steve “cant get out of bed till middle of the day, barely leaves his house or is never home, isolating himself from everyone, never takes time for himself anymore, depressed and is slowly losing more and more of himself every single day” harrington post 1986’
robin “i know you loved her, and it must’ve killed that she wouldn’t take you back, but nancy is happy steve and she still loves you. she’s not the only one out there for you, and you’ve gotta get over it. we miss you” buckley post 1986’, trying to help her best friend
steve “…this isn’t about nancy” harrington.
robin “wha-?… oh. oh steve.” buckley.
he still wears the vest.
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I just think Tallulah gets to be upset about this. “It’s not Wilbur’s fault” “He’s not a bad dad” “He loves his daughter so much” yes! These are all true! And it’s not his fault! But he’s still not there. And Tallulah has gone through so much and still hasn’t seen him, the one time he was around was the one time she wasn’t, and all she has are letters and “I’m thinking of you always” and things that used to be theirs together, but he’s still not there. She’s waited and she’s been patient and she’s loved him all the same, and he’s still not there. Like yesterday, and the day before, and the day before, from the happy milestones to the traumatic events, he’s still not there.
She knows that it’s not his fault, but it doesn’t change the fact that he’s absent. That in and of itself just adds to the sorrow, because she knows why he’s gone, and she’s been told time and time again it doesn’t mean he doesn’t care, she knows this - it doesn’t mean it doesn’t sting, that it doesn’t hurt, that she doesn’t yearn for her father to be there more than anything in the world, and he’s just not there.
So yes, she gets to be upset, and be caustic, and stomp her feet and write bitter messages, and be angry and vitriolic, because she’s a little girl missing her father, who feels things with her whole heart and soul - and that means she gets to feel the ugly parts of it, too.
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Okay, so as resident Tsukasa fan (an original title i know), I actually really like this card. I know the fes cards are usually big and glamorous but I find it kind of nice that the character who’s most likely to get the big, grand card just has a domestic simple one.
I also love his hairstyle.
Like it’s so casual and when put against Saki and Emu, it’s pretty normal, looking more like a card from a mixed unit event than a fes card.
It’s such a nice contrast to all his showstopping cards like kingkasa, jesterkasa, etc. because it shows how much normalcy made him want to reach for the stars and well, be a star. That at the end of the day. Underneath his path to stardom. It all boils down to his childhood. To his family. To Saki. To the simple dream of making everyone smile even in outlandish ways.
That’s how i feel but i’m curious about other people’s povs because twitter (for the most part) is ripping this to shreds. 😭🙏🏻
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Why the endgame couples in A:TLA weren’t necessary: a frustrated ramble
Listen I’m a Zutara shipper through and through (developed after my second rewatch in 2013) but by Tui Agni and La am I glad that it never happened in canon?? Like Kataang and Maiko themselves already felt so rushed and almost out-of-nowhere and their canonisation added like nothing to the plot. Aang’s crush on Katara is a plot device; Zuko’s relationship with Mai at the start of S3 is a plot device. I can barely fathom how Zutara would’ve turned out and I also kinda don’t want to. Imagine Zuko and Katara kissing at the end of the series: it feels completely out of left field, doesn’t it? Knowing that who-ends-up-with-who was an argument in the writer’s room for almost all three seasons means that it could’ve happened.
It shouldn’t have. I don’t think the Kataang kiss or the Maiko romance-reunion should’ve happened either. It’s unnecessary to add—there’s just no need for it, and my nagging here isn’t because I like Zutara and I don’t like how Maiko and Kataang turned out. It’s because the ships and couples and whatever the fuck else are NOT, and should not, be the point of A:TLA—and the ‘couple gets together in the very last scene and all is well :)’ shot suggests that it is.
A:TLA, to me, tried to show the horrifying nature of war and all its victims: the harrowing poverty, the deep-rooted trauma, the bloody violence. I interpreted the most prominent message of A:TLA to be that what was happening during those 100 years is wrong, that war is wrong—it affects the humanity within people, affects what point we offer empathy and kindness, because horrific trauma and needless violence muddies it all up. Why would you hold out a hand for someone who would’ve murdered you if they had the chance? Why would you physically support someone who hurt you and those you care about deeply? Those of the other nations can barely scrounge up empathy for someone from the Fire Nation, because those of the Fire Nation present themselves as inhuman. Those of the Fire Nation can barely scrounge up empathy for someone from any of the other nations, because the Fire Nation presents them as inhuman. And A:TLA shows that all these people are human, good and bad and all of that in between, because that’s just what humanity is. Varied and morally grey.
THAT’S what the GAang learns. That’s what the people around them learn. It’s what Iroh, a war criminal in his own right, tries to teach every child and teen who he interacts with: not in a preachy way, but in a vague way that implies he’d rather have them figure it out themselves lest they interpret his direct teachings wrong. He got indoctrinated into this terrorising, imperialist regime from the day he was born and onwards and it took a personal loss — the death of his son during a siege Iroh himself was leading, a siege in which Iroh and Lu Ten were the aggressors — for him to start thinking that maybe it’s all wrong. Maybe what he was taught is wrong. And he doesn’t want these children to take as long as he did.
The GAang and their (teenage) enemies and small antagonists have all been touched by war, almost to the point of no return. None of the need for violence, the calm in the face of battle and death, the willingness to sacrifice innocents for a sliver of retribution, the extensive knowledge of How To Fight A Battle And Win—none these qualities that these children (!!) may or may not portray are ‘normal’ teenage behaviours. They simply have to have them, or they die or freeze. Their childhoods were stopped in their tracks early because of experiences no child should ever experience. Such is the reality of war. And yet, in spite of the hurt and harm, the GAang is still capable of kindness and empathy. That’s what it’s about.
To end the series with explicit romance — Sokka/Suki doesn’t count, their relationship is not as in-your-face as The Scenes — just feels wrong. Maybe with another season of development it could’ve worked far better (and less unexpected, especially since the previous one-on-one Kataang interaction was Katara getting cross with Aang for kissing her when she was confused; and the previous one-on-one Maiko interaction was Zuko locking Mai in a cell/out of the way and then leaving without looking back). But with the three seasons that we got, it feels odd that the romance is highlighted at the end—especially when Zuko was miserable with Mai (with her being the human representation of ‘close your eyes and pretend everything’s fine’), and there ALSO was a perfectly good ending scene with the GAang bickering right there. Right before the ending kiss.
Why end it like that, when the series isn’t about romance, but about familial and platonic love and love for humanity instead? Why not just hint towards getting (back) together? What’s the point of these confirmations other than ‘the hero gets the girl’ in both instances?
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they tell you about school and they tell you about work and they tell you about taxes and responsibilities and ideals you have to reach. they don’t tell you about baking chocolate cookies from scratch at the ungodly hours of 11 at night and sitting on your kitchen floor while watching a home decor competition show while you get to munch on a cookie that tastes like the hot chocolate you used to make when you needed a reason to live as a teenager. they don’t tell you about getting to eat another cookie while you think about capturing this moment in a mason jar and shipping it through time to your younger self who gets scared so easily by school and work and taxes and responsibilities and ideals. your younger self who wonders if there’s still comfort, still good things, and if you get to claim them for yourself at some point or if comfort is always a question of dependence. they don’t tell you about that, when for years we do nothing but dream about moments like these
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LOVE IS SAND ITS SAND ITS ALL BEEN SAND LOVE IS FUCKING SAND
Anyone remember this? From chapter 42?
This was following his conversation with Chris the day he started going out with Mitsumi. He can’t get a grasp on his feelings.
Love is.. slipping away.. out of reach.. not seen often (he’s only been to the beach once b4). We know that Shima has struggled to have his feelings acknowledged growing up, and this metaphor encapsulates it well.
Then we have chapter 53
Mika walks up to Shima (who she has previously confessed to and since moved on), with a half complaint of ‘its actually kind of hard isn’t it? To walk on the sand’
To tread your feelings is hard. It’s hard work.. to love… to be loved.
But it’s not really a lament, it’s more of an affirmation. All their friends wanted to walk along that beach- together. And it’s ultimately worth it, even if it isn’t as easy as expected.
Then in comes Mitsumi… she doesn’t know the context of their conversation but she hears them query about something in the sand, that they don’t recognise.
She says there is life here. We can find it if we dig. It would’ve been nice to try sooner.
She’s so accustomed to love, she grew up with it from all her family and friends, and here she is showing her friends its got so much there if only you look, if only you have a hand. I can help.
Then Shima asks her to show him that life that’s there.
Love. Is. Sand.
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