thinking about fiona’s independence. the original two princesses ( snow and cinderella ) were forced to mature far too quickly, isolated from anyone who could help them grow, develop. forced to find kindness within themselves or in most cases, their animal friends. although they were surrounded by evil figures in their life, they knew what they wanted to get away from / who they didn’t want to be. integrated into a path of extreme hardship, they had goals and aspirations and ( although not human ) company. fiona only had herself. from seven to twenty seven, she had to learn absolutely everything on her own. she had to teach herself everything. yes, seven years were spent with her mother and father but, with an emotionally and physically distant father and the plain knowledge that she was different to who she was ‘supposed’ to be, set her back in terms of emotional growth. then, at age seven, hardly mature, unknowing why her parents, why her mother thought it best to be away from them, was put unwillingly into twenty years of isolation. the fact alone that she didn’t lose her mind in that tower is truly amazing.
relying only on herself, she didn’t even have a view out her window to see the world turn. as we see in shrek, when he and donkey climb the cliff top to actually make their way into the dragons keep, it’s immediately dark, as if it’s nighttime. where they’re clearly coming from the middle of the day; when the three of them leave, it’s day again outside that barrier. meaning fiona practically lived all those years in the darkness. unable to decipher when the sun would set. all of a sudden her body would change, and she’d be an ogre; just knowing she could add one more tally on the wall. her curse was always simple in terms of when she’d turn. at least she could prepare, count the hours until she turned human again. right? wrong. because of the tower, she couldn’t rely on the bare minimum. couldn’t be granted a little light. she had to be her own mother, her own carer, her own friend, her own educator. she had to grow up alone, assuming she would never be gifted any help whatsoever. “princess lonely, walking circles…” she relied heavily on her storybooks, tales of princesses living their happily ever after. but they lost their meaning and substance over time too, because why did everyone else get a happy ending and not her? she had to be her own comforter. cry on her own shoulder. wipe her tears away because no one else was going to. her favourite stories became useless.
i also firmly believe she taught herself defence skills when she reached early teenage hood. every day the question would ponder through her mind, completely obsessive: what if her prince charming arrived at night? what if he saw her, an ogre, the monster of the fairytale, and attempted to slay the beast that’s surely eaten the awaiting princess? she had to prepare herself for an intrusion. “when one lives alone, one has to learn these things, in case there’s…” fiona had to be both defender in case this ever happened, and the dutiful princess waiting on a stranger to save her. when she never should have had to be either. relying on someone else is always going to be a strange feat for her. even if she lives to become an old woman, it’s still twenty straight years of particular and specific integration. she can trust, yes. she can let people in and connect with them. but she never expects anything to be done for her, and will never request it. frankly she wouldn’t know how. her perception of trust is very frayed and warped. she’s accustomed to being the only person dependable; it becomes a form of processed habit, never asking for assistance. it’s a habit very very difficult to break.
also on that note. the one time she did rely on someone, it didn’t go the way it was supposed to. in my main verse, she relies on her prince charming to get her out of the tower: he never comes. she gets herself out. and then in shrek, she’s literally rescued by an ogre. it’s a complete slap in the face to everything she ever believed / relied on, which makes those twenty years just feel like a waste of time. her dependence failed both times, so she only counts on herself.
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soo much of hoa’s plot could have been avoided if the adults just like communicated with the kids. victor like barely ever takes a second to think about why they would even want the mask and he knows he needs the chosen one to wear it to get the tears of gold so like why not just ask?? they have such a scooby doo villain mindset like in s3 they’re just like ‘these meddling kids wanna stop our super important and moral uncursing ceremony because they hate fun!!’ like they could’ve just gone ‘why do you want us to stop this there’s no problem with it?’ and they would’ve been like ‘oh it’s because denby is an imposter so he’ll wake up evil’ and they could’ve fixed it!! you’d think after discovering that they almost accidentally murdered like 6 kids in s1 before they were stopped that they’d maybe wanna be more careful next time
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Me: Why aren’t there so many more TenMartha shag-or-dies? Let’s write a simple one!
Me, later: Let’s base it on Ten being required to bring Martha to orgasm X amount of times in X amount of ways
Me, several thousand words into new fic whilst actively ovulating: Let’s make Martha a virgin+have Ten be super empathetic and gentle about it because they’re best mates/he knows she fancies him/he wants her to be comfortable+enjoy herself as much as she can
Me, falling apart: Over and above all of that, let’s channel obscene amounts of energy into ensuring it’s in character/realistic/feels like an actual [NC-17] episode
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"oh hey a real person followed me, I should look at their blog"
soon
"...perhaps I should listen to Eskew."
oh boy you caught my blog after an exciting weekend lmao
I absolutely recommend eskew! I don't have a lot of coherent thoughts, since I got into it over a very physically and mentally draining summer job and have yet to relisten, but it left an impression for sure. I will say what there is of an overarching narrative felt a bit jolty to me in places, for lack of a better term— I think you get the vibe of a show that’s figuring itself out somewhat as it goes, however the ideas are very interesting and I could make a long list of moments that really really affected me. my recent posts probably give a good sense of what I liked most abt it; david ward is just. endlessly interesting as a character imo. the writing’s good— there's a kind of.. ironically humorous edge to a lot of my favourite episodes, something I’d have to relisten to properly articulate. there's a tic of referring to one-off characters by a title instead of a name— the correspondence editor, the architect, the witness— that scratches something in my brain. in contrast with the slimy fleshiness of much of the horror, the sound design is just nice, actually— the rain never stops in eskew and the tone of the narration stays pretty level no matter what’s being described. there are only two narrators and I found both of their voices pleasant enough to close my eyes to on the subway after a long day. very solid show
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I stopped liking stranger things when they made hopper a complete asshole, like a horrible person to el and Joyce in season 3. They took away all his emotional intelligence and Depth and just made him angry violent man who suddenly forgot how to express his feelings and became so overprotective of el that he THREATENED Mike who he actually had a good relationship with before
I Also have many things to say about stranger things
Mannn ST is freaking SOMETHING. I still genuinely enjoy it and I’m excited for season 5 but the last two seasons just ??? What were they DOING
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