#yes i understand that she's a complex character. yes i understand that she's sympathetic and tragic

[mythology-void]

reblog if you hate calypso

#this is a calypso hate account #yes i understand that she's a complex character. yes i understand that she's sympathetic and tragic #but you must understand that i simply do not care #nuance is dead #odysseus #the odyssey #calypso #this woman made up 7 years of the kidnappy bits of the Odyssey #i do not like her #greek mythology #tagamemnon

[bonesandpoemsandflowers]

my bohemian ass woke up at noon on a friday so I'm not firing on all cylinders yet, but there is this important distinction in the novel, The Phantom of the Opera, and the musical The Phantom of the Opera. I understand why a novel length distinction is cut for time and narrative tidiness for a medium that happens on stage, but I think people draw some very unfair, unflattering and incorrect conclusions from the stage that they port into their reading of the novel.

that is: Erik, the phantom of the opera, knows about Christine and Raoul's engagement and he's actually totally cool with Christine's plan. This is not incel behavior. This is not ~toxic masculinity~ or whatever contemporary bullshit you want to spew on the intentionally sympathetic monster in gothic literature. Raoul is supposed to leave on a naval expedition to the north pole. Christine's plan is to be engaged with him until he leaves. "This is a happiness that will hurt no one," she says. I don't have the exact quote for it but later on she relates how Erik knows and approves, at least of this intended to be limited engagement engagement. Why? Because he's the happiest of men with Christine, and he wants Raoul to experience that happiness. He does also expect Raoul to, you know, fucking leave when he's supposed to, but still. Christine and Raoul are romping around the Opera, kissing and crying together, and our ghost dude here is just like: good for them.

What sets him off is not the idea of a romantic rival. He does not, imo, feel "entitled" to Christine's love or whatever batshit nonsense the Erik-as-incel narrative huffs like paint fumes. What sets Erik off is how Christine has lied to him: not about the engagement, but about the degree of visceral disgust she feels for Erik specifically as a result of his deformity. She details, in graphic detail, how she closes her eyes instead of looking upon him, how she tells him that she only averts her eyes because she is in awe of his genius. She tells Raoul how horrible even physical proximity to Erik is, how grotesque his face is, how the horror of an animated corpse proclaiming his love to her is--well, horrible, and horrifying. Erik is on the floor, on his knees, kissing the hem of her dress, and Christine has her eyes closed the whole time.

I also think contemporary audiences can't handle that. They need Christine to be a pure and wholesome Good Girl (regressive bullshit), who is the victim of an evil evil man, and only the victim (also regressive bullshit). But also because she is a female character in the contemporary mind, she is allowed no flaws. She must reject Erik because he is a bad man. It would be ableist otherwise, yes? And the contemporary audience cannot handle lack of physical beauty being the reason. There can be no nuance to Christine's reactions. She is Good. Erik is Bad. That's all there is to it. The audience member is so sure that they themselves are above moral reproach, too. That's what is at stake here, also.

Never mind that Christine herself, repeatedly, notes that Erik is right when he says that if she thought he was handsome, she would stay. Never mind that when Raoul asks her if she would still love him if Erik were handsome, Christine declines to reply.

To be clear: this is not a Christine bashing post. I think her complexity here is fascinating. I hate a flat one note ingénue and that's not what she IS, and it pains me that fic authors write her that way, as if it's superior. No! Here she's human and she's magnificent! She's conflicted! Erik is alluring but also in ways that are no fault of his own, terrifying.

We gloss over the intended body horror of the novel. I know I do. I forget that he smells like rot and death, that he's cold and clammy to the touch, that he moans like a ghoul, that is supposed to have a gaping nose hole and eyes you can only see in the dark.

I don't think Christine is wrong to lie. But it's easy to understand, if you let yourself, how betrayed the monster might feel when he finds out about all this concealed disgust.

So, two points here

The rage upon being unmasked isn't just because he's unmasked and she broke a rule or whatever. It's the death of his whole gambit and his last hope, and Erik is, canonically, very smart. He knows this. He knows his face IS the issue. He knows it is THE issue. He reads Christine correctly in that the Angel of Music bit is ultimately forgivable in her eyes, and she likes that he brought down her favorite horse, she absolutely is there for their shared spiritual musical raptures. I want people to understand this: ERIK IS RIGHT about his own situation, a LOT of the time. He comes to some bad conclusions after, but in terms of understanding what's happening around him, he's accurate.

And so the rage and despair post Apollo's Lyre isn't "oh no, she loves Raoul," or even "how dare she, that SLUT," as some people make it out to be. It's the realization that he's been a monster to her this whole time. All this time he thought that she saw him as a man, and she has not. All the presumably good memories he has of her and her two weeks she lived with him are now revealed as lies. She's been enduring this whole time, not acclimating. She feels horror. She feels, again, disgust. She's shuddered at the touch of his hand in hers and put on a brave face and he's believed her up until this point, and he's having his physical inadequacies and his uncharacteristic naiveté described in excruciating detail to his romantic rival. He probably feels real fuckin stupid, on top of all else. He's been duped. He also feels disgusting and unlovable, because Christine has just repeatedly described him as disgusting and unlovable.

It is, of course, wildly incorrect to then decide to blow up an opera house about it.

But it's not entitled incel behavior and that's such a boring and contemporary narrative to shove a beautiful example of gothic literature into. Intellectually lazy and artistically myopic. I think most of us, if we're honest with ourselves, can think of a time we thought somebody liked us--maybe romantically or sexually but also maybe not, maybe just as a friend, as a bestie--and we turned out to be very wrong, because the person was just being polite or avoiding awkwardness or whatever. That is: they lied, in a very understandable and justifiable and socially expected way. And how did that feel, dear reader? Not great, right?

The point of the phantom of the opera is that it's a bunch of normal human experiences turned up to the max, dialed into a sublime hum that goes so hard it turns inhuman and terrible. It's that what makes a monster, what makes a man line, which is only interesting to walk if it's identifiably very human in parts. So Erik isn't just romantically rejected: he is rejected in just about EVERY way possible, besides his divinity of music. And this is supposed to the story of his entire life, over and over again, just most vividly and poignantly illustrated by his failure with Christine, when he most desperately wants to be just like everybody else.

And I think it's a shame to lose that very basic narrative and thematic point, but also a shame to lose the nuance of: Erik wants to share his happiness with Raoul. He loves Christine so, so much that he seems to find Raoul's lovesick desire very relatable. Of course, who wouldn't allow his fellow man a glimpse of heaven? And I just chose my words carefully there, if not the rest of the post. In his approval of Christine and Raoul's playful engagement, Erik is briefly engaging on a man-to-man level. He feels human about it. And when he feels human and accepted as human, instead of a walking horror show, he's immediately kind of gracious.

It's when he finds out that he's been a monster and not a man this whole time, in the eyes of his beloved and his rival, that he seems to go: I'll show you what a monster is.

#long post #poto #poto meta #gaston leroux #no proofreading we die like men #my personal belief is that you are absolutely allowed to tell a bunch of socially comfortable lies to get the hell out of dodge #when I'm like “so Christine lied” my intended undercurrent is AND GOOD FOR HER. GOOD JOB. #but also #my personal belief is also that he (erik) (the phantom) (whatever) is still very fuckable despite literally everything #text

[daughter-of-prospero]

Jonah Rant

Someone on Youtube reminded me that I rage-typed an essay-length tirade about Jonah Magnus and his status as a certified Bastard Man right after the finale. They asked if there was a chance they could see it, which was a good question because did I even still have it? Turns out: Yes! It’s evidently been chilling in Onedrive for ~2 years. So for those who wish, my thoughts regarding that awful little man are below.

Spoilers for The Magnus Archives.

I went into the finale fully ready to not hear from Jonah again. I thought ‘oh, cosmic horror, as important as he thinks he is, he’s inconsequential and John just zaps him with eye lasers or something’. I didn’t want it per se, but I thought it was plausible.

But no. Oh no. Jonah Magnus speaks again, and he hasn’t been around for all of season 5. We heard him on a recording and we heard him chanting in the background and also all distorted in a job interview flashback, but there has been no actual uncompelled words being spoken by Jonah Magnus in real time since 159.

Yes he wrote the incantation but, rather crucially, he did not read it.

I binged TMA right as it got up to the season 4 finale. I got through season 1 in one day, and season 2 the next, and then got through three and four in the days after that. I caught up just in time for 160 to drop.

So I, foolish, naïve baby that I was, had over a year to forget what this character actually sounded like, and just how much of a slimy, insufferable fucker Jonah Magnus is. Was. Bitch.

I’ve gone into this elsewhere so I won’t belabor it but one of the reasons I’m so viscerally miffed by him is because of every human character in this podcast, he is the only one that is never shown sympathetically. I’m not counting Nikola Orsinov, or NotThems, or other manifestations of the Entities. I mean of the human, or avatar-human characters he is the least grey. Morality in this show is complex and tough to think about in my brain and one of the great ways it does this is through having really layered characters with motivations that are, at least a little, understandable. Jude Perry was a violent, sadistic lady...she was also devoted to Agnes and in some ways I think you could argue they were each other’s only links to humanity until what’s-his-name came along. Coffee shop Himbo guy. Peter Lukas is a misanthrope to the max who will send people into a nether realm if they so much as look at him wrong – which is to say, look at him at all. He was also raised to know nothing but loneliness, and pursuing it was kind of the only way he ever got some sort of approval. Which also manifested as more distance.

We get these little nuggets of what brought a villain where they are now, and we certainly don’t have to excuse them, but we have some context. We have some understanding that there is humanity in there, and that understanding makes them all the more unsettling.

Not fuckin’ Jonah.

What do we know about him? He’s a couple centuries old. Great. He found out about the powers, was drawn to the eye, and decided to start body-hopping to cheat death. He’s been doing this for ages. He tried a ritual and it failed. He took his time then, plotting and planning, and being smug, and finally arriving at a hypothesis that had a lot of credence to it. Everything fell into place, he was right, its all or nothing with the entities but the Eye rules because it opened the door (or WHATEVER).

So his big motivator is he doesn’t want to die.

And you know what, this is super understandable. We don’t know what his childhood was like (Jesus, can you imagine him in a little powder wig, climbing a tree to get a high vantage point to spy on people and get blackmail on them?), but fear of death is almost universal.

And of all the billions of people on this planet, I cannot help but notice that we are not thwarting narcissistic necromancers every fifteen minutes. Because the world would have fucking exploded a long, long time ago if we had more Jonahs in it. i.e. the people who would make aggressive selfishness a full-time occupation.

There’s a sort of cocktail of shit that makes him a memorable baddie not the least of which is that he never even attempts to justify his abhorrent actions. He’s not lying to himself, or anyone else, he’s not serving a cult, or a bunch of worms. He’s in it for himself, and if he has to stack the corpses of every living thing on the planet to reach immortality he’ll fucking do it without hesitation. Couple that with his manipulations, his merciless psychological torture, and a low, smooth voice that is always so infuriatingly composed and you have a Hell of a villain.

(I maintain that one of the reasons he’s so effective is that he enunciates so carefully. He doesn’t run words together, or mumble, he never really raises his voice, he is always in control, and everything is a flex right down to the articulation. I feel like we associate crisp, clear speech with formality, presidential addresses, or theater, things like that. Where you know what you are going to say and so the recitation is more confident. We hear this happen in statements, to a certain extent, but there’s still a lot of emotional range. For 199 episodes we never heard Jonah lose this pointed, smarmy tone. People don’t talk so formally in life, or when they’re talking on the podcast. There is something unsettling and intimidating about hearing such clear and confident speech all the time. It sounds like he knows exactly what to say in any situation. It sounds like he is utterly confident in every word that leaves his mouth. It sounds like he’s in a scene and no one else got the script but him. Because that is kinda what’s going on. At the very least, he thinks that’s what’s going on)

When he drops from wherever he’s suspended in the panopticon, he, you know, sort of makes a noise because that’s gotta be jarring. And we for once, for once, for fucking ONCE hear him even vaguely uncertain. And stupido io, I thought he was finally brought low and we might get a tantrum or something.

But no. Jonah Magnus has a lot of lost time to make up for, it’s been 20 eps since he’s been able to serenade everyone with his unique brand of horny arrogance. This motherfucker has exactly a millisecond of confusion and grogginess before “I was having the most...wonderful dream”. You can hear him edging.

And he’s kiiiiind of surprised to see John by himself with a knife, but still, so blasé, so, ‘oh, is that all?’ He’s a liiiiitle regretful to hear it’s over, but immediately heads into waxing rhapsodic about seeing a thousand lifetimes and the rapture of infinite sight and suffering and other Hellraiser shit when John speaks for all of us and tells him to shut up. Yet another reason to respect him.

And John has a lovely little catharsis where he gets to tell this orchestrator of his despair that Jonah has failed because the Things that Jonah is so devoted to will die a slow death. How long has he been waiting to say that, do you think? I mean at this point there’s nothing that could do what he’s probably feeling justice but he says it himself he gets some satisfaction from “knowing that I’ll be leaving these things that you serve trapped and starving in their own private hell.”

And all Jonah has to say is: “That we serve.” To the bitter, bitter end he is determined to just...okay I was gonna say twist the knife but that seems a bit tasteless now...determined to cause even more hurt. He cannot resist, it’s kind of all he knows. He is at the edge of a cliff and taunting the person that’s about to push him off of it.

And if you ever need a posterchild for ‘hubris’ just pull up a sound clip of Jonah Magnus. He tries to play the old ‘alright, playtime’s over,’ card, brushing the dust and what-the-fuck-ever else off his suit and manipulate John again. He has the...not even audacity, he’s looped back around from being semi-omniscient, to being so confident in that omniscience he thinks he knows everything and therefore acts way more stupidly than someone without that surety. He is enough of a dipshit to try and say to John “we both know you don’t have it in you”.

Motherfucker, what have you been doing for this entire season? What have you been doing this entire show? You have purposefully created someone who has withstood the brunt of every entity and come out more or less intact. You purposefully guided him into honing his powers, and put him in a position where he has nothing to lose. Well, Martin, but Jonah can’t do anything about that. Not anymore. Because the one person who can protect Martin is coincidentally the same person who can, will, and reeeeeally wants to Kill Jonah.

“King of a ruined world and I shall never die” my ass. King? Really? You were a placeholder, my dude. The Eye didn’t give a fuck that you were at the top of the panopticon and it didn’t give a fuck when John pulled you out of it. You said it yourself, dipshit. You might have started the archives, but John IS the archives. He is the only person more powerful than Jonah and Jonah, of all people, should know this. Especially considering you could presumably see John cutting through the domains, dishing out biblical vengeance, on a warpath for your tower.

So of course, he decides to antagonize John even more if that is even possible by telling him they both know he can’t do it.

And John fucking punches him and it’s great. Extended sounds of brutal ass whooping, please and thank you.

And then we get one of two lines that sums up Jonah Magnus for me.

“P-please John, I don’t want to die”.

This guy. Who dedicated his several lives to ruling the world and feeding on everyone else’s pain. Who has committed atrocities that numerous to count and too horrible to name. Who is being confronted by the direct target of his machinations and who, I think it’s safe to say, hates him more than anyone or anything else in existence. Has the absolute fucking nerve to go “but I’m scared :(”

When he went ‘I don’t want to die’ I actually said to literally no one because I was alone in my room “HA, Fuck you.”

John puts it a bit more eloquently. “Neither did they”. Beautiful. And then he’s gutted like the repulsive little fish he is.

The second line that sums up this insufferable megalomaniac is a little earlier. It’s casual, neither of them makes a point of it. Maybe because it’s a little redundant. “Empathy only holds you back in the end”.

I don’t want to die, and Empathy only holds you back in the end.

I mean, that’s the thesis statement of the shit-eating essay that is Jonah Magnus.

He’s so far beyond regret, or anything that isn’t 100% self-motivated he cannot perceive that perhaps John will have maybe, I don’t know, changed a bit. Gotten used to horror. Killed. He cannot fathom anything outside the tower as more than a food source. He is so used to seeing people as pawns he dies not actually understanding why John killed him. “Good luck” are his last lines.

First of all, the direction is ‘wetly’ and on the one hand I know what that means, but on the other, I cannot think of a more fitting adjective to end on with this guy.

Second of all, the ambiguity of how sincere he is or isn’t being is enraging, and so classic and I hate him, which is to say fucking excellent job of writing and acting both.

He goes to his grave thinking John’s making a power grab. He cannot conceive of any other reason for John doing what he’s doing. They’re opposite ends of the spectrum. One who can think of no one but himself, and one who will sacrifice himself because he’s thinking of everyone else. You know how matter can’t be created or destroyed? I think guilt might be the same way. And Jonah found a handy receptacle for all the guilt he doesn’t have time for and that receptacle is named Jonathan Sims head Archivist of The Magnus Institute.

What a good villain. What an infuriatingly mellifluous bitch. The thinks he’s King of the World, he thinks he’s going to get such special treatment, he thinks consequences apply to everyone but him, he thinks this is a game he can win when he doesn’t even know what the fuck he’s playing.

As much as he looked at John and went “perfect, an insecure idiot”, the Web looked at him and went “perfect, a pompous ass”. He wanted to live forever, but now he’s dead. And he doesn’t even get to live on in memory. No one knew he was up there. No one remembered Elias, let alone Jonah. You think Georgie, Melanie, Rosie, and Basira are going to tell the world about him? What would be the point?

Congratulations, Jonah. You tried to ensure your immortality and ended up ensuring that you died both literally and figuratively. Before it got yeeted into another dimension The End must have had a fucking Field Day the second his heart stopped beating.

What a bastard. What an unfathomable bastard. Like he really thought this would all work out for him, that he was the most Important Thing in the world when, at best, at best he was a glorified fucking contact lens.

Ass.

#The Magnus Archives #TMA #Rusty Quill #RQ #Jonathan Sims #Jonah Magnus #Rant #The Eye #TMA spoilers

[djwiththejd]

A quick analysis of Medusa in the new PJO (2023) Disney show

So this really struck me as soon as I watched the episode when it came out on Tuesday, but the writers really added some serious depth and complexity to Medusa’s character which I think fits both the critical lens people are viewing her myth as and how it was originally portrayed.

Here, Medusa is put together and conscientious of her “grotesque” appearance. Instead of letting her snake hair run wild she dons a demure dress and hat combo that hides away the majority of her identifiable features and makes her look like a sweet, beautiful young woman. We only see this shift to her more “monstrous” side when Medusa tries and fails to isolate Percy from his group and decides to take off her hat and “remove her cover” so that she can still turn the kids into stone for her own purposes.

However, I don’t think Medusa’s belief that her powers are a gift is a lie. Yes, Athena is incredibly vain, I can absolutely see her punishing Medusa for her “situation” but I can also see how it can be used as a defense mechanism by Medusa. Athena did punish Arachne in an equally hideous way, so Medusa had every right to hold anger towards Athena for what she did and still have some gratitude for the safety and power that becoming a gorgon has allowed her to gain.

But the show portrays Medusa as a complex character.

Even when we first arrive to “Auntie Em’s” only the most vicious and terrifying stone creatures are on display outside. They can be construed as both defense mechanisms to keep wayward innocents out as well as a warning to those who would try to harm her. I can imagine Medusa not intending to turn many of the statues in her basement right after she was cursed and hiding them away in shame because she couldn’t bear to look upon their faces of fear and horror, but it also could just as easily have been a way to hide her darkest secrets in a place where none are likely to find them.

I like the duality of interpretation opportunities offered to us in the show. I think it allows people who are sympathetic with Medusa’s plight to still have that room for sympathy if they choose to interpret her scenes in a more favorable light but still understand why Medusa had to be beheaded. For all intents and purposes, I did appreciate that her beheading was “unseen” to the audience. Regardless of your analysis of Medusa’s creation story, it feels comforting to know that her death was not some spectacle to behold. It may have been a Disney censor, but it also gives her a chance to die with as much dignity as possible, at least that’s how it came off to me.

#percy jackson #percy jackon and the olympians #percy jackson tv show #percy jackson disney+ #Percy Jackson Medusa #Medusa #athena #Percy Jackson Athena #pjo series #pjo tv show #pjo fandom #pjo analysis

[thegirlking]

Mother and son shaped by trauma: a deeper look into Alma and Bruno's damaged relationship

Alma and Bruno's mother-son relationship seems like such a minor aspect of the movie, but when you give it some thought, despite the limited focus, it's not only a very complex relationship, but also a narratively significant one.

Obviously we don't have a lot of information on it, but let me reflect a bit on the things we do know, while trying to fill in some blanks. Long post ahead.

Back to the start - how did it go so wrong?

There's one particularly interesting detail that Jared Bush shared on a podcast some time ago. It mostly comes down to the reason Bruno's visions were usually so negative: because that's how he was taught to use his gift by his mother, who would ask him to look into the future for any possible dangers to their home.

Now, this makes perfect sense for Alma's character and gives a great insight into how her trauma affected her. It's a completely natural consequence of the tragedy she experienced - of course she would be gripped by fear and desperate to protect her home from another tragedy at all cost. And the power of foresight is seemingly the ultimate key to preventing tragedy, so of course she would rely on her child's gift for that...

...and yes, that's a great burden to put on your child's shoulders and something that clearly had troubling consequences. The particularly frustrating thing being that those consequences could have been largely prevented only if Bruno had proper understanding and emotional support.

The thing is...the understanding and support probably were there for some time. Some bonus materials suggest that Bruno was not always the black sheep of the family, but quite the opposite. He was apparently once the golden child of the family - until people began to believe his gift was actually responsible for bad future events.

Which brings me to the important question: why did it go so wrong? If Alma herself believed Bruno's gift could help prevent disaster, how and why did this belief that it's actually causing disaster came to be? Didn't she try to protect her son from his gift being horribly misunderstood?

Well, I'd like to give Alma the benefit of the doubt that she did try to protect him, at least when he was a child. But I do wonder if she simply grew exhausted by Bruno at some point, as he grew older? Exhausted by his unclear visions, which were hard to control and not that helpful after all (I think Dolores' verse in WDTAB kinda suggests it). Exhausted by Bruno's eccentric personality that was so far away from the "perfect image" she wanted for the family. And maybe that frustration led to her ultimately neglecting him emotionally and enabling the negative attitude to his gift, even if it wasn't intentional on her part.

Broken trust

Again, this is all just my interpretation and I don't want to assume the worst without any proof... however, I do think it's reasonable to believe that Alma did fail Bruno in some way.

And she might have not realized it, but I think Bruno himself very much felt she failed him. That would also explain his evident lack of trust in her. I talked in one of my previous posts how Bruno not trusting Alma with the vision about Mirabel is a big red flag that something was very wrong in the family. Ideally, he should have been able to trust his mother with the vision, but we were as far from the ideal scenario as we could be - Bruno choosing to hide the vision is a clear sign how damaged his relationship with his mother was at this point and how broken his trust in her was.

Ironically, if Bruno's decision was a result of broken trust in his mother...the same decision also broke her trust in him.

Let's look at it from her (sympathetic but misguided) perspective for a moment. Bruno's gift was something she had relied on in order to protect her family. And so many years later, no matter what the present attitude to his gift was, she still went to him in a difficult moment. So the fact that he essentially denied her that help would definitely feel like a huge betrayal - for Alma it probably looked like Bruno had betrayed the family and betrayed the miracle.

Those would be the understandable feelings of a traumatized woman who probably couldn't stand losing someone she loves yet again - believing Bruno betrayed and abandoned them because he doesn't care was likely a kind of coping mechanism to numb the grief.

Regardless of how understandable those feelings might be though, this coping mechanism was deeply unhealthy and harmful. What's more, the choice to paint Bruno as the bad guy shows horrible lack of self-awareness. And that lack of self-awareness only intensified the unhealthy environment in the family.

Because in the end, Bruno leaving the family should have been the wake-up call that the "perfect" family might have some issues to work through and something needs to change to avoid driving away anyone else. Alma might have not known Bruno's motives to leave, might have been understandably angry and hurt about him hiding the vision, but she definitely should have reflected on her own mistakes as a mother that led to Bruno making this decision.

Protecting the family and understanding the true miracle

But beyond how trauma shaped their relationship, I think there's something else at the core of the issue: their love for their family and their different understanding of what it means to protect it.

I talked about how Alma went to Bruno in a difficult moment, when she feared for the future of the miracle - and that the fact he never gave her the vision and simply ran away must have felt like a betrayal to the miracle.

In some way Bruno did betray the miracle - he betrayed the miracle in the way Alma understood the miracle at that point, as a source of magic more than anything else. And ironically, by doing so, Bruno showed that he actually understood what the miracle was truly about.

Alma was so fixated on protecting the miracle that she ended up losing sight of what was truly important and hurt the family. On the other hand, Bruno saw a threat to the miracle and yet still chose protecting his young niece's well being over anything else - one "giftless" little girl mattered more than the magic.

My point here isn't "Alma bad, Bruno good", that's a huge simplification. Both of those characters were very damaged and were going to unhealthy extremes to protect what was important to them. I'm not saying Bruno's decision to hide the vision was the "right" one or something to be glorified - I mostly think that it's a decision that should have never been made and again, the fact he felt he had to do that shows the deep rooted issues within the family.

But ultimately, he did have the right priority there - of course Mirabel's well being matters more than the magic. Every member of the family matters more than the magic. That's the whole point of the movie and the core of Alma's character arc - realizing that the family itself is the greatest gift.

And one detail I particularly like is that Alma and Bruno are the two people to tell Mirabel she's the real miracle in the end - it shows their values are finally on the same page and there's finally hope for mutual understanding between them.

#Encanto #encanto meta #bruno madrigal #alma madrigal #my meta #long post #bear with me writing long encanto meta again #a lot of this has probably been discussed before

[nerdlingmerchling]

So, I've watched Out of Darkness (2022) starring Mr Kit Young himself. 🎬 🎞

Full disclaimer, I hate horror movies, but I watched it anyway cause Kit (yes, it's a good reason). My verdict is that it's more of a thriller than a horror movie, and to my delight, it didn't rely heavily on jump scares.

It's rare to see movies set in the paleolithic era, and I think that's where the true originality of this movie lies. The costumes and props look overall pretty authentic, up to the stitching of the clothes, which I was happy about. It shows that there had been some anthropological research done beforehand.

The made-up Tola language was such an interesting, fascinating aspect to the movie, and all of the actors sounded exactly as if they had spoken it all their lives. They adopted such unique intonation that I even had a hard time recognizing Kit's voice at first. Acting was incredible, from everyone, and from start to finish.

Also, very glad to see an ethnically diverse group of prehistoric humans. Some recent studies tend to show that paleolithic groups were more complex in terms of origins than we might think.  So, props to the casting direction for that.

I also loved how this movie was much more than a slasher and had a true reflexion on what it is, and what it means to be human.  The movie was efficient in presenting the characters and their individual motivations. Each of the six main characters represented different angles of human nature : ego, ruthlessness, innocence, kindness, religious zeal, and determination/weakness. I thought it was such a great way to explore that theme.

It's also a beautifully-shot movie, which shows its Scottish Highlands setting in all its gloomy glory : making it both breathtaking and menacing. No green screen in sight, and you can feel the harshness of the elements piercing through the screen.

Overall, I had a good time, but I'm a sensitive creature, and I was still affected by the movie hours after I was done watching it. Much of it has to do with the character played by Kit.

Character analysis and SPOILERS under the cut :

Kit plays Geirr, a young hunter and the most sympathetic character overall. To no one's surprise, Kit plays him with a lot of nuance.

Geirr is a hunter and a warrior by necessity. He's a gentle, sensitive, artistic soul and the stark opposite to his older brother Adem, the leader of the group, who's proud, selfish, and prone to violent outbursts.

Geirr has a special bond with Beyah, a teenage girl the group picked up "en route". The others still treat her as a stray and an outsider. Geirr, though, accepts her and sees her as being part of their little tribe. He vows to protect and take care of her.

Very few people smile in that movie, but when someone does, it's usually Geirr, and he's smiling at Beyah.

You might think at first that their attachment is a brother-sister or friends type of bond, but something happens that make the viewer understand Geirr's feelings for her extend further than that. While the group is resting after a day of walking the treacherous terrain, Geirr realizes his friend's pants are stained in blood, and he looks alarmed. She's having her first periods ; she's a woman now, and that means leader Adem can get to have a claim on her as he pleases.

Well aware of that fact, Geirr is devastated, and you understand at once that he was hoping to make Beyah his own companion.

You also understand that he's not going to fight for her. He's going to suffer in silence, accept the situation and accept his brother's authority. Because that's the thing with Geirr ; he's not a fighter. And throughout the movie, Beyah is going to prove that she has a lot more fight in her than he does.

Geirr is someone who has principles, and he's going to follow those principles even when it leads him to suffering or even be at risk of dying. He refuses to kill someone, even out of mercy, or to resort to cannibalism, even when it's the sole way to survive.

By the end of the movie, he has given up, and it becomes clear he's not destined to make it. It makes his death even more devastating, because you're still hoping against hope that he's going to live.

I'm still mourning that sweet prehistoric cinnamon bun, and I blame Kit's acting (and his face) for my emotional turmoil.

#out of darkness #kit young #jesper fahey #shadow and bone

[sarasade]

Part of me almost hopes that Viren's story arc will end in a disproportionately cruel way, you know.

I'm just so tired of seeing a character doing one good thing before they die or trying to change before they die and instead of the audience taking that as purposeful ambiguity the discussion will center around if the character was "Redeemed".

But imagine if he was punished so harshly that even the Viren haters would feel bad for him. Now that would be interesting! I've seen some dark speculation around season 5 so I'm looking forward to seeing how the show will contextualise his arc.

I don't understand why "Redemption" is such a popular talking point when centering villains (ok I actually do. I'm looking at you, Zuko).

"Sin and Atonement" and "Redemption" are deeply Christian themes. I don't think those should be a universal frame of reference to all stories.

Yes, yes, this is more of a fandom problem, not a show problem. But if people want to see a bad character harshly punished for their crimes maybe they should get that for once. I don't really mind because I think Viren, while unlikeable, is a sympathetic character already. Of course I feel for a character even if they are "irredeemable". That's what stories are for.

I don't mean it's a completely useless way to look at art but it's just- I don't know- I'm bored? Especially YouTube commentators talk about redemption constantly instead of engaging with the themes that actually are there.

Sometimes villains can't even really make up for everything they have done, just like some people in real life. Viren has committed so many crimes- like how do you even fix that? However it'd still be interesting if he tried to change. That's what I'm here for. Like Viren and Claudia are not just an antagonistic counterforce to our heros but they have a lot of going on as unique characters.

Viren has his saviour complex and values domination over cooperation. Claudia is interesting because she's both the victim and the perpetrator. It's interesting how self-sufficient she is while being deeply emotionally codependent on Viren. She has a ton of agency as a physically (magically?) strong person but not a ton of agency as an independent, emotionally strong individual. Viren and Claudia love each other but it's isolating kind of love where they don't really have anyone else but each other (Terry is really trying to get in there. Like sorry Terry you don't know how fucked up these two are lmao).

No wonder it was so easy to Aaravos take Viren's place as an authority figure in Claudia's life after Viren died. Or at least that's what I took away from Lost Child short and TDP season 4 in general.

I still think about the first information we got outside Viren and Claudia's POV about Aaravos's mirror: Runaan's warning about "A Fate Worse Than Death".

This framing device sounds really important. I've been wondering how it'll play out eventually. Is it something about Viren losing his old life he worked so hard to build, or will he lose Claudia in some metaphorical or literal way? Is it something even more personal?

Personally, I'd love to see Viren live and change as a person. There are plenty of high-fantasy male characters like him who go through that kind of transformation: Guts from Berserk, Geralt of Rivia, Jaime from GoT, Ged the Wizard... You know, characters who realise that the things they value are unsustainable or even harmful to themselves and to people around them and even to the world as a whole. Or they realise that superficial things like status and power are unfulfilling and only serve status quo. There are some parallels to toxic masculinity/ hegemonic masculinity, too.

However, I think it'd be interesting if Viren's story will be a deeply tragic one. Anyway I'm here for this.

#I'm so sorry Zuko this isn't your fault #btw great job leaving your teenage daughter alone with a scary stranger for two years Viren #Dad of the year fellas. #Viren clearly sees himself as a self-sacrificing saviour #so it's deeply sad and ironic that he can't truly protect anyone- not Harrow- not Claudia #and despite saving Soren's life is very resentful about how that ruined his marriage and blames his son for that #it's pretty realistic- people who position themselves as heroic protectors get blinded by their own self-righteousness easily #sarasade text #tdp meta #tdp viren #tdp claudia #cw: religion #cw: religious themes #to be sure

[linkspooky]

Do you think Batman could empathize with Terra?

Short answer: Yes. Long Answer: Oh, here we go again.

So, Terra is my favorite character of all time. I want her to live, recover from her trauma, and then become some anti-villain mercenary that just shows up to annoy the titans.

However, I will forever defend the decision to kill Terra at the end of Judas Contract. Her complexity as a bad victim and the tragedy that Terra was just too complicated a victim for anyone in her life to notice or save is what makes her character good. The whole point of the story is Terra should have been saved, but she wasn't. That gives the story it's punch. Terra is a teenage girl who joined the Teen Titans, put on a costume, and died. Her creators sort of half-realized this and half didn't when they made the decision to kill Terra.

"Hers was the power over the earth itself. She could have brought life to deserts, heat to the frozen tundra, food to starving millions, she could have damned raging rivers and funneled water to lands parched dry, and dead. Her powers were limited only by the mind that controlled them. A mind which sought not hope, not love, not life, but death."

Even the panels that narrate her death that call her a psychopath and victim blame her, also speculate on how much potential good for the world is lost by snuffing out life as young as Terra's. Hers is the story of a young girl who by the narrative is doomed to die hence why there is nothing, no hope, no love, no life just death in her mind.

That's what makes the question of "Could Batman have empathized with her" so compelling, because it makes you think and realize there was a chance for Terra, miss "Dead at the beginning of the story" to be saved. So, why wasn't she? Why couldn't anyone involved in her situation empathize with this troubled teenage girl?

Out of context of her creators intending her to be an irredeemable monster, don't these lines, the last one especially sound horribly tragic?

"A mind which sought not hope... not love... not life... but death."

Terra's life is so nihilistic and miserable. What exactly was she alive for? She was a sixteen-year-old mercenary who was cut off from her family due to being the bastard child. She thinks she's manipulating death stroke who she thinks is her equal when she's actually just getting manipulated by him. I mean the fact that Terra views relationships as transactions. That she views sex with Slade as using her body as a bargaining chip to gain leverage over them. The fact that she hates the titans, primarily because she doesn't understand them. She thinks all their goodwill for each other is fake, and that they can't possibly be as good as they pretend to be because, in Terra's mind, good people don't exist.

The best interpretation of Terra is to not make light of her crimes at all, she did not grow close to the titans, she was planning on betraying them and never wavered, she felt next to nothing about killing... but even if all that's true isn't she sympathetic regardless because her life's just miserable?

All of Terra's actions don't change the fact that a 50+ year old is not only raping her, and using her as a child soldier, but is good enough at manipulating that she thinks the relationship is consensual and she's somehow in on the partnership. These two things do not cancel out one another.

The reason I hammered this nail in so hard, is because this is what makes up the tragedy of Terra's character. Terra is a fifteen year old girl in a horrible situation and therefore deserves to be saved. Terra does not get saved. Why is that? That's the essential question of the tragedy.

Now to return to your question, would batman empathize with Terra?

Yes.

I would argue the Titans empathized with Terra too. However, empathizing with someone is different from having the emotional maturity to communicate with them. Which is the difference between Batman and the Teen Titans, he is an adult and they are children.

When I think about the Teen Titans who are unable to save a girl they've lived with for months from an adult man who's their mortal enemy and clearly exploiting her, I get frustrated until I realize the Teen Titans are just barely older than Terra. Terra's case so clearly needs adult intervention, and she doesn't have that she has a group of teenagers who all have the RESPONSIBILITIES of an adult, but don't have the requisite maturity to be able to handle those responsibilities.

There's a lot of reasons that Terra does not get saved, number one being that not a single Titan seemed to see through her act despite them all having suspicions. I know this wasn't the intent, but Terra's written as a pretty textbook CSA victim. She's aggressive, hypersexual, tries to pose as an adult, associates sexuality with violence (heck Beast Boy flirting with her during a training session makes her violently lash out, you could easy interpret that as her experiencing some kind of flashback). There was clearly something going on with Terra, everyone had an inkling, no one noticed.

It's because everyone around her just saw what they wanted to see of Terra.

Beast Boy only saw his own romantic feelings for her. He made up his own idealized version of Terra and pursued her. And let's be honest considering Beast Boy's weird relationship with women in early NTT he was probably just seeking a girlfriend to validate his low self esteem.Raven sensed something off with Terra, but projected her own situation onto her as well. Raven convinced herself that there was some kind of evil buried deep within Terra but was afraid to confront her because number one, Raven is convinced she is evil deep down inside, and number two Raven understands so little about humans she feels like she cannot judge them. Robin is frankly, too busy with the rest of the team to notice.

Terra is practically the Laura Palmer of the Teen Titans. For those who have never watched Twin Peaks, Laura Palmer is a young woman in the town of Twin Peaks who lives a double lie. By day she is a prom queen dating a kid on the football team and running a meals on wheels program. By night she is tricking her boyfriend into buying cocaine for her regularly, working at a whorehouse across the border, regularly sleeping with men twice her age. Laura has an ugly dark side that's hard to look at, but what's uglier is the source of all of this behavior. Laura's coping with being raped by her father on a semi-regular basis and keeping that secret, when every single person in town only sees what they want to see of her, they see a prom queen, or a girlfriend, or whatever.

Bobby Briggs: “You damn hypocrites. You make me sick! Everybody knew she was in trouble but we didn’t do anything. All you good people… You wanna know who killed Laura Palmer? You did! We all did.”

No one noticed because they all saw their own version of Terra. Terra herself played into that, because she was lying to everyone.

At the same time there's a difference between a child who is not fully emotionally developed or aware of their surroundings and an adult who should know better. An adult should be aware enough to pick up signs of abuse or even notice a child's distress, and if they ignore it that's a problem.

The question is should a kid reasonably be expected to do the same thing? I would say that's expecting too much emotional maturity out of a kid because that's asking them to do what should be an adult's job. At the same time, the Teen Titans are kids who put on masks and decided to make it their job to save heroes. This is what makes the Judas Contract such an effective tragedy, because it makes you ask these questions. If none of them were able to notice or save Terra, then will they be able to notice the next time someone like Terra is in danger but they're not a straightforward or easy-to-spot victim?

The complexity of Terra's victimhood is another reason why the titans failed to save her. There's a panel where Terra is telling Kory and Donna a fake version of her backstory to get sympathy and they deny it by going "Well, we all have dead parents." And Kory goes "I was a slave for five years."

Of course, Terra's lying about her backstory here but regardless it's dismissive to play tragedy olympics here. The fact Kory was a slave for five years doesn't really matter because we're talking about Terra's experiences here, and only Terra knows about her feelings.

Terra is a complicated victim, her trauma doesn't make her a hero, in fact she despises the idea she should have to use her powers to help others. Yet, she deserves saving because she's a fifteen year old girl getting raped. In fact you would think Kory if she learned that fact or even got an inkling of it would be the first to sympathize having gone through something herself. And hey, she might. I just want to point out, Starfire tends to suffer from black and white, them vs. us thinking. Especially NTT Starfire who's much more emotional and warlike. She also didn't even notice her own sister blackfire was being abused in the same household.

So why do usually extremely empathic heroes draw a line like that with more complicated victims like Terra? Why even bother to play Trauma Olympics in the first place?'

It's because once again they're teenagers. Teenagers have black and white thinking. Who would have thought? Teenagers don't realy have the emotional maturity to see outside of themselves and their own situation. Which is why we get one of two responses. The first being "Well, I went through this and I'm fine...." (Arguably, none of the Teen Titans are fine they're all drama queens). The second being "Well, just because that happened to her that doesn't justify her behavior."

Returning to the example of Laura Palmer, once again does Laura Palmer's dark side even matter? Does it matter she illegally buys cocaine, or helped kill a man? An Adult (Dale Cooper in Twin Peaks) would be able to see that literally none of that matters because Laura needs someone to notice what her father is doing to her and save her from it.

This is mostly a post about comic books Terra, because she's my baby darling but to bring one moment from the cartoon in. When faced with the weight of her guilt in the episode "Betrayal" Terra breaks down sobbing and starts apologizing to Beast Boy.

Terra: (from o.c.) Beast Boy...it's the truth.

Beast Boy: Terra...why?

Slade: Because you could never give her what she needs.

Terra: No! I won't let you hurt my friend! (Close-up of Slade.)

Slade: Dear child, you don't have any friends.

Terra: (sobbing) Beast Boy, I'm sorry. I'm so sorry. I never meant for any of this to happen. (He moves partially into view near the camera.)

Beast Boy: (from o.c.) Then why did you let it? (She stands up.)

Terra: I don't know, okay? I don't know.

Terra: Slade...he helped me, saved me from myself. (Pan to frame an upset Beast Boy in the other spot; she continues o.c.) He said I owed him, but--

Beast Boy: So it was all a game? You were just pretending? (Cut to frame both.)

Terra: (steps to him) No. You said you'd be my friend no matter what, remember?

(She reaches out to touch his shoulder, but he gives her the hardest glare he can and turns away.)

Beast Boy: Slade was right. You don't have any friends.

Terra confesses everything, shows obvious signs of guilt, and basically begs and Beast Boy turns his back on her. There's no more obvious opportunity to save her or change her heart, and Beast Boy just doesn't. He jumps straight to the victim blaming, "Why did you let it happen?" Again and again, they empasize Terra's choices and of course those are important but it doesn't change the fact she's being abused. "Why did you let it happen?" I don't know why did she let an adult man groom her. Why do children get groomed? Shouldn't they know better?

However, in doing that Beast Boy basically repeats the same words as her abuser "You don't have any friends" and drives her right back to Slade.

Now, Beast Boy was hurt because he thought his friends were possibly dead or injured somewhere else and Terra lied to him the whole night about it. Beast Boy's also a teenager so it's ahrd for him to see past his own hurt feelings and show empathy for the person who hurt him no matter what her reasons would be.

At the same time Beast Boy decided to put on a mask and call himself a hero. Heroes save people. This begs the question, if he's too immature to handle a victim as complicated as Terra which he will come across in the job because the abuse that happens to Terra is more common than you think then is he really mature enough to be a hero?

Now, having gone through all of that Batman would be able to empathize with Terra, for the simple reason that he's an adult so he should be able to step out of the situation and realize this a child who desperately need adult help that he's dealing with.

One important detail is that Terra's death, and Jason's death happened pretty closely to one another in comic book time. Dick Grayson in fact had a pretty bad reaction to both of those where he felt responsible because he was the one who gave Jason his Robin costume and allowed Terra on his team, therefore in both cases it was like he was approving of them being superheroes when they were too young for it... the very thing that got them killed.

Batman regularly refers to Jason's death as his greatest failure, because Jason was just a child and Bruce wasn't the caretaker that Jason needed him to be. Jason Todd is also a character that once reviving from the dead becomes a morally grey victim, with behavior that's comparable to Terra. Some people believe that Talia dipping him in the Lazarus pit like a crouton in soup has rendered him insane, or incapable of feeling remorse.

He is a vigilante killer. Tutored by several years by a woman from the League of Assassins and taught several forms of murder. He's involved in the drug trade and selling his services out for protection money. He is more or less a teenage mercenary like Terra, just with a slight vigilante bent to his actions.

Heck, his trauma is similiar to Terra's, they were both basically separated from their families at a young age, lived apart from them for years, and then became mercenaries and used their powers / vigilante training for both survival and profit. However, Bruce unconditionally views what happened to Jason as a failure because he let it happen. As an adult it was his job to be there for Jason and he wasn't.

Bruce's dying will and testament in Battle for the Cowl is an admission for this, and an offer to help him get the treatment he needs. Of course, it's Bruce so he still says it in a victim blamey way. He probably should have said "I failed you" rather than "You have been my biggest failure" but he still took responsibility.

Which is the underyling point and also something Batman as an adult can realize, that Jason was a child dealing with all of that pain alone and he couldn't possibly have coped with it the way an adult would because he's not one. He needs adult and outside intervention to show him the proper way.

Batman has taken in former murderers as sidekicks before (though arguably Terra needs to learn how to just be herself, making her be a hero was part of the problem in the first place). There's Cassandra Cain who was trained from birth to kill, his own son was also raised by the League of Assassins. In the new 52 Batman and Robin Damian and Bruce have a complicated relationship, but there is one scene I think demonstrates how Bruce has great potential to be empathic and communicate with Damian. Damian murders a man in front of Bruce, and breaks the bat family rule of no killing. He murders Henri Ducard's son, because the man was threatening to come back and kill Bruce at a later date.

Bruce does not throw him out or fire him for being Robin. THis time, Batman takes a long time to explain the truth to Damian about what his relationship with Henri Ducard and his son was. How in the past he also felt a desire to kill both of them for what they did and what the danger represented.

Bruce doesn't hit Damian over the head with "murder is bad" or "cool motive still murder" he doesn't see the crimes first he sees the victim.

He takes the time to let Damian understand him better as a person so they can have a connection there, and then he explains to Damian why he does not kill, and that he also doesn't want Damian to kill so he won't have to bear the guilt of it. He does that for Damian's sake, because he's a child and won't understand these things unless told.

Bruce needs to communicate this with Damian because they won't magically understand and empathize with each other, which is why I'm emphasizing over and over again the necessity of adult

intervention in Terra's case. An older and more mature Dick Grayson in Batman and Robin 2009 also emphasizes that Dick is the grown up in the relationship and Damian is the child.

And as the adult it is his responsibility to take care of Damian, hence the "Who's gonna save him if we don't?"

Batman has encountered children turned murders in one way or another and he always emphasizes the fact that they are children. If you want a more recent example, in the James Tynion Iv run for Batman, issue #105 where Bruce is facing off with Ghostmaker / Minhkhoa. Ghostmaker sets up a situation where Clown Hunter a murderous vigilante who started killing crimminals after his parents were murdered by the joker at twelve has a chance to kill Harley Quinn in revenge while Bruce watches. Bruce intervenes for two reasons, which he tells Minhkhoa.

Which features one of my favorite Bruce lines "caring about people hasn't killed me yet..."

Which really demonstrates Batman's empathy for others. His goal is to not put villains away, but stop the cycle of violence in the streets of gotham.

"How easy it would have been to just eliminate the joker's closest associates? But then nobody learns, nobody changes, nothing is better in the end."

It's easy to dismiss Terra for her crimes and let her face the consequences alone. But then, nobody learns, nobody changes, and nothing is better in the end. Batman doesn't judge who deserves to be saved and who does not. He doesn't let "not everyone can be saved" work as an excuse to not try to save someone.

Hell, Minhkhoa himself is diagnosed as a psychopath in universe with extremely low or nonexistent empathy, which is what Wolfram and Perez's original vision for Terra was. A person who did not feel empathy, remorse, or love for others. Yet, Bruce still gives someone like Minhkhoa a chance to do good, and still tries to communicate with him and get him to understand why Bruce does things the way he does even if Minhkhoa can't empathize with him.

To tie this all up. The tragedy of the Judas Contract arc is Terra was a child who did not get saved. There are reasons for this. She was surrounded by other children who didn't have the maturity to save her. She was being taken advantage of by an adult man who has been manipulating people for years. She was a liar and manipulator herself.

If Batman, an adult, had been there to help the Titans would he have been able to reach out to her and save her? We don't know, but I can say this he definitely would have tried.

#tara markov #terra teen titans #terra #batman #bruce wayne #dick grayson #teen titans #tt meta #teen titans meta #dc comics #dc comics meta #jason todd #damian wayne #beast boy #ghostmaker #dc #rape tw #csa tw

[zvtara-was-never-canon]

It just rubs me wrong every time whenever anyone says "Azula treated Mai as an equal". The whole point between Azula's relationship with her friends was that they were done with the power dynamics and Azula having the upper hand in it. Even if the show did a poor job showing it with Mai.

"I love Zuko more than I fear you." - Totally the words of someone who has been treated as an equal.

I FULLY disagree with the notion that the show did a poor job showing Azula didn't treat Mai as an equal. Sure, it didn't beat us over the head with the information, but it was not always that subtle.

The first thing Mai says to Azula is "please say you're here to kill me", and when talking to Ty Lee she's clearly confused as to what the hell the girl is even doing since she said the circus was her calling, getting only a "Azula called a little louder" as a response. To me, that is the show reminding us that, yes, Mai chose to join Azula willingly, but if she had said no like Ty Lee did, Azula would force her to join anyway.

There's also Mai and Azula exchanging a look after Azula says they shouldn't trade a king for a baby, and while it's never explained what was going through Mai's head at the moment, one could interpret it as Azula challenging or full on threatening Mai into putting the mission before her family.

More importantly, in The Drill, when Mai refuses to obey Azula, she says "she can shoot all the lightning she wants at me", and this time there is zero indication of it being a joke or exageration.

When Azula interrupts Mai's date with Zuko to talk to him by finding a dumb excuse to send her away, Mai is visibly pissed off and even side-eyes Azula because come on, couldn't talk to him later or politely ask Mai to give them a moment?

Finally, we have the beach, in which Mai full on screams at everyone, Azula very much included, to just leave her alone.

The show made it very clear fromt he begining that the bitter end of Azula's friendships was inevitable due to the huge power imbalance. Fans don't deny that because of issues in the writting, they do it because they fit in one of three category:

1 - Fan that likes the IDEA of Azula, but not the actual character, and is uncomfortable with the fact that she did bad things, so instead of trying to imagine a healing/redemption arc, they just pretend stuff like her using fear to keep Mai and Ty Lee under her thumb didn't happen in the first place.

2 - Fan (usually a zutara shipper) that HATES Mai and doesn't want to acknowledge things like her troubled family life and unhealthy dynamic with Azula because they cast a more sympathetic light on her and give her understandable motivations for doing bad things.

3 - The typical atla fan that cannot understand any kind of complex situation. They see Mai willingly joining Azula and ignore all the other issues in their relationship, as well as being CONVINCED, for no fucking reason, that this means Azula would not have coerced Mai into joining her had she said no like Ty Lee did. I've said it a million times, and I'll say it a million more: if Zuko didn't have the proof of his abuse at the hands of Ozai burned into his face, there'd absolutely be fans of the show claiming Zuko wasn't abused at all and that people who claim otherwise just want to justify liking an evil character.

#mai meta #mai deserved better

[hello-nichya-here]

https://www.tumblr.com/mostly-mundane-atla/710894569738387456/this-sounds-pretty-accurate-but-there-is-another what do u think ??

Okay, here are the bits I agree with:

1 - Some Azula fans are trying way too damn hard to make her a "Girlboss" that never did anything wrong. This is legitimatelly something I have seen happen A LOT lately and it gets on my nerves SO BAD.

2 - Some Azula fans focus a just a little bit too much on the sad aspects of her character/story, mainly her loneliness and how she felt nobody loved her (Note: I'm being generous here because most of the time people bring that to remind me people that, no, just because she was the favorite child of an ABUSIVE parent it doesn't mean that her life was easy, but I HAVE seen the "character sad, therefore character good" a few times).

The stuff that I don't agree with it AT ALL:

1 - "Cersei Lannister is a character that is like Azula." No. Just no. I know the fandom likes to joke about some simmilarities between both shows or borrow elements from that story to our fanfics, but Avatar is not Game Of Thrones, and Azula is not Cersei. Their personalities are not that simmilar, nor their family situations. Cersei is far more reckless, blood thirsty, downright vile ADULT WOMAN, she never got a single shred of respect from her father or ANYONE, and her main way of manipulating people is to go the Femme Fatale route and seduce them. Not at all like the pragmatic (but not sadistic), prodigious, awkward princess that can't flirt to save her life and that everyone respects/fears. Even the whole "When you play the Game Of Thrones, you win or you die" doesn't really apply because Cersei sacrificed nearly everything to remain the queen, while Azula literally brought Zuko back home, making him the heir to the throne again. They. Are. Not. The. Same. (I won't get into the other characters mentioned because I don't know who they are)

2 - "Azula isn't that well written" Unless we're considering the comics, in which EVERYONE was poorly written, I'm gonna die on the hill that this is just wrong. Azula was not redeemed, yes, and Bryke seems to not understand her, but the way her story and arc went in the show makes perfect logical sense to me - I just don't think that's where or how it should end. We can argue over whether her story is finished, not on if she's well-written character and a deliberately sympathetic villain that was also REALLY good at being a villain.

3 - "Azula doesn't have a lot going on" Bullshit. Regardless of redemption or not, Azula IS a complex character - yes, even if she is the villain of a Nickelodeon cartoon (WEIRD argument to claim she can't be that deep - this is literally a show about war, genocide and abusive families, which is why it stood out to people because NOBODY expected Nick to go there). We literally see her having a mental breakdown after years of abuse, indoctrination and VERY bad decisions that ruined every relationship she had finally caught up with her. I consider this a lot, just like I consider things like waking up one day and finding out EVERYONE you knew and loved has been gone for a hundred years or dealing with the fact your father is an abusive piece of shit that is totally okay with disfiguring and banishing you because you dared to speak out of turn. For fuck's sake, the existence of The Beach as an episode proves this claim wrong because the whole point of that episode is "These villainous Fire Nation teens have some hidden depths."

4 - "There are better stories with better/more complex characters" Again, weird argument. I think Beauty And The Beast is the best Disney movie and that Mulan is the best disney princess, but I still adore Snow White despite her story being VERY simple. And even though I like these stories that all have endings, I like the dark fantasy and heavy on politics story of Game Of Thrones - and even though I think the books are better, I still like the first half of the show despite the changes made to the story. This is not a "Either this or that" situation. You can think something isn't perfect or deep and STILL like it.

5 - "She's not a real person, she's a character on a show therefore her not needing to 'deserve' redemption is irrevelant because what matters is what benefits the story and Azula's redemption wouldn't do that" Really? You're pulling that shit? In a show like ATLA? The show that said "Everyone is capable of great good and great evil"? The show that repeatedly says "Friendship and kindness are going to save the day?"? The show that had one of the bad guys redeem himself by befriending the good guys and visiting his abusive father in jail and saying "Maybe this will make you have a change of heart?" THIS show would not benefit or stay consistent to it's themes if the villain that desperately craves love and validation learned that the way she tried to get these things was wrong and started being a better person who'd eventually be healthy, loved and accepted? Give me a break.

#asks #azula meta #azula deserved better

[mono-blogs-art]

It is WILD to me that from what I've seen on chaser game w fandom talk, people are much more sympathetic towards Aoyama (Itsuki's guy friend, who outed her at her workplace explicitly because of his unrequited love towards her) than Kou (Fuyu's husband, who found out that his wife cheated on him and lied to his face about it too, and who had built a life and family with a partner who he now knows never felt the same about him).

??? I have a lot of thoughts about how the finale handled that Fuyu/Kou scene but I genuinely thought it was one of the more sensible, complex, and well-done scenes of the show.

I guess as The Husband he is much more of an "obstacle" to the main pair than Some Guy Itsuki explicitly rejects romantically and even breaks ties with after finding out about him outing her. But the show even fucking tells you in the epilogue that Aoyama had a successful career after, while not mentioning Kou at all. We don't even know if Fuyu and him ended up splitting/getting a divorce etc. Presumably she left him (and their daughter??) in China before returning to Itsuki in Japan.

Like I'm sorry to defend The Man in the lesbian show, but he has genuinely not done anything wrong; arguably not even him leaving for a few days after Fuyu treated him like shit was wrong. He has done nothing but support Fuyu and their family. His one interaction with Itsuki was - although justifiably stand-off-ish and charged given the circumstances - polite and respectful. He's not even homophobic!!!!!!! When Fuyu finally admits to the affair and tells him she's actually a lesbian, his only reaction is to A) inquire if she's always felt that way and if yes, why she married him anyway, B) check in with her if that means she'd like to split up, or continue their marriage, and C) to ask her not to meet with Itsuki again if they were to continue their marriage. Like that is literally such a reasonable request, my man is so much more forgiving than I and probably You could ever be. Like there is no point at which the source of his upset is the fact that she cheated on him with a woman, specifically. He doesn't love her any less for it, he doesn't call her names, he doesn't make any snarky remarks to insult her sexuality etc (apart from pointing out that she's been cold towards him, which she HAS, girl I really hope you didn't treat him like shit through ALL of those 5 years of marriage).

And like, I'm not gonna be like "uhhhh this poor man deserves Fuyu's affection since they're married, she should at least give him another chance" like of course NOT. She's unhappy with him, she's madly in love with a woman who she'd give up everything for. She's a lesbian. She doesn't owe him any love or affection but she DID cheat on him. Repeatedly. For weeks. IN THEIR FAMILY HOME, NONETHELESS. LET US NOT FORGET THAT SHE DID VERY MUCH CHEAT ON HER HUSBAND IN THEIR MARRIAGE BED (presumably). Like girl I know you love pussy and I do too but you're still an asshole!!!!!!!!!!!

And even then. She DOES love him. She says so herself, and it's true. And I know this may be wild to imagine but love doesn't have to be romantic. She loves him, in her own fucked up way, because she's deeply traumatized from years and years of internalised homophobia, being broken up with in the WORST way possible, and falling back into (presumably) denying her sexuality once again. Falling in love with being loved, and cherishing it so much that you forget what hurt you in the first place. Like, I can 100% understand Fuyu's reasoning in that situation. Even if I've never been in a similar situation, it makes perfect sense to me. I understand it even if it's horrible. And like yeah, Fuyu's character IS a hot mess and I love her and this show because of it (lmao) but she has treated this man so badly for what we can only assume is YEARS, and still she cherished what he provided for her enough to make her falter when her betrayal was revealed. For a second, the true repercussions dawned on her, and she decided that she wasn't willing to give up her family, her career, and her daughter just to reunite with Itsuki. And so she told him that she'd never go see Itsuki again. Like that is literally one of the most (and only) logical thinking they gave to any character for this show the whole season!!!! But of course it's also wrong like girl no you can't!!! And then she changes her mind for the gay happy end!!!!! Truly I got to eat my cake and eat it too. The finale was actually like. I don't want to say satisfying because I'd really need another scene with Fuyu and Kou for that, but at least satisfying enough for me to pretend that they figured it out somewhere off-screen. Hopefully.

That was my 2am rambling on how they resolved the Fuyu/Kou relationship. And I really wish ppl liked him more because literally my man has done nothing wrong. He's not even homophobic. HE'S NOT EVEN HOMOPHOBIC!!!!!!!!!!!!!!

Aoyama however is the fucking worst and I hate that the show portrayed him in such a good light at the end, GOD I will seethe forever

#mono-loguing #i should stop posting at 2am but. i just got home from smooching my girl I've still got some adrenaline in my veins #chaser game w

[iamnmbr3]

i can never grasp why harry considers draco important and cares for him... if he has the same reaction of hermione and ron who hates draco i would understand but how come he considers draco as important especially if harry is basically jkr self inserting herself on him and how she based draco from her bully and hates him

Omg Ron sent me an ask. Jkjk.

I'm sure Harry often asks himself the same question. Or rather. Avoids asking himself the same question by burying his feelings for Draco and suppressing them because they're for absolutely the wrong person...even if he can't help noticing his gleaming hair and eyes (but he's just objectively attractive right? that doesn't mean anything. right?) and worrying about him during all of book 7 (but that's just basic decency. yes he doesn't worry about anyone else caught on the wrong side of the war like this. but that's doesn't mean anything right?) and saving his life every time he's in danger whether in book 1 or book 7 (but thats...oh damnit he fancies draco sodding malfoy doesn't he?)

no but seriously. a couple things. first of all, i think JKR based Pansy and Millicent on her bullies more than Draco. Though she certainly doesn't like him that much...especially once she realized the fan response to him didn't align with what she wanted...which is weird because she's the one who wrote him as sympathetic and complex. she could've had him enthusiastically embrace being a Death Eater and follow in Bellatrix's footsteps. But she chose not to.

Now. While there is a very strong canon basis for drarry I think that is 100% accidental on the part of JKR and arises through a combination of writing mistakes on her part where she conveyed something different from what she intended, plus maybe a bit of the phenomenon all writers have experienced where the characters kind of "go off and do their own thing" as it were.

In universe, I think Harry finds Draco attractive and I think their compatibility is based on their similar wit, interests, traumas and their ability to play off of and entertain each other and hold their own with each other and their ability to understand and know each other. I would see them getting together post war once Draco has dropped things that Harry definitely doesn't find attractive like his Pureblood supremacist views and habit of bullying people Harry cares about.

#asks #drarry #Harry Potter

[yukipri]

The Bad Batch Ep S2 Ep 11 - Thoughts & Spoilers

Spoilers,

Spoilers,

Spoilers,

So everything's beneath the cut!

I know with the Mando S3 premiere, this episode may have gotten even less attention than the rest of the show. BUT this episode had some incredible things, so here are *some* of my thoughts.

FIRST:

HIM!!!!! and he was NAMED and had LINES!!!!

This is super exciting, because while we glimpsed Scorch in Season 1 while they were rescuing Gregor, I don't think he was mentioned anywhere by name, meaning it could have just been a random other RC with similar paint.

Delta Squad (from Legends) was technically canonized when they cameo'd in the Clone Wars, but it's so nice to see them again! It makes me pray that the other 3 members have escaped and are with Rex, because Scorch is *definitely* still super chipped....

Next, the MAIN thing I was super excited about:

So many things in this episode made me absolutely SCREAM, but the main one was probably FINALLY some movement on the connection between Nala Se and Omega. That's something I've been dying for more elaboration on since S1.

Omega is clearly a kid created for a specific reason, raised under specific circumstances, who has a unique bond with Nala Se, the primary creator of all clones. I was sure this would be part of the central storyline of TBB so I'm SO GLAD we're finally getting to it.

The thing is, Omega clearly has very complex feelings towards Nala Se, and Nala Se also considers Omega "special." SUPER curious to see where they go with this, especially since Nala Se seems to be reluctant to help the Empire. Understandable, given the destruction of Tipoca City, but she also never struck me as the sentimental type. I'm personally very wary of the "care" Nala Se seems to be showing Omega, and based on what we currently know, doubt that she means it sincerely—Omega (or her DNA) is likely valuable in some way.

Not sure how I'll react if they paint Nala Se as a sympathetic character, because I doubt I'll ever forgive her for what she did to Fives. Her treatment of Fives, which is also indicative of her treatment of all other clones. Her being kind(?) to Omega doesn't erase that.

I am absolutely confident that this lab and Nala Se/Omega is part of a plot that will connect to the experiments done to Grogu, which in turn will connect to Snoke + the return of Sidious in the ST. That's the running thread, to provide explanation/justification for that "twist."

While I think TBB is fun, THIS is what I personally was waiting for—Omega's true identity and why she's of value to Nala Se, how she therefore fits into the greater plan Nala Se had, and how that in turn affects not just Fett clones, but all the cloning that runs throughout SW.

I also LOVED that Omega showed her skills here—yes, she DOES know her way around Kaminoan tech!! The only time we've really seen it before is when Cad Bane kidnapped her + the S1 finale. She was Nala Se's personal MEDICAL ASSISTANT. She is older than the Batch! She KNOWS things!!

I was genuinely expecting (hoping) to learn more about Omega throughout the entire show, and we do see her being skilled + confident around various tools, but that's around it. I hope her past that she doesn't want to talk about is dragged out into the open in these last few eps.

I have a LOT of theories about Omega's past and her connection to the Batch and their origins (pst it's all in my fic), some of which will likely no longer be canon compliant, but ah well!

Other things that really made me happy:

-The Batch showing some growth due to the last episode, and growing a spine to stand up against Cid. Both pointing out that she didn't help them like they've helped her, and demanding a higher cut, though she did get the final say in the end. It was still a massive improvement!

-The ZILLO BEAST. First of all, it was definitely one of the coolest creatures in TCW, so it was super exciting to see it brought back! Its physiology is fascinating, and I loved how we got to see it visibly grow due to it feeding on electricity. This is actually the second creature we've encountered in TBB that seems to like electricity as an energy source, the first being in S1. It's neat to see this pattern, perhaps they're distantly related species?

I also LOVED that it tied into more experiments. I need to rewatch the eps, but i think it was implied in TCW that Palps was interested in the Zillo beast's armor, so I loved seeing that actually followed up on!

In general, I'm just a huge fan when world building plot points connect or are followed up on to build continuity and a greater view of the SW universe, and this episode definitely connected a bunch of points, so that was awesome!

Anyway, only 5 eps left of S2, excited to see where it goes!

#the bad batch #TBB #the Bad Batch Season 2 #TBB S2 #YukiPri rambles #Spoilers #TBB spoilers #the bad batch spoilers

[thundergrace]

Love our deceptively complex (shout out to Maura Isles) teen lesbian vampire show. Seriously can't stop thinking about it.

Here's the thing: Theo's death was his own and Apollo's fault. There's a lesson for them to learn here. The lesson is in that part of the voiceover that says the people who hunt the monsters must be careful that they don't become monsters themselves.

They knew they couldn't kill Elinor, they just wanted the pleasure of staking her. I genuinely don't believe Elinor would've killed either of them, unprovoked, not in that moment. She did know the chaos that would've caused and what would've happened to her and Juliette's relationship that's why she made them forget she was involved. She didn't want Juliette to know she was involved.

Yes, Elinor of course knew being staked wouldn't have killed her and she simply could've let it happen and she definitely made a very conscious decision to make that stake go into Theo instead. But I think it's a lot to ask someone to let themselves be hurt to save the life of someone who literally decided they would torture her for fun.

It's not enough that the Guild simply give hunters orders and tell them who or what to kill. Just like the military. The indoctrination isn't successful unless they also make them hate the enemy. Theo and Apollo are their father's sons. They hate monsters. They feel hate toward them (I found it unexpectedly insightful of Cal to be aware they they were taught to hate monsters. Like she understands this was put on them). They hate Elinor which is why they decided to fight her. Hurt her. That's some monstrous shit. That's bloodlust. Torture for nothing. At least with Oliver, Talia was trying to get Cal back.

Now, does Elinor still deserve to be in exactly where she ended up? Absolutely lol. And are Theo and Apollo both still sympathetic characters? Absolutely.

Deceptively complex.

#first kill #elinor fairmont #theo burns #apollo burns

[justmenoworries]

Lore Olympus Episode 236 Spoilers

For fuck's sake, can RS make up her mind about how she wants to portray Demeter? Is she a sympathetic antagonist or is she just a clingy mother who doesn't understand her daughter???

Because from all that we've seen through Demeter's flashbacks and had confirmed by other characters, Demeter really isn't in the wrong here!

Persephone made a split-second decision to marry her groomer, who proposed to her in front of her mother while she was having a disagreement with said mother! And everyone around her just acts like it's beautiful and "about time" when really, it's not! It's a shot-gun wedding between a predator and the young woman he's been consistenly grooming and holding a position of power over.

Also, Hades literally went full naked monster-god but Demeter is the one whose behavior was extreme?

Hestia fucking sucks, I'm sorry. She's never there for Demeter when Demeter needs her, she never opens her damn mouth until it's almost or actually too late and she has such a fucking victim-complex over merely getting involved. And then she has the abolute gall to tell Demeter she'll be there if Demeter wants to talk??

Their entire conversation felt like text-book gaslighting. Hestia's continued insistence that the blame laid squarely on Demeter, that Demeter was the only one who'd done anything wrong, that whatever Hades did to her Demeter was now just as bad because she'd been acting just as "cruel". When pretty much all of that is blatantly untrue. Good on Demeter for telling lemon-woman to fuck off.

Worst sister. (Yes, I still see Hestia, Hera and Demeter as sisters, because that's what RS established and I'm not willing to go along with her last-minute retcons.)

RS continues to just dump all of Demeter's past trauma on us, but then pulls a 180° every time to portray her as unsympathetic as possible. This isn't "nuanced" writing, this isn't "grey morality" or whatever. It's RS being shit at keeping her character writing consistent.

God, Persephone continues to wear the ugliest outifts known to man. What the hell is that red bow-dress, she legit looks like she's Hades cute little pet I wanna vomit.

I can't be the only one who thought Hades came across extremely shady in that conversation with Morpheus, right?

Also, oh joy, the dream realm is gonna be introduced to ✨capitalism✨! Can't wait for all the ways Hades is gonna find to exploit Morpheus and her powers!/s

#anti lore olympus #lore olympus spoilers #lore olympus critical

[nebulouscoffee]

Favorite alien species and favorite villain!

Thank you friend!

Bajorans and Cardassians are undoubtedly the two species I've spent the most amount of time thinking about, so I'm going to have to put them in for a tie- I just can't look at one without the other! DS9 is very much a show I enjoy for its postcolonial themes, and their histories and societies and foremost issues are deeply intermingled. There are so many fascinating contrasts between them, in the starkly different yet occasionally similar ways in which they approach concepts like freedom, love, devotion, truth/reality, memory, community, family, and sacrifice- I could chew on it forever. There are so many terrific characters like Kira, Garak, Kai Winn, Dukat, Bariel, Ziyal, and more- plus, the static setting of DS9 allows for so much cool worldbuilding, and I feel like there's a ton of nonwestern influence in both (yes, both) cultures that borrows quite heavily from real-world ones (including their issues) which allows me to write a lot of self projectey fanfiction haha. (Honourable mention to Trills though! I have soooo many headcanons about them I could talk about Trills for hours :D)

As for my fav villain, I'm leaning towards Kai Winn here! I think she's absolutely tragic and fascinating. She loves her people and her planet, but then there's this love of power and control that runs at odds to it. She comes so close to redemption, so many times- yet, she just can't seem to let go of her desire to be The One (that saves Bajor) long enough. She has these deeply heartbreaking moments of humility, and then this painfully performative mask of politeness she slips on to get away with awful things. She's too mistrustful to accept the help of multiple people actively offering it, but spends her whole life begging for acknowledgement from gods who were always going to ignore her.. and the saddest part is, there's plenty of good reasons why she is the way she is. (I'm very grateful for the recent wave of Winn appreciation on this site, but I honestly still disagree with some of the positive meta I see about her too- I don't think calling her purely a victim with only Bajor's best interests at heart is an accurate read of her either; her politics and creative interpretations of Bajoran prophecies in ways that serve her (plus her willingness to throw fellow Bajorans like Neela under the bus) very much mirror real life corrupt and dictatorial politicians across the third world who use their trauma (specifically colonial trauma) as a deflection and shield all in one, to cover up what their true priorities are (her actions in 'Shakaar', for example.)) Winn's crises of faith and deep personal insecurities (and Louise Fletcher's complex and layered performance) make her a deeply sympathetic villain to me, and I don't think her orthodox beliefs, corruption, or refusal to share the spotlight even at the cost of her people should be ignored either- they're what make her so fascinating!! Though I do understand the urge in an environment that's historically been so needlessly hateful towards her lol. Anyway- Winn Adami my beloved!!!

#I'm truly sorry this got so longgg I totally could've just answered both questions in one line each #but then again I'm me! so #that wasn't going to happen :D #ask game