#(<- guy who literally just got out of an psychotic episode that fucked its shit up again after 2 years of mostly manageable symptoms)

[martyrbat]

okay yeah you're a hannibal fan and will graham is your precious little meow meow that you want to eat/study under a microscope but are you normal about real people with psychosis?

[thethirdwheel404]

Med Rewatch Series (#5)

S3 e3: Trust Your Gut. From what I remember this is a big one. I just remember this episode title honestly but we’ll see what happens.

-look at that! ava’s just casually in this scene, minding her own business, doing her job! you would never guess that this is a character who would later have a psychotic break and commit suicide.

-that’s really the point i’m trying to make. I hate all those posts where they’re like ‘i hated ava before, but season 4 has finally shown her true colors’ like not even?? no??? we’re trying to prove that that was never even a thing. i want to eliminate the possibility of s4 happening from your minds. nothing from s3 should ever be used as foreshadowing. that’s what the rewrite is about, ava being a good character. ava was never going to commit suicide. she was never gonna go psychotic. that should be ingrained in everyone’s minds.

-anyways, back to the episode.

-connor takes everything like a personal attack. relax

- i never realized how fun stoll was. like obviously not in the story but as a character he’s hilarious. unattached by everyone else’s drama

-awww. this maggie interaction is amazing. tapping sarah on the shoulder (neck actually but whatever) just to say hi. adorable. and sarah is already super jumpy. come on. her anxiety is already setting in. they really gave sarah two huge storylines in the same season.

-maggie... no one else would ever slash sarah’s tires. i mean honestly

-WHY DOES CONNOR HAVE TO CONTROL OF EVERYTHING - honestly ava was just reading off the chart and he can’t even let her do that he has to take over just to say the same things.

-and the way ava just takes it with her smug smile

-she is such a strong character there is no reason she would have gone crazy over connor she literally needs nothing from him.he has not ever had anything that she needed. 

- SHE’S JUST ROLLING HER EYES, SMIRKING, AND SHAKING HER HEAD AT THIS INSECURE MAN ava I love you.

-okay there’s no way i can explain it but after rolling her eyes at connor Ava turns and looks at the patient and instantly her face changes and you can see such pure concern in her eyes?? s4 ava could never (can someone please rb with a picture of what i’m talking about? it’s uncanny and so so sincere.)

- she’s in control of her emotions. she cares so much for her patients so don’t even try to play that card. the only thing connor has done literally since she got here is get in her way.

-AND CONNOR LOOKS AT HER WITH SUCH DISTRUST AND CONTEMPT. TELL ME HOW. this is insane. exasperating.

-and the way she smiles and comforts the patient. i mean come on. she’s just so amazing. AND COMFORTING. if ava really was as heartless as people say, she wouldn’t take the effort to do that. connor didn’t even do that, he just scowls at ava.

-which just proves my point, ava is only ever mean to people who she thinks deserve it. and, the more that I think about it, she’s never really actually mean. sure, she’s blunt and rude, but never cutting. she’s nice to her patients (and I know what you’re going to say, it’s not because she has to be. she’s a doctor, she still wants to help people). but when her patients are dicks, she’s not nice to them. she’s as snarky with as she’s professionally allowed to be.

-like, take this guy. he seems nice enough. he’s funny, polite, comes across charming, so ava is nice and is polite back to him.

-let’s move on.

-why is connor always so suspicious of ava. come on. he’s the one who should be sus. she literally said ‘Don’t worry, Ray, we’ll take good care of you’ and he’s giving her this weird side eye.

-ethan and will being in this board meeting is really adorable to me. like, just, bros.

-oh godddd sarah please relax. sweetie. please.

-sarah fucking tranqed him oh my god

-oh my god noah asking people for help literally shut the fuck up

-straight people are gross. not to hate but how does anyone sit through manstead

-connor literally needs to chill. I know this bit (they’re arguing over menial things in surgery) plays more to them just picking on each other, pulling each other’s pigtails on the playground if you will (i didn’t like that analogy but I used it anyway), but if you look at it, ava was only trying to help connor (suggesting a wider possible target and an easier to handle stitch) and connor took it wayyy to personally. sure the second bit of advise is just poking at him, but she suggested a better spot on the base and he shut her down without any thought.

-and then latham points out that there is no point in arguing, to which ava defers, then connor snidely says ‘Thank you, Doctor, Now, how about from here on out we keep the background noise to a minimum’ and ava just shakes her head, scoffing.

-at this point ava just likes annoying connor because its fun. it’s entertaining. he gets so upset. everyone’s done that, just be annoying for fun (its bad to say but i mean come on everyones done it)

-another point, ava immediately deferring to latham might read to some as her being a suck up but that’s not what it is.

-ava really likes seeing how close to the line she can get. she goes right up to it, but she never crosses it. the same is true with her interactions with other people outside of surgery.

-I really like this story of the girl who passed out and hit her head, and her brother’s a wreck, and her parents obviously think the brother’s a disappointment. and it was finals week so of course she wasn’t taking care of herself. and the brother knew that, and you can tell he cares so much and feels so bad. it’s nice

-complication on the surgery they were working on. ava comes in with a solution (off of connor’s mistake during surgery after not following her advice) but I have a sneaking suspicion that by the end connor will be back on top

-the effort it took connor to say ‘it’s a good idea’ come on man just fucking let it go

-i’m glad we’ve all agreed that connor’s just a dick

-aw look at that she even held the door for him. connor would never

-i don’t want to overly push the ‘med is sexist’ thing but how is it that in a storyline between nat and ethan, characters who have never been romantically involved, they still pull the woman thinks one thing, man refuses to believe it and is right dynamic. i mean come on med seriously. what the fuck is wrong with you.

-the look of annoyance and disbelief on ava’s face that connor hadn’t actually messed up. comedic, but also i get your pain.

-glad that latham sides with ava, ava advocating for a riskier procedure so they could ensure the blockage is removed)

-(something could be said about ava’s high-risk, high-reward ideals. you could even draw the parallel to events in s4 and s5, even though I really don’t want to. it’s an interesting and notable character trait to say the least)

-YOOOO I FORGOT HOW METAL THE PSYCH STORY GETS

-dude straight up cuts his abdomen open and his intestines spill out

-the fear and shock and emotion on sarah’s face make me feel so bad for her

-WAIT IS THIS THE EPISODE WHERE SHE LOSES THE END OF THE INSTRUMENT? IS THAT WHAT THIS IS? i am not prepared to watch an ava bekker breakdown rn.

-the shock on ava’s face when connor said nice job.

-ava actually tried to apologize to connor. well, not apologize but she feels a little bit bad for just how abrasive she’s been to connor. (connor didn’t necessarily have to make it super competitive). Ava said “Look, I know i have the tendency to step on toes. it’s nothing personal”

-and now they’re not arguing and are this close to actually working like a team

-and i cannot believe connor’s big one-liner is ‘Murphy’s law’

-the emotion on april’s face when the girl’s parents won’t even let her brother grieve for her. I feel it. astounding. its so painful omg

-ava: “your optimism is enchanting.” when i was writing earlier I was worried I wasn’t being accurate with her dialogue and making it sound too overly formal but i guess I nailed it. also, this line reinforces how much I love her (so does every other line)

-connor just refusing to give ava anything, no credit, no nothing. doesn’t even give her credit for earning the surgery saying “you may have elbowed your way onto the case, but he is still my patient” (I JUST TRANSITIONED INTO A QUOTE SO SMOOTHLY WHY CANT I DO THAT IN MY LANG RHETORICAL ANALYSIS ESSAYS YOU’RE KIDDING)

-hey it’s joey!

- i can appreciate him so much more when he’s not chasing after reese

-do you remember their first meeting? bickering over who gets the last splenda? (real meet cute amirite)

-dr. charles remarking how all the scientific advances can’t beat human instinct, nice little tie in to the episode title

-ava just smiling while connor waits for her to apologize. she. takes. no. shit.

-i literally hate connor’s face so much. it fucking looks predatory like stop looking at her like that. it’s almost like you were planning her psychotic break

-ava’s cunning, saying ‘we’ instead of ‘i’ when talking about the decisions being made. she’s smart. she knows what to do. She knows how to present herself. (and yeah, a little hypocritical that she said to connor ‘when you fail, I will make sure that it is noted that it was your fault and not mine,’ but like I said, she just knows how to present herself)

-latham: “Dr. Bekker seems to enjoy this discordance.”

-rhodes’ face when changing his mind and saying ‘maybe I do’ when asked if he enjoyed it too - he literally makes the dumbest faces. please. stop. (is it a straight people thing?)

Alright. Another episode down. 17 to go. This was actually a pretty good episode all around. Ava took none of connor’s shit and you’d have to squint to find any sort of romantic subtext in their interactions, which is huge win in my book. reese’s storyline wasn’t too bad, she didn’t go through too much trauma, which, the bar for watching med is incredibly low i guess. This was a really good episode for ava. like I said before, very little romantic subtext, and she had a redeeming quality in the way she obviously cared for her patient at the beginning of the episode.

The main point is something I’ve been reiterating again and again. Ava cares about her patients. Ava is mean to connor because she knows someone needs to put him in his place, and she is glad that it is her.

All in all, this was a pretty good Ava episode. Very happy.

thanks for sticking with it.

-

read the rest here:

Part 1 / Part 2 / Part 3 / Part 4 / Part 6 / Part 7 / Part 8 / Part 9 / Part 10 / Part 11 / Part 12 / Extra

[tfw-no-tennis]

mtmte liveblog issue 6

and onto issue 6, aka, Oh God Everyone Here Needs Therapy, Including The Therapist

rung already having a bad time on the cover i see

i mean, saying that kinda implies that rung ever STOPPED having a bad time, which is untrue so far in this comic

poor fort max :(

maybe lets NOT bring mnemosurgery into this whole mess, there's an idea!

i like the detail of fort max’s grip on the bed thing causing it to crumble

godddd lmao i love chromedome’s goofy skill of being able to tell who someone is by them transforming 

and his anecdote about rewind, which comes back later in hilarious fashion

tailgate hvgbshdfjsadf ‘is this a good place to sit down and die?’ i love him 

drift saving tailgate from magnus with some dumb hippy nonsense...love it

tailgate is so nice to cyclonus even tho cyclonus has been p much only mean to him....tg such a good boi

CYCLONUS YOURE GONNA REGRET TELLING TG TO ‘DROP DEAD’ IN T-MINUS A COUPLE DOZEN ISSUES OR SO. 

skids’s comment about ultra magnus is easy to dismiss as sarcasm but what if he actually knew a different magnus???? i cant remember the timeline w/that v well but that would be interesting 

tailgate is so fuckgin funny god 

IS SWERVE BEING ARRESTED HVBHDSJKHFBHSJDKF I FORGOT THIS HAPPENED

OH GOD POOR PIPES HE WASNT EVEN THE ONE TALKING SHIT....that guy has the worst luck

i see brainstorm cowering in the hallway there...nice touch

god i love whirl. hes so abrasive and so good at pushing peoples buttons, but its also interesting that we didn't see the leadup to the current situation, which resulted in what we see now - aka rung restrained but uninjured, and whirl all beat up. whirls doing a pretty good job keeping the attention on him at least 

oof this whole thing is so brutal. Its Good Writing

rodimus blease don't argue w/the guy whos having a psychotic episode and holding people hostage

i love the detail of rodimus hating to be called hot rod - I'm assuming bc it reminds him of the days when he was more immature, before he was Important and Special 

ooooof rungs thumb. owwww

god i love ratchets remark about brainstorm claiming he tried to stop fort max, when we clearly saw earlier that he did the exact opposite. i love brainstorm sooo much

hhhhhh the reveal that the reason max targeted those guys was cause of their paint colors - and how they look like overlord 

god i love whirl vbhskdjfbjaskfj

rung upholding hipaa, good job 

godddd i love whirls whole story, its so fascinating and tragic 

meanwhile rewind and swerve are hangin out, riveting some stuff, yknow how it is

i ufckgin love how swerve is like ‘i can keep a secret! [reveals a secret]’ and yet rewind proceeds to tell him abt the snuff films like, immediately

and damn rewind is hardcore. i mean i know you find out later why he wanted that footage but still 

seriously whirls backstory is so nuanced and interesting, and like, layered with politics and implications and GAH i love it 

also, i see that reference to A Certain Prisoner....

lmao oh my god rung PLEASE....that's so fucking sad dude. its literally that meme 

someone: ok imagine you’re being held hostage and your thumb gets ripped out and then your friend-

rung, in tears: a...a friend? 

ok wait a sec what is whirl even impaled on. cause it kinda looks like one of his own arms which is uhhh fucked

yeah it looks like one of whirls claws is missing....jesus

the contrast between max being like OK TIME FOR SOMEONE TO DIE and rewind and swerves lil heads peeking thru the window

rewind is that one guy whos not down with the murder 

OOOOF THE PROJECTION. BRUTAL 

rung is so good :( 

ooof and then they tell swerve to shoot max anyways...ouch

aaaand then he blows up rungs head, and whirl impaled max. way to go team!

THE OVERLORD REVEAL ALWAYS GETS ME HHHHHHHHHH THATS SOOO FUCKED JESUSSSSS

You’re In For A  Bad Time Gang

phewwww, this one was heavy! we got lots of lore and character stuff, and we got a tease for one of the series big plot points - overlord. plus, rung just died. or did he....? guess we’ll find out next time!

[sammysreelreviews]

Counting Down The 10 Most Shocking Moments From My Favorite TV Shows

So I just finished Jane the Virgin and it inspired me to make a list of moments in television that had me fucking SHOOK. Maybe some other things happened in the show that were just as crazy but these are the moments that affected me personally. This list was so spontaneous but it might be my favorite one cause it was a nice trip down memory lane. Any who, here are the moments that have fucked me up along the years! 

WARNING: LOTS AND LOTS OF SPOILERS!!!

10. Gossip Girl: The Dark Prince

Let’s be clear Gossip Girl stopped being the show it was by season 4 by adding insane story lines but one that was realistic was Queen B marrying a real life prince! Although there are some minor hiccups Blair finally has the dream wedding she always wanted. Unfortunately everything comes crashing down when Louis basically tells her that she means nothing to him and the marriage is now just for show. This SHOOK me cause Louis was such a good guy until that exact moment. Ugh the moment he whispered those vile words to Blair her heart dropped and so did mine.

9. Elite: So who’s actually dead?

From the beginning it was clear that one of the promiscuous teens of Elite was going to die it’s just not who you’d expect! In the first episode you find out that it’s none other than Marina! She was such a big part in the first episode I didn’t think her character would be the one to kick the bucket. Yes I am aware that the real mystery of the show is who’s the murderer but Marina being dead threw me for a loop.

8. On My Block: The Quinceañera from Hell.

On My Block is supposed to be funny and it was until the last fucking episode of season one. Ruby decides to throw his crush Olivia a Quinceañera and everything goes smoothly, she even gets to face time her parents that got deported, until Cesar’s past comes to crash the party. Let me explain. Cesar finally joined his brother’s gang and had the job of executing Latrelle who’s from an opposing gang. Cesar is too sweet for his own good and lets him live. Unfortunately Latrelle shows up to Olivia’s Quinceañera, uninvited, and fires at Cesar but hits Ruby and Olivia in the process. In the end of the episode two ambulances are on their way to the hospital and ones lights go off indicating one of them has died. At the beginning of season two we finally find out that Olivia has passed which is sad and like talk about the worst birthday party ever!

7. Pretty Little Liars: Boo!

There were literally 100 different A’s on this god forsaken show but the final A reveal was definitely the best. Spencer and Ezra have been kidnapped by A in a weird underground whatever thing and Spencer wakes up to her reflection only it’s not her reflection ITS HER TWIN. The elite PLL fans like myself always had theories of Spencer having a twin but when it actually happened I couldn’t believe my eyes. When Alex puts her hand down and says “boo!”... chills literal fucking chills.

6. Vampire Diaries: Dead girls walking.

I could honestly make a list of the top ten shocking moments from the Vampire Diaries alone but this one had 15 year old me shaking in my Ugg boots. Jeremy’s first love Vicki died in season one, which was like WILD for 2009 let me tell you, and his other lover Anna also died. In the season two finale we see two shadows walking around following Jeremy in his house and they’re none other than Vicki and Anna looking straight at Jeremy and even speaking to him. At this point in the show people coming back from the dead was unheard of and this is why it beat everything else.

5. Dark: What REALLY happened that night?

Ok so Dark has a lot of WTF moments like the entire show is a total mindfuck but in season 2 they answered a question and I was not prepared for the answer. Let’s back track realllll quick. Mikkel goes missing in the woods one night and no one finds him BUT Mikkel is alive and well he’s just in the year 1986! In the cave he went through there was a wormhole that took him to the past but the question was, how the fuck did he even end up there!? In the last episode of season two Jonas, Mikkel’s son (I know it’s confusing) goes back in time to stop Mikkel from disappearing to make everything right. Jonas talks to his dad, adult Mikkel, and Mikkel drops the bomb that Jonas was the one to lead him to the fucking wormhole in the first place!!! Everything about this show is absolutely insane but I mean this shit was INSANE. I literally could not believe what I was hearing and honestly neither could Jonas.

4. Jane the Virgin: Have a nice day bae!

Michael begins his day going to take a test and he doesn’t come back. I am so team Michael just so y’all know so I loved the flashbacks of the fair with Jane this episode. What I DIDN’T like was the end of this episode. When Michael “died” I dead ass did not watch the rest of season 3 until it was streaming on Netflix. I sobbed so bad and then at the end of the episode when Jane gets the phone call that Michaels “dead” WOW that shit HURT. Thankfully I decided to keep watching the show cause at the season 4 finale Michael is alive and well but has a little amnesia. I literally will never forgive the writers for ripping my heart out and stomping on it.

3. American Horror Story: Running in circles.

Violet tried to kill herself and Tate saves her by making her throw up except, she didn’t actually survive. Violet is depressed and stays home and it’s not until she tries to leave the house do you realize she’s actually been dead for a couple episodes. Its heartbreaking cause she’ll be stuck in that house forever but the moment you see her dead corpse was absolutely disgusting and heartbreaking at the same time.

2. Skins: Where’s Cook’s main hoe?

When Skins came back for a 7th season wrapping up the lives of Effy, Cassie, and Cook I thought we were gonna get some closure but what I got from Cook’s episodes was very unexpected. There’s honestly a lot going on in Skins Rise but Cook’s second episode has him facing off his psychotic boss Louie. Let me give a little backstory. Cook deals drugs for Louie but Louie made Cook drive his girlfriend Charlie around. Cook being Cook fucks Charlie while simultaneously cheating on his own girlfriend Emma which makes it super awkward when the three of them runaway together to get away from a psychotic Louie. Before Cook absolutely beats the shit out of Louie he’s in the woods looking for Emma and he fucking finds her in a clearing HANGING on a tree!!! Like WHAT THE FUCK!!! Skins has never been THAT brutal and I honestly think it was the most jaw dropping moment that ever happened on the show. God I love Skins but I did NOT love that death like can my baby Cook just be happy!?!

1. Degrassi: The Next Generation: A night to forget.

I was 13 the first time I got my heart broken, the perpetrator, Degrassi: The Next Generation. I was OBSESSED with this show I watched it from the very beginning. JT was my literal MAN like I loved him so much and when they CRUELLY killed him off I legit didn’t want to go to school the following Monday. JT dying is number one because it was my first big TV death and I’ll never forget it along with Liberty’s blood curdling screams.

[coronation-eyes]

This is off-topic when it comes to this blog but I’mma rant about Game of Thrones for a second because if anyone knows what its like to get utterly betrayed at the one yard line, it’s you guys.

(major spoilers for GoT under the cut)

They just...they took a heroine that millions of women look up to......and they turned her into a psychotic villain at the last second. 

Danaerys was the Breaker of Chains, okay. Her mission in life was to free slaves and make the slavers pay dearly for being horrific to other human beings. She totally had a “savior complex,” wanting to just whoosh in and free people and be done with it. But instead of getting her shit together and heading to the seat of power she wanted to overthrow, she made the mature, wise decision to stay in her most recently liberated city and learn, not only what it means to rule, but what it truly means to free people. She dealt with the aftermath, she learned from her mistakes, she saw the nuances behind the culture she wildly disrupted. She took several huge steps to not just being a queen, but a thoughtful, powerful, knowledgeable monarch with respect for her subjects. And where did her motivation come from? From her own history of being sold and used like cheap cattle, of having to reclaim every inch of personal and royal power literally from the ground up. For many years and 7 out of 8 seasons, this was her story. She didn’t want to be like her father, mad with power and wantonly laying waste to innocent people. She wanted to be better.

And then, in TWO out of THREE episodes left in the entire series, she goes fucking insane. They shoved tragedy at her to try and justify her heel turn, nevermind that she has weathered worse in season one, and (plot twist) it didn’t work. She was Danaerys one minute--fierce and compassionate and A+ at doling out poetic justice to those who deserved it--and a repeat of her crazy father the next, literally laying waste to thousands of not only innocent, but innocent and surrendering people. Now she’s the villain they get to try and cut down for the series finale.

Some people point at certain things as “foreshadowing” of her “inevitable” fall to madness over the seasons, namely how whenever her family was mentioned someone was bound to bring up the old saying about how a Targaryen would be born and “god would flip a coin” as to whether they’d be batshit or not. And, like, that never once occurred to me as being remotely foreshadowing because, fucking excuse me for believing in women, but the entire point of Dany’s entire character was that she was one of the good ones. That the other characters who would lean on that saying out of fear or reticence did so because they didn’t know what the audience knew--that Dany was d i f f e r e n t. She wanted so desperately to break us free from our cycle of despots and drunkards and greedy assholes, and to do so realistically and with time-period appropriate strength and brutality (’cause tyranny isn’t brought down with polite requests). 

I would have accepted a lot of different endings for Dany that didn’t include her becoming queen. This is Game of goddamn Thrones, after all. Nice Things are very few and far between. I was ready for her to die before claiming the throne for any number of reasons. Hell, I’d almost accept these past two episodes as canon if, in the finale, she wakes the hell up and realizes what she’s done + she doesn’t deserve the throne after all. Because then at least she’d still be Dany in the end, for fuck’s sake.

AND ANOTHER THING: look me in the eye and tell me we don’t need messages about embracing flawed-but-good leaders right now, 18 months from an election where we can kick a real despot out of office. And instead, what’s the message over ten million people are watching right now? “Even the leaders who really seem decent, different, and wanting to help you, they’ll wind up being just like everyone else.” Fuck that wildly incorrect cynicism. Fuck the character assassination of a woman I have loved and looked up to for eight years. Fuck the straight dude showrunners who have explicitly told us over the years that they don’t listen to their audience, period. And honestly, fuck 2019 and it’s inability to have ANY satisfying fictional endings fucking ANYWHERE thanks to every professional writer wanking off at the feet of sUbVeRsIoN.

[preserving-ferretbrain]

Nildungsroman

by Dan H

Saturday, 27 September 2008

Dan finally identifies something that has been bugging him.~

I've always had a problem with Modern Fantasy. Not in the sense of "published within the last five years" (although there is also that) but in the sense of "set in the real world, only with magic and shit, which most people don't know about". Possibly that's Urban Fantasy.

This whole thing struck me while I was reading Cassandra Cla(i)re's City of Bones, which funnily enough seems to have a lot of traits in common with a certain other modern fantasy series that the author may or may not have heard of, and which I may or may not have said a few things about in the past, so these comments are slightly biased towards those two august tales, but I'll also be talking about other elements of the Geek Canon, including Buffy, Tolkein and Star Wars.

As ever, contains spoilers.

The Hero's Journey: Ur Doin It Rong

For what it's worth, I'm not actually a big fan of Joseph Campbell. I think the observation that lots of different myths have lots of things in common rates somewhere between "dog bites man" and "Bishop of Rome Espouses Nicene Creed" on the duh-o-meter. On the other hand, the Hero With A Thousand Faces One Of Which Is Luke Skywalker does nicely identify a basic structure which can, at the very least, make sure that a mythically-slanted story doesn't suck donkey balls.

Very broadly, the Hero's Journey has three stages: the departure, the initiation, and the return. The hero starts out as Joe Ordinary (or possibly as Joe Destiny), then goes off into the Crazy World of Magic Shit, then comes back a better and more complete man. Along the way he has to get eaten by a whale and meet a goddess, but that's basically the deal (any inaccuracies can be attributed to my not actually having read The Hero With A Thousand Faces and thus getting most of my information from Wikipedia).

Star Wars, as you probably already know, was based very, very, very (very, very, very) closely on the classic Campbellian journey (right down to including the trash compactor scene pretty much entirely to tick the "hero goes underground and bad shit happens" box). Early season Buffy actually holds fairly closely to the model as well, both in terms of its overall arc (at least in seasons 1-5) and the structure of individual episodes. An episode of Buffy usually opens with our heroine facing a Typical Teenage Problem, then getting drawn into a supernatural event which allowed her, at the end, to resolve her Real Life problem as well as lay the smackdown on some vampires. As I've argued before on Ferretbrain, I think Buffy lost its way around the point it stopped bringing everything back to the real world.

And that, in a roundabout way, is what I think is wrong with Modern Fantasy. If you blinked you might have missed it, so I'll say it again more explicitly. A lot of Modern Fantasy seems to be at least loosely based on the Hero's Journey, and while it does the departure and the initiation really well, it seems to write the whole "return" bit off as a waste of time. Modern heroes leave their home and family, descend into the underworld, and bloody well stay there.

Now I admit, part of this is going to be structure. In a TV series about fighting vampires (for example), you'll always get to the point where you can't view "going out to fight some vampires" as anything but routine, and you can only escalate so far before you have to play the "real life is the greatest battle" card or the "fighting the very essence evil itself" card (neither of which worked). On the other hand, part of it seems to be an issue with people actually missing the point of the Hero's Journey. I'm going to talk about both these phenomena, because I like to hear myself talk.

Sunnydalization: Myth Invades Reality

If, like me, you wasted your entire undergraduacy watching Buffy videos, and can quote pretty much the entire seven series end to end, including the "grr-arg" bits with the mutant enemy logo, you'll probably remember the bit in Prophecy Girl where Willow finds two dead bodies in the student lounge in Sunnydale High and, despite having seen at least a corpse a week for the past series, gets totally freaked out. When challenged about it, she says:

"I'm not okay. I knew those guys. I go to that room every day. And when I walked in there, it... it wasn't our world anymore. They made it theirs.

And at that point, Buffy changed subtly but irrevocably. Prior to that scene, Sunnydale was the real world, and the Hellmouth was the place where the monsters were. Every week, Buffy would battle the legions of hell, and every week she would come out and go to class and we would see exactly what she was fighting to protect. We'd see Jonathan and Cordelia and Harmony and the rest, all going on with their totally normal lives, totally unaware that little Miss Summers had been saving their collective assi.

After that moment, though, it all changed. Things got bigger and scarier, and the Demons didn't go back into their box. Buffy may have defeated the Master at the end of Season 1, but she failed to defeat the Hellmouth, and as the seasons progressed the line between the "reality" of Sunnydale and the Underworld of the Hellmouth became more and more blurred. In season three we are told that the mayor "built this town for demons to feed on" and by the end of season seven the two are so inextricably linked that the final closing of the Hellmouth actually destroys the town.

As I said above, I ultimately think this is an inevitable effect in a long running series. The first time a vampire attacks somebody on school grounds it's scary. The twelfth you just start to wonder why the school is still open. The Sunnydale body count became something of a running joke ("if we train hard, keep focus, and don't have so many mysterious deaths, Sunnydale is gonna rule") but while it was funny it also began to undermine the point of the show. What started out as a nice little town threatened by a supernatural enemy became itself a seat of magical corruption. By the end of series seven there is literally nobody normal left in Sunnydale, they've all evacuated because of the effects of the Hellmouth (even the more sympathetic demons get out of town).

What this means is that, by the end of the series, Buffy has literally nothing left worth fighting for, except possibly Joss Whedon's ropey feminist doctrine. The later series of Buffy fall flat because, as Sunnydale itself becomes a place of evil, the Slayer loses all contact with the real world.

Mugglism: The Family Romance

Ultimately, though, I can forgive Buffy for its structural flaws. What I have more trouble with is the peculiar tendency in a lot of Modern/Urban Fantasy to treat the Fantasy World as just flat-out better than reality.

The chronic offender in this case is, of course, the Wizarding World of the Harry Potter series. Harry is rescued from the dull, dreary (and psychotically abusive) Dursleys, the "biggest load of Muggles" Hagrid has ever seen. He is then taken away into the wonderful Wizarding world where everything is fabulous and magical. He then discovers that he is a figure of the utmost importance in said world, and people either treat him with awe or loathing, both of which he finds equally affirming, while the infallibly wise guardian of his new world assures him that he really is all that and a bag of chips. Meanwhile the author informs us in interviews that everything in the Wizarding world is indeed superior to everything in the real world.

Oh, and just to forestall the inevitable "but the Wizarding world is really dangerous" apologia, there are two things to say about that. Firstly, until Rowling writes a scene that actually reminds me of the Holocaust, instead of just vaguely alluding to people making Nazi salutes, real life has Rowling licked when it comes to being dark, man. Secondly, horrors of actual, non-school-based wars aside, "like the real world but nastier" is yet another way of saying "like the real world but better". I'm going to hark right back to my third ever Ferretbrain article here and say that one of the things that really impressed me about Pan's Labyrinth was the fact that the really scary thing in it was not the Faun, or the Labyrinth, or the dude with the eyes in his hands, but the brutal mass-murdering fascist.

Anyway, where was I. Oh yes. The "fantasy is better than reality" style of Urban Fantasy usually winds up being a version of the (Freudian, and therefore almost certainly no longer reputable) idea of the Family Romance. The belief, common in young children, that their parents aren't their real parents, and they're actually something different and special. Of course most of us then grow up and realise that our parents are pretty okay people, and that being a Magical Princess probably wouldn't be that great, and actually there's some pretty radical stuff in the real world which we could be getting on with (like writing for webzines or playing World of Warcraft).

A mythical journey in which the Hero leaves the real world and then never comes back is always going to seem, to me (and therefore to anybody who matters), to be fundamentally juvenile. 

Pan's Labyrinth would have been completely meaningless if Ofelia did not ultimately end up confronting Vidal (albeit hopelessly), and the Lord of the Rings loses a lot of its impact if the Hobbits don't go back to the shire. Harry Potter may save the Wizarding World, but muggles like me have no reason to care about that. Stories like the Potter series work absolutely fine, as long as you're still labouring under the illusions that you're a beautiful unique snowflake, and the only people that matter are you and the few others you're willing to accept as equally special. The moment you - not to put too fine a point on it - grow the fuck up, and realise that everybody else (yes even the teachers at your school, yes even your parents, yes even the kids who are mean to you) are real people with their own lives and ideals, you have to let go of the belief that your secret world is the most important one.

I've not yet finished City of Bones, much less the whole "Mortal Instruments" series, but it's shaping up to go the same way as potter: a long story about somebody totally failing to grow up.

In Conclusion: Why Americans Damned Well Should Be Afraid of Dragons

Roleplayers in the audience will probably know that White Wolf Game Studio used to publish, as part of their risibly-entitled��World of Darkness line a game called Changeling the Dreaming. It was a game about, like, the loss of innocence and the death of dreams, man. Players took on the role of Changelings, fairy spirits in human bodies, who were slowly losing their beautiful-unique-snowflakeness under the crushing "Banality" of the modern world.

As games went, it was alright, it fetishised childhood in a slightly iffy way, but otherwise was decent Guns and Wizards Urban Fantasy fare. What bugged me about it, though, was the way it essentially divided everything in the world into "Banal" (soul destroying and imagination crushing) and "Glamorous" (drawing on the power of the Dreaming, the wellspring of human imagination). In particular, what bugged me about it was that it assumed that "imagination" was associated purely with the trappings of medieval fantasy. An artist who paints grim cityscapes and urban decay is Banal, an artist who paints forests full of dancing elves is Glamorous. 

Who Wants to be a Millionaire is Banal wish-fulfillment tapping into people's desire to get something for nothing. The hundred or so fairy stories about farmer's sons who get fantastically rich because of a stroke of good fortune are totally inspiring and bring out the best in humanity.

In her article Why are Americans Afraid of Dragons? Ursula le Guin observes (perhaps correctly) that the Fantasy genre is looked down upon in America, and that this is perhaps indicative of a society too obsessed with industry, productivity and profit, and distrustful of the imagination. Fiction in general, and fantasy in particular, encourages the reader to stop thinking about how they can best make a million bucks before they're forty and start thinking about any one of the million other things they could be doing. As Le Guin puts it:

"Fantasy is true, of course. It isn't factual, but it is true. Children know that. Adults know it too, and that is precisely why many of them are afraid of fantasy. They know that its truth challenges, even threatens, all that is false, all that is phony, unnecessary, and trivial... They are afraid of dragons, because they are afraid of freedom."

Of course the important thing to remember about this particular essay is that Le Guin is using "dragons" and "fantasy" as a shorthand for "fiction in general", and you could the mistrust of Fantasy in the twentieth century with the mistrust of the novel in the nineteenth. A lot of fantasy readers (and, by extension, some fantasy writers) go further. Like Changeling they come to view "elves and dragons and shit" as being synonymous with imagination, and to view imagination as the only virtue required in humanity, instead of as part of a healthy, well rounded personality.

Sensible proponents of Fantasy argue that it is perfectly okay to like dragons and wizards, and that the presence of fantasy elements does not make a story frivolous. Less sensible proponents of fantasy seem to want to argue that it is perfectly okay to like nothing except dragons and wizards, and that fantasy elements make a story more meaningful by their mere inclusion. This is particularly common in fandom and geekdom, where people are massively more inclined to focus on the details of a particular setting (elves, vampires, wizards) than on the actual contents of the narrative (destruction of rural England, coming-of-age in small town America, why suicide is totally heroic).

Obviously, I don't want a return to the nineteenth century, I don't want a world where nobody reads fiction, or where it isn't considered perfectly okay to pick up the odd bit of Laurel K Hamilton if you feel like something light and pulpy, but I am deeply concerned about a Fantasy genre that is coming to view fantasy as an end in itself. That's fine if you're aspiring to nothing more than light holiday reading, but a lot of fantasy (even, or perhaps I should say especially children's fantasy) takes itself very seriously, and it's ludicrous to try to deal with "real" issues in something that's totally divorced from the real world. You can't show us the reality of war in a world where everybody acts like an overgrown five-year-old and people only die when the author is trying to make a point.

Fantasy is not factual, and because it is not factual it must remain true, and the truth is that the real world matters, and that real people are amazing, and a Hero who doesn't return is no hero at all.

Themes: 

J.K. Rowling, Books, TV & Movies, Sci-fi / Fantasy, Whedonverse

~

bookmark this with - facebook - delicious - digg - stumbleupon - reddit

~Comments (

go to latest

)

Arthur B

 at 15:31 on 2008-09-27I'm reminded a little, in fact, of Terry Gilliam's 

Tideland

, which kind-of repudiates the fantasy-as-an-end-in-itself stance he took in some of his earlier films: in that one you have plenty of people who use fantasy as a means of escaping from the world around them, with the result that their lives are completely stagnant and horrible, and you've got the protagonist who uses fantasy to endure the world around her whilst still progressing through it, so she comes out the other end more-or-less unscathed and with a potential adoptive mum to boot.

You've glossed over an aspect of the Hero's Journey a little, which is that when the Hero returns to the everyday world he isn't just a fuller and more complete man, he actually enriches the everyday world by the fact that he's gone on this journey in the first place. 

Lord of the Rings

 is an exceptionally good example of this; not only are the Hobbits better people for having gone to fight Sauron, but when they get back they solve the Shire's problems and then (for the most part) become its primary movers and shakers for the next generation. Arguably, part of the problem with the way Buffy developed was that whilst Buffy's own real life problems were often solved by her adventures, she didn't so much enrich the community by her adventures so much as prolong the death throes of the status quo: things gradually get worse, and worse, and worse in Sunnydale until it all goes to shit. Harry Potter's magical studies not only have no beneficial effects for his community in the mundane world, he's actually legally prevented from letting that happen.

I think the problem with Hero's Journey type narratives in fantasy set in the modern day is that "it's the modern day, but with vampires" seems far too close to the real world, if you see what I mean. Back in the day it was sufficient for the hero to walk a long long long way away and people could accept that "oh, OK, way over there is the land of magic and adventure". The problem with the likes of Buffy and Potter is that the land of magic and adventure is 

right on their doorstep

, and this actually makes the return to the real world slightly problematic; because the vampires and werewolves and death eaters are in such close proximity (physically and in terms of always getting in each other's face), you'd expect the hero to be concerned about them all the time. The reason 

Narnia

 does the Hero's Journey so well is precisely because Narnia is a mythic otherworld which it's non-trivial to get to, and I would argue that that's a requirement for any mythic otherworld in a Hero's Journey-based story: if you can get to the Hellmouth by walking down the street then that's not so much a Hero's Journey as a Hero's Morning Jog.

I suspect the answer is to use a different myth for modern-day fantasy. 

Supernatural

 seems to get a lot of mileage (no pun intended) out of the old Lone Ranger/Fugitive "Eternal Wanderer" story (which has the advantage that it's a lot easier to adapt to television, because you can spin it out for as long as you damn well like, whereas the Hero's Journey pretty much demands an end point).

permalink

 - 

go to top

Andy G

 at 20:52 on 2008-10-05Great article! That really put the finger on something that had been bugging me, except actually I hadn't realised it had been bugging me until I read the article. I was just wondering how you think Star Wars would fit into the pattern of the Hero's return, as you'd given that as an example of one closely written to the pattern, but it doesn't seem as clear-cut an example as the LotR or others where the magical world/magical powers are left behind?

Possibly a stupid question as you have clearly read a lot of stuff ABOUT fantasy (where on earth do you find it? I mean I do like to read fantasy, but I can barely ever find anything interesting written about it - except on Ferretbrain, of course) but have you read On Fairy Stories by Tolkien? It covers a lot of the themes from above, and it's one of my favourite essays with some really well-made points.

permalink

 - 

go to top

Arthur B

 at 21:15 on 2008-10-05As far as I can tell, the supposed precise mapping of 

Star Wars

 to the Hero's Journey is a bit ropey, and came about mainly because John Campbell was all "Hey, 

Star Wars

 fits the Hero's Journey perfectly" and George Lucas said "Oh... really? I mean, yes. Yes it does."

So working out where all the various bits and pieces fit in is sometimes tricky, but I think the Hero's Return is very much there, although it's pretty much described in a single scene - it's the bit at the end where they're all getting their medals and all the rebel forces cheer them. Having ventured into the depths of the Death Star's chasm and faced the dark lord, Luke emerges victorious and the community (said community being the rebellion) is enriched for it. That's all you really need for the Hero's Return - tenuous, I know, but so's the entire Hero's Journey idea to begin with.

(The end of Return of the Jedi is interesting in this light, actually - the community is having a big party, but Luke isn't really part of it - he's off at the edge, burning his father's body and communing with ghosts, his experiences finally alienating him from his community because he's endured so many things that have no parallel in the common experience of the war - hundreds of people can claim they were involved in the attack on Death Star II, for example, but only Luke actually saw Darth Vader's true face.)

permalink

 - 

go to top

Dan H

 at 16:29 on 2008-10-06

Possibly a stupid question as you have clearly read a lot of stuff ABOUT fantasy (where on earth do you find it? I mean I do like to read fantasy, but I can barely ever find anything interesting written about it - except on Ferretbrain, of course) but have you read On Fairy Stories by Tolkien? It covers a lot of the themes from above, and it's one of my favourite essays with some really well-made points.

I've not read it actually (I'm far less well read than I pretend to be, I just shout my opinions loudly and hope people assume I've done some research).

As for Star Wars, the "real world" if you want to call it that in the SW saga is (IMO) the Rebellion, the big deal is that while Luke goes off and learns from Jedi Masters and confronts Darth Vader, it's the regular guys in the guns-and-bombs shooting war that he comes back to. Our Esteemed Editor also points out that Luke's return to Han and Leia is a quite literal return to family at the end of the series.

permalink

 - 

go to top

Sister Magpie

 at 20:38 on 2008-10-30Great article! I've been catching up and had just read your review where you asked why someone would have to add fantasy to New York City to find a sense of wonder--quoting that paragraph that's a beautiful image strangely undermined by the addition of werewolves, fairies, vampires and mermaids. (Central Park, Chinatown, the Hudson River are all far more interesting.)

I've always liked "our world, but with magic" in terms of books starting in our world rather than a totally different secondary world, but I totally agree with this--because as you say, setting something in our world and adding magic doesn't have to mean that our world is the world that sucks or can't hold it's own. A sense of home is always present in LOTR and that makes the Shire stand up as just as wonderful as any magical place.

It reminds me of the book Hatchet that I had to read a couple years ago for a thing I was doing on YA books. I have only ever read that book, but there are several in the series. It's not fantasy, it's about a boy who survives a plane crash and must survive alone in the Canadian wilderness. But in the end he's rescued and there's other books, some of which follow a "what if?" scenario where he never leaves the woods. What struck me about the synopses of the later books was that the main character pretty much wound up going off to live in the forest. He didn't like civilization any more and preferred his solitary life. 

The idea seemed to be that the author enjoyed the more "real" life experience of fighting for your survival, hunting your own food etc. But I thought it made the whole series a failure by not realizing that the point of a Vision Quest is to find out how you can help your community. Deciding to be a hermit--a fine choice in other contexts--is here just selfish and avoiding the responsibilities of being an adult in the community.

It's just important to make the distinction between this really being a flaw in Urban fantasy and it being just something urban fantasists can use it for.

permalink

 - 

go to top

Dan H

 at 15:25 on 2008-11-17Hiya, sorry it took me so long to reply (this just in, doing NaNo is 

hard

). Thought I'd clarify one particular point:

It's just important to make the distinction between this really being a flaw in Urban fantasy and it being just something urban fantasists can use it for.

Oh absolutely. By "a flaw in Urban Fantasy" I basically meant it in the specific, subjective sense (as in "this is something I consider to be a flaw in the works of urban fantasy which I have personally read") not a fundamental weakness of the genre.

I find it particularly infuriating since so much Urban Fantasy is either targeted at children or "young adults" and if there's one thing that young adults *don't* need to be told, it's that being an adult is for losers.

permalink

 - 

go to top

Sonia Mitchell

 at 01:52 on 2009-06-25Once again I know this is old, but I hadn't read any Campbell when you wrote this. I'm rehashing now I've read enough of 

Hero With a Thousand Faces

 to comment. Not all of it, I have to add (psychology texts bore me) but a fair amount (I'm also cribbing the exact terms from 

here

 because it's been a few months since I touched the book).

And while I agree with the points you make, Dan, I don't think HWATF backs them up. It's not a check-list of ingredients for a story, but a variety of factors of which some (not all) can be found in a given hero's journey. Refusing to return 

is

 a valid stage of the journey, even if it makes for an unsatisfying narrative. I agree that it marks Harry out as an immature hero, just as I think it does Achilles and the Sandman and the Pevensies (who never intended to return home in TLTW&TW). For most of us there does come that point where we stop thinking Dorothy's mad for wanting to go back to Kansas (we grow the fuck up, as you so rightly say), but nevertheless according to Campbell heroes who don't return are still heroes. 

Suicide 

can

 be 'totally heroic' in the classical model Campbell's following, which isn't using heroes as role models. Working in the chivalric model, which I think maybe you are, naturally it isn't. And Harry Potter seems to strongly invite one to take the chivalric viewpoint, right up to telling us how 'gallant' Harry is for protecting a(n extremely competent) woman with an unforgivable curse. If nothing else, the cosmetic details (suits of armour, portraits of damsels, Arthurian treasures and constant references to Merlin) are knightly not classical, and invite one to take a certain perspective (there might be an article in this, actually...). 

As far as I can tell, the supposed precise mapping of Star Wars to the Hero's Journey is a bit ropey, and came about mainly because John Campbell was all "Hey, Star Wars fits the Hero's Journey perfectly" and George Lucas said "Oh... really? I mean, yes. Yes it does."

Which I'd say is the right way to do things - treating. HWATF as a tool for analysis rather than an instruction manual on how to write fiction. I think consciously ticking off the elements of the hero's journey would make for a rather boring (not to mention contradictory) story, since the natural temptation would be to take them far too literally. I'll take tenuous any day :-)

permalink

 - 

go to top

http://ruderetum.blogspot.com/

 at 16:20 on 2009-09-10Great article and it immediately reminded me of Guy Gavriel Kay's Fionavar trapesty, which is a bit narnian in its basic plot, has some slight elements of urban fantasy and I thin generally is a surprisingly awesome take on what seems on the surfce to be an awfully cliched fantasy world. Commenting on heroic suicides, I think this one has one brilliantly haunting example and a few others might qualify as well.

But really made me recollec this is the development of Dave, who is kind of an average guy compared to the rest of the cast and doesn't get any cool pwers or even the girl or anything. But in a very awesome ending, without any sense of needless fanfare, you know that he'll return back to the real world and things will be okay.

I won't explain more because I'd hate to spoil it for any one and I guess it would be a bit tedious.

permalink

 - 

go to top

In order to post comments, you need to 

log in to Ferretbrain

 or 

authenticate with OpenID

. Don't have an account? See the 

About Us

 page for more details.

Show / Hide Comments -- More in September 2008

[secret-diary-of-an-fa]

AHS: Cult Revisited (Spoiler Warning: It Sucked Then and It Sucks Now)

SOME CONTEXT: Since I discuss the politics of AHS: Cult in the following article, new readers should probably know that my own politics are leftist and generally liberal. As such, it’s worth bearing in mind that part of my annoyance with the series does stem from the fact that most of its liberal, left-leaning characters are inadvertently written as total bell-ends. Most of my annoyance, however, comes from the issues I’m about to discuss.

SPOILER WARNING: Lots of spoilers ahead.

I’ve been re-watching American Horror Story: Cult, despite the fact that it’s the absolutely worst season of the anthology series, because some family members wanted to see it and I wanted to sit in and crow about where it all went wrong. And you know what? I’d forgotten how deceptively good the first half of the series actually is. It’s funny, unsettling and camp in that way that only AHS can be, and it contains lots of satisfying moments where absolute bell-ends get punched in the fact or killed with gym equipment. When I reviewed it about a year ago, I kind of forgot that there was the root-system of a decent TV show buried under all the crap. Y’see, the thing about AHS: Cult is that it’s only a shitshow in retrospect. After you’ve chewed your way through the increasingly dumb and unsatisfying second half of the series, you reach a conclusion that renders 99% of what you’ve just seen completely pointless: a whole lot of sound and fury signifying fuck-all.

The core of the problem is Kai, the blue-haired cult-leader supervillain and psychotic clown enthusiast who serves as the series’ antagonist. The motivations that he pretends to have in the first half of the series are way more interesting than the real motives that he’s revealed to have in later episodes. You see, early-episodes Kai is deliciously complicated an apolitical. He doesn’t celebrate Trump’s election to president because he thinks a Cheetos-hued former gameshow host will actually make a good president, but because his presence in the White House will spread fear and chaos that Kai can use to his own ends. He’s like a less slapstick-y version of the Joker, revelling in chaos and collective national misery and only allying himself to one side or the other so far as it promotes those things. In some places, his ideology seems downright and actively non-partisan. There’s a bit where he talks to a downtrodden and much shat-upon news reporter about her anger as a black woman in Trump’s America and legitimates her rage- which feels like “wanting to be the last person alive on Earth- because then you got to watch every other motherfucker die first”. He recruits a buff gay guy by killing his homophobic boss. On the other hand, he also gets a disenfranchised prospective Trump-voter on side by reminding him how he’s been told he’s obsolete and irrelevant because he’s a working class white male. In the early series, Kai’s ideology doesn’t seem to have much to do with left and right: his message is more along the lines of ‘modern America is a worthless shithole that fucks everybody over, regardless of politics or demographic, so let’s burn the whole thing to the ground and put me in charge’. It’s genuinely compelling to watch... and then the second half of the series happens and it turns out Kai was basically lying about all this complex motivation. He’s actually just a misogynist who wants to hurt women. Well, fuck. And there was me thinking we were getting an interesting and nuanced character who walked the line between villain and sympathetic protagonist. Nope- apparently he’s just a jerk. That’s a pretty accurate portrayal of the way sociopathic cult leaders work in real life, but it’s not very narratively compelling. 

Here’s the trouble. I know plenty of jerks in real life. I don’t find them fascinating. I don’t think they make interesting viewing. They’re not good TV: they’re just fucking morons in need of a good, hard slap. I get what AHS: Cult is doing- it’s making the point that cult leaders and far-right, regressive politicians can seem more complex and compelling than they really are in order to get what they want before they reveal their true colours. It’s an allegorical warning against charismatic, evil, morally-bankrupt politicians like Trump. And that’s a fine point to make, in an online article or a short story or... well, basically any media that doesn’t have to keep me entertained for 10-12 hour-long episodes. AHS: Cult chose to make a point instead of making a consistently good, watchable TV show. And that’s a problem.

Of course, Kai’s increasingly tedious and stupid character isn’t the only problem. AHS: Cult wants to be all feminist and get you to root for its oppressed, trod-up women. Which would be great, if its female characters weren’t mostly loathsome dipshits. There’s Ivy, who deliberately gaslights her lesbian wife and drives her mad. There’s Meadow, who more or less embodies the concept of vapid self-absorption, seems to start improving as a character, and then commits suicide before she can become genuinely sympathetic. There’s the reporter who starts off sympathetic but who ends up egging Kai on to greater feats of cruelty and chaos (when she finally turns against him, it’s not because she has a moral epiphany, it’s because he decides to consolidate power rather than go with her plan of causing as much random destruction as possible). Oh, and then Valerie Solanis and her ‘SCUM’ cult turns up and starts butchering men (and any woman who doesn’t hate them to a sufficient degree) while spouting grandiose horseshit. In fairness, the grandiose horseshit comes from her book, ‘The SCUM manifesto’, which is a real thing that actually exists... but bringing it up just serves to make Kai’s eventual adversaries seem as crazy as he is, just when the narrative needs them to seem like a heroic alternative. How so? Well, it was written by a literal schizophrenic just before she tried and failed to assassinate Andy Warhol.

After episode seven, AHS: Cult is increasingly framed as a struggle between Kai’s far-right misogynist cult and his former supporters’ self-justifying revenge-oriented cult-within-a-cult of revenge. Who are apparently preferable because... reasons maybe? Well, at least they’re not out for world domination and don’t give their recruits names like ‘Speed Ball’, which is something.

The final issue is Ally. Poor Ally. She starts off as a slightly pathetic, slightly pampered but basically decent person. She’s a left-wing liberal and broadly on the side of good, even if her many phobias do prevent her from getting her shit together. After wife Ivy steals their son from her using Kai’s cult, Ally goes through a pretty good character arc and learns to conquer her fears in order to save her son from Ivy’s increasingly unhinged grip. She’s basically the show’s happy ending waiting to happen... and then, in the very last fucking scene, she dons a green hooded robe and takes up the mantle of the leader of the deranged SCUM cult. Because of course she does. Because we couldn’t just have one likeable, uncorrupted character, could we? She reacts to the traumas she has survived by recreating a secret organisation that already demonstrated its impotence in changing the world and will definitely cause more trauma for other people down the line. For some reason, the show seems to think this is some kind of victory.

AHS: Cult has a lot of good ideas and interesting characters, which is why the first half of the series is so compelling. Unfortunately, it squanders them one by one, until we’re left with a left with a bunch of petty, simple-minded jerkoffs playing tug-of-war for the nebulous, symbolic prize of cultural dominance. Maybe that’s an accurate portrayal of our echo-chamber-fuelled, divisive, crude political landscape. Tragically, I fear that it is. But it isn’t good TV.

[thebastardofgloucester]

Okay, so. Thoughts on the mess that was Rian Johnson’s The Last Jedi.

- I can see why a lot of people had a big problem with Poe’s arc – mostly that it started him from such an obnoxious place that wasn’t entirely in keeping with his portrayal in Before the Awakening or the comics (honestly I think his character in TFA is sufficiently thin that it wasn’t really out of the realm of possibility). There’s also the component of the Angry Latino Man racist trope with his aggression towards Holdo and Leia. Leia slapping him was unnecessary. Leia stunning him so he flew back into a wall(?!) was really unnecessary, and combined with brutalization of the other characters of color was a Problem.

- But nonetheless I loved where it ended up. I did love Poe learning the brutal lessons of command, putting him in a place to be Leia’s successor as the leader of the Resistance. He is a hotshot pilot. Going from that to general, with all the need for long-term thinking that requires, is not an easy leap. So while I understand where people who hate it are coming from, I think that Poe’s journey to becoming Leia’s heir to the role of leader is the most compelling part of the film.

- God Luke was a mess. His grumpy old man act was funny but it hurt so much to see Luke, the beating heart of the OT, reduced to a bitter version of Obi-Wan, minus the hope of believing in the future. TFA and TLJ utterly broke Luke in a way that was just…too much. And god, he would never draw a weapon on his fucking nephew, no matter how scared he was. He might aggressively confront Ben, trying to get him to give Snoke up, go after the source, but killing his nephew out of fear? What? W H A T ?

- that said, that was the most meaty material Mark Hamill has ever been given and he fucking killed it, so props to him.

- What was Rey even doing through most of this movie. All the clarity and dynamism of her character was just sucked away and outside of some moments on Ahch-To she was either a prop in Kyle Ben’s narrative or a walking deus ex machina. She technically becomes the Last Jedi and turns her back on Ron but like…we didn’t see any of that? Does she even want to be a Jedi?

- look…I have been on the Rey Skywalker train forever. I am not happy with her being from unremarkable origins (assuming Kyle is telling the truth, and given that he is a manipulative abusive asshole he may not be) in part because it actually feeds the unfair idea that she’s somehow unrealistic (whatever that means in a space wizards franchise) or a Mary Sue character. She shows a level of skill, instinct, and power that has previously only been manifested by…Anakin Skywalker. That needs an explanation. Either she’s a Skywalker, or a vessel or champion of the Light Side of the Force, or some other shit, but there does need to be a reason. Luke and Anakin have a reason – they are Skywalkers, one Space Jesus and the other the son of Space Jesus.

- I have no idea what motivated Rey for so much of the film. Her quasi-Bespin going to Kyle thing was a fucking mess and required a lot of idiot balling. Rey is smarter than that. Rey saw Kyle murder his father – she would not just trust him enough to go alone. Basically Rian either did not get Rey as JJ Abrams made her or he didn’t care. Either one is utter bullshit. Some cool action sequences mean nothing without the character dynamics to back them up.

- God, Finn…Rian took the problematic aspects of Finn’s comic relief role from TFA and just…ran with them. I didn’t object to him trying to run off to find Rey – he has no real attachment to the Resistance. But his whole mission is just…pointless. There’s no follow up on his being a Stormtrooper who overcame his programming. We get some interesting stuff with Rose about his being a legend when he’s not comfortable in that role, and I kind of liked the way his self-sacrificing behavior was called out by Rose so he knew that besides Rey people actually cared about him, but…there were so many missed opportunities, and so many unnecessary injuries and physical jokes.

- I love Rose. I do. I don’t know that there was really a place for her in this story. Her ‘eat the rich’ working class background was cool, she’s a huge sweetheart, Kelly Marie Tran gave a great performance. Her romance with Finn was a rushed mess. A crush I can believe, fine. Love after like two days max? No. They didn’t earn that. Honestly if you are going to introduce your first significant woc you have to find more to do with her. It was nice that (unlike Leia and Luke) she got a chance to grieve her losses

- Kyle Ben’s eventually becoming the irredeemable supreme leader actually works pretty well, but how it got there…on the other hand…Kyle shows his true colors when he turns on Snoke…in order to take his place in the finest traditions of the Sith. He’s the full-fledged villain for episode IX. As it should be.

- What the fuck was Snoke. Why did the film bring him and Rey and Kylo together in an awkward and forced series of developments and then just cut him in half. We have no idea where he came from, his relationship to the Empire, his goals, his plan with Kyle and Rey and Luke…it’s just an enormous blank and we’ll never get an answer because Rian got bored and just decided to off him. It’s not like I care about him as a character, obviously. His death hardly upset me other than the fact that it was pretty bad writing.

- why the everliving fuck did we have to have YODA show up, basically to give a non-chalannt mea culpa and say ‘actually the Jedi were kind of shit.’ Like ANAKIN? Why the fuck would you not use the person the Order failed the most. Also Yoda looked fucking terrible I have no idea why they used a puppet AND CGI.

- On the plus side, Leia did a truly spectacular Force Thing (though that was some cheap shit by Rian spacing her like that). Then she was unconscious. She never got to mourn Han at all. She passed the torch to Poe, but I can’t help but be disappointed when so much was promised. Also…no one came to her aid? I know that in Bloodline her parentage being revealed ruins her reputation and strips her of her influence…but no one? What the fuck?

- DJ was just a useless character. Maybe they’ll be a payoff in episode ix, but he serves no purpose but to set up an inconsequential betrayal, unless you count Phasma dying (also a cheapening of her character as laid out in her novel) as a tremendously important moment. All the damage was done by Holto’s sacrifice. Finn and Rose and BB-8 were pretty incidental.

- the Porgs were stupid space puffins and despite myself I’m kind of fond of the stupid things. The crystal foxes were much cooler, of course.

- R2D2 and C3PO were props in this film. Chewbacca too.

- Luke…weirdly his facing his fears and sacrificing himself was one of the best parts of the mostly-okay third act? I liked the new, less flashy but still impressive Force power of projection, and he got some chance to say goodbye to Leia at least, and he got to lay down the law to Kyle Ron. But…he died alone. That’s not fucking okay. That’s a betrayal of Luke, the heart of the original trilogy. It’s just…wrong. And it’s sad and heartbreaking but not really in a satisfying way. And he never really passes the torch to Rey – he sacrifices himself to fix his fuck-up with Kyle. He deserved more than that. All the Skywalkers did.

- the space battles were pretty great, the whole tracking thing and the slow race was very Battlestar-y, even if the mechanics of the plot were a bit questionable.

- I need to read Leia Princess of Alderaan to get the backstory on Holdo. Her character was interesting (though we could have used more backstory or elaboration on how she became so respected a military leader) and her relationship with Leia was tantalising but there just wasn’t enough. Her heroic sacrifice was fucking awesome though. If she had to go out she picked a good way to do it.

- Billie Lourd got a character and lines and that was pretty great.

- Okay, minor nitpick that actually REALLY BOTHERED ME. Among the casualties in the opening battle appeared to be Temmin ‘Snap’ Wexley, one of the protagonists of the Aftermath books, and the son of the delightful Norra Wexley. Like, first, Mister Bones would fucking swim through space and stab Kyle Ben with his vibroknives because he is Norra’s motherly love incarnate in a psychotic droid. And second, Norra deserved better. She’s probably dead now and that is bullshit in itself.

- Or it might have been another bearded guy, in which case like Jessica Pava his absence bothered me. Like…where did these people go?

- blowing up the bridge to kill Ackbar et al was just cheap bullshit honestly

- the war profiteering and moral ambiguity was not elaborated enough to justify its inclusion, honestly. I’m not averse to that sort of moral ambiguity but you have to earn it to stick it into a Star Wars film. They didn’t. And again, DJ was just useless.

So, yeah, to review – this is not a movie I was ever going to like. I got almost nothing I wanted out of it, it fucked over the Skywalkers royally in a way that left me feeling bitter and betrayed, it misused or wasted Finn and Rose, Rey’s character was inconsistent at best with little to no on-screen development. The opening was strong. The second act was an epic dumpster fire, particularly everything with Kyle and Rey and Snoke and everything that led there. The third more or less pulled the majority of story threads out and left them in an interesting place for JJ Abrams in episode ix to maybe do some interesting things, but the path it took to get there had…problems.

Rian doesn’t love Star Wars like I love Star Wars, and he really doesn’t like the Skywalkers. I guess that’s what some people wanted – for an end to the Skywalker-centric narrative. Personally I think that is utterly missing the point of literally everything about this series, but whatever, people will disagree.

The writing was overall clumsy to outright bad, with bursts of inspired storytelling but mostly buried under Kyle apologism.

Corvus fairly points out that The Empire Strikes Back is not nearly as good as movie as it is without the events of Return of the Jedi, so to an extent it’s hard to fairly judge the film when you don’t know where it is in the overarching story. But equally this film had so many opportunities to develop the characters and build the world and it just. Did not.

As for a rating, it depends when you ask me. I’d rate it somewhere between a 5 and 6/10. Maybe a 4 in some aspects. It’s not Attack of the Clones bad, but it’s worse than Return of the Jedi, The Force Awakens, A New Hope, ESB…I mean, I liked Rogue One more. Frankly Revenge of the Sith was more emotionally satisfying, especially in the context of the Clone Wars series. I’m never really sure where to rate The Phantom Menace. This might be better. I’m not entirely sure, and that’s pretty damning,

I’m just…so disappointed and frustrated and have basically decided to treat the new canon post RotJ as more of alternate universe than anything else. Which is kind of sad, honestly.

tldr; Anakin Skywalker Did Not Die For This Shit

[samdelpapa]

Se sapete l'inglese capite meglio={Oh, What a Lovely Race War! - Taki's Magazine

photo credit: Wikimedia Commons

Anders Behring Breivik

I don’t revisit my old work. I’ve been writing this weekly column for four and a half years now, and I never reread old pieces. Because for me—and I’m sure I’m not alone among opinion journalists in this regard—each essay I pen represents a catharsis of sorts. I had some bee in my bonnet, I wrote about it, and now I’ve had my say. What reason is there to go back? If what I’ve written resonates with readers, the piece will go viral. If not, it won’t. But regardless, I’ve relieved myself of whatever was busting to come out.

Not to be crude (a phrase inevitably uttered by those who are about to be crude), but it’s a bit like having a really good bowel movement. After you’ve had a fully satisfying bathroom experience, your body feels free, emptied, unburdened. And you’re ready to move on.

The sense of release that comes from having your say and being heard, though it may seem trivial to those with no opinions to share, can in fact be quite powerful.

Which brings me to the recent crop of right-wing mass shooters: Robert Bowers in Pittsburgh (shot up a temple), Brenton Tarrant in Christchurch (shot up a mosque), and John Earnest in Poway (shot up a different temple). As an old-timer with a morbid fascination for these things, there’s an odd twist to this new breed of gunslingin’ whiteys, compared with the ones from my youth. Before James Huberty shot up a McDonald’s full o’ Mexicans in 1984, he tried to seek medical help for what he knew was an incipient psychotic episode. Huberty had no political goals. He was feeling compelled to “hunt humans,” and deep down, he knew there was something wonky with his wiring.

In 1989, Patrick Purdy opened fire on a bunch of Asian schoolkids at Cleveland Elementary in Stockton, Calif. (our crappiest cities love naming their schools after even crappier ones, as a reminder that things can always be worse). Purdy started his day by calling in a threat to the school, telling them what he was going to do. Then he drove his car behind the school and set it on fire…loaded with fireworks! Still, the teachers and staff laughed it off, displaying the keen intellect that so exemplifies California public school employees. “We got a threat of a mass shooting? And now we have an exploding car? Crazy coincidence, man. Jupiter must be in renegade or somethin’.”

Sadly, five Vietnamese and Cambodian kids soon realized it wasn’t just a “crazy coincidence” as Purdy’s bullets shattered their bodies. Having defeated the dastardly tykes, Purdy killed himself. Authorities found that he’d carved the words “freedom,” “victory,” “Earthman,” and “Hezbollah” into his rifle, and on his flak jacket he’d scrawled “PLO,” “Libya,” and “death to the Great Satin [sic].”

“I’m not saying the recent spate of racist shootings can be entirely pinned on the silencing of the far right, but I do believe it’s a factor.”

And on that very day, a homicide detective coined the phrase, “the fuck?” Because how disjointed can you get? There was no coherent agenda. Death to America, hooray for PLO and Hezbollah, yet he targeted Asian kids and practically dared the school to stop him before he killed. Like Huberty, this was no ideologue. He was a loon with a bunch of loose screws.

But today, the white dudes who commit these types of shootings leave behind lengthy, detailed manifestos. More than that, they leave themselves behind. Mass shooters in the ’80s and ’90s rarely survived, typically dying by their own hand. But these guys seem to really, really want to be taken alive. Anders Breivik in Norway was the first. Lengthy manifesto, taken alive, and he stood trial with no apologies, like a political dissident facing a kangaroo court (which it kinda was; the bastard got only 21 years for 77 murders). The Pittsburgh, Christchurch, and Poway shooters, same deal. Lengthy manifestos and 8chan posts, taken alive, now awaiting trial. Charleston’s Dylann Roof? Lengthy manifesto, taken alive, unapologetic at trial.

This is the age of the “intellectual” (and please note the scare quotes) racist killer. Black mass shooters continue to excel at their preferred specialty—workplace massacres. But white mass shooters have evolved, so to speak. Now they all want to be op-ed writers. Which brings me back to my initial point: the cathartic nature of ranting in an essay and putting it out for the world to see. It has a cleansing, purgative effect, like (again, not to be crude) a really good poop. I’ve read every one of those racial murder manifestos, and you know what? They’re as good as anything on any leftist race-baiting site. Roof? Tarrant? Earnest? Breivik? In terms of writing ability, in terms of effective polemics, their work is no worse than what you find leftists spewing on BuzzFeed, HuffPost, Salon, ThinkProgress, Vox, etc.

Leftist antiwhite sites that are allowed to exist by our benevolent internet overlords—sites that are allowed to have advertisers, sites you can post on social media—employ writers who are no more skilled than these murderers, and just as hateful. In terms of writing ability, I’d put Breivik and Tarrant up against any of the semi-tards who post at Salon. Hell, those two guys, whose manifestos together total more than 1,574 pages, are exactly the kind of prolific ideologues who, were they leftists, would be highly sought after by the editors of high-quantity political sites.

But ay, there’s the rub. See, the right-wing versions of left-wing race-haters aren’t allowed the catharsis. Banned from social media, banned from websites with traffic, they write their “masterpieces” knowing that the only way their work will be seen is if the media has a reason to publicize it. So, they give the media a reason.

I’m not saying the recent spate of racist shootings can be entirely pinned on the silencing of the far right, but I do believe it’s a factor. Groups like the ADL and SPLC, and cowards like Zuckerberg and Dorsey, have so effectively cleansed the ’net of rightist thought (including the commonsense, nonviolent kind), extremist whites are not allowed the release of taking a good figurative shit (oh wait, I forgot to preface that with “not to be crude”). Yeah, they can write stuff for their eyes only, but any real opinion journalist knows that the catharsis comes not just from the writing, but from knowing that your words will be seen. That’s where the feeling of satisfaction comes in. That’s what allows you to move on.

Since Breivik, every racial mass murderer with a manifesto has stated that he hopes his words and actions will provoke a race war and foment racial conflict. Same exact goal as the leftist race extremists at CNN, The L.A. Times, HuffPost, and BuzzFeed. Stir shit up between the races. But leftists get to do it with words. They’re allowed to do it with words…words that are seen and heard. When Don Lemon comes home after a hard day of yelling at white people, as he greases his backside with Vaseline, don’t doubt for a moment that he feels a sense of satisfaction that his hate has an audience. Again, this is the catharsisthat ideologues feel when they know their words are actually reaching people.

A feeling of helplessness and the frustration of being ignored often accompany mass killings. This helps explain why blacks prefer workplace shootings to ideological ones. D’Quanté Jones can scribble a barely literate “essay” about how “white people be racist when they be chewin’ they food,” or “white people need to STFU and quit havin’ babies,” and it will get published, guaranteed, at HuffPost, The Root, Ebony, The Grio, etc. His screed will be allowed on Twitter and Facebook, and he’ll see, from the cheers and jeers in the comments and the retweets and reposts from friends and foes alike, that he’s had an impact. He’ll get that purgative release. But at work? D’Quanté feels left out, ignored by his white colleagues, who, oddly enough, don’t enjoy socializing with someone who hates them.

Eventually, D’Quanté will deal with those feelings of frustration by coming to work with a gun. “Now y’all pay attention to me, motherfuckers.”

The increase in verbose, “literate” white racist mass killers is not unrelated to the banning of far-right thought from popular internet platforms (and, in some cases, from the internet itself). Do you think it’s gone unnoticed by extremists that the only way these manifestos get seen by a wide audience is when they’re accompanied by murder? Several of these manifestos have expressed a hope that the concomitant murders will provoke governments into imposing more censorship, more gun control, and upping the antiwhite rhetoric, thereby creating even more racial conflict. And the left has responded exactly as these killers hoped. More censorship, more gun control, and more antiwhite rhetoric, thus disrespecting the victims by carrying out the wishes of the nuts who murdered them.

After 9/11, the left’s favorite line was “Don’t let the terrorists manipulate us into doing their bidding! They want us to start bombing Muslim countries! They want us to initiate a war between the West and Islam! We honor the victims of 9/11 by understanding what the terrorists were trying to bring about, and not letting it happen.”

Notice how that’s never the talking point in the wake of a racist mass shooting. You know why? The left genuinely did not want to go to war against Muslim nations. The left genuinely did not want conflict with the Muslim world. But the left really does want the same race war that Roof, Tarrant, Bowers, and Earnest seek to foment. So leftists ignore their own post-9/11 advice, and play right into the killers’ hands.

To be clear, neither side will get its beloved race war. As is the case with all wars, the vast majority of ordinary people want none of it. They go about their lives, generally getting along well with others, reserving violent impulses for domestic situations and personal squabbles, rather than grand ideological goals.

But still, the clown parade will march on. Leftist race extremists will continue to be allowed major platforms to spew antiwhite hatred with a clear desire to provoke, while rightist extremists, denied platforms to do the same, will continue to find “creative” ways to be heard. There’ll be no race war, but lots of small-scale bloodshed. And the twisted, unspoken “partnership” between far-right killers and the media and government leftists who do their bidding will continue.

And everyone will live happily ever after (except for the victims and their families, but c’mon, who cares about them when there’s a race war to wage!).}

[dukeofriven]

Voltron Episode 1

Thoughts on having finished the very first (pilot? pseudo-pilot?) of Voltron. It’s not good. I mean it’s really not very good at all. Positives first: characters are fun, animation is snazzy, the show ‘pops’ visually, and I can see the hints of potential that this may turn into something really good. But the pilot is bad. It’s use of tedious exposition borders on the agressive - in its need to fit Everything About Voltron Ever into one scene it betrays a cardinal rule of storytelling, namely: is any of this fucking relevant? Let’s take the last - worst - act as an example. Imagine how much better the tension would be if they arrive at the castle only right before the Galran Carrier does - oh shit it’s a princess and she says we’ve got to grab these lions in the basement if we want to not die. Sending out the guys in two teams to find Yellow and Green does nothing but pad time in ways that don’t make a lot of narrative sense given what’s already occurred. Plus, although I know that our pilots are supposed to be ‘attuned’ to their lions, but the fact that they can fly them with perfect accuracy is just... shit. Even the trained pilots sure weren’t trained to fly quadropedal battle lions. Here, off the top of my head, is my lightening-fast re-write of the pilot’s third act: On arriving at Castle Whiteskull, automated systems reacting to the arrival of the Blue Lion unfreeze a dazed Princess Alaalu, who struggles to ‘wake up’ given ten thousand years of suspended animation. Warning klaxons start howling marking the approach of the giant Galran carrier - all Alaalu has time to impart to the team is that there are three lions in the basement, but that the red lion is on the destroyer. She doesn’t have time to spin any kind of quasi-mystical garbage about Voltron - she just says ‘rescue the red lion or everybody ever will die.’

 (Alternatively, Blue Lion could have systemically led the team to Green and Yellow lions before they went to the castle, thus saving the episode from having the tension of ‘giant destroyer coming to kill us’ completely gutted by Pidge and Shiro going on a boat tour with a LITERAL SLOTH. Plus it gives Hunk and Lance dicking around by the mine a chance to breathe, instead of just padding out the run-time. Black lion is in the basement, and Shiro gets to fly it right away) The Team agrees (what choice do they have?), so while a totally-fucked up, ‘oh shit I’m the last of my kind’ Princess desperately tries to bring Castle defences online that haven’t received maintenance in ten thousand years, the team tries to take on the carrier. (The Princess doesn’t have to be a grimdark ‘broken waif’ or anything like that, but the total genocide of a species deserves more emotional space than the pilot give it, which is to say ‘none.’) In the pilot, Shiro, Pidge, and Keith get onto the carrier no problem, flying openly through space because... the carrier has no radar or sensors of any kind and relies on people looking out the front window, I guess. The pilot is badly written. Once on the carrier they wander through the halls completely unmolested except Kieth, who has a three second fight scene with some aliens. The pilot is badly written.  In the new version Shiro, Lance, and Hunk try to take on the carrier in lions they are attuned enough to fly, sort of, but nowhere near enough to fight - they’re still learning. So there is narrative tension as they try and fend off a giant goddamn carrier and a fleet of gunships. Meanwhile, Best Character Pidge drives his green lion through a porthole or something and they fight their way to the red lion. Keith says ‘hey maybe we should blow this thing up from the inside’ and Pidge goes ‘no fuckass that’s psychotic. What if they have more prisoners like Shiro on board - or my dad?’ and Keith goes ‘Whaaaat - your dad?’ and then Pidge explains who is father is while he punches aliens with his... bayard? (A bayard is a magical french horse, Voltron, it is not a weapon.) They get the red lion, they ollie-out, and the carrier starts firing on the castle from orbit because in this version it’s not commanded by a moron. They struggle to form Voltron, Shrio gives a rousing friendship speech even though Pidge is more interesting and should be leader instead, they form Voltron, lob the ion cannon in half, and the carrier command goes ‘fuck this’ and rabbits while the cannon gun barrel explodes and gives Volton something to pose in front of. Fin. What do you cut? Mostly the Princess rambling about Voltron at a point in the story where nobody should have any time to pay attention or care. Carry it over to the first episode, when the paladins have had a chance to catch their breath and actually ask questions. You lose Shiro getting told he is The Chosen One by the prisoners, but that was a clumsy plot hook anyways - if they couldn’t work it in better, dump it in the next episode as well. I have also cut out the Space Mice, because it made me feel like I was watching a late-90s Disney movie - they don’t match the comedic tone of Voltron and the scene they are in has no purpose. They made me think of Haro in Gundam Seed, and nothing should ever make me think of Haro in Gundam Seed (’Asran makes them for me’ - fucking bullshit, Gundam Seed. Mopey old Asran doesn’t build shit in his spare time.) I also cut-out the king’s Jor-El hologram - he died, and the rightness or wrongness of his choices should hang over the story for the rest of season. Having set-up what he did in the previous scene, the pilot immediately erases any meaning it might have with this stupid hologram telling the Princess ‘I fucked up you were right I am sorry.’ Jesus - you could spend years of stories talking about how the Princess feels having the weight of her father’s legacy fall on her shoulders the way it did - but no, the pilot immediately gives her a complete holo-copy of her Dad, thus rendering every question instantly answerable by holo-Dad. WHY? WHY WOULD YOU DO THIS? HOW IS THIS MORE INTERESTING THAN THE SURVIVOR OF A DEAD RACE LOOKING FOR ANSWERS SHE CAN’T CONCRETELY HAVE? Even goddamn Superman has to work to get his Jor-El holo-dad. This is such a bad story telling device it makes me physically angry as a writer. When people talk about death having no meaning in a story - this is what it actually looks like. I also cut the guy with the moustache, because fuck that guy, he is awful. HOWEVER I am eager to watch more. I want to watch more - so in that respect, the pilot did its job admirably. It just could have done it so much better. (I didn’t even touch on random shit like the crew from the opening scene being dropped by the story until Pidge blurts out that it’s his dad later - there’s a better way to keep that in the audience’s mind throughout the episode.) In conclusion: thank you @heir-of-puns for influencing me to watch this show. Also, fuck you @heir-of-puns for influencing me to watch this show and giving me a massive crush on Pidge Gunderson, my beautiful, perfect paladin who will likely never mature into an adult in such a way that would make this less creepy for me god damn you.

[thethirdwheel404]

Med Rewatch Series (#2)

\haha yeah I was totally planning on sleeping but I literally cannot think about anything else other than getting this idea out of my brain. so, we will try to get through the finale of s2: Love Hurts. please enjoy.

-okay so right off the bat before even starting the episode, i noted a few things. the episode description is “Robin experiences complications and a new face arrives at the hospital.” How fucking annoying that it’s the season finale and the entire episode is centered around connor? of course, at this point we don’t know that the ‘new face’ is his future love interest.

-also!!! the fact that ava is mentioned in the episode description of the season finale? That’s huge!

-the episode description makes it sound like nothing fucking happens in this episode.

-also i am extremely scared to start the ep bc i feel like it is going to through me straight back into the deep end and put me in a state of emotional shock.

-i will try to take very deep breaths before the episode starts. okay. here we go.

-does this episode open with robin being carted in on the ambo bc if this is the ep im thinking about, i remember appreciating how angsty this scene was

-i still remember charles yelling ‘2 of adavan!’

-okay hi sarah i really was not expecting to see you this soon

-oh wow. just. sarah calling shots in the ed. in control. you love to see it. also. im just now remembering how early in the ep we get to meet ava. i always remembered it as being at the very end but. i remember connor being distraught with his messy hair.

-also i’m highkey loving how out-of-control connor is rn

-reese. god i missed you so much.

-they counted again. love that.

-okay but like i have no analysis just every time sarah’s onscreen i just want to say ‘i love you’

- i have not heard sarah speak in a HOT SEC and god i forgot how deep her voice was and it is sending me (its not even that deep i just like, forgot.) It has been years and I honestly think i have forgotten who sarah really was. sad.

-like i don’t remember the last time i could describe her as in control but right now treating robin she’s calm (honestly bc she’s the only other shrink on the show, but HOLD ON WAIT DOESNT CHARLES GET SHOT AT THE END OF THIS EPISODE WHAT THE FUCK. reese has one moment. and then her and charles start bickering. i remember why i was so mad)

-i’m in love with her.

-i really have to sit through the next 40 mins of this and just everytime i see sarah going ‘i love her,’ and now you do too.

-oh my god CHARLES SHUT THE FUCK UP YOU CANNOT BLAME CONNOR FOR THIS

-also the reason i became disillusioned: dr charles just started being suuuuuper sus.

-i do love sarah. and honestly, connor, not my favorite, but this storyline really made me empathize with him. his girlfriend is having a psychotic break and people keep shitting on him. (maybe the reason i didn’t like ava at first. really kicked him while he was down)

-I... haha. sarah. hnghhh. you can guess the rest.

-if you were in this situation, with robin, would you be thinking like connor or would you be thinking like charles? personally- connor. Robin was fine. maybe a little impulsive to take her home, but charles was being suuuper overprotective (from what I remember).

-Charles: “This is on you. You did this.” I remember that line hitting really hard when I watched it the first time lmao damn.

-SARAH. HER EYES ARE RED. SHE’S SAD. SHE’S CRYING! COME ONNNN MEDDD YOU CANNOT DO THIS TO ME!!! (and I swallowed my water the wrong way which somehow triggered my gag reflex so now im crying too please god stop Im sorry what did I do)

-yay sarah. hey guys look at that. sarah gets to, like, do her job.

-ALSO I JUST REALIZED THAT S3 STILL SUCKS FOR SARAH BC OF HER INTENSE INTENSE PTSD??? LIKE SHE WHOLE ASS PEPPERSPRAYS HER PATIENT???

-also these are the clothes charles got shot in and honestly i’m not even mad. I’m mad that him getting shot put sarah through so much pain (i talked a lot about ava but y’all are really gonna see just how protective i am of sarah. like god even I forgot.)

-you can see how much sarah cares about connor. which is like, fantastically crazy. (it fuels the rheese shippers which is why i tend to be against it) but just like, that’s just how sarah is. she cares so much. she’s not even close to connor, but you can see how much she cares. this is why its so unfair for sarah to work in psych. like, she’s way too soft for that come on man. (y’all remember the huge car crash episode and at the end she tells ethan that it was nice to be back in the ed bc you can fix people’s bodies but not their minds? 1) she was adorable in that. 2) i am so scared for her. she just cares too much)

-okay but the above bullet is probably the exact reason why people ended up shipping ava and sarah. they both are characters who care way more than they let on. sarah is the only one in the hospital who would probably give ava a second chance after an icy first encounter. That being said, being realistic? ava is probably the only one who would she the bullshit that sarah has to go through everyday, so she would never have the icy first encounter. which in turn sets sarah’s empathy bells off or whatever.

-honestly? ava is a mean to people because she thinks they deserve it. that’s it. she’s not a bitch or anything like that (and yeah, ava stans do a little bit of overlooking her behavior bc hey if a careless med student bumps into her while passing by, thats on them). (and of course, in this world and in reesker minds, sarah has never done anything wrong, ever.)

-look guys, i did it. i boiled reesker down to its bare essentials! (lmao tho literally walking through it again from almost a totally fresh perspective, it is still so easy to see how they would have been great together.)

-also. uh. not to pile on the reesker but. ----- connor just got paged by latham. is-is it happening?

-refusing to go home and sleep because the person you care most about is lying in a hospital bed is such classic angst oh my god

-wtf? charles has meds i completely forgot? for his heart? when is he gonna get shot the suspense is killing me.

-ALSO. YOU ARE TELLING ME. THAT S3 SARAH HAD TO DEAL WITH PTSD AND A POSSIBLE PATIENT LAWSUIT. AT THE SAME TIME HER FATHER WAS BEING SUSPECTED OF MURDER, AT THE SAME TIME HE TRIED TO RECONNECT. it is a fucking crime that that is the season we have to rewatch. its a crime they abused her so much.

-waiting for charles to keel over and die like

-the worst thing is that like, he actually cares. he actually truly cares about sarah, he just did a lot of bad things. so sarah has to justify them all! and sarah had no idea how to feel because now she’s disillusioned again. please chill

-lmao stoll wow 

-oh. soft sweet boy noah. he really doesn’t know better, and that’s almost the worst thing.

-also. dr. shore. that’s really all i have to say about that.

-ohhhhh my god nat fucking chill

-what is it with couples on mad and not being allowed to be happy. (this could be about reesker if you, like, reallyyyy squint)

-aw! hey, look! it’s jay! he’s nice to look at too. ooh i also forgot how deep his voice was lol

-counting

- i honestly forgot what a good source of angst this show was. this guys parents are flying in from germany to go to his graduation and then he got hit by a car??? damn

- i still forget how much i like the cop/doctor brother duo. I love it.

-GUYSSS

-GUYSSS ITS HAPPENING

-the air literally left my lungs I am not ready.

-ITS FUCKING

-oh my god

-it is 3 am and I just screamed out loud holy shit

-I FORGOT I FUCKING FORGOT. IT DOESNT HAPPEN WITH HER IN CASUAL CLOTHES. THAT IS AT THE END. I FORGOT THEY INTERACT WITH HER IN SCRUBS

- I FORGOT I FUCKING FORGOT

--holy shit she is fucking stunning. she was just allowed to be like that? in her first introduction? while connor looks like complete shit? IMAGINE THE POWER SHE HAS HOLY SHIT. THIS IS THE GREATEST POWER MOVE IVE EVER SEEN.

-uh for those of you who are confused, ava bekker has entered the scene and holy. shit. is she fucking amazing. and she hasn’t even said a word yet. all she did was turn

-H E R P O W E R

-uhhuufhuahdoas back to the analysis - latham reiterated all of the points we just discussed in the premiere, only goes to show how this was planned, from the start.

- t h e p o w e r ava has to step on the scene and instantly fuck things up. I ASPIRE

-okay let me try again to move forward. (nope. i tried to go back to the tab and just. the expression on her face. guys. i cannot express the emotions. we will press on)

-deep breaths

-she’s so pretty oh my god

-I-uh- okay listen. it is really, really, really hard to analyze this because i have not watched an actual scene or actually heard her talk in her very very pretty accent in two years. I, uh, i need a minute.

-i honestly cannot recall a thing she just said. (i am literally in fucking love) (i’m gonna go back and rewatch the scene and see what I pick up)

-THE----the fucking way she puts her hand back in her pocket

-GOD IM FUCKING GAY

-as for analysis - god that cheeky little smile.

-she’s blunt. is what took me about 75 words to say. this is gonna be a nightmare. (if i torture myself and make myself watch s4 and s5 then I’ll be really sad) (at this point can you imagine what would’ve happened if i had watched her death? I’m remembering exactly how crushed I was)

-OH. YEAH. IN CASE YOU FORGOT? THAT GIRL? THE SNARKY ONE? ON SCREEN RIGHT NOW? SHE’S. FUCKING. DEAD. CANONICALLY SHES DEAD. HOLY FUCKING SHIT.

-like just that fact is sending me so hard. i am already so sad. I had like thirty seconds of elation. it’s not FUCKING FAIR

- i need another minute. AND SHE STILL HAS ANOTHER LINE.

-this doesn’t really pertain to the theory but the “loyal, that’s sweet” line has got to mean something. Like something to be said about how connor couldn’t commit to her in s4. (its just so fucking unfair that she’s dead but we really need to move on)

-this also means that ava isn’t entirely loyal? bc she’s looking down on connor for being loyal? I um really don’t have all the info to unpack All of that, but it should be noted.

-DID YOU CONNOR? DID YOU ENJOY WORKING TOGETHER???

-from ava stan perspective: @ connor you like made her life hell, which wasn’t your fault but still. uhh she’s the one that’s dead, you’re not, so obviously one of you enjoyed it a little more. let’s move on.

-i love her.

-haha oh man jack kelloggs back. FUCKING MERC HIS ASS (i don’t hate charles that much and this storyline gave me so much fucking anxiety throughout the ep)

-god jack kelloggs such an asshole

-OKAY BRUH ETHAN AND APRIL HAVE A THING THIS SEASON? jesus this show really moves

-there are a lot of things I could complain about.

-will: “Why’d she do that? Cut her hair. A woman makes a change like that, it’s a big deal.” S4 AVA WHAT DOES IT MEAN

-i can’t believe its the season finale and they have enough time for will to ask maggie why nat cut her hair. this show is the reason I have anxiety. charles is about to get shot and what are you doing

-oh. oh wow. noah and sarah bickering/noah flirting. it’s like, adorable. which i don’t think is really fair. just, sarah’s the best

-I- uh- can’t believe that was the first time I watched an ava scene in years? that was a really big step for me?? god wow.

-god remember how sarah just like, saved robin? yall remember that? REMEMBER WHEN SARAH COULD DO THINGS? there’s a reason i hated this show.

-okay but just like the fact that charles was - content with letting his daughter be holed up in a room for the foreseeable future? when sarah had a perfectly logical answer? who is he trying to undermine here? (and that is why i hate charles)

-sharon: “where’s the daniel who doesn’t give up? doesn’t your own daughter deserve that much?” kind of a reach but if charles really cares about sarah as much as he does, and sharon knows this, the double meaning here is almost impeccable.

-oh hey guys! ava’s back!

-okay this is like super nitpicky but at this point it feels like norma didn’t have the accent down packed and its a little exaggerated and awkward at times but, come on, still love her.

-Ava: “excuse me, you’re an emergency medicine resident, why are we even talking” AVA BEKKER REALLY TAKES NO SURVIVORS (the writers just really weren’t banking on the fans being that attracted to ava) (like i forgot how blunt she was and holy shit. wow. i kinda see where the haters were coming from. its amazing to see how we clawed her back tho [by we i mean the lesbians])

-analytical. That’s what ava is. It’s almost like that thing where people purposefully say something outlandish just to gauge people’s reaction. she doesn’t argue with connor, at least not now. she just looks between him and ethan, sees she’s outnumbered, and walks off. She doesn’t know how the place works yet. she’s testing the waters. - this could be why she slowly gets more and more confrontational as the series progresses. she sees that no matter what, everyone will be on connor’s side. she doesn’t fight a losing battle. but when you’re constantly losing, its frustration. (reminder, these things only hold true in s3. s4 doesn’t exist)

-I’m fucking?? where the hell did jeff go?

-also, oh, this is maggie’s storyline. the guy dies right but he wanted to propose to the girl? wait no that doesn’t seem right...

-yooo its the girl in the gorilla costume. certified iconic. also how the hell did they have enough time for all this crap in the finale. this show fucking moves.

-for like a split second i forgot that noah and april were siblings

-noah’s a sweetie

-oh hey look it’s ava

-knock knock. who’s there? oh boy, point one for ava stans, she’s right about the surgery (potential evidence showing how this is the first scene of connor not being shit/actually being out or equally matched)

-OKAY WOW SARAH GO OFF (she’’s just fantastic i mean look at her. she’s adorable)

-ava: “Why do all the residents in this hospital think they can offer their opinions?” DR BEKKER PLEASE (okay but like i said last ep i had the exact same question. go off ava)

-connor just took control of the case (first instance of ava outright saying ‘i disagree’) (and let me guess, he’s gonna be right in the end because he literally fucking always is)

-if you look at it from a different perspective, ava was necessary. they needed someone to put connor in his place. at least, she tried. (very disappointing that she also had to sleep with him but that’s not the current point) if they wanted to fix his problem of coming off as spoiled, ava gave him a force to fight against, to earn his stars. they could’ve done it better, and actually had him lose a few times. because what does constantly letting connor win do? it undermines ava, it also undermines his attending. his attending who he is constantly having to stick up for. dude. hero complex chill. ava never had a hero complex. which cannot be said for a lot of the people on the show (IF YOU EVEN TRY TO ARGUE THIS POINT IS WRONG I POINT YOU TO THE EPISODE WHERE AVA PUSHED THE CREDIT FOR THE SURGERY ONTO CONNOR WHEN A FAMILY MEMBER WAS HUGGING HER) they did it wrong. they tried to, idk, fix connor by giving him humility, but they kind of completely forgot the humility part. and the part where he learns things. HE EVEN HAS TO STAND UP FOR AVA TO HER OWN MENTOR. LITERALLY? DUDE? FUCKING. CHILL.

-okay but that’s what it is though. ava was always meant to be the villain. because she was always a counter for connor. and connor is the hero. (you may be thinking this goes against my theory because I’m fighting for ava rights, but my actual theory is that ava was never supposed to stay past s3. the only reason she stayed was because she became a fan favorite. she was supposed to take connor’s mayo clinic offer. and you know how it probably would have happened? Connor probably would have gave her the offer. letting him be the hero one last time. [of course, this isn’t what happened. we all know.])

-OKAY FUCK THIS RESIDENT? “good call, Dr. Rhodes” SHUT THE FUCK UP??? (resident speaking rights revoked)

-I have nothing for this but just want to point out how she looks around and says “yes” all contemplative. god if i could just think about what she was thinking

-jack bro stop

-okay. was there ever an active shooter in the hospital when ava was around. bc if there was. i legally need to know

-lmao stoll

-sarah... makes me smile.

-fun fact: we are at about the half way mark. I am so sorry.

-no no no nono. so, robin just got diagnosed and is getting prepped for surgery. Sarah. don’t give charles credit for solving it. stop.

-Hey! yall remember how the best characters on the show only got thirty seconds of onscreen time together? yeah! I’m still mad about it too!

-aww connor being worried. (i think im fine with connor as long as like, ava is no where near. this scene is just very pure)

-when is this guy gonna get shot already

-aww he loves her. i want to kill him. (why? playboy. gets feelings way too quick. stop him. keep him away from ava)

-HAHAHAH okay. robin just got put into surgery and latham and ava are performing it (is it a brain surgery? yes. are they ct surgeons? yes. don’t ask questions) BUT you can see this emotion on ava’s face. she feels sorry for him. it’s up for us to decide if its condescending or she just feels bad for or bc she is on a surgery he wanted, but for the sake of opinion, i’m inclined to say she just felt bad for him (cough empathy cough)

-literally everytime charles is on screen im like when is he gonna get shot

-this scene where both connor and charles admit they were wrong is very nice (hey actually look, connor does have humility! not in front of ava tho so hmm) (sexual tens- literally no, shut the fuck up)

-HAHA HOLY SHIT I FORGOT CONNORS MOM KILLED HERSELF?? HOLY SHIT? THIS FUCKING GUY LITERALLY CANT CATCH A BREAK (maybe take a hint bro? and go far far away? well he did. too little too late ig)

-connor: “i obviously couldn’t save my mom, but I sure as hell didn’t try to save robin” *through cupped hands* HEY! HEY CONNOR! D-DID YOU TRY? WITH AVA? DID YOU TRY? okay literally what is it with this guy and people dying. for such a good surgeon... oh yeah, irony.

-hi sarah! how nice of you to check in with connor and charles about robin!

-sarah: *looks between charles and connor, who have probably agreed on something for the first time since connor got with robin* “everything okay?” literally she’s so sweet my heart.

- sarah: *laughs in disbelief* SARAH STOP MY HEART IS ALREADY FULL

-this man needs to button the top button of his shirt, i do not like that i can see it

-I------ HOLY SHIT?

-WHY DID NO ONE FUCKING WARN ME THAT JOEY WAS STILL ON THE SHOW???

-FUCKING EXCUSE ME???

- the air left lungs on that one again, i was Not expecting that.

-HOLD THE FUCK ON. I JUST WENT OF HIS WIKI AND HE APPEARS IN S4??? FUCKING WHAT??? SOMEONE TELL ME WHAT HE FUCKING DID AND IF IT WAS IMPORTANT

-sarah reese is such a fucking dork she got her boyfriend a rubik’s cube as a gift?? a guy who is so nerdy that he definetly already has like five of them. hmm. things don’t add up. also he’s nerdy enough to give back a gift at the breakup. dude seriously. get some social cues. in like the bargin bin at goodwill. please.

-IF SARAH FUCKING CRIES I SWEAR TO GOD

-oh yeah she’s pregnant. that’s how the story ends.

-okay. natalie comes off as empathetic but like, in the most condescending way.

-like its fucking obvious she’s only ever caring about herself (ava bekker would never. sarah reese would never. get your head out of your ass) (ok wow that aggression came from nowhere lmao)

- i really wanna say something about - Connor: “We all know that love can hurt, but loneliness? that’ll kill you.” have fun with that fic writers. (insert obvious connection to loneliness killing ava? have we had enough? this doesn’t pertain to the theory)

-jesus will at this point stop hesitating at the ‘if we’re wrong, it could kill him’ stage. we all know you don’t care

-how funny would it be if the family just like, disowned that girl

-this will nat and co. love triangle is already so fucking exhausting

-JAY REALLY SAID WILL I AM TAKING NONE OF YOUR BS

-is he really about to break up with her. right now. i swear to fucking god

-this is so fucking stupid (what i would pay for ava to hand him his ass right here right now) (that’s a hc idea right there)

-FUCKING LEAVE ALREADY WILLIAM

-sarah and noah stay adorable

-aww stolllll, my heart

-lmao i forgot the girl who played robin was on once upon a time and i was like ‘ive seen her recently what was it’

-FINALLY HES GONNA FUCKING GET SHOT! HELL YES!

-charles looks high as balls

-the queen returns. she’s back

-IM GONNA FUCKING JUMP OFF A CLIFF

-okay. from the previous ep i mentioned ava’s line being something like ‘you’re quite the gossip magnet, your mother commited suicide, drove your girlfriend crazy, and you murdered your attending.” right?  we all remember that?

-well lads, do we remember connor’s response?

-connor: “...Well you’d better watch yourself, hadn’t you?”

-...

- I-

-hahahah this is not okay.

-AND GOD. JUST THE WAY AVA TAKES IT AND JUST SMILES, ACCEPTING THE CHALLENGE. holy shit. this fucking breaks my heart.

-i like almost can’t even appreciate the easy ending of noah’s grad party.

-oh yeah charles still hasn’t gotten shot.

-god sarah is still adorable. the way she finally relaxes FOR ONCE and lets herself have fun. fun fact: this may be the last time we see sarah just easily enjoying herself. also maybe the first.

- i am officially starting the save ava campaign, anyone who wants to join can. the goal is pretty simple. save ava. save our hearts.

-oh my god is he finally going to get shot?? like what dude come on

Okay. another episode down, the first full one, and what have we learned?

Well, this was Ava’s first episode and we learned how it seems she was doomed from the start. It makes no sense, even just her writing is disconnected from s2 to s3, like how do they do that? This ava lines up so well with s4 ava it’s almost uncanny. if you completely cut out s3 her character arc would make complete sense, in a frighteningly tidy way.

Like I said at the top, the fact that Ava was referenced in the episode description of the season finale is huge. It means she is a big character, ground shaking, almost. I really don’t know why they had to make this introduction at the end of s2 and not the beginning of s3, other than making it fit with the three month time jump that i’m pretty sure starts the season.

The way I see it, Ava had 4 main interactions/points. 1) She called connor loyal (and was blunt about Latham) 2) She remarks that residents shouldn’t have speaking rights (that one’s just funny) and disagrees with connor on the surgery, which they go with connor’s decision because of course they do. granted they switch to her plan midway through) 3) connor takes over her surgery after they disagree on whether or not the patient can be saved. Connor is right. and 4) we have the final ‘I like dangerous men’ interaction.

Let’s focus on the train of Ava vs. Connor disagreements. If we go by my previous statement which was Ava was designed as the villain to Connor’s hero, so the hero could win the favor of the public by defeating the villain, the trajectory of their interactions is not surprising in the slightest.

First, Connor wins the first point bc they initial go with his plan. Then, mid surgery, they have to switch to Ava’s plan, because she was right. This obviously pisses him off, that he was wrong and she was right.  His crown had been knocked askew. But then, he wrestles it back. They disagree on whether or not the patient can be saved, connor takes complete control, and he actually ends up saving him.

It’s interesting that the final disagreement came at the sake of a patient’s life. Ava was quick to dismiss the heart as gone, but Connor fought for it, being the hero. It’s easy to shut Ava down right then and there, call her heartless and call it a day.

if s4 had come immedietely (i have no clue how to spell that) after, it would be completely in character for ava to be a psychopath from what little we’ve seen. And honestly, no one would care. The villain would get her due justice.

Let’s switch gears to the conspiracy theory, or the redemption arc. whichever sounds cooler.

A hero is only as good as their villain. That’s really my argument. At this point, yeah, s4 seems like it was planned, just based on s2.

Okay, so, what? Is that another layer of the theory that I’m adding? that the connor/ava plot of s4 was ACTUALLY supposed to be in s3? I... no. we’ve established that is is very rare for the med writers to plan storylines that far ahead. so what am I saying?

I think that the s4 plot was actually a scrapped plot potentially to be used in s3. and when they were left floundering at the end of s3 for an answer? they retreated. sacrificing character development in the process.

So what the hell happened in s3? A horrible fluke? why was it so different?

in s3 ava became more of a rival and less of a villain. while those words can have very similar meanings, the bulk of it is that neither of them really wanted to be that mean each other, they never went out of their way to stomp on the other (at least that I’m aware of). they just were always forced to work together, naturally leading to friction.

This shift meant all the difference. Connor no longer had to beat Ava. it wasn’t required. as a result, ava was very very slowly allowed to interact with people other than connor. she was allowed to slightly develop.

Why the shift? well, the conspiracy theory suggests it’s because they wanted someone who could follow up connor if he left at the end. IF they were true rivals, each of them should be able to hold their own without each other.

okay yeah, i managed to get like 4k words out of like 5 minutes a screen time and 8 lines. jesus christ.still didnt do my hw tho

next we watch the premiere of s3 and see what happens. thanks for reading

-

read the next parts:

Part 1 / Part 3 / Part 4 / Part 5 / Part 6 / Part 7 / Part 8 / Part 9 / Part 10 / Part 11 / Part 12 / Extra