re: your tags on a recent answer sayingabout reading stellarlune that stellarlune is only your second hated bc legacy is worse
i haven't read legacy in a hot minute so *chinhands* wanna tell me more?
i don't remember anything important from it except the whole Alvar thing (which, honestly, you're telling me the Neverseen had a method to completely wipe a guy's brain only to perfectly restore it with a certain trigger, and nobody talked about it again??) And I somewhat remember the trolls? great-aunt Luzia Vacker put a troll farm on her property for some reason i don't remember, then for some reason moved away from it and left it on the property out of her control? Wack
oh and i do remember being wildly annoyed by the ending, where sophie spends like twelve books up to this point vocally refuting the matchmaking system and not wanting to do it, but then she turns around and does it after all?? (and okay, i can admit that she probably did it bc she really loves fitz and like, if he'll only accept her if the matchmakers allowed it, then perhaps through the power of love it'll work out for her? but it doesn't, so she and fitz have to make hard decisions about their lives.) So yeah actually give me your matchmaking/legacy ending thoughts too!
I'd love to! However, you did just describe the plot of Flashback, not Legacy, so I'll try to cover both of them briefly
Flashback I'm mostly neutral on--I do enjoy the sophitz before Shannon started their forced crash (in Legacy, part of the reason I dislike it), and exploring Tam's potential with shadowflux is lovely since I love him. Few clarifications: Luzia made a secret alliance with the trolls to hide their hive, since it's their biggest vulnerability; she moved away because she needed more space. Apparently during that time, Luzia helped with experiments on them--but the hive left there was closed on their side, so Luzia wasn't part of the most recent batch; my guess is she thought it was inactive and abandoned, otherwise she wouldn't let the new Vackers live there
But yes, I was incredibly underwhelmed by its ending. Coming out of books where the cliffhanger is her entire family's been kidnapped, Alvar's lost his memories, her being ineligible for a pairing system I don't care about as the final reveal is like...ok. and? but, I do acknowledge this is entirely biased by my aromanticism and relationship anarchy. I simply don't give a shit. sophie, however, does. so I understand why from her pov that's a massive bombshell, and very stressful. i'm just not the audience for that reveal
unfortunately for me, that ending sets up a major part of the next book, which is why Legacy is my least favorite. I want to be very upfront and say my least favorite. this is my ranking based on my personal interests and enjoyment, it's absolutely fine if you (general) like Legacy. this is incredibly biased and opinionated
OKAY, so. I simply cannot get myself to care about Sophie's relationship woes, and they're not even written true to the characters! That thing I said about a forced crash? It's like as soon as they got together, Shannon decided the loss of hidden crush drama was too much, and she immediately sabotaged them to make up for it. This post gives a good example, adding a fake time crunch to make it seem more important and blaming Fitz. And the thing about Fitz being like "you wouldn't want to not find your parents, right?" when one of the first trust exercises they did together she told him directly she didn't want to because she thought she'd hate them. And they didn't brush past it! They talked about it a little! But of course now he's conveniently forgotten
If it was compelling, I could accept their demise. But it's not! It feels like drama for drama's sake, and it's just frustrating to read. With the seven books we spent building up to them, imploding everything about them in one book without any pay off is like...why. Just why. and it comprises SO MUCH of the story! Sophie's always thinking about it, prioritizing it, worrying about it, and I! am not here for that. Which is entirely a personal preference thing. i've been in a qpr for years, relationship anarchy is my normal, and it's just so...exhausting? reading her thoughts about how her life is going to be ruined and everyone's going to hate her. first of all, that's clearly an overreaction and I'm not believing this tension for a second. second, boo fucking hoo. you're atypical. join the club and stop moaning about how it sucks to be us. she's on a learning/acceptance curve, I know, but that doesn't make it fun to hear that kind of rhetoric--especially since I'm fairly certain Shannon wrote this without that in mind at all
I am aware I'm being mean to Sophie. I can logically understand all her beliefs and actions, and I know they're suited to her, her background, her values, and where she is in life right now. on a technical level, I get it. that doesn't mean emotionally I enjoy it, even if there's a reason to it all. it's simply a part of the story I, as an aromantic person, dislike. and that is my experience and opinion, I am in no way speaking for others.
so to summarize: I hate how the characters were handles and how sophie thinks of matchmaking in Legacy, and those things were a significant portion of the book, so I don't like it in general. personally. my very biased and emotionally driven opinion :)
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Does Heartstar/Tigerstar II have thalassophobia(fear of deep water/drowning) would certainly make sense given his family's entire Deal with the lake. Also does Rowanstar drowning in the Moonpool mean that there's just. A rotting corpse in the moonpool now? Don't the medcats drink from that water?! (Sorry if yiu see this twice! I think tumblr deleted my ask?
I've said it before and I'll say it again. The desire to CinemaSins Ding poetic imagery is the death of visual metaphor and the bane of creativity. Kill the impulse. The moonpool is as deep and clean as it needs to be in spite of being canonically a stillwater pool and logically full of algae and microbes. Magic cat god water, full of StarClan Magic (tm)
We do not need to see the cats fishing Rowanstar's body out, or an accurate estimate of pool depth, or its PH level. StarClan's emotions do wonderful things when miracles occur. A wizard with a big pool cleaning net did it.
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So I see folks pointing out that Louis' circle A tattoo is more likely an aesthetic choice than an announcement of a political commitment to anarchism, and saying basically that that maybe makes him a bit of a poser and I mean- I GUESS. But I don't like to look at things that way and I don't think it's useful. As I see it the subversive sexiness of the symbols of resistance have ALWAYS been gateways for people who are drawn to the struggle in vague ways and that's GOOD. Aligning yourself with those values is good no matter the reason, in my book, especially given the wretched options available out there, but also the journey doesn't necessarily stop there. Gatekeeping queerness victimizes people who are just trying things out and starting to discover that it may run deeper than just trying on a new look who should instead be welcomed and helped along their path, and I fail to see how gatekeeping political affiliations is any different (plus how counterproductive to actual movement building is that?)
ANYWAY. What I really want to say about Louis is that while I KNOW that Louis is probably not secretly a theory reading anti-state communalist anarchist, I think that actually Louis' optimism and idealism (and his unwavering commitment to allying himself with the working class and embracing those roots) are a perfect fit for the philosophy and always have been. I know that anarchism is mostly understood as being about throwing molotov cocktails and fighting the state (and the allure of its symbols are that they signify this, a terrific aesthetic for him to choose to sign on with in my book), but that's honestly largely cartoonish stereotyping that comes directly from anti-anarchist state propaganda. That resistance is necessary in this hellscape of oppression we live in and is super important, but in its heart anarchism is only about the state in that the state and capitalism currently stands in the way of its goals. The whole point of anarchism is that it's NOT about the state! It's about being able to imagine something better than a state, it's about how we live and about how we SHOULD live, it's about HOPE and picturing something utopian and something free of the ways capitalism pits us against one another! What could be more Louis than that?
"I need you and you need me and I love that" is as beautiful a way of talking about the cornerstone of anarchism that is mutual aid as any long winded essay I've read (even if what he meant was contextually different), and I think when he talks again and again about how special the space fans have made around him is he is expressing an intuitive understanding of the importance of autonomous zones, places and moments outside of the shitty life imposed on us by the system (also a huge part of anarchist thought). Maybe I'm just being an optimist but I think that Louis DOES understand that caring for people and wanting self-determination and freedom for all and allying himself with the working class involves a certain amount of resistance to and positioning yourself in opposition to the state. Thinking the symbols of smashing that state are cool isn't meaningless; it's a CHOICE. There are other cool symbols out there and I just happen to think that feeling a resonance with certain ones is something in and of itself, even if at this moment he does not choose to start a fight with the media about it all.
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Sorry what’s up w the Ethan slater stuff? I know him only from your posts / SpongeBob stuff
HI HELLO please buckle in
yep -- the same guy from the spongebob musical, and my posts abut the spongebob musical.
he blew up completely and now the general public knows him as 'ariana grande's new boyfriend' - their relationship seems to have started off the back of co-starring in the upcoming wicked musical film adaptation.
it's just been like. a monkey's paw curling sort of a way for him to get catapulted to fame, as i had always really enjoyed him as a performer (as spongebob, yes, but also in the other roles i'd seen him in,) and my biggest hope back around 2017 was that he would continue in and be really successful in theatre, get a lot of broadway roles, maybe take on some existing parts i thought he'd really suit, like seymour in little shop or ogie in waitress.......... but instead he booked the role of boq from wicked in a massive hollywood film production instead, where he met ariana grande. THE ariana grande.
and then yeah. at some point, he and grande broke up with their respective partners, (slater leaving both his wife AND newborn son) jumped into a new relationship, and now the whole wider internet knows who he is but certainly not for the right reasons.
there's been speculation regarding whether or not grande and slater had cheated on their previous partners before their relationship began with various sources coming out of the woodwork saying "yes they did" and others saying "no they didn't" -- humans are all perfectly capable of making stuff up, the media especially, so i simply don't know who to trust and i admit it had completely shattered my whole good impression of him - PLUS it gave the wider internet an absolutely awful first impression of him, resulting in, yeah, the (frankly, unflattering, sometimes downright cruel) memes of him popping up on twitter and, as i discovered yesterday, in non-theatre youtubers' videos who would literally never have heard of him if not for the slater-grande romance 🥲
FULL COVERAGE of the situation as it was happening can all be found on the lovely @notasimpleslater's blog under the tag 'ozgate' if you want to delve deeper!
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Margaret of Anjou’s visit to Coventry [in 1456], which was part of her dower and that of her son, Edward of Lancaster, was much more elaborate. It essentially reasserted Lancastrian power. The presence of Henry and the infant Edward was recognised in the pageantry. The ceremonial route between the Bablake gate and the commercial centre was short, skirting the area controlled by the cathedral priory, but it made up for its brevity with no fewer than fourteen pageants. Since Coventry had an established cycle of mystery plays, there were presumably enough local resources and experience to mount an impressive display; but one John Wetherby was summoned from Leicester to compose verses and stage the scenes. As at Margaret’s coronation the iconography was elaborate, though it built upon earlier developments.
Starting at Bablake gate, next to the Trinity Guild church of St. Michael, Bablake, the party was welcomed with a Tree of Jesse, set up on the gate itself, with the prophets Isaiah and Jeremiah explaining the symbolism. Outside St. Michael’s church the party was greeted by Edward the Confessor and St. John the Evangelist; and proceeding to Smithford Street, they found on the conduit the four Cardinal Virtues—Righteousness (Justice?), Prudence, Temperance, and Fortitude. In Cross Cheaping wine flowed freely, as in London, and angels stood on the cross, censing Margaret as she passed. Beyond the cross was pitched a series of pageants, each displaying one of the Nine Worthies, who offered to serve Margaret. Finally, the queen was shown a pageant of her patron saint, Margaret, slaying the dragon [which 'turned out to be strictly an intercessor on the queen's behalf', as Helen Maurer points out].
The meanings here are complex and have been variously interpreted. An initial reading of the programme found a message of messianic kingship: the Jesse tree equating royal genealogy with that of Christ had been used at the welcome for Henry VI on his return from Paris in 1432. A more recent, feminist view is that the symbolism is essentially Marian, and to be associated with Margaret both as queen and mother of the heir rather than Henry himself. The theme is shared sovereignty, with Margaret equal to her husband and son. Ideal kingship was symbolised by the presence of Edward the Confessor, but Margaret was the person to whom the speeches were specifically addressed and she, not Henry, was seen as the saviour of the house of Lancaster. This reading tips the balance too far the other way: the tableau of Edward the Confessor and St. John was a direct reference to the legend of the Ring and the Pilgrim, one of Henry III’s favourite stories, which was illustrated in Westminster Abbey, several of his houses, and in manuscript. It symbolised royal largesse, and its message at Coventry would certainly have encompassed the reigning king. Again, the presence of allegorical figures, first used for Henry, seems to acknowledge his presence. Yet, while the message of the Coventry pageants was directed at contemporary events it emphasised Margaret’s motherhood and duties as queen; and it was expressed as a traditional spiritual journey from the Old Testament, via the incarnation represented by the cross, to the final triumph over evil, with the help of the Virgin, allegory, and the Worthies. The only true thematic innovation was the commentary by the prophets.
[...] The messages of the pageants firmly reminded the royal women of their place as mothers and mediators, honoured but subordinate. Yet, if passive, these young women were not without significance. It is clear from the pageantry of 1392 and 1426 in London and 1456 in Coventry that when a crisis needed to be resolved, the queen (or regent’s wife) was accorded extra recognition. Her duty as mediator—or the good aspect of a misdirected man—suddenly became more than a pious wish. At Coventry, Margaret of Anjou was even presented as the rock upon which the monarchy rested. [However,] a crisis had to be sensed in order to provoke such emphasis [...]."
-Nicola Coldstream, "Roles of Women in Late Medieval Civic Pageantry," "Reassessing the Roles of Women as 'Makers' of Medieval Art and Culture"
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