#'hi thank you for this in depth character analysis. just one question. what's a book?'

[cathodic-clairvoyant]

Oh hi there transfem discussing her experience in the trans community i just had a quick question about your post

What does tme mean?

Oh okay i see i understand, thank you.

What does transmisogyny mean?

Ah I see, I get it.

What's a trans woman?

Oof scary. One last question.

What's a woman?

Thank you for being my own personal google (not like you had anything better to do right?) and derailing the point of your post for my own personal education. I will now add nothing of value to this post in return. Bye bye!

[adarkrainbow]

Hello there. First of all thank you for all the analysis and in depth look into fairy tales.

I stumbled upon a take that was utterly surprising to me about how fairy tales validate women through submissive beauty while the men are portrayed as active and violent and how fairy tales are tools to reinforce gender roles and patriarchy.

And I wonder how did we end up here? I seem to remember you talking about how a lot of fairy tales authors were women, but even in the Grimm brothers fairy tales the women are active, it's not only the men who go through trials.

Anyway I was wondering if you had any thoughts on this?

A most interesting, complex and yet simple question!

Do not be surprised by this take: it has been THE dominating take on fairytales until very recently. It was the big 20th century idea about fairytales - and in fact, it was one of the ideas heralded and massively shared by Jack Zipes in his famous book. This is also partially thanks to him that most Americans share this exact same view. Now we know, thanks to today's research, that this is not as true as people like to think and that this only applies to some fairytales - but the idea that fairytales can actually be subversive, can actually challenge an established society's codes, structure or hierarchy, is in truth fairly recent - or rather has only been accepted fairly recently.

A part of this is definitively Disney. There is no denying that the "Disney fairytale" marked forever popular culture's view of fairytales AND that as a result it inclined a lot of people to look at traditional fairytales under a certain angle. Remember - to make a Disney princess an active character, with the likes or their Rapunzel or Tiana, was seen during the movies' releases as a MASSIVE breakthrough for Disney.

That being said, to well answer this, I think a look at the French literary fairytales can be interesting. (Especially since... it is much more of my domain than the Grimm fairytales for example Xp)

Now Jack Zipes expressed this very theory by talking of Charles Perrault fairytales. In his book he clearly said that, through his stories, Perrault taught girls to be passive damsels waiting to be saved ; and boys to be active heroes. The typical "prince saving the damsel in distress ; knight rescuing the princess in the tower". And on a first, superficial, quick glance... Zipes is right - and many, MANY people read Perrault's fairytales as such.

Indeed, female protagonists of Perrault share a distinct passiveness and earn their happy ending through patience, pleasing people and looking good. Cinderella endures abuse without talking back, only has to look pretty for a prince thanks to an outside interference, and her marriage is what saves her - before she even forgives her wicked stepsisters! Sleeping Beauty spends half of her story sleeping before being saved by the arrival of a prince ; and then the second half she is the helpess victim of the ogress and only is helped by either the butler or the prince. The wife of Bluebeard cannot save herself, it is her brothers that save the day, while in Diamond and Toads the good girl is rewarded for just being nice and helping a poor woman, and it is again through a wedding she gains happiness. Many people also like to invoke the semi-fairytale Griselidis which is... a whole another topic to go into.

Meanwhile the male protagonists are "active", industrious heroes and vanquishers of evil. Puss in Boots is a trickster who hunts animals, actively runs around, and devours an ogre. Little Thumbling also puts together all sorts of plans, actively changes the crowns and nightcaps, steals away the ogre's boots, and once again runs around... The brothers of Bluebeard's protagonists are the big heroes that come in the end to murder the persecutor.

So far, it all seems right... And somewhat, yes, it is true. Because of the context, because of the society, culture and time these stories were written into. In 17th century upper-class France, women were only valuable if they were pretty, if they didn't cause trouble, if they could be good wives or good mothers ; men on the contrary were expected to be sportsmen, warriors, active members of their community or of the government... But as usual with Perrault, nothing is as simple as it is, since there is joke and satire hidden in his texts that many fail to see, and when we look a bit closer at all this, we see hidden behind the apparent dichotomy the traces of a more nuanced take.

Yes, Puss in Boots is an active male character... But the marquis de Carabas is just as passive as another Cinderella or Donkeyskin, as he literaly does NOTHING but look good, obey the cat and follow everybody around. "Puss in Boots" is Cinderella told through the eyes of the supernatural helper - the talking cat is the fairy godmother, who is the one that brings beautiful clothes and meeting with the royals and the seeds of a romance to his passive, useless master. In fact, the "morals" of both stories are eerily similar: Perrault jokes at the end of Cinderella that anything is possible as long as you have a powerful or well-placed godparent ; and Puss in Boots moral is also about how "If you can find the way, you can trick the system, and become a prince when you shouldn't AT ALL". Both stories aren't in the end about someone being rewarded for being pretty or enduring suffering - but simply about having enough hidden resources and trickery to use the very flaws of the system used upon you.

Again, let us take Cinderella. She endures her suffering, according to people, she does nothing for herself, the fairy godmother does everything, and her salvation comes from a prince marrying her... She is pointed out to be so naive she chats with her stepsisters as if everything was normal when she is at the ball. She proves to be the ultimate goody-two-shoes when she forgives her persecutors at the end... And yet, what does the moral point out? That openly forgiving your enemies is the best way to put them in your pocket... because as such they'll be indebted to you, and you forced them into depending on your kindness. The idea of a sly and more cunning Cinderella is also highlighted by the ambiguity of when Cinderella loses her shoe. Perrault writes it so that it is unclear if she loses the shoe by accident... or if she deliberatly drops it. Same cunning with Donkeyskin - she does have on her own the idea of dropping a ring into the cake for the prince, ensuring her marriage with him...

So while the female protagonists of Perrault are definitively NOT active, it does not mean they are dumb or just pretty faces or that they are just rewarded for being "nice". They are intelligent, they know how to go around, there is a certain celebration of the "feminine cunning" if you will. Diamonds and Toads' moral isn't about actually being nice ; it is about learning when to be polite and when to do flattery when needed. Perrault's fairytales truly are about glorifying inventivity, intelligence and tricks. And the "passive character only good at being beautiful and married" does not exclusively apply to women. The marquis de Carabas is a good example, but what about the prince of Sleeping Beauty? All he does is literally... come in. Arrive. And that's it. How does he save Sleeping Beauty from her sleep? He just enters the castle, and suddenly she wakes up, not even a kiss. How does he save his wife from the ogress? He comes in and asks what's going, and everything is solved immediately. The actual heroic force of the tale is the butler, who is the one that saves the day - but again, not by using power, but by using tricks, deceiving the ogress that he cannot possibly fight (ogres embodying brutality and violence). In fact you have no monster-killer or dragon-slayers in Perrault's fairytales - the closest of a monster killer is Puss in Boots, but only because he tricks the ogre into turning into a mouse. Little Thumbling does not defeat the ogre by strength or violence - again it is all tricks and deception... and theft.

Because this is the other side of the "active male character". Yes, male heroes in Perrault's tale are more active than their female counterpart. But are they moral or "deserving" because of it? Certainly not. Puss in Boots lies to a king, threatens poor peasants so they say lies, usurps the castle of its legitimate lord and deceives the king into marrying the princess well under her rank. Similarly, Little Thumbling tricks an ogre into committing an infanticide, steals his boots from him (but so far it is all excused because the victims are the worst kind of ogres) - and then he scams a grieving mother into giving away all her fortune, before becoming a personal messenger for adulterers... And the narrator himself points out the immorality of those actions. Once again, it isn't because the male characters are more active that they are supposed to be praised for it... Perrault's tales are ultimately, deep down, hidden under a fake veneer of politeness and romance and galant things, trickster tales.

But to get that, you need to read carefully the stories and place them back into their proper context, and many people failed to do it in the 19th century, wrote a lot of misinformed texts that influence the people of the 20th century, and Disney was yet another relay of this misconception, and from generation to generation it all piled up... Claiming that Perrault was SUBVERSIVE in the second half of the 20th century was something seen as a genius and fresh take - when in fact it is just... just a truth people had failed to see.

However we can't reduce everything to Perrault. I mean the 19th and 20th centuries did reduce everything to Perrault, but let's see at the mother of the French fairytale, madame d'Aulnoy. Each of the female authors of fairytales had their own take and twist on gender norms and gender stereotypes, but given the scope and influence of madame d'Aulnoy (still felt in the 19th century), we will focus on her.

Madame d'Aulnoy's fairytales ARE the ones from which the idea that a fairytale is a "knight saving a damsel in a tower from a dragon" comes from. And, again, from a quick glance, madame d'Aulnoy seems to perfectly embody the dichotomy of "A heroine has to be patient and pretty and saved and pleasant and passive ; a hero has to be an active, vigorous, strong savior and monster-slayer". Graceful and Percinet? (Also known as Graciosa and Percinet). It is Psyche's myth told all over again. The Yellow Dwarf? A king keeps searching for his missing fiancee trapped away, and confronts all sorts of obstacles in-between. The Benevolent Frog? A prince kills the dragon that wants to eat his future wife, who literaly does nothing throughout the tale. The Doe in the Woods? The princess spends her time locked away, turned into an animal or fleeing, while the prince is a warrior and hunter who actively keeps going around.

And yet, once again, this just a watered-down, simplified, 19th century-glasses on vision of madame d'Aulnoy's fairytales. She had a wild, WILD life that led her to understand being an obedient good girl and passive meant NOTHING (in fact I do plan on making a series of posts about the craziness of these female French fairytale authors) - she conspired to have her abusive husband killed, she had to flee the country to escape authorities, she knew more than anyone that women had to be active to save their skin in life. And all throughout her stories, she kept having strong, active, female characters that broke the "passive mold", and on the contrary men that failed to be the "active ideal". All of it wrapped into the craziness, madness and exhuberant firework of animalistic fairies, enormous giants, multi-headed dragons and other clownish looking wizards, so that it looked less obvious at first glance. The princess of the Yellow Dwarf spends her time attacked by the titular dwarf and locked within his domain waiting for a rescue, but the story begins when she decides on her own to undergo a dangerous and perillous travel to find out what her mother suffers from, while the prince is shown to be quite helpless against the magic of the Fairy of the Desert and needs the magic of the mermaid to escape. In the Benevolent Frog, the prince kills the dragon... But at the very end, after being given all sorts of magical artefacts and an impossible horse, and they do the trick instead of him (similar to the prince's so-called "victory" against Maleficent in Disey's Sleeping Beauty, where it was truly the fairies that did the work) ; meanwhile the princess' father, the king, also proved utterly useless at saving his wife and daughter spending several years just... sitting by the side of a lake ; all the while his wife and daughter had to become amazonian huntresses, and the fairy-frog is shown doing all the behind-the-scenes work of saving everybody, using a lot of resources, and performing hard feats such as going at the top of a long staricase made for giants WITH THE BODY OF A TINY FROG, which is why she spends years doing so.

And many more are the tales breaking the mold! Cunning Cinders? The girl literaly CHOPS OFF an ogress' head with an axe, right after pushing an ogre into the oven - and it was no small feat given the ogre was also a giant. In the Pigeon and the Dove, the first time the giant imprisons the princess, putting her in his bag, she gets out by herself, without anybody's help. The Orange-Tree and the Bee? The princess does all the work - saves the prince, hides him, feeds him, nurse him, takes him away ; while also doing all the heroic and clever feats, tricking the ogres, stealing their magic wand, performing magical transformations. No wonder the final transformation is passive for the prince (the orange-tree) and active for the princess (the bee that stings anybody getting too close to the tree). In fact, the fairytale "La princesse Printanière", (Princess Mayblossom in English), seems to be an explicit and literal deconstruction of the passive-active model: the titular princess acts like a typical "good princess" (following her heart's impulses without thinking about it too much ; giving kindly all her food to her lover on a deserted island), only to be met by the harshest of realities (following an unknown pretty boy around is not good, and her lover is a selfish and brutal jerk). She only can escape the bad situation she created for herself by STABBING HER EVIL LOVER IN THE EYE, and then she is greeted by the positive sight of her fairy godmother in a war attire, beating the crap out of the wicked fairy of the story in a celestial duel. In fact, this tale contains a double message about women being active to change their life, because before her "passive episode" on the Island of Squirrels that gives her all sorts of misery, she is active, oh yes. She forces the random boy she just met to follow him, and she plans a whole escape at night - because, like an active character, she wants to determine her life, she wants to just do as she pleases, she show who's in charge... But this is proven bad because as it turns out acting impulsively and harshly without prudence or thought - taking away the hand of the first pretty boy that passes, fleeing rashly at night on a whim without preparing any substantial thing - only leads to disaster and misery (being stuck on a deserted island with an abusive companion). And this is opposed to the good "activity" in the end, one thought about and that is a just reaction to the situation, or well-equiped for handling its problem - the princess killing her would-be-murderer ; the good fairy getting a chariot, weapons and an armor to destroy the old, wicked, rusty Carabosse.

This all comes very clearly and strongly in d'Aulnoy's fairytales - if Perrault wasn't so much about gender as he was about tricks, cunning and cheating the system with well-placed connections ; madame d'Aulnoy clearly had some ideas of how women should learn to be active queens, great warriors, trained travellers, well-equiped survivors and, if need there is, monster slayers. Is it then a wonder that when the authorities and minds of the 19th century took a good look at fairytales, they decided that madame d'Aulnoy should be erased in favor of Perrault, where the ideal female models are a girl sleeping a thousand year, another girl that gets hit without answering back, a princess that becomes a cleaning-girl and a cook good ; or even a nice girl with big diamonds?

What happened? In the case of French fairytales: this. First all the openly subversive authors were pushed aside and buried in oblivion ; then the more subtle ones had their tales oversimplified or read the wrong way until it entered a mold they were not supposed to fit. Madame d'Aulnoy was forgotten, and people took Perrault's jokes seriously.

[stxrshxpxd]

autumn

pairing: 90s professor hugh grant x reader

word count: 3k

warnings: student x teacher

prompt: reader falls for her university professor and she thinks it just might be a mutual feeling…

requested by anonymous <3

September.

I had seen Mr. Grant twice in passing on my walks across campus and through the seemingly endless hallways of marble flooring and dark stain wooden arches, on my little quests to navigate my way through my new university. The first time I had turned my head rather indiscreetly and nearly walked into a massive pillar as I studied his locks of brown hair bouncing away from me along with his rushing steps. The second time I had felt a stab deep in my stomach at the sight of him across the library, pulling his hand through said locks of brown hair, before ending his short conversation with the headmaster and quickly disappearing again.

My third encounter with him came on a September morning with ambiguous weather. I sat watching the strong sun begin to beam through the patchy coat of clouds and chase the morning mist away. As the doors opened to the lecture room I expected a large pregnant belly to enter first, but instead that pain in my stomach returned at the sight of Mr Grant marching inside. There were scattered whispers and mumbles around the room. I had no one to whisper to, and so I took a deep breath and secured my gaze on the bronze buckle of his belt and bit the inside of my cheek.

“I take it Mrs. Sherman hadn’t told you who would be filling in for her,” he chuckled at the palpable surprise in the room. “Well. It’s lovely to meet you all. I’m Professor Grant. I do recognise a few faces around the room.” His gaze hopped between students and he gave a handful of them soft smiles, skipping over me. “Well… Mrs. Sherman went into labour on Sunday and now has a little baby girl at home.” I noticed he spoke with his whole face and half his body, smiling, raising his brows and opening his arms in celebration at the happy news. “So, I will be teaching the rest of your Literary Analysis course this year.”

The sun had come to lay across half his body and was making the silver ring on his pinky glow brightly.

“I heard you’re reading Sense and Sensibility,” he said and a few of the students nodded in silence, backs straight and ears eagerly open. Mr. Grant swiftly pulled out a small, weathered copy of the book in question from the back pocket of his black suit trousers. For some reason that act made the stabbing in my abdomen worse. I held in a sigh at the fear that everything he did would make my stomach wrench in agony.

October.

The rain was beating aggressively against the large windows to my right and added to the soundtrack of Mr. Grant humming between his nods as well as tapping his index finger softly against the desk he was half sitting back on. I had lost track of what the student behind me was saying about Children of the Corn but forced myself to hurriedly tune back into the monologue once I felt Professor Grant’s eyes resting on me occasionally. I anticipated his question and I searched my mind quickly.

“That’s a very nice analysis, Thomas, thank you. Y/N, what thoughts did this story provoke for you?”

I couldn’t recall a time when I had properly shared my analysis directly with him before. My written words about Sense and Sensibility had been met with a seeming intrigue on his behalf though.

I greatly appreciate the depth of your character analysis. It shows you have a strong sense of morality and can view a person from a number of perspectives without favouring one. That is a very helpful tool. I am eager to hear more of your thoughts this year!

I had read the scribbled comment at the bottom of my short essay over and over, and right now they were the only words in my brain.

“Um, well, I think King has an incredible way of creating an atmosphere with just a few words. It’s quite remarkable.”

Mr. Grant nodded and smiled in agreement. Finally my thoughts caught up with me and I stammered on, all the while staring at the previously hidden forearms now sticking out of Grant’s rolled up sleeves.

“And, um… the thought that followed me all the way through the story is the exploration of religion in the modern world. Oftentimes I feel that religion is this untouchable and completely unstoppable thing that is, sort of, ironically out of our hands. You know, do we create it or does it create us?” Professor Grant’s smile grew slightly and I looked away, desperately trying to not lose my train of thought to the beauty of his pale, soft face.

“And also what is the difference between religion and cult, what defines them? …And why is one seemingly the pinnacle of good and the other inherently evil, if the line between them is so blurred, or indeed can’t be drawn at all? …Is ruthlessly shunning and marginalising people not just as bad as brutally killing them in a corn field? It’s just a choice of mental or physical death really. Except there isn’t a choice.”

I looked back at my professor once I had gotten my sentences out. He nodded slowly and pondered calmly with that satisfied smile on his lips, as I sat half panicking in the silence. All I could hear were my words echoing in the air between us.

“And do you think it should be stopped? Religion.”

He tilted his head and I took a deep breath in, in the midst of my light panic. He chuckled sympathetically with me, realising the magnitude of the question he had just asked.

“Yes and no, of course… I just think that it’s been a hell of a long time since society existed without religion, it might well be very healthy for us to step back and consider the world without it.”

“So, yes?” Mr. Grant suggested for me with a charming grin and an eye with a big twinkle in the centre. I laughed shortly and looked down at my nervous hands toying with my pencil.

“So, maybe,” I responded, looking up again. He chuckled and nodded once more and combed his fingers through the left side of his hair, only for it to bounce right back to its previous position.

November.

My eyes ached as I sat with my head hanging over my borrowed copy of E.M. Forster’s Maurice, reading the same line over and over again. I had read the book a few years earlier and adored it, but re-reading it now as the time was nearing 11 pm on a Friday night the words carried little meaning. Even my own words in my neat notes appeared increasingly alien.

The library was lit up softly and was about as silent as it could possibly get. It felt wrong to move and make sound as I stared out at the vastness of the room and the hallway outside of the library walls. Suddenly, just as my gaze had fixed sleepily on a framed painting hanging in line with my eyes, a person startled me as he came walking down the hallway. It was Professor Grant.

I shortly pondered the concept of fate as he turned his head casually and locked eyes with me. A smile came upon his face and he steered his steps inside the library without hesitating. He was in his usual black suit trousers and tight belt, a button-up without a tie, and a long coat and knitted scarf draped over his forearm. Under his other arm sat a thick stack of stapled papers caged in firmly against the side of his ribs. Shortly again I pondered the concept of jealousy now, before he spoke and washed my mind clean of everything else.

“Why aren’t you at that big dormitory party?”

Mr. Grant sat on the edge of my table and glanced down at me. He tossed his stack next to my stuff, at which my eyes scanned it and noticed several little notes and markings in red ink scattered throughout the text. I concluded that he had stayed late in his office to mark essays.

“How do you know about the party?”

He laughed quietly and looked around the room momentarily, allowing me a few seconds of shamelessly staring at his strong jaw as he looked away from me.

“Kids always think they’re very secretive. My hearing and deductive skills are excellent in fact.”

I smiled when he looked back at me, but the sentiment of the smile faded quickly from inside me.

“Do you think of us as kids?” I asked in the most neutral tone I could manage. He was only fifteen years older at the absolute most. He couldn’t be a day over thirty-five.

Mr. Grant’s soft stare dropped down my body in stages, seeming to halt at my collarbone and ribs and then my hinged hips where his gaze settled a short while.

“No,” he decided after a moment’s silence.

I didn’t know how the rest of that conversation was meant to go or indeed how to deal with the apparent tension that had built in the quiet room. Instead I backtracked to his initial question of why I was in the library on a Friday night.

“Well… You set an essay due Wednesday, didn’t you,” I chuckled breathily and impulsively looked down as I closed the book in my hands. We both gazed down at the cover and it felt like a strange form of eye contact. When I looked back up I saw a soft smile on his lips.

“That’s one of my favourite books.”

I exhaled and responded quickly.

“I will choose my words carefully.”

My professor’s smile grew and he met my eyes with his visibly tired ones, shaking his head.

“I trust you.”

Something in the air made me feel as though our conversation was coming to an end and it made me sad, which was why I grabbed onto a bit of substantial conversation I could find in our repertoire.

“I’m not big on parties anyway.”

Mr. Grant had crossed his arms now and nodded with the remnants of a smile.

“I understand.” He thought for a second and licked the corner of his mouth. “The parties in your future will be much more up your alley, when you’re an esteemed author. Trust me.”

He spoke of me being a revered published writer, yet all I felt like was a silly teenage girl as I tried to control my blushing cheeks at his sweet words. And then a soft groan escaped him as he reached to grab his essays again and stood on his long legs, clearly on his way to exit again.

“Just don't forget your old Literary Analysis professor when you’re famous,” he demanded sweetly and I simply kept smiling and blushing as he headed out, leaving me with my own company again. I had to fight to stop grinning and I found I was on the verge of breaking a sweat under my knitted jumper.

December.

For a few weeks now I had noticed an increase in stares between me and Professor Grant. I had found him resting his eyes on me several times across the room and once I thought I had made him blush, simply by looking up and meeting his eyes. He had looked down quickly and stuck his one hand into his hair, tensed his brows and stared down at his books again. I had mirrored his actions but hadn’t been able to make a single note for the next few minutes, completely consumed by the idea of letting my lips gently kiss his brow bone and feel him soften at my touch.

I was currently wrapped up in another one of those thoughts as I stared out the window, where light snowflakes were falling and slowly but surely forming a thin white coat over the lawn. I could hear his voice loud and clear as he was in the middle of a lecture - something about anti-heros apparently - but I wasn’t listening to the words. In my mind my lips were attached to his jaw and my fingers rushing to unbutton his shirt. Just as my mouth had reached his collarbone, his real life self changed his tone of voice and I tuned back in.

“Right, we’ll continue this tomorrow for a bit. And we will also have a chat about the exam in two weeks. So, bring all your anxieties and questions tomorrow and we’ll talk it through. Does that sound alright?”

I scanned the room quickly to find all the nodding and smiling students begin to toss their books into their bags and I scrambled to do the same, but once my eyes turned back to the front of the lecture room I found Mr. Grant on his way over to me.

“Hi,” he uttered quietly with a kind smile and I returned it. His hands were in his trouser pockets and his head tilted slightly as he looked down at me.

“I heard,” he began, glancing away at the last few students leaving the room. “from Mr. Holland.. that you’re doing quite well in your Creative Writing class.”

I didn’t know what to say to that, so I shrugged and laughed shyly as I fidgeted with the pages of my notebook.

“Now, I would hate to find out you have a favourite class that’s not mine, but,” Grant sighed jokingly and then gave me another soft curl of the lips. “I would love to read some of your writing if you wouldn’t mind. I promise to give you nothing but praise, of course.”

I chuckled and had to force my mind out of the gutter of imagining what type of praise he might give me.

“No, I want your critique,” I nodded, still anxiously toying with the notebook that conveniently enough held a lot of my creative writing drafts and half-ideas. Mr. Grant nodded back and swivelled around to my side of the table as I began flicking through my notebook to the sound of my umming and ahhing nervously.

He had planted his large palms on the table and his head hung between his broad shoulders as I finally decided on a page that felt somewhat representative of my work. His thin-rimmed glasses had been pushed up into his hair for the majority of the lecture, and he pulled them down now as he focused his eyes and mind fully on my text.

He was so close to me I could feel his scent begin to fill my nose, and his tricep was nearly brushing against my shoulder. I studied the few veins on his hands as his fingertips instinctively held the paper down against my table.

“It’s really good, Y/N,” Professor Grant finally concluded with his voice just a step above a whisper. “Really good.”

I looked up to make shy eye contact again and found his expression had changed from his sweet, composed smiles he would usually give me. There was something behind his spectacled eyes that suggested conflict. I realised there were just a few inches separating us and the urge to stand up and press my lips to his grew quickly, until I simply couldn’t fight it.

Pushing my chair back and half standing up, I planted a desperate kiss on his already slightly parted lips. For a second everything stood still and I wasn’t sure if he was kissing me back, but at least he wasn’t pulling away. Then I felt those gorgeous hands coat my sides, if only to help stabilise me as I staggered to my feet. It felt like everything happened within the space of a nervous heartbeat. Soon he backed away a step, his warm palms being the last to leave my body. Grant anxiously threw a glance behind him at the half open door as he wiped his bottom lip with his thumb. The sounds from the hallway came back to me again and regret washed over me with such power it nearly made me lightheaded.

“Fuck, I’m sorry,” I breathed.

“No,” he simply said and shook his head. The empty space in the air made me feel like he was supposed to or wanted to say something else, but he didn’t for a while. His eyes hopped from one corner of my face to the other and his chest rose and fell with his stressed breathing. At last his gaze settled on my lips.

“Y/N, you’re…” He rubbed his forehead and took a few more steps further away from me. “You’re very special and I really admire you… There’s just no way this can happen. You understand that, don’t you?”

He turned around to find me standing in the spot he left me, horrified by my own actions.

“And you have no idea how common it is to fall for a professor. It’s a very peculiar relationship; a student and a teacher… It happens. It’s absolutely nothing to be embarrassed about, okay?”

Fully knowing I was going to be excruciatingly embarrassed by this incident maybe for the rest of my life, I nodded.

“Really, it’s alright,” Professor Grant spoke in a warm voice with a definite sadness behind it. My whole body was vibrating with nerves and heartache and I managed to move my stiff limbs enough to pick up my books and bag.

“Okay,” I exhaled, wanting so badly to believe him. I left his concerned expression behind as I passed him and stepped out into the hallway, managing to catch the heavy sigh he let out behind me. Even still, with embarrassment weighing down my steps, the only thing I could think of was the incredible feeling of his lips against mine and his hands holding my waist. My insides ached as I realised I would never be allowed to kiss him again. Hell, I wasn’t even allowed to kiss him this time. My lower lashes held heavy tears as I stomped outside and kicked my boots through the fresh snow, heading towards my dorm.

[richincolor]

Interview with Olivia Abtahi

Olivia Abtahi, author of contemporary novels Perfectly Parvin and Azar on Fire, just released a new book and this time it's a fantasy. We're so glad that she was willing to answer a few questions about Twin Flames.

Summary: On estranged twins Leila and Bianca's eighteenth birthday, Leila suddenly gains a djinn's superpowers, and the twins realize that their town can only survive the djinns' secret plans if they learn to work together as sisters. An action-packed YA fantasy!

Twins Bianca and Leila could not be more different from each other. Being both Argentinian and Iranian in a small town has always been hard, but with Leila shunning her heritage and Bianca embracing it, the two walk very different paths. They run in different circles of friends, and barely talk anymore. Leila's a homebody who loves to craft and plans on marrying her high school sweetheart. Bianca's more anti-establishment and plans to get out of Dodge as soon as humanly possible.

But on their eighteenth birthday, the neighbor's barn mysteriously burns down. When Leila encounters a monster arising from the fire, a djinn, suddenly she gains strange powers--and can no longer touch iron.

What do these djinn want with Leila--or other people in town, for that matter? Can the twins learn to rely on each other--and their cultures--to banish them? It'll take a sisterly reconciliation for the girls to find out and to save their hometown in this New Visions Award-winning fantasy adventure.

Thank you so much for sharing with us today. Your bio says that you’ve been devouring books since your school days. What kind of books moved you or influenced you when you were a young adult?

Hi Crystal! I read a lot of sci-fi and fantasy as a kid. I was up to my eyeballs in Dune and Ender’s Game in middle and high school. A book I loved was The House of Scorpion by Nancy Farmer and I was obsessed with the Sabriel series by Garth Nix!

Can you tell us a little bit about your filmmaking and how that and writing novels are related or ways that they are different?

I think they are similar in that they are both storytelling mediums. It feels like the same part of my brain is being exercised, just with a different tool. The freeing thing about writing though is that I don’t have to convince anyone to tell my story with me; all I need is a word processor or a pen and paper. With film, you need a lot of outside buy-in to make it happen, and I didn’t have the temperament for that.

I just finished reading Twin Flames and really appreciated the dynamics between the twins. How do you typically arrive at your characters and what did you enjoy about Bianca and Leila?

Bianca and Leila, are, at their heart, just different sides of my myself. For better or worse, I am a character-driven author. I have to picture the protagonists in my head before I can really put words to paper. For Bianca and Leila I would scour IMDB to find actresses who embodied what I was going for and took it from there. I loved writing Bianca’s snark, but I loved writing Leila’s hopes and dreams as well. They were really fun to bounce between.

Bianca and Leila encounter a wide variety of djinn. Were they all types you were familiar with or did this involve some research?

I feel like I barely scratched the surface on all the types of djinn! The sleep paralysis djinn was one I had grown up with (I had it often as a child) but others were in my periphery, I had just never looked them up. Also, the ones I grew up with are unique to Southwest Asia and North Africa, while there are even more in Southeast Asia. It’s pretty cool and I loved researching them and even got scared at times reading about people’s run-ins with djinn!

Do you have any interesting tidbits that you wanted to include in the book, but had to leave out for any reason?

So many. This was the first book I ever wrote and I really had to kill my darlings! A lot of the things I had to remove were family scenes, from an in-depth analysis of the spark plug issue their father was working on, to the reason why their mother had to leave Argentina. There are pages and pages of backstory that just never made it in, along with some even creepier djinn.

Your own family of origin was similar to that of the twins. Were there specific challenges or rewards in writing something that mirrored your own life in that way?

For sure. A lot of the time I would just ask myself “Do I need to explain this?” From having the feast of seven fishes at Christmas, even though the mom is Argentinian, to explaining what Esfand herbs were. Taking off their shoes at the door, pickling things at home…these were all moments where I wasn’t sure if I should expand on them because they were just unspoken truths in my upbringing. Sometimes, writing what you know is even harder!

Is there a question you wish I had asked about the story or your writing process?

The title. I didn’t realize that “Twin Flames” was such a huge part of people’s spiritual beliefs. I had just wanted to write a book about twins who literally had djinn flames inside of them. Whoops.

What is next in your writing journey? 

I have a picture book publishing in January called THE INTERPRETER. It follows Cecilia, a girl who is torn between her normal life of being a soccer-loving kid, and her not-so-normal life of interpreting English to Spanish for her parents. It is very close to my heart!

Thanks again for taking the time to answer questions about Twin Flames. We're glad it's out in the world for people to enjoy. 

Growing up in the DC area, Olivia devoured books and hid in empty classrooms during school to finish them. Her debut novel, Perfectly Parvin, was published in 2021, receiving the SCBWI Golden Kite Honor, YALSA Odyssey Honor, and numerous starred reviews. Her sophomore novel, Azar on Fire, was published in August 2022 and a SLJ pick. Olivia's third novel, Twin Flames, is a New Visions Award winner. She currently lives in Denver, Colorado, with her husband and daughter.

[anulithots]

Do you mind if I ask your top 10 favorite characters (can be male or female) from all of the media that you loved (can be anime/manga, books, movies or tv series)? And why do you love them? Sorry if you've answered this question before.....Thanks...

I haven't been asked this question before, so thank you for asking!

I'm not sure if I'm going to run over ten, so I'll include duos/dynamics as well. (That was a mistake.. this is soo longggg. Thank you so much for asking but I don't think you knew what you were getting into. /pos.)

(In no particular order.... and I've written a lot about most of these characters, sorry if it's a bit long <3 )

Just a note that my JJK analysis's are up to the Hidden Inventory arc. I keep rereading that one to avoid the pain of the Shibuya arc... but I should be on my last reread for now!

Character quick list:

Donnie and Mikey from Rise,

Teacher and Shiva from The Girl from the Other SIde,

Itadori yuji, Megumi Fushiguro, and Nobara Kugisaki from Jujutsu Kaisen,

Satoru Gojo and Suguru Geto from Jujutsu Kaisen

Inej Ghafa and Jesper Fahley (sorry if I spelled thier names wrong!) from Six of Crows

Emma, Norman and Ray from The Promised Neverland

And I really liked Roz from the Wild Robot, and The Magnus Chase series, but It's been a while since I've read them. Currently reading 'A tale for the Time Being' and I like Nao's deep thoughts and unabashed honesty. She's also quite dark and casual about dark themes, and it does feel like how my brain used to be... dark stuff is casual there.

I do like Katniss Everdeen from the Hunger Games. I watched the movies but have not read the books yet, and I want to before I start analyzing. I also want to read Sherlock Holmes so... yea.

#1: Donnie and Mikey from Rise of the Teenage mutant ninja turtles

Donnie is literally me. From the way he pronounces random words from his theater kid energy to his obsession with science. (I don't like physics but I'm writing a fanfiction on biology soooo....) I have a need to be useful otherwise I'm wasted space (because the information is more useful and important than the individual), go on infodumps for hours, get irritated and defensive easily and overall, I've never related to a character more. I just don't have the same empathy levels. For that I share traits with Mikey. I like being overly nice and trying to listen and make everyone feel heard. I also get very emotional very fast and constantly need hugs.

Also his relationship with Mikey reminds me of two of my siblings.

Rise of the teenage mutant ninja turtles took me out of a depressive period with the most intense hyperfixation I've ever had, and it's the first time I've read fanfiction (Like father like son..... sobs)

#2: Teacher and Shiva from the Girl from the Other Side.

They have the most wholesome found family relationship ever. The pain they give me is insurmountable. Every time I reread the manga I have the widest, dopiest smile because the wholesome scenes are so so so pure. I don't see a lot of stories that let the mundane be that special.

Also the way Shiva's written is just.. chefs kiss. Because she isn't written as an annoying child. She thinks she's being helpful, and she is helpful. All she wants is to keep everyone together, and for everyone to be happy, and the thing she hates the most is people hating her/being scared of her.... and the guilt. The most depth-filled child character in existence here.

And teacher... Just... *screams*. His overthinking and endlessly caring demeanor. The way he second guesses everything he does and worries so much that he gets worried about worrying. He's also quite hard on himself.

And I think they are supposed to represent the two sides of loving others. Shiva is the 'they make me happy and I can help them' part. The wholesome, childlike side.

Teacher is the worrying side. The side that tries so hard to protect the others that their anxiety drives them crazy.

(I got up to the second delux edition.)

#3 The Tokyo Trio (Itadori, Fushiguro, and Nobara) from Jujutsu Kaisen. (my most recent hyperfixation.)

Itadori: His fear of regretting his life, using a role to avoid that, making sure not to think about his execution or his death too much. Him trying so hard to help others in a way only he can do. Using 'dying a natural death' to justify to himself that he's okay with this (he isn't). Fearing death that he doesn't have control over. Structuring his life around caring for others. The sweetest bean here.

Fushiguro: HIs morrallittyyyyy. The way he needs to be the one to deliver fairness because the world isn't fair to him. The way he thinks bad people shouldn't be saved, that they deserve retribution, and that good people will let themselves suffer because they are good. So Fushiguro is going to protect good people as much as he can (see Itadori.) Itadori and Fushiguro's morality struggle is sooo interestingggggg aaaa-

Nobara: She's the strategist of the group, the one who'll keep emotions out of the missions so she can enjoy herself later. Kill people? Well, it's part of the job, she's not going to let that effect her. She tries not to get attached to people, and values enjoying herself in Tokyo. ITADORI AND NOBARA'S DYNAMIC IS SO FUNNY (and she would've gotten along with Gojo... I just want an episode with them accidently meeting each other on a shopping trip and getting into trouble.)

And I'm sorry in advance for all the writing I'm about to include:

Fushiguro:

Nobara:

#4 Suguru Geto and Satoru Gojo from Jujutsu Kaisen

(Also I love Shoko despite how little screen time she gets. )

I've analyzed them here and I'll include my notes and written analysis... but overall...

They encapsulate a comfort and trust and love for each other that I rarely see. It's something indescribable and special. They truly transcend labels for each tother and just.... yeah the relationships and dynamics in JJK are on another level. I've ranted about them before <3

AND I'LL RANT ABOUT THEM MORE:

#5? Inej Ghafa and Jesper Fahley.

(I read this before I started writing my analysis's down. Everything from here on out has less writing. Thanks for being patient with me <3)

(I prefer book them to Show them tbh... although I haven't watched all of the show and I prefer books/manga to shows sometimes because it's easier for me to analyze as I'm reading and reread)

Also it's been a while and I'm doing some analysis from memory so I apologize for any inaccuracies!

Why I like Inej: Her making herself a tool for others so that she could survive. She put her own wants and past to the side so she could become dangerous, so no one could take advantage of her again. Her growth to chasing her dreams, living for herself, saying that her heart aims true for making the world better. She has such a good arc.

Why I like Jesper: He's impulsive and silly and him not being able to get rid of his addiction to gambling even though he's aware of how it's making his father more in debt. Him using a skill he has (sharpshooting) to express his Grisha powers and not wanting to acknowledge that he's a Grisha. ALso him and Wylan. Adorable.

#6 Emma, Norman and Ray from the Promised Neverland.

(last one for now!)

Emma's caring nature and will not hesitate to beat you up if you're being self-sacrificial. (I wish they went more in depth with Emma's disregarding other's emotions to do what is best for them. Could've been cool conflict). Her wanting to save everyone no matter how hard it will be, loving her little siblings so much. The betrayal of Isabella towards her. ('She didn't like the tests, but she liked her mother's praise'). How scared and conflicted she became. How much she mourned her old life.

Ray's cold cut nature, practical, resourceful. His backstory in which he had to live with the death of his siblings for years, to the point where he resolved himself to save only Norman and Emma. His preparation for years and years to make sure they were safe. Not wanting to save all of the Grace field children because it would doom them all.

Norman knowing that they might not be able to save them all, but wanting to try for Emma. How much he strategized, how hard he tried. How he's in between. How scared he was for himself, how much he admired Emma's care for others, how he tried to strategize for all of them. How he hid his pain and fear.

______________________________________________________________

ThANK YOU SO MUCH FOR THE ASK!

and to all my mutuals/followers, @mylee-sketches, and anyone else who stumbles across this post...

yes I hyperfixate.

[incorrectgallaghergirlsquotes]

Hello!!! Would you please make something about the scene before Zach sleeps in cam's bed in UWS? ( Like immediately after his mission with joe) cause he said he got stupid? Thanks!

Hello! You guys! This goes in the basket with the scene where he finds Macey instead of Cammie. I love this scene. I think I have an in depth analysis of it in my drafts. (Update: I DO. I'll post it next.) Let's do it!

Rachel softly closed the door to her office. The man inside would be fine for now. The boy in the hallway, however...

"Thanks for getting him back in one piece." Rachel told Zach. He was leaning against the wall, hands in his pockets, and not looking at her.

"It was the least I could do," was all he said. "I can, um,"

"Stay." Rachel interrupted. "Zach, these things happen. But you both made it back," she placed a hand on his shoulder. "That's what is important."

Zach looked from her hand and then finally to her face. Finding only sincerity there, he nodded.

She smiled at him. "Good. Besides, I think my daughter will be very upset if she doesn't get to see you when she gets back."

Zach inhaled, of course Rachel had anticipated the question he had wanted to ask. "Is she...?"

"She should be back soon," Rachel said. "You should wait for her."

Zach nodded. He moved to follow her back into her office, but Rachel blocked him. "Why don't you head up to the girls room?" she asked.

Zach seemed taken aback by the suggestion. He blinked at her, trying to judge if it was a test or something. Rachel just smiled at him. "They should go up there directly after arriving anyway. If not, that's where I'll send her. She'll be happy to see you."

It struck Zach in that moment that somewhere along the way, Rachel had decided she trusted him.

She was still smiling at him. "I trust you know the way?" When he nodded, she waved her arm in dismissal. She went back into the office to tend to Joe while Zach made his way through the halls.

As excited as he was to see Cammie, the guilt over what happened on his mission with Joe was weighing on him. With every step he realized he didn't know how Cammie would be returning. What if she had been hurt? Rachel hadn't said anything, but maybe she didn't know yet.

He reached her door and paused. Maybe this was a bad idea. Or maybe it was the self sabotage talking.

The girls had locked their door, which Zach had anticipated. That hadn't been a problem in the past (a thought that he hated out of context). It did strike him that Rachel had also likely anticipated that and that Zach would still be able to get in.

Their lives were weird.

The room was different without at least some of the girls present. It still had the lived in, homey feel and character of the four girls it was just... still.

He found himself moving around the room, the door clicking shut behind him. He had never spent a long amount of time in the girls room and when he had been in there his focus had been on one thing in particular. It was like, for the first time, he processed there were things in that room. Books and make up and scrunchies and pens and trinkets pertaining to each girl. He found himself walking around Cammie's bed, gaze trained on her bedside table.

There was a picture of her and her mom and another of her with Bex and Liz, probably from their first year. Next to them were photobooth pictures of them with Macey, possibly from the semester Zach had been there. There was a tube of chapstick, a few hair ties, a necklace, and other usual items. It was interesting how a few years ago he would have looked at all those items to learn about her, but now it didn't tell him anything he didn't already know.

Without anything else to occupy himself, he suddenly felt awkward. What was he supposed to do until she got back? Standing in the room felt weird, but so did sitting at her desk, or on her bed. He was still by her bedside table so he sat on the bed, testing it out. He wasn't facing the door so he didn't feel quite like a puppy waiting for it's person to get home.

It was then that he realized, in typical Cammie fashion, she hadn't bothered to make her bed before leaving. Which he could single her out for because all of her roommates had made theirs.

Smiling, he at least rearranged her comforter so it looked more put together. She'd likely be tired when she got back, he knew he was. Although, it hadn't hit him until he sat on her bed again. The beds at the Gallagher Academy were the most comfortable he'd ever been fortunate enough to sleep on.

Careful to keep his shoes off her bed, he let himself recline back. His head fell on Cammie's pillow and he became engulfed in the scent of her shampoo. And just... her. It was sweet but subtle. Flowery and... something else.

Zach hadn't planned on his eyes drifting shut. He caught himself a few times and tried to shake himself out of it. He couldn't, however, bring himself to get up again.

Ultimately, Cammie won out and he drifted off to sleep. Surrounded by her both physically and in his thoughts.

It paled in comparison to waking up to the sound of her saying his name. He opened his eyes and there she was. Perfect.

[kaus-quietis]

Greetings, Anon! Thank you for your questions. I have to admit, even in the past, I refrained from posting reactions or speculations as BSD chapters release, but you already knew that, so I will indulge you. I'll answer each part of your ask. BSD ch113 thoughts below, manga spoilers ahead.

♠ "What was your raw reaction?" It was not a calm, quiet one, I can tell you that. No, in fact I screamed with excitement as if I was in a Roman amphitheatre and my favourite gladiator just got back up on his feet, out of sheer force of will, grinning and sweaty. My scream was the fastest way I could "verbalize" the fact that I was overjoyed to see him alive again, even if it's in the 15th century, and on top of that he seemed to be some kind of spy monk all chained up and having what seems to be a ridiculous amount of fun getting caught and discussing with Bram. This is all very in-character for him.

♠ "Was that something you expected?" Absolutely not. Yes, yes, I truly did not expect a jump back in time and this infobomb drop, despite the fact that we did get a few hints that Fedya seemed present at past events when all the other character really appeared younger than him (near the end of S4ep3, where on a rooftop Fedya says "It's not V, it's Five" and I am seriously like bruh I give up what I want to say is I need more data to work with, what am I supposed to do with this, rationally speaking?). However, we can't yet extract anything conclusive from this. Is he ageless? A time-traveler? Immortal? Does he revive? When was he born? Was he born at all or created differently somehow? Is he of BSD's world, or an external one (Beast liveaction finale anyone?)? Is this all within the Book and he's just… idk flipping the pages? Anything is possible and I refuse to spend a lot of time working with incomplete data. This is not very follower-friendly (as in, my blog is basically inactive in-between), I know and I apologize, but if after many chapters there will be something worthwile to add to my essay (with what Fukuchi said in ch113 I already have important stuff to add), under those circumstances I will consider writing an update. It's not yet time.

♠ "<Was that> something you felt different for the characterization we all made for Fyodor?" Hmm, I would hesitate to refer to a characterization "we all made" for him (I wish! T o T), because my analysis and blog are but a tiny tiny part of the fandom (I think…? I wonder about my Fedya essay's reach or influence sometimes). But let's say here we refer to one that comes close to what I tried to show in my essay. In that case, I would say that there is nothing to fear here in this chapter, but it's very understandable to have massive trust issues at this point. We went through a miserable, miserable time when the previous ones made the guy who visually memorized a full deck of used cards somehow not notice Chuuya wearing contacts and fake vampire teeth, despite knowing the vampire race since… well, the 15th century! I cannot even begin to describe what I felt reading ch111.5-112, I was beyond repulsed. Lovers of "villain" characters understand the following thing well: in most media, our fav has to lose, he has to die or disappear at some point, with rare exceptions. I, too, know this well, but that was no compelling way to solve BSD's villain threat. I still don't know how BSD will wash away that narrative stain, as I consider it, but then again one of the reasons we love this manga is that it keeps us on the edge of our seats and the most absurd yet fun turns can happen out of the blue. We can reasonably ask ourselves: ok, what is the purpose of showing Fedya's backstory now? If it's for build-up, we can already start grinning like Cheshire cats. What could possibly be next? I'm cautiously optimistic, things look in-character and good to me. Very good, in fact.

♠ "Or do you think it is later on going add some depth to his character?" Backstories are shown usually for a very clear purpose. We don't know the purpose yet, but if it's done well, then… then my whole essay could be at risk lmao (and I love this sensation). New info could add so much depth to his character, in fact, that his previously observed traits could gain new meanings, or even contradictory ones. Whichever it will be, I think it's pretty safe to bet on "his backstory will be very relevant".

♠ Bonus: even if I enjoy going "full analytical" and enter conference speech mode when asked, I am driven by strong emotions, by which I want to say – I am not immune to assassin/spy monk Fedya chained up like that and having the time of his life again. I missed seeing him entertained like that, and his current …………. visual representation in the.. uh. ..chapter, yeah, well, it's doing things to my Depeche Mode-worshipping heart.

Anyway, to conclude with some facts we know as of now:

a. Fedya and Bram are inside the Bran Castle, close to the Romanian city of Brașov, "deep in the Carpathians" although not built at high altitude itself. It's basically a fortress built between 1377-1388, with several later additions. The BSD representation of it is very accurate to how it looks today. It's near perfect, actually, I applaud.

b. Bram mentions King Matthias, and in this context that can only mean Matthias Corvinus, King of Hungary for 1458-1490. The meeting between Fedya and Bram thus happens some year during his reign, when Transylvania was still part of the Kingdom of Hungary. What is still strange to me is that I can't pinpoint Bram's exact position, as in… were his people independent? Or avoided? I feel like I need to re-read past Bram-related chapters to think about this.

c. Nevermind Bram, the things that Fukuchi says, those are the real goldmine here, but the gold is still… encrypted? I mean: Fedya made the DoA plan (more than confirmed now), and because Fukuchi asked for the condition to keep casualties under 500, Fedya respected that and we got entertained for like half of the whole BSD manga: using coin bombs for terror, for economic/political destabilization, using the vampire infection to avoid further violence, these things. The more you think about it, the more insane it gets. Since Fedya agreed to this condition, it means causing (more) deaths and violence were expendable things to him. (But imagine this: Fukuchi said "I want max. 500 deaths" and Fedya said "Yeah I can do that", now if Fukuchi would've said "I want max. 2 deaths" I really believe Fedya would've still said "Yeah I can do that". What can't he do, especially since murder for murder's sake isn't his goal?). This is in perfect harmony with his "necessary deaths only" approach so far, and much much more. There are far more implications in what Fukuchi said, which I won't type out here now. Gotta keep them and build around them for a future analysis update.

This was a rather long read, but still, I hope this satisfies your curiosities, Anon. *bows dramatically & disappears in a borderline insufferable ENTP way*

[merrivia]

your essays of literary analyses for captive Prince  fascinate me, amuse me, entertain me (in the "wow, this is so cool" sort of way and "maybe I'll read this whole thing again"), educate me, and get me thinking harder about my own reactions to the books.  I believe that I do my own level of analysis as I read, seeing many but far from all of the same things, and stopping as I go to say, "hey, waaaait a minute" or go back and reread relevant passages earlier in the book or in earlier books. but I am very far away from being able to put things together the way you do. 

 I do a few simple things, like collecting multiple examples of something (I did that for showing that Damon is the kind of guy who gets "annoyed" about things that might or might not send the rest of us into a rage), and another too-long one why I thought "I speak your language better than you speak mine sweetheart" comment happened.

… I do have a question. Here it is. How much of the content of your essays are you consciously aware of while you're initially reading,? How much prep do you do for your essays – – outline? A few of your own cliff notes😁? Or or do what I mostly do, to the detriment of my material but not yours, and just start writing?

Oh wow, thank you so much that’s such a huge compliment! I’m always so happy to hear people enjoy the metas/essays I write, genuinely. I would love to read the posts you mentioned you wrote! I’ll hop over to your page and find them after I post this.

So I don’t really do any prep at all! No notes, no outlines, no plans. I’ve re-read the books 4 times solidly in a row, and want to do a 5th soon (I’ve given myself a little bit of a break, so I don’t lessen my love of it through overfamiliarity!). I think at this point my mind just picks up on patterns and starts to weave things together, subconsciously? Something will just occur to me and I’ll get the urge to write about it. I’m a big believer in that coming from the texts; I still find lines or paragraphs in the books so interesting and intriguing and the way Pacat writes…it’s so rich that there are many aspects to explore.

I also really believe in the power of reading around and seeing where that takes you too. Originally my essays were completely just what came from my mind, but I’ve started leaning towards letting other ideas shine their light on the books too. With my latest post, I knew that Damen’s trauma was different to Laurent’s but I also knew that I was no expert in trauma responses and wanted to read more about it, happened to stumble on Tick’s work almost immediately which just felt like such a powerful connection as it draws partly on classical traditions and I started to put the essay together.

I always come from a point of ‘things are more complicated than they seem’ about pretty much anything and I’m always very wary about people that try to oversimplify discourse. A simplistic reading of Damen’s character would say ‘he’s not got emotional complexity, he’s just a horny jock dressed up in Akielon clothing’ and honestly that’s just so reductive and not true but also…boring, and is essentially a discredit to Pacat’s intelligence and skills. Once you start thinking there’s more under the surface here, you can start to plumb the depths.

I do follow a rough introduction/main/conclusion structure as per any essay, which helps? I’m pretty much trained mentally in the English way of writing literary essays so I do it automatically. I hadn’t realised this till you asked but because I really enjoyed the books and don’t really see myself negatively critiquing them, my conclusions reflect the happy ending of the books where I tend to see things positively? So the end point is kind of already in place. I think the points I make follow similar essay style patterns; start more broadly, then narrow down like a funnel or start a little more chronologically and then move forward (like establishing who Damen is first, and his warrior status is going back to how he was raised, then we can use that to inform his initial reactions in CP before following that thread all the way to The Summer Palace). I’m fond of what appears to be a tangent but is actually a loop back, that illuminates (like I talked about violence as an intimate act, having read that in Tick’s work, and how Laurent particularly provokes that from Damen but that led me to realise if you do choose violence over love as a form of intimacy, you are going to have to pay a price for that).

Ideas do reveal themselves through the writing. Once I’d read that warriors could heal and reintegrate through society recognising them (Edward Tick actually performs these “Warrior Welcome Home” ceremonies for combat veterans, as part of a healing process) I thought well Damen had that in Akielos, and then it was like a little lightbulb moment of ‘Ah but by being in Vere, and around Laurent, he’s gone from hero to villain’. And Laurent has suffered the anguish of being vilified and having his character destroyed, and actually doesn’t realise he’s doing the same to Damen (I didn’t put that in, as there’s only so much you can write! Sometimes holding back on your ideas is good too, to keep the essay tighter. Incidentally one day I am going to do more metas on Laurent and his feelings towards Damen but I’m so respectful of his labyrinthine mind that I want to be very certain of my ideas before I do!).

I hope that kind of answered your question! If you ever want to chat about CP stuff you can absolutely dm me, I love talking about the books ✨

[just-a-girl-who-likes-sharks]

why weren't you a big fan of 1984, do you think? I would love to here an in depth analysis :D

I would like to start my answer with saying that, as a whole, 1984 is a provocative critique on society and humanity. The world building was solid, the system created into this world was impressive and thought out. The point of this book was to show how dangerous a modernizing totalitarian society is and in that regard, this book definitely succeeded. I can say with 100% certainty that, had it not been for the main character Winston, I would have loved this book.

Instead I hated this book with a passion because of the characters. Now, I can read books with unlikeable characters if they’re well written and the way they behave makes sense storywise. Gods know I read The Secret History with all its unlikeable characters and I still consider it an extremely good book.

What made the characters in this book awful is, plain and simple, misogyny. Starting this book, I knew what I could expect considering this novel was written in 1949. I’ve read books by men from that time before so I was ready for some outdated views sprinkled between the pages of an otherwise good story. Instead this book gave me a main character who in the very first chapter fantasises about violently assaulting and raping a girl because… she walked passed him and didn’t look at him. Because she wore a red sash that indicates she is part of the anti-sex league and would thus never sleep with him. And because of that, because he knows she would never allow him to touch her even though he wants to, he fantasises about bashing her head in with a brick and then violently raping her. This fantasy went on for an entire page and made me really hope that George Orwell never married because I pitty whatever woman married the man who could write such filth in a way that is supposed to make us feel sympathy for Winston as a character.

What made this even worse, is that the woman in question, Julia, becomes the love interest later on. It is revealed that she is part of the anti-sex league as a facade and is instead very promiscuous. The way this woman was written was disgusting to say the least. She and the main character start a relationship that starts after she declares her love for him, even though they have never spoken before. All they do is fuck and talk about how much they love to fuck. Half of Julia’s dialogue is about how much she despises other women and the other half is about how much she adores Winston. Winston even tells her about his violent fantasies about her and she just laughs and thinks it’s funny.

Winston, too, talks in depth about how much he despises women. Wether he talks about his mother, his wife who vanished, or the random lady who puts up her laundry and minds her own business, he always takes the time to remind either Julia or himself how much he despises every single one of them. I doubt he even loved her, especially considering that there’s a thirteen year age gap between them and when talking about their relationship, he always says that she is a girl and he is a man. George Orwell always makes a ppint of comparing Winston’s aging body with Julia’s young and perky and beautiful body!

Reading this was like readong one of those Reddit posts from an AlphaDudeBro™️. Can you imagine the icky feeling already? That’s what the entirity of this book was.

If you read all the way down here, thank you very much!

[steelycunt]

Ridi, Ridi, sweet Ridi,

I have a question to ask. I’m re-reading Giovanni’s Room after a looong time and - well. I’m feeling so many emotions.

When they talk about the American perception of time, and the European perception of time, I just had to underline so many things because well - I live in Italy myself and the perception of time is truly different here from other countries.

What is your take on that? I would be so so happy to hear it!

Hi hello bab! Firstly, sorry for being so late to reply! I wanted to hold on to your ask, because when it came in I knew I also wanted to reread Giovanni’s Room soon, so I wanted to save it for once I’d done that and had a fresher memory of the book!

I’m not sure I can provide much depth of analysis (my English A Level has not stood me in good stead xo), but I do always find David and Giovanni’s first conversation at the bar really interesting, even if it’s a bit of the book I have more trouble on pinning down. David’s consistent, futile reliance on physical relocation (away from America, from Paris, from the house in Southern France) as a means of escaping that which is part of him, whether it is an aspect of his identity or the guilt of his own actions, sends him all the way to Paris (There is something fantastic in the spectacle I now present to myself of having run so far, so hard, across the ocean even, only to find myself brought up short once more before the bulldog in my own backyard, etc….) and has him try to escape the ‘funny’ USAmerican sense of time and meticulous control of one’s own fate that Giovanni describes, wherein with enough time and all that fearful energy and virtue you people have, everything will be settled, solved, put in its place (it’s probably also worth noting that you get the impression that when characters speak of Americans, they seem largely to refer to white USAmericans, for example Giovanni saying, you are all merely emigrants. And you did not leave Europe so very long ago).

I’m not sure exactly what my thoughts are as to whether—and how—time is perceived differently in different places (and in different cultures, which I expect would be more significant)—so I’d love to hear more about your thoughts on that and how it manifests where you’re from! But the way history and time and fate are linked in conversation between David and Giovanni in the book is sort of my main takeaway from it I suppose; the idea that in American cities, like New York, one feels all the time to come, and thus—Giovanni argues—one feels time has the capacity to settle and solve all the serious, dreadful things, as opposed to Paris, where one feels all the time gone by and thus accepts certain powerful, unchangeable realities of life/the ocean. I don’t know if I’d necessarily agree with those conceptualizations (and obviously, they’re very generalised), but considering that David comes to Paris for a sense of freedom from his so-called American perception of time and fate as something that can be controlled, he still doesn’t really abandon that approach—or at least up to and beyond the death of Giovanni he attempts to deny certain realities, even if he cannot control them (he seems to try and control/reject the things he can’t, while escaping responsibility for those things that he can): you think you came here covered with soap and you think you will go out covered with soap—and you do not want to stink, not even for five minutes, in the meantime. Between the two perceptions of time offered, I felt as though the book’s events seem to present Giovanni’s as more convincing, but that might just be because David as a character is perpetually in denial, and perpetually fleeing reality and consequences; as for the specific differences between how different places experience and perceive time, I’m not sure what I think about that concept! I would love to know what you made of it! Sorry my response is so late and a little. Nothing and all over the place fdsfhgdhfds! But thank you for your ask!

[cosmicjoke]

Hi 👋

I really like your analysis and insights on attack on titan. It provides the depth that many mistakes about the show. Attack on Titan is a very great show.

I want to start watching interview with the vampire. I would like to hear review on the show

Thank you

Hi there! Thank you so much for your kind words, truly. I agree, "Attack on Titan" is an incredible show. One of the best things I've ever watched/read.

To answer your question, I've written a fair amount on my opinions about "Interview with the Vampire", both the show, and as I went through the book series. But since you asked about only the show, I can say right off I definitely recommend it. It's a very high quality production in terms of the acting, set design, and just overall effort put into it. I'll be watching the coming second season.

Now, if you've seen any of my posts about it, you've probably seen some of my criticisms too. Most of that just comes from my dislike of certain creative choices they made with the characters, and in particular, with Lestat. It just deviates from the source material a little too much for my liking in terms of how I think Lestat, and even some of the other characters, would behave. But I wont disregard the entire show based off of only that. Like I said, it's a really well done show, very entertaining and dramatic at points, and will keep you drawn in and interested. I'm curious to see where they'll be taking it next season, to see if any of the issues I had with characterization get resolved, or how they handle explaining certain things. There's a lot of speculation that certain things will be changed, or be shown in a new light which re-contextualizes certain events, and I'm hoping for that, honestly, because I want to keep watching. If those things DON'T get changed, well, I'll be disappointed, and continue to criticize the show for what I think is mischaracterization. But otherwise, I would recommend it. I think you'll enjoy it a lot.

[misspoetree]

Give me mirrors and I give you analysis

I feel like nearly every single one of us has already lost their mind over the last ~6 minutes of episode 7 and written an in-depth analysis about it, pointing out some ridiculously clever, insane, beautiful, kinky detail. And I love that for us. 

But still: let me add my own thoughts to the burning madness and talk about the mirrors for a bit. Because using them in the scene like that was just a stroke of genius - on multiple levels.

Years ago, I went to a lecture about "Jekyll and Hyde", focusing on the representation of inner struggle in media. Regarding movies and TV-shows, the first thing the professor told us was this: "Look for the mirrors, look for the reflections. Organically doubling a character on screen like that, breaking them up into two (or more) versions of themselves - it's the oldest trick in the book, the easiest way to make inner struggle accessible to the audience."

It's very obvious in a way and yet it stuck with me - because once you realise the meaning behind the movie-usage of mirrors, you can’t ignore them. Because they are EVERYWHERE.

But back to KinnPorsche and the scene in question. Let’s start with Vegas. We as the audience know that every single one of his moves, every single one of his decisions is laced with bad intentions, with ulterior motives. He’s the most two-faced of all of them, especially with Porsche who still doesn’t know half of it. It would have been an obvious (and sensible) choice to use that old “mirror trick” with him, an easy way to drive the fact that he’s two-faced home. And yet they refuse to do it that way.

We only catch a glimpse of their reflection together as they enter the bathroom. Maybe a fleeting glimpse into another life, a fleeting what-if. Their reflection is never the focus though. Vegas is not the focus.

The camera only shifts after Kinn shows up, after he sends all the others away.

Because now it’s getting REALLY interesting. Because now we get to the part that’s about choices, about roles, about violence and love, about control and trust.

So, we get to see both them and their reflections at once, get to see the two sides of their personalities, the two sides of their relationship beautifully represented like that.

And still, they keep the mirrors and reflections so interesting, so dynamic.

Because let’s look at Porsche for example: we don’t see their reflections when Kinn is towering over him, making him small and vulnerable, but as soon as Porsche starts to push back, as soon as he stands up for himself, we get to see his reflection - and only HIS reflection. [It’s so brilliant I want to cry.]

Later, Kinn pushes Porsche against the mirror - and we don’t know what he will do until he finally apologises (thank God!).

But at this point, they’re both facing the mirror. Face to face with themselves, with the two sides of their personalities. Forced to self-reflect for a moment, forced to face the two sides of their relationship. To make a choice, to fix or break.

And then: light.

The mind-blowingly beautiful utilization of light when they finally face each other, reaching a deeper understanding of themselves and each other, an acceptance of an apology given.

No need to “explain” the kinkiness of the mirror in the things that follow or how aesthetically pleasing everything is.

But let me ask this: how did a BL show manage to reach THIS level of arthouse artistry?

Because I will certainly never be the same after this.   

[make-a-little-mischief]

Greetings to all! I proudly present the first post from my sister Lauren. It is an examination of one of her favorite characters from one of her favorite Matin & Lewis movies.

*Disclaimer: This post is the most seriously unserious, hysterically inflated yet totally insightful in depth analysis of one of cinema's most uncomplicated highly complex characters; please keep your tongue firmly in your cheek at all times and read with a degree of whimsical appreciation. Thank you.

PART ONE

My Sniffly Sailor Bold: Exploring The Unexpected Ethos Of Sailor Beware’s Melvin Jones

“Melvin. - MELVIN?!” First inquired on Colgate, the riddle resurfaced in Sailor Beware. We are introduced to a young enlistee in the Navy, Melvin Jones.

The quiet type. Goes to bed at nine. Sees a movie now and then. Reads some books. Plays checkers. Yet the question persists: “Melvin?”

Why do we ask about Melvin? Who is Melvin, deep down? The answer is right before our eyes, and troubling.

Melvin Jones may just be the most existential character explored by Martin and Lewis in their partnership. Our first clues to his true nature lie right in his introduction. As he sits outside the recruitment office, he speaks with the “doorman” (a.k.a. Chief). Melvin explains that his doctor has recommended ocean travel for health reasons - his allergies. Yet Melvin cannot afford a vacation, hence enlisting in the Navy.

We know two things: he has health issues, and he has financial troubles.

Then, when he meets his soon-to-be and seemingly only friend in the Navy, Al Crowthers, Melvin elaborates on his health issues. He’s allergic to women’s cosmetics. His own mother would not risk getting too close to him.

A picture begins to develop: A young boy, whose own mother would not provide for him comfort and closeness on account of his health. He could have love or life, not both. This suggests that perhaps the reason a young man with such a gentle disposition opting for the naval life goes deeper than simply “doctor’s orders”: while it may be a lonely life, with much risk to his safety, it is a life devoid of women & may in fact be the only place where he could live a full life - if not a very long life.

During the enlisting process, he is asked for his surname, which he mistakes as the recruiting officer calling him “sir.” To this, he informs the officer that he does not have to “talk so polite to [him]. No one ever does.” First no motherly love; now, no basic respect. What background must this young man have experienced to never encounter someone being as barely polite to him as to call him “sir”? The picture grows darker…

In his physical examination, we learn that he has had erysipelas, appendicitis, mumps, whooping cough; eye, ear, nose, AND throat trouble; hay fever, and other illnesses unnamed. He appears to also have no sense of taste, as he consumes a thermometer -

It is likely that for the rest of the film, we are witnessing a man suffering from mercury poisoning; he lacks blood pressure, which is no surprise, as we can hear, he lacks a heartbeat as well.

But, all illnesses considered, Melvin shall indeed receive his ocean travel, as he is accepted into the Navy. The only thing left to do is to type his blood….

A feat Herculean in nature, we soon find out.

Melvin flees from the needle, seeking sanctuary behind the doors of a blood bank where he meets Miss Hilda Jones. The one woman to whom he is not allergic. A light of hope in the apparent darkness of Melvin Jones’ existence to this point.

Hilda enquires about where he was born. A Freudian slip reveals that Melvin may know where he was born, but not why.

Furthermore, as he believes she is asking about his trips to a financial (not blood) bank, Melvin explains that he has gone to the bank three times to get loans. It appears his financial troubles were grimmer than a simple lack of travel funds….

While we don’t see him getting his blood drawn at the bank, we do, afterwards, see the Navy attempt to type his blood - and come up short. Melvin’s friend, Al, witnessing this anemic event, makes a joke…. only to trigger another concerning reaction from Melvin:

[AL]: You sure you’re living?

[MELVIN, MELVIN?]: Am I sure I’m living? [laughs]

[concerned] I don’t know.

Continued in part 2...

[starfire-s]

here’s a list of the best, mediocre and worst kdramas i watched in 2020

no one asked for this but it’s happening because i have thoughts (also all opinions are my own if you disagree then get well soon i guess... no i’m kidding make your own posts about it don’t hate me please) ahsjsj anyways click to read a lengthy post and if you actually read the whole thing then thank you i hope you enjoy this wild ride! 

THE BEST KDRAMAS -

mystic pop up bar - this show had everything i ask from a kdrama literally i can name it all found family (to real family), well thought out characters, a mystery plot, special effects, soft romances that were well written, a happy ending! no show in 2020 even comes close to how good this one was! the writers literally guided you throughout the whole thing so you could come up with theories and didn’t do a ‘aha! gotcha’ thing where they want to prove the audience wrong but they wanted us to be right and satisfied! the worst part about the drama is that it’s still so underrated and people just brush it off as some random fantasy show but it’s so much more than that! 1000/10

flower of evil - who doesn’t want to see lee joon gi being the son of a serial killer, living with the name of a man who is in a coma, and hiding his real identity from his wife who is a detective? this show constantly had me at the edge of my seat on a weekly basis so the emotions i went through while watching this are unparalleled! the writers also did such a good job on writing a coherent story that made sense and tied up all the plot points in the end. just a really satisfying show to watch! 10/10

where your eyes linger - i literally bought a $8 viki pass to watch this show so it should tell you everything you need to know about how i feel ahsjsj the episodes were 10 minutes long but we got a good story with well written characters who got character development in a total of 80 minutes it’s insane! honestly it’s still hard to believe this show had rookie actors because they were just so emotive that you could feel all the happiness, sadness, yearning and pining! probably one of my fave kdramas this year because of the acting that i always constantly rewatch! would recommend 10/10

crash landing on you - okay so this drama was actually released on my birthday last year and it was a time in my life when i was going through a lot so maybe it’s the comfort this show provided me through that time this is why i have such a soft spot for it? like the romance was good, it was funny, there was found family, the nk soldiers were all softies, there were strong female leads, soft male leads!!! ahh!! no other show on this list made me think about the unification of south korea and north korea irl because i wanted se ri and jeong hyeok to be together 4ever! but the only issue i had with this show was the ending they gave seung jun if they didn’t do that i’d give this show a 10/10 but just for that they get a 9/10

psycho but it’s okay - this was one of those shows where you’re literally like ‘wow everyone here needs therapy’ but this show was amazing i loved the story telling and how each episode related to children’s book/fairytales! the writers also did a good job with how carefully they talked about mental health in depth without villainising their characters but actually tried to make the audience understand why they were this way which included all the side characters too who had a well thought out story in each episode! also the dynamic between moon young, kang tae and sang tae was everything to me the actors all did an amazing job portraying their characters, it truly was a healing drama. the only thing i didn’t like about this show was the whole plastic surgery plot with the mother like that was very far fetched but it provided drama so i’ll let it slide because the rest was amazing. this show is a solid 8.5/10

18 again - another underrated gem! who would’ve thought a remake of that zac efron movie could be this good!! lee do hyun stole this show for sure the way he portrayed his character and gave heart eyes to his kids (when he’s only 25 irl was the best thing i saw this year ahsjs) i loved the family dynamics in this show, i loved how it talked about what it’s like to be young parents and how society still think it’s taboo to be divorced! it’s a show that makes you laugh and cry at the same time and that’s why everyone should watch it! however, the biggest clown thing this show did to me though was that i got sls for the first time while watching a kdrama... hwang in yeop if u’re reading this i love u and u deserved better 🤡 that aside this show was a 8/10

itaewon class - i actually didn’t watch this drama as it was airing because i thought i wouldn’t enjoy the plot but when i watched it i binged the whole thing in 2 days and my biggest regret is i didn’t watch it sooner! everyone knows i have a soft spot for park seo joon since he’s my favourite actor i’ve literally watched all his dramas like he could star in the trashiest drama out there and i’d still watch it and be like wow (looking at she was pretty 👀) this show aside from the acting had one of the best revenge plots in a kdrama! just watching a character realistically hustle his way to reach the top while fighting the corrupt man whose son killed his father was so so satisfying to watch! however, the love triangle in this show was questionable idk what they were trying to do with that but it personally annoyed me! but still i’ll give this show a 7.5/10 because i enjoyed it a lot!

do you like brahms? - kim min jae and park eun bin.. that’s all you need to know about why this is a good kdrama! i’m usually not a big fan of melodramas and everyone knows i prefer rom coms but this show was just so perfectly melo that i loved all the angst and pain we got!! also just watching two introverted people awkwardly fall in love was amazing! the characters story arcs were also handled pretty well with song ah finally learning to speak up for herself and joon young learning to express how he truly feels! but... the love square? was probably the most annoying thing the rest in my opinion was nicely done! i know people had mixed feelings about the ending but i loved that after all the pain joon young and song ah went through they got a happy ending together! 7/10

find me in your memory - okay this show started off very slow and it was confusing at the start but as it progressed everything in the plot started to fall into place! i mean this show really took opposites attract to a new level where the male lead could remember every single detail from his life but the female lead had to forget some of her traumatic memories to help her cope with her life! they were also tied together through a mutual character who was a big part of their lives in a different way! just an interesting melodrama with interesting characters i liked it! and moon ga young... i love you queen!!! 7/10

THE MEDIOCRE KDRAMAS -

more than friends - was the storytelling in this show groundbreaking? no. was the acting decent? yes. also probably the main reason i stuck with this show until the end! i think we can all agree lee soo had the best character development on this show he started off as a bad boy who wore one ear stud to actually becoming a well liked character... who else did it like him? no one. also the chemistry between the mains was 🔥 but the second male lead was so annoying is there a opposite word for second lead syndrome because i had that for sure! i think the best part about this show was the people i watched it with on here... shoutout to the five of us ahsjsj also this show introduced me to a talented actor/singer like ong seong wu (y’all know my kpop knowledge is nonexistent so no i didn’t know he was in a band called wanna one) all in all a predictable show but i had fun watching it so 6.5/10

tale of the nine tailed - i didn’t actually watch this show i watched it through gifs and instagram posts ahsjsjs so am i qualified to talk about my opinion definitely no... will I talk about it anyways yes lmao. lee rang deserved better that’s all goodbye and take care. 5.5/10

start up - probably one of the most awaited opinions. y’all thought this would be in the worst kdramas section but i decided to give this show some rights. the show started off strong, lost it’s way after episode 6 and then the last episode gave me what i wanted so i have mixed feelings. the writing was not the best i think we can all agree, love triangle as a plot device? wow so groundbreaking 🤡 the characters on the other hand... i loved every single one of them i mean ship wars? i don’t know her. the show had a lot of potential that was wasted but we also got some cute moments between the characters so there was really no winning or losing with this show? but in all honesty you can’t put a talented cast together like this and then just decide to give the audience a mediocre plot but the writers did exactly that! i think i can redirect y’all to my ‘crimes this show committed’ post for a in-depth analysis. lastly nam do san was a GOOD and REFRESHING male lead and ji pyeong was also a GOOD and FUN second male lead!!! this show gave me the ugliest ship war ever that i was transported back to my high school tvd days so thank you for that!! but the cast was loveable and all had a lot of chemistry together so here’s a 5/10 maybe that's too generous but... i think the reason why i didn't enjoy watching this show as much was definitely because of the tag on here lmao

THE WORST KDRAMAS -

the king eternal monarch - i miss clowning this show so much. the amount of braincells i lost while trying to understand this plot... i should be compensated by the writers. however, woo do hwan was a treat to look at on a weekly basis... however the writers kept decreasing his screen time even though he had a dual role... make it make sense? and i cannot comment on the plot of this show because i still don’t understand anything? also in my opinion tae eul and lee gon were the most bland couple of 2020, there was no chemistry between them and there was just a random kiss in episode 5 and they randomly said i love you... where was the development? also lee gon was soooo boring and such a one dimensional male lead! literally all the side characters were so much more interesting and the cast was good... but this plot. 2/10

do do sol sol la la sol - i wanna fight the writer who decided that the plot twist on the show would be that jun is a minor? i had no expectations from this show but it looked cute and nonsensical but that plot twist made me run the other way so fast that i never looked back! just because jun is a boy they really thought this would be excused like lmao we all have critical thinking skills???? the clown behaviour. a solid 1/10

record of youth - i hate this show so much. imagine not utilising park so dam who just starred in the biggest oscar winning movie to her full potential. imagine just making her a love interest to park bo gum’s character in the year 2020. i watched it up until episode 6 and i kept waiting for her character to get development... but it never happened so i dropped this show. also this show featured the MOST useless love triangle i have ever seen in my life like what was the point? also park bo gum’s characters family was straight up annoying (minus the grandpa) but they got so much screen time like that should’ve been given to park so dam... also villainising a gay side character for no reason at all in the year 2020? this show was a waste of my time i want the 6 hours i spent watching this back. -100/10 

backstreet rookie - i watched one episode of this and literally wanted to rip my eyeballs out of my head. idk what ji chang wook was thinking when he signed this drama i think he lost his ability to read because that's the only reasonable explanation for why he chose to star in such a dumpster fire show! this show had a racist character... had a high schooler kiss an adult... sexist jokes... just the worst things you can think of in a drama... this show had it. i still can’t believe so many people watched this show to the point where it had better ratings than pbio... really made me question everyone’s taste? but sorry can’t relate my taste is excellent so here’s the rating this show actually deserves -1000/10

if you made it this far... thank you for reading. let’s continue to love some kdramas together and get clowned by others in 2021! looking forward to it 😅

[amuelia]

How do you think Roose will meet his demise? Or will he survive? What's your best Roose end game predictions?

Thank you for the question! This will be a long post under the readmore, going into my thoughts on the show ending and exploring what the books may have set up in regards to themes and characterization, as well as a bit of general analysis of Roose' story arc in a Dance with Dragons (and some speculation about Ramsay as well).

If you click on the readmore i will have divided the post into sections with bolded Headers, if you want to only read my specific endgame ideas you can skip ahead to the "His Endgame?" section.

In The Show

The show had him get killed by Ramsay in s6, which informs a lot of the fandom speculation about this storyline.

I am not a fan of the show's scenario as it was both similar to tywin and tyrion as well as a mirror of robb's death; it would also be offscreen in the books since neither of the characters are PoVs and Ramsay would need to do the act in secret. This would ultimately undercut Roose' role and impact, being a death scene that is not very unique and also isn't shown to the reader directly. Since no PoV is even in Winterfell currently, we would just hear of it from afar and not witness the consequences.

The show also has a different dynamic in the Bolton storyline, emphasizing Ramsay as the "main character" of this arc, and elevating him to the main villain for s5-6 to fill Joffrey's shoes as an evil character played by a very charismatic actor. Ramsay's show writing is informed by the needs of a TV setting that wants shocking moments and capitalizes on "fan favourite" actors; his rising importance in the show thus is not necessarily an indicator of his book importance. The show was also missing many central characters like the northern lords and the Frey men in Winterfell.

The show had a tendency to kill off characters early when they wanted to cull storylines or had no plans to adapt more of the character's story (like Stannis, Barristan, possibly the Tyrells...); In Mance Rayder we have the most obvious example, where they killed him off for real in a scene that in the book was a misdirection. We also have characters like Jorah where it appears the showrunners had their own choice of how they want his storyline to end, even if Grrm has his own ending in mind.

"For a long time we wanted Ser Jorah to be there at The Wall in the end," writer Dave Hill says. "The three coming out of the tunnel would be Jon and Jorah and Tormund. But [...] Jorah should have the noble death he craves defending the woman he loves." - Dave Hill for Entertainment Weekly

So a death in the show does not need to be an indicator that the books will feature an equivalent scene, even if it gives a hint as to what may happen. By s5 the show has become its own beast, and the butterfly effects from radical changes they made as well as the different characterizations results in the show having to cater to its own needs in many cases when it gets to resolving a plotline.

"We reconceived the role to make it worthy of the actor's talents." - Benioff and Weiss for the s5 DVD commentary, on Indira Varma's casting as Ellaria

In The Books

(Since this post was getting out of hand in length a lot of these arguments are a little shortened/not as in-depth as i'd like! Feel free to inquire more via ask if something is unclear or you disagree)

In the books i find it hard to make a concrete guess as to how it will end. Occam's razor would be to assume the show sort of got it right and that it will vaguely end the same, which could very well happen and i will not discount the possibility; Ramsay is cruel, desires the Dreadfort rule, and is a suspected kinslayer and has no qualms to commit immoral violence.

"Ramsay killed [his brother]. A sickness of the bowels, Maester Uthor says, but I say poison." - Reek III, aDwD

Reek saw the way Ramsay's mouth twisted, the spittle glistening between his lips. He feared he might leap the table with his dagger in his hand [to attack his father]. - Reek III, aDwD

Arguments against this or for a different endgame come down to interpretations of the themes in the story arc and opinions on dramatic structure/grrm's writing, and are thus very subjective.

The way the story currently is going, Ramsay killing Roose treats Roose almost as a plot device; his death brings no change or development to Ramsay's character as we already know his motivations and cruelty align with such an act, and we can assume that he would feel no remorse about it either. The results of such a scene would be firmly on a story level, as it brings political changes and moves the plot along into a specific direction. Roose himself cannot have any relevant character development about it as he does not have a PoV and we would not be able to witness his reaction from the outside.

“The only thing worth writing about is the human heart in conflict with itself.” - William Faulkner, often quoted by Grrm

Further, killing his father is very difficult to pull off in secret (Roose is frequently described as very cautious, and employs many guardsmen). And even if Ramsay pulls it off (people often interpret Ramsay as Roose' blind spot, assuming he might be caught by surprise, not expecting Ramsay would bite the hand that feeds him), Roose is the one that holds his entire alliance together; The Freys would be alienated by Ramsay who would antagonize Walda and her son as his rivals, The Ryswell bloc appears to dislike Ramsay (especially Barbrey), and the other northmen are implied to not even like Roose himself. Killing Roose would quickly combust the entire northern faction, and hinder Ramsay's further plans (another reason why I am not convinced of a book version of the "Battle of Bastards"). Though this might of course, if we look at it from the other side, be grrm's plan to quickly dissolve this plot and move the northern story forwards.

"Ramsay will kill [Walda's children], of course. [...] [She] will grieve to see them die, though." - Reek III, aDwD

"How many of our grudging friends do you imagine we'd retain if the truth were known? Only Lady Barbrey, whom you would turn into a pair of boots … inferior boots." - Reek III, aDwD

"Fear is what keeps a man alive in this world of treachery and deceit. Even here in Barrowton the crows are circling, waiting to feast upon our flesh. The Cerwyns and the Tallharts are not to be relied on, my fat friend Lord Wyman plots betrayal, and Whoresbane … the Umbers may seem simple, but they are not without a certain low cunning. Ramsay should fear them all, as I do." - Reek III, aDwD

Roose' death at Ramsay's hand also removes him thematically from the Red Wedding, as we can assume such a death might have happened regardless of his participation in the event (seeing as Ramsay is getting provoked by Roose constantly in normal dialogue, and has a general violent disposition). Roose already took Ramsay in before aGoT started, and married Walda very early in the war, which is already most of the buildup that the show's scenario had. It also has little to do with the The North Remembers plot except set dressing, since the northmen are presumably neither collaborating with/egging on Ramsay nor would they appreciate the development.

Themes: Ned Stark and the rule over the North

Roose is treated as a foil to Eddard; They are often contrasted in morals and ruling styles, while also having many superficial similarities that further connect them (they are seen as cold by people, grey eyed, patriarchs of rivalling northern houses, etc...).

Pale as morning mist, his eyes concealed more than they told. Jaime misliked those eyes. They reminded him of the day at King's Landing when Ned Stark had found him seated on the Iron Throne. - Jaime IV, aSoS

They both have a "bastard son" that they handle very differently; Roose treating Ramsay in the way that is seen as common in their society. Ramsay and Jon as a comparison are meant to show that Catelyn had a reason to see a bastard as a threat (since Domeric was antagonized by his bastard brother), but also shows that her suggested plan for Jon would not have stopped any danger either (as Ramsay being raised away from the castle didn't help).

And if his seed quickened, she expected he would see to the child's needs. He did more than that. The Starks were not like other men. Ned brought his bastard home with him, and called him "son" for all the north to see. - Catelyn II, aGoT

"Each year I sent the woman some piglets and chickens and a bag of stars, on the understanding that she was never to tell the boy who had fathered him. A peaceful land, a quiet people, that has always been my rule." - Reek III, aDwD

It appears to me that Roose' story functions in some ways as an inversion to Ned. He makes an attempt to grab a power he was not destined to (becoming warden of the north), where Ned did not want the responsiblity thrust upon him ("It was all meant for Brandon. [...] I never asked for this cup to pass to me." - Cat II, aGoT). Where Ned rules successfully and his northmen honor his legacy ("What do you think passes through their heads when they hear the new bride weeping? Valiant Ned's precious little girl." - The Turncloak, aDwD), the Boltons are largely hated and there are several plots conspiring against them ("Let me bathe in Bolton blood before I die." - The King's Prize, aDwD).

It seems possible to me that in terms of their family and legacy, Roose might also live through an inverted version of Ned's story; where Ned died first, leaving his family behind, Roose already lived to see the death of his wives and trueborn heir, and might thus also live to see Ramsay's death. Ned leaves behind well raised children and a North who still respects his name, and even though he dies it will presumably all be "in good hands" in the end (in broad strokes, obviously this is all much more morally complex). Roose however built up a bad and toxic legacy, and also built his way of life around evading consequences; it makes sense to me that he would be forced by the story to finally endure all the consequences of his actions and witness the fall of his house firsthand. After all we already have Tywin who fulfils the purpose of dying before his children while his legacy falls to ruins, and a Feast for Crows explores this aspect thoroughly.

Roose' arc in A Dance With Dragons

The story repeatedly builds up the situation unravelling around Roose, and him slowly losing a grip on it and becoming more stressed and anxious.

Reek wondered if Roose Bolton ever cried. If so, do the tears feel cold upon his cheeks? - Reek II, aDwD

Roose Bolton said nothing at all. But Theon Greyjoy saw a look in his pale eyes that he had never seen before—an uneasiness, even a hint of fear. [...] That night the new stable collapsed beneath the weight of the snow that had buried it. - a Ghost in Winterfell, aDwD

Lady Walda gave a shriek and clutched at her lord husband's arm. "Stop," Roose Bolton shouted. "Stop this madness." His own men rushed forward as the Manderlys vaulted over the benches to get at the Freys. - Theon I, aDwD

It also directly presents him as a parallel to Theon's rule in aCoK, who similarly experienced a very unpopular rule and his subjects slowly turning against him. Presumably, the point of this comparison will not just be "Ramsay comes in at the end and unexpectedly whacks them on the head". Both Theon and Roose invited Ramsay into their lives, giving him more power than he deserves, and causing Ramsay to make choices that increasingly alienate others from them (the death of the miller's boys for example has repercussions for both Theon and Roose). Grrm is likely steering this towards a difference in how they will deal with this situation.

It all seemed so familiar, like a mummer show that he had seen before. Only the mummers had changed. Roose Bolton was playing the part that Theon had played the last time round, and the dead men were playing the parts of Aggar, Gynir Rednose, and Gelmarr the Grim. Reek was there too, he remembered, but he was a different Reek, a Reek with bloody hands and lies dripping from his lips, sweet as honey. - a Ghost in Winterfell, aDwD

"Stark's little wolflings are dead," said Ramsay, sloshing some more ale into his cup, "and they'll stay dead. Let them show their ugly faces, and my girls will rip those wolves of theirs to pieces. The sooner they turn up, the sooner I kill them again." - The elder Bolton sighed. "Again? Surely you misspeak. You never slew Lord Eddard's sons, those two sweet boys we loved so well. That was Theon Turncloak's work, remember? How many of our grudging friends do you imagine we'd retain if the truth were known?" - Reek III, aDwD

Roose' arc is deeply connected to the relations he shares to the other northern lords, which has been heavily impacted by the Red Wedding. It stands to reason that they are going to be an important part of his downfall, and we see many hints of them plotting to betray him.

The north remembers, Lord Davos. The north remembers, and the mummer's farce is almost done. My son is home." - Davos IV, aDwD

Themes: Stannis and kinslaying

The books set up Roose and Stannis as foils as well; Both lack charisma and have trouble winnning the people's support, Stannis and Roose both parallel and contrast Ned, Stannis appears as a "lesser Robert" where Roose is a "lesser Ned", Stannis represents the fire where Roose represents the ice, both struggle over dominion in a land that doesnt particularly want either of them, etc... What i find interesting is how they are contrasted over kinslaying:

"Only Renly could vex me so with a piece of fruit. He brought his doom on himself with his treason, but I did love him, Davos. I know that now. I swear, I will go to my grave thinking of my brother's peach." - Davos II, aCoK

"I should've had the mother whipped and thrown her child down a well … but the babe did have my eyes." [...] "Now [Domeric's] bones lie beneath the Dreadfort with the bones of his brothers, who died still in the cradle, and I am left with Ramsay. Tell me, my lord … if the kinslayer is accursed, what is a father to do when one son slays another?" - Reek III, aCoK

Stannis is set up as someone who is very thorough and strict in following his own code and his "duty", even if he does not like what it forces him to do.

Stannis ground his teeth again. "I never asked for this crown. Gold is cold and heavy on the head, but so long as I am the king, I have a duty . . . If I must sacrifice one child to the flames to save a million from the dark . . . Sacrifice . . . is never easy, Davos. Or it is no true sacrifice. Tell him, my lady." - Davos IV, aSoS

The armorer considered that a moment. "Robert was the true steel. Stannis is pure iron, black and hard and strong, yes, but brittle, the way iron gets. He'll break before he bends." - Jon I, aCoK

Roose however is frequently characterized as someone who tries to get as much as he can while avoiding negative consequences, and who does not have a consistent moral code and instead bends rules to his benefit to be the most comfortable to him.

It is often theorized that Stannis will end up burning his daughter Shireen; the Ramsay issue might then serve to contrast the two men. If Grrm intends it to be compared by the reader, I can see it going two ways: Either Roose will be forced to finally act in a drastic way after avoiding his responsibility in regards to Ramsay and he will be forced to get rid of his son, making him break the only moral hurdle he has presented adhering to during the story (though analyzing his character, the kinslaying taboo is probably less a sign of moral fortitude and more him using the guise of morals to explain a selfish motivation). Or he might not act against Ramsay and suffer the consequences, presenting an interesting moral situation where some readers might consider his action "better" or more relatable than Stannis', breaking up the otherwise very black and white moral comparison between the two men. It serves as an interesting conflict of the morality of kinslaying compared to what readers might see as a moral obligation of getting rid of a monster such as Ramsay; contrasting Shireen whose death would not be seen as worth it by most. Ramsay as a bastard (who was almost killed at birth if he hadnt been able to prove his paternity) also makes for an interesting verbal parallel with the bastard Edric Storm, and might be used for a look at the utilitarian principle of killing a child (baby ramsay/edric) to save countless people from suffering that underpinned Edric's story.

"As Faulkner says, all of us have the capacity in us for great good and for great evil, for love but also for hate. I wanted to write those kinds of complex character in a fantasy, and not just have all the good people get together to fight the bad guy." - Grrm

"Robert, I ask you, what did we rise against Aerys Targaryen for, if not to put an end to the murder of children?" - Eddard VIII, aGoT

"If Joffrey should die . . . what is the life of one bastard boy against a kingdom?" - "Everything," said Davos, softly. - Davos V, aSoS

However Grrm decides to present these conflicts or which actions the characters will take in the end, it will result in interesting discussion and analysis for the readers.

His Endgame?

Looking at the trends of the past books, it is probably going to be hard to predict any specific outcome; every book introduces new characters and plot elements that were impossible to predict from the last book even if their thematic importance or setup was aptly foreshadowed.

Roose has a lot of plot importance and characterization that has, in my opinion, not yet been properly resolved in a way that would be unique and poignant to the specific purpose his character appears to fulfil. However I also have a bias in that i did not like the show's writing of that scene which makes me averse to see a version of it in the books, and i really like Roose as a character and want to see him have more scenes in the next book(s). This leads me to discount plot speculation that cuts his character arc short offscreen early. Roose is only a side character; however, i have trust in grrm's writing abilities and that he would give him a proper sendoff that feels satisfying to a fan of the character.

"…even the [characters] who are complete bastards, nasty, twisted, deeply flawed human beings with serious psychological problems… When I get inside their skin and look out through their eyes, I have to feel a certain — if not sympathy, certainly empathy for them. I have to try to perceive the world as they do, and that creates a certain amount of affection." — George Martin

Considering my earlier analyis, there is a case to be made for Roose killing Ramsay; however it appears grrm might have a different endgame in mind for Ramsay, foreshadowed in Chett's prologue:

There'd be no lord's life for the leechman's son, no keep to call his own, no wives nor crowns. Only a wildling's sword in his belly, and then an unmarked grave. The snow's taken it all from me . . . the bloody snow . . . - Chett, aSoS

I tend to think something might happen to Roose/the Bolton bloc later in the book that would cause Ramsay to attempt to flee the scene again like he did back in aCoK fleeing Rodrik's justice; perhaps Ramsay is sent out to battle but then flees it like a coward, or he sees his cause as lost. This time, the fleeing and potentially disguised Ramsay would not make it out to safety though, and get killed without being recognized as Ramsay, dying forgotten. This would serve as dramatic irony since Ramsay so strongly desired to be recognized and respected as a Lord of Bolton, without being too on the nose.

As for Roose, i could see him getting captured and somehow brought to justice (either when someone takes Winterfell or in some sort of battle). I see it unlikely that he will be backstabbed like Robb was, because it seems very "eye for an eye" and ultimately doesn't teach much of a lesson except "he had it coming"; But the various people conspiring against him could lead to his capture by betraying him (giving a payoff to the northern conspiracies and the red wedding). I would find a scene of him standing trial interesting since i believe we didn't have one of these for a true non-pov villain yet, and it would be an interesting confrontation that he cannot escape from (he also loves to talk so it would be a good read to see him make a case for himself).

I assume Roose will be out of the picture when the Other plot finally properly kicks into gear (whether dead or "in prison"). With Stannis as a false Azor Ahai and Roose as a false Other (with his pale, cold features), their struggle in the north seems to be a representation of the false "Game of Thrones" that distracts people from the "real threat" of the Others.

As always this is just my opinion, and it could all go very differently in the books! There could always be something that completely uproots my analysis and goes into a direction i did not expect from the material we had; But i have fate that Grrm as a writer will deliver and give me something i can be satisfied with.

[couslie]

Alistair is not a ‘himbo’: discussion of the continuous mischaracterization of Alistair with disregard to his trauma.

Throughout the fandom, Alistair is seen as a ‘cheese-loving himbo,’ and his personality is narrowed down to these two factors. People often see him as stupid, to put it simply, and others see him as ‘annoying’ and ‘whiny’. However, Alistair is quite possibly one of the most in-depth and fleshed out character that BioWare has developed. He is not actually stupid, and he should not be labeled as ‘whiny’ or ‘annoying’ either. Under the cut is an in-depth perspective of Alistair, his trauma, and his personality. 

Disclaimer: this is not going to be a ‘callout’ post to the fandom in any way. It is simply a character analysis on Alistair and his coping mechanisms for his trauma and how it is often misperceived. Warning for length.

Firstly, what is a ‘himbo?’

A ‘himbo’ is described as “an attractive but stupid young man,” most commonly used in reference to Alistair in the Dragon Age fandom. While the jokes are funny, sometimes it is taken a little too far. I have seen many people truly believe that Alistair is dumb and incompetent, and honestly, at first I also believed so. Throughout Dragon Age Origins, numerous characters comment on Alistair’s intellect including himself. This is often misinterpreted that Alistair is indeed unintelligent since he says so himself, right? Not quite.

Trauma:

Anyone who has played Dragon Age Origins knows that Alistair is the secret bastard son of King Maric to a ‘serving-girl in Redcliffe’. Instead of being raised by King Maric, Alistair was hidden away with his half-brother’s uncle, Arl Eamon, in Redcliffe. Eventually, rumors floated around that Alistair was Arl Eamon’s son, a rumor that Arl Eamon’s wife believed. Consequently, Alistair was sent to a Chantry monastery to begin training as a Templar around the age of ten; ten years later being ‘saved’ by Warden Commander Duncan and conscripted into the Grey Wardens. This is the biggest subplot in DAO, and other than the Blight looming over Fereldan/Thedas, is a main point in DAO’s storyline. 

This alone sounds absolutely awful for a child to have to go through. But it gets much, much worse for Alistair. Traveling though Fereldan with Alistair and talking with him gets him to open up a little about what his childhood was like. Most of it is shrouded in humor; however, he lets some truth shine through.

From this we can confer that Alistair did not have an ideal childhood living with the Arl in Redcliffe. Especially since when the Arl would visit Denerim, Alistair would sleep with the hounds. Not only is it hinted that Alistair suffered child neglect, it is also hinted that he may have suffered verbal abuse. As Arl Eamon was one of the only people to know that Alistair was Maric’s bastard, the verbal abuse and belittlement most likely came from him. 

 Throughout Alistair’s life he felt uncared for, and was so ignored and neglected as a child that even grown up he feels invisible and unheard. 

So uncared for, that even the simple act of giving him a gift he acts as if he never had anyone ever give him anything (which is possible except for maybe a few times). 

Or, even just remembering that he mentioned something.

Or, even a simple compliment makes him feel unworthy.

No one would listen to him or what he wanted, and that is another main sub plot of DAO. Going to visit Goldanna, the player can choose whether or not to harden Alistair and basically tell him, “People only look out for themselves. It’s time you did, too.”

Alistair felt he was unloved, unwanted, and a general burden to his family (and especially felt this way after meeting Goldanna). The only person he felt may have loved him was his mother who he believed to be a serving-girl; a main reason he holds on to his mother’s amulet. She represents the only person in his life, up until Duncan, who he thought would have loved and be proud of him. 

Coping Mechanisms:

Now that Alistair’s trauma is laid-out, we can move on to how he copes with said trauma. Alistair uses humor as a defense mechanism to cope with his childhood traumas, and it is very common, especially self-deprecating and dark humor. According to G. Swaminath, “Freud postulated that humor [sic] works by means of two principal mechanisms, ‘condensation’ and ‘displacement’. Condensation entails an economy in thought and expression and conserves psychic energy, and displacement transfers this psychic energy arising from conflict or incongruity to a humorous anecdote, which brings relief. Freud believed that cultivating a sense of humor [sic] could help lift repressions (i.e. unconscious conflictual material) but could also be harmful, particularly in certain forms of sarcasm and irony, directed at the self.”

(source)

Most, if not all of Alistair’s humor, is directed at himself in a very self-deprecating manner. Whether to make the player feel better, to make himself seem unimportant, or because his self-esteem is truly that low.

For Alistair, appearing as an idiot was the easiest way to be under the radar. He never wanted to be King. He didn’t want people to treat him differently, either, for knowing that King Maric was his father. The best way to seem insignificant was to belittle himself and appear that he was an ‘idiotic nobody’.

On top of all this, the player can even callout Alistair for using humor as a defense mechanism and deflecting questions that he doesn’t really want to answer.

It’s not that Alistair is truly unintelligent or ‘whiny/annoying,’ he is using humor to cope and defend in the best way he knows how.

So, is Alistair actually intelligent?

Firstly, intelligence is hard to measure. One person’s definition of intelligence could vary wildly from another person’s. There’s also the perspective that intelligence can be categorized. For example, a person may be book-smart but not street-smart and vice-versa. Who is to say, however, that both are not equally as intelligent, but just in different categories? There is no basis for ‘intelligence.’ Everyone can be intelligent in their own way, and for Alistair, he is intelligent on history (specifically chantry), battle tactics, and knowing deception/people’s motives. 

(Alistair not being told what the dark ritual is for)

As @mahariel-theirin​ said: “Right from the start you can just tell Alistair is smart, and not just because of his wit. When the Warden asks him about the origin of darkspawn he says, “You want the Chantry version, or the truth?” When asked about the fight with the mage, he calls out the revered mother’s power play by using him as a messenger. Look at that insight. That awareness. And that’s just from the first 5 minutes of meeting him.”

End Notes:

Take out of this what you will. But Alistair is more of a ‘hunk’ than a ‘himbo,’ and shouldn’t be discredited. He was abused and neglected his whole life. I personally believe Alistair should be given more credit than he has been receiving, and BioWare for creating a character that is so in-depth and fleshed out they have deceived people in believing that Alistair is truly dumb. Which, ironically, is what Alistair wanted in-game. I am not in any way saying to quit joking about Alistair being a ‘himbo’ either! A lot of the jokes are quite funny. This was purely made out of the informational interest of some people not quite understanding Alistair’s character and truly believing he might be one of the most stupid people in Thedas (and potentially misunderstanding his humor/defense/coping mechanism as stupidity). If anything, Alistair is ‘himbo-passing’ at best.

Also, with special thanks to @planesofduality for their Dragon Age Compendium. It was tremendously useful, and I thank you for all the time and devotion you put in to it to make it possible. Many thanks! Also thanks to @sundogsandrainbows, @not-plaidweave​, and @irhinoceri​ for discussing this with me and encouraging me to make this meta.