearly killed him trying to force magic out of him, Ron makes fun of Filch for being a squib, thinks house-elves are beneath him, and confounds his driving instructor in his mid-thirties, the ministry workers kept obliviating that muggle at the quidditch World Cup, etc.

This could have been a metaphor for how small prejudices and microaggressions (kind of the wizarding equivalent of white privilege) enable discrimination and murder, if JKR had actually acknowledged it.

The parallel to Nazi Germany is very twisted and definitely shouldn’t be taken too far, but the Nazi ideology grew on the basis of everyday antisemitism, “that’s not that bad” little things. Voldemort’s circle and army grew because the wizard superiority complex festered and blew up in some people, egged on by a deeply classist society.

Ultimately, Harry Potter has very, very shoddy worldbuilding, the kind of worldbuilding that’s obsessed with answering the “what” of the wizarding world, rather than the “how” or the “why”, which is strange, considering that fantasy or dystopian-era novels’ driving plots and conflicts are usually answering the questions the worldbuilding raises--The Hunger Games and The Shadowhunter Chronicles are two of the best examples of brilliantly written YA fantasy and dystopian novels.

In HP, however, the main plot just avoids the questions the worldbuilding brings up like the bubonic plague.

Voldemort’s agenda is built on prejudice towards Muggles and Muggleborns, but the plot just validates the negative perception of them—at the end of the day, being a wizard is what’s special. The Statute of Secrecy is the foundation of the main concept—blood supremacists believe wizards shouldn’t be hidden away—but only vague, barely-there answers are given to why it exists (a Chekhov’s gun that was never fired).

There are love potions that function like date rape drugs (even Harry was given one by a girl who wanted him to ask her out), potions that force people to tell the truth, potions that literally let you disguise yourself as another person, but the ethics are never talked about, and the laws are so lax that three twelve-year-olds broke them and were never caught.

But at the same time, the worldbuilding is so authentic, because it transforms the wizarding world into straight-up fridge horror. The everyday horrors are just accepted and rolled with. A corrupt government, constant obliviation of Muggles, slavery that isn’t even talked about. These things aren’t obvious to us as readers, or to the wizards as characters, because they match up to the real world, which is filled with things that are horrifying if you dig deeper. The multiple, normalised forms of abuse, police brutality, the violence in prisons that nothing is done about, the glaringly obvious cultural problems we have with consent, etc.

The abusive authoritative figures in HP, like Rufus Scrimgeour, Cornelius Fudge, Dumbledore, Umbridge, etc, are so authentic because real-life politicians and people in high places of power behave that way, and their abuse is excused.

The wizarding world is just like the real world. Corrupt, prejudiced, messed up, but if you’re privileged, or at least have certain privileges, you’re probably not going to notice. The ultimate problem is that the plot doesn’t acknowledge a lot of fridge horror things are messed up either, which is why it miserably fails.

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elia-de-silentio · 3 years

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Recap on Vanijeanne

As we try to recover from ... well, chapter 50, who wants to read a recap on the most controversial and Problematique couple in the manga?

*crickets*

Well, it was in my to-do list, so I'm writing it anyways.

Now, I love their first meeting, because while it sucks on 'what is actually happening' level, it does a wonderful work of exposure of the characters, hinting at their further development in a few panels.

Jeanne is presented as a '''''"strong woman'''''' ... meaning that's she's very good at fighting. That's essentially a good thug, it says nothing on character strenght. In fact, the only words she says for the first two chapters are asking Luca for orders: she's not shown as someone who takes initiative and acts on her own.

Even her emotional bond to Luca is taken as a sign of her weakness; while caring for someone isn't in any way a moral or emotional deficiency, quite the opposite actually, it hints at the fact that this girl has been so isolated, she has grown terribly attached to the only person to treat her with more than basic decency.

Speaking of basic decency, Vanitas fails even that. He straight-out sexually harassess her, making her feel even more powerless after mocking her for not living up to the strenght expected from her. We will later see that Vanitas isn't above psychological attacks on his enemies (hello, Astolfo), but this is callous even for his standards. Why would he do that?

Well, even if it was the first chapters, it was a bit of a shock to see the character behaving in such a way. Insofar, Vanitas had been presented as cocky, somewhat pushy and trollish, but also determined to help people, kind to Amelia, cheerful and funny. All around, a 'good guy'.

Even Noé, who back then said he didn't particularly like Vanitas, called 'overwhelmingly right' his healing of Amelia. Vanitas pulls a face at hearing that, and I suspect his behaviour towards Jeanne is in some measure a way to 'de-impress' Noé. After all, as we'll see in later chapters, he is an horrible person and can't risk someone actually liking him, right?

Their following meeting at the Bal Masqué is almost as bad. Here, Vanitas exploits her weakened state to flat out coerce Jeanne into drinking his blood, again using Luca as emotional blackmail (she'll hurt Vani, so the kid will be okay). Again, Jeanne really, really doesn't want to do this, and the scene drives home well her turmoil and hatred for the whole situation.

If Jeanne is being coerced in a situation of weakness, Vanitas is not actually faring that better. He wanted to have his blood drunk because he had seen Dominique and Noé do that, and he wanted something similar to the affection these two expressed, but not too similar because he doesn't deserve it and so he must make sure that the other party hates him and - this guy is a mess.

But the blood-drinking looks definitely painful for him. Heck, he even has to cover his own mouth to avoid screaming!

Their third meeting keeps on this proud tradition. In this instance, Vanitas makes quite a bit of back and forth: first he teases Jeanne in public about that possession mark, then dials back when he sees Luca taking issue; he offers privately to help her mantain her secret about the uncontrollable blood-craving, then he puts forth conditions (that she calls him by his name, thus establishing an intimacy she doesn't want, and that she drinks only from him, this limiting the damage she could do but also keeping a personal leash on her); he requires that she only drinks his blood, prattling on how good it feels, but then he has the same pained expression when she actually does it. His motivations here are probably mixed: partly desire to help a possible curse-bearer, partly a way to exercise control on Jeanne (as we have seen with Noé, Vanitas likes being the one in charge of situations), and partly some actual attraction to her.

On her part, Jeanne stands firm in her dislike of Vanitas, even if she really liked the taste of his blood.

Later in the same chapter, Noé questions Vanitas about love; he admits that he doesn't really know, just when he looks a Jeanne il flusso sanguigno gli passa dalle zone superiori a quelle inferiori his heart beats faster. He also lists his reasons for liking Jeanne; quite surprisingly, not only her considerable chest (though that got attention) but also some personality traits, such as her weird blend of toughness and fragility. Still, they're not exactly deep reasons. It sound more like a superficial crush.

But then, he adds something very important: he pursues her because she won't love him back. Here we got the first big hint of Vanitas's huge self-loathing: he is an horrible person, he doesn't deserve love, if someone loves him it means they have got some problems. He likes Jeanne, she's not the kind of person to like him back, he can have a '''safe''' relationship!

Then there is their famous date. It began as a ploy on Jeanne's part to get rid of Vanitas: because of quella comare di Noé, Dominique and then Jeanne herself get to know about that observation just above. So they get the idea: let's pretend that Jeanne really likes Vanitas, so he will leave on his own.

A sound plan, which would have worked if not for ... well, take a look at Jeanne up there. Does she look like she's confessing her love, or trying very hard not to throw up?

But the problem is: the date is great. Vanitas understands exactly what she was up to, and promptly went along with the act. And for the first time, he is actually nice to her: he shows her around the city, is attentive to her wishes, he speaks his mind about some little things.

And this completely throws Jeanne off her balance. Where does this sudden change come from? (And this was probably Vani's intention all along, as another way to keep her on edge and control her)

Not to mention, she's really not used to kindness. She's a bourreau, a pariah. She is so rarely treated with any decency, she is extremely sensitive when someone shows her even a little of it.

This ... '''cute''' rendez-vous comes to an abrupt end when an accident triggers Jeanne's bloodthirst. Vanitas gets her away before anything can happen, lets her feed on him (which still look painful) and tries to understand what exactly her problem is.

Whatever it is, Jeanne is forbidden by Ruthven to talk about it; the only thing certain, is that she is terrified by the perspective of harming Luca, should she no longer be able to control this bloodthirst. Vanitas reacts to this by promising to kill her before such thing can happen.

This scene is ...uuuuh ... interesting. I think that Vanitas actually meant well, even if only in part and in his own way. He surely sees it as an important promise, that he will honor should the necessity manifest itself. As for the other part, here is another nice chance for him to be the one in control!

With their next meeting, Mochizuki slams the gas pedal. In this case, Jeanne is not in a condition of vulnerability, there is nothing to blackmail her with at hand, and she's physically better off: it's the first time we see her take charge.

She has finally the chance to show off her better qualities: her sense of honor in repaying debts (Vanitas protected her from a blow from Astolfo before, getting wounded as a result), her level-headedness in difficult situation and her sense of responsibility towards others.

Vanitas, on the other hand, is a wreck. He lost his book, he got wounded, he has got hypotermia, he couldn't prevent Jeanne from stripping him out of the wet clothes and seeing the scars on his body, he has got a fever and is delirious. In this state, he gets a pretty loose tongue: he asks Jeanne some pretty personal questions about her motives here. She stays firm on what she 'has to' do regarding Chloé, but still, this is the first seed of doubt in her mind.

Oh, and there another kinda-kiss. No idea what Jeanne was thinking, passing Vanitas water that way instead of just putting the bottle to his lips.

Anyways, Vanitas really doesn't like not being the one in control. The morning after he acts the coldest he has ever been to Jeanne, dismissing her and then focusing on the task at hand, doing his best to avoid talking about that moment of fragility. Still, he shows some care for her, inviting her to listen to Dante's informations about Chloé.

They have a bit of a conflict of interest in there: Jeanne feels guilty about not fulfilling her duty as a tool and wants to amend by actually killing her mentor, Vanitas wants to save that same person; and, maybe because of personal experience, he has realized that Chloé 's death won't make Jeanne happy.

And how does the situation get resolved? In the sweetest, most actually romantic way possible. Vanitas exposes the truth about Gevaudan to Jeanne, and asks her what she truly wants.

A bit of exposition on Jeanne's past reveals that she has severe trauma after witnessing the death of her parents and being treated as a bourreau, a tool; she's convinced that if she ever acts according to her own will, someone else will be hurt. She's completely broken down by not having been able to kill one of the few people who treated her with kindness, and blames herself for everything that's happened in this arc.

But (after some unwitting influence from Noé) in sweeps our knight in a shining baggy coat, with the following message: she has every right to her desires. He wants to make her happy, he won't die as a result, he's ready to accept all she has to say, without judging her, with no condescension or trying to control her. All she has to do is be the one to give the order, and he'll obey. And she wishes for Chloé to be saved.

Chloé is saved. Her will to live is restored, and she is reunited with the people she loves. Jeanne is, in her own words, 'so happy she could burst', and extremely grateful to Vanitas.

This propels her to first drink his blood, and this time it really doesn't look painful; then to kiss him. And this time, he is the one to blush and stutter, clearly off-balanced by what has happened and by the fact he doesn't dislike it one bit.

The following chapters can be only described as hysterical. Upon actually falling in love, Vanitas enacts the following:

• Spending ten days in bed, thinking he's about to die.

• Believing Jeanne cursed him

• Describing extensively and graphically, in front of Count Orlok, that particular blood-drinking che per come è posto sembra più una trombata

• Getting physically thrown out as a result

• Wandering in a haze, thinking about Jeanne's smile

• Running in a panic after hearing some convenient passerby declare his feelings for a girl with him

• After almost literally stumbling on Roland, sitting down with him and Olivier and trying to get romantic advice from a guy he dislikes and another he has never seen before.

• Trying the 'asking for a friend' trick. Is figured out after an esteemed timeframe of 0.2 seconds.

(Perdonate l'interruzione. La faccia da culo di Roland meritava la condivisione)

• Getting the most desperate look after Roland diagnisizes him with 'love'

• Throwing away all pretenses and expressing outright his self-loathing, to what is pretty much a couple of strangers, in stark contrast with his usual reservation.

• Reacting like a pissed-off cat to any attempts of comfort from Roland and Noé.

Meanwhile, Jeanne ...

Well, actually there is a whole sequence where she realizes she is in love, and describes the same symptoms as Vani in a cheerful, positive way to two flabbergasted Dominique and Luca; but I felt like the above panel was the most culturally relevant.

The point is, now that the feelings are real, Jeanne is the most confident and forward of the two. And this is a pretty great thing for her: as a bourreau, she didn't think love would have played a part in her life; she felt that she was just a tool, but not now, she has realized that she can love and be loved, and this makes her happy and confident. As Dominique observes, she shreds the shyness and insecurity that circumstances had forced on her, and returns to her original, cheerful personality; you can't take your eyes off her.

Still, in a following chapter, she has that little fantasy of a classic fairytale with herself and Vani in the protagonist roles. While it's a very cute and funny scene, it highlights something that Dominique too noticed: she is very black-and-white about Vanitas. She has gone from absolutely loathing him (with good reason!) to absolutely idealizing him (again, he finally acted with real kindness and selflessness towards her, but she doesn't even recognize how awful he was towards her at the start).

This would mean a fair share of problems with any normal person, as nobody is completely horrible or completely good, but with a walking bundle of trauma, contrasting feelings and self-loathing as Vanitas? It's probably a recipe for a disaster.

So! All in all, I admit I really like this couple. I like the possibilities of self-discovery each of them represents for the other: for Vanitas, to realize that his life isn't fixated by whatever happened in his past and that he can have positive relationships with people, and that he can amend his mistakes and receive forgiveness; for Jeanne, to fully experience positive emotions, and acquire a more balanced view of people and situations if her feelings survive the clash with Vanitas's failings.

... that was, before the disaster that was chapter 50. Jeanne has a very good relationship with Dominique, too; she was worried about her, and is likely investigating her disappearence, especially because Luca called specifically for her when he found out about it.

Remember? The same Dominique Vanitas would be willing to let be killed in order to protect his own memories, and even insulted in front of Noé? If Jeanne arrives on the scene, or finds out what happened, she will be forced to a new, decidedly less positive evaluation of Vanitas.

Misha is really being a wrecking ball on whatever halfway positive relationship his brother has, as if Vanitas himself wasn't enough to mess them up.

Thanks to anyone who bothered to read my ramblings!

#vnc #vanitas no carte #the case study of vanitas #vanitas no shuki #vnc vanitas #vnc meta #vnc analysis #vnc spoilers #vnc jeanne #elia's recaps

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lambourngb · 3 years

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You said you are still struggling with 3x03 and don't love it as much as everyone else seems to and I for one would love to hear your thoughts on that because I am also struggling.

I've watched the episode once. I'm working up my energy to watch it again. I dunno, under the cut are my thoughts, not all negative, but not all positive either.

It's hard for me to separate Max-Isobel-Michael at the drive in with the Malex scene that comes after it. After Michael saves Bert from being beaten by a bunch of white supremacists, Max scolds him for his actions [Which wow, Michael is such a jerk for using his white privilege to get between Bert and powerful white racists ]

Max: So, I'm trying to save your life, and you try to get yourself killed?

Isobel: What-what is going on with you, Michael?

Michael: It does not matter. I'm dying anyway.

Max: No, you're not, because we can still find a way to change this.

Michael: Oh, maybe I don't want to change it. Maybe I deserve it. You ever think of that, Max?

Isobel( quietly ): Find the source.

Max: Get over yourself, Michael. You don't deserve to die.

Isobel: He told you something.

Max: Who did?

Isobel: No, I know that self-loathing is kind of your thing, but... this is different. You're ashamed. You think that you're... a monster.

Michael: Because I am. I am the heir to an evil dictator. Okay? Monster's in my blood.

So you have open suicidal ideation, where Michael is telling his family he doesn't deserve to live. He has found something out about that makes him feel like death is the only answer, and sure, maybe that is "self-loathing" but on another level, Michael knows the only reason someone would kill him, regardless of who his dad is, would be if he gave them a reason- if he tried to hurt someone or actually did succeed in doing it.

Also, it's not just that his dad is evil, it's the fact Michael has to consider his mother was as well. His mother stole Max, his mother had a child with this evil Dictator, his one single memory of being loved that he has from Caulfield is now tainted.

Then he sees Alex's car and the last time he saw Alex was 3 days ago, locking lips with Forrest Long after being away from Roswell for a whole year. Me? I like to pretend they were in contact during that year, but what if they weren't? What if I take exactly what was on screen as my background for their relationship. This is where my dissatisfaction that there was no Malex in 3x02 comes out because does Michael understand that Alex joined Deep Sky? The entire group of friends- Max, Isobel, Maria, Kyle, and himself are all trying to unravel the mystery of someone they know is getting murdered, and Alex is nowhere to be found? Does he think that Alex just doesn't really care about his friends? [This is my issue with how the Deep Sky plot has pulled Alex away from the group, what does that secrecy look like to outsiders. ]

I think about that, and how manic he was when Alex approached. He's looking for some sign Alex cares about him. Yes, he does get one at the very end, with that iconic "burn the world down" thing, but we've had pretty words for 3 seasons now, I very much am hungry for actions. I want them to be able to go to each other with their emotional needs and find support. I don't think either of them handled that conversation well, Alex was way too dismissive for a guy who hasn't seen Michael in over a year, and Michael was way too needy to a guy who has a boyfriend/hasn't communicated with him.

My criticism for Michael is this- he does have to decide to trust people, to tell them in words what's going on with him, and not just drop bombs for a reaction. Getting in Alex's face like he did, poking him for a reaction, is not the way to build a relationship with someone you like (or even a friendship). But the reason someone drops bombs, is because they have tried other approaches, and they didn't work, OR they don't trust that the open approach will work. I don't know which is true , other than, I've seen Max and Isobel shut him down a lot, and he was just reeling from that when he saw Alex. He was in crisis and wasn't thinking, and it was messy as a result.

And Alex? My criticism for him is, he has told or communicated to Michael that he sees violence in him in the past. He has told or communicated to Michael that he wasn't worth the risk of being with in the open in the past (hard to believe you have value). So I guess I'm waiting for a present tense admission that he was wrong, not a scoff and denial he even shared those same sentiments with Michael. And while I appreciated the whole "you decide who you are" statement, I'm glad Alex is finally there with his mental health regarding Jesse, Michael is still several steps behind, having just learned this horrible thing less than 2 days ago. [Also, I think about when Alex had the same crisis of faith, about being lumped in with his family, he wasn't given tough love in 2x04.]

I think... I mean, I hope that Alex saw by the end of the conversation, he had reinforced the ugly feelings that Michael has about himself by dismissing the very idea, and then course-corrected by explaining why he doesn't believe Michael is getting murdered. Like it was a lightbulb going on, Alex realizing "Oh he needs to know someone would give a shit if he was killed, GOT IT" and out came that speech.

I dunno, I love both of these characters very much, but I struggled to see how they are going to be good for each other if they can't get better at seeing what the other needs. I did not see it as a “glow up” for Alex, or “just what” Michael needed. I saw a lot of the same patterns of hurt, acted out, and barely saved at the end.

Alex needed information communicated in a different way.

Michael needed validation communicated in a different way.

Both walked away with barely satisfied, which is where I am. Barely satisfied. One face-to-face Malex moment in 3 episodes after a year of separation, this was not what I pictured.

[Leaving this untagged because I don't have the spoons and I don't want to harsh anyone else's squee about the show. I'm glad fandom loved it! I want to love it too. I clowned myself into believing they would be further along, and that's no one's fault but my own. ]

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michals · 3 years

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(Ok this was supposed to be like, a couple of paragraphs but it turned into a freaking essay, so it’s under the cut haha)

On Klaus, Luther and addiction

So this is something I personally find to have a lot of great thematic potential for these two characters. The idea of Luther falling into the same trap that Klaus has for both similar and different reasons and Klaus dealing with Luther’s addictions while facing his own is such a great thru line for both of them. The show’s set them up with the building blocks for this plot point and it would be so easy for it to come into play this season, especially this season actually.

Luther’s build up to addiction is subtle but I think they’ve planted the seeds enough to make it into something. Him falling apart in The Day That Was and his first reaction is to turn to alcohol and drugs is pretty significant considering it’s obvious that he’s probably been very ‘straight edge’ his whole life, probably never having even drank before then. And he tells Klaus straight out that he wishes he was like him, that he didn’t care and that he could just ignore all his own feelings like he thinks Klaus does. (I’ll get into how the family deals with Klaus’s addiction in a minute.) He goes out and does things under the influence he would never have done while sober, things that end up being self destructive (ie having sex that he seemed to really not want). But even then he’s gotten the idea that if he’s drinking/on something then he’s not thinking about all his shitty feelings.

Season two really sets it up because it’s not just one event but several. In the first ep at the bar he has a drink very casually, like he’s been doing it for years and not just because his life fell apart in the past how many months. The flask when he goes to Vanya’s is really telling firstly because he has a flask on him at all times at this point, that he uses it to get his courage up to go in the barn, and that he does it even when he’s driving. But it’s the nitrous scene that really cements it for me, again simply because he went from being basically a teetotaler to jumping at the first offer of heavy drugs. And he says he should’ve done this a long time ago. If I may get a little personal I know how easy it is to fall into this, the idea of ‘hey alcohol (or drugs) makes me feel better or at least I don’t think/care as much so why wouldn’t I do it?’. It’s such an easy slope to fall down and on the surface Luther has plenty of reasons to want to.

Now, Klaus: there’s plenty already been said about Klaus’s relationship with drugs and alcohol so I won’t get too wordy. Klaus is defined to us right away as a junkie and addict. Someone who uses substances to avoid dealing specifically with his powers and also his shitty upbringing. He plays very fast and loose with his own sobriety and even his mortality. Basically: he uses drugs to avoid thinking or feeling bad, or at least worse but he’s far, far past the point of entry into full blown dependence.

The scene between him and Luther in season 1 is a personal favorite just because it manages to deal with and establish a number of thematic ideas and the potential for how Luther and Klaus’s relationship can go from there. Luther, like the rest of the family, doesn’t understand Klaus’s addiction partially because they’ve all been estranged for 13 years and partially because Klaus doesn’t take it seriously and puts forth a very flippant persona, hell he doesn’t take anything that seriously. The world’s ending, they don’t have the time or inclination to humor Klaus’s story of chocolate pudding. Luther clearly misunderstands his addiction because yes, Klaus comes across as kind of happy and okay with himself but that’s because of the drugs. To Luther who’s been locked up with their asshole of a father Klaus seems to actually have a life of his own.

But Klaus doesn’t try too hard to walk that opinion back and here’s something I find important that tends to get left out when people point out that the family doesn’t take Klaus’s problems seriously: Klaus doesn’t talk about it or try and deal with it. Klaus really really doesn’t like dealing with things if he thinks he can avoid them. His powers, his childhood, Reginald, Ben, his cult – if he can run away from it or make a joke about it instead that’s what he’ll do. The one thing he ever really shows much initiative with is Dave. He’s self centered and I mean that in the most basic way – everything comes down to what he wants to do and he actually keeps his feelings close to the vest for the most part. Basically he doesn’t want to give the others an ‘in’ point to really address it (bonus they all heaps of problems of their own). And when he does get into it just the barest amount with Luther Luther’s high as fuck.

(Just to touch on Ben he kind of doesn’t count because firstly he can’t talk to anyone else and secondly he and Klaus have such a strained relationship especially regarding Klaus’s drug use that even if anyone else could hear him he probably wouldn’t be that supportive.)

So, actually getting into the whole season 3 thing: the siblings are about to face off with a whole lot of daddy and family issues in this time line and everyone’s got huge potential for emotional and mental shakedowns, but I think Luther’s gonna have the worst time of it. Don’t think I’m going to get into that BS of comparing traumas and saying anyone’s more ‘worthy’ of sympathy than any of the others, I’m saying specifically because it’s to do with Reginald not only rejecting him yet again and outright replacing him but that it’s not even ‘his’ Reginald so does that mean all the shit he put Luther through doesn’t count? I just see it as catalyst for a real breakdown for him.

Not to say this won’t mess with Klaus but Klaus hated Reginald long ago and has accepted that the guy was a douchebag and had no real love for his children, so personally I see his drug use as dealing with Reggie’s abuse but more so to deal with his powers. So yes, this’ll absolutely fuck with him but Luther’s the primo target here.

So what if we see Luther leaning even harder into drinking or even heavier things? Now he really has an excuse to because where’s he supposed to go from here? What’s he meant to do? He’s not the leader anymore, his family doesn’t always treat his trauma seriously (Klaus parallels there) nevermind he doesn’t even like to address it himself, he has no idea who he’s supposed to be and the one person who he thought actually cared about him not only doesn’t but never did and now he’ll never get back what he saw as his purpose in life. The whole Ben being alive thing is just icing on the cake. If he spirals in s3 it would make perfect sense because of all this and all the set up for it.

Klaus spiraled too at the end of s2 again becoming the fatalistic junkie he used to be, he’s gonna run from his problems again but it’s not just his powers this time. So he’s off the wagon but what if he notices Luther is too?

I can definitely see Luther trying to hide it from the others. He’s already given away too much of his weaknesses, he doesn’t want them to see their ‘leader’ continue to fall and I don’t think he’d want them to know he’s still that affected by Reginald. They want him to have dealt with it, like he seems to have at least a little in s2, if he’s completely fallen apart because of his dad again then that just makes him look pathetic. So he keeps his flask and finds excuses to get away with stumbling or slurring his words. But Klaus notices, because Klaus knows the signs.

In that scene in s1 Klaus very obviously doesn’t like seeing Luther like that or using drugs as an escape like he does. He’s self aware enough to know that this isn’t any way to live but is too pessimistic when it comes to himself. But, again, he tends to be pretty self centered. This is not a bad thing, this is a great character trait and it makes Klaus interesting. He does not know how to relate to his siblings on the whole, doesn’t know how to talk about his own traumas and addictions, so when he does hear them out it’s usually because he had was focusing on his own shit first. For instance: when he has the heart to heart with Allison in her kitchen he’s only there in the first place because he was falling apart because of Dave.

Luther having a problem will have to be something Klaus purposefully chooses to deal with because he’s worried about one of this siblings. And for obvious reasons Klaus is the perfect one to help him with it. He doesn’t want to see Luther like that but he doesn’t really have a leg to stand on if he wants him to stop. Hell, if Klaus won’t stop why should Luther? Klaus can’t use ‘do what I say not as I do’, partially because Luther has proven to have some self destructive/self harming tendencies and again, if it makes him feel okay or at least steady then why would he stop?

But Klaus stopping means that he’s going to have to confront his quite literal demons when it comes to his powers (I could go off on how much I don’t love that he was somehow sober for 3 years in the 60’s no problem but it didn’t seem to affect his powers at all but that’s another post). The number one thing he’s been running from his whole life, something the show hasn’t actually done a whole lot with. We knows he hates it, we knows he’s tortured by it, but we’ve seen no evidence that he’s ever really confronted it. He was traumatized by Reggie who did everything wrong so he went the opposite route.

But what if he has to stay sober for Luther’s sake? Even if he doesn’t want to help, even if he just enables it or joins him at first eventually he’d have to come the realization that he doesn’t like this, that he wouldn’t wish this kind of problem on someone he cares about. So he’s going to have to turn inward, he’s going to have to face up to both his addiction and his powers, maybe even finally try to tame and use his powers. And at some point he’d have to talk to Luther about it and stop hiding behind his glib façade.

So in the end we’d get to see Luther falling apart trying to deal with everything that he still very much needs to deal with and his subconscious tendency for self destruction, Klaus confronting his addictions, his own feelings and relationship to his siblings, and his powers and hell, maybe then we’ll actually get him using his powers to his/the group’s benefit.

#tua meta #klaus hargreeves #luther hargreeves

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kob131 · 3 years

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So, inspired by Shuttershocky’s own character opinions, I think I’ll start doing my own.

And no, I’m not doing Mordred first. She comes later.

Nah, considering a certain Ruler’s recent reveal, I think I’ll talk about a certain Shirou-face.

So quick overview of Angra Mainju-

He’s not actually the Zoroastrian god of Evil. No, he’s actually more like Sasaki Kojiro- The guy who the myth of Angra Mainju is BASED off of. He was just some ordinary villager who drew the shortest of straws and was used as a scapegoat for the sins of his villagers, tortured for decades until he died of old age. Because of this, he has a pretty nasty hatred of humanity. Which you would think would disqualify him from being a Heroic Spirit (I mean, logically who would consider him a hero?) but it’s said that his torture put the villagers at ease, meaning he did technically do a heroic deed and thus was preserved by the Throne of Heroes.

In the Third Holy Grail War, the Einsberns tried to summon the evil god but, for a multitude of reasons that include it not existing in the first place, they got him instead. Problem? The guy isn’t a normal hero, he’s a village boy who got tortured. He doesn’t have any special powers or even a proper Noble Phantasm. So of course, he gets his ass kicked. But thing is, he was so weak the Grail thought he was a human and thus tried to grant his wish.

Which was to actually BECOME All The World’s Evil.

And so the Grail tried to do it...but things got fucky. So the next two wars are basically just attempts at bring his wish to life. He...kind of exists here? Issue is that in Fate/Zero and Fate/Stay Night, Angra Mainju is more a force of nature or a being of pure evil rather than the tortured village boy he actually is. So for simplicity’s sake AND due to how radically different ‘All The World’s Evil’ is- I’ll just skip over his supposed presence in those two and move on.

Despite his wished for form’s destruction in Fate/Stay Night, Angra Mainju survived. In fact, his time as “All The World’s Evil” turned him into a proper Heroic Spirit, giving him an actual Noble Phantasm and actual status as a Heroic Spirit. Here, he gains a sort of obsession with granting wishes. So he goes around looking for someone’s wish to grant. During this time, he finds Bazett Frega McRemitz (AKA The ACTUAL Master of Cu Chulanin before Kirei decided to do what he does best: Fuck people over) dying, wishing not to die. And thus, Angra Mainju does his best to keep her alive. For 6 months, this meant keeping her alive but in a vegetative state.

After being discovered by Caren Hortensia (Kirei’s daughter. ... This is kind of important later), this meant keeping her alive AND sustaining her consciousness. To do this, he creates Fate/Hollow Ataraxia’s four day loop (the same length of time he survived his war.) Through this, he tricks Bazett into thinking that she’s participating in the Fifth Holy Grail War. Issue being, Angra knows little more than jackshit about said war so what ends up happening is that he uses the Third Grail War structure with Fifth Grail War players as stand-ins. He is also only active with Bazett at night, the catch being that the person that the player thinks they’re controlling (Shirou) is actually an unaware Angra, living out his own wish of a normal life.

At first, Angra is just being selfish and indulging himself during this time. However, over time, his interactions with the people in Shirou’s life, Shirou’s own influence over him (as having lost his identity, he effectively needs to adopt another’s to exist) and, most importantly, his new found relationship with Bazett and Caren causes him to try and end the four day loop. This going against his Master’s wishes, as she fears that she will die due to finding out about the loop and losing Avenger, who is assumed to become nothing once again. However, he manages to convince her by revealing he really did save her life and that she had to move on. So at the end, he and Bazett race to opposite ends of the Grail, Bazett back to life and Angra Mainju embracing oblivion once again.

So...yeah. Pretty heavy stuff even with me skipping some stuff.

We only really learn about Angra Mainju in Fate/Hollow Ataraxia, since that’s where we truly meet him as a person. And at the beginning...he’s not a good person. Avengers in general are known for being highly destructive, malicious and dangerous Servants because their Class effectively puts them on edge at all times, constant consumed by hate. As the first Avenger, Angra both embodies this and subverts it at the same time.

Yes he is consumed by hate. ... But said hate is not an emotional state like other Avengers. His hate is his nature by the point we meet him. Meaning he isn’t on edge like his fellows, he isn’t clouded by extreme emotion. For all his cynicism and malice, he’s by far the calmest and most rational Avenger we have seen so far. Which makes some of his actions (like killing a family to draw out his enemies) come across as even worse than normal since he isn’t openly insane. Even beyond this, Angra is a sarcastic asshole who loves fucking with people and being insulting.

However, as things go on, as he lives the life of Shirou Emiya and the Servant of Bazett, he gets better. Sure, he’s still rude as all hell. But the guy does show he cares about Bazett and thinks about her well being. He falls in love with Caren, who does love him back (if you’re wondering how: I believe it’s implied Caren suffers from the same condition Kirei did in regards to empathy. So makes sense she’d love an embodiment of hate and vengence) and he did enjoy living as Shirou, revealing that beneath the hate that became his nature- He’s just a normal guy who got SEVERELY fucked over. Hell, when Medusa was on the verge of morphing into Gorgon, Angra walks by and talks to her. He gives her a speech on what it means to be a monster and ends up helping her prevent her transformation, even though having her become a monster would help him make people suffer (and maybe even someone who understands him, as Gorgon is an Avenger herself.)

Just as his lack of emotional distress makes his evil actions worse, it also means he’s capable of change and becoming good. He learns love and care despite having lived a life no one could even comprehend, forced into a Class that is more like a curse than an honor. Despite his hatred of humanity, he still believes in it somewhat. He adopts some of Shirou’s heroic traits through living his life. And at the very end, this jackass who started things off by killing random innocents...ends up making the ultimate sacrifice, one where he gains nothing but loses everything, where he really doesn’t want to do it...all because he came to care for Bazett.

I’ll admit, I sobbed at the end.

Now, Angra isn’t really used in any serious manner after this. He appears in the Accel/Zero and Christmas in the Underworld events...mostly as jokes. However, I would like to note his Bond 10 Craft Essence. These CEs are effectively summations of the characters themselves. For example, Mordred’s Bond 10 effectively sums up her identity issues. And Angra Mainju’s?

It’s all about how he was a necessary evil, his life taken from him, hatred burned into him...

...and how Caren, despite seeing it all, still loved him.

And the CEs effect? A Guts buff and the ability to hurt Beast class enemies in a way no other Servant can replicate.

In essence, that love gives him the ability to keep living (with his strongest skill KILLING him btw) and to more effectively protect the world. And considering how the Beasts are related to humanity, it might just be because that love made him human again.

In short, Angra Mainju is a person forced into a role, his nature overwritten by his torture, cursed by fate because of others, indulging in his role because it’s all he knows-

And yet, even he finds a way to become a better person. All culminating in a sacrifice that can only be described as ‘Heroic’.

He truly is a Heroic Spirit.

#Fate series #angra mainyu #KOB analysis

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agent-cupcake · 3 years

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Hey AC! I love your blog and was wondering if I could get your opinion on something. I've seen some people complaining that Ingrid and Hilda are treated by the fandom, with Ingrid stans saying that Hilda is also racist towards Almyrans (which, granted, she is) but doesn't get nearly as much hate about it as Ingrid does. But personally I feel like their attitudes and the way they react towards Dedue/Cyril are wildly different and Hilda generally seems less hateful/irrational about it. Thoughts?

This is... kind of a touchy topic... I like it though! It’s worth discussing, especially since I feel like it’s broke criticism to simply deflect blame onto a character in order to prop up another. Full and obvious disclosure: I very much dislike Ingrid and very much love Hilda. That said, I don’t think it’s fair to compare them for the sake of which is worse. I fall into the trap of character criticism through comparison far too often and it's not really valid unless you can fully explore each character in their own right beforehand. Which is why, while writing this, I came to the conclusion that the ways these two characters are interpreted and the reason people view their racist tendencies differently has far more to do with the characters themselves than their actual beliefs.

From first impressions to subsequent playthroughs, this is pretty much how I feel about Ingrid: she brings up her hatred of the Duscur people and Dedue unprompted and uncontested several times at the very beginning of the game, putting it front and center to her character. This is important, it sets a foundational component for how I could come to view her. According to her introduction, she is honorable and respectful, a model lady knight trope. But, as mentioned, she's really racist. Literally standing around thinking about how awful it is that Dimitri would trust a man of Duscur because they are all bad people. Yikes. And nobody calls her on it. Again, this is very important for perception. People judge Sylvain for his bad behavior in a much more harsh way than they do Ingrid for her vitriolic loathing for another classmate who we have seen as nothing but respectful. It's weird. And then, despite the fact that her close friend Sylvain was able to reason out that it’s not possible for the Duscur people to be at fault for the Tragedy, despite the fact that the prince of the country she supposedly hopes to serve with unwavering respect and loyalty has made it clear that he does not believe that Dedue or Duscar are responsible for the Tragedy, and despite the fact that Dimitri, her close friend and the one most affected by the Tragedy (seriously, she lost a guy she might have married and he lost his best friend, mother, and watched his father be killed in front of his eyes) continuously insists that neither Dedue nor Duscur are at fault, she loudly and openly believes that the ensuing massacre of Duscur was deserved and Dedue is inherently culpable simply because of his race. Her motivations for this hatred feel even more cheap considering her dogged hero worship for Glenn was born out of the fact that she was promised to him, making the fact that she’d use his death as reason enough for the destruction of countless innocent lives even more unsympathetic in my eyes. I mean, seriously, she was around 13 and he was older than her, how close could they have truly been? Dimitri says they were in love, but she was a child. Abandoning my modern sensibilities about age of consent or whatever, kids at that age don't have the emotional or mental capability. Maybe this is just nitpicking, but I have a very hard time caring about that relationship. But, if her actual justification is because of what happened to Faerghus as a result of the Tragedy and feels duty-bound as a knight to find justice through the systematic destruction of the Duscur people, then it just circles back to confusion considering the future leader of said country doesn't hold Duscur or Dedue responsible. The importance of perception comes in because despite these paper thin excuses and her seemingly willfully ignorant hatred, she is never challenged on her racist beliefs. The reason she seems to change her mind about Dedue and consider that maybe excusing a genocide is wrong stems from guilt that Dedue continuously comes to her aid in battle at the potential cost of his own life. I can understand, to a certain extent, why she might feel the way she does. But, again, I have such a hard time with any justification when nobody that she's close to is even nearly as hateful as her, there is plenty of evidence (evidence that the people close to her have found!) to provide a very reasonable counterclaim to Duscur's guilt, and that none of that even matters when it would require her to openly contradict the prince of her country to make the claim that Dedue was in any way complicit in the Tragedy. Which would be fine if she wasn't established as the model Lady Knight archetype, which also brings us into Ingrid's moral high horse. Admittedly, I hate the Lady Knight trope. I have a significant bias against these types of characters. However, I really do think that this moral crusade is where she lost me completely. Without even a shred of empathy or self awareness, she lectures Sylvain about his shitty behavior even though their circumstances are at least somewhat similar and he has his reasons (bad ones, maybe, but ones worth understanding if she actually cares about him), she lectures Felix about not being interested in knightly endeavors (an aspect of his character that is born of the trauma she has appropriated), and she lectures Claude about behavior that is befitting of a man in his position. Not because she cares about the girls Sylvain is hurting, not because she thinks there are any grave stakes from Felix choosing to do his own thing, and not because she knows that Claude's behavior affects his ability to lead, but because she doesn't like these behaviors and thinks they should be fixed. Yet, at the same time, she believes Dedue deserved to lose his family, country, and culture based on his birth and nobody ever does anything to morally correct her, it is something she eventually is forced to acknowledge on her own. It's frustrating, infuriating even, that the game lets her get away with being so grossly hypocritical. And, all the while, she is being painted as sympathetic. Again, I have a hard time feeling sympathy for her about Glenn, and I certainty don't feel sympathetic towards her issues about marriage because there's never any actual tension there. Of course she won't be forced to marry, she's a Lady Knight. Beyond being unsympathetic, I also find her massively unlikable. Awful design, poor voice direction, food-loving-as-a-personality-trait, the fact that she's written as one of those stock "feminist" characters who hate makeup and girly things until it benefits them, and constantly butting in on other characters to give her opinion without taking any criticism herself are all aspects that I just personally dislike. Ultimately, Ingrid being racist is only a symptom of the many reasons her character is one of my least favorites. Most of these points can be countered by someone who doesn't take issue with the things that annoy me and to point out that Ingrid DOES get over her racist beliefs. It's not fair to say that she doesn't change but, for me, the damage was already done by the time she became tolerable so I still have a hard time appreciating her. My assumption would be that there are a lot of other people who feel similarly to me regarding their dislike of Ingrid so they focus on one easy character flaw, her being racist at the beginning of the game, as a reason to validate their dislike of her overall.

On the other hand, Hilda's racism isn't a main trait of her character. It's related to her overarching character flaws, but she doesn't bring it up unprompted and can actually be pretty much missed without the Cyrill supports. Like you said, Hilda does seem less hateful and irrational, it doesn't take willful malice and an active rejection of reason for Hilda to dislike the Almyrans, they pose a genuine and provable threat to her family and territory, seemingly senselessly testing the borders and throwing away lives for the sake of conquest. To be clear, her "you're not like those OTHER Almyrans" schtick is legitimately nasty. Her behavior is gross and condescending and it really underscores the fact that Hilda is ignorant, lazy, inconsiderate, and incredibly comfortable in her privilege. She accepts what she's been told at face value because she's too lazy to look into it further. Cyrill does tell her she's stupid to think that way, though. Which is satisfying because Hilda in those supports is insufferable, it really highlights the worst aspects of her character, dismissive, manipulative, and very selfish. However, for me, she's also very likeable. I'm not interested in going over my opinions on her like I did with Ingrid as I don’t feel it’s as important to my point but a few reasons I really like her is because I think Hilda has a fantastic design, cute supports, amazing voice work, and is secretly sweet in a way that absolutely tickles my fancy. I am sure many people do not agree with me, which is fine. Additionally, just as Ingrid grows out of her racist beliefs, so does Hilda. They both end the game as more tolerant and caring people. Still, for the same reason a person could argue that Ingrid is actually great and I'm being unfair, they could argue that Hilda is terrible and I'm too biased. That's fair and true..... but I think the fact that Hilda is more generally appealing in conjunction with the less obvious nature of her racist attitude makes people less likely to dismiss her as a racist in the same way they do Ingrid. Unless they dislike Hilda, in which case, it’s all fair game.

Anyyyways, a main takeaway from this is that I highly doubt people are truly arguing on the individual basis of who's more racist, but that they're engaging in the age old waifu war. As with many characters in this game, it's easier to argue moral superiority when you can't quite articulate what you like or don't like about a character. Or, even worse, when you're arguing opinion. Even now, as is clear by reading this, I am arguing my opinion of why I don't like Ingrid. Not because she's racist, but because of the character traits and writing choices that make her unlikable to me. I like Hilda because, flaws and all, I find her to be compelling and enjoyable. From the people that I know, at least, that is basically how the Ingrid stans v Hilda racism argument is structured, even if they dress it up in different language.

By the by Hilda never talks about how the Almyrans deserve to be wiped out. I think that probably sours a lot of people's opinions of Ingrid no matter what happened afterward but that’s fine we can just pretend that didn’t happen

#fe3h #fire emblem three houses #mmmm i am sorry if she is your fave #you are valid but i feel like she was the bully volleyball player in highschool and i can't get over it

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ask-hunterxhunter · 4 years

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Headcanons for Hisoka, Illumi, and Chrollo losing their female s/o to childbirth? Like the moment labor starts their s/o is in unbearable pain and she bleeds too much and passes away. How would they cope with losing one of the few people they actually love & having to be responsible for a baby on their own now? Thank u so much :3

Hisoka

This is one of the few occasions when Hisoka is lost for a while. Even as he holds your hand and feels life leaving your body, he just doesn’t react immediately. It’s not he never considered you dying before, it’s just that it doesn’t feel real when it happens. You can’t be gone. You just can’t… It’s like this event has no place in reality. It’s also one of the few occasions when Hisoka becomes a little more… Sentimental. Oh, not while the doctors are in the room (in fact, his lack of bigger reaction will either be considered shock or him being a cold bastard in their eyes), but once they leave him alone with your body… Hisoka doesn’t cry, he doesn’t scream, but he brushes your face gently as he says goodbye…

All in all, he seems to be taking it rather well, right?

Wrong. Dear Lord, wrong.

When he arrives home, Hisoka just sits for a moment… And screams. He isn’t someone who takes refuge in denial, he doesn’t go on how this isn’t happening… But it doesn’t make acceptance easier. As used to death as Hisoka is, he has always been a lone wolf who never cared for anyone else but you. Accepting the death of a loved one is never easy for anyone, but we can’t say Hisoka is exactly well-prepared or adjusted for such things.

His initial reaction is downright scary. He screams, his bloodlust overflows (it’s the only way he knows how to deal with things), but there isn’t anyone to blame, anyone to go after (it’s sad, but those things do happen), just this awful pain. The façade he keeps just drops and everything just overflows and fills the room. It’s suffocating and terrifying.

What stops him? The baby crying. Hisoka is not exactly an emotional guy, he isn’t used to dealing with those deeper emotions, but remember that he wouldn’t enter a real relationship (let alone have a child with you) if his feelings weren’t this serious. So, yes, it might be strange to imagine Hisoka caring for a baby, but this is his child. Yours and his. As soon as he hears the cries, he stops and remembers he is a father now. And yes, he does love the baby.

He isn’t feeling any better, but he holds the baby and tries to calm down.

Hisoka won’t admit it to anyone ever, however, he is almost scared now. He had admitted to you he had no idea of how to be a father (and was pretty sure he wasn’t the best material for the role), and now he has to be a single father. Does that seem like a good idea? He already admitted to Illumi he has issues. Just because he’s happy with his lifestyle and doesn’t give a crap and has no intention to change, doesn’t mean he is so much of a bastard that he doesn’t care about his own child!

Simply put, he has no idea what to do.

Wherever your soul is, you can at least rest knowing Hisoka will do his best. Will he change his lifestyle? No more than he absolutely has to (so, very little). Will he mess up? Yes. Like everyone does. Will he love this child and do the best he can? Yes. Will he care for them? Yes. He might not be the best father ever, but he won’t be an awful one, either.

Yet, Hisoka will never recover from losing you.

And just because he calms down after your death because he scared his child, it doesn’t mean he will remain calm. In fact, he may (try to) deal with it the only way he knows how: By turning to violence. He’ll be staying at Heaven’s Arena for a while and people will at once fear that they’ll have to fight him because Hisoka won’t just “not attend” the match. It’s doesn’t matter who it is or how strong they are: Hisoka will be there. And this won’t be even a fight as much as murder: He will be going after blood.

It won’t help as much as he hopes. By the end of the day, even if he uses fighting as an escape valve for what happened, he is still hurting and you’re still dead.

Illumi

To put it in one word? Badly.

Being pregnant with Illumi’s child (well, anyone from the Zoldyck, really) means you’ll have the best care money can afford (and God knows this means top care), but the fact remains that those things still can happen. Not that this means much for Illumi. Remember he doesn’t care for anyone beyond his family, so the fact that he wanted to start a family of his own with you already speaks volumes for how much he valued you. At first, he is in shock. You can’t have just left you, it’s impossible, you’re his wife, you weren’t supposed to die, this was to be the happiest day of both of your lives… But he won’t be able to refuse the fact that you died for more than a couple of seconds.

If he even suspects there was a mistake, that the doctors weren’t careful enough, anything, he’ll take it out on them (if by a lawsuit or by taking matters in his own hands, it depends), because people often want someone to blame, somewhere to focus their pain on and Illumi is one of them. Once the initial shock of the loss pass, he will want to know exactly what happened and why you died.

Not that this will bring any comfort. Even if a doctor can be blamed for what happened and Illumi deals with them, this won’t bring you back. There’s no satisfaction. There’s nothing.

As unemotional as Illumi can be, this is one of those rare cases when it looks like all the emotions he keeps away (or doesn’t seem to have at all) just explode. Think about when he felt Alluka’s power… That is tame compared to how it will be then. The only change is the nature of this explosion. I repeat: The loss of someone you love, no matter how it happens, is always painful and can always be traumatic. It doesn’t help that Illumi is, well, how he is. This event won’t help Illumi’s mental state and it might, in fact, push him further into his darkness (after all, it isn’t as if he sees anything wrong with himself to make him want to change for starters).

It's hard to tell how Illumi will deal with the loss. We know it won’t be in a normal way, let alone one we could consider healthy, but there is the presence of his family to be taken into account as they will offer support and help as much as they can which might help to reign him back a little. While he might seem to be okay with being killed by someone he “cares about” such as Killua in order to “be kept in their hearts” or controlling them with needles “for their own safety”, but losing them to death? Something that can’t ever be fixed? Not the same.

As much as his family might try to help (despite being how they are, they are still somewhat more balanced than he is), there is a limit to how much they will be able to do so. Illumi may dedicate himself to the job more than never, go after Killua (in an “I already lost my wife, I won’t lose my brother” frame of mind), or anything else that may give him the sensation of recovering control in his life and that demands attention. Again, hard to predict exactly how he will deal with it, but it won’t be by keeping good memories, remembering he will see her again in heaven or anything remotely healthy.

Regarding the baby, he won’t abandon them (as if!) and will dedicate himself to raise them well, but the problem is that without you around to “balance” his behaviour and beliefs, his methods might be worse than what his parents did to him. Illumi won’t remember your words or will just “twist” them to fit his views. Not out of disrespect for your memory, but because he truly believes in his family’s methods. Yes, he will love the baby, very much so, but again… This is Illumi we’re talking about.

On a note, about Alluka, despite his desire to do something about your death, he won’t be dumb/desperate enough to consider using Nanika’s power to bring you back, at least until he is 100% sure this won’t backfire on him (and chances are, it will anyway. I mean, when did this sort of thing ever work for anyone who tried? Read “Pet Sematary”, “Monkey’s Paw” and whatever else deals with the subject. He is twisted, not stupid).

Chrollo

Surprisingly, despite being a criminal, Chrollo can make sure you are well-cared for during pregnancy and when the time comes to give birth, you’ll have great doctors. Sadly, again, this doesn’t mean death by childbirth cannot happen (it depends on several things, even if you have top healthcare).

As someone who lives so close to death and who has little to no care for human life, Chrollo doesn’t have a moment of denial. Being in the room while you give birth, he feels life leaving you and a part of him seems to go with you… He tells the doctors to do something, to help you, but it’s too late. And he knows it. He has killed enough people to know when they are gone with no chance of getting back. He stays with you for a while, not talking, not crying, just holding your hand as if you were asleep.

Because the Spider has so many enemies, he will make sure it was indeed an accident and not someone trying to take revenge by killing you or anything of the sort (and if it turns out this is what happened, well, everyone involved is as good as dead). And also because of his lifestyle, you might think he will be somewhat better prepared for this event and know how to deal with it…

Well… No, not really. Losing you is worse than losing another member of the Spider, as it is more personal. Chrollo doesn’t make a show of how much this hurts him while there are others around (in fact, even with the Spiders he might keep his emotions under control), but when he is alone, he doesn’t care to keep a façade of calmness. Differently from Hisoka or Illumi, this won’t be an explosion of rage or a long scream, but it won’t be less of a huge blow: Chrollo feels lost and for a moment, he can’t even focus on the Troupe or what to do. He just feels your absence and a future he can no longer have while he holds the baby close.

Although he is used to “carry on” when a member of the Spider dies (and searching for whoever killed them to get revenge), this is different: Not only because he has no one to blame for, but again, it’s far more personal. You were his partner, the person he wanted to start a family with… He never allowed anyone to get this close, keeping his focus on the Troupe and its objectives and now he has to deal with losing you forever. He knows he needs to carry on. He knows there is nothing he can do now except caring for the baby and continuing with his plans. In a sense, his rational side continues to work because Chrollo basically programmed himself to be like this with the years of being who he is.

Only that this doesn’t help when emotions, that are far harder to be controlled, get involved. There is no other way of putting this: Your death leaves Chrollo devasted. And this depression may last a long time. He may get to the point of continuing his plans, keeping the Troupe’s goals and all, but underneath it all, there will be this hollowness that just won’t go away. If Senritsu was to hear his heartbeat, she would point out how worse it became.

The members of the Troupe that are closest to him, such as Machi, will know that Chrollo needs help in this moment, not as a villain or as their boss, but as a human being who lost a loved one (considering how many people they took away from their loved ones without a care, you’re free to call them hypocrites). It must be said that this help will be balanced: Enough to remind Chrollo he is not as alone as he behaves and not pushing to the point of being suffocating.

Because of that and also due to Chrollo’s ability to not lose focus despite emotional turmoil, as depressed as he gets, he won’t forget that he has a child to think about now: The uncertainty that one feels when having to be a single father is present, he isn’t sure of how he’ll balance being the Troupe’s leader with protecting and raising a child. He isn’t just going to forsake the Spiders, but he won’t just drop the kid in an orphanage and take off (unless there is so much danger closing on him that he literally has no choice, but the chances are preeetty slim). Some members of the Troupe may help Chrollo in this department (such as Machi or Pakunoda, if she is still alive when this happens) as he finds ways to reach this balance between his goals and his personal life.

#Headcanon #Chrollo #Hisoka #Illumi #Adult Trio #tragic #death by childbirth #dead s/o #Zoldyck #Lucifer #hxh #hunter x hunter #hxh headcanon #Pretty sad #Should've posted those last night but had problems with power since friday #I hate my building so much

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chibivesicle · 3 years

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Golden Kamuy chapters 269-270. The cliff notes meta edition.

This will be a less detailed meta as I’ve just been spread too thin recently and the current events of the manga have been underwhelming to me, making it harder to engage with the content.

Having an online presence has been a double-edged sword for me and as we mark 1 year of pandemic life, it is hard for me to invest as much time in it since I have to do so many more things online for work. Sitting down to write meta isn’t as fun and relaxing as it once was when you have 7 zoom meetings over the course of several days. Add on the fact that I have not left the county were I live since February 2020 nor I have a seen any of my family or friends . . . yeah writing meta isn’t a much of a priority. As an aside, I think more people need to be stating that being ‘productive’ and ‘leveling up’ during these times is either unrealistic and even more damaging by creating completely unrealistic expectations of how we should respond to things.

[steps off of soapbox]

Chapter 269, quickly shows us how the chaos that Tsurumi unleashed on the divided Ainu resulted in a tragedy and Wilk is the only one who managed to survive the massacre.

Tsurumi is able to sort out that there were eight Ainu, and that Wilk staged his own death by working quickly to conceal the identity of the dead partially by removing the eyes.

Kikuta is the first one to find the man who dies soon after discovery and Tsurumi seems to be in awe of Wilk’s escape plan.

KIkuta also shows he’s a more empathetic individual worried about how they contributed to the death of Ariko’s father. Did Tsurumi push Kikuta away after the war since he knew Kikuta would feel bad about doing the ‘things’ needed to be done for the gold?

It further highlights that Usami and Kikuta were never on the same page. I do like how the following page shows both Kikuta and Ariko continuing to tie the narrative that Kikuta feels a connection with the younger man. Shiraishi and Sugimoto spot Ariko, calling him Ariko Ipopte, which is an interesting choice to use a hybrid name for him. Kikuta uses his full Japanese name, while these men use a mix.

The final panel showing a reflective looking Kikuta walking alone in the rain really emotional connects with the grief surrounding all of this unnecessary death. Tsurumi sought to be a leader of men by giving them love and being the stand in father for them. I think that Kikuta is the character who is the natural and honest father figure - we know he has a deep relationship with Ariko and we also know he has some sort of connection to Sugimoto.

Tsurumi continues his ‘discussion’ of events with Asirpa and Sofia. Tsurumi has such a complicated relationship with Wilk. He’s both in awe of the man’s determination to survive but at the same time he wanted him destroyed at such a great cost.

Tsurumi really lays on the guilt to Asirpa that Wilk did everything to protect her - under the assumption that she’d be unfairly treated if her father had killed all of those men. Perhaps that is the case, perhaps not. It seems contradictory to his own actions where he gave Ogin and the Lighting Bandit’s child to Huci to care for it. He has this weird approach to the impact of the ‘sins of the parents’ on the child . . .

Tsurumi doggedly pursues Wilk and they immediately recognize each other and he flees onto the lake with his canoe. By shooting at Wilk, he forces him to capsize the canoe and items sink down into the lake. Honestly, I’m not sure what Tsurumi was hoping to achieve by this - make him swim so that he could capture him more easily. We don’t know how skilled Tsurumi is with a rifle and I’d be more concerned about killing Wilk and loosing the information. It seems reckless in my opinion since the ultimate outcome was Wilk appealing to Inudou thus achieving protection from the 7th.

I think Tsurumi was fueled and blinded by his emotions which only made things more complicated and drew the hunt for the gold out even longer (to the present time).

The rest of the chapter explains how Kiro felt. First, the grief at the loss of Wilk, trying to move on my having a family, but ultimately coming back to realize that Wilk was still alive after the war. Really, Wilk underestimated Kiro’s intelligence since he figured out that Kimuspu was the seventh man, not Wilk. As a Kiro fan, I of course favor him, but he really showed he’s a good leader and actually willing to take risks. What is most important is that having a family only lead him to want to fight for them - even more.

Kiro sees the flaw in Wilk’s plan of Hokkaido as an independent unit as a place for various native peoples, while ignoring all of the logistical issues that Kiro already pointed out to him previously. The Far Eastern Federation has the flaw that it is connected by land to Russia, but would me much harder to lay siege to. But Hokkaido as an island could easily be cut off - and with not much industry within itself, you still can’t do a whole lot with all of those raw materials if you can get industrial technologies from elsewhere. If it were blockaded they’d be screwed. Sure, you wouldn’t starve, but you wouldn’t be able to advance quickly. All that gold and nowhere to spend it.

Thus, Kiro believed he was acting in regard to their original goals and had no choice but to remove Wilk from the equation. As Wilk had become the very wolf that he had observed as a child and played with its pelt. That is some next level foreshadowing by Noda, if I do say so.

In the end, Kiro remained much more committed to their fight as partisans than Wilk did. You have to give it to him, he stuck to his original plans and he died believing he did the right thing. Now, looking back at how upset Sofia was when she first saw Kiro, we know why she slapped him in the first place. I’ll take it to mean that she was upset by Kiro’s actions but at the same time understood what he did. But then Sofia let it go, as she would soon go on to also speak fondly of Wilk and his desire to be like the wolves. Therefore, I don’t think Sofia was completely angry with Kiro, instead she knew the decision that was made and perhaps, she too, would have understood that there were divided in their goals once they moved on with their lives.

The next chapter starts off with the bottle mobile boys and Ariko on horseback as they determine what to do next. Sugimoto is amazingly still not rushing in like a maniac which is out of character for him. Are you okay Sugimoto? Or have your encounters with Kikuta and Boutarou begun to have an impact on you without being aware of it?

The settle on letting Ariko go ahead, even though he doesn’t answer their question. I’d say he doesn’t have a clue what side he is on. He likely cares about Kikuta. But he wants to see Asirpa succeed since he feels ashamed by his own approach towards life in Hokkaido as an Ainu.

Off he goes alone to figure out how to rescue Asirpa. Really, a terrible idea since sure he’s a tough guy, but we don’t know what his fighting skills are like in the first place. . . . At least he isn’t a hothead, so sending him in alone will be less of a disaster than Sugimoto.

The action returns to Tsurumi trying to turn up the heat on Asirpa. She asks him about Kiro’s fingerprints at the crime scene - a lie that Tsurumi fed to Inkarmat to get her to help him. He writes it off as him doing a good thing for her - she closed a chapter of her life - then again - he doesn’t know that Koito let Tanigaki and Inkarmat escape. The next several pages are a slow psychological technique that builds up to Tsurumi reveling that the bullet that killed Fina and Olga had been from Wilk’s pistol. Dum da duuum!

So, according to Tsurumi it is Wilk’s fault all those Ainu died. That he should have never left Russia for Japan. That even his time in Russia resulted in Fina and Olga’s deaths. Everything is Wilk’s fault!

This page ends with how Tsukishima let go of the woman he had loved and his memory of her - yet Tsurumi kept the bullet and the finger bones of his family! We can see that Tsukishima is barely holding it together, so upset by this knowledge!

As a master manipulator of people, Tsurumi thanks Sofia for what she has contributed to the story - he can help her feel better by telling her that she did not kill his wife and child. . . . on no, he only uses it as a way to add even more pressure on Asirpa!

To Tsurumi, Asirpa is no child, she is the direct tie to all of his anger and pain and his twisted soul.

I mean, he kept Wilk’s skinned face and he’s using it to get her to break! What is more interesting is after the initial shock, Sofia quickly regains her calm while Asirpa - well she’s clearly buying into Tsurumi’s explanation of things.

She is thinking about how her father ‘turned’ Tsurumi into the person he is before her . . . . I’d be willing to say that Wilk influenced Tsurumi - as much as Tsurumi influenced Wilk. Yet, Tsurumi as a human being is responsible for his decisions and he alone can respond to them in a constructive or destructive way. It is clear Tsurumi went for the latter.

Sofia’s calm in this pressure situation is clear as she asks him if it was for revenge. She’s a smart woman and has lived long enough to see these types of things through.

Tsukishima is ready to kill Tsurumi - it would make him a hypocritical leader - having him let go of his own earthly attachments only to serve a man bent on revenge. Koito is listening closely as well, unsure of how he’s going to respond.

Tsurumi makes it clear he could have killed Asirpa any number of times. I think this is another case of Tsurumi playing a verbal slight of hand. He’s asked if he’s doing this out of revenge, and his answer is - I haven’t killed her yet. Gee, based on how messed up you are Tsurumi, we both know that there is more than one way to take revenge. Killing someone in retribution is one way to take revenge or the worse way - make their life a living hell. It is clear that Tsurumi is going for the second one to break Asirpa.

There is a dramatic two page spread as he explains that he is doing this for Japan - and the implied increasing militaristic activities of the late Meiji government to expand their domain.

If feels - like a performance to me as a reader. The pages are remarkably light in tone giving it an optimistic and feeling of purity. Yet, Tsurumi is a broken and corrupt man . . . cruel in his intentions. He only says this as a way to combat anyone who were to contradict him . . . .

It is too perfect - too convenient - too good for Koito and Tsukishima to believe in my own opinion. As both of the men seem relived to have heard these very words as a type of closing statement.

Tsukishima looks relived that Tsurumi is continuing on the behalf of all of their fallen comrades and families. Again, this sounds too perfect like Tsurumi’s speech isn’t for Asirpa nor Sofia, it is for Koito and Tsukishima who are eavesdropping. Since Tsurumi is a next level planner/manipulator he likely came up with this well rehearsed speech to placate all issues around his inability to move on from his family’s death. It makes him look mature and that he’d moved on from his more basic human needs.

Koito looks like he’s trying really hard to believe Tsurumi and how Tsurumi’s words would comfort Tsukishima. But is that how you really feel Koito? That face looks - so - fake. Like Koito is overdoing it again and is actually unsure how to react. So, he he looks elated, Tsukishima will feel better - or something.

What I really want to know is why they are just there hiding and watching Tsurumi? If they are wanting to think independently and beyond Tsurumi why do it while hiding? It seems no matter what either man may think, they are still under Tsurumi’s thumb as far as how they react to his behavior and the current events.

And I’m gonna have to hold things here while I find a way to read the more recent chapters with non-shady software to decompress the files since I’ve been using Mangadex the entire time I’ve been reading GK (in addition to the english versions of previous chapters).

#golden kamuy #golden kamuy meta #asirpa #tsukishima hajime #koito otonoshin #kiroranke #tsurumi tokushirou #sofia #wilk #sugimoto saichi #Shiraishi Yoshitake #warrant officer kikuta #ariko rikimatsu

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possiblyimbiassed · 4 years

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“E” as in Eurus, Enola and Estate

In June this year the Conan Doyle Estate Ltd filed a lawsuit against an impending Holmes adaptation movie on Netflix (article from RadioTimes here: X).

Sherlock, Mycroft and Enola, starring Henry Cavill, Sam Claflin and Millie Bobby Brown.

This post about it by @tendergingergirl (X) seems to have gone largely unnoticed, but I think it deserves far more attention. In fact, it got me thinking “What’s all this actually about?” and looking a few things up.

My curiosity about the doings of this Estate began in December last year, before the release of BBC Dracula in January, when an interesting discussion initiated after an excellent meta by @yeah-oh-shit (X), who had made some investigations into previous copyright and public domain issues and lawsuits, which I had never known about before.

And now it turns out that the Conan Doyle Estate Ltd (from here on I’ll call them ‘ACD Estate’) is suing the film makers, along with Nancy Springer, author of a book series based on characters from the Holmes universe called The Enola Holmes Mysteries (2006-2010), for copyright infringement.

But I thought most of ACD’s Sherlock Holmes stories are now in public domain, including the Illustrious Client, the Sussex Vampire and the Three Garridebs, whose copyright under US law expired last year (2019)? Well, yes, but that’s still not all of them, and according to ACD Estate “for those of the stories whose copyright terms have ended, this action is brought within the three-year limitations period for infringement.”

More under the cut.

So, the ACD Estate’s copyright, they claim, still includes the following ten stories collected in The Casebook of Sherlock Holmes:

The Creeping Man (1923)

The Illustrious Client (1924)

The Three Garridebs (1924)

The Sussex Vampire (1924)

The Retired Colourman (1926)

The Lion’s Mane (1926)

The Three Gables (1926)

The Blanched Soldier (1926)

Shoscombe Old Place (1927)

The Veiled Lodger (1927)

The whole lawsuit can be downloaded as a PDF file from this news article (X), and it’s quite an interesting read.

Claims about Sherlock Holmes’ emotions

So, since this is not the first lawsuit from the ACD Estate about adaptations, what’s their beef with the film makers this time? As far as I can see from their claims, this is about Sherlock Holmes’ emotions.

This is how the ACD Estate reads Holmes’ character development in the lawsuit: “Conan Doyle made the surprising artistic decision to have his most famous character—known around the world as a brain without a heart—develop into a character with a heart. Holmes became warmer. He became capable of friendship. He could express emotion. He began to respect women. His relationship to Watson changed from that of a master and assistant to one of genuine friendship. Watson became more than just a tool for Holmes to use. He became a partner.”

They even quote the famous passage in The Three Garridebs (3GAR, 1924) where Watson says: “It was worth a wound—it was worth many wounds—to know the depth of loyalty and love which lay behind that cold mask.”

But all this progress, they claim, specifically happened within these ten still (allegedly) copyrighted stories, which Conan Doyle wrote after World War One, where he had the traumatic experience of losing both his son and his brother.

They claim that Holmes’ emotional development is still under their copyright (which I believe in practise means their power to decide whether to allow a film adaptation or not) and apart from the emotions issue, they also provide the following other examples of developments that are (supposedly) unique to these ten still copyrighted stories:

Holmes employs a knowledge of medicine in Watson’s absence

Holmes and Watson use modern technologies in detective work for the first time

Watson marries a second time during his association with Holmes (BLAN)

Holmes changes into someone who has great interest in dogs

Sherlock’s “secret sister”

The Enola Holmes Mysteries got me interested, and now I’ve read the two first of six instalments in total. The series is about Sherlock’s and Mycroft’s younger sister Enola, a clever teenager whom the brothers – in particular Mycroft - want to send away to a boarding school after their mother has disappeared and abandoned her. But Enola hates the idea of being confined to a place where she will be forced to wear a corset and restricted to a certain (‘female’) behaviour at all times. She escapes to London, where she starts a secret private detective career specialising in investigations of missing persons. Enola must keep ahead of her brothers who are determined to capture and force her to conform to Victorian society’s expectations for young women. She skilfully uses different disguises, just like Sherlock, and she meets John Watson pretending to be someone else. With her cleverness she manages to outwit even Sherlock. She is good at drawing and uses her sketches in her work. She manages to communicate with her mother (and eventually also with Sherlock) by using ciphers.

All of this does seem to have certain similarities with how Eurus Holmes is described in S4, doesn’t it?

Eurus is, like Enola, the secret Holmes sister whom we never have heard of before.

In TFP Mycroft claims Eurus’ intellect was superior to both Sherlock’s and his own; she was “incandescent”.

We see little Eurus draw sketches of her family members (not very pleasant sketches when it comes to Sherlock, though).

Mycroft made sure Eurus was sent away to an isolated prison/institution (Sherrinford) at an early age.

Their parents seemed absent and not particularly interested in the whereabouts of their own daughter (they didn’t even know she was alive); they let Mycroft and ‘Uncle Rudy’ take care of things, so one could easily suspect she was abandoned.

Eurus seems to have escaped to London at her own leisure, while Mycroft thought she was incarcerated.

Eurus appears in London under three different disguises: “E” (flirting and texting with John),

“Faith” (walking the streets of London with Sherlock)

and John’s new therapist.

Eurus makes riddles with codes for Sherlock to decipher (“The cipher was the song”).

So, one might wonder if the Eurus plot is – at least to some degree – inspired by Enola Holmes? On the other hand, while Eurus appears cold and calculating, Enola is compassionate and sensitive and makes mistakes because of emotional bias. Enola seems more similar to Eurus’ disguised personas than to the supposedly ‘real’ Eurus - the one who burned the family estate down and killed Victor Trevor.

I still believe that Eurus only exists inside Sherlock’s head in BBC Sherlock, being a part of himself, but that’s for another discussion.

As for the Holmes siblings, it’s also interesting that on the ACD Estate’s website, where they have a collection of ’facts’ about ACD’s characters, they seem to have included BBC Sherlock’s Eurus as a valid sibling of Sherlock and Mycroft (scroll down to “Holmes facts” on this page: X), even though this character is nowhere to be found in canon. Please correct me if I’m wrong about this, but the only reference I can find to ”the East Wind” in ACD’s stories is in His Last Bow (LAST, 1917), where Holmes says that ”There’s an east wind coming, Watson”, and goes on to talk about a cold, bitter wind that is threatening England; most probably a reference to WWI, which was raging at the time of publication. No one with the name Eurus is ever mentioned, though. If Eurus had already been part of canon, why would Mofftiss have claimed her to be the big ”rug-pull” in TFP?

I haven’t read the final part in the Enola Holmes series (X) yet, where allegedly Enola reconciles with her brothers (Sherlock in particular) and they end up respecting her independence and skills. But according to several reviews Sherlock softens up a bit in the end. In the parts I have read, the two adult brothers appear rather conservative, patronising and sexist towards their younger sister – indeed more condescending than I think Holmes view of women actually is described in ACD’s original stories (allegedly – we never see him treat women badly in practice, do we?). At any rate, I haven’t this far been able to find a single specific plot element from the ten (supposedly) still copyrighted stories in Springer’s work.

In their lawsuit, the ACD Estate claims that “The Springer novels make extensive infringing use of Conan Doyle’s transformation of Holmes from cold and critical to warm, respectful, and kind in his relationships. Springer places Enola Holmes at the center of the novels and has Holmes initially treat her coolly, then change to respond to her with warmth and kindness.”

So what they’re doing here is the same thing they’ve done before (and lost): they’re claiming they still own some intrinsic characteristics of Sherlock Holmes, even though most of the stories are already in public domain.

Other lawsuits

A similar lawsuit towards Miramax (X) was made in 2015 for the film Mr Holmes, which had Ian McKellen as protagonist. But it ended in settlement before the defendants had responded to the accusations, which were similar to those regarding Enola Holmes about Holmes’ emotional life, but also had to do with the details of Holmes’ life as a retired man.

So, this is not the first time the copyright owners are interfering with content in Holmes adaptations. To complicate things further there seems to be two different estates claiming copyright for Doyle’s work. In 2010 there was some reporting that another estate had threatened Guy Richie’s Sherlock Holmes movies with disapproval after Robert Downey Junior had discussed Holmes possibly being gay on a TV show (X). According to Digital Spy, Andrea Plunket, who then represented the ‘Arthur Conan Doyle Literary Estate’, said: "I hope this is just an example of Mr Downey's black sense of humour. It would be drastic, but I would withdraw permission for more films to be made if they feel that is a theme they wish to bring out in the future. I am not hostile to homosexuals, but I am to anyone who is not true to the spirit of the books."

It’s very unclear which legal rights Andrea Plunket’s family (Andrea apparently died in 2016) actually has to represent ACD’s work, though. Andrea had been married to one of the copyright owners, and her family’s money had paid for the purchase of those rights, but after her divorce Andrea seems to have lost her part in the copyright, according to @mallamun on tumblr: (X). There’s also a lot of interesting things to read about these copyright issues in an article by Mattias Bodström from 2015: (X). However, there’s still a website from ‘Arthur Conan Doyle Literary Estate’ claiming ownership of the stories: X, and they have published a detailed account of their version of the matter (X).

The current case

I have no idea what the court will think about these new accusations against Netflix et al, but to me, if this isn’t farfetched, I don’t know what is. I think a good case could be made for most of these ‘unique’ elements listed above being expressed already before the Case Book. For example, in His Last Bow (LAST, 1917) they use a car, in The Dying Detective (DYIN, 1913) Holmes manages to fool Dr Watson that he’s very sick. When Watson declares his intent to marry for the first time already in The Sign of Four (SIGN, 1890), Holmes resorts to drugs. The dogs are all over the place since day one, and Holmes seems to appreciate them very much, not least Toby in SIGN.

And don’t get me started on the contradictions in Watson’s various discussions of whether Holmes has a heart. Holmes’ actions of helping people often contradicts the image of a cold, emotionless person. The Yellow Face (YELL, 1893) ends with Holmes being deeply repentant for being over-confident in his suspicion of a woman for adultery or maybe worse offences, when she was actually only trying to protect her little daughter from society’s racism.

In the Devil’s Foot (DEVI, 1910) there’s the following conversation (my bolding): “Upon my word, Watson!” said Holmes at last with an unsteady voice, “I owe you both my thanks and an apology. It was an unjustifiable experiment even for one’s self, and doubly so for a friend. I am really very sorry.” “You know,” I answered with some emotion, for I had never seen so much of Holmes’s heart before, “that it is my greatest joy and privilege to help you.”

Why on earth would it be a “surprising artistic decision” from ACD to develop Holmes into a little more caring and openly compassionate person as he grew older? Isn’t that the very classical character development of any literary hero’s journey and also a logical personal development for many people in the real world? It’s called ‘learning’ and ‘maturing’, as far as I know. To claim this is infringement of some unique idea is frankly ridiculous.

In short: They make a very literal, textual interpretation of the Holmes character, cherry-picking the parts that suit their interests, they claim there’s a clear story arc with very separate characteristics before and after WWI, and that they own the end of it. Thus, no adaptation with a progressive story arc regarding Holmes’ character would be permitted without their consent. Since apparently BBC Sherlock have ACD’s Estate’s license for their own franchise, this just makes me wonder how much trouble Mofftiss et al had with including things like Sherlock’s and John’s hug in TLD, or his emotional breakdown with the coffin after Eurus’ experiments on him in TFP.

Possible satirical meaning and small hints

Allow me to speculate a bit about the possible implications of BBC Sherlock in relation to the Estate. In a recent excellent meta by @raggedyblue, the ACD Estate as ‘Doyle’s bank’ is discussed, regarding the significance of the banker Sebastian Wilkes in The Blind Banker (X). Many interesting ideas are presented in this meta, I really recommend a read. This topic also initiated an interesting discussion about Doyle himself mirroring John in this post by @devoursjohnlock (X).

In an addition to that meta @shylockgnomes brings up John’s blog post about Tilly Briggs as another possible reference to the Estate (X). I totally agree with this; some time around the release of BBC Dracula this year, and our discussions about legal issues connected to both shows, I stumbled upon this particular ‘aborted’ blog post and came to realise its possible significance. It gave me the idea to change the title of my own blog to “Tilly Briggs Ship with Johnlock on it”, since I suspect that the blog post might be a clue about legal obstacles to a certain relationship. And that title is staying, at least until we know the true story (if ever).

Canon contains some info about Matilda Briggs is in The Sussex Vampire, one of the late ACD stories that should be in public domain by now, since the copyright supposedly expired in December 2019. But, as shown above, the Estate now claims there’s a three-year lapse when they can still sue for infringement. Here’s the quote from SUSS (my bolding): “Matilda Briggs was not the name of a young woman, Watson,” said Holmes in a reminiscent voice. “It was a ship which is associated with the giant rat of Sumatra, a story for which the world is not yet prepared.” Sumatra, by the way, was Sherlock’s preferred destination in the TST tale of the merchant who met Death in Samarra. In Sherlock’s version, according to Mycroft, the merchant survived and became a pirate... ;-)

John’s aborted blog post (X) is titled “Tilly Briggs Cruise of Terror”, which just might be yet another little jibe at the Estate. John says that “I had to take this post down for a while as the ship's owners are launching an appeal”. According to Jacob Sowersby (a Sherlock fan on the blog) and Mike Stamford, this was “mind-blowing stuff”:

So I can’t help thinking this sounds like a hint to us about the Estate and a certain ‘ship’ which is still partly in their (legal) power and control. In fact, it wouldn’t surprise me if the whole show - on the meta level - is partly meant as a satirical commentary on how Holmes’ and Watson’s characters, and therefore also their relationship, have been treated the last 100+ years by their ‘owners’. A treatment where I believe the hetero norm has always ruled, and where Andrea Plunket’s quote above indicates that homophobia regarding Holmes and Watson is still tied to legal obstacles.

Charles Augustus Magnussen also talks about ownership at the beginning of HLV (thanks for the quotes, Ariane DeVere): “Of course it isn’t blackmail. This is... ownership”. And later in the episode: “It’s all about knowledge. Everything is. Knowing is owning”. In fact, quite a bit of emphasis in HLV is put on Magnussen’s ‘ownership’ of characters people: “I’m a businessman, acquiring assets. You happen to be one of them!” Apparently - as this new lawsuit shows - it’s even possible to make money out of Holmes’ emotions.

@catwillowtree also pointed out, in another additional thread to @raggedyblue’s meta, that Eurus’ burning down Musgrave Hall – the family estate - in TFP also seems like a reference to the ACD Estate. I would add to this, saying that the bomb that didn’t go off in TEH and the “patience grenade” that did go off in TFP might have to do with the same issue. What would happen if the ‘bomb’ of Johnlock would go off before the relevant stories are legally in public domain? Most probably another lawsuit from the Estate, which might become very expensive.

Come to think of it, in TGG Greg Lestrade mentions an estate agent, when Sherlock receives a text message and a phone call on the pink phone from Moriarty: “What the hell are we supposed to make of that? An estate agent’s photo and the bloody Greenwich pips!” Well, if the Estate agent is somehow connected to the five pips, that fandom theory of the pips representing five series in the show comes to mind... For every pip in TGG there’s a victim covered in explosives; a huge bomb threatening to go off. (The third bomb did go off in TGG, but in S3 Sherlock found the ‘off-switch’ in time). If the fifth bomb is to explode in S5, I bet it won’t be until the relevant stories are safely in public domain. 2023?

More wild speculation while I’m at it: Maybe Sherlock and Ajay’s smashing of Thatcher busts in TST also ties in metaphorically to the same topic? The Thatcher era was not easy for LGBTQ people. There are several owners in TST whose Thatcher busts need to be smashed in order for Ajay’s lost memory stick to be recovered. AGRA is referred to as Ajay’s and Mary’s “family”. The memory stick contains personal information, ‘who you really are’. Could be read as if the info of who Sherlock Holmes really is can only be released once certain obstacles are overcome...

In another interesting meta from last year by @yeah-oh-shit (X), they mention the secret underground station at Sumatra road in TEH, where Howard Shilcott tells Sherlock and John that “They built the platforms, even the staircases, but it all got tied up in legal disputes, so they never built the station on the surface.” So maybe S5 is basically already written? It would make sense to me if the long hiatus we’re facing right now has a far more logical reason than the excuses Mofftiss have presented in interviews - the risk of legal disputes with the copyright owners.

Tagging some more people who might be interested: @gosherlocked @ebaeschnbliah @sarahthecoat @sagestreet @thepersianslipper

ETA: I have corrected some details about the copyright owners in this post; thanks @devoursjohnlock for pointing them out!

#The Conan Doyle Estate

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jencsi · 3 years

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Let’s Talk- Finn and Russell;

From the very beginning, we get the hint, notion, presence of a deeper connection between Julie Finlay and DB Russell. In Seeing Red, when she hears him, not even having to look and know he’s there during the crime scene reconstruction, just his voice alone makes her roll her eyes, gets her fired up with some sort of passion, anger, emotional reaction. As evidenced from their conversation about the blood spatter case, her resistance to proceed further with him again shows she is not quite over what has happened to them in the past and it makes viewers want to know, what the heck happened? What could this seemingly unbothered hippie like guy have ever done to cross this already sullen yet spirited woman? Despite her futile attempts to deflect him, she cannot help but be drawn to the case, he sought her out after all, he must be desperate. When she retrieves the file he leaves behind and it piques her interest, she gives in, with probably a lot of hemming and hawing off screen, before venturing to CSI for the first time.

That single solitary scene cemented in my brain their dynamic from that day forward. There was no going back for me. Whatever they had in the past, whether that be something romantic, friendly or just work related, my soul ached to know more and even better, my heart yearned to watch them more, to listen, to observe the bantar, the sarcasm, the snark, the sheer and utter pure honesty that comes from their conversations. DB Russell is not trying to trick Finn, he’s not trying to make her figure out some silly puzzle or game, he just wants her expertise and guidance. Once she accepts his offer, her personality begins to shine via her work (Should I wrap it up and take it back to the lab? Took the words right out of my mouth smart ass” “You know me so well” “And you know blood, better than anyone I know”) her bonding with her colleagues, and even better, the little hints at what was between her and Russell back in Seattle.

When we finally do get to see that past revealed, ripped open like a fresh wound, via CSI on Fire, we see the headstrong and overheated Finn on a mission, prove that Tom Cooley is a killer and bring justice to the families of his victims. Of course that journey is not without complications and wild accusations, of course Finn would never kill anyone, that I firmly believe, unless of course it’s to save a friend or colleague (saving Greg from that supposed innocent victim of the Gig Harbor Killer in The Twin Paradox) but Cooley rattles her, gets under her skin in a way different from Russell. In fact it’s Russell warning her to be careful, to go with caution, but her typical rebellious nature of “I’m not listening” pushes her further to the truth and to danger at every turn.

Her tone when speaking to Russell about the discovery of Cooley’s body in his hotel shifts our thinking that maybe she isn’t the same person she was two years ago. If what we are observing right now is the casual cool collected Finn, just how reckless was she in Seattle? She feels the disappointment from Russell in his tone, the way he looks at her, and she hates that, she doesn’t want to disappoint anyone, especially him. His presence in her life since the Seattle days has created this combination of not wanting to let him down or disappoint him mixed with her fierce loyalty to the truth, to the victims and their families, clashing with her exuberant personality.

With CSI on Fire resolved, Finn melts back into a rhythm with her ex-husband, also a component of her former life in Seattle, all seems right between Russell and her, a trademark of their friendship, forgiveness and acceptance.

Looking at their dynamic from the perspective of the actors who portray them, Ted Danson has referred to them as the bickersons, like oil and water, but at the same time, Finn/Elisabeth and her characters intrusiveness helps him do his job better and see things clearly when it comes to cases as well as other aspects of his characters life. Elisabeth meanwhile seemed to enjoy the back and forth dialogue and the testiness of their relationship, she seemed invested in their past in Seattle and wondered where the writers would take that.

In Homecoming, the season 12 finale, we see corruption and problems arise amongst the police force and Russell apologies for seeming to drag Finn into this mess and bringing her there to work but she states that she makes her own decisions and doesn’t seem bothered by the issues until she is thrown into the chaos of it all when she trails Crenshaw and stumbles into the violence they have created around them with the assistance of McKeen and Kimball.

The Finn and Russell dynamic gets tested here when Katie, Russell’s grand daughter is kidnapped and Finn attempts to save her. In the chaos, she sends Katie out into the unknown alone while she does battle with Crenshaw (a violent but epic struggle, major kudos to the stunt work they did here, it felt so real and made me love Finn even more, seeing how far Elisabeth was willing to take this character) Russell is devastated to learn Finn let Katie escape alone but is also distraught knowing both were hurt and in danger. His anger at Finn boils over when she insists she’s fine, how he refers to her as “Finn” on the phone instead of the sweeter Jules we are used to hearing, and when she discusses the case with him in the bedroom where Katie was taken from and he punched the wall, leading to a missed clue. Despite the resentment towards her, they figure out Katie’s whereabouts and stop McKeen from carrying out his plans. We can see and feel Finn’s guilt deep down for her mistakes, even if everything works out, the way she stands holding the phone, the way she looks at Moreno who tries to assure her it will be okay.

At the end of Karma To Burn, Finn and Russell reconcile again, not so much with words but in the way she snaps him out of his fantasy of ever having to use his gun in a real life situation, of how far he was almost pushed to the brink when it comes to saving his work family, not just Katie. His use of the nickname Jules on several occasions, something she claims to hate but also doesn’t, comes back when Barbara inquires if she will stay for dinner. All is well again.

The final blow and perhaps the deepest cut of their relationship occurs with the reopening of the Gig Harbor Killer case. From the get go, we start off with a bang, literally and figuratively. It is Russell who is at the mercy of Winthrop who demands he admit they did not capture the correct killer in order to relinquish Finn from the confines of her bomb invested car. With much reluctance, he admits their mistake and Finn is spared. The hug they share in the parking lot after she is freed breaks me every time and just further adds to the complicated but always present nature of their relationship. The next go around, Maya, Russell’s daughter is targeted, but this time, she is used as bait to try and lure the copycat out to play and be captured. When that fails, Finn unwillingly becomes the next target and once again Russell is thrown for a loop. This time however, there is no mercy, no chance at redemption, Finn is ripped from him violently and with no regard. Worse still, we get to see a tiny bit of his life afterwards, via CSI Cyber, when he observes another coma patient in Hack ER. Avery Ryan takes notice of his demeanor and quietly brings up Finn. Russell’s memories play out in quick flashbacks and we see where his heart belonged the entire time. He speaks of reading to her, hoping she’d wake up, then darkness, never to see her eyes pierce him again, no more bantar, no more snark, no more intrusiveness. The fact that almost a whole year later we get a resolution for Finn and get to see Russell pine for her one last time gives us closure and really showcases how strong this bond was for three and a half years.

I will always wish for a better outcome for Finn, as originally scripted, but somewhere in the chaos of writing and producing, we lost her. I will always be sad we didn’t get to see more of Russell at her bedside waiting for her to wake up. That emotion would have been so raw and real coming from Ted. These characters deserved a proper ending and reunification because it just wasn’t justified to wreck their metaphorical ship that was so strong and sailing along fine before colliding with the iceberg of violence. Nevertheless, this dynamic holds strong in my heart to this day. There are plenty more examples to pull from the show, every time they chatted about cases and made progress just by talking it out, every time they fought about their thought processes and reckless behavior, every soft sweet utterance of “Jules” will forever gut me, weaken me, bring me to my knees, but somehow give me strength. That’s how powerful their relationship was and appeared to me on screen, they were a paradox, love, hate, push, pull, oil and water as Ted stated before, give and take, and boy did they give me so much more than any naysayer could ever attempt to take from me. No matter where anyone stands on the fandom line, so much heart and soul went into Russell and Finn, and when you really sit down and watch and listen with perspective and acceptance, you can see it and feel it. I think that type of power transcends just your typical acting alone, it truly feels real. Give me that dynamic everyday, sign me up. I don’t think I’ll ever be as lucky as I was to witness such greatness on the screen between these two. Good things don’t happen twice, as I have unfortunately learned the hard way over the years, once it’s gone, it’s gone.

But in the heart and soul of Russell and Finn is an incredible ability to keep a stronghold on viewers like me, or maybe not, maybe I’m just crazy, but here were are, years after things have ended and the screen has faded to black.

#julie finlay #db russell #ted danson #elisabeth shue #thank you for coming to this ted talk #literally #csi crime scene investigation #that novel I’ve been working on #here you go #let’s talk

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rochey1010 · 4 years

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Hi guys, 👋 i just wanted to make a post about something that i feel is about to happen on the show, like i am completely convinced of this now.

I'm seeing major foreshadowing going on with Elu and what will be the outcome of the spoiler movie plot.

Ok, so something i've noticed with Eliott this season is that he's kinda in his own world. Yes i know they are showing his individualism and i'm happy to see that because i think he's a beautiful and complex character and deserves so much insight.

But certain things i've noticed in scenes and certain things i've heard Eliott say is starting to make me think we are heading for Eliott having his own rock bottom moment. I'm just gonna list some things that seem to connect for me.

• The hiding and lying really been highlighted with Eliott's arc. The almost casual way too. Like it's a habit and second nature. He's done it so much in my eyes to hide his true self that it's basically become a mask now. How he justifies these things to others and how oblivious he really is to how others see it too. How outside perspective is different from Eliott perspective e g. Lola calling him out with the urbex hiding, Lucas's anger when he was blindsided with Lola being in their home.

•For the first time ever with Lucas we see him at Daphne's party monitoring himself in regards to Eliott's mental illness. He's not monitoring Eliott and i have a theory on that. Lucas is so afraid of being a Lucille that he's passive with things that may be seen as controlling. So instead he tries to be cautious and make the situation about it being Lucas's choice and not a choice made for Eliott. I don't think it's an accident at all that Arthur walks up to Lucas and Eliott and wants to share a joint and Lucas who is cuddling Eliott and playing with his hair brushes Arthur off without saying what the audience is picking up on. For the first time ever we see Eliott chafe under this and we are aware that Eliott knows what Lucas is doing. Eliott tells him in an almost biting the tongue way to go and it's ok. And Lucas says these very telling words "Can i?" And Eliott says "yes Lucas" Lucas then happy kisses Eliott on the cheek and goes off with Arthur.

• The argument Lola wakes up to where we see that Eliott impulsive, forgot to let Lucas know what he was coming home to. Now i must say i don't blame Eliott for not doing this as the night was intense. And he'd just saved a girl from attempted rape and was prob up for hours with her and got very little sleep himself. But i also see Lucas's point too. Lucas is passionate. It's not out of character. It is part of who Lucas is. That is why he is a hedgehog. He is simply prickly and reactive. We have seen this throughout the show. He initially acts in a defensive way (hedgehog quills) and then he calms and deals. But again we see Lucas thrown off guard with Eliott and his impulsivity. So they are yelling and then Lucas says "she has problems" and Eliott tells him he has problems too, and Eliott acts offended that Lucas is being judgmental. And again it's a trait with Lucas too, and highlights again the group dynamics and the reaction to outsiders. Lucas accepts Eliott's illness but found it hard to accept his mothers. His love for Eliott changed his perceptive though as we see in S3. Lucas still shows that he has prejudices. He has made comments that are ignorant and unfair throughout the show e.g. mental illness, LGBTQ+, ableism with Arthur, Panphobia stereotypes etc. He just did it again with Lola. Like i said before, i play no favourites i see these characters as complex and when they're messy or flawed they are more interesting to me. So i have no issues when they F up. They're young, insecure, and it feels true to life. But yeah i notice with Lucas (again highlighting insulation in the group v isolation in outsiders) that Lucas has a moral view. If i care and love you i will accept you warts and all. If you are unknown and alien my quills are ready to go. And this is a direct contrast to Eliott who comes in and spreads his arms ready to hug the world. Even adopts furry animals. 😍

Then again something is said that shows how Lucas views his position with Eliott and his mental health. Eliott gives a hypothetical and says to lucas if he were in trouble Lucas would want him to be helped and safe, and Lucas says back. Yeah, but Lucas himself should be that person that should handle it. Now i don't blame Lucas. He loves Eliott so much and he wants him safe but i got subtle control out of that comment and an implication that Eliott can't handle himself. And we see the direct contrast the night before when Eliott, who the last time we saw in that hoodie with the hood raised, he was at his worst and crying in La Petite Ceinture needing rescue. But now he's the one that finds his power and rescues someone else. That he is capable, individual and has 2 feet.

•The mental illness talk with Lola and us learning more of Eliott's past. I loved this because we again see Eliott speak for himself. We get the much begged for past history of Eliott and his struggles. And he gets to impart wisdom and help someone else. That there is power in this friendship with Lola. For Eliott he not only sees the mistakes of his past he can rectify but he can be strong and guide someone out of the darkness he once found himself in. I find that incredibly beautiful and amazing character insight. But again it highlights how oblivious Eliott is to his actions on the one he loves most. His Lucas. Like i could write a huge ass post on Eliott alone and why he does the things he does, but i may get kicked off the tag if i do. 😄 but 2 words come to mind with Eliott and his love with Lucas.

FEAR: The fear of the past repeating and control happening AND the fear of being real and true because it's too much and you are a burden. And it all being rooted in his mental illness.

"i don't know how to control it and it is killing me"

Eliott tells Lola that his bipolar episodes can be quite violent. That there are funny ones (choc labrador thievery) and very sad ones (3 time attempt to take your life) like i knew his past was dark. (anyone that creates a refuge to release in and cry like you're still hiding, even from yourself and uses that as a coping mechanism?) Something horrible must have happened for you to resort to that.

And i've always maintained that Eliott is one of the darkest Even's, and France have not romanticised the portrayal of his mental illness in any way shape or form. He has snapped at lucas during his crash , had episodes where lucas can only watch him helplessly and love him regardless, his insta journal has been quite heartbreaking with his mental/emotional state, he sometimes won't take his meds, he'll hide his bipolar out of fear and run, he has his personal refuge, he's tried to take his life, he needs to get away and breathe, and he still has suicide thoughts even though he has Lucas. You have got to applaud the show with how they've handled Eliott and his illness. It's very real, and you may love someone immensely but depression doesn't care what they mean to you. They will be by your side but they can't fix you and love your mind to better health. You're still gonna have negative thoughts, you're still gonna slip and regress but having the one you love hold your hand makes it easier to navigate those scary moments. 👏

But through this something dawned on me. Eliott is sabotaging his relationship in his pursuit not to. And i gotta say i find that so sad. He's creating this love bubble, actually they both are, and nothing can penetrate the love bubble. That means fears and insecurities stay outside. He's lying and hiding to protect himself, protect Lucas from himself and keep Lucas from leaving him. Lucas is too but that essay is for another time. 😄 and he says to Lola that to love someone is to accept them even with their flaws. But he's lying to Lola too because he won't let Lucas see his flaws because it means Lucas leaves. 😭 we saw Eliott once open up to Lucas in S3 Lundi and the way Maxence played that scene was beautiful, because you see just how heavy being mentally ill is on Eliott. That he believes he'll just ruin everything around him

"things will change, i don't want them to but they will and it'll be because of me"

He can't keep eye contact with Lucas and his entire demeanour is one of wobbly defeat. You have never seen Eliott more vulnerable in this moment. His shame, embarassment, and self loathing is oozing out of his pores. He doesn't even want Lucas to have to deal with it, and his expectation is that the relationship ends here. And to add to that, he shows just how much he loves Lucas by saying how he can't bear to see him hurt or in any kind of pain. Lucas fights for them and Eliott has hope. But we realise that things don't just change overnight, days, months etc. Eliott still has demons inside him that tell him hurtful and toxic things that all people who suffer with mental illness go through. And when Lucas tells him he loves him there's still a voice in Eliott that says " for how long" and "you won't when you see who i am" i'm not exaggerating here. I deal with mental illness and it destroys your self worth. It is a daily fight and you kinda can see yourself as an alien in the world. It really has the power to twist your perception of the world in the ugliest way. FYI and TMI but when i had a severe anxiety episode that had crept up over years of denial and added to a huge life stressor. It lasted weeks before i accepted i needed help. I used to do what Eliott would do, and when it was too much i would up and leave, go to a nearby park and sit on the bench alone and sad. One time i looked up at the clouds and instead of seeing the beauty of nature, i saw mockery. I actually saw clouds laughing at me. 😄 no it wasn't delusions. It was simply a twisted perception of the world where there was self loathing, failure, and the feeling of powerlessness. I don't know why i included this, sorry for the discomfort. ☺️

But back to Eliott. Lola asks if things will be ok with him and Lucas. Eliott is like yeah and just throws out:

"He's worried about me, i have bipolar disorder, do you know what that is?"

Anyone else pick up on the emphasis Eliott does there in his relationship with Lucas. Brings it back to the mental illness and the oblivious nature of other things, like miss-communication and hiding things. Like Eliott's world in this relationship is "I have bipolar disorder" like that's a huge focus for Eliott.

Then they are comparing loves. Eliott telling Lola that "And i have Lucas, I can't lose this" we are actually hearing this from his mouth, and again, the reinforcement of the root of Eliott's insecurities. I can't lose Lucas. He has made my life better and makes the bad stuff not so overwhelming and scary AKA i'm afraid he will leave. So i will use my power to stop that from happening. She's sad and tells Eliott she had a Lucas (Maya) but lost her. Eliott tells her to find her Lucas and if she loves her she'll accept her. Which is obviously going to happen with Maya and Lola. She'll tell her the past which is connected to Lola's addict issues. And like Lucas, Maya's love for Lola will help her to overcome her pain and move forward, and Lola to find her light and not be so scared of her darkness.

• Every single time Eliott is asked by someone about him keeping things from Lucas. His answer is the obsessive "i want to protect him and i don't want to stress him or worry him" We saw it with Imane in S4 and we saw it with Lola recently. We add on the inner insecurities with "It'll be too much and he won't stay" and here's Eliott folks. 😔 We know he has an arc this season. Max said Eliott has a beautiful emotional journey, and that he helps the main with his past.

But one thing that every person who goes through emotional turmoil AKA Skam season main journey. It's called the moment that is the wake up call for the character. The moment that you are at your lowest and you must face yourself. Eliott can't be main as he's blocked but we are seeing that he has a lot of focus. So far he's in the show a lot and very active too.

We know that Elu's seasons long issues are being addressed finally. We know that Eliott himself will be addressed. What's one thing that has remained the same in Eliott and Lucas's love? The hiding things from Eliott and Lucas forgiving him AKA Lucas has never left. What's one thing that could be a very scary wakeup call for Eliott? Lucas leaving.

Now i don't think those scenes are throwaway at all, and i don't think the dialogue is either. They've slowly set this arc up since S5 for Eliott and the relationship with Lucas. Little stressors that just watching S5 you play off but now paired with S6 become very serious. I've mentioned some of them in other posts. We know the spoiler movie is coming. We know how lucas reacts to Eliott being honest and we can almost say how Eliott reacts = impulsivity and rebellion.

But the fallout? And i do think the story is going there guys. Which i'm fine with tbh, along with the conflict and the relationship. Saying it's just drama or out of the blue would be a humongous lie. This has been building for seasons and it is incredibly consistent with the relationship and the characters. Now i'd agree with fans if Eliott and Lucas were eternally blissful and then suddenly boom issues. But that hasn't happened at all. It's been tiny little stressors building up to the eventual crack, or my analogy = the bubble eventually pops.

So the movie happens, and for Lucas it's the straw that breaks the camel's back. His breaking point for him to end the relationship or leave Eliott. And it's Eliott's breaking point. We have his words, we didn't need them, let's be real, but we have them. He needs Lucas and everyone knows how much he loves him. Like that is not even debatable. Eliott is deeply in love with his hedgehog. But it's the wake up call to the relationship, and it's the wakeup call to Eliott. He can't continue this self sabotage and he has to face everything. But guys, Eliott really emphasised his need for Lucas. That ultimately tells me he's put his mental health on this need too. I think Eliott is going to be triggered and spiral. Like i'm sure of it now. And i think that is when S3 main Lucas will have his talk with S6 main Lola. I think she's gonna bring them back together. And i think that's what Flavie meant in her live "she helps him too"

I just wanna say i'm not gonna be in the tag saying Eliott or Lucas is a villain. I think it's sad when stress happens we pit the characters against each other. I wish the fanbase could be compassionate and empathetic. And you may not agree with what a character does but you accept that these characters are not black and white and they make mistakes, mess up and do stupid shit. It's the journey that we all go on and as other fans have said, growth is not linear.

Finally, god these posts are getting longer. I've lurked for so long and now my thoughts are just piling up. 😄 but yeah, i noticed some fans say that this Lucas and Eliott stuff should be over, they're together a year so should have dealt with their issues. Like i just have to say to that what?? Like relationship issues happen. You don't just fix them and bam happily ever after. The same issues can crop up throughout a relationship, because you are not just dealing with you as a unit but you are dealing with you as an individual too. You have the baggage the relationship causes and your carry on's that you yourself bring to the relationship. Your own personal issues and insecurities can continue to crop up causing problems.

Stressors can expose cracks, and that is what is happening. Denying and placing to the side issues like you'll deal with them later but you never do because you're afraid of the response thinking The relationship fails or you lose each other. Like think of anxiety. It's the ultimate result of not dealing with life issues. They build and build throughout life untill they become a disorder. These 2 haven't dealt with them untill now, and that's why they are coming to a head finally. And from a show perspective the format really limits them. Focusing on one main can't explore others and their issues, because the main has to be there. The only way you can do that is breaking format and Skam is quite strict with their narrative. What's happening with Eliott is a case of 'this is the best we can do' he's blocked but they want to give this beloved character the insight the fanbase has been begging for. They don't usually do this. Usually it's the main and his/her ensemble but this time it's the main + 2 part mains in Daphne and Eliott. The ensemble is background this season. And Eliott has an arc since S3 so of course they are going to bring these seasons built relationship issues to the surface and address them. They are wrapping up the old generation and handing over to new now. All these threads are being dealt with.

So what i said about stressors exposing cracks. Well here's a stressor? moving in together. Before Eliott lived alone, with his parents checking in frequently (prob his bipolar disorder) but he could breathe and be, and hide and be alone whenever he wanted. Now he's living with Lucas. And they love each other but there are teething problems. We saw them laid beautifully in S5, and being together only a year is really nothing. Most of that would be a honeymoon period, let's be honest here. And they have such an intense and emotional love. Like they are young (17/18 and 19/20) and have found the life partner they want. Just think about that, and the issues of that responsibility as well. In reality you don't find your life partner at that age. You really don't.

And people mess up. They make mistakes and they grow but it's not a full stop there. You make other mistakes and you mess up. And environmental triggers can happen that can make more mistakes happen, and can even make you regress. You fight in life. You don't sail through it. Does anybody? So yeah, oh sweet the lovebirds moved in together but moving in together has also highlighted issues not dealt with. Couples face tests. And importantly that "minute par minute" scene is now being seen in action. That means the bad times as well as the good. This relationship started in so much fear for both and i'm sorry that level of fear doesn't just poof away. We are seeing that.

Now i'm done. I really don't blame anyone if they don't read this. Even i'm ashamed at the length. But will i still post it? Yep 😄💜

#skam france #eliott demaury #skamfr #lucas lallemant #lola lecomte

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