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artsekey · 5 months

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Disney's Wish

Look, Disney's Wish has been universally panned across the internet, and for good reason.

It’s just…kind of okay.

When we sit down to watch a Disney film—you know, from the company that dominated the animation industry from 1989 to (arguably) the mid 2010’s and defined the medium of animation for decades—we expect something magnificent. Now, I could sit here and tell you everything that I thought was wrong with Wish, but if you’re reading this review, then I imagine that you’ve already heard the most popular gripes from other users across the web. So, let me focus in:

The biggest problem with Wish—in fact, the only problem with Wish—is Magnifico.

Whoa, that’s crazy! There’re so many things about Wish that could’ve been better! The original concept was stronger! The music was bad--

I hear you, I do. But stay with me here, okay? Take my hand. I studied under artists from the Disney renaissance. I teach an adapted model of Disney’s story pipeline at a University level. I spent a ridiculous amount of time getting degrees in this, and I am about to dissect this character and the narrative to a stupid degree.

First, we need to understand that a good story doesn’t start and end with what we see on the screen. Characters aren’t just fictional people; when used well, characters are tools the author uses (or in this case, the director) to convey their message to the audience. Each character’s struggle should in some way engage with the story’s message, and consequently, the story’s theme. Similarly, when we look at our protagonist and our antagonist, we should see their characters and their journeys reflected in one-another.

So, what went wrong between Asha & Magnifico in terms of narrative structure?

Act I

In Wish, we’re introduced to our hero not long into the runtime—Asha. She’s ambitious, caring, and community-oriented; in fact, Asha is truly introduced to the audience through her love of Rosas (in ��Welcome to Rosas”). She’s surrounded by a colorful cast of friends who act as servants in the palace, furthering her connection with the idea of community but also telling us that she’s not of status, and then she makes her way to meet Magnifico for her chance to become his next apprentice.

Quick aside: I'm not going to harp on Asha as a character in the context of Disney's overall canon. Almost every review I've seen covers her as a new addition to Disney's ever-growing repertoire of "Cute Quirky Heroines", and I think to be fair to Asha as an actor in the narrative, it serves her best to be weighed within the context of the story she's part of.

As Asha heads upstairs for her interview, we're introduced to the man of the hour: Magnifico. He lives in a tower high above the population of Rosas, immediately showing us how he differs from Asha; he’s disconnected from his community. He lives above them. He has status. While the broader context of the narrative wants us to believe that this also represents a sense of superiority, I would argue that isn’t what Magnifico’s introduction conveys; he's isolated.

Despite this distance, he does connect with Asha in “At All Costs”. For a moment, their goals and values align. In fact, they align so well that Magnifico sees Asha as someone who cares as much about Rosas as he does, and almost offers her the position.

… Until she asks him to grant Saba’s wish.

This is framed by the narrative as a misstep. The resonance between their ideals snaps immediately, and Magnifico says something along the line of “Wow. Most people wait at least a year before asking for something.”

This disappointment isn't played as coming from a place of power or superiority. He was excited by the idea of working with someone who had the same values as he did, who viewed Rosas in the same way he does, and then learns that Asha’s motivations at least partially stem from a place of personal gain.

Well, wait, is that really Asha's goal?

While it's not wholistically her goal, it's very explicitly stated & implied that getting Saba's wish granted is at least a part of it. The audience learns (through Asha's conversation with her friends before the interview) that every apprentice Magnifico has ever had gets not only their wish granted, but the wishes of their family, too! Asha doesn’t deny that this is a perk that she’s interested in, and I don't think this is a bad thing.

So, Is Asha’s commitment to Saba selfless, or selfish? I’m sure the director wanted it to seem selfless, wherein she believes her family member has waited long enough and deserves his wish granted, but we can’t ignore the broader context of Asha essentially trying to… skip the line.

Then, we get our first point of tension. Magnifico reveals his “true colors” in snapping at Asha, telling her that he “decides what people deserve”. This is supposed to be the great motivator, it’s meant to incite anger in the audience—after all, no one gets to decide what you deserve, right? But unfortunately for the integrity of the film and the audience's suspension of disbelief, at least part of Magnifico’s argument is a little too sound to ignore:

Some wishes are too vague and dangerous to grant. Now, there’s visual irony here; he says this after looking at a 100 old man playing the lute. The idea that something so innocuous could be dangerous is absurd, and the audience is meant to agree.

... But we’ve also seen plenty of other wishes that might be chaotic—flying on a rocket to space, anyone? The use of the word vague is important, too—this implies wording matters, and that a wish can be misinterpreted or evolve into something that is dangerous even if the original intent was innocuous. His reasoning for people forgetting their wish (protecting them from the sadness of being unable to attain their dreams) is much weaker, but still justifiable (in the way an antagonist’s flawed views can be justified). The film even introduces a facet of Magnifico’s backstory that implies he has personal experience with the grief of losing a dream (in the destruction of his home), but that thread is never touched on again.

What is the audience supposed to take from this encounter? If we’re looking at the director’s intent, I’d argue that we’ve been introduced to a well-meaning young girl and a king who’s locked away everyone’s greatest aspiration because he believes he deserves to have the power to decide who gets to be happy.

But what are we shown? Our heroine, backed by her friends, strives to be Magnifico’s apprentice because she loves the city but also would really like to see her family's wishes granted. When this request is denied and she loses the opportunity to be his apprentice, she deems Magnifico’s judgement unfair & thus begins her journey to free the dreams of Rosas’ people.

In fairness, Magnifico doesn’t exhibit sound judgement or kindness through this act of the film. He’s shown to be fickle, and once his composure cracks, he can be vindictive and sharp. He's not a good guy, but I'd argue he's not outright evil. He's just got the makings of a good villain, and those spikes of volatility do give us a foundation to work off of as he spirals, but as we’ll discuss in a bit, the foreshadowing established here isn’t used to the ends it implies.

While I was watching this film, I was sure Magnifico was going to be a redeemable villain. He can’t connect with people because he's sure they value what he provides more than they value him (as seen in “At All Costs” and the aftermath), and Asha’s asking for more was going to be framed as a mistake. His flaw was keeping his people too safe and never giving them the chance to sink or swim, and he's too far removed from his citizens to see that he is appreciated. Asha does identify this, and the culmination of her journey is giving people the right to choose their path, but the way Magnifico becomes the “true” villain and his motivations for doing so are strangely divorced from what we’re shown in Act I.

Act II:

His song, “This is the Thanks I Get!?” furthers the idea that Magnifico’s ire—and tipping point—is the fact that he thinks the people he’s built a kingdom for still want more. Over the course of this 3:14 song, we suddenly learn that Magnifico sends other people to help his community and doesn’t personally get involved (we never see this outside of this song), and that he’s incredibly vain/narcissistic (he's definitely a narcissist). I think feeling under-appreciated is actually a very strong motivation for Magnifico as a character-turning-villain, and it works very well. It’s justified based on what we’ve seen on screen so far: he feels under-appreciated (even though he’s decidedly not—the town adores him), he snaps and acts irrationally under stress (as seen with his outburst with Asha), and he’s frustrated that people seem to want more from him (again, as seen with his conversation with Asha in Act I).

But then… he opens the book.

Ah, the book. As an object on screen, we know that it's filled with ancient and evil magic, well-known to be cursed by every relevant character in the film, and kept well-secured under lock and key. But what does it stand for in the context of the narrative's structure? A quick path to power? We're never told that it has any redeeming qualities; Magnifico himself doesn't seem to know what he's looking for when he opens it. It feels... convenient.

I think it's also worth noting that he only turns to the book when he's alone; once again, the idea of connection and community rears it's ugly head! Earlier in the film, Amaya-- his wife-- is present and turns him away from taking that path. In her absence, he makes the wrong choice.

This decision could make sense; it contains powerful magic, and if it were framed in such a way that the people of Rosas were losing faith in Magnifico’s magic, as if what he can do might not be enough anymore after what they felt from Star, going for the book that we know contains spells that go above and beyond what he can already do would be logical. Along the lines of, “If they’re not happy with what I do for them, fine. I, ever the “martyr”, will do the unthinkable for you, because you want more.”

It would keeps with the idea that Magnifico believes he's still trying to help people, but his motivation has taken his self-imposed pity party and turned it into resentment and spite.

But, that’s not the case. Instead he talks about reversing that “light”, which has had no real negative or tangible consequences on Rosas. Everyone had a warm feeling for a few seconds. Again, it’s meant to paint him as a vain control freak, but… he hasn’t lost any power. The citizens of Rosas even assume the great showing of magic was Magnifico.

Act III

Then, we get to the consequences of opening the book (and perhaps my biggest qualm with this film). The book is established as being cursed. Magnifico knows it, Asha knows it, and Amaya—who is introduced as loyal-- knows it. The characters understand his behavior is a direct result of the book, and search for a way to save him. This is only the focus of the film for a few seconds, but if you think about it, the fact that his own wife cannot find a way to free him of the curse he’s been put under is unbelievably tragic. Worse still, upon discovering there is no way to reverse the curse, Magnifico—the king who built the city & “protected it” in his own flawed way for what seems to be centuries—is thrown out by his wife. You know, the wife who's stood loyal at his side for years?

It’s played for laughs, but there’s something unsettling about a character who’s clearly and explicitly under the influence of a malevolent entity being left… unsaved. If you follow the idea of Magnifico being disconnected from community being a driving force behind his arc, the end of the film sees him in a worse situation he was in at the start: truly, fully alone.

They bring in so many opportunities for Magnifico to be sympathetic and act as a foil for Asha; he’s jaded, she’s not. He’s overly cautious (even paranoid), she’s a risk-taker. He turns to power/magic at his lowest point, Asha turns to her friends at her lowest point. Because this dichotomy isn’t present, and Magnifico—who should be redeemable—isn’t, the film is so much weaker than it could’ve been. The lack of a strong core dynamic between the protagonist and antagonist echoes through every facet of the film from the music to the characterization to the pacing, and I believe if Magnifico had been more consistent, the film would’ve greatly improved across the board.

I mean, come on! Imagine if at the end of the film, Asha—who, if you remember, did resonate with Magnifico’s values at the start of the film—recognizes that he's twisted his original ideals and urges him to see the value in the people he’s helped, in their ingenuity, in their gratitude, & that what he was able to do before was enough. Going further, asking what his wish is or was—likely something he’s never been asked— and showing empathy! We’d come full circle to the start of the film where Asha asks him to grant her wish.

Pushing that further, if Magnifico’s wish is to see Rosas flourish or to be a good/beloved king, he'd have the the opportunity to see the value in failing and how pursuing the dream is its own complex and valuable journey, and how not even he is perfect.

The curse and the book (which, for the purposes of this adjustment, would need to be established as representing the idea of stepping on others to further your own goals/the fast way to success), then serve as the final antagonist, that same curse taking root in the people of Rosas who’ve had their dreams destroyed, and Asha works with the community to quell it. Asha’s learned her lesson, so has Magnifico, and the true source of evil in the film—the book—is handled independently. Magnifico steps back from his role as King, Amaya still ends up as Queen, and Asha takes her place as the new wish-granter.

This route could even give us the true “Disney villain” everyone’s craving; giving the book sentience and having it lure Magnifico in during “This is the Thanks I Get!?” leaves it as its own chaotic evil entity.

All in all, Magnifico's introduction paved a road to redemption that the rest of the film aggressively refused to deliver on, instead doubling down on weaker motivations that seem to appear out of thin air. Once the audience thinks, hey, that bad guy might have a point, the protagonist has to do a little more heavy lifting to convince us they're wrong.

Look at the big-bad-greats from Disney's library. There isn't a point in the Lion King where we pause and think, "Wait a second, maybe Scar should be the guy who rules the Pridelands." Ursula from the Little Mermaid, though motivated by her banishment from King Triton's Seas, never seems to be the right gal for the throne. Maybe Maleficent doesn't get invited to the princess's birthday party, but we don't watch her curse a baby and think, Yeah, go curse that baby, that's a reasonable response to getting left out.

What do they all have in common? Their motivation is simple, their goal is clear, and they don't care who they hurt in pursuit of what they want.

Magnifico simply doesn't fall into that category. He's motivated by the idea of losing power, which is never a clear or impactful threat. His goal at the start seems to be to protect Rosas, then it turns into protecting his own power, and then-- once he's corrupted-- he wants to capture Star. The problem is, there's no objective to put this power toward. Power for power's sake is useless. Scar craves power because he feels robbed of status. Ursula believes the throne is rightfully hers. Maleficent wanted to make a statement. Magnifico... well, I'm not really sure.

#wish #disney #review #magnifico

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letorip · 10 days

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i heard your name

"i heard your name and i'll never be the same”

===+++===

pairing: cairo sweet x reader

summary: after a life of fleeting things, you come to tennessee, and find someone you don’t want to be “fleeting” anymore, though she may come with ulterior motives

warnings: rivalry, references to sex, hints at student-teacher relationships, reader is being used (duh)

word count: 4.8k

A/N: i really really hate the concept of miller's girl as a whole, but i can't deny that cairo sweet is a captivating character psychologically, and that jenna does an absolutely amazing job. inspired by lolita, pale fire by vladimir nabokov, and the movie hot summer nights.

===+++===

You became aware of Cairo Sweet on a hot, sunny school day, one that almost seemed to mock your lack of enthusiasm for the new school in its beauty and the light breeze.

The high school was an ugly building, one that sat in limbo between southern charm and the studious American educational experience seen in the likes of pretentious New England. The decorator had clearly not known which one to pick, but no amount of fancy classrooms or bookshelves and Turkish rugs would make you forget you were in Tennessee of all places.

It would be just as unmemorable and brief as the last, and that’s exactly what you reminded yourself while you waited dreadfully early in the front office, in an uncomfortable yellow plastic chair that had one leg much shorter than the others.

The receptionist lady seemed nice enough, smiling at you all bright and wrinkly like old people did. “So sorry about the wait, dearie. Any minute now, she’ll be—”

“It’s no problem,” you shrugged. “I’m not really in a rush.”

The woman nodded, her eyes melting into little crows feet at the ends. There was a theory you had heard once, that the more wrinkles someone had, the more they had smiled in their life. It didn’t fit many of the crotchety old people you had met, who seemed to have frowns permanently stitched onto their leathery faces, but it definitely fit her. She glowed like a beacon, or twinkled like a chandelier of happiness.

“Are you excited about coming here?" She asked. "Starting the new semester has to be exciting!” The entire time the older woman kept sheepishly glancing over at the door, waiting someone to come in. Whoever was supposed to be guiding your tour was clearly very late.

You had long given up on hoping your mom would pick a spot and stay there. In two more months maybe, she would announce she 'wanted a change' again, and you wouldn't give this place a second thought when you left, just as you hadn't given the last places a second thought either. But you couldn't just say no.

You smiled back at her. "Yeah, kinda. This seems like a good school."

"Oh it's just splendid!" She assured you. "The kids love it here, it's just-" Before she could finish, the office door swung open, and a girl in crazy clothing bustled in, dropping her bag on the floor in the middle of the room and spinning to the receptionist.

“I’m so, so sorry!” She said, visibly dishevelled (though maybe that was just her nonsense outfit) and maybe sweating a bit. “I completely forgot I was supposed to do this!” She laughed. She seemed like one of those girls that were always drunk— not in a sad, alcoholic way, but like they were drunk on life (and maybe alcohol too).

“It’s alright, Winnie. They haven’t been waiting long.” Winnie spun around, noticing you where you sat, leaning your head back against the wall.

“Hi there, I’m Winnie,” she said, holding out her hand with a smile. You stood up and shook it in your own, smiling back. This would all be fleeting anyhow.

“Hi, yeah I heard. (Y/n)."

Winnie tilted her head, giving you a devilish smirk. She was absurdly energetic for it being so early. "Boy, aren’t you cute.”

“And aren’t you really forward,” you laughed.

She shrugged. “I think it’s more fun that way. You got a nickname?"

"Eh," you shrugged. You did, from your mom, but it wasn't worth mentioning when you wouldn't be here that long. "Not really."

"Nooo, you definitely should have one," she said, and you raised your eyebrows at her.

"I'm really good, I think," you said, grinning. "Not the most nickname—able name out there."

"Fine," she shrugged. "Suit yourself I guess. Now c’mon,” said Winnie, sticking her hand out to you. There was a certain glint in her eyes then. “I’m gonna show you every little place in this shitty little school.”

"Winnie, language!" The receptionist scolded her.

"Sorry," she winced.

Winnie dragged you around the halls like that, hand in hand and pointing into classrooms; she waved to the people that she passed. It was decent sized school, with a big cafeteria and gym, but not much else unique to boast except for the few sports fields outside. Your last school didn't have that, but it had been northern Alaska, so it made sense. It was probably hard, what with the snow.

“Boris!” Winnie waved over at a man in a track suit, with a whistle around his neck that all gym teachers seemed to wear. He rolled his eyes, waving back at her. "That's Coach Fillmore," she explained.

“What’ve I told you about that, Winnie?” He asked.

Winnie slipped her red-heart sunglasses over her eyes, flashing him a smile. “Still your favourite though, right?”

“Yeah yeah.” And he turned his attention back to the football field, coffee in hand. Winnie spun back to you, with an almost infectious aura.

"So, why'd you move?" she asked, grabbing your hand again and tugging you back inside. The metal door slammed shut behind you with a loud thud.

"Witness Protection Program," you shrugged as she pulled you around the corner. “On the run from the cartel." She looked at you like you were crazy for a moment, eyes all wide, then you laughed and ruined it. "I'm kidding. Not actually."

"OOooooO, I like you. Cute and unserious. I thought you were going to be all square, but it turns out you can joke," said Winnie, shaking her head at you. "What's your locker number, again?"

You handed her the paper. "She wrote it on here."

Winnie took it from your hand, holding it up to the fluorescent lights and examining it like a slide under a microscope. "Ah, damn. You're on the opposite side of the school from me. Like literally, the exact opposite side. That's good though, right? Your first block is Calc?"

"Uh, no. It's uh..." you stopped, leaning against a wall and sliding your backpack off. You pulled your schedule from the top pocket. "Creative Writing, with Mr. Miller."

Winnie's eyes lit up, and she punched you on the arm. "No, fucking way?! That's my first block too!"

You shrugged. "I'd honestly rather do that than calculus right now, so."

Winnie laughed. "Yeah, you and any normal person." She stopped for a minute. "Are you okay if I go off and get some breakfast before class? Winnie hungee," she said, rubbing her stomach. "I also kind of ditched my friend, and I told her I'd find her."

You nodded. "Go ahead. I'm just gonna find my locker."

"Okay!" She said, giving you a small salute. "See you in class."

===+++===

You found your way well enough, and after fumbling with the big metal lock and struggling to put the code in, could actually open your yellow locker and throw the heavy bag you had been carrying inside.

You could see other kids walking up and opening theirs around you. Their doors had metal magnets and small whiteboards, stickers and posters. You hadn't brought stuff to decorate your locker in four years. Instead, your backpack had everything you carried in it, ready to go at the drop of a hat.

The creative writing classroom was down a hallway that split off near the gym, and luckily seemed less ugly than the rest of the school. The room smelled of pine and paper, which was probably a good sign, and bookshelves and glass jars littered the walls with a bunch of other random things setting the scenery for the big chalkboard and wooden desk in the middle.

Most of the other students were already there when you arrived through the double doors, including Winnie. She stood at one of the front desks talking to someone. When she saw you, she waved, eyes lighting up like a Christmas tree even from afar. In her past life, this girl would have been a golden retriever. You waved back then turned away, heading to one of the back desks that put you firmly away from the teacher's line of sight.

Mr. Miller seemed like an alright guy, or just enough of one. He didn't do any cheesy introductions of people, or make you do one of those stupid icebreakers that made you want to die, no— he was straight to the point, with just a splash of drama.

"Hello everyone! This semester my main goal is to make you write. And I mean really write." He paused for dramatic effect, as if he thought it was Dead Poet's Society. "This is not like your other English classes, where you put minimal effort into a 'meh' essay and turn it in, and you're happy with a B. No, I want you to feel something."

After that, you couldn't help but tune him out. He wasn't bad, no. But he was just boring and unremarkable, and anything a high school writing teacher from Tennessee would be, in the way he stuttered or played with the lid of his plastic coffee cup.

He spent most of the class prattling off the syllabus and giving out the first assignment, due in a couple of days. You weren't especially interested in writing as a whole, and even less interested in the prompt of 'write about you,' but you shoved the paper into your backpack and figured you'd give it a shot.

"Mr. Miller?" asked a voice from the front.

"Yes, Cairo?” Mr. Miller said, and you raised your head up, looking to where he was speaking. The hand belonged to a girl with dark hair, and you immediately recognised her as the one Winnie had been talking to before class. She was clearly very smart, with a small stack of books on her desk in front of her.

“Are we talking about ourselves literally, as in our achievements, or as in our emotions and how we feel?” she asked. Cairo looked pretty when she talked, though you dismissed the thought as quickly as it came. This was fleeting. It was important to remember that.

“It’s up to you, actually,” he replied, shoving his hands into his pockets and leaning back against his desk. “Whatever really lets me know you.” Boy, how cliche.

When class ended, Winnie bounded over to you with a smile, her school bag tucked under her arm like it had been earlier. “Sooo, how was your first class?”

“It was pretty good, no complaints,” you said, fumbling with your folder and shoving it back into your bag.

“So, listen, do you want to sit with me at lunch? Me and Cairo sit together and you can totally join us if you want,” said Winnie, still as bubbly as ever. She gestured towards the door, and you could see the girl from earlier looking through the books on the bookshelf that stood next to it.

You shook your head. “Sorry, I got invited by a group to sit with them and I already said I would.”

Winnie frowned, pouting cartoonishly with her lower lip drooping. “No worries. If ever again though, me and Cairo would be happy to have you."

You gave her a tight-lipped smile. "Maybe tomorrow."

You ate lunch that day leaning against a concrete wall underneath the football bleachers, with no one else around, a thick paperback in your one hand and a sandwich in the other, headphones over your ears.

===+++===

"Thank you all so much for your submissions," Mr. Miller said, a stack of essays sitting under his arms as he passed them back to the class. The weather of that Friday was much more relaxed, with a smattering of clouds covering up the sun, the way you liked it.

The past three days had been just as uneventful as the last, and you went home each night only to wake up the next morning and stay equally as unenthusiastic, and attempt to bury your face into the fabric of your pillow for another five minutes.

He cleared his throat. "I've decided to do something fun, and kind of crown a 'winner' for the week, if you will." He shrugged. "It's just someone I really was impressed with, and want to recognise so, uh, we'll do this after every writing piece."

From behind the class with your head propped up on your palm, you saw Cairo tensing at his words. It had become clear even through disinterested observation that she cared way more about the class than literally anyone else— maybe even Mr. Miller. She raised her hand first, offered feedback on anyone made to read aloud, and always stayed after. She was probably itching for the recognition and you figured she deserved it too.

Which was why it shocked the hell out of you when Mr. Miller walked right up to his desk, put his hands in his pockets, cleared his throat like he thought it was a drum-roll moment, and announced, "this week I was incredibly impressed with (Y/n)'s writing."

There was no way. You froze, not entirely sure he was talking to you. Maybe he had just mispronounced someone else's name indistinguishably close to yours. Cairo's head whipped around, face equally as in shock. There was no way. Winnie was smiling at you, other kids were staring, and you wanted to die.

"Uh...thanks."

From the other side of the room, Winnie whooped for you, clapping a little, in an awkward way. Someone else let out a cough. Mr. Miller shook his head, and said, "No, thank you. Your writing was really impressive. It made me feel, in a way that was refreshing from some other things I've read."

Cairo whipped back around to gape at him for a moment and then back to you. Then, back to Mr. Miller as he continued. "I don't have much in terms of prizes, but there is a bowl of candy over there, and you can take one if you'd like."

You nodded, standing up and making your way over to the clear bowl. Why the hell not. Writing had never been something you thought you were fantastic at— you had never shared it with anyone since there had been no one to share it with. Your fingers went in, and out you pulled a grape lollipop, retreating back to your seat and popping it in your mouth.

From the front, you felt Cairo glancing at you from over her shoulder, but tried to ignore the raising hairs on the back of your neck with her focus on you. “Okay,” said Mr. Miller. “Turn to your textbooks.”

===+++===

The grape lollipop was still in your mouth at lunchtime, leaning against the concrete wall and feeling the hot Tennessee breeze ruffle against your soft shirt, moving it gently against your skin. It was quiet out, and you had your headphones over one ear, leaving the other one to listen to the trees and the wind.

That's how you heard the footsteps from around the corner, even through your music. You looked up from where your eyes had been tracing the cracks of the concrete and watching the ants walk by into their nearby hill, and there she was.

Cairo Sweet had found you.

She stood a bit down the way, on the path, with her arms crossed right over her chest. Her eyes were just as dark as before, and they bore into yours with a strange carnal desire. It sent a shiver down your spine.

"Uh, hi?" you managed. She didn’t even acknowledge it.

"So, how long are you going to keep lying to Winnie for?" Cairo asked, her voice as smooth as butter on your ears. It was a question that caught you completely off guard in its sincerity.

"Uh— I'm not— I haven't been lying," you stammered. Cairo wasn't convinced; her eyebrows lifted a little, creasing her forehead in disbelief. She took a step, one agonisingly after the other, closing the distance between you two until she stood directly beneath you, staring up through her lashes in a near haunting way. Subconsciously you took a small step back.

"I have a question," she whispered, like it was right in your ears. You could feel your blood rushing to them quickly, and it felt as if everything was happening in an almost sinful daze, slow and burning.

"Yeah?" you murmured back, fighting against the lollipop to speak. It made it harder to swallow.

"Can you smell my perfume?" Cairo asked, and your brain hung off every word that spilled from her lips.

"Yes," You clumsily nodded, eyes shooting down to her perfect mouth as it moved, then up to the freckled apples of her cheeks. You knew you were breathing loudly. "It's lavender, and—"

"—Good," she praised, barely audible in her sickly soft whisper. You nodded again, head feeling heavy. God, this girl. "Good," Cairo said again. You didn't know what to say.

"I want to read your essay," she continued, scanning the bleachers for a moment and then eyes shifting back to you in full force. She had you right where she wanted you. Under her thumb.

"Uhhhh, why?" you trailed off, confused as all hell and letting out an awkward laugh to cover.

"It's good, isn't it?" She asked, challenging you with her stare and a smirk, as if to say she knew exactly what she was doing to you chemically. "I haven't found many I want to read."

"Essays?" You mumbled.

"Good ones," she corrected you, whispering it slowly. Your gaze lowered to her lips again, her lower one caught between her teeth. Her own eyes flew to the lollipop, the stick hanging between you both.

Your breathing hitched when her hand came up, lightly grabbing the end and oh so gently pulling it from your mouth, some of your saliva carrying with it. She twirled it, never breaking eye contact with you as she placed the purple crystalline sugar on her tongue, closing her mouth around it for a moment. Cairo smiled, then pulled it from her lips and placed it back in yours.

You blinked slowly, unsure of what this was but finding it all too addicting to know how to stop it. At the sound of voices in the distance, the spell was broken, and Cairo looked back over her shoulder. You cleared your throat, realising the situation you were in.

"What're you trying to do?" You asked. It wasn't a gentle question, but it wasn't a harsh one either. Part of you wanted her to whisper back something cheesy and romantic. Or maybe you wanted something salacious to come from her all-too-plush lips, and the moment to end with hers on yours.

But instead she just blinked at you. It was like the question had taken her power away; she faltered completely. She frowned, almost frustrated by you asking, and she didn't have an answer. "Just let me know about the essay? I'd really like to read it."

Before you could reply, she turned around and walked away, as if going back to a drawing board far off in the distance. You watched her go, turning the lollipop over in your mouth.

===+++===

I should like to think that when I am older, the places I have been will make me cry. They will not meld together, in one long train; I will not move from car to car, blazing past what it may contain and never stopping to look out the window.

I will slide into a booth or take out a folding chair if I must, and watch the world go by. I will sit atop the mountains or amongst the grains of sand on a beach, and watch my eyes begin to water in the light of the setting sun.

Your eyes scanned over the essay in your hands, flipping through it and looking at all of Mr. Miller's notes. There were only four, and two of them were 'Wow!'. Even knowing he was impressed, you were at a loss for how this could be considered impressive. It was just words on a paper. Not difficult to write them, or copy them down. You were just talking, but on a page.

My mother seems to think I can’t hear her crying through the walls at night, wishing she were different. Her tears keep me up, and I trip and drown in the puddles of her despair, falling through the surface and into the depths hidden beneath, whenever I leave my room. I love her, and she always manages to convince herself I do not. She loves me, I always must convince myself she does.

It was this paragraph that made you hesitate, standing behind your locker door and rereading it over and over in your mind. There was no way you could show this to someone- and especially not Cairo.

And right there, like Cairo was conjured up by your mind, she was walking right past you, bag over her shoulder and book under her arm. You looked at her pass, the voice in the back of your mind whispering the word fleeting into your ear. It had been a week since your uncomfortable conversation (if you could even call it that) from underneath the bleachers, and she was acting weird.

She was almost avoiding you, and it was rather noticeable. Not to anyone else, who were unaware you knew each other existed, but to you, you knew. When Winnie said good morning and Cairo happened to be there, she would glance away, fully aware of you staring at her like a big idiot.

You found your way into the classroom, and Mr. Miller was writing something on the board in big white letters. It said 'MEANING,' and 'SYMBOL' in a smaller script underneath. He turned back when he was done, smiling over at Cairo and stuffing his hands into his pockets.

She always was the class favourite, and it made sense. Even if your writing was enchantingly fantastic, or some other amazing bullshit word Mr. Miller would write in blue pen that made you doubt he could actually read, Cairo was the one who actually tried. "I want everyone," he said, clearing his throat with a grunt, "to find a partner and sit down with them. This is going to be a partner activity."

You froze. Shit. These things sucked when you were the new kid who knew no one. You glanced over at Winnie, hopeful you'd find a partner in her, but she was madly gesturing towards Cairo to get her attention, and it made you smile a bit at the look on her face— until you saw who Cairo was staring at. You. Your smile went away in an instant.

Her brown eyes were staring at you again, sharp and intense. Then she picked up her bag, tucked the books she brought with her under her arm, and made due on her plan to pick you. You sent your glance away, as if to pretend you couldn't tell she was coming for you. And yet when her books landed on the table with a soft thud, you couldn't ignore her anymore.

"Care to partner up?" She asked, pulling the chair back to sit down before you could even answer. From the other side of the room, you could see Winnie staring at you, looking confused as all hell.

"Uh, sure," you managed. Was she just going to pretend you two hadn't shared whatever that was? It seemed to be the case, and it seemed she knew you were uncomfortable. Cairo Sweet almost seemed to relish in doing that to people.

"So, how'd you enjoy your first week here?" She asked, pulling out a notebook and flipping to a fresh page. She leaned forward, crossing one leg over her other.

You shrugged carefully. "It was good. Boring, but good."

Cairo nodded. "This is a really boring town, so that makes sense."

"Yeah..." you trailed off. She made putting sentences together incredibly hard for you.

Mr. Miller's assignment was boring beyond belief, but Cairo sat up straight the entire time he gave out directions, eyebrows lowering a bit or head tilting after every clarification, like she was making a mental reminder to remember that later. You attempted to ignore her, looking over to the bookshelf on your other side out of boredom.

They were all leather bound, in alternating shades of brown and green, and some hardcovers in sheathes intermixed. Finnegan's Wake and Scienza Nuova, Being and Time and Infinite Jest, you recognised and had read them all. Day-long car rides would do that to you, and it was within reading you found a particular solace from your mom screaming along to the radio.

"(Y/n), are you listening?" Cairo whispered over at you, pulling your gaze back towards her. You nodded, even though you weren't. Her leaning in seemed to fill your nose with her smell. It was lavender, and it was overpowering.

She raised her eyebrows at you like she knew you were lying again. "Really? What're we doing, then?"

You blinked. Shit. "Uh...I don't know, sorry," you apologised, feeling somewhat sheepish. Cairo gave you a judging look, and you were starting to feel like maybe she was regretting choosing you as her partner. She sighed.

"It's fine. Do you want to maybe come over on Friday? We can work on the paper," she said, playing with her pencil. You frowned.

"I thought Winnie said there was a party on Friday."

Now Cairo looked confused. "Are you going to that?"

"I thought you were?" You questioned, trailing off. She laughed at that, like it was a funny suggestion.

"No, it's not really my scene. Winnie's the partier," she grinned. "A party animal, even."

You nodded, feeling yourself relax a little bit. "That makes sense. You're probably writing or reading instead or something."

She seemed intrigued. "Is that what you think of me? A nerd?"

"Uh..." there was a certain heat flowing towards your cheeks, and it felt like the room was a million degrees. "A little, yeah."

"Wooow!—" Her voice rose in a mocking offence.

"—No, I don't— That's not!— I—"

"You think I'm a geek."

"Yeah, only because you're always reading and stuff, so," you argued, raising your hands up. She laughed.

"So if you read, that makes you a nerd?"

"That's obviously not what I'm saying, but the normal kids just go home and watch a show or something," you shrugged. A beat of silence passed between you, and you groaned, realising your mistake and dragging your hands down your face.

"'Normal', huh?" She asked. You sent her a glare, only to find her bottom lip caught between her teeth as she smiled at you, taking great fun in making you red. Then, within an instant, as if it had been flipped like a switch, the weightless look in her eyes shifted to something far darker.

"You know," she said, and you found your heart catching in your throat. "I don't only read in my free time. I find other things to do." She was back at a whisper, leaning in towards your ear. Each enunciation reverberated in your ear drums and filled your brain with sinful ideation.

"I actually like to do things over and over. Creature of habit, really," she continued and your eyebrows rose. The classroom felt even more humid than it had before, and some sweat was already forming on your forehead. Mr. Miller stood behind his desk, and you felt hyperaware of how he kept glancing towards the both of you, his arms crossed and a deep frown on his face at the almost voyeuristic display.

The bell rang, and just as if nothing had happened, Cairo stood up, gathered her things, and walked off like she had under the bleachers.

"Wait-" You were left frozen there, watching her go out the door and down the hall. It took another ten seconds of sitting there for the spell she had cast on you again to be broken, but when it did, you shot up.

Clumsily you threw your notebook into your backpack, slinging it over your shoulder and taking off as quickly as you could. You wouldn't let Cairo flee.

She was near her locker, where you found her a few halls down. From over her shoulder, Winnie saw you coming, and sent you a friendly wave. Cairo followed her eyes, turning towards you and eyes widening. She was clearly surprised, crossing her arms over her chest as you walked right up to her and stopped.

"I have a question," you said.

"Ask away," said Cairo.

You nodded, thinking for a moment. "Why'd you pick me as your partner in this?"

She scoffed at this, uncrossing her arms and rolling her eyes like you were missing something obvious. It hadn't mattered how loud the passing crowd around you was. You heard her loud and clear, and it filled you with a sense of warmth that you hadn't felt since "fleeting" was just another word in the dictionary and not a mantra.

"Because, I think you're special," she said, only to you in the crowd of passing kids. You couldn't see Mr. Miller watching you both intently from the far wall, one arm crossed over the other.

===+++===

okay so this may or may not be a series i'm starting, but i at least know there is a part two that's already halfway done. part of what took me so long and why i've been gone for like a month has just been me agonising over every damn word. so. enjoy this bad boy ig? not that much happens in this part, but i promise the next part will be kind of crazy.

#jenna ortega #jenna ortega x reader #jenna ortega x you #cairo sweet x reader #cairo sweet #miller's girl

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peterman-spideyparker · 2 months

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Three Little Murdocks (Matt Murdock x fem!Reader)

Author’s Note: Hey everyone! I've been sitting on this for a bit, but I just need to share it because I love happy Matt, but I think I love Dad!Matt more. Enjoy! :)

Summary: You and your daughters look at Matt like he's all the stars in the sky, and to Matt, you and the girls are his whole universe--and that universe is about to get another little planet.

Warnings: Fluff so sweet I might have created word cavities, flirting, Matt being happy daddy, pregnancy announcement, one swear

Other Characters: None

Word Count: 994

You swear, Matt’s super hearing is genetic. Every day when he comes home, the girls always seem to know before you do. Their little feet patter towards the door as they giggle and excitedly call for their father.

“Daddy!” they cheer as he walks through the door.

Bending down, a bright smile takes over his face, beautiful crinkles appearing at the corner of his eyes behind his red glasses. He holds onto them tightly, giving them kisses on the top of their heads.

“My little angels,” Matt breathes, giving them each another kiss on their foreheads. “I missed you both so much.”

“We missed you, too, daddy,” Felicity says, squeezing her father just as tightly as she has him wrapped around her little finger.

“You two aren’t the only ones that missed your father,” you chuckle as you walk over to the entryway. “Girls, can you put some silverware and napkins on the table for me, please?”

Felicity and Stella hug their father tightly once more before Felicity takes her little sister’s hand and they prance off to the kitchen.

“Hey, baby,” you smile as you wrap him in a hug of my own, placing a sweet kiss on his lips.

“Hey, sweetheart,” he hums, leaning in for another kiss.

“Busy day?” you ask as you run your fingers through his hair, massaging the pads of your fingers on his scalp, nails gently raking across the skin. Matt closes his eyes and lets out a hum as your fingers work to relieve tension from his body, nothing but bliss on his face as he basks in your embrace.

“That’s one way to say it,” he sighs.

“Do you think you could take a night off from Deviling, tonight?”

He immediately beings to tense again. “Everything alright, angel?”

“Everything’s fine, Matty. I promise,” you assure, continuing to run your fingers through his fluffy hair to bring him back down. “I just think a night in might do you good. Relax and regroup, that’s all.”

“No ulterior motives, Mrs. Murdock?” he smirks as he brushes his nose against yours. After six years of marriage, he can still act like a horny idiot who just got married.

You giggle as a blush rises to your cheeks. “Maybe only partially,” you admit. “Will you stay, Matty?”

“Of course. I’ll get more time with all of my girls.”

A big smile spreads across your lips, one that Matt almost instantly mirrors.

“Go take off your suit, get into something more cozy, and get your cute butt to the kitchen. The girls helped me make one of your favorites with dinner.”

“Gram’s Colcannon potatoes,” he smirks. “I could smell them from down the street.”

“Get to it, then—even if your butt does look fabulous in these slacks,” you smirk as you pat his butt.

Matt smiles big once more, capturing your lips with his once more as his arms wrap around your middle, making you lean back to offset his force.

“Ew!” the girls groan from the kitchen.

Pulling back from the kiss, both Matt and your sigh at our girls’ reactions, and you know that the two of you get the same idea almost immediately. Turning to face your daughters, you both smirk before you chase them for hugs and kisses, giggles bubbling from all of your chests filling your house.

“You know, I really miss the loft, sometimes,” you sigh as you rest your head on Matt’s chest as you sit on the couch, the girls all tuckered out and tucked in. “There was just something about that place I loved so much.”

“I know what you mean, angel. But can you imagine us trying to raise Felicity and Stella there? Not enough space to contain all that energy,” he chuckles. “I mean, do you remember when Felicity started crawling? She was everywhere and trying to crawl on every surface that she could.”

“Hm, and I wonder where they get that from,” you tease, poking his bicep playfully. Matt immediately responds with a smile, leaning over to press kisses in your neck, making you giggle as goosebumps spread all over your body. “Hey, Matty?”

“Yeah?” he says, satisfied with the affectionate assault on your neck, placing a kiss on the crown of your head.

“I’m pregnant.”

You feel him shift from under you, moving to face your front better.

“Seriously?” he beams, his hands subconsciously moving down your sides and over your stomach as if he’s trying to feel for the itty bitty baby that’s half you and half him.

“Seriously,” you confirm smiling back just as bright as he pulls you in for a kiss, laying your bodies down together on the sofa.

“Wow,” he smiles, a slew of emotions flying across his expressive face within only a couple of seconds. “I . . . Wow.”

“I’m surprised you didn’t pick up on it sooner,” you giggle. “I mean, you knew about Felicity and Stella before I did.”

“Honestly, me too,” he chuckles, and you can hear the rich emotion in his voice as his face is aglow with nothing but pure and utter joy. “I guess between the girls and the cases and Daredevil, my attention’s been a bit divided lately.”

“Or you’re just tired?” you tease. “Or better yet, you’re at ease and aren’t on edge, listening to every creak in the bricks.”

“Bricks don’t creak, sweetheart.”

You press a kiss to his cheek, his stubble tickling your lips and you snuggle down into him. “Shut the fuck up.”

He chuckles softly and he holds you close. “I’m just glad we don’t have to move this time.”

“But it does mean that you probably won’t get to have your at-home office anymore,” you say with a pout. “Sorry, hon.”

Matt leans forward, kissing your protruding lip, his face glowing and his eyes sparkling. “I think I’ll survive. I’ve got my girls, and now I’ve got a new little bean sprout to love. I couldn’t be better.”

Permanent Taglist: @majesticavenger @steampowerednightvaler @themusingsofmany @just-the-hiddles @toozmanykids @dangertoozmanykids101 @clints-worldavengers @theburningbookshop @itwasthereaminuteago @peter1ismybrother@hellskitchens-whore @dpaccione @catnip987 @blackhawkfanatic

Matt Murdock Taglist: @two-unbeatable-beaters @loves0phelia

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lunarin64art · 1 year

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Underrated Parallel

These two duos are actually so similar, it’s surprising that the fandom hardly acknowledges it.

First off, both of these duos are shown to both spend time investigating together in private. (Gonta and Ouma mainly doing so in chp2) While also sharing the dynamic of one being hyper intelligent, mysterious, as well as having a lack of trust in their classmates, and the other being more naive yet enthusiastic. There’s also of course the fact that they both share the same color scheme. (Toko and Komaru also share similar qualities as well but that’s for a different post.)

Naegi and Gonta also have alter egos included in their executions. And were both unconcious during the events leading to their investigations/trials.

Also, if you let Kirigiri be found guilty, both her and Ouma die from being squished by a press...(on chp5)

Then lastly, they’re similar in that Kirigiri and Ouma used Naegi and Gonta to survive so that they could defeat the mastermind.

As a side note, I’m surprised that there aren’t many people who acknowledge how similar what Ouma did to Gonta in chp4 is to what Kirigiri did to Naegi in chp5. It’s especially weird how people will claim that gontouma is toxic because of chp4 but then see nothing problematic about naegiri. Like, I get that Ouma comes across really rude and aggressive on chp4 but that was on purpose to make everyone vilify him.

He never treats Gonta the way he did on chp4 on any other part of the game. He’s almost too nice to Gonta in some instances (specifically on the jpn version since the NISA translators ruined Ouma’s character). Also, Ouma’s motivations for what he did were much more selfless than Kirigiri’s. You can’t even really say he did this because he saw his life as more important than Gonta’s as he immediately locks himself in his room and plans his own death afterwards.

(Which correlates with how the writers decided to make Gonta/Ouma be the only ones to like the Survival Flag and the Death Flag. As it imo implies that Ouma gave up on survival once he knew that Gonta no longer could because of him)

I also find it strange how there are still people who actually think that Ouma didn’t care about Gonta. That was legitimately one of his most obvious lies in the entire game. His end talk with Kaito wouldn’t make any sense otherwise, nor his interactions with Gonta on TDP and DRS. I really do think that people need to play V3 more than once to to get a proper understanding of their actual dynamic though.

(And not through letsplays since they will give you their own biases.)

#danganronpa #new danganronpa v3 #danganronpa v3 #kokichi ouma #ouma kokichi #kyoko kirigiri #gonta gokuhara #makoto naegi #naegiri #ougoku #gontouma #dr1 #ndrv3 #danganronpa spoilers #ndrv3 spoilers #trigger happy havoc #killing harmony #it's also important to keep in mind that gonta only has caveman speech on the eng ver #which really changed the way eng players saw chp4 as it made people subconciously think that Gonta was too dumb to be aware if the was #manipulated or not #which is really annoying as it takes away from his final attempt to prove that he could be a gentleman #by taking full responsibility for his own actions #god this rant was longer than expected....srry #this was meant to be a short post about naegiri/gontouma parallels but it ended up being all about gontouma again lol #my bias is showing hghjhkhjhk #both of these ships are great but I can't help but like gontouma more as it feels like a more chaotic and angsty version of naegiri

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sepublic · 5 months

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In lieu of my latest reblog about people taking compelling characters and projecting their writing onto some other (usually white) dude, I want to bring up a post I had drafted all the way back from April, but never posted because at the time I still had enough patience not to. But now is different. I do think this analysis is a bit outdated because it doesn’t consider the mediocre white dude angle of Belos that I find paramount, but it’s good enough for my repurposed point.

I find it funny when some people complain that the narrative was unfair to Belos despite his “trauma” and circumstances, like there aren’t multiple characters out there who parallel his issues, and get sympathy AND a redemption, in all but one case! Belos is narratively condemned not for what he has in common with others, but for what sets him apart, particularly his stubborn ego. Cases in point;

“Belos deserved to have sympathy for having an unhealthy attachment to his more confident sibling that was mixed with resentment over being abandoned for someone else, culminating in guilt over hurting them and regretting it!”

Lilith exists. She’s motivated by a massive inferiority complex with Eda, Gwen favors her. She’s clearly salty about Eda going off to have fun with Raine, and claims to Luz that she’s Eda’s ‘real’ family. She cursed her sister and felt enormous guilt over it… But in the end, Lilith IS given sympathy by the narrative, and the chance to redeem herself. And she takes just that.

A lot of the people claiming Belos deserved better theorize that stabbing Caleb was an accident, and you know what? So was the permanence of Eda’s curse, Lilith expected it to only last a day and certainly not transform her sister. But Lilith still owned up. And she learned to make other friends while respecting Eda’s boundaries.

“Belos was an orphan raised in a culture that encouraged genocide and a hatred of wild magic!”

Caleb exists, he went through the exact same childhood as Philip, but still chose to change. And while they weren’t orphans at the time, Hunter and the Collector were also raised on genocide, taught to find wild/Titan magic apprehensive. But they loved it instead.

“But Belos actually lost his brother, his loved one died!”

So did Hunter’s! And he was shown to be snappy and aggressive, pouring himself into a mission to cope! But he still owned up, apologized to Willow for rebuking her. He lost Flapjack, and instead of making replicas of his lost loved one to keep to himself, discarding anyone that wasn’t close enough, Hunter made a diverse array of palismen for other kids, to give them the loving relationship he lost! Even his own palisman was clearly carved to be different from Flapjack, reminiscent but still their own thing.

Then there’s Darius, who lost his mentor the previous Golden Guard; His own ‘Caleb’, so to speak! And he was also unpleasant about it, he took his grief out on Hunter, who had nothing to do with this! The canon audio diaries even confirm the apprehension has been going for a while… But Darius realized he was wrong to have projected onto Hunter, made up for this by practically adopting the kid and giving this kid the happy ending his mentor didn’t have; Passing the cycle of kindness the Golden Guard started. And his own grief is pointed out to the audience by Hunter himself.

“They should’ve shown how having a hero complex and a desire to live out a fantasy can corrupt anyone!”

Luz and the Collector. Luz herself makes these comparisons for Belos, and there were times where she hurt her friends trying to live out her fantasy, and/or planned to leave them under the impression she was doing the ‘right thing’. Luz makes a legitimate consideration that she could’ve been Belos, if she refused to listen to others and change. But Luz owned up! As did the Collector, whose escapism and wish to play the role of the ‘hero’, in this case Luz, causes them to do some pretty terrible things. But they still change after being called out, and are still given sympathy over the loneliness and trauma that fueled their escapism, as was Luz.

"Philip struggled with getting over a different type of fantasy, one that relied upon him conquering and hurting others!"

As did King! And King got over that, he quickly learned that other people would always be more important than his fantasies, even if the 'sacrifices' were a lot more minor. King started off the same, the difference is that he still grew up and that's why we judge his antics as so much more light-hearted.

“Well that’s not fair, Philip’s examples were more extreme!”

How about Eda’s curse? Belos never brings up his other sources of trauma as an excuse for his actions, but you know what he does invoke? His curse, claiming to Hunter and Luz that it forced him to act certain ways. But we see Eda, who got a rawer deal with her curse; She didn’t bring it upon herself, as Belos did. She legitimately loses control when it takes over. She scarred and disabled her father because of it, and you know what?

Eda never uses her curse as an excuse. She never lets that justify what she’s done to people, and she even befriends the creature at the source of her curse, the Owl Beast. The curse she deals with is objectively worse, objectively more unfair, than Belos’. But it’s only Belos who actually cites his curse as an excuse, and the palismen at the source of it? He kills them.

“Belos’ cursed form is treated as ugly and evil!”

The palismen amalgam in his mind looked almost exactly the same, to the point where Hunter, who had seen Belos’ cursed form in person before, thought they were identical. But in the end, the palismen amalgam, despite resembling Belos’ cursed form, is a sympathetic and tragic victim who is murdered. Luz and Hunter mistaking him for Belos is justified, but it’s also still regrettable that they are judged by appearances.

“It hurts people to sacrifice their morals for the greater good, you know!”

Raine did that, they felt compelled to drag Darius and Eberwolf (one of whom was a childhood friend) into a murder-suicide, because as far as they knew, they were already going to be caught and executed, so may as well take their oppressors down with them! And they aren’t called out for it, because they couldn’t have known about Darius’ actual intentions…

Because in the end, sometimes you have to punch a fascist, and sometimes you have to oppose a friend or loved one because they took the fascists’ side. It’s why Lilith is expected to change for Eda, not the other way around. Raine is not the aggressor here, it’s all from the principle of self-defense for themselves and the isles as a whole.

And in the end, it’s because Raine is approaching from a place of actual good intent and moral concern that there are lines they still refuse to cross; As soon as they learn about Luz and King, they sabotage their own plans because they refuse to orphan these kids they just found out about for the ‘greater good’. When one of those very kids, Luz, makes Raine promise to keep Eda safe, you can see the conflict between their morals and their obligations in their eyes as Eda accepts the Bard sigil, and ultimately Raine powers through the draining spell to save Eda’s life, simply because Luz asked them to.

I’ve talked since their debut of how Raine has some similarities to Belos, in particular how they both work their whole lives to infiltrate a group from within to topple it, even as they publicly support it as a celebrated leader. They both had to lie and work under the radar, and make effective rhetoric; They each wear their own masks. Raine has to constantly lie to and rebuke Eda about being brainwashed, and we can see the moral agony it gives them!

But Raine is opposed to a legitimate threat, whereas Belos is completely making one up; Raine has to work under the micro-management of tyrants with control over them, Philip has been free from his colony for centuries, and even after finding out Gravesfield gave up on its witch hunting mission in the present, still traps himself of his own will. Belos feels no guilt for any of his ‘necessary evil’.

Raine had actual morals unlike Belos that they did sacrifice, for an actual greater good, and they actually hurt over these choices. They dedicated their whole life to stop a dark and twisted parallel, which makes their inclusion in the finale as the only person outside of the core trio to help against Belos all the more deserved; They even help deliver the killing blows. And Raine is rewarded for all of their effort, allowed to see it come to fruition and rest happily afterwards, because they really were sincere, and actually did make sacrifices, something Belos preaches but never follows. Most importantly, Raine knew they couldn’t justify everything even for their morally-justified mission.

“Belos was still legitimately wronged by Caleb for nothing, he didn’t deserve to be abandoned!”

Even if we believe Caleb did ‘abandon’ Philip or whatever; The Collector was legitimately wronged by the Titan, imprisoned and isolated for millennia despite being innocent. But while he justifiably calls the Titan a bully, he never takes this out on King, or any other Titan for that matter, remembering the rest with love. Nor is the Collector expected to forgive the Titan; The Titan accepts she made the wrong call. After all, imprisoning the Collector left them in a vulnerable state to be exploited by Belos, and give him the draining spell…

The Titan and Caleb’s mistakes were very much that, but the Collector matured for others, without needing an apology from the dead person who wronged him. And based on what we see of Belos’ memories, Caleb probably DID get to deliver that apology when he was alive, and Philip still insisted on being bitter!

“His only childhood friend just ditched him for someone else!”

That’s what happened to Willow, and that’s how she understood it for most of her life; Amity leaving her behind because she was too weak, and kids like Boscha and Skara were more popular, stronger, etc. But not only does the show say her rage against Amity is totally warranted and that the onus is on Amity to apologize, even if she didn’t choose to leave Willow (keep in mind she still saw Willow as a weak person to protect without input, as we later see in Labyrinth Runners)…

Willow is still kind. She still opts to be compassionate to Gus, and to Luz, and in general a nurturing person despite her abandonment. And when Willow is given the chance to take revenge on Boscha by stealing her glory in Grudgby, she doesn’t kick the girl while she’s down to do so; But Willow is also allowed to still hold anger towards Boscha, as we see in Season 3. And assuming Caleb wasn’t malicious about leaving Philip behind, we clearly see how he welcomes his brother back and wants things to get better, just as Amity does; He had his own side of the story. And Willow doesn’t kill Amity despite being primed to very easily do so…

"But imagine finding out they CHOSE to leave you, when you thought they didn't!"

Camila?!?! In fact, Camila was THE precedent for this, and people went and applied her tragic scene to Philip to make HIM into some angsty sadboi! And last I checked, Camila didn't exactly murder Luz... Plus, Philip had infinitely more time to see Caleb and Evelyn interact, and thus figure out that Caleb wasn't being kidnapped or brainwashed; Compare that to Camila who is just dunked into that situation out of nowhere, and is barely even adjusting to Vee's existence on top of finding out Luz was someplace else the entire time, and dealing with Jacob.

"A lot of family members at least start off as well-intentioned when hurting loved ones, they could've shown that!"

Bold of you to assume that Belos' selfish entitlement towards Caleb is the same as Camila or Gwen's legitimate concerns for their daughters; They did unconditionally love and they were misguided. But when shown they were causing pain, they actually shifted gears instead of focusing on how they were fight because they knew better. And what they were doing WAS still harmful, even though they DID care.

“Belos was probably a weirdo himself, and suffered from internalized hatred for his deviancy!”

Lilith dyed her hair to fit in with the coven, and be taken seriously. Amity suppressed herself to be a stoic perfectionist, constantly trying to justify her own existence as she says; She had to work to be good at magic while others like Gus, Emira, and Edric were naturally talented, and was made to hate those who weren’t successful as witches. Hunter too loathed his own lack of bile magic!

Most tellingly, Camila herself was taught to hide her weirdness, grew up thinking she was successful for doing that, and even tried to impose the same on Luz because of that misconception! But Camila realized what was done to her was wrong, and the same applied to her daughter; Accepting Luz’s weirdness meant accepting her own.

“Even if he still chose to double down in villainy, Belos could’ve at least been given a moment where he was sympathetic, where his sadness was shown, before nevertheless deciding his fate!”

Kikimora had an entire episode where she agonized over her obligations to a mother that seemed low key abusive, given her threat to disown her. We see her hesitate, cry, and be legitimately disappointed when she’s rewarded for staying with Belos by ‘getting to live’, a reward that doesn’t even last by the Day of Unity! Even after Kikimora makes her choice to betray Luz and Amity, we still get a final scene of her looking uncertain and even regretful of her decision, before she commits. Kikimora isn’t redeemed but is still humanized, despite being less human than Belos, so to speak.

She’s even a dark parallel to Lilith, having jealousy towards the Golden Guard, an emotionally abusive mother, and an inferiority complex towards other members of the coven despite working directly with Belos! And she is given many chances to escape Belos, a few months where she is legitimately free from him, and chooses to remain in her ways because Kikimora’s difference with Lilith isn’t that life was more unfair to her, it’s that she refused to change.

Now this is a bit out there, but there’s also the other Coven Heads! Mason, Vitimir, Hettie, and Osran! The show was shortened, so who knows what they could’ve provided for the story… Mason, Hettie, and Osran especially, since they’re not included amongst the coven head loyalists who still cling to power, even after Belos’ death. The show could’ve easily set up sympathetic moments to indicate a possibility of change, paying off in the epilogue; But because of Disney, you can’t blame the writers for not delivering everything they could’ve.

“How about a character who was just… an asshole, no outside reason given?”

Boscha, who was popular and privileged. While she does allude to some pressures that motivate her, as far as we know, there wasn’t really anyone or anything that made her be so cruel towards those she perceives as lesser. But despite this, Willow doesn’t see any point in trying to take Boscha’s spotlight as a Grudgby captain, when offered by her teammates; She doesn’t kick Boscha when she’s down. And Boscha is ultimately still recognized as unhappy with the loss of her friends, so even if she does do egregious things during the Collector’s reign, Amity offers Boscha the chance to become better and improve, as she did. And she takes it!

“Well, none of these characters had to grapple with having done things nearly as bad as Belos!”

And why do you think that is? Why are Belos’ sins so monumental in comparison, how did they get so bad? Because he kept refusing to change, kept refusing each opportunity, and got worse because of that. His first confirmed murder was Caleb, who right beforehand embraced his brother during what appeared to be a manifestation of the curse. But Philip still chose to commit his first sin despite receiving such unconditional sympathy, because he wanted control, not happiness. He didn’t start off as a genocidal dictator, he worked his way up to that over centuries.

“They make it seem like Belos was born evil!”

Our earliest chronological appearances of Philip are as a happy, carefree child who plays games with the brother he loves and looks up to; That isn’t the portrayal of someone ‘born’ evil. This is the portrayal of someone who became that way, over time, because he refused to concede anything to anyone, and wore away what decency he had across centuries, until we see the Emperor that Belos is when the show starts.

An evil dictator who ravaged an entire world for hundreds of years came from an innocent little kid, and Luz becomes self-aware of how this can apply to her, even as she’s reminded that she also ISN’T like Belos because of this critical reflection and willingness to listen. Belos, on the other hand, consciously cultivated an echo chamber for centuries, killing any Grimwalker he felt disagreed with him, despite their unconditional love and support. He deliberately shut himself off from the isles and ignored the kindness of others.

Bump reminds Faust that it’s disingenuous to project malice onto children who often simply don’t know any better, and just need to be given a chance to be taught and educated. But kids also have to take initiative to mature when they get older, hence why we hold adults more responsible; The established logic is that Belos wasn’t an evil child, he was simply a child who never grew up and that’s where his evil came from, rather than being some pre-existing source.

To be honest, I think the narrative doesn’t bother showing sympathy to Belos over his trauma because he’s already HAD more than enough sympathy, across centuries, from his brother, the Grimwalkers, his followers, even Luz and the Collector! So the story doesn’t feel the need to waste tears on someone who already got them, and instead focuses sympathy to characters who haven’t received as much, if any; People like Lilith, Amity, Hunter, etc.

Belos is the culmination of other characters’ traumas (who prove you can still choose to be better and happier despite these things), and was practically coddled by the people in his life for it. But he still chose to be bitter, never opened up to accept help, and his rejection brought even more pain that he could only blame on himself. Belos’ only tragedy is his refusal to change for the better; Even the narrative has made it clear he had chances, tears wept for him by people he knew.

He is a mirror to so many characters, what could’ve happened if they looked at their own pain and used it as justification to continue lashing out, because clearly they are the underdog heroes who have been wronged and are fighting against an injustice, right? The hero of their own story, if you will. Hell, we still also get that with Kikimora, as I just said! What I’ve listed is not a double standard, but rather proof that Belos was not uniquely condemned by his circumstances, for he is alike many characters as I mentioned. And Belos does not need to be portrayed “sympathetically” in order for the audience to understand the relevance of these parallels; Namely, that Belos has no excuse to still be like this when those similar nevertheless choose not to be cruel, and will accept others’ compassion.

And besides, with how the show was shortened… Who’s to say the writers didn’t plan to throw Belos a sympathetic moment of genuine loneliness, before doubling down? Not that they really would’ve needed to. But if they planned it, the writers had to leave it out to prioritize the weirdos this show is actually about, due to the shortening.

#the owl house #emperor belos #philip wittebane #lilith clawthorne #caleb wittebane #the owl house hunter #darius deamonne #Luz Noceda #the owl house collector #king clawthorne #Eda clawthorne #edalyn clawthorne #raine whispers #camila noceda #the owl house boscha #fandom salt #white favoritism

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badgermolebender · 5 months

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I am a firm believer in the inherent eroticism of buddy comedies. And there are some fantastic fan works. And I have my own world of headcanon and thoughts. And one doesn’t even have to squint to see the subtext in Ruins of Empire. But what I love so much about Wuko is how well it works within canon and how well Wu and Mako actually fit together. Their character arcs and motivations blend together so well and they influence and care for each other in a way that I just think is really lovely.

Because Mako’s influence on Wu is fairly obvious and stated in the show. He’s there to help bring Wu down to earth and help him be ready to take over the Earth Kingdom. He’s the first person to treat Wu as a person and not royalty or fame and really makes him question his beliefs and values. And Wu relies so heavily on Mako in Book 4 and is so explicit in his affections.

But Wu is also so good for Mako and really compatible with his characteristics and arcs. Arguably the most important, or at least most obvious, character trait of Mako’s is Mako as protector. He raised Bolin and kept him alive on the streets. He joined a gang to protect Bolin. He did probending to have money to protect Bolin. His main motivation throughout the show is to protect the people he loves, the city he loves, and the rest of the world — in that order. I think his need to protect is one of the big things that led to the downfall of his relationships with Korra and Asami. For him, caring for and loving someone means protecting them — in a way that Korra and Asami did not need. But if you pair him with Wu, who not only needs but also wants this protection, then he’s not going to be in a place where he’s constantly undermining the independence and ability of his partner.

But even beyond that, Wu is a really good partner for Mako. Korra (and Asami to a lesser extent) showed care for Mako the same way Mako did for her, and in consequence they undermined and undervalued each other. But Wu takes care of Mako in a different way than Mako takes care of him. Forcing him to relax with smoothie breaks and encouraging him to talk and (and I can’t emphasize this enough) listening to his advice and opinions. Wu lets Mako give him advice and actually listens to his thoughts, something that Korra just didn’t do when they dated (not Korra slander — Book 2 was a lot). So even while Wu clings and plays damsel in distress, he lets Mako be more than his role as protector, without demanding that he abandon that core part of his identity.

And I just think that’s really neat. There aren’t many other non-canon ships that I think are so compatible within canon. Even with how underdeveloped Wu’s character is in Book 4, I think their characters work unbelievably well together. They just fit and lift each other up.

#king wu #prince wu #avatar #avatar last airbender #lok #mako #wuko #mako x wu #inherent eroticism of buddy comedies #avatar legend of korra #avatar the last airbender

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katherinearandez · 6 months

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I don’t think Tessa is one of the good guys

I have a lot of questions about Tessa. What are her goals? Is she really on copper 9 for the reasons she told us in episode 6? Does she have hidden motives, and if so, what are they???

The lines of “morality” in this show are super squiggly, so by “good guy”, I mean an individual with positive or helpful intent toward the main characters - in this case, drones. The concept of Tessa bearing ill-intent for drones as a ‘species’ seemed contradictory at first: after all, she’s so nice to N, V and J, right? We’re talking about someone who, as a kid, saved zombie drones from the dump(cough, mass grave, cough) where their human owners left them to rot after creating them by means of improper disposal. Why would she want to kill drones? Especially in the same callous, procedurally improper ways that created the threat of Cyn to start out with?

Well…

Let’s not forget about the evil AI that massacred her family and the guests of their gala. AFTER Tessa took her in as an act of kindness, against her parents wishes. Parents who did seem to look down on her pretty severely, regularly chained her up in her room as punishment(you don’t install heavy duty, floor anchored chains for the occasional time out) and possibly kept her socially isolated???

That last point is pretty speculative, since a lot about the earth of N’s flashbacks screams post-apocalyptic vibes. Maybe there just aren’t a lot of humans left for Tessa to socialize with. Tessa’s dad reinforces this idea in his speech by listing “currently being alive” as an attribute the Elliots are known for. It could just as well be a meta joke(since they are killed in the next few seconds), so lacking more context, I hesitate to extrapolate from this point alone.

Anywho, back to Tessa’s callous drone murder. Even if her parents were crappy by the usual standards, she clearly didn’t want them/the other gala guests to die. She tried to save them by “murdering her a robo-child”. Idk, does this blacked out redacted image of Tessa in the aftermath of the massacre seem upset??

Reasonable assumption. So adult/older teen Tessa has changed the way she feels about drones after these traumatic events. Maybe she doesn’t outright hate them, but she views them from a colder, more pragmatic angle than she did in her younger years. Does she still feel empathy for them and the horrible mistreatment they suffer at the hands of humans? Probably. But she’s now aware of the danger they truly pose and has good reason to eliminate them to ensure the absolute solver mutation no longer has a pool of hosts in which to spread and evolve.

So why the callous drone murder at the end of episode 3? We know you’re supposed to follow a 2 step procedure for decommissioning drones. Software death via lethal injection of a kill program(sounds fun!), followed by hardware death via “core removal” to ensure the decommissioned drone doesn’t reboot with corrupted software and an “increased chance for future errors”.

Did she hastily kill this random drone to keep her arrival on copper 9 secret, foregoing procedure for the sake of urgency? If so, who is she keeping her presence secret from? Is it the remaining drone population of copper 9, who Cyn used to collapse the planet core and kill all humans there? Possibly, Uzi is a prime example of anti-human sentiment, and during Mr Doorman’s parent-teacher conference he mentioned being on a “kill all humans kick when he was her age”. Perhaps Tessa assumes all the c9 worker drones are hostile to humans.

When you start making assumptions about what characters are assuming, it’s generally a good time to stop and just accept you don’t have the answers 🫠 so that’s where I will cut that line of questioning short. That being said, I’m not quite done yet…

What’s with this shelf of small human skulls in Tessa’s room? Why are the trash robots she “rescues” her only friends? Do her parents chain her up in her room because they suck? Or… do they have reasons not yet revealed to us, the audience?

Tessa’s perception among most of the fan base is fairly positive and on the surface there’s good reason for this. She’s presented as peppy, compassionate(except toward that one worker drone, lmao), ~tenacious~ and resilient. Actions like salvaging drones from the dump and perceived displays of affection and warmth for the disassembly drones leave viewers with the impression that she’s a good, kind person.

There is, however, another light in which to view her actions, and it casts a shadow on the motives we may have assumed were pure up to this point.

While it’s easy to parse Tessa saving drones from the dump as an act of altruism, it can also be interpreted as sinister. It could be an example of a character with a savior complex; a power dynamic wherein the “savior” exerts control over those they “rescue” by taking advantage of their gratitude and using it in manipulative ways. If this is the case, Tessa’s motives take a sharp left turn, flipping from selfless and kind to egotistical and controlling.

The show actually gives us direct evidence of Tessa using manipulation to get her drones to do her bidding.

“It wants paid time off…”

This instance of her using corporate buzzwords to drive J into a rage strong enough for her to bite through metal chains. Or how about her outright lying to the drones at the start of episode 6? Asserting that her intention was to “burn to the ground” labs Cyn was interested in, while later that same episode revealing to N that her “true” purpose was to obtain a list of drones infected with the absolute solver?

Preeetty manipulative. She manipulated and/or coerced Doll as well, in order to obtain the keybug. At this point, I wouldn’t be surprised if come episode 7, she switches it up yet again, revealing a new manipulation or perhaps, finally, her real mission.

Tessa’s manipulation of the drones she supposedly cares about isn’t the only hint that she might have a savior complex or similar egocentric tendencies. She’s also shown that she’s not very respectful of the drones autonomy, another red flag that can signal a propensity for narcissism and the controlling behaviors associated with it.

N is the example this time.

Tessa’s signature greeting for N, which is to grab his face and swing him around with excitement that borders on aggression. Maybe it’s just me, but his expression doesn’t suggest it’s mutually enjoyed. Looks more to me like he’s uncomfortable and only humoring her pep because he feels like he has no choice… after all, none of Tessa’s “dumpster pets” want to let down their saving grace.

We see this same kind of contact again throughout episode 6, with Tessa grabbing N’s face as a greeting again, and also playing with his hair on the way down to cabin fever labs. The way Tessa interacts with the drones(J and V as well as N) shows that she sees them as objects in her possession, rather than friends, peers or their own individuals with unique thoughts, wants and feelings.

Uzi even calls her out on this very mindset at the end of episode 6 after Tessa asks her sardonically to “don’t date my robot, please.”

Granted, I’ve got no solid backing, just observation, speculation and a suspicious mind. Tessa could be a great person… “good” or “bad” though, she’ll definitely try to kill our main character sometime soon, so… yup. Killing even an anti-hero typically slots you into the bad guy category, even in a show where the moral lines between good and evil are so artfully blurred.

TLDR; I think there’s more to Tessa than meets the eye, and even though Cyn is still probably Murder Drones “big bad”, I feel like Tessa has an element of villainy to her that I hope will be further explored in canon.

#murder drones #uzi doorman #tessa james elliot #theory #serial designation n #serial designation j #serial designation v

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subskz · 4 months

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do you have any tips on writing? i wanna start my own blog and start writing, but im not sure where to start and how to make it sound good.

ofc! i do wanna preface by saying i’m by no means an expert, and when it comes to writing (or any form of creative expression) a lot of it is very subjective, so there’s not really any set standard for your writing to be considered “good” outside of basic writing/grammar rules! that being said, here are some things i do!

first just a few basic rules:

1.) start a new paragraph each time someone different is speaking

e.g. “What’s that?” she asked, tilting her head in the direction of the other room.

He squinted, taking a moment to listen carefully before another dull thud echoed through the door. “Not sure,” he replied. “Let’s check it out.”

2.) when seperating dialogue, don’t capitalize dialogue tags, treat the text in quotations and outside of quotations as if they’re the same sentence. this is one i didn’t learn until quite recently actually…😭

e.g. “Oh my God,” she muttered. “Why are you so difficult?”

The exception to this would be if the dialogue is seperated by a different sentence!

e.g. “Oh my God.” She was clearly fed up, running a hand down her face with a huff. “Why are you so difficult?”

3.) when a character is quoting something within their dialogue, don’t use quotation marks (“”), use apostrophes (‘’)

e.g. “He told me “do what you want”, so I will.” (this is wrong)

“He told me ‘do what you want’, so I will.” (this is right!)

as for writing tips, these are just some things that i personally do when i write! they’re not necessarily the right way to go abt it, so only follow the advice you want! i also talked a bit abt motivation here

include actions w dialogue! this can keep things from getting monotonous (like a constant back and forth of “he said” “she said” with little in between) and can also emphasize what the characters are saying! for example, instead of writing “he replied dismissively” you could say “he replied, giving a dismissive wave of his hand” or instead of “she said in exasperation” you could say “she rolled her eyes as she spoke” just little things like that to enhance the dialogue. ofc, keeping it simple is necessary sometimes so don’t overdo this!

that brings me to another point, adverbs aren’t bad (i use them a lot!) but sometimes what ur trying to say could be better expressed with just one word. it can get a bit repetitive if things are always described like “said awkwardly” “laughed loudly” “touched softly” etc. you might be able to find a word that gets the point across better. for example, “said irritably” could be “huffed”, “walked casually” could be “sauntered”, “smiled brightly” could be “beamed” and so on. but there are plenty of cases where adverbs are super useful so definitely don’t avoid them altogether!! i just try to make sure i dont use a bunch in a row

simple dialogue tags like “said” “asked” “replied” are your friend!! don’t avoid using them just bc they might seem generic hehe esp if you’re substituting them w verbs that are less appropriate simply for the sake of not using “said”

sometimes, you’re better off not including dialogue at all! like the whole premise of “show, don’t tell”, spelling out every last thing for the reader can sometimes work against you. body language and cultivating an atmosphere is key here! if it’s an awkward situation, you could bring up someone averting their eyes, shifting from side to side, playing with their fingers etc. if it’s a serious situation, you could mention their tensed shoulders/facial expression, their jaw clenching, them pulling away when someone tries to touch them etc. that in itself tells a story! but once again, it’s just abt using methods like these at the right times. sometimes, exposition is necessary

if ur writing abt skz, or any muse really, i think including mentions of their features/habits makes it more fun to read! it can help immerse the reader if u bring up traits that capture the character’s essence, or speech patterns that capture their voice. it’s all fictional ofc and just based off our perception of them, but i like to write skz in a way that’s at least somewhat believable in accordance w their personalities! even little things like the way jisung talks through breathy giggles, binnie’s nose scrunches, how minho looks up when he’s thinking, or how jeongin ends his sentences with a cute nod sometimes. and ofc there’s physical details as well like binnie’s chin scar, chan’s dimples, hannie’s cheek mole etc

this one is probably obvious but paragraph breaks are very important!! both to prevent overwhelming the reader with a huge block of words, and for organizing events/building tension! a paragraph never strictly has to be multiple sentences, you can have a single isolated line of text if you want. timing paragraph breaks can be very effective for creating the right vibe! if something intense is happening, putting a break right after a serious action or putting a single line of dialogue on its own can make them stand out and really add to the drama of it all hehe

don’t worry too much abt using the same word multiple times!! it might feel a lil annoying when you have to repeat a word several times in a paragraph but sometimes that’s the only option there is. if you try to replace it w 10 different synonyms instead of just referring to a book as a book, then it might end up sounding even goofier haha…so try not to stress when you feel like you’re overusing a word!

if you want your writing to be more immersive, take all senses into account!! describe more than just the character’s actions—describe sights, smells, sounds, touch, how the characters are feeling, etc!

arguably the biggest piece of advice i could give!! having varied sentence structure/length is one of the most challenging parts of writing in my opinion but so so important. when smth sounds off in your writing, it could very often be bc of the way a sentence is structured, or bc several sentences back to back are similar in length/format, which makes it flow awkwardly. i think making sure ur sentences range from long, detailed ones w several clauses, commas, semicolons, em dashes etc. to short, direct ones keeps the writing engaging! sometimes combining 2 short sentences can make the flow sound better, and sometimes breaking down a long one does the same! it also makes it a lot more effective when you have a sudden short sentence amidst several longer ones, bc there’s a clear shift in tone! generally just try to avoid having an entire paragraph of sentences that go “she did this and then this. then she did this and then this. then she did this and said that.” the variety will work wonders for how it all connects together!

ofc there are some situations where you might be going for a certain feeling or tone w your writing, in which case it can actually be a useful tactic to have repetitive sentence length/structure. maybe you want a scene to feel overwhelming w several long, complex sentences or you want to really drive in an idea by using blunt, disjointed ones. it’s all abt what you hope to achieve w your writing and your personal preference!

i hope this helps!! once again this isn’t the be all end all, so please only follow what you see fit! if you have any other questions let me know, i’m wishing you the best of luck! ^_^

#ask

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em-dash-press · 1 year

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Is Exposition Ever Good? 4 Pros and Cons of Catching Your Readers Up to Speed

People often mention exposition as a bad thing. Can it ever work in a story? Here are a few things you need to know about writing exposition so you can use it purposefully or avoid it in your upcoming work.

What Is Exposition?

Exposition is any dialogue or part of a story that catches the reader up on what already happened. It’s received a bad reputation in the writing community, but it can serve a few purposes if done well.

Basically, imagine starting a chapter with the summary on the book’s jacket. Except sometimes that summary fits in other parts of the story.

Pros and Cons of Exposition

Pro: Readers Get a Recap

When you’re six books deep in a 10-book series, a little recap in the first chapter is very much needed. It’s even good when you’re starting a sequel. Readers aren’t going to remember every plot detail, rivalry, and moment of character development.

You’ll likely read it in the first chapter something like this:

Chapter One I couldn’t believe I made it off that mountain, even weeks after scaring residents in the valley village of Straw Hollow. The blackened chunks of my face I nearly lost to frostbite would have been scary enough, but they also had to rush me to their physician with a bear trap around my ankle. It was all worth it though. I’d left my hometown six months prior to find my sister on the top of that mountain. I’d rescued her and pulled her back with me on a makeshift sled of pine branches. She was alive. That was all that mattered. Until I woke up in the physician’s cabin and saw a poster hanging across the room. It had my face on it, along with a bounty of $5 million.

That summary doesn’t include every detail from the first book, but it includes the major points so readers remember why the protagonist left on their quest, what matters most to them (aka, their motivation), and what they’re up against now.

Con: They Don’t Always Need It

Sometimes writers include exposition that summarizes something from a previous chapter. Readers don’t always need that! Unless your last chapter was longer than ~10 pages, they may read your exposition and feel as though you’re talking down to them. The storytelling starts to baby the reader instead of entertaining them.

Even in the case of starting a new book in a series, lengthy exposition might not be necessary. A few quick sentences could summarize your first book and get the reader back in your world if the first book was a mega-hit that people can’t stop talking about.

Pro: Exposition Can Set the Scene

If you’re writing a fast-paced, high-stakes story right from the start, it’s important to set the scene quickly. Your exposition could look like the example above and lead into a fight scene. As soon as the protagonist sees the bounty poster, the physician walks into the room held at knifepoint. The attacker fights the protagonist, who wins—but barely.

It wouldn’t make sense to weave your exposition throughout the first chapter because your reader would quickly get left behind. They wouldn’t enjoy the action or fast pace because they don’t remember what’s at stake for the protagonist or why they’re doing what they’re doing.

Con: It Can Feel Like Page Filler Content

Imagine the first chapter from the example. The writing is exactly the same, but after the protagonist successfully escapes the attacker in the physician’s cabin, they find their sister and hide in a nearby forest. As they’re crouching in the shadows, they start whispering to each other.

“What happened in there?” my sister asked. "I just woke up in that physician's cabin," I replied. "I remembered walking into the village and even checked for the bear trap. My ankle is in this hard cast now, so it's okay. But then I saw a poster with a bounty of $5 million. Whoever turns me in to the king gets the money. So an assassin held the doctor at knifepoint and I had to fight them off. They landed a few punches, but I think I'm all right. " “A bounty?” she hissed. We waited for villagers with torches to pass by us before she spoke again. “For $5 million?” “Yeah,” I confirmed. “I’m really glad you found me at the top of that mountain and brought me back down on a sled of pine branches, but this is dangerous.” “I’d do anything for you.” “And it looks like those villagers would do anything for $5 million.”

That part of the chapter repeats everything the reader just read. The specific bounty price is even mentioned a few times as if the reader's going to forget how much it is between paragraphs. They know all of this information already, so this example of expository dialogue slows the pacing. Even more critically, it bores the reader.

You can also accidentally bore the reader if you’re repeating information that isn’t vital to the story. The next part of that chapter could describe how the sisters wander through the forest. The protagonist watches the stars pass by through the tree branches above and recalls a memory of watching stars with their mother in great detail.

The sister asks what the protagonist is thinking, who describes the memory a second time in exactly the same level of detail.

These situations often create the books we read where we go, “I liked it, but it could have been 100 pages shorter.” That’s likely because there was expository information scattered throughout, either in dialogue, internal monologue, or the storytelling itself.

-----

Don’t be afraid to use exposition when it’s to your reader’s advantage, but remember that it can be easily overdone. Beta readers are a great resource for catching those moments. You can also read the story out loud to hear what you’re repeating.

#exposition #dialogue #storytelling #writing #creative writing #writers of tumblr #writeblr #writing tips #writing advice

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lilyginnyblackv2 · 1 year

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Hmm, this is interesting to think about:

In Episode 7, we see how Yuzuko and Kazuki first met.

She found him in a field of hydrangeas during the rainy season, holding an umbrella. He was at a low point here, in the sense of being very badly wounded and in need of physical help, which I am going to assume Yuzuko provided for him.

We also get the full picture of her death in this week’s episode as well.

It is, once again, the rainy season and she is holding the same umbrella. So Kazuki met her and lost her around the same time of year. This adds even more depth and emotion to Karin’s words to Kazuki:

“So the thought that you only remember her looking sad...”

Since it is highlighting her later sentiment that “memories aren’t prisons.” Kazuki was locking himself in the memory of her death during this time of the year, rather than the memory of his meeting her.

Now, when it comes to Rei, we don’t know when exactly it was that the two of them met. But it was likely a good bit before the events of Episode 1, since there was a familiarity between the two of them already. The interesting thing here though is that Rei didn’t find Kazuki like Yuzuko did, it seems more like Kazuki found him. This is based off of the February Animedia interview where the producer, Toba says:

Kazuki is very family-oriented; he's the so-called maternal type. The reason why he started living together with Rei is that he saw the complete shambles of Rei's lifestyle, went, 'This won't do!' and started fussing over him.

And we know from Rei’s general personality and the dynamic they have going on that Rei follows Kazuki, not the other way around. So, at his lowest he sought out someone to care for. But when it was just him and Rei, they were still at their lowest, diving deep into their bad habits and styles of living.

They were both just in survival mode. They weren’t really living though.

The one who finds Kazuki this time though is Miri.

She finds him when he is at his lowest, and her existence in his life gives him the motivation to start changing and to start actually living again. This was in the middle of the winter, when everything is dead. And then this little ball of energy and sunshine entered his life. She provided him the same chance at a family that Yuzuko did, though obviously in a very different way than her (through being a daughter as opposed to a romantic partner and wife like Yuzuko).

And he jumped at the chance. We see him accepting her into his life slowly, bit by bit and through various different aspects and areas. But he still has boundaries set up, he still has a part of himself that is holding back, and he still sees Miri as something that was given to him in a way, then something he actively sought out. At the end of Episode 7, though we see him “find” Miri.

He chooses to go back to her.

He also chooses to go back to Rei too. When he looks softly at the end of Episode 7, it is a look directed at both Miri and Rei. He’s proud and happy to see that Rei actually stepped up and took care of Miri. His warm smile is at the thought of him having a true second chance at a family again, without past memories blocking emotional bonds and connections.

And the thing is, this all happens, again, during the rainy season. Kazuki was, imo, seriously contemplating not returning at various points in this episode. But, he decided to go back to this unexpected family instead of losing the chance again, during the rainy season.

Episode 7 was a great leap in Kazuki’s character development. He’s finally starting to allow himself to properly heal, and like how Yuzuko found him when he was at a low point and in bad shape during the rainy season 5 years ago, Kazuki is here now, in the rainy season, actively returning to Rei when Rei is at his lowest point (in terms of caring for Miri).

It almost feels like Kazuki is being to Rei what Yuzuko was for him, like taking on that same kind of role, though maybe not with the same kind of dynamic, more so just being the helping hand needed when in a bad place.

That’s lovely in a way, but it does keep Kazuki in a sort of perpetual “giving” position in the relationship that he has with Rei. Since Rei grew up without love, we haven’t really seen him reaching out for it. Not in the same way it seems Yuzuko may have done with Kazuki or in the way that Kazuki seems to instinctually do with Miri or in the way Kazuki has done with Rei now. The gasp at realizing Miri was sick, then the confused stare for a moment, and finally the soft stare when he realized Rei stepped up and everything was fine.. That’s us seeing him making an emotional connection with the both of them at that moment, even if they were both asleep.

Something clicked there and we can see that a proper shift has happened, and that while Kazuki has always been more of an animated personality type than Rei, there is something much more true and genuine about this smile than the ones he has given in the past:

I think it’s because Kazuki has finally found himself and the obvious weight that he was carrying around has lifted. I feel like Kazuki maybe doesn’t feel like he needs to be found anymore and needs to reach out to Rei and Miri like he was doing in the past - to survive and deal with his trauma, but now he just wants to be with them and reach out to them and connect with them (we can see this through him saying he’ll teach them what good French toast actually is).

With Rei, we see that he has literally reached out to Miri in this episode:

And he is reaching out to Kazuki too. Usually Rei just goes with Kazuki’s flow, but he doesn’t actively seek anything out from Kazuki. At the end of this week’s episode though, he is actively seeking some kind of approval from Kazuki in regards to his French toast.

Kazuki may no longer need to be found or reached out to, but I hope we see Rei still try and do that, not so he can continue to take, but so that he can start to give back.

#KazuRei #Kazuki Kurusu #Rei Suwa #Miri Unasaka #Buddy Daddies #BD #Karin Izumi #Yuzuko Kurusu #bd spoilers #Buddy Daddies Spoilers #long post #meta post #image heavy post #speculation post #analysis post

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writingwithfolklore · 1 month

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Do well by your female characters

Back in film school you wouldn't believe the amount of scripts I read from my (mostly male) classmates that featured the same character; a kind, helpful woman reflective of the male protagonist who showed up when he needed her to offer warm words and support, allowing him to overcome obstacles and go for what he needs.

I hope she doesn’t sound familiar to you.

One of them was a coworker, another a train station attendant, another the best friend who lived next door—it didn’t matter, they were all the same character, uninvolved in their own lives, created to help a man get to his goal. Let’s be wary of this trope, and stop robbing our female characters of their own agency. We can do this in a few ways:

1. They aren’t convenient

One confusing fault of the female characters I read in my peers’ scripts was that she was always around right where the protagonist needed her to be. It didn’t matter if he was having a crisis in the alleyway, or by the museum, or in his own house, she’d show up like she’d been summoned.

She needed a place to be—a life outside of him. A job, school, hobbies. Sometimes when he needs her—she shouldn’t be there.

2. They have an actual personality

While being warm, kind, supportive, and empathetic are all admirable traits people do have, I’ve never met a real person where that’s all they were. Like building any character, she needs flaws, interests, something to her that isn’t just for other people’s benefit. Consider what traits she has that aren’t just ways she serves others.

Allow her something just for her. Something selfish.

3. They have and work towards a goal

Related to her not being convenient—she’s got her own thing going on. Like any other character, she has goals and objectives, motivations, something to work towards. As much as she supports the protagonist, she also takes from him to fulfill her own goal.

Give her wins, disappointments, a little something going on. Something to gain from her interactions with him.

What else bothers you about common female character tropes? Or what did I miss?

#writing #creative writing #writers #writing community #screenwriting #writing inspiration #books #filmmaking #film #writing advice #female characters #writing female characters #mary sue trope #character agency

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dozing-marshmallow · 9 months

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BAKING WITH TOTAL DRAMA CHARACTERS SCENARIOS

(Photos aren’t mine by the way!)

BAKING WITH LINDSAY

(AS A BIRTHDAY SURPRISE)

You were surprised when she told you she didn’t have a mani-pedi appointment today. As if the day couldn’t be more convenient.

In Lindsay’s world, there was no such thing as baking unless it was done for her. And she was no expert in cooking either, which is why she was hesitant to bake.

“I don’t get it... Why am I putting four eggs in when five is my lucky number?”

Yep. As long as she was in the kitchen you could not let your guard down.

“What are you saying? What’s with all this flour? And this butter? Is that supposed to help me remember it?”

Alright, you both definitely didn’t have the same image in mind,“Remember what, Lindsay? We’re baking.”

“Ohh bake!” See? “I thought you meant pake, you know like password authenticated blah blah... Oh I’m soooo happy that wasn’t the case, you really aren’t complicated in that way, (Y/M)!”

She still messes your name up sometimes. But on the bright side, her motivation and inner child was found.

She loved pouring the sprinkles into the batter and tried her best to not break any when mixing.

You strictly put yourself in charge of dividing the batter evenly between each tin and swapping them around fifteen minutes within oven baking.

In the meantime, Lindsay managed to get started on the icing- not without constant confirmation that she was doing it right. Seems like she learnt a lot already.

All was looking well, until you noticed something out of place in the bowl. Feeling icky, you carefully extract it,”Lindsay... Is this your hair?”

“Oops...”

You fixed her hair into various styles until the timer went off.

She was gasping in amazement to how solid and fragrant they came out, asking if she could just eat them like that, and you don’t blame her.

Fast forward to icing the layer in between the combined cake and it as a whole, you were about done preparing the piping bag from a separate bowl of icing when she suddenly pleaded to do it.

Anxious, you handed it over to her. Your worry about any mistake she could make was short lived when remembering that even if it did come out slobbery, you know that her intentions were pure and it’s not like anyone else was going to eat the cake anyway. Until watching her actually pipe made you realise she was no amateur:

She was way better at it than you expected.

Seriously, her flowering and swirls were so high in symmetry, it was practically perfect!

“Duhhh! I do makeup! Hair and makeup! I’m like basically holding a curler, ooo I wonder if I could use this bag to style my hair instead? This has to be Victoria’s Secret to smelling so good!”

Logic never went well with Lindsay’s talents. And that was fine with you.

“Taa-da!” She cheers out,”Ohh it’s so pretty... I almost don’t wanna eat it!”

You congratulated Lindsay for her fruitful efforts and asked if she knew why you wanted to bake a cake with her specifically on that day.

“Because you like like me?” Her response after her time of self complimenting over the finish product was done.

“Yes, and also...” This is it.

You grabbed your 1 candle and 7 candle, placing them next to each other on top of the cake.

She watched as you lit them up in seconds, and without warning, the occasion hit her.

“Ohh right! Now I know why my Facebook’s blowing up like crazy today! It’s today!” As though the piped cursive writing of her name on top of the cake didn’t tell her too, but when she started clapping her hands together with that big smile on her shiny lips, it made up for it,”Yaaay! Seventy one today! Can’t believe how long it’s been since I first picked up a magazine. And was born, can’t forget about that, duh. Uh oh. Does that mean I’ll get frail and wrinkles now? Aww I don’t wanna give up tanning! Not yet!”

“You don’t need to worry about that for now, Lindsay, because it actually says seventeen. You’re seventeen today, and for another three hundred and sixty five days. Happy birthday, baby.” ⟡

BAKING WITH GWEN

(HELPING HER OUT)

“A pie, huh? Which flavour you thinking, apple, blueber-“

“Blackcurrant. We’ll be making a blackcurrant pie... that okay with you?”

When Gwen told you that her clique were hosting a get together party, you were almost as enthusiastic as she was.

But...

Because this was Gwen’s first time going to a party, she never thought she would have to worry about oven temperatures and accurate measurements up until now where the group agreed to whip up something individually that everyone could all share and eat.

That’s why she came to you with this dilemma! Her one and only.

Definitely not so she could simultaneously spend time with you.

You believed the thought process behind her choice of baking a blackcurrant pie was genius: the lattice crust on top could mimic a spiderweb and the colour behind itself was the real thing that appealed to the goth eye.

At the start, Gwen was nervous. She never did this kind of stuff before and didn’t want to screw it up, especially if her friends were going to eat it.

That’s why you suggested: I’ll make the crust, you can make the blackcurrant filling.

Oh how she loved crushing the blackcurrants,“Just imagining it’s Heather’s head right now.” She said with a smile.

Isn’t she so cute!

After pouring the sauce in the base, Gwen’s ambition really skyrocketed- you couldn’t deny how happy you felt when she insisted on making the perpendicular crust for the top, and that was just one example.

Even with all the red on her hands, she really was an artist.

“This is fun! It’s really like painting! Only with dough and fruit.”

Now, all the pie needed was no more than thirty minutes in the oven. To pass the time, you guys decided to do some drawing in her bedroom.

And it came out beautifully! The crust was golden brown and the blackcurrant juices were steaming with sweet flavour. Delicious... You can tell by Gwen’s eyes that she can’t wait to sink her teeth into a slice of it.

But her craving was quickly replaced by annoyance, upon realising how messy the countertop and floor was.

You cheekily remind her that she could’ve just bought something and passed it off as hers if she didn’t want to go through the trouble of cleaning everything up.

“Y-You think I would do something like that just so I wouldn’t need to clean? Jeez, I’m not that bad! I couldn’t handle the dreading guilt of doing that to them. Besides, I made it with you. That alone already tops off any other pie I could have bought instead.” <3

BAKING WITH ALEJANDRO

(IN CELEBRATION OF A SPANISH FESTIVITY)

“It would be an utmost honour, mi tesoro.”

In light of his Spanish roots, you were going to be baking “Pan de Cea” which was some kind of bread that’s traditionally made in favour of this summer festival called “festa de exaltación”.

You couldn’t wait! However, because you weren’t so familiar with bread baking, you were naturally amazed by Alejandro having known the entire recipe off by heart.

“No need to be ashamed. Unlike my love for you, this recipe will be very easy for you to understand.”

And what would be a day with Alejandro without his charming lines?

You loved and hated the warm effect they had on you, even more so when they escalated to a physical level.

He loves to stand right behind you, with his hand being on yours when you were mixing the yeast, the flour, the salt, the olive oil together...

He’d pour the water so majestically into the bowl and took over when your arm got tired of stirring.

After the dough was hard, he claimed that you’d have to leave it in the bowl under plastic wrap for a day,“I know I’d feel safe if you stayed here all day with this dough, your beauty is the perfect thing to maintain a high temperature.”

Pretending you weren’t flustered, he laughed and invited you to get churros with him to make up for the spare time- it was only fitting.

Timeskip to the next day where the dough was hard, just how it needed to be on the parchment paper. Two minutes of watching Alejandro rub the dough in olive oil felt like two hours with the frequent looks he shoots at you.

Once he’s done, he pampers you by also literally massaging you during the hour needed for the bread to rise. Guess he thought you got jealous of it.

Jealous was a stretch, but you didn’t think you’d groan when it was time to take the loaf out. At least it smelt as pleasant as it looked.

As you were about take a piece, Alejandro stopped your hand with his to take it for you instead. This was nothing out of the ordinary, Alejandro just enjoyed having the liberty to feed you like that.

“Delicious... You did so well...”

“Don’t hold yourself at such low standards, mi amor! We did very well. Words alone aren’t enough to describe how proud I am of you. Feliz festa de exaltación.”

“Happy exaltation party!”

For the first time in your relationship with him, he was the one caught off guard,”Did I say it in English before?”

¡Era canela fina! ///

BAKING WITH CHRIS

(JUST WANTING TO SPEND TIME WITH HIM)

Initially, he would accuse the activity something only for “peasants” to do so you quickly reminded him that it was an insensitive thing to say and it wasn’t always about material things; sometimes it’s just about wanting to spend time with him outside Total Drama.

Once he’s gotten over his pride, he joins you, on the condition that you made cookies- since, according to him, it requires the less mental strength.

This probably won’t be surprising, but he made you do most of the work (at first). Claimed that his hands would be “soiled” if he touched the “filthy” ingredients for too long.

In the beginning, he was mean spirited as Chris enjoys to be i.e pouring a handful of flour down your clothes, forcing your face down the sink with the tap on, general shoving.

You wouldn’t have minded if you could’ve also had a laugh whenever you tried to recite the treatment.

Yeah he would be seriously insulted if you tried even doing something as little as rubbing a chocolate chip against his cheek.

It wasn’t until you threw an egg at his head out of anger and watched the yolk oil down his hair where he took accountability that he went overboard. Sure, he was laughing while he did.

But his hair was ruined for the rest of the baking process so you were too.

Afterwards, there was less “joking” and more compassion. Somehow now that he temporarily moved past his sadist ways, Chris began to involve himself a lot more in the whisking and licking your finger and vice versa of leftover batter.

The rolling of dough into a collection of spheres was arguably the best part.

“Look Chris! I made one that looks just like you!” You held up a cookie circle, obvious that those two lines of dough were purposely added to be on top to mimic his hair.

“Oh? What a coincidence! I made one that looks just like you too!” He declared, revealing a sticky slob of dough in his hand right after he said that.

“Oi...” You smile helplessly,”That’s not a nice thing to say to your spouse.”

But hey, if he didn’t tease at all, was that really Chris?

Post setting them on the tray and into the oven, Chris immediately rushes to the shower, and by the time he’s done, you were on your fifth cookie.

He whined at you for not waiting for him, but you’re quick to hand the one you’re on to him.

He finishes it, not without reminding you that you were the only exception to treating him like a “regular” person. Which in his books, was a deadly sin.

Needless to say, he’s impressed; despite him letting on so little, you’ve been with this man long enough to know otherwise. You could only smirk when he makes dismissive claims that they would’ve came out better if it was just him making them as he took spontaneous sips of his glass of milk.

By the end, he’s really glad you had this time together. He won’t stop thinking about it for a while. Heck, he’s more excited about baking with you again than you are.

Even if he won’t admit it.

Yet. :)

#total drama #total drama island #total drama scenarios #td lindsay #td chris #tdi #td gwen #td alejandro #baking scenarios #romance #fluff #x reader #tdi x reader

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gingerylangylang1979 · 10 months

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Reddit and Twitter need this most but I won’t, because reasons

I have said before I don’t think ALL the Camry and Sydney hate is racially motivated but PLENTY of it is. It’s Richonne 2.0. This isn’t new to me.

There is the outright racist coded comments like claiming Sydney has to be a lesbian, has to be asexual, looks like Kendrick Lamar (yes, it was said), along with the inability to ever empathize with her character.

But I’m not talking about that. I’m talking about unconscious bias with people who don’t get that they feel the way they do because Sydney is black. So anyone reading this may want to take a moment and honestly examine what I’m saying.

Unconscious bias is, for example, the thing that leads doctors, sometimes even black ones, to presume that black people don’t feel pain in the same way whites do. It’s not necessarily malicious intentional action or obvious hatred towards us. It’s subtle perceptions that change how one views the nature and capabilities of black people while still being able to be friends with them, respect certain qualities about them, and maybe even at times be allies. But there is always something different in perception that is so invisible that you aren’t aware of it.

I've seen it in white people, strangers and acquaintances, making assumptions about what I’m into or should be, what my education and earnings are, and who I should be friends and lovers with. It’s the thinking we can always handle anything and not be burdened. It’s what is happening a lot with Sydney, especially with Carmy.

People are allowed to not like the ship. They don’t have to. I’m not going to assume everyone who doesn’t is racist. But for anyone who doesn’t I think it would be beneficial to examine a few things.

Viewing the first scene between them, how would you interpret Carmy’s taken aback, entranced, nervous reaction to seeing her? To me it obviously says attraction and surprise. If there is another explanation I’ve never heard it. People just gloss over that interaction and I think it’s a tell. It shows that people may not be able to see him showing signs of attraction to her because she doesn’t look like who you would expect him to be attracted to.

2. How would you explain the way Carmy is constantly looking at Sydney closely like he doesn’t look at anyone else? When we see her from his perspective she if glowy or hazy or out of focus. We don’t see that with any other characters he interacts with aside from that finale flashback with Mikey. He doesn’t look at Sugar like that. Syd is the only one who gets special framing. If you’ve never noticed, why?

3. If you think Syd could be a lesbian or asexual, why her and not for instance Tina, or others on the crew? Sex isn’t referenced a lot so why is it not being referenced with her any different than it not being referenced with others? Often people assume a woman who dresses tomboyish is just that. Why can’t that just be her style? I have plenty of women friends that are straight and sexual with a similar style.

4. Could you imagine the scenes with Syd and Carmy if a man was in Sydney’s place? What would you think of the vibe?

5. Could you see Ayo in the Claire role?

6. Could you see Jeremy and Ayo playing love interests in a totally different show?

7. If Molly Gordon plays Syd could you better picture her with Carmy?

8. When you see a dark skinned black woman in a couple with a white man IRL does it make you especially take notice or feel it’s a bit off?

9. Does the thought of Sydney and Carmy kissing or being intimate make you have an extreme reaction like eeew or gross? Maybe not so extreme does it make you feel awkward to think about it?

10. Do you often compare their relationship to siblings?

11. Can you recognize the Syd isn’t into Marcus romantically and has other options?

12. Can you only envision Sydney alone and not needing romance because her career is all she needs?

13. Do you think maybe Carmy could find her attractive if she looked more glamorous?

14. Could you more easily see Carmy into Syd if she was played by Zendaya or someone that looks similar?

15. Have you never seen a couple that looks like Syd and Carmy?

16. if you saw the Emmy magazine photo shoot did you not perceive the touchy pose with Ayo and Jeremy as sexually suggestive and think it’s an impossibility?

17. How do you think Clairs would react if she saw all of their interactions?

18. Is it easy to view Sydney as having complex motivations and emotions at the same time? Can you possibly see that she’s jealous of Claire because she distracted Carmy from business AND because she has feelings for Carmy? Is it possible to think she can view Carmy as a boss, mentor, and someone she is attracted too and that’s hard to process?

All of these things may not apply to your perception but if any do realize these are very common examples of how unconscious bias plays out when thinking of black women, especially in storytelling. This is a lot of what has historically been seen with similar ships and IRL mixed couples. That’s not to discount the numerous white man, white woman ships that people don’t like, but these things are consistently present with black women and white men presented in the media and celebrity couples. There is always more scrutiny with these pairings.

You may not have a context to understand that. You may have never been questioned in this way. You may be angered to think it’s possible this is a role in how you are viewing things, but it’s the truth based on lived experience and observation. It’s worth examining.

I’m not here to be hostile, I’m just trying to voice in a gentle way what so many here already know and you may not be aware of or ready to think about.

I’m not going to argue with anybody about it but any intelligent, respectful dialogue is welcome and encouraged.

#the bear fx #carmy x sydney #chefs kiss

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