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the-rewatch-rewind · 8 months

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The most underrated 1980s teen movie

Script below the break

Hello and welcome back to the Rewatch Rewind! My name is Jane, and this is the podcast where I count down my top 40 most frequently rewatched movies in a 20-year period. Today I will be discussing number 10 on my list: Embassy Pictures and Monument Pictures’ 1985 adventure romantic comedy The Sure Thing, directed by Rob Reiner, written by Steve Bloom and Jonathan Roberts, and starring John Cusack and Daphne Zuniga.

In his first term at a small northeastern college, Walter Gibson (known as “Gib”, played by John Cusack) is frustrated with his sex life, or rather, lack thereof. So when his high school best friend Lance (Anthony Edwards) sends him a picture from UCLA of a beautiful woman (Nicollette Sheridan) and promises that she’s a “sure thing” – no questions asked, no strings attached, no guilt involved – Gib takes the first ride he can find to California for winter break, even though that means traveling with Alison Bradbury (Daphne Zuniga), who has already rejected his underhanded advances and is on her way to visit her boyfriend (Boyd Gaines). Gib and Alison’s constant fighting finally pushes the driver (“Gary Cooper, but not the Gary Cooper that’s dead,” played by Tim Robbins) to abandon them on the side of the road in the middle of nowhere, and they are forced to find their own way to LA. Their adventures prompt them both to learn from each other and start to change for the better.

I remember not being very interested in this movie when my mom first got it from the library, and her really having to talk me into watching it. I think I was pleasantly surprised the first time, but it wasn’t until I rewatched it a couple years later that I truly appreciated it and became kind of obsessed for a while. I saw it for the first time in 2004, then eight times in 2006, three times in 2007, once in 2009, three times in 2010, once in 2011, once in 2012, once in 2013, once in 2015, once in 2016, twice in 2019, and twice in 2022. I would have watched it more in recent years, but for a while I only had it on VHS (my sister’s had it on DVD for several years but since we don’t live near each other I don’t have many options to watch her copy, so I did finally get my own DVD of it last year) and it’s very rarely available on streaming services. There was a major boom of teen movies in the 1980s, many of which are still considered classics now, but hardly anybody ever talks about The Sure Thing, and I have no idea why because it is truly delightful.

Most of the people involved in this movie were just starting their careers. Rob Reiner had only directed one movie (This is Spinal Tap) prior to this, and it was both writers’ first feature film, and it was John Cusack’s first starring role. So The Sure Thing has the charms of a low-budget project that everybody’s making because they want to, not because they think they’re going to get rich and famous from it, with the added bonus that many of the actors did become rich and famous later, so you can watch it and go, “Oh look, it’s Dr. Mark Greene from ER back when he had hair” or “Wow, is that a very young Tim Robbins?” But even if none of them had made anything else, this would still be a fun movie to watch because the writing and acting are incredible, especially when it comes to the two main characters’ arcs.

I know the dynamic of a buttoned-down, over-organized control freak paired with a spontaneous, go-with-the-flow goofball has been done to death, but no movie does it better than The Sure Thing. The characters of Gib and Alison are so well developed that they feel like real people rather than a tired trope. Even though it’s fairly obvious from the moment Alison enters the story that she and Gib are ultimately going to end up together, their journey toward that predictable conclusion is never dull. Part of that is because of the obstacles they encounter on their journey across the country, but the main reason is because they were perfectly cast. Apparently both John Cusack and Daphne Zuniga were a lot like their respective characters at the time and therefore brought a lot of themselves to their roles. The whole “shotgunning a beer” bit was added because Cusack mentioned that was something he could do, and that became an important way to show the evolution of their characters and relationship. Initially, Rob Reiner didn’t even want to consider Cusack for the part of Gib because he was a minor, but the casting directors talked him into giving the then 16-year-old a chance, and Cusack’s audition convinced the director that he was the perfect Gib. Producer Roger Birnbaum went to court to have John Cusack emancipated and served as his legal guardian during filming. It is a little uncomfortable to know that Cusack was only 17 at the time of filming while his love interests were 20 and 21 – like, I know the age gap is only a few years, but he was technically a minor and they were technically adults, although their characters were all meant to be 18 or 19, so it’s not like the movie is promoting inappropriate relationships. Yes, it definitely would have been better to cast someone who was over 18, but at the same time, John Cusack does such an incredible job playing this character that I totally understand why they went ahead and cast him anyway. He plays Gib with the perfect balance of kind of a jerk but still kind of sweet that keeps the audience rooting for him while still criticizing his bad behavior. And the way he and Zuniga play off each other is endlessly compelling.

One of my favorite scenes, not just in this movie but in any movie, is after Gib and Alison have been kicked out of the car and accidentally left all their cash in a hotel room, and they’re sitting on the side of a deserted road at night hoping to hitch a ride. Alison finds a stick of gum in her purse, unwraps it, and the second she’s about to put it in her mouth, Gib says, “I’m starving.” So Alison dutifully breaks the gum in half and splits it with him. Then he starts listing other complaints until she can’t take it anymore and snaps, “Can’t you try to look on the bright side?” which of course is the sky’s cue to start pouring rain. In their desperate search for shelter, they find a trailer, but there’s a padlock on the door. Gib starts frantically pounding at the lock, and Alison thinks she might have a nail file in her purse, so she starts searching, and suddenly finds something much better. She tells Gib, “I have a credit card!” He’s so focused on getting into the trailer that at first he doesn’t understand the implications of what she said, and his immediate response is, “Credit cards work on a completely different kind of lock!” And Alison says, “I don’t think you understand: I have a credit card!” “You have a credit card?” “I have a credit card.” “You have a credit card.” And then her face falls as she remembers: “Oh. My dad told me specifically that I can only use it in case of an emergency.” And he just looks at her, soaked from the pouring rain, and deadpans, “Well, maybe one will come up.” And it’s just…so good. The comedic timing between the two of them is utter perfection.

And they’re also very good at having serious moments together. Like right after that scene, when they’re in a fancy restaurant because it was the only place they could find that would take a credit card – oh how times have changed – Gib opens up about where his interest in outer space came from. Earlier in the movie, both with Alison and with other girls, he’s tried to use his knowledge of space and astronomy to impress/seduce women – not very effectively – but here he’s being vulnerable and genuine, and Alison’s reactions show that she recognizes and appreciates that. And then when they finally get to LA and separate, they both do such a great job of showing how much they have changed, while still remaining true to who their characters have been from the beginning. Alison starts to realize that her boyfriend Jason, whose idea of a good time is staying home, playing cards, and admiring the special hangers and flannel sheets, is not nearly as fun to be around as Gib. And after making such a deep personal connection with Alison, Gib starts to question whether an emotionless sexual encounter with the Sure Thing is really what he’s looking for. Neither of them say these things in so many words, but they make it abundantly clear how they’re feeling, and it’s very rewarding as an audience member to see the characters we’ve become so invested in reach that point in their journeys. But they’re also very mad at each other, mostly because they’ve fallen for each other against their will, and it isn’t until they somehow get back to the east coast (we never see how that happens, but I guess it’s not important) that they resolve this tension. And the way they reconcile through a paper that Gib has their English professor (played by Viveca Lindfors) read to the class is an amazing way end the movie. So basically, this is a story about two very well-written, perfectly cast characters who go on an extremely satisfying journey that is just as fun to watch the 20th time as the first.

Now, if you’ve listened to other episodes, or even just read the description of this podcast, you might be a little confused right now. “But Jane,” I can imagine you thinking, “Aren’t you aromantic and asexual? Isn’t this movie all about a character pursuing sex, and then coming to the very amatonormative conclusion that he should commit romantically and sexually to the one person he’s had an emotional connection with? Why would a movie like that be in your top 10?” And you know, those are fair questions. They’re the kinds of questions I asked myself a few years ago, when I suspected I might be aroace but wasn’t completely convinced. And an important step on my path to recognizing that that label truly described me was when I realized that I appreciate this movie from a very aroace perspective. For one thing, it always irked me that the movie ends with Gib and Alison kissing. “Why can’t they end up as friends?” my obliviously aromantic teenage self would lament during the years when I was watching this movie the most. But on the other hand, I had always appreciated the message that forming a genuine emotional connection with someone is more fulfilling than casual hookups with people you’ve lied to and manipulated to get them to sleep with you. So I liked the part about “sex isn’t actually the end all be all of human experience” but I disliked that the conclusion was “but finding a romantic partner is” – could there be a more aroace response to this movie?

And as I thought about it even more, I realized that, even though I’m positive that this was not the intention of any of the filmmakers, there is a way to interpret the character of Gib as being on the asexual spectrum. In the first half of the movie, he does appear to be in constant pursuit of sex, at least at first glance, but a lot of his attempts are kind of halfhearted. You get the feeling that he wants to be able to say he’s slept with a lot of people because his friends and society tell him that’s what will make him cool. He seems a lot happier and more comfortable when he’s stopped trying to seduce Alison, and ultimately, even though the Sure Thing is definitely willing to sleep with him, he decides he doesn’t want that anymore, despite having travelled across the country specifically to have sex with her. Obviously, there are a lot of different conclusions that could be drawn from this. I think a big one is that people who are socialized as boys, regardless of whether they’re asexual or not, are often given a very toxic and unhealthy message about what their sex lives should be like, including the idea that women are objects to be tricked into providing momentary pleasure, and that having lots of sex is what makes you a real man. So it’s rather refreshing to see a coming of age story that shows a young man maturing by actively choosing not to have sex with a woman who is given no name, and is only identified by her willingness to put out. And in some ways I don’t want to encourage the headcanon that Gib is asexual because I think it’s important to show that allosexual men are allowed to say “no” when it doesn’t feel right, and that that doesn’t make them less of a man. But I also think the disconnect between how Gib is expected to feel about the Sure Thing and how he actually feels when he meets her is very relatable to asexual people. Society’s messages about how “normal” people feel about sex and sexual attraction are very confusing to people who don’t feel that way. And I guess what this movie is trying to say is that some of those messages don’t apply even to allosexual people. I just wish it didn’t perpetuate the amatonormative message that sex and romance are vital aspects of the most important relationship in everyone’s lives. In the story that Gib writes to reveal to Alison that he didn’t sleep with the Sure Thing, he reveals that she asked, “Do you love me?” and that for the first time in his life, he knew that those were more than just words, and that if he said it, it would be a lie, so he said no and left. And again, part of that feels very amatonormative, but at the same time, the whole idea of being true to yourself and honest with any prospective partners is a good message for people of all romantic and sexual orientations.

I still hope to find a movie about a journey like this in which the leading man and woman explicitly end up as friends (let me know if you’re aware of one), but I can almost be content imagining that soon after the events of this movie, Gib and Alison realize that they don’t actually like kissing each other but remain BFFs. Hey, it could happen! But that was definitely not the intent, and if you like cute 80s teen romance movies, The Sure Thing is definitely one to check out – if you can track it down. Don’t let my weird aromantic headcanon ruin your appreciation for this romance. I’m not saying this movie was made for aroace people by any means; my point is that realizing I was enjoying this movie in a very aroace way helped me come to the conclusion that I am aroace. And it’s also a great movie aside from all that, as one would expect from this director and cast.

Thank you for listening to me discuss another of my most frequently rewatched films. The Sure Thing was the only movie I watched exactly 26 times in the 20 years I was tracking, and I didn’t watch any exactly 27 times, so next week I will be talking about the movie I watched 28 times, which is widely – and extremely incorrectly – regarded as one of the worst movies ever made. So that should be a fun episode. As always, I will leave you with a quote from that next movie: “Forget ‘herb.’ I never heard of a hit that had the word ‘herb’ in it.”

#the sure thing #rob reiner #john cusack #daphne zuniga #the rewatch rewind

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wheelercurse · 2 years

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rain fight: one of the biggest byler proof

I’ve been thinking about this post, and I agree with it. I’ve always felt like this fight was left unresolved, and now I think it makes sense narratively. Because this fight wasn’t just about growing up; it was about their feelings.

It’s interesting how Mike and Will have been close since they met, but they started to drift apart when a girl (El) came into their life. Don’t get me wrong, I know Mike was being distant with all of his friends in s3 because he was spending so much time with El, but in the end, he just fought with Will. They could have written Lucas being in this fight too, but they decided to make this conflict about them. That’s a very telling narrative choice.

In s3, Mike and Will were scared of growing up and leaving their childhood behind, but they acted in different ways. Will tried to hold onto these games (especially d&d), and Mike tried to outgrow it, so he acted like he wasn’t interested in this game and only in his girlfriend; because to him, that made him look more mature.

I remember GA thinking the fight was about them growing up, and they were half right. Because yes, it’s about that, but also it became more when Mike said: “It’s not my fault you don’t like girls.” That’s when the conversation got a double meaning.

Mike is a boy who speaks before thinking. I don’t think he said that line to attack Will’s sexuality. We can see the regret on his face when he notices how he hurt him. He said that because, to him having girlfriends and being interested in girls is what mature boys do. That’s why later, he said: “We’re not kids anymore.” But even if Mike wasn’t talking about his sexuality, the subtext is clear there. It was another big hint that Will was gay.

Then we have Mike saying another interesting line that has double meaning:

“I mean what did you think really? That we were never gonna get girlfriends? We were just gonna sit in my basement all day and play games for the rest of our lives?“

Again this has a double meaning. You could think they were talking about the whole party, but it’s more about just the two of them. In other words, Mike is saying What did you think really? That we will always be this close? That we will spend the rest of our lives together?

Mike was projecting. He said all that like he didn’t want to play games for the rest of his life with Will because he was scared of growing up, but we know that he did want the same thing. (so this is implying that he was also scared of his feelings for Will)

Will answered: “Yes, I guess I did, I really did.” And then he drove away in the pouring rain while Mike was shouting his name. (oh, a classic romantic trope).

side note: it’s interesting how this fight is shooting the same way that the mil3ven break up, but it contrasts a lot in the tone. One was taken as a comedy and the other as a serious scene.

So then we have Mike run to apologize to Will, but we never have a resolution for this fight. They write Lucas apologizing directly to Will, because yes, he also hurt him, but their conflict was just about their friendship, but with Mike is more than just two friends arguing.

Then we have the end of s3, it looks like they are on good terms again. So this fight didn’t change anything, but at the beginning of s4, they reunite and have an awkward hug. And again, they have another big fight about the same thing that generated tension before. Like I said in the beginning, Mike and Will start to drift away because of El. Their conflict is because of the romantic relationship of one of them. In terms of TV, it’s not platonic at all, make two best friends fight TWICE about it.

Mike apologized later, and it seems everything is fixed between them, right? Yes, they are closer, but they won’t solve this conflict until they’re honest to each other, until they talk about how they really feel.

Later we have the van scene, which more than just fixed things, it got more complicated. Because Will lied about his feelings, he disguised them like El was the one who felt that way.

And let me add that in the same scene, we got a callback to their rain fight when Will said: “we could play Nintendo and d&d for the rest of our lives” and again, this is just a code for wanting to spend his life with the other. We know that Will is in love with Mike. (so, it’s not a reach to take this line with romantic connotations)

But Mike reacted awkwardly at it, and the tension became palpable. So, probably Will thought that Mike didn’t want the same thing. But we know he still loves playing D&D and he wants the same thing as Will. But they haven’t been honest about what they really want and what they really feel for each other. They haven’t resolved this conflict yet, and when they do, they have to bring up the fight that started it all.

#byler #byler analysis #byler proof #this is also to defend Mike about the homophobic allegations #he wasn't attacking Will for his sexuality #yes he was implying he was still a kid and didn't have interest more mature

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ocdetailsofmine · 10 months

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interconnected world explanation

the basic timeline goes like this (year by year here)

main high school (vance and martin's)

main college (cathy and jo)

main adult (sam and tatum)

inbetween those somewhere is the prequel, before all the other events (dahlia, peter and brian), and two mini stories about being trans (kai and vanya) as well as a poly story (with hope, dylan and joey) the timline not set in stone.

the high school story summary is vance breaking up with his cheating girlfriend rosa and eventually falling for marvin instead. cathy and jo kiss at the prom, and kai and sam have little to no development. peter and brian also start dating and reveal themselves at christmas, the seeds of their relationship mainly blossming in prequel.

the main college story summary is cathy and jo, who kissed at prom and haven't talked about it since then becoming roomates, and vying for the same internship at law school. jo struggles with the college life while cathy is dealing with their romantic (or lack of) feelings. vance is on the phone for cathy to talk to, same for kai and jo, but sam doesn't sppear for anything except whole group meet ups.

the main adult story is sam, womaniser and owner of his own video game company falling in love with his assistant tatum, after promising his company he woukd stop dating his assistants (because it happens that often) tatum struggles with their gender and is a bit anxious, while sam tries to be a good partner. kai and cathy show up more than the rest of the cast. cathy and jo have broken up by this point.

the prequel is split into three, a murder mystery with a cast of classic murder mystery tropes, the death and loss of dahlia price and peter and brian's eventual break up. brian and peter meet when they are kids and peter suggests fake dating to avoid dahlia getting auctioned off. dahlia and brian fall in love, but dahlia says they should also get together.

kai's story is viginettes about them having various realisiations and coming out like 7 times

vanya has dysphoria and a twin they're best friends with.

hope and dylan are dating when hope reveals they are poly, dylan overcompensates to get them a date and ends up falling in love with his best friend jimmy

notes on the world

everyone knows mr king, the teacher of rubidium- the prep school everyone (except hope, dylan, joey and others attend)

the public school hope attends is a basketball dominated school (in terms of the womens bc the mens at rubidium doesn't have enough players)

peter is a duke, but this is never mentioned more than a couple of times.

#interconnected: high #verse: interconnected #interconnected: after #interconnected: before #interconnected: poly #interconnected: twins #interconnected: trans #interconnected: college

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magnificent-buckless-butt · 3 years

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You know what else I like in BuckySarah? They're both middle-age. They could probably make an old married couple kind of relationship but flirting? Asking the other out? They haven't done that in ages!

#tfatws #bucky barnes #sarah wilson #bucky x sarah #sambucky would be great ofc #but buckysarah has so much potential #in terms of breaking classic romantic tropes

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randommusingsstuff · 3 years

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Why Ben and Devi are Endgame (Meta)

At the heart of every rom-com, it always comes down to this: what does the protagonist truly want?

Why Devi and Paxton Don’t Work

In the season 2 finale, Devi triumphantly says “So, I guess I'm Paxton Hall-Yoshida’s girlfriend now”. She got what she thought she wanted at the start of her journey, only it’s not what she wants anymore.

Although Devi cares for Paxton, she views him as a status symbol. Paxton, for all his growth, still sees himself as cooler than her. And no, he was not just embarrassed because she cheated on him. Before he knew she was cheating, he invited his friends on their first date and refused to call her his girlfriend. In the finale, it once again takes someone else to point out that he shouldn’t blow her off. As Devi and Paxton walk into the dance, he gives his friends a sheepish look while they judge him. Not only does he still have lingering feelings of embarrassment, his friends’ reactions suggest turbulence ahead for their relationship.

There is also a lack of communication between Paxton and Devi. They have a magical kiss by the window, and makeout sessions afterwards, but they don't actually talk about their relationship in that elapsed time. Devi makes the assumption that they are together and Paxton doesn’t articulate what he wants until it is forced out of him.

What can we conclude from this? Paxton is a great character, but he is not the one for Devi. They have differing interests and goals, a lack of communication and they do not see each other for their true worth.

Can the writers surmount all of these issues to give them an endgame? Yes, but it would require fundamentally changing who Devi and Paxton are.

Why Devi and Ben Work

In episode 1 of season 2, Devi wants to pick Ben but her friends talk her out of it. This is crucial to understanding why they belong together: her gut instinct has already revealed the truth. She had both guys vying for her and she wanted Ben. Just by this one fact alone, we can infer that Devi’s relationship with Ben was more meaningful to her than her pursuit of Paxton in season 1.

When it’s revealed that Devi is two-timing the boys, Paxton is hurt but Ben is devastated. Paxton likes her, but Ben connected with her on a deeper emotional level. Devi follows Paxton out of the party, which is understandable because he is the one walking away. Again, this is cleverly hinting at their communication styles. Paxton wants to avoid the situation and Ben wants to talk about it. From Ben’s perspective, Paxton is the guy she has wanted for so long and he is the second choice.

Throughout the season, Ben never considers the fact that Devi could want him over Paxton, which is equal parts sad and infuriating. Her therapist asks what she wants more than anything and she says Ben. In context, it’s a comical line, but it’s also Devi revealing her truth. Like she does at the beginning of the season, she makes a choice and it’s Ben. She pursues Ben romantically before Paxton even though Paxton is the one more willing to forgive her.

It takes Ben longer to forgive her, and yet he is still there for her when she needs help. The little things he does like give her advice about Aneesa and make her feel better about Paxton’s rejection all show Devi’s ability to be vulnerable with Ben.

As an aside, they had the opportunity to show Devi being vulnerable with Paxon but didn’t take it. In episode 8 of season 2, Paxton sees Devi crying and she reveals that she got into a really bad fight with Eleanor. I was thinking: here it is, here is the moment that Paxton finally helps Devi with her problems... but no. His response is “seems like you’re in a fight with lots of people” and the conversation quickly shifts to her apologizing and helping him yet again. Devi is able to open up to Ben and be supported by him in a way that she can’t with Paxton.

Before I talk about the finale, which is arguably the biggest point in Ben and Devi’s favour, I want to look at the season overall. The entire story arc is Ben and Devi wanting to be together but constantly running into roadblocks in the form of Eleanor/Fabiola, Paxton and Aneesa. It was so alarmingly obvious they belonged together after season 1, that the writers had to find ways to forcibly separate them for the time being. It’s important for Ben and Devi’s relationship that she dates Paxton first. If she had been allowed to go for Ben, they would have had to explore Devi wondering what she missed out on. When Devi and Ben do get their happy ending, it will be because Devi has realized that Paxton is not the person for her.

In the finale of season 2, we get 3 crucial scenes from Devi and Ben. The first is the bathroom scene which reaffirms Devi’s ability to be vulnerable with Ben and his ability to support her (something she doesn’t have with Paxton). The second is their tension-filled scene at the dance where they longingly stare at each other. This directly contrasts the scene in episode 8, where Devi tries to reframe her mindset and stop seeing Ben as someone she is attracted to. Here, it becomes apparent that she is unable to stop thinking about him in a romantic way despite actively trying.

The third scene is basically Eleanor saying “you dummy, she wanted to choose you!”. The writers intentionally reference the pros-cons scene from episode 1, re-affirming that Devi wants Ben. The only reason they are not together is because he is not an option.

Then we get the line “it wasn’t always him”. Many Devi and Paxton fans believe her choice was Ben, but he took too long and now it’s too late. But when has it ever been too late for a main love interest in a rom-com? Mindy Kaling is a rom-com savant, and she knows as well as I do that it’s only ever “too late” for douchey guys who do not acknowledge the self-worth of the heroine. That’s not Ben though, he has always seen Devi for who she is.

The heartbreak on Ben’s face is infinitely worse than Paxton’s voicemail at the end of season 1, although these scenes are meant to parallel each other. Devi and Paxton are two people who like each other but do not work as a long-term relationship. Ben and Devi are two people who work as a long-term relationship but never acknowledge their feelings for each other at the right time. It’s a tragedy just waiting to be rectified in season 3.

Season 3 Predictions

Now that I've given my analysis on why Devi and Ben are meant to be, here are some predictions I have on the Devi-Ben-Paxton love triangle for season 3.

Fabiola/Eleanor will be the ones to help Devi act on her true feelings for Ben. This one is a no-brainer for me. After sabotaging their chance to be happy in the first place, Fabiola and Eleanor will decide that they want their friend to be happy and set things right. It will also parallel Ben mending their friendship in season 1.

Paxton and Devi will have some sweet moments in the first half of the season, but not without their issues. The lack of communication and their respective status (the way they view each other) will cause them to fight. They will break-up mid-season, but the ending will leave hope for reconciliation.

On that note, I do not think they will kill the love triangle. Even though we will likely see Devi confessing her feelings for Ben and saying that she wanted to choose him all along, this is still a TV show. Contentious love triangles = buzz and money.

Ben and Aneesa will break up by mid-season, but probably earlier. Ben will find it hard to be in a relationship with Aneesa as he grapples with his feelings for Devi.

Ben will be a pillar of support to Devi as she navigates how to be a girlfriend. It’s the classic trope of the guy helping the girl win over the man of her dreams, only to realize that the person she wants is right in front of her.

Devi and Ben’s friendship and lingering feelings will culminate in an epic finale confession and kiss. Everything that they were unable to say to each other last season will be spoken aloud in season 3.

Ben and Devi are soulmates, drawn to each other and unable to avoid their feelings. I can’t wait for them to take over my life again next year.

#benvi #ben x devi #ben gross #devi vishwakumar #nhie #nhie season 2 #never have i ever #never have I ever season 2

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shipsandlattes · 3 years

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So I know everyone has already dissected this scene to its core, but it’s taken me a good 48 hours to digest this and I just needed to get it out.

I’m an aspiring actor, I’ve been training for a long time, with a lot of amazing teachers. I’ve watched a lot of shows and shipped a lot of couples. Some of them beautiful and canon, others, well, let’s just say waiting 22 years and counting for acknowledgement, closure, anything, it’s a damn challenge. I’ve seen a hell of a lot of will-they-wont-they’s, baiting, purposeful ignorance, deliberate fake outs, zero explanations, storylines that basically caused canon disintegration, the works.

In saying that, Dean and Cas were right up there on the list with the other “impossibles” because honestly, I didn’t think the writers would have the guts to do it, but I am so f*cking proud they did. It’s safe to say I’ve watched the scene a good hundred+ times already.

I’ve seen a lot of “controversy” around Dean’s reaction/Jensen’s acting choices and whether or not Dean reciprocates Cas’ feelings, and obviously, I needed to add my own views to the mix.

Just work with me for a minute here.

Dean Winchester is an emotionally repressed trainwreck, and ironically enough, the one that is so full of emotion it hurts to watch. When Cas first starts his speech, he’s confused, really confused because why on earth would Cas start off on a rant now? Billie’s waiting to kill them, he just said he knew something that was more powerful than she was, something that could save them. That’s where he thought this speech was going.

The confusion turns to realisation that it’s a goodbye when Cas starts telling him how incredible he is, how his entire essence is love. Go back and watch the scene again, when Cas says “you’re the most caring man on Earth”, you physically see Dean look down, his eyes searching, he’s actively trying to make sense of what’s happening, he knows what’s coming and you can see him coming to terms with the shock of the words being said to him. He then looks directly at Cas. That look, that was pure shock.

Also, notice how he doesn’t stop Cas from talking? He doesn’t interject, make a joke, doesn’t talk about how there is no time for this now, they’ve got to at least try and stop Billie. He. says. nothing. He listens, he listens like I’ve never seen Dean listen before. Because it’s sinking in now.

When Cas really starts crying, when he says “you changed me, Dean”, you can actually see the pain in Dean’s eyes. He’s no longer in control of his emotions, he’s crying too. He’s never seen Cas like this, so raw, and vulnerable and human. This is the hardest, most emotional conversation they’ve both ever had. They are talking about the one thing that everybody knows, but is never addressed. When it wasn’t talked about, they could deny it, live in the lie. Once it’s said aloud, it’s real and they can’t turn back.

This above series of interactions is the part that kills me the most. The moment Cas says “because it is”, that’s the exact moment of realisation. Look at that last GIF, really look. He’s just worked it out, that he is Cas’ true happiness. He knows what’s coming before Cas even says it. Go back and watch the scene again, they pulled that off so well, the way the music swells at this exact moment. Jensen is giving us everything here, you can see what’s happening in his head - he is Cas’ happiness. He is the one thing on Earth Cas wants and thinks he can’t have. He is the reason Cas is about to die. He knows what Cas is about to say and he’s not sure he’s ready to hear it, not now, not like this. It’s almost a silent plea not to say it, because he knows. Of course he knows. It’s like he can’t quite believe Cas is really, after all this time, finally going to say it.

And because obviously Jensen decided that that wasn’t enough to break us, the loaded reaction when Cas says “I love you” has me nothing but convinced that it’s reciprocated. Because Dean knows. He’s always known. Those tears, that head tilt, that gulp. He’s so genuinely confused that they’re really having this conversation. It’s like he can’t quite believe that this is the reality before him because he’s been living in that denial, in that self-loathing and unlovable layer he believes to be true. He’s been under the ‘what if... but it could never be’ umbrella for so long.

What also makes this real is that there isn’t anyone else around this time. When “I love you’s” have been said before, they have always been able to deflect it, with other people or other words. Now it’s just the two of them. No deflecting, no running away. Dean is forced to hear it, to absorb it, to realise it’s for nobody else but him.

Now, I don’t know if you guys felt this, but when Dean says “Don’t do this, Cas”, he wasn’t just referring to Cas sacrificing himself to the Empty, he’s telling Cas that he can’t just say this, not now, knowing he’s going to die, knowing that Dean won’t get a chance to think, to process, to say what he needs too. I keep staring at that GIF above, Dean is breaking down, I’m almost convinced that Jensen was using an “I love you too, please just stop this” inner monologue for this bit. Look at the way he’s looking at Cas before he realises the Empty has started materialising and turns around. That’s a look of pure heartbreak. Trust me when I tell you, it’s really hard to keep those inner thoughts inside if you’re so in the moment - actually, don’t just take my word for it, read any acting book, ask any actor, it’s so hard to keep that in and sometimes you don’t, and sometimes you do - it’s in both the resistance and the letting go that the gold happens. This my friends, is gold.

Did anyone else hear “Cas, I-”, well, regardless of whether or not it was an “I” or a very sharp breath, the outcome is the same. Dean’s gone into immediate panic mode. The Empty at one end and Billie at the other, and all poor Dean wants to do is gather his thoughts on not what to say but how to say it. I don’t think he comprehended just how little time he had, he was so focused on what was being said that the reality of the situation caught him completely off guard.

Also, I know this post was about dissecting Dean’s reaction, but can we sidebar a minute to talk about Cas as he pushes Dean out of the way? He’s sobbing, he’s fully crying. That hit me really hard, I’ve never seen Cas cry like that, I’ve never seen Misha get to play that level of emotion before and it was the most heartbreaking thing to watch since The Doctor and Rose and Buffy and Spike, to which by the way, I find many parallels between those couples and this scene.

Speaking of crying, that brings me to this: Dean slumped on the floor, ignoring a call from Sam, sobbing his heart out knowing he’s lost everything. Dean-I’m-emotionally-unavailable-Winchester is sobbing. Maybe I’m wrong, but I don’t recall ever seeing Dean cry like this before either, the sobbing was so evident and piercing in that silence. The look around the room, the burying of his head in his hands, that is a classic writers romantic love trope if I’ve ever seen it, they really pulled out all the stops with this one.

So, to summarise, I think Jensen’s choices and Dean’s reactions were absolutely and utterly perfect. They both did it so well that it didn’t break from character that these two emotionally distant and repressed men are in love and finally voicing it. Jensen barely said two words and still managed to cause mass coronary’s across the fandom. That my friends is what you call a brilliant actor. I bow down to the talents of these two amazing human beings.

Before I leave this novel, I have to say there are now a few things I’m going to need from the powers that be to not screw this up, help me manifest this:

1. Dean gets to reciprocate his feelings to Cas in person. So, I’m gonna need Cas back and a very emotional Dean.

2. Dean to be actively dealing with heartbreak in the next episode (unless they decided to bring Cas back that soon, which I wouldn’t put past them at this point).

3. Sam to confront Dean about his feelings for Cas, because out of everyone, he’d be the one to hit Dean with the truth of his fears. Sam knows. Sam is supportive. Sam sees it all.

4. I’m gonna need some physical affection, cause after 12 years of nonsense, we damn well deserve it. A hug, and not just any old reunion hug, a proper, this is different now hug. A kiss because hello, in love out loud now. Forehead touching, handholding, really gonna need the works here.

5. A happy ending for the two of them, one way or another. We’ve never had one, it’s time.

Okay, have at it now, let’s speak these into existence please.

Note: GIFs are not mine, I did not make them, credit to owners who I’m not sure of, but they’re beautiful, thanks for making them. EDIT: I’ve just been informed that these gorgeous gifs belong to @michaeldean and @inacatastrophicmind!

#supernatural #SPN #DeanCas #destiel #deanwinchtser #castiel #15x18 #Jensen Ackles #Misha Collins #actor #acting #I ship it #shipper #i love you #spn spoilers #opinion piece #thoughts #my two cents #ships and lattes

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lovelycleon · 3 years

Text

So I decided to make an analysis about the last scene of Infinite Darkness

But before I start with the fun part, I just want to tell you that my history with “angst ships”

I had a bad experience with another ship, soul mates full of angst tropes and true love, beautiful... and a really bad ending because the showrunner fought with the actors (I wasted years watching and I regret it).

Anyway, after suffering that kind of pain, no other ships and angst scenes can hit me hard enough. I'm numb or just got used to it. You choose.

So maybe the scene of Leon and Claire's argument wasn't that impactful for me because of that. But for all the fans who felt hurt, I understand and it's okay to feel that way, because the scene was meant to hurt. The scene exists because of that. And your feelings are valid.

So let's get to the fun part.

spoiler alert, it's not that fun, it actually hurts 😅

The scene starts with Leon going to meet Claire at the gates of the White House.

I don't think anyone denies the fact that, whatever Leon is doing, he just wants to protect Claire. And he doesn't want her involved because of it.

But this dialogue makes this even more evident if we analyze how it begins.

Nothing in a show or movie is by accident. Everything is handpicked for one reason or another. The meaning is not always that deep, but there is still a meaning behind it all.

So when – of all the ways a conversation can be started – they decide to make Claire joke that she sneaked out of the hospital, Leon takes it seriously and she has to clarify that it's a joke, there's a reason:

Show that Leon is taking what happened to her too serious, and Claire not that much.

When Claire makes a comment about when he's going to stop treating her like a kid and he says probably never. There's a reason:

Show that Leon wants to protect her (or being overprotective) and Claire doesn't like it.

Of course, some might argue that this specific line is capcom trying to show that their feelings aren't romantic and sink the ship completely. And, ok, people are free to think that.

But if they really wanted to sink cleon forever, they shouldn't have done the scene of Leon saving Claire the way they did. They did it because they knew it would tease a certain part of the fans... They knew exactly what they were doing...

And there's simply no reason to tease a ship you want to sink.

So no, I don't think that's it...

For me the scene means the classic and simple: "stop being worried about me🙄" "noooo🗣️"

Another way to intensify Leon being overprotective is Claire's broken arm. A reminder that she was injured following his plan. Just as she was hurt the last time they saw each other in Harvardville.

And yes, I know Degeneration made Claire hurt to take her out of the action. It is undeniable. But somehow I don't think the same situation and reason applies to Infinite darkness.

Because Claire was already out of combat, following Leon's plan and showing no intention of doing anything different. It's not like she's going to attack the monster that is several platforms higher than where she is. She couldn't fly around and there were no guns where she was anyway.

So why hurt her to get her out of combat if the story itself has already done that?

Again, you are free to think differently. Capcom made Claire dirty, she was underestimated and they wasted her potential. I won't argue with that, I'm also on the team Claire deserves better.

I just don't think it fits this specific situation.

The injured arm is there and a awkward conversation about Leon being overprotective starts because of it. I think it makes sense.

So moving on.

Claire mentions the chip and Leon looks disappointed for a moment and says he thought they were going to dinner.

This is to indicate that he didn't come to see her with the intention of breaking their friendship. Leon just wanted to spend a good time with her and nothing more. Some place a little more normal, maybe?👀

But Claire wants the chip and tells Leon her plan. The same plan that Shen May was killed trying to convince her partner to follow. Is there a parallel here?

The only difference is that Jason broke her neck while Leon decided to break Claire's heart.

Okay now I could show more parallels between them, but I won't because this is already too long and I know maybe I'm reading too much into this. Resident Evil isn't that deep most of the time 😂

Anyway, Claire asked for the chip and Leon said no.

And that's the point, right.

The climax of the conversation and the turning point in their relationship.

Note that Leon took a few seconds to say he couldn't. That was the moment when he made his decision...

He went to meet her for dinner, remember? He didn't expect to have this conversation or make a decision like that. But he had to.

Now, I'm not from the US and I don't trust politicians in general, fiction or not. But I admit this sounds realistic.

Just imagine if the president makes a speech about peace and prosperity and whatever and the next day the media reveals that members of the government are involved in BOW and planning an attack on another country.

At the very least, it won't look good.

In the worst case, it will be a catastrophe 😂

So... I don't agree with Leon, but I understand why he chose this.

It's an important decision, however. And how long it takes him to say something and how he's quiet after saying it shows he knows what's on the line. Not just the security of the country and “peace”, but also his relationship with Claire.

And despite everything... He didn't lie to her.

It would be much easier for Leon to simply say "the chip was destroyed in the fight" when she asked. Claire would never know about it and probably never doubt him. And they would still be fine with each other and having dinner.

But he didn't lie. Why?

Because their relationship is not based on lies. And it's not based on betrayals.

And while it may be hard to believe right now and it hurts to think about it, this relationship is still based on truth and trust in each other. And now their relationship is being tested.

It's easy to trust someone you're on good terms. How hard it must be to trust someone who has let you down.

There is a lot of room for development here.

Obviously Claire felt hurt in this moment. Maybe even betrayed. Heartbroken. I think we all feel that same way.

But Leon played fair there. He said he had the chip, showed it to her, and then said he wouldn't give it to her.

He was honest with her. And this act also shows respect.

They are two people with different points of view and that truth hurts.

There is silence as they look at each other. She never asked his reasons and he obviously never told them. The exchange of glances is enough for them to understand what was happening.

When Claire says “you do things your way and I do mine” it's almost like “do you know what that means? ”

Then Leon nods and another moment of silence. The time they need to accept that the relationship is broken.

Now that's angst

Interesting choice of camera angle. Showing her broken arm as a visual reminder of why he was pushing her away like that.

Claire leaves, but looks back and says again that his outfit doesn't suit him.

What's interesting here is that the director has done a few interviews over the past few weeks and he always said that the suit is a representation of Leon's position in government.

Claire commenting that it doesn't suit him is basically the writers/producers/directors admitting that this position doesn't look good.

And while all the characters praising Leon for his success, Claire is the one who sees this reality and who he truly is out of the suit (position)

And that's good angst.

Claire walks away and Leon with a sad look watching her leave and he has to say to himself "I will stop this".

Could it be just one of his one-lines? Yes.

Could it be a way for him to remind himself why he's doing this, even if it means sacrificing his relationship with Claire?

It's already done, now he has to make it worth it.

Whatever happens after that is a mystery.

I don't think Claire believes that Leon is going to cover up the government's involvement in things (their discussion would be much more intense if that were the case), she probably thinks he's going to resolve it internally without taking anything public, which is precisely what she wants to do.

I also don't think Leon believes Claire is going to give up on the investigation, he probably thinks it's going to take some time to her to get real evidence and he has time to carry out his plans.

But this is capcom... They are masters of forgetting plot points. So who knows.

Angst is only good if it has a good closure. I hope they keep that in mind.

In any other tv show that used this kind of angst trope and drama I would be completely fine...

I would expect a sequel to this plot. The characters find each other unexpectedly, having to work together and acting awkwardly because they don't know how to stick around each other after the argument. Then the story would develop and they would gradually mend their relationship.

That's the trope.

So that's all I can hope for.

#cleon #this just got too long and l didn't write half of my thought 😅#I only watch the show once but I've seen this scene a thousand times #I'll probably have more to say after rewatching everything again #leon kennedy #claire redfield #resident evil infinite darkness #leon x claire #claire x leon

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sergeanthopeless · 3 years

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female Byleth S-supports ranked best to worst

(keeping my personal feelings about the pairings themselves to a minimum)

(Gilbert and Alois omitted, since those are platonic S-supports)

(warning: long post)

1. Seteth

This S-support is about as romantic as it can get. This thing just makes my heart flutter every. dang. time. and it’s easily the best S-support in the whole game for female Byleth. There’s a REASON why a lot of people hop aboard the Setleth train after witnessing this masterpiece.

Sure, Seteth lectures his way in and out of the proposal, but let’s be real, if it was any different it would be out of character, and acting the responsible advisor is just part of his charm. Plus, he pledges utter devotion to Byleth for the rest of his existence, and we essentially get wedding vows out of this one. It doesn’t get better than that!

He’s so self-assured during this S-support, and that’s sexy. But he is patient and affectionate with her, and takes the time to make sure there’s no room for confusion. He clarifies that his feelings are not those of duty (which is a problem with some other S-supports), or an interest in perpetuating a Nabatean or Crest-rich bloodline. It’s very clear that he just wants her, and that’s it. But where others put Byleth on a pedestal, this S-support feels like an exchange between equals.

Byleth’s reaction to this one is particularly noteworthy — there’s an unusual amount of emotional expression from Byleth during this S-support, INCLUDING A FRIGGIN BLUSH! Byleth does NOT blush often during these supports. Plus, Byleth asks Seteth to promise that he’ll follow wherever she goes. Unlike some of the other S-supports, it’s very clear that she’s invested in him and wants him.

Favorite quotes:

“I cannot conceive of a world without you in it.”

“I love you, deeply. Will you marry me?”

“From this day forward, I will always be at your side. Through good or ill fortune. Through the greatest of joys and the worst of woes. No matter how daunting the task, I will be there.”

“Courage, my love. Let us go forth and face the world - together.”

2. Hubert

I was genuinely caught off-guard with Hubert, especially since I haven’t played Crimson Flower yet and have gotten all of my impressions of Hubert from the fandom. A pleasant surprise, though, and pleasant enough to snag the #2 best S-support!

He starts with advisor nagging, which is no surprise since that’s his character. However, he doesn’t take too long to get to the point of the conversation, and everything is straightforward yet sweet. It’s very cute how he flustered he gets in the beginning, and his self-consciousness about his suitability as a husband is really sweet. But what really clinched this for me was the privilege of seeing a BLUSHY HUBERT! This surprisingly lovable psychopath gets so dang worked up and excited over Byleth giving him a ring and proposing to him right back.

Favorite quotes:

“[I’d] rather you be with me rather than some dubious individual.” (Yes, I altered the quote, but let’s be real, he wasn’t talking about Edelgard there.)

“I once thought killing you would be a great challenge, but the real difficulty was declaring my love.”

3. Ignatz

This S-support starts with an angry Ignatz, which had me worried. Ignatz is one of those characters where I expected his apparent youthfulness to cause a problem in his S-support (it definitely causes problems in other S-supports), even though he’s actually 17 at the start of game like Felix, Dimitri, Claude, Raphael, Ferdinand, and Edelgard. So I was pleasantly surprised by the sheer maturity of his proposal!

While he’s definitely self-conscious and doesn’t even expect Byleth to accept his proposal, it says a lot that Ignatz still had the guts to do the proposing. While he expresses surpassing admiration toward Byleth as someone who supported him through troubled times, he’s not dependent or subservient. Yes, there is a prominent fixation on Byleth’s beauty, but he’s an artist, so I think that adds more meaning to what would otherwise be an extremely shallow point to make during an S-support.

Favorite quotes:

“You are my goddess.”

“You soothed my troubled soul.”

“My beloved goddess.”

“I want to love you for all eternity.”

“I love you with all my soul.”

Hoo boy, this boy’s got a serious SILVER TONGUE on him! *fans self*

4. Lorenz

Regardless of how you feel about Lorenz, you’ve gotta admit this is a pretty flawless proposal. He reminisces about and apologizes for the trouble he used to cause as a youth, has a smooth transition into the presentation of the ring, and then his composure falls apart when Byleth reveals she’s been wise to him all along. He’s such a perfectionist, and his determination to propose perfectly is very consistent with his character. But I also appreciate that he made sure of Byleth’s feelings before actually asking her to marry him (ring presentation aside).

This S-support makes it very clear just how much Lorenz admires Byleth, which I feel is extremely important in context of his character. He can be incredibly self-centered to the point of being downright irritating, so the fact that he’s now talking about her and is focused entirely on her shows the sincerity of his feelings and how much Lorenz has grown as a person.

The bit at the end where he gets overexcited and uses his full name is hilarious, but I’m glad the S-support doesn’t end there, which would have taken away from it. Instead, it ends with Lorenz swearing to make Byleth happy and work with her in making the world a better place. Equal partners!

The last thing that really made this S-support for me was the voice acting. The broken voice, trembling, and stammering really added emotional depth to Lorenz’s character in this critical moment, and really brought everything to the next level in terms of overall impact.

Favorite quote: “Pedigree and status are no longer priorities for me. I now know that what matters most is the worth of an individual’s soul.”

5. Felix

The moment I noticed that this S-support was taking place at the training grounds, I knew it was going to be good. And it goes exactly as you would expect with our favorite tsundere, flustered and deflecting and all, but the sheer effort that he ends up putting into it is so endearing. And I adore how Byleth messes with him the whole time.

It starts rough, let’s be real. He just hands the ring to Byleth and tells her to “take this.” Oh, Felix. This poor boy is so. friggin. hopeless. You can practically hear his thought process leading up to this point. “How do I make sure Byleth never leaves?... Ah, marriage — yes, that’ll lock her in!” *facepalm*

But Felix’s body language is what really makes this S-support, starting with the finger point and then ending with the kabedon. Plus, we get a glimpse of something very rare: blushy Felix!

Favorite quotes:

“Fight me for the rest of my life.”

“I want you to be my wife. Please say yes. Let’s get married and stay together until we die. I love you.”

6. Balthus

I really didn’t know what to expect with this one, although to be honest, what expectations I did have were fairly low. Yet despite his faults, Balthus managed to scrape together a rather charming S-support! His nervousness and stuttering is adorable for such a big, tough-talking guy, and I love that we actually get an impatient “Just say it already,” from Byleth.

It was nice to see Byleth’s good influence on Balthus, although I’m not a fan of the woman-redeems-man trope. And considering that Balthus asks for up to 5 years to get his act together…that wasn’t exactly a point in his favor.

What made this S-support for me was all of the classic lines. Balthus isn’t necessarily a smooth talker, but it would be wrong to say that he doesn’t know how to talk to a woman. The proposal itself had me ROLLING: “Marry me, pal!” The voice acting was flawless, particularly when he said, “my love.” Balthus, I’ll say this on Byleth’s behalf: please stop trying so hard. And never say that again.

Favorite quotes:

“It’s time to take the biggest gamble of my life.”

“Comfort be damned! I need you by my side. Always.”

“Let’s get hitched right away! I know a guy.”

“To look after you...and be brave enough to let you look after me. that’s what marriage is all about, right?”

S-support portraits shouldn’t really matter here, but I’m going out on a limb here and saying that Balthus’ portrait is the best one of all Byleth’s S-supports.

7. Dorothea

I have a lot of Dorothea feels, okay? She’s my baby girl. And by this point in the game, she’s so jaded and used to disappointment that it just breaks my heart. So when Byleth proposes to her, you can hear the genuine emotion in her voice. She’s so in love with Byleth, but clearly talked herself out of it long before this moment. “You won the war. You could pick anyone in the world. Why would you…?”

And then she’s so happy. It’s not fancy, but her pure happiness really makes this for me. The hopeless romantic finally getting her happy ending is just really lovely.

Favorite quote: “I starred in so many operas where I captured the heart of my beloved. But I never dreamed that it would feel this wonderful when it actually happened.”

8. Ferdinand

Oh boy, Ferdie. There wasn’t much of a preamble, and the presentation of the ring wasn’t anything special. He’s still full of himself: “You hear noble Ferdinand von Aegir declare his love for you, and all you say is, ‘I understand’?” and this S-support is more focused on him than it is on Byleth, which is exactly the opposite of what happened with Lorenz’s S-support, even though they’re similar characters.

That being said, this S-support has its moments. We get a good reaction out of him (even though it’s over the top), and we get a sign of his personal growth when he reins himself in. The trembling and feeling faint is very cute (10/10), and considering his ambitious nature, him saying that he considers winning Byleth’s heart to be one of his greatest accomplishments is sweet, as is the way he dreams about their future.

In other words, this one starts rough, but ends sweet.

Favorite quote: “I need you as much as I need my next breath — more, even.”

9. Dedue

Can we just appreciate that Dedue chose to leave Dimitri for Byleth? That is so meaningful. Dedue spends the entire game unhealthily attached to Dimitri, and finally he finds something that he chooses for himself. Of course, there is the concern that he will become unhealthily attached to Byleth, but I don’t get that impression from his S-support.

There are so many wonderful little details in this S-support. The tiny, modest ring. The straightforward proposal. Both of them gazing at each other in loving, comfortable silence afterward. Byleth’s blush. And DEDUE’S LAUGH. Just. the laugh. It’s important.

Finally, Dedue invites Byleth to come with him to visit Duscur. TAKE NOTES, CLAUDE!! Anyway…

10. Edelgard

*takes a deep breath and sets aside my feelings about Edelgard’s stance on the Children of the Goddess*

Alright, so this S-support is significant because it’s one of the few where you can tell that there is genuine affection on Byleth’s end. She really takes charge of the proposal, going so far as to use Edelgard’s nickname, “El,” to convey affection and intimacy.

At first I was concerned when I heard Edelgard say, “This ring…thank you, my dearest friend,” and I was like HOLD UP – did Byleth just get friendzoned?? But Edelgard clarifies by expressing that she has romantic feelings too, which saves the scene. But while sweet, the rest of the S-support focuses on Edelgard’s ambitions and generally lacks romance. Fitting for her character? Yes. A satisfying S-support? Not really.

11. Dimitri

It’s clear from the beginning of this S-support that Dimitri and Byleth have become close friends. I appreciate the way they talk about their wounds, and although talking about Dimitri’s nightmares is far darker than I expected from an S-support, it shows just how much Dimitri has improved.

What disappointed me about this S-support is the lack of emotion on both sides. Sure, the “my beloved” pet name is wonderful. And sure, Byleth isn’t very emotional as a rule. But Byleth shows more emotional in other S-supports. And there is not nearly enough of a reaction on Dimitri’s side. Come on, dude. You’ve been aggressively simping over Byleth since Day 1, and you’re just taking this proposal in stride?? You should be unconscious right now.

12. Mercedes

I’m so proud of how far Mercedes has come at this point. She’s determined to live in a way that makes her happy, outside of her Crest or anyone else’s expectations. That being said, a lot of this S-support feels more like it could have been an A+ support.

Major points to Mercedes to being the one to do the proposing. A lot of people mistake her kind nature for being demure, which is not the case. She is bold, speaks her mind, and knows what she wants. And in this case, that’s Byleth. Her proposal is gentle and respectful, if a bit bland, and her reaction to Byleth’s acceptance is absolutely adorable. She’s so happy yet insecure, and I wish there was more communication from Byleth to reassure her.

13. Hanneman

Hanneman is an academic through and through, and his nature as a scholar comes through strongly in his S-support. He tries to approach things pragmatically, almost ruins things by talking about Byleth’s role in his research, but fortunately realizes that’s the wrong way to do it and takes a new approach with more feeling. It’s very similar to Linhardt’s S-support, but less self-centered and overall better. Hanneman treats Byleth as an equal, and shows enthusiasm in his own way.

Overall, this is an extremely pragmatic S-support, but it’s not without its charms. That being said, it definitely requires an interpretation of Byleth’s character where she has developed a taste for academia.

Favorite quotes:

“I suppose there’s no reason to hold ourselves back any longer.”

“I don’t want the power of your Crest - I want you.”

“I can’t wait to see the results of this undertaking.”

14. Yuri

This S-support is very consistent with Yuri’s character. The scene opens with Yuri trying to repay his “debt” to Byleth, which definitely lacks in romantic vibes, but works in context. It’s nice to see Yuri nervous and out of composure, but I admit I had been expecting…more…from him with how charming he’s supposed to be. Then again, like Sylvain, maybe the fact that he’s dropped the façade is supposed to make it meaningful. At least he blushes! Blushy Yuri is something I didn’t know I needed. The bit at the end where he whispers his true name in her ear is very nice, too.

But yikes…Yuri talks about his death. And considering that in most of the routes, Byleth ends up being most likely essentially immortal, this hits HARD. She is definitely facing the death of her lover in a few decades at most, and that is not something she wants to think about during a proposal.

Favorite quote: “In return for this ring, I ask for you.”

15. Raphael

Raphael is a pretty clueless, non-romantic kind of guy. But the sudden proposal is very cute. Considering how awful he is at expressing himself, it works really well with his character to simply have him jump right in and get it over with.

That being said, I couldn’t help but feel that his reasoning for getting married was just a little loose. He always wants to be with Byleth and expresses that he wants to serve as her knight. Uh, you realize you can do that without marrying her right, bud? Byleth didn’t seem to be very into this proposal either, although she does have a wonderful little smile in the S-support portrait, which makes up for that. I love how the portrait emphasizes Raph’s size and strength by having him lift her up bridal style. It’s an actually flattering portrayal of him, too.

Favorite quote: “And…I’ll love you. Forever and ever. And ever!”

16. Sylvain

Ah yes, Sylvain. Our favorite train wreck. The good news is that he’s finally taking charge of his life, and I like that he’s straightforward in this S-support rather than flirtatious, which means that you know he’s being sincere. It’s cute to see him genuinely happy, and his statement that “I’m going to spend the rest of our lives together trying to make you happy,” is very good.

However, the “If you told me you never wanted me to look at another woman, I’d go blind for you” is going too far. I know it addresses his skirt-chasing character, but I just don’t know if they could have a healthy relationship. I know this is rating the support scene, not the ship itself, but I don’t think that’s a positive indicator for the future.

17. Claude

This S-support gives me so many bad vibes. Yes, he expresses his love for Byleth as well as his utmost confidence in her, but dude, actions matter more than words, and your actions speak VOLUMES. He’s the only one to just run off at the end of the S-support, and while I understand his reasoning — I really do — it’s clear that his own agenda and ambitions will always come before Byleth.

This is what I heard: “Right now, Fodlan is like a newborn... so that’s why I’m leaving, so you have to do all the hard stuff yourself. See ya, sucker!!” Ah yes. Prime husband and father material there. Obviously.

“I’m sorry that I won’t be by your side at such an important event...” Uh huh, yeah right. You’re obviously itching to get out of there.

I’m sorry, Claude stans, but giving Byleth an engagement ring and then running away for who knows how long is LAME.

18. Jeritza

The first thing that struck me about this S-support is the fact that it takes place in the Agarthan HQ, Shambhala. This is super meaningful because it means that Byleth and Jeritza go there together to use their killing prowess to take out Those Who Slither in the Dark post-Crimson Flower. It’s a nice way to tie up the route. The portrait is super dynamic and unique, too. That being said…

He’s still fixated on killing Byleth. If that’s your thing, then hey, I can’t judge. At least we all know that if he hasn’t killed her by now, it’s never going to happen. It’s such an empty threat it’s probably an inside joke by now. But Jeritza’s clearly still figuring out his feelings, which means I’m not sure it really counts as an S-support (it would have made a better A+ support imho). There are also things about this pairing and S-support that have some serious implications for who Byleth has become by this point and what the future is likely to look like. Good storytelling, yes, but as an S-support…not my favorite.

Favorite quotes:

“It is you alone who can slay the demon inside me.”

“To the very depths of hell, I will tumble down with you.”

19. Linhardt

This S-support falls flat for me. It’s like Hanneman’s, but worse because it’s super self-centered. I feel like it’s a really bad summary of Linhardt’s character because so much more could have been done with it. Linhardt has lots of good traits, and this S-support ignores all of them. Instead, we have a one-dimensional S-support that focuses on Linhardt’s laziness and penchant for napping. He’s so self-centered and consumed by his own interests, so saying that he wants to study Byleth for the rest of his life makes her more like an accessory to his life plans rather than a central component. At least when Hanneman says he wants to study Byleth, he makes it very clear that he loves her and wants her as a person.

And the line where he says "I didn’t honestly think you’d reject me” is just…wow. Much disappoint. If I were Byleth I would turn him down on the spot just for saying that.

20. Ashe

Ashe’s S-support comes off to me like he’s pledging himself to her as a vassal more than actually proposing. Yes, he does take initiative and does the proposing, which is consistent with the fact that Ashe is a gutsy little guy. But he’s so stuck on being helpful that the S-support ends up feeling immature. Plus, Byleth doesn’t seem very enthusiastic about the proposal compared to other S-supports, and overall Ashe’s worship of Byleth comes off as more dependent than romantic.

21. Caspar

We’ve reached the bottom four S-supports, starting with this disaster. Caspar is juvenile, reckless, and oblivious. (Don’t get me wrong — I adore his character and see him like a little brother.) Byleth has to take charge of the proposal, which is not a problem in itself, but then Caspar confesses that he hasn’t even thought about marrying Byleth — or anyone at all! asaslkjasdflk FAIL

At least the victory shout is kind of cute…if painfully cheesy.

And they get worse from here…

22. Rhea

I don’t have a lot to say here. I know I said that I would keep my personal feelings about the pairings themselves out of this, but I feel like there are certain things about this particular pairing that need to be addressed along with this S support.

Age gap aside (because frankly with immortals, age doesn’t really matter anymore), Rhea CREATED Byleth’s mother, essentially making herself Byleth’s grandmother. Incest vibes, yo. Plus, she fully intended to sacrifice Byleth’s life in order to bring back Sothis — which, granted, is a sentiment that wears off, and Jeritza is just as bad in terms of original intent to kill Byleth. This makes any kind of romantic revelation on Rhea’s side just…weird.

There are some good quotes in this S-support, and we get a ton of reveals about Rhea’s character development in a short amount of time. She’s self-conscious of her other form as a dragon, she acknowledges the wrongs she did in the past, and she expresses a desire to repent. She acknowledges the pivotal role that Byleth has played through her choices and accomplishments, rather than attributing them to fate and the “flow of time.” But honestly this would be more appropriate as a final scene at the end of the game, not a romantic S-support.

23. Cyril

Oh boy. Where do I start with this one? It’s so bad...

This boy is BABY. 19 years old after the war? Sure. Attractive design? Yes. But still, he. is. BABY. And the S-support portrait makes it so much worse by making him look freaking TEN.

And he’s so, so oblivious. Even worse than Caspar. He barely has a personality as a character outside of being committed to the servant mentality, and he has had no opportunity to discover himself as a freaking person outside of his obsession with Rhea. It should be illegal to even consider this kid for S-support. One thing would be if it was platonic, like Alois or Gilbert, but Byleth gives him the ring, and that means it’s supposed to be romantic.

Plus, Cyril says that he loves Byleth, but it’s super casual and comes off more like familial or friendship love rather than romantic love. Unless I missed something, I don’t think Byleth ever says that she loves Cyril in their S-support. And the end is just the worst: “Love ya, see ya in the morning.” That’s IT???? There is absolutely no indication of a mature relationship, and that’s just scary and gross.

I just…really hate this S-support. There’s only one S-support that’s worse…

24. Sothis

Forget everything that I said about keeping my feelings about particular pairings out of this ranking. This is a TRULY CURSED S-SUPPORT.

I don’t care that Sothis is technically a goddess whose age is beyond counting or mortal comprehension. All that matters is she looks like a child. She is lolibait. And to top it all off, she doesn’t even have physical form (thank goodness) — she’s just an apparition in Byleth’s head!

And this quote? “I love you deeply! Overwhelmingly! passionately! Ours is a love without an end!” I only have two words: PEAK CRINGE.

It would be one thing if Sothis came back in her adult form. Or better yet, if she had always been in her adult form as portrayed in the fresco in the reception hall. You can do something with that. But that’s not the case, Sothis is portrayed as a pre-pubescent child in both appearance and personality, and that’s just pedophilia vibes, y’all. I can’t believe this is a sincere S-support option.

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tiny-elf-of-doom · 2 years

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Art Student in Paris

Arcane Headcanons (alternative universe)

Character: Young! Silco

🥐 25-26 years of age and working towards his master’s degree in Fine Art with a minor in French. Silco’s ultimate goal is to move to Paris to become an art instructor.

🥐 His favorite material to work with is paint: mainly oils because he doesn’t have to rush. Typically, oil paints take more time to dry, meaning he can play around, add layers, and good texture where it’s desired. However, he is a sucker for watercolor and basic sketch art. The human form is his main subject, but he loves painting scenery, flowers, and insects.

🥐 Paris, France has been a dream of his since he’d studied art history in high school. The food, art, fashion, and history drew him in, ignoring the foolish comments about it being a dirty place. No city is perfect, nor is the majority of the occupants, but he still finds enjoyment in that incredible country.

🥐 In terms of his favorite time periods for art, he focuses on the 17th and 18th centuries. This includes Impressionism, Realism, and Romanticism. However, he has a soft spot for Rococo and Art Nouveau. Those pastels, intentionally organic lines, and rousing finesse have him swooning at exhibits.

🥐 A hopeless romantic, Silco drowns himself in love stories and classic literature. For years, he’s exposed himself to so much passionate romance that he’s coached himself into the perfect swain. He fits the tropes and he’ll carry out his part well, being a generous lover who devotes their life to their partner. Breaking ties with him is an excuse for the dramatic.

🥐 In the name of fashion, he will always support the styles and street-wear of Parisian women. Neutral palettes, statement pieces, loose jeans, and even patterned skirts have made him feel like an object of class. He doesn’t have shame and will have fun expressing his natural beauty and his lanky frame. Two words: Haute Couture. Another two: name brand.

🥐 Pastry king, all of the sweets he can get his hands on. Will happily befriend a baker and pastry chef to get in on their creations. Des pâtisseries- good lord. Everything flaky and sweet, buttery and golden brown, straight from the oven, are his weakness. Offer him a coffee date or an invitation to a tea party and you will never hear the last of him.

#arcane #arcane silco #arcane headcanon #French headcanon #france #art student #paris #romance #alternative universe #effeminate

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cherry-gemz · 3 years

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Summary: This is a continuation of the movie Before We Go and my interpretation and imagination of an A/U. Brooke is you (Y/N) and Nick is still Nick :)

Prompt: "Just admit that I'm right." for @the-ce-horniest-book-club Drunk Drabbles for Nick Vaughan.

Pairings: Nick Vaughan x Y/N

Rating: PG-13

Word Count: <2k...is this a drabble still? Oopsies XD

A/N: I watched this movie for the first time just last week. It's now one of my top 3 Cevans movies! While I'm all for a romantic, serendipitous, spontaneous trope...much like Before Sunrise *no spoilers*, the ending was great, but I wanted a different spin. No pressure...yah, right! Either way, hope you enjoy xx.

Tags: @thesecretlifeofdaydreamss @tonystankschild @a-little-counter-esperanto

****************************************************************

You sniff and rub the end of your coat sleeve with your nose. Had to be the chill in the air, you thought. Not the fact that you just spent the most amazing and life changing night with a man you just met hours before and it was ending.

You stare out the train’s window; the gentle hum of the cart gliding across the steel tracks echoed in your thoughts. You shook your head in thinking that you made a mistake. I should have stayed...I should have told him how I felt…

“Nick. It's you again. Listen. I want to give you one more piece of advice. You're gonna be playing one night... Grand Central... thinking of every reason in the world to not go see the girl that broke your heart. Then, you're gonna meet somebody. And now, at first, she's gonna seem… icy. You're gonna know right away she's trouble. She's gonna take all your money. You're probably gonna get punched in the face. But stay with her; you're gonna need her a lot more than she needs you. And at the end of the night, you're gonna want to say some things, but don't. Don't ruin it. It's nothing she doesn't already know. Just give her a kiss. Wish her good luck. And thank her. Thank her for showing you that you can love more than one person in this life.”

He was unbelievably charming. You said so yourself. His raw talent with the trumpet was beautiful and different from what you were used to. The suburbia of the Boston bubble was what you were forced to live in now. You were from London, you were cultured and refined. Sure things with Michael were exciting at first, but the ho hum of the daily diatribe of routine became loathsome. Dépaysement. But you still never wavered in your marriage. Unlike Michael who had crossed that sacred line and lost your trust. It wasn't even fully the physical aspect that he went to another woman. It was the intimacy of telling her his deepest desires and then some that hurt the most. That he would want to share that with anyone else but you. But tonight. Tonight was what made you see clearly.

"It's possible, isn't it? It's possible that you could meet somebody who's perfect for you even though you're committed to somebody else," you asked as you bit your lip.

"No, no, see, I think if you're committed to somebody, you don't allow yourself to find perfection in someone else."

You found yourself blushing and cupping your cheek in thoughts of Nick. He was right. The whole night was a cluster mess of you trying to get home before Michael so you'd be able to throw away that wretched note. That he'd come to his senses and forget Linny. That he'd realized he was a fool and you'd start over. Just like old times.

However, slowly that feeling of reconciliation faded away little by little as each hour in the city passed. You couldn't pinpoint it exactly, but somehow the scrappy trumpet player Nick Vaughan etched his way into your icy heart and left an impression and stayed.

His fluffy, dark hair - so soft and inviting for you to rake your fingers through it was enough to drive you mad. His scruffy beard, which tickled when you kissed. You already loved ghosting your palms over it softly and imagined being able to do it whenever you wished. He said earlier into the night you weren't his type; you scoffed, but we're annoyed that it bothered you. You were a classic model of what guys were into, looks wise. Sure, your attitude was what rubbed some people the wrong way, but Americans really were too sensitive.

He however...he was the full package. Every toothy grin, wink, and full hearty laugh. He was addicting. He was a dead ringer for a heartthrob, but you also couldn't hate the guy for it. He was the friend you'd call to bail you out of jail at 4am and the boyfriend that you could see settling down with. It was nauseating really.

And then his lips. His soft lips...you can’t believe you kissed him in the hotel room. And then again at the train station. But you would have kicked yourself for not doing so in the first place. The way your fingers interlaced themselves on his terry cloth robe, how desperately you wanted to press your body against his. All you wanted was for him to feel that burning need within the apex between your thighs and extinguish it all night. But it was more than that, he was what you were missing. But you were kidding yourself. You weren’t running to Michael, you were running away from Nick.

But why? Because of the unknown? Because he actually knew who you were deep down inside? How could a man you barely knew, change you? Change what you thought was true, what you thought was love?

You dove your hand into your wool jacket’s pockets to push any thoughts of self-doubt, when you realize there was a piece of cardstock. You were puzzled to find it and immediately smiled in recognizing the hotel survey card. You bit your lip as you read down the survey questions one by one and notice Nick’s handwriting at the bottom, ‘turn over’ with an arrow.

Curious you turn over the hotel card and he’s written the word ‘yes’. Yes? You furrow your brow and contemplate further what he would be saying yes to. You think about the night - the time at the bar, helping him with Hannah, when you went to the psychic reading. Yes? What in the world - and then you turn the card back over and realize that on the second to last question it asked “Will you be likely to return?”

None of the boxes are checked, but he’d written ‘yes’ on the back. Yes. Yes he’ll return? Where? To the hotel? But when? You look up and rush to think about stopping the train dead in its tracks to return back to Grand Station. You breathe out heavily and come to terms that this isn’t a movie. He’s not chasing you down the tracks, jumping on the train to find you. Or is he? You wouldn’t put it past him. The whole night was filled with serendipitous concourses, this would be icing on the cake. You dart your head around to see if he’s in the cable car. It’s like in every rom com movie ending, the man of your dreams will be right there. He’s somehow charmed his way into boarding the train and found you waiting like a princess in her high tower. The train car is dark and bleak, only a few passengers are riding it as it’s the first route to Boston on a Sunday. You peer over to see if he’s in the next cart, but alas he is not. You slump in your seat and rub your thumb methodically over his words.

"Have you ever had a feeling that somebody was going to play a major part in your life?” you ask.

“Yeah."

“Do you know the most interesting thing about hotel art? It's what's on the back.”

It’s then you realize you have to return to New York. This story wasn’t about you and Michael anymore. No, it was about the man who selflessly helped you while you were in need, not only at your dire hour, but metaphorically as well. This was meant to be. You were meant to miss your train, break your phone, and meet the handsome man named Nick Vaughn. You knew he’d still be in the city because of his audition for the day with Duke at least, if you could just get to him somehow...

Your knees bounced as you sat on a cushioned chair in the hotel lobby. You had planned to wait there all day, but then realized the $13 train ticket was your only way of providing you security back home. So you went home. Confronted Michael. Cursed, cried, and then relief rushed over you as he had read your letter and how you knew about the affair. How you wanted to throw fists on his chest and tell him how much you hated him. But once you saw him, you found it didn't matter to you anymore. Someone else was worth fighting for. Your marriage was over. The hatred and spite you once had for your husband had dissipated. Your world didn't end like you thought it would. This wasn't your only chance at love. You were choosing to be happy, whether it was with Nick or not. This was the first time you were going to jump without having a net.

And Nick was wrong. Michael didn't want to work things out, he was coming to tell you that he loved you, but that and he'd be returning to Atlanta for good. The house, car, everything was yours: Nick said so himself, you gotta be okay with not being okay. So you walked away. You made the choice just like the psychic said and took it in stride, you faced the music.

However now you found yourself back in New York. Not the once stranded woman at a crossroads less than 24 hours before, but the woman that made a choice. You were worried that Nick would see it as you running away again. Running away because Michael didn't choose you. But in reality you didn't choose each other.

Still without an ID, you took your car and better against the four hour drive to the city and hoped a cop wouldn't pull you over. You thought of the night in the hotel. The laughs, the closeness you two encountered. The playful and cheeky way he could make you feel seen. You were starting to get nervous, what if he doesn't show up? What if I missed my chance?

"I'm an idiot," you murmur to yourself. "I can't believe I'm here."

You stand up and realize there Nick was there in your path. He looked a little worn, obviously from staying up all night. But he had changed and showered from the looks of it, and his signature trumpet case held in his hand.

"Well look who it is. The biggest loser in New York."

You laughed and blushed at the sight of him. He slung his trumpet case over his broad shoulder and walked over to close the gap.

“Just admit that I’m right.”

"Admit what?" You ask as you find yourself touching his jacket sleeve.

"Admit that you couldn't get enough of me." You hitched a breath from his words.

"You can say that."

"I can't believe you came back," he responded. His blue eyes gazed into yours as he brushed away a tendril of hair from your face.

"I read your answer to the survey...on the back."

"The stay did exceed my expectations and I did say I would return," he smiles.

"And here you are."

"Here I am…" he pulls away slightly as he's reminded that you're married.

"I jumped," you replied.

He's taken back by your statement and furrows his brow.

"What? With what?"

"I told Michael it was over."

"Wow. I'm so...sorry, Y/N."

"Don't be. You said so yourself, at some point it was time to face the music."

He nodded, absorbing the information.

"Say what's in your head."

He shook his head and grinned,"I'm just glad you came back is all."

"Yeah? How'd you know?"

"I didn't. Just sure as hell hoped you would."

He intertwines your fingers with his and holds tight. Like a missing puzzle piece found, your hand fits perfectly with his.

"Whaddya say we get out of here?"

"What do you have in mind?"

"I may know a place," he smiles devilishly and gives your knuckles a kiss.

You grab his dress shirt collar and turn him towards you. He runs his hands through your hair and places his lips upon yours, kissing you deeply. It's a kiss so passionate, so perfect - that after you part, neither open your eyes for a few moments afterwards and he embraces you tightly.

"Good, because I'm not going anywhere."

#drunk drabbles #chris evans fanfiction #chris evans x female reader #nick vaughan #before we go #before we go spoilers #nick vaughn x reader #romance

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nitrateglow · 3 years

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Favorite films discovered in 2020

Well, this year sucked. I did see some good movies though. Some even made after I was born!

Perfect Blue (dir. Satoshi Kon, 1997)

I watch a lot of thrillers and horror movies, but precious few actually unsettle me in any lasting way. This cannot be said of Perfect Blue, which gave me one of the most visceral cinematic experiences of my life. Beyond the brief flashes of bloodletting (you will never look at a screwdriver the same way again), the scariest thing about Perfect Blue might be how the protagonist has both her life and her sense of self threatened by the villains. The movie’s prescience regarding public persona is also incredibly eerie, especially in our age of social media. While anime is seen as a very niche interest (albeit one that has become more mainstream in recent years), I would highly recommend this movie to thriller fans, whether they typically watch anime or not. It’s right up there with the best of Hitchcock or De Palma.

The Good, the Bad, and the Ugly (dir. Sergio Leone, 1966)

Nothing is better than when an iconic movie lives up to the hype. Clint Eastwood, Eli Wallach, and Lee Van Cleef play off of one another perfectly. I was impressed by Wallach as Tuco in particular: his character initially seems like a one-dimensional greedy criminal, but the performance is packed with wonderful moments of humanity. Do I really need to say anything about the direction? Or about the wonderful storyline, which takes on an almost mythic feel in its grandeur? Or that soundtrack?

Die Niebelungen (both movies) (dir. Fritz Lang, 1924)

I did NOT expect to love these movies as much as I did. That they would be dazzlingly gorgeous I never doubted: the medieval world of the story is brought to vivid life through the geometrical mise en scene and detailed costuming. However, the plot itself is so, so riveting, never losing steam over the course of the four hours it takes to watch both movies. The first half is heroic fantasy; the second half involves a revenge plot of almost Shakespearean proportions. This might actually be my favorite silent Fritz Lang movie now.

Muppet Treasure Island (dir. Brian Henson, 1996)

I understand that people have different tastes and all, but how does this movie have such a mixed reception? It’s absolutely hilarious. How could anybody get through the scene with “THA BLACK SPOT AGGHHHHHHH” and not declare this a masterpiece of comedy? And I risk being excommunicated from the Muppet fandom for saying it, but I like this one more than The Great Muppet Caper. It’s probably now my second favorite Muppet movie.

Belle de Jour (dir. Luis Bunuel, 1967)

I confess I’m not terribly fond of “but was it real???” movies. They tend to feel gimmicky more often than not. Belle de Jour is an exception. This is about more than a repressed housewife getting her kicks working as a daytime prostitute. The film delves into victim blaming, trauma, class, and identity-- sure, this sounds academic and dry when I put it that way, but what I’m trying to say is that these are very complicated characters and the blurring of fantasy and reality becomes thought-provoking rather than trite due to that complexity.

Secondhand Lions (dir. Tim McCanlies, 2003)

The term “family movie” is often used as a synonym for “children’s movie.” However, there is an important distinction: children’s movies only appeal to kids, while family movies retain their appeal as one grows up. Secondhand Lions is perhaps a perfect family movie, with a great deal more nuance than one might expect regarding the need for storytelling and its purpose in creating meaning for one’s life. It’s also amazingly cast: Haley Joel Osment is excellent as the juvenile lead, and Michael Caine and Robert Duvall steal the show as Osment’s eccentric uncles.

The Pawnbroker (dir. Sidney Lumet, 1964)

Controversial in its day for depicting frontal nudity, The Pawnbroker shocks today for different reasons. As the top review of the film on IMDB says, we’re used to victims of great atrocities being presented as sympathetic, good people in fiction. Here, Rod Steiger’s Sol Nazerman subverts such a trope: his suffering at the hands of the Nazis has made him a hard, closed-off person, dismissive of his second wife (herself also a survivor of the Holocaust), cold to his friendly assistant, and bitter towards himself. The movie follows Nazerman’s postwar life, vividly presenting his inner pain in a way that is almost too much to bear. Gotta say, Steiger gives one of the best performances I have ever seen in a movie here: he’s so three-dimensional and complex. The emotions on his face are registered with Falconetti-level brilliance.

The Apartment (dir. Billy Wilder, 1960)

While not the most depressing Christmas movie ever, The Apartment certainly puts a good injection of cynicism into the season. I have rarely seen a movie so adept at blending comedy, romance, and satire without feeling tone-deaf. There are a lot of things to praise about The Apartment, but I want to give a special shoutout to the dialogue. “Witty” dialogue that sounds natural is hard to come by-- so often, it just feels smart-assy and strained. Not here.

Anatomy of a Murder (dir. Otto Preminger, 1959)

I’m not big into courtroom dramas, but Anatomy of a Murder is a big exception. Its morally ambiguous characters elevate it from being a mere “whodunit” (or I guess in the case of this movie, “whydunit”), because if there’s something you’re not going to get with this movie, it’s a clear answer as to what happened on the night of the crime. Jimmy Stewart gives one of his least characteristic performances as the cynical lawyer, and is absolutely brilliant.

Oldboy (dir. Park Chan-Wook, 2003)

Oldboy reminded me a great deal of John Webster’s 17th century tragedy The Duchess of Malfi. Both are gruesome, frightening, and heartbreaking works of art, straddling the line between sensationalism and intelligence, proving the two are not mutually exclusive. It’s both entertaining and difficult to watch. The thought of revisiting it terrifies me but I feel there is so much more to appreciate about the sheer craft on display.

Family Plot (dir. Alfred Hitchcock, 1976)

Family Plot is an enjoyable comedy; you guys are just mean. I know in an ideal world, Hitchcock’s swan song would be a great thriller masterpiece in the vein of Vertigo or Psycho. Family Plot is instead a silly send-up of Hitchcock’s favorite tropes, lampooning everything from the dangerous blonde archetype (with not one but two characters) to complicated MacGuffin plots. You’ll probably demand my film buff card be revoked for my opinion, but to hell with it-- this is my favorite of Hitchcock’s post-Psycho movies.

My Best Girl (dir. Sam Taylor, 1927)

Mary Pickford’s farewell to silent film also happens to be among her best movies. It’s a simple, charming romantic comedy starring her future husband, Charles “Buddy” Rogers. Pickford also gets to play an adult character here, rather than the little girl parts her public demanded she essay even well into her thirties. She and Rogers are sweet together without being diabetes-inducing, and the comedy is often laugh out loud funny. It even mocks a few tropes that anyone who watches enough old movies will recognize and probably dislike-- such as “break his heart to save him!!” (my personal most loathed 1920s/1930s trope).

Parasite (dir. Bong Joon-ho, 2019)

This feels like such a zeitgeist movie. It’s about the gap between the rich and the poor, it’s ironic, it’s depressing, it’s unpredictable as hell. I don’t like terms like “modern classic,” because by its very definition, a classic can only be deemed as such after a long passage of time, but I have a good feeling Parasite will be considered one of the definitive films of the 2010s in the years to come.

Indiscreet (dir. Stanley Donen, 1958)

Indiscreet often gets criticized for not being Notorious more or less, which is a shame. It’s not SUPPOSED to be-- it’s cinematic souffle and both Ingrid Bergman and Cary Grant elevate that light material with their perfect chemistry and comedic timing. It’s also refreshing to see a rom-com with characters over 40 as the leads-- and the movie does not try to make them seem younger or less mature, making the zany moments all the more hilarious. It’s worth seeing for Cary Grant’s jig (picture above) alone.

The Taking of Pelham One Two Three (dir. Joseph Sargent, 1974)

This movie embodies so much of what I love about 70s cinema: it’s gritty, irreverent, and hard-hitting. It’s both hilarious and suspenseful-- I was tense all throughout the run time. I heard there was a remake and it just seems... so, so pointless when you already have this gem perfect as it is.

They All Laughed (dir. Peter Bogdonavich, 1981)

Bogdonavich’s lesser known homage to 1930s screwball comedy is also a weirdly autumnal movie. Among the last gasps of the New Hollywood movement, it is also marks the final time Audrey Hepburn would star in a theatrical release. The gentle comedy, excellent ensemble cast (John Ritter is the standout), and the mature but short-lived romance between Hepburn and Ben Gazarra’s characters make this a memorably bittersweet gem.

The Palm Beach Story (dir. Preston Sturges, 1942)

Absolutely hilarious. I was watching this with my parents in the room. My mom tends to like old movies while my dad doesn’t, but both of them were laughing aloud at this one. Not much else to say about it, other than I love Joel McCrea the more movies I see him in-- though it’s weird seeing him in comedies since I’m so used to him as a back-breaking man on the edge in The Most Dangerous Game!

Nothing Sacred (dir. William Wellman, 1937)

I tend to associate William Wellman with the pre-code era, so I’ve tried delving more into his post-code work. Nothing Sacred is easily my favorite of those films thus far, mainly for Carole Lombard but also because the story still feels pretty fresh due to the jabs it takes at celebrity worship and moral hypocrisy. For a satire, it’s still very warm towards its characters, even when they’re misbehaving or deluding themselves, so it’s oddly a feel-good film too.

Applause (dir. Rouben Mamoulian, 1929)

I love watching early sound movies, but my inner history nerd tends to enjoy them more than the part of me that, well, craves good, well-made movies. Most early sound films are pure awkward, but there’s always an exception and Applause is one of them. While the plot’s backstage melodrama is nothing special, the way the story is told is super sophisticated and expressive for this period of cinema history, and Helen Morgan makes the figure of the discarded burlesque queen seem truly human and tragic rather than merely sentimental.

Topaz (dir. Alfred Hitchcock, 1969)

Another late Hitchcock everyone but me seems to hate. After suffering through Torn Curtain, I expected Hitchcock’s other cold war thriller was going to be dull as dishwater, but instead I found an understated espionage movie standing in stark contrast to the more popular spy movies of the period. It’ll never be top Hitchcock, of course-- still it was stylish and enjoyable, with some truly haunting moments. I think it deserves more appreciation than it’s been given.

What were your favorite cinematic discoveries in 2020?

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my-bated-breath · 4 years

Text

Research Shows that Zutara Would Have Been the Ideal Friends to Lovers Dynamic

(featured below: a very self-indulgent Zutara post that uses Facts and Evidence to be self-indulgent)

When I joined the ATLA fandom, a common trend I've seen used to discredit Zutara was the belief that upon transitioning from a platonic relationship to a romantic one, Zuko and Katara would immediately become The Worst (TM) for each other. It's quite the stretch, and the Zutara fandom nearly unanimously recognizes that. Still, since the attacks have yet to cease even 15 years after the show’s first release, I'd like to add my two-cents on the subject, along with a reference to actual research that is much harder to dismiss.

The reason why Zutara is framed as a “toxic and unhealthy” relationship is that their romance would be a classic example of the enemies-to-lovers trope, a trope which modern media has not been particularly kind to. However, when executed correctly, enemies-to-lovers can produce a healthy and loving relationship, frequently relying on friendship as an intermediate between the “enemy” and “lover” stages in the most well-executed versions of this trope. Meanwhile, the trope of friends-to-lovers is just as popular as enemies-to-lovers, though the specific dynamic required between two individuals to achieve this transition is not well-known. Recognizing this, Laura K. Guerrero and Paul A. Mongeau, both of whom are involved in relationship-related research as professors at Arizona State University, wrote a research paper on how friendships may transition into romantic relationships.

While “On Becoming ‘More Than Friends: The Transition From Friendship to Romantic Relationship” covers a variety of aspects regarding how friends may approach a budding romantic relationship, this meta will focus on the section titled “The Trajectory from Platonic Friendship to Romantic Relationship,” which describes stages of intimacy that are in common between platonic and romantic relationships.

(I am only using this one source for my meta because as much as I love research and argumentative writing, I can only give myself so much more school work before I break. If you wish to see more sources that corroborate the argument from above, refer to the end of this meta at the “Works Cited.”)

According to Guerrero and Mongeau, “...scholars have argued that intimacy is located in different types of interactions, ranging from sexual activity and physical contact to warm, cozy interactions that can occur between friends, family members, and lovers…” Guerrero and Mongeau then reference a relationship model where the initial stages (i.e. perceiving similarities, achieving rapport, and inducing self-disclosure) reflect platonic/romantic intimacy through communication while the latter stages (i.e. role-taking, achieving interpersonal role fit, and achieving dyadic crystallization) often see both individuals as achieving a higher level of intimacy that involves more self-awareness.

Definitions, because some terminology in this quote is field-specific:

_____

Perception of similarity: (similar in background, values, etc.) which contributes to pair rapport

Pair rapport: produces positive emotional and behavioral responses to the partner, promotes effective communication and instills feelings of self-validation

Self-disclosure: a process of communication by which one person reveals information about themselves to another. The information can be descriptive or evaluative and can include thoughts, feelings, aspirations, goals, failures, successes, fears, and dreams, as well as one's likes, dislikes, and favorites.

Role-taking: ability to understand the partner's perspective and empathize with his/her role in the interaction and the relationship

Role-fit: partners assess the extent of their similarities in personality, needs, and roles

Dyadic crystallization: partners become increasingly involved with each other and committed to the relationship and they form an identity as a committed couple

_____

(Source: Quizlet -- not the most reliable source, I know, but once again field-specific terms tend to be ubiquitous in their definitions, and I doubt that this Quizlet can be that inaccurate)

(Additional note: only the first three definitions will be relevant to this meta, but the other definitions are left in for all of you who want to speculate what the next part of this meta, which may or may not be published the following week, will be about.)

Let’s apply what we just learned back to the real Zuko-Katara relationship we see throughout the show. What attributes of healthy and natural friends-to-lovers dynamics may they check off?

Perceiving similarities:

Zuko and Katara share an astounding number of parallels in background and character throughout the show. Both their mothers had sacrificed their lives to save them, and then there are many deliberate parallels drawn between Zuko and Katara’s confrontations in the Day of Black Sun and The Southern Raiders, respectively. Of course, there are more, but since I do not have much to add to this subject, I’ll say that perceiving these similarities helps contribute to…

Pair rapport:

We see three standout examples of this from the show in which Zuko and Katara “make positive emotional and behavioral responses” towards each other: In the Crossroads of Destiny, the Southern Raiders, and Sozin's Comet, Part 2: The Old Masters.

(1) Crossroads of Destiny. Zuko and Katara bond over the loss of their mothers in the Crystal Catacombs, allowing themselves to truly see the other for the first time as well as for them to speak civilly and intimately (is this self-disclosure I see?) with each other. Of course, their conversation (on-screen or off-screen) is meaningful enough for Katara to offer to use the Spirit Oasis water to heal Zuko’s scar.

(2) The Southern Raiders. The journey Zuko and Katara take for her to achieve closure (which is something Zuko himself knew was necessary to heal and grow) is the catalyst for Katara forgiving Zuko. Though there is no true “rapport” in the scene where Katara forgives him, all other banter/conversations (in the Ember Island Players and the ATLA finale) between Katara and Zuko are reliant on the moment she forgives him.

(3) Sozin's Comet, Part 2: The Old Masters. In the finale, Zuko experiences a moment of uncertainty before just before he faces his uncle -- his uncle who had always been there for him since the days of his banishment, his uncle had loved him unconditionally even when Zuko did not know that such love was possible, his uncle who loved him like his own son, his uncle who he betrayed in the Crystal Catacombs, his uncle who turned away when he was encased in crystal, too disappointed to look him in the eye. He tells this to Katara -- and what does Katara say to Zuko in response?

“Then he'll forgive you. He will.”

The dialogue speaks for itself. The positive emotional response, the open communication, and the (rightful) encouragement Katara provides, all without invalidating Zuko’s self-doubt, demonstrates the epitome of pair rapport. Further elaboration would simply be me gushing over their dynamic.

Self-disclosure:

Self-disclosure involves revealing intimate feelings. We’re revisiting the same three episodes that we covered up above since they all include self-disclosure.

(1) The Crossroads of Destiny. When he reaches out in the Crystal Catacombs, Zuko reveals something to Katara that he has never told anyone before, perhaps something he didn’t even want to admit to himself -- in response to “the Fire Nation took my mother away from me” he says “that's something we have in common.” And to say that out loud, to say it to himself and Katara when for three whole years he’s been trying to convince himself that the Fire Nation is good and that his father loves him -- there are no words to describe it. It’s both awe-inspiring and heartbreaking to see that Zuko and Katara’s shared pain is what allowed them to see each other as more than the “face of the enemy,” and it’s something so poignant that it forms an immediately profound connection between the two.

(2) The Southern Raiders. On their way to the Fire Nation communications tower on Whale Tail Island, Katara tells the story of her mother’s death, a story that has haunted her memories for years, looming over her as a ghost, a wound that festers into fear to grief to anger. This was the moment that divided Katara’s life into the Before and the After, the one that forced her to abandon childhood and to become a mother to her own brother (as implied by Sokka in his conversation with Toph in the Runaway). And yet this is the first time we see her tell someone her story in the show, full and vivid as if it happened yesterday. Because even though she mentioned her mother before to Aang, Haru, and Jet in order to sympathize with them -- it’s just that. Sympathizing. This time she tells Zuko about her mother’s death for her own sake rather than for another’s. And it’s an incredibly intimate moment, one that is made even more fragile, wrenching, and beautiful by Zuko’s response -- “Your mother was a brave woman.”

(3) Sozin's Comet, Part 2: The Old Masters. Throughout the second half of season 3, Zuko shares his love and insecurities regarding Iroh to every member of the GAang.

In the Firebending Masters, he mentions to Aang offhandedly -- and perhaps too offhandedly, as if he didn’t want to believe it himself -- that Iroh, Dragon of the West, received his honorary title for killing the last dragon.

An episode later in part one of the Boiling Rock, Zuko talks about his uncle with near constancy. He brews tea for the GAang and (endearingly) tries retelling “Uncle’s favorite tea joke.” He tells Sokka, “Hey, hold on. Not everyone in my family is like that… I meant my uncle. He was more of a father to me. And I really let him down.” He (fails at, adorably) giving advice to Sokka when the rescue mission to the Boiling Rock has begun to look helpless, asking himself “what would Uncle say?” before completely floundering away.

Then, in the Ember Island Players, he shares a sweet moment with Toph, bitterly spitting out that

“...for me, [the play] takes all the mistakes I've made in my life, and shoves them back in my face. My uncle, he's always been on my side, even when things were bad. He was there for me, he taught me so much, and how do I repay him? With a knife in his back. It's my greatest regret, and I may never get to redeem myself.”

Toph, in turn, reveals the thoughtful side to her character, the side that is almost always hidden, telling Zuko that “you have redeemed yourself to your uncle. You don't realize it, but you already have.”

And every one of these moments matter, because we see Zuko’s inner conflict (though this inner conflict does not exist to the extent at which it did at the first half of season 3) and its evolution. First, with Aang, he remains skeptical and disillusioned. Second, with Sokka, his longing for Iroh’s love and presence manifests itself in him imitating his uncle as well as he can. Third, with Toph, he finally admits everything he had been afraid of ever since he saw Iroh’s empty prison cell during the eclipse -- that Iroh is disappointed in him. That Iroh hates him. That Iroh will never accept him again.

And for a moment, with Toph’s encouraging response and Zuko’s resulting little smile, it appears as though Zuko’s internal conflict arc is concluded. But we are wrong -- because in the finale of the show, we are given the true climax and resolution to Zuko’s insecurities, fears, and self-loathing. And who is it that he shares this moment with?

It speaks volumes about Zuko and Katara’s relationship that Katara is the one to comfort Zuko in this scene, in that last moment of hesitation right before he steps inside his uncle’s tent, preparing himself to see his uncle as a completely changed person. As a person who now knows humility and unconditional love. And remember -- selecting Katara to be in this scene is a deliberate narrative choice because ATLA was written by a team of producers and writers, and perhaps even if it wasn’t, it becomes a powerful moment in which Zuko’s arc with Iroh reaches its peak.

Simply having Katara there in this scene already has such a great narrative impact, but then the show gives us some of the most intimate dialogue that Zuko, a naturally closed-off person, delivers (although his emotional outbursts may suggest otherwise, Zuko tends to hide most of his internally conflicting feelings to himself. Hence, he is always able to dramatically monologue about his honor, his country, and his throne -- because he’s trying to convince himself to play a part. But that’s another meta for another day).

Let’s begin by comparing Toph and Zuko’s dialogue with Katara and Zuko’s dialogue because both see the other party validating Zuko’s feelings.

(Warning: the following section plunges deep into the realm of speculation and overanalyzing dialogue. Regarding literature or any media, there are countless ways to interpret the source material, and this is simply one way it could be done.)

_____

Ember Island Players Dialogue:

Toph: Geez, everyone's getting so upset about their characters. Even you seem more down than usual, and that's saying something!

Zuko: You don't get it, it's different for you. You get a muscly version of yourself, taking down ten bad guys at once, and making sassy remarks.

Toph: Yeah, that's pretty great!

Zuko: But for me, it takes all the mistakes I've made in my life, and shoves them back in my face. My uncle, he's always been on my side, even when things were bad. He was there for me, he taught me so much, and how do I repay him? With a knife in his back. It's my greatest regret, and I may never get to redeem myself.

_____

Although Toph and Zuko’s dynamic is one of the most innocent and understanding throughout the show, the conversation begins with Toph joking with a negative connotation -- that “even [Zuko seemed] more down than usual, and that’s saying something!” Thus, the conversation opener is not one that allows for Zuko to easily be emotionally vulnerable, and so he responds bitterly and angrily -- “You don’t get it, it’s different for you” and “...and how do I repay him? With a knife in his back.” By stating that their portrayals in the shows were different, Zuko mentally places a wall between himself and Toph, saying that “[Toph doesn’t] get it.” Then, the rhetorical question Zuko asks himself and the shortness with which he answers the question showcases a forceful and biting tone, indicating that he is covering up his inner turmoil with vehemence. This tendency is something we’ve seen Zuko default to before, whenever he had shouted the oft-mocked “I must restore my honor!” lines in response to a few introspective questions Iroh had asked (though once again, that’s another meta for another day). Now, let’s examine the remainder of their conversation.

_____

Ember Island Players Dialogue Continued:

Toph: You have redeemed yourself to your uncle. You don't realize it, but you already have.

Zuko: How do you know?

Toph: Because I once had a long conversation with the guy, and all he would talk about was you.

Zuko: Really?

Toph: Yeah, and it was kind of annoying.

Zuko: Oh, sorry.

_____

Here we see Toph and Zuko’s conversation take a more serious turn as Toph becomes more sincere. Zuko, however, is still full of self-doubt as he is constantly questioning Toph with “how do you know?” and “really” and “oh, sorry.”

(featured up above: Zuko looking dejected and doubtful.)

Still, the conversation ends on a sweet and inspiring note:

_____

Ember Island Players Dialogue Continued:

Toph: But it was also very sweet. All your uncle wanted was for you to find your own path, and see the light. Now you're here with us. He'd be proud.

_____

Hence, though Zuko and Toph’s conversation displays a heartening and hopeful dynamic, Zuko is ultimately still guarded for the majority of their conversation. Now, let’s look at how Katara approaches Zuko in the Sozin’s Comet, Part 2: The Old Masters.

_____

Sozin’s Comet, Part 2: The Old Masters Dialogue:

Katara: Are you okay?

Zuko: No, I'm not okay. My uncle hates me, I know it. He loved and supported me in every way he could, and I still turned against him. How can I even face him?

Katara: Zuko, you're sorry for what you did, right?

Zuko: More sorry than I've been about anything in my entire life.

_____

In direct contrast to the conversation opener with Toph, Katara begins to engage Zuko with an openly concerned question. And even though Katara never disappointed an Iroh-figure in her life in the way Zuko has, Zuko immediately doesn’t close himself off from her, he doesn’t create a wall that prevents him from revealing his deepest fears to her. During this scene, he neither sounds bitter or angry -- he sounds lost, doubtful, and afraid (perhaps even afraid to hope). This shift in tone is blatant in his voice (thanks to Dante Basco’s line delivery) but even with nothing but the written dialogue, we can note the difference in which he describes his turmoil to Toph and as compared to Katara:

With Toph: “But for me, it takes all the mistakes I've made in my life, and shoves them back in my face. My uncle, he's always been on my side, even when things were bad. He was there for me, he taught me so much, and how do I repay him? With a knife in his back. It's my greatest regret, and I may never get to redeem myself.”

With Katara: “No, I'm not okay. My uncle hates me, I know it. He loved and supported me in every way he could, and I still turned against him. How can I even face him?”

With Katara, the underlying bitterness from his conversation with Toph is toned down to the point of nonexistence, though a part of it is still there. With Toph, Zuko says, “it takes all the mistakes I’ve made in my life, and shoves them back in my face,” which is a rather incensed statement. Meanwhile, by saying, “no, I'm not okay. My uncle hates me, I know it,” Zuko directly addresses his self-loathing without the use of language such as “shoves them back in my face,” the latter of which is reminiscent of how individuals may unthinkingly reveal information in a sudden emotional outburst.

Then, when Katara asks him if he’s sorry for what he did, the words come easily to Zuko, the most easily he admits to his own mistakes after three years of not admitting anything truthful to himself: “More sorry than I've been about anything in my entire life.”

And Katara, just as Toph did, says with the utmost confidence and sincerity, “Then he'll forgive you. He will.”

This moment of affirmation that runs parallel between both dialogues is where Zuko’s responses begin to diverge. Whereas Zuko reacts to Toph with disbelief and doubt, this is how he reacts once he hears Katara’s words:

He takes Katara’s words to heart and accepts them. Because out of all the GAang, Katara is the one who knows the most about forgiving him, who most keenly feels the change he underwent since his betrayal in the catacombs. And so he stands, still nervous but no longer afraid, facing forward towards the future instead of back into his past.

Iroh and Zuko’s relationship is one of the most important ones throughout the entire show, so to see Katara play a pivotal role in a critical point in their dynamic shows just how important Katara’s character is to Zuko (and vice versa, though in here I do touch upon the former in more detail).

Although my analysis on the self-disclosure between Zuko and Katara may have run away from me a bit (due to my love for far-too-in-depth critical analysis), these all show an undeniable bond between Zuko and Katara, displaying a profound friendship rooted in narrative parallels, mutual understanding, and interwoven character arcs. Ultimately, their fulfillment of perceived similarities, pair rapport, and (the one I rambled most on) self-disclosure is what establishes Zuko and Katara as not just a strong platonic bond -- but one that has the potential to transition into a romantic one.

Thus concludes my essay on Zutara’s friendship and its connection with the initial stages of intimacy that are shared between both platonic and romantic bonds. After all that analysis, it would be remiss to simply dismiss the Zutara dynamic as one that would instantly become toxic should they pursue a romantic relationship.

That being said, I will explore the possibility of a romantic relationship between Zuko and Katara and how this connects to the latter stages of intimacy -- role-taking, interpersonal role fit, and dyadic crystallization -- in part 2 of this meta-analysis. Click on the link if you want to read it!

Part 2

Works Cited

(only partially in MLA 8 format because I want to live a little)

Close Relationships: A Sourcebook. By Clyde A. Hendrick & Susan S. Hendrick. Link

“Nonverbal behavior in intimate interactions and intimate relationships.” By P.A Andersen, Laura K. Guerrero, & Susanne M. Jones. Link

“On Becoming ‘More Than Friends’: The Transition From Friendship to Romantic Relationship.” By Laura K. Guerrero & Paul A. Mongeau. Link

The Psychology of Intimacy (The Guilford Series on Personal Relationships). By Karen J. Prager. Link

(If you check some of these links, you may note a few of these sources have been cited quite a few times. With just a bit more research, it appears possible to find a plethora of other sources to corroborate the theory of shared platonic-romantic intimacies.)

Thank you all for reading!

#atla #atla meta #zutara #zutara meta #my bated breath analyzes #research on relationship intimacy #influenced by academic writing #i have more metas coming soon #but until then you can find that i do other writing as well #like fanfiction #check out my fanfiction on the My Writing tab on my blog #please like and reblog to prove Zutara with Facts and Evidence everyone #my bated breath's posts

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nyerus · 3 years

Note

Hi, nyerus.....If you don't mind me asking, who are your favorite MXTX characters (top 5 from each novel)? And why? I'm sorry if you've answered this question before.

Thank you so much for asking! I would love to! (Apologies for the delay, and also for how long this is lol....)

TGCF

1.) Xie Lian: I could write forever about why I love him, but XL is just a really great character who subverted my expectations. He's gentle and compassionate, but also funny and snarky on the inside. His character arc is the classic hero's journey but told out of order. So we meet him when he's already wise and world-weary, then get to see what he was like before, and how he finishes his journey later on. He's extremely inspiring, to show that our choices and our actions are what make us, and ultimately no one can take those from us.

2.) Hua Cheng: This is no surprise! I also just adore HC for being a very intense character! He's completely devoted to XL and that zealotry is very unique in a character. He's 100%, not 50, not 75. While he has a lot of relateable aspects, this part of him is utterly fantastical, on the level only myth and fable can achieve--which tracks. After all, he isnt a Ghost King for nothing. In the story, he is the embodiment of the purest devotion, no strings attached.

3.) He Xuan: I actually like him for the same reasons as HC! He too is a walking fable, only instead of devotion, he represents vengence. (They're actually like foils of each other, which is quite neat.) I really adore his arc, and how murky his whole character is. It tells a cautionary tale of how sometimes, our worst enemy--the one who makes us most miserable--is often ourselves. SWD wronged him greviously, but HX's obsession with vengence ultimately prevented him from getting the peace and recompense he wanted in the end. Absolutely stellar storytelling.

4.) Mei Nianqing: While I often question his motives and methods, he is still a really good character. Caught between wanting to be a mentor and protector to XL, but still loving (platonically or romantically, that's up to you) JW. He's the only father figure in XL's life that actually took him seriously, even if he did have to come around to it. But ultimately, he was proud of who XL became even before he ascended. He was just terrified of XL drawing the attention of the one man he shouldn't--and did. However his belief in superstition and fear of Hong Hong-er also makes sense, even if it's sad. MNQ is also just a quirky and fun dude lol.

5.) Mu Qing: I really like how complicated and murky MQ's is in terms of his inner turmoil. I'm somewhat similar to him in the way he thinks, and it's real work not to make things worse for myself by expecting the worse. His background makes him naturally suspicious of... basically everyone, all the time, and it's honestly understandable. Ultimately, he does understand that you can't make assumptions about people's intentions by projecting your own insecurities onto them--which I think is something everyone can relate to. I really like his subtle journey of self-realization and self-forgiveness, and he ends up far better for it.

MDZS

1.) Lan Wangji: I love the fact that LWJ was just so ready to Night Hunt himself to death upon the loss of his beloved. As you can tell, I really like complicated characters who have extreme traits, haha! That being said, I just also really like his stoicism and reliability.

2.) Wei Wuxian: Naturally, it's hard not to love WWX! He decided "yeah maybe the ends do justify the means" and went for it. To us, he is the hero. To the regular people of the world? Whose ancestors were dug up and disturbed to be used by the Yiling Laozu? His blackened reputation is not without cause! (Like... JGY literally has done more positive and helpful things for regular people than Wangxian, but those metas already exist lol.) Once again, his gray morality is what makes him so damn good, and can be debated at length!

3.) Jiang Cheng: JC gets a bad rep, but oh boy he doesn't make things easy for himself at all. However if I was in his position, I probably would be much worse off. He lost EVERYTHING, and still trudged on because there were people who depended on him. His hatred of the Wens also makes sense in the context that... that's often how humans react to and process extreme trauma. We find something to blame and *waves at literally every major conflict since the dawn of time.* (His rumored torture of innocent people due to that is reprehensible, of course, but given that MDZS is a book about how rumors can make or break someone's life... we should take that line with a grain of skepticism, much like all other hearsay.) He's not typically the type of character I like, but I found him really interesting to read.

4.) Jiang Yanli: I really love JYL, who decided to be the emotional backbone of her family from the time she was a child. It was an undue and extremely heavy burden to bear, but she did all of it without complaint. That's strength. I think many elder siblings can relate to her having to step up and be the third parent, when the actual adults fail at it.

5.) Wen Qing: I really like her arc in the novel, where she makes some of the hardest decisions anyone will ever have to make, over and over and over again. I don't typically love very "rough" characters, but she has ever right to be that way (and it makes sense for her character, and isn't just a tacked-on character trait like hair color or eye color in a CC), and honestly I want to marry her very seriously.

SVSSS

1.) Luo Binghe: Probably the most misunderstood main character of all of MXTX's works. LBH is neither truly a crybaby nor is he a ruthless maniac. He's right in the middle, in the valley of misanthropy. And yet, he knows just how to use his charisma to get his way. Cunning and devious, intelligent and ruthless. Meanwhile, he craves love and intimacy--something he could only ever dream of.

2.) Shen Qingqiu (Shen Yuan): Extremely refreshing to see an transmigrator know how to handle transmigration almost flawlessly. (Me reading/watching other works with this trope and wanting to tear my hair out at the protags = me sympathizing on a personal level with SQQ.) This also proves to be SQQ's fatal flaw!! His knowledge of the novel is both a boon and a obstacle to him, and prevents him from understanding the other characters as people until he lets go of his pre-conceived notions. And of course, his snarky as heck inner dialogue is amazing.

3.) Liu Qingge: I don't actually even know why I love LQG as much as I do. He's just neat.

4.) Tianlang-Jun: Honestly same goes for TLJ. He's just great though, and I have a blast reading about him. He wanted to see the good in humanity, and ultimately comes around after writing them off.

5.) Yue Qingyuan: He's a fascinating character. Harmless on the outside, but a quagmire on the inside. His love for Shen Jiu was quite... problematic, in that he saught forgiveness from SJ, without actually ever taking the time to understand him or to make amends. Patronizing and judgemental, yet willing to let SJ get away with literally anything because of his own unresolved turmoil, etc etc. Fascinating.

#if this sounds like I want to study some of these characters under a microscope then you'd be correct #i also have a lot more faves i would want to talk about but actually it's a lot of work to Think #i just really love characters who make me think or are very complicated #tgcf #mdzs #svsss #asks #nyerus.txt #thanad-zid

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alorenawrites · 3 years

Text

On Words and Meaning

So I've been thinking a lot about how Loki is being discussed and the words used, particularly by Hiddleston, given his bent for using literary language in his descriptions. There are three words I want to touch on in this little post, one of them definitely rooted in his usage.

So the first I want to touch on is the term "romance." We've heard (often from Hiddleston), that Loki is, at heart, a romance. I think there's a dimension of the discussion missing in these conversations in that is important to consider.

To the layman, a romance is simply a love story, sometimes with a sexual undertone. But in the literary sense, a romance is a much deeper genre. I want to consider that this layer may also be present in Hiddleston's intent on using the term in describing the story arc. It certainly is in mine, as someone with a fascination with literary form and also with an English degree who has spent way too much time exploring genre.

So firstly, we need to define "romance." From literaryterms.net:

I. What is Romance?

In the strictest academic terms, a romance is a narrative genre in literature that involves a mysterious, adventurous, or spiritual story line where the focus is on a quest that involves bravery and strong values, not always a love interest. However, modern definitions of romance also include stories that have a relationship issue as the main focus.

II. Examples of Romance

In the academic sense, an example of a romance is a story in which the main character is a hero who must conquer various challenges as part of a quest. Each challenge could be its own story and can be taken out of the overall story without harming the plot.

Example 1

A knight who wishes to prove himself by recovering a stolen heirloom from an enemy may find himself attempting to make his way through a dangerous wood filled with thieves.

Once he has accomplished this challenge, he may find himself climbing a tall mountain on which a group of people are in trouble. He would save the group somehow, and then move on.

Then the final stage: the enemy’s kingdom. There may be a fair maiden whom he meets and somehow helps or rescues, or perhaps she helps him.

But the fair maiden is not the focus of the story – his quest is the focus. Each story can be taken out, yet each builds the hero’s strength to face his final quest. These stories tend to be serious rather than humorous and touch on strong values.

In considering this, I've thought about Loki's arc as a quest that does, indeed, involve the discovery and exploration of strong values with a three part quest, though I don't think the quests entirely stand on their own. The overarching theme is about Loki discovering his sense of self- his quest to become a full person, not just a trope for the universe to exploit so others can reach their better selves. I divide the show up in to three quests. The first, in episodes 1 and 2, is Loki finding a sense of purpose in the new world- his quest is to discover who this new variant is and where they are hiding. This is resolved by the end of that second episode. The second arc takes place in the next two episodes- Loki discovering his empathy for others is the continuation of the overarching personal development plot, while his quest is to discover Sylvie's goals and to uncover/share the truth behind the TVA. And in our third section, episodes 5 and 6, we get the culmination of the personal growth arc in his ultimate discovery of different facets of himself (illuminated by the different elements of self shown in the multitude of variant Lokis) while the quest is to uncover who is in control of the Sacred Timeline and why. The differences in colour palettes, settings, tones, etc. between the three episode pairings is a part of how I started to distinguish my thoughts on each. And regardless of the visual distinctions, I most definitely see the entire arc as exploring strong values and bravery, though the bravery is multi-layered, showing not only the visible bravery of facing down an apocalypse, Alioth, etc., but the internal bravery of challenging one's self and digging deep into discovering who one really is. This is a theme of queerness that I see lingering in this series- discovering who we are is a process, not an outcome.

I think that this definition of a romance, in the classical sense, is a little oversimplified, as there is often a theme of discovery of self or improvement of self along the way. In a Gothic romance, themes of "the people are the real monsters" come into play (Crimson Peak is an excellent example of this)- there may be elements of the supernatural, but the real thing of which the viewer/reader should be afraid is the person behind the curtain. Gothic romances also often do include a love story arc, but it is often deeply flawed on some level and often also includes some sort of sexual or romantic awakening, often by a female lead, that leads to the discovery of whatever darker is taking place (Crimson Peak turns this on its head in that it is Thomas' awakening with Edith that leads to his turning point and Edith's realization that the Sharpe siblings are the monsters, not the ghosts in the hall). The themes of discovery of self, or of the fortitude of moral values, or of the journey of a person's development, play into both a Gothic romance and its foundations in a classical romance.

So. There's part 1 of this ramble.

On to part 2!

The next word I want to examine is the term "relationship" and its companion, "love." Now, mind you, I come at this from a queer perspective as a demisexual, demiromantic individual, so these two words are ones I've spent a LOT of time pondering, in the quest to define my own identity.

We've heard the term "relationship" tossed around so often with only a romantic implication attached, but in truth, this word is so much more broad than this. You are in a relationship with your barber. You are in a relationship with your cat. You are in a relationship with a spiritual advisor, a professor, your best friend, your partner. Just because it is so heavily used in this way doesn't mean the relationship is only an intimate one (though intimate relationships are also not inherently sexual or romantic in nature, either, so let's remember this as well). Now if we break down what a relationship is, it's just a consistent interaction with someone based on some common interest or goal. It's a remarkably benign word. Its connotations, however, take it in a multitude of directions.

So let's look at it through the lens of an intimate relationship and add in the component of love. We'll start with just a blanket statement that love is not only one single thing. It isn't just romantic. It is our family, our friends, our pets, pie, the colour blue, that feeling of perfection when the waves of a warm lake brush over your calves...love is embedded in the experiences of these things. We love them. Love it as vast and broad as relationships. We love places, people, things, and experiences. We love ourselves (or we try to learn to).

In my world, through my particular brand of queerness, love changes in intimate relationships on a regular basis. I love my partner dearly. But on some days, that love is to my best friend, while other days, it is a romantic love and on others, sexual expression may be involved, but they may overlap in different ways. Sexual expression is independent of romantic attraction and the degree of each isn't tied together in any way. If we can separate these things, I think we can see the relationships in our everyday lives in different lights and with greater complexity.

I also think that looking at these things through the lens of diverse sexual and romantic experiences can inform how we interpret the Loki x Sylvie pairing and why some of us just aren't bothered by it (though certainly not the only reason people aren't).

We've been told Loki loves Sylvie. That much is beautifully clear. But love (and being in a relationship) doesn't automatically mean that 1) both parties are experiencing it in the same way, 2) both parties have the same approach or priorities, 3) the level of romance is necessarily the same between the people involved, 4) that sexual attraction exists at all.

Sometimes a kiss is a form of communication and not tied to the want to shag someone.

So this is where my interpretation of this particular pairing comes into play. I do see the story as a romance, in the classical sense, but also with a slight streak of the more modern sense involved. The focus is still on the quest, even when the love story emerges. And that is where I see the priorities of these characters and their definitions of the relationship differing and I analyze it through these different dimensions of love and relationship orientations.

Loki actually embodies one of the traits I've seen listed for demisexuals- we hold our friendships extremely close and because we hold our friendships the way we do, it isn't uncommon for us to end up with crushes on our best friends (and no, they don't generally develop into other forms of relationships, but they could). This is the phase in which I see Loki by episode 6. He has formed this intense bond, unlike any other it seems he's had, and his heart is breaking over the thought of losing her to her own rage. All he wants is for her to be OK, remember? This isn't a selfish action. But I think it is significant that while he tries to stop her, he's not the one who initiates the kiss. All his actions here are ones that a close friend would also do for their best friend. Like, I'd try to stop my besties from inadvertently destroying the universe. I'd even throw down over it. And for the exact same reasons- the risks are too great, we need to think, and I want them to be OK. Almost everything Loki does throughout his growing closeness to Sylvie is something I'd do for one of the people I've told I'd defend- as in, I literally told some of these people, "anybody messes with you, I'll cut a bitch- just tell me who and I'm there."

So because of all this, I don't see this relationship as sexual in any way. Romantic? Possibly. But not necessarily. Even being in love with one another doesn't mean a relationship has to have a sexual component.

Looking at Sylvie, I see her also as having found companionship with Loki, but her overriding goal is, ultimately, not to bond with someone- it's her mission. And she has sacrificed her entire life because of the TVA to this mission. She tells him repeatedly, in one way or another, that the mission comes first. Yes, she does care about him, but I don't think the way she cares about him is the same as the way he cares about her because they have differing priorities and needs (and hence why she feels betrayed by him when he tries to stop her). Or at least she hasn't allowed herself to express that. When she falls to the ground after she's killed He Who Remains, I think we get a glimpse of what Loki meant to her- she is alone, she grieves, and there is no meaning left to her story. She's done what she dedicated her entire life to and the person who could have given it other meaning is no longer beside her.

I still don't think that the first thing they would do upon seeing each other is suck face and have wild sex. Would that bother me? No, not really. I can headcanon something different than what actually happens, I'm fine with that (just look at all this glorious headcanoning happening right here!) I'd like it to stay a romantic friendship (queer platonic relationships for the win- they're squishes!) because I don't think we hardly ever see those types of relationships and queer platonic relationships are incredibly beautiful and powerful and yes, based on love and maybe even romance, in their own way. They are defined by the people in them, as are all relationships.

And now to address "but she kissed him!"

Yes, she did. And I've kissed my partner when there wasn't romance involved because I wanted to share a moment, to express something deeper than I had words for (yes, even on one of my aromantic leaning days), or just because it's fun. And it doesn't have to "match" up with how the other partner feels it, either, so long as the message itself is what comes across. This is how I read the Sylvie x Loki kiss. It was a message of worthiness. Loki's entire arc, including in that scene, is in discovering if he's anyone different than the monster he's made himself out to be (and encouraged others to see him as). He tells Sylvie that he can't be trusted, falling back on the habit of characterizing himself as the professional liar, the one who can't form those attachments which are built on trust. He also identifies her as someone incapable of trust in that moment, which I think is also a projection of how he sees himself. He tells Mobius he can only trust himself and the show slowly shows Loki coming to trust others, but in this moment in the Citadel, he's falling back on a different perception of himself.

This is where the kiss comes in, for me. Sylvie isn't trying to tell him she'd jump him right then and there, if things were different. Sylvie is trying to tell him that she does trust him, that he can be trusted, and that he is worthy of the affection of a friend, even if she can't have him in her way. She is prioritizing her mission, yes, but not without giving him some sort of reassurance, in her own way, that this rejection isn't personal. That he isn't too broken to be loved. It doesn't have to go into romance (not saying it couldn't, just saying it isn't a requirement). It doesn't have to go into sexual relationship territory.

Maybe I see this so vastly differently because of my experiences exploring gender, sexuality, and romantic orientation. Maybe I see this so differently because at this stage in my life, I would absolutely kiss a friend if I felt something so heavy was going to break them. I have a friend I say "I love you" to every time we talk on the phone or video chat- we've been together for 20 years. I've got photo proof of a snuggle pile of friends when I was a young adult. I've shared a bed with a friend with no reason other than that we didn't want to sleep on the floor and why not. I've had friendships that were awkward to start and intense once they got going that are absolutely still important in my life. I've had crushes on friends that have faded and just shown me another dimension of what it is to love someone. I've watched adults who struggle to make connections to other people discover those moments of awkward "how do I do friend mode?" and come out stronger for them, with that huge sense of victory hidden behind a small smile they don't want to share with anyone else quite yet.

I see so much possibility in how we interpret a television show reduced to "it's a romance and that's sick and incest and he wants to fuck himself!" and it just saddens me that so many people have such a limited understanding and experience of the depth and breadth of human relationships and of how people love one another.

#loki show #loki meta #thoughts on love and relationships #literary genre romance #loki and sylvie

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