#Analysis

[001x456]

not to be that person but there're moments in this scene, during their car ride in season 2 where in-ho comes pick gi-hun up, that feel so intimate to me?

in-ho personally dressing up and traveling from the island just to come pick gi-hun up himself even if he doesn't have to at all

in-ho deliberately choosing the same limo he used to drop gi-hun off that day to pick up gi-hun again (meaning he remembers which car he rode with gi-hun 3 years ago after gi-hun won his first game)

in-ho asking if gi-hun's plan was to 'kidnap' him (ooh kinky)

in-ho asking if gi-hun has seen the matrix (classic question to ask while on a date: 'have you seen this movie?')

also I don’t think in-ho was being sarcastic when he told gi-hun he genuinely “wanted gi-hun to have a good life and be happy” and in order for gi-hun to be happy, he wanted gi-hun to “forget everything” in other words, he wanted gi-hun to forget him (romantic or not, he cares and wants gi-hun to have a good life and be happy, and if being happy means gi-hun forgets about the front man then so be it)

bonus:

why the fuck do they talk like an old married couple where gi-hun’s the wife who always wins every argument and in-ho’s the husband who lets his wife win all their arguments just to keep her happy????😭

[newmusick]

this is what they deem *being * clear (time too leave the world health org) incoherent & inaudible normality ... they will feel stupid letting us help you? they ripped us off .... world health my ass scam totality

Balloonerism!!

looks rite!!

[mellosdrawings]

Hey~ Welcome to "Mello thinks too much about Jamil at 5am coz they can't sleep!"

Today's subject: Pride!

I've just been obsessing over it for a while and had a random enlightening last night.

So NRC is a school full of prideful students who know they're hot stuff, right? Aside from maybe Trey and Cater who are more mild mannered and don't boast much like others, and maybe Rook who is more interested in others than himself, Pride is the one sin that is common amongst all the characters.

Jamil's case is pretty singular though, especially amongst the overblotted gang. Because while others' pride usually comes from knowing they're hot shit, Jamil's is a defense mechanism against the fact that he's nothing.

Yes I'll be especially harsh against Jamil, but that's kind of the truth.

Riddle is one of the greatest mages of his generation because of all the work he's done since he was basically born, he knows he's hot stuff.

Leona is just... OP. Canonically the cleverest in all NRC, OP powers, the one guy even Idia doesn't understand why he overblotted in the first place, he's even royalty. Like, if it weren't for his bro he'd have everything. Leona might be self depreciating a bunch, he still knows he's hot stuff and his pride comes from that.

Vil is both powerful and one of the biggest stars worldwide. He's the same as Leona, while he has his moments of self hatred his pride does stem from just being that bitch.

Will it surprise you if I also call Idia prideful? Sure, he's meek and introverted and has too much anxiety for his own good, but he did get his Housewarden position because he thought he was better at the job than others. He knows he's a technomancy genius and one hell of a gamer. What little pride he shows comes from those talents.

And Malleus, well, he's just the devs darling so he's even more OP than Leona.

I purposefully skipped Azul because I think his case is more similar to Jamil's than to the others.

Azul and Jamil's pride are artificial. It's here as a defense mechanism, either to be perceived as better than he thinks he is (for Azul), or to convince himself than he is more than what he actually is (for Jamil).

Sure, Jamil is clever and pretty strong and has lots of qualities. But 1. He's far from the genius he thinks he is. And 2. As soon as people point out he's a fake he immediately goes into depression mode.

Book 6 was a very insightful moment for both Jamil and Azul. They both get paired with people who (not so) accidentally chip away at their pride until they have to face the fact that they are just not as great as they think.

And that's where Azul and Jamil differ.

Because Azul knows he's "not that great". Or at least, he thinks he's inferior to others. That's why people he considers above him punching down on him hurts so much (plus the obvious bullying trauma he's got).

Jamil genuinely thought he was better than everybody else until Book 6, where Leona knocked him down a peg. He convinced himself through inflated and artifical pride that he was more competent than his peers. And the second he realized that wasn't the case, he started flipping back and forth between self depreciating and trying to inflate his own pride again. As a defense mechanism.

Because for someone who's always been pushed down to take the least amount of space possible, for someone who's always known he had the possibility to be/do better but was never given the occasion to shine, admitting that he's mid hurts.

He needs to make himself useful and show off to Leona, not just because it's a reflex ingrained in him since forever or because of the repercussions that could befall him should he let royalty get hurt under his watch, but also because he needs to reassure himself that he is something.

Because he's been nothing his whole life.

And that hurts.

That's why it was so hard for Leona to get through to him, while Riddle and Azul managed to work together midway through their descent into Tartarus. Because for Jamil to accept criticism and help, he'd first need to drop his pride. And he just can't do that.

Even by the end of their descent, Jamil still found a way to twist Leona's preaching in his favor. Even then he still managed to put his pride up to reassure himself. He has more potential to grow than others, sure. That's a first step in accepting his mediocrity, but that's also very validating for his pride. He might not be the best now, but just you wait-

And that's why Jamil was all talk and no show before that point. Because unlike the others, his pride is artificial. He has nothing to back it up.

I'm sorry if I repeated myself a lot or didn't make much sense. I'm afraid me trying to explain my thought process tends to be stunted by the fact I don't have enough vocabulary to back it up :'D (And the fact that I'm writing all that while sleep deprived doesn't really help lol)

I usually tend to obsess over the 'sin' of Envy for Leona, Vil, and Jamil, coz it's one hell of a sin, the only that brings no pleasure whatsoever. And I just love watching characters make their own lives miserable over the pettiest things.

But damn is the subject of Pride interesting. I see most people, myself included, tend to tone down the Pride aspect of NRC when writing fanfics or drawing fanarts, even though it's one of the core points of the story.

And as said earlier, it's hard to make a character change and develop when Pride is in the way, so I totally understand why people downplay it for the sake of narrative.

Coz otherwise we'd only get tragedies.

And I love tragedies~

[eshithepetty]

So. It's been said before that Mob has this compulsive thing where he looks at his hand when he's thinking about his powers. But I've wanted for a While now to compile exactly when and how much he does this, so!! Here's exactly a post for that ^^

Starting with the very 1st episode of Season 1, here he looks at his hand while Reigen's spiel about him not using his powers to use against others plays in his head. At this point in the story, we don't really understand the full gravity of these words, and what they mean to Mob - really, they sound more like the obvious usual advice that a psychic mentor would give. But from Mob's percentage rising (tho most people won't know what the percentage means at this point in the story), as well as him generally sitting on this advice, we can tell that a nerve has been struck.

Then comes season 1 episode 3. This is technically the same exact shot, but I still decided to include it both because it's still technically a different instance, and also, because of the new information we learn in this episode, we can look at this shot with a different context. Namely, that we now know what Mob's percentage means, and that his powers are connected to his emotions, which is why he stifles both in fear of hurting people as Reigen warned him of. It turns from impersonal advice to a Very personal and real concern. Though the biggest reason for why he fears his powers is still unknown at this point... (though we are made aware of the other reason - fear of social ostracization).

Ough... here comes season 1 episode 5. The shot of him looking at his hand, the one that makes it abundantly clear exactly what he is imagining and thinking back to when he does this. He's remembering the literal blood on his hands... fuck me.

Then are these shots from the same episode. The hands are covered by a towel, so this one is less obvious, but by his sight line and the conversation that he just had with Ritsu - about the incident, and what he did to him - it's obvious that's where his eyes are set. And now compared to episode 3, we know exactly why he hates and fears his powers so much. Why he thinks these hands are dangerous...

Season 1 episode 10, another repeat shot - this time from the psychically induced flashback he suffers at the hands of Muto. I still think the 100% rejection scene is so underrated - imagine being forced to relive the most traumatic event of your life, especially considering he usually avoids thinking about it.. god, the way he just screams and sobs is so upsetting.. though I do wonder what exactly Muto saw when Mob reversed the illusion on him.

This one's from season 1 episode 11, and it's a lot more innocuous than the rest - he's just checking that his psychic powers indeed don't work in this cursed room. But it's still him looking at his hand and thinking about his powers, so I decided to include it. (though I will say, there is a fanfic opportunity somewhere in here about combining the fact that, apparently, there exist curses that can surpress psychic powers, and Mob's desire to do just that... maybe one day I will get to it)

Now we jump to season 2! Episode 3. God, this is still one of the most intriguing scenes of this show to me... here, along with the fear of potentially having to hurt his clients, Mob is thinking a lot of things - among them, for the first time considering not only that he can hurt innocent people with these hands, but also innocent spirits. And the fact that he had been exorcising spirits, essentially killing these beings that are as close to him as living humans are, for years... I just love this episode. And as one commenter on Youtube pointed out, in season 2 episode 1, he made a promise to himself to consider his feelings more - and his feelings are innately tied to his powers. Thus, opening his eyes to his feelings also made him open his mind to the ethics of how he is using his powers, and whether following Reigen along on all these jobs without thought is truly what he should be doing. This is a big part of why I fully support him deciding to not work for Reigen post-finale - he needs to figure out how he feels about his powers without using them as tools to get profit (well. Not so much profit for him, and there's certainly value he gained from this job besides that - such as being able to at least use and express his powers somewhat, along with the relationship he gained with Reigen - but point still stands. It's healthy for him to be able to think these things through without that). Plus, I personally like to imagine he grows more sympathetic to spirits as he grows up and isn't anymore too keen on him destroying them being his job. But ramble aside...

Here comes mogami arc! Season 2 episode 5. As the subtitles say, in contrast to all other times he's been agonising over being too powerful, here, he's regretful over not being strong enough (plus, I like how Mogami has basically redefined what strength means for Mob in this fabricated world. Where in the real one, strength for Mob means sticking it to your morals and being able to resolve things peacefully, here it's... kinda the opposite..). Also, what's interesting here is that he still looks to his hand here, despite having all his memories of his powers and the incident erased from his mind. I guess it's just that deep-seated...

Same episode. This one is kind of debatable, but he certainly looks like he's rising his hand to look at it. Thus, I'm including it. Plus, it has thematic relevance to the incident. As he is saying here, in this world, he truly hasn't done anything malicious or dangerous that could warrant people treating him as the enemy, yet here they are. I could imagine, that, somewhere in the back of his mind, he is feeling like he's forgetting something...

Season 2 episode 10. Here he just woke up and immediately whooped ass with his powers. Also more innocuous, he's just confused, but still looking at his hand, so. Here it remains.

Season 2 episode 12 - this one's also kind of a oddball, since for once, he's not really thinking about his powers, but rather Serizawa's, and what they reveal about the man's feelings- but I thought it was close enough at him looking at his hand. Besides, I think it's sweet that this is one of the first times he uses his powers to empathise, to connect with someone (we see him do so again while trying to take in Toichiro's powers, as well as in the Alien arc, notably), so I'm including it for its thematic relevance.

Now onto season 3 episode 1! There's a really good post explaining this one (as well as the ghost family scene instance) here, but to summarise, here, Mob is thinking back to his powers and instances of him hurting people - making mistakes - and how he never learns. Never changes. Not enough... just like with the 100% sadness scene, it's just so sad that he thinks this one instance of his powers getting the best of him has ruined him for life. That he can't afford to make mistakes... buddy, you're 14 years old. A child. Making mistakes is part of growing up, part of being human :( But I'm guesing he doesn't always see himself as fully human does he ...

And then. Season 3 episode 10. Ough... This is just all his worst fears becoming reality. He's hurt Hanazawa, again. He's hurting his loved ones, again. He's monstrous and dangerous, again... All these years of repression have just led him back to square one and below - to bloodied hands once more. But this was inevitable. He couldn't have continued looking at those hands and fearing them.. he needed to face himself. Look that trauma in the eyes. And say: that's not all I am. I did that, those hands are mine, I am capable of hurting, but it's not all I am. I am capable of changing.... and he does!! Reverting once doesn't erase all the good he has achieved and all the growth he has experienced. But fact remains, that before you heal the wound you heal the wound, you need to clean it first. And it will hurt... but he gets there. He gets there.

So to finish on a lighter note! The ending of season 3!! This one makes me so happy, because, as opposed to all these other scenes where he's looking to his hand with turmoil and anguish in his heart, here, it's the opposite! He's smiling!! He's confident!! He's becoming surer of himself every day!!! He no longer sees his powers as a curse!!!! It's a promise, that eventually, he manages to deal with all the trauma and achieve a happy ending. It's just his hand, and his hands can hold instead of harm. It's just so sweet. I love him and his character development so, so much.... <3

In conclusion: he looks at his hand a total of 14 times - 12, if we exclude repeat shots. And I just think it's fascinating, how we can follow his development throughout these instances. So I hope that this was interesting for you to read as well, and that you all have good days out there <3 Toodles :)

[jejelovescats]

My analysis on spy x family chapter 110

well, this was certainly one heck of a chapter I have LOADS to yap about so get ready As stated in my previous analysis, that Melinda was most probably a victim of abuse, I stated that it was VERY likely to be canon, around 90% or so, after this chapter, they likelihood drops to 20% but we still have psychological abuse to keep in mind. (This does NOT mean that Donovan doesn't physically abuse her) Now let's recap on what we said last chapter (pulls out last analysis bc I genuinely don't remember anything) Of course, we still don't know why she has some sort of hatred towards her husband, it's pretty much been debunked that Donovan physically abuses her BUT psychological abuse is still an option on the table. She could also feel that her privacy is being invaded. It's also very likely that her hatred towards him started right after she mentioned him "becoming a completely different man" that I assume is when he got his telepathy.

Now this is one of the MOST important things I would like to discuss today which, once again, is Melinda's relationship with her family, in the last analysis, it was stated that Melinda has a VERY complex relationship towards Damian, in which she calls him "my treasure, my curse" which creates a paradox since, how can Damian be a treasure AND a curse at the same time? which leads us to think, 'well, of course Damian's her treasure, he's her son. but why does she call him her curse?' Didn't Melinda say that he became a different man when Damian was born? what if.. Melinda blames Damian for the change in Donovan? What if she thinks that the reason Donovan suddenly changed, is because of her son's birth? she said it herself "shortly after my first child was born, or was it the second?" As I said previously, I still do believe that Donovan and Melinda were previously in love, we can see how he used to treat Demetirus. and also, it would make more sense, she doesn't want to believe someone she loved so much became someone so distant.

So that leads us to ask, if Donovan REALLY DID become a telepath, why is he so distant? I don't have an answer for that I'm sorry. Something else I wanted to speak about is Melinda's reaction when Loid asked her if Donovan harmed her, that is a HUGE cause for concern, I lowkey cried for the poor woman. At first glance, I thought that she was lying, since sudden and insisting outbursts are a sign that someone is lying, but if you dig deeper, this might just show the extent of how much Melinda really does love Donovan, she's putting her mental and physical health on the line for him. she's scared for her husband and she's throwing any explanation, even if it's far fetched, just to justify her husband's actions. That's what love does to someone. She is suffering. She feels trapped in her relationship with Donovan, she wants to protect both Damian and Demitrus when she can hardly protect herself. She thinks her current status with Donovan is a facade since, according to her, he's an alien. So all she can do, in an attempt to manage her life, is just go with it. whatever her husband decides to do, she falls victim to. (this proves the psychological manipulation/neglect)

The second most important thing I wanted to talk about is the fact that it's technically confirmed that Donovan can read minds, so ummm, chat. Loid is COOKED. My guy just HAD to spill ALL his plan ideas in his mind when they decided to meet. you can tell Donovan was PISSED.

but seriously though, apart from the fact that loid is screwed, what does this mean for Anya? I'm sure she does NOT want to meet the 'evil super boss anymore' in order to preserve her secret. I do wonder though, were their powers made in the same lab? (People theorize its project apple and I'm one of them) that would make a lot of sense since Melinda said that Donovan started acting differently after damiana was born, which was also around the time Anya was born. Maybe that's the time they BOTH got their powers. conclusion: Melinda REALLY needs a new therapist bc her therapist is essentially screwed. See you in 2 weeks guys!!

[the-gay-archivist]

The fact that Caitlyn’s hand doesn’t clip through Vi’s hair when I’ve seen Disney fuck that up multiple times is insane. In fact i dont think there’s any noticeable clipping in this show

The next time you’re watching this masterful scene I want you to remember that 3D objects in the computer have no physical properties and can clip through each other without care. Which means that every stretch of skin, every forceful kiss, every tender hand placement, every single physical touch and movement has to be meticulously crafted and executed flawlessly by the animators to ensure that it looks realistic. It boggles my mind at how much work was put into every single frame of this scene and I thank the animators for their service.

[magda-kb]

Character Analysis Of Luis Serra:

I just think someone needs to do this here on Tumblr so here we go…

Born in the remote and devoutly Catholic village of Valdelobos, Spain, Luis grew up in a reclusive, pre-industrial community that shunned modernity. The death of his mother during childbirth left him in the care of his grandfather (Man in the picture above together with Luis), a hunter whose wisdom and love shaped Luis’s early years.

From a young age, Luis displayed an insatiable curiosity and intelligence that set him apart. While his peers clung to the village’s traditions, Luis dreamed of the world beyond its mountains, finding solace in fairy tales and stories, particularly the adventures of Don Quixote. His grandfather recognized his potential, lamenting the limits imposed by their isolated life.

Later on his grandfather was attacked by a wolf and succumbed to a mysterious illness. Rumors of madness swirled, and fear gripped the superstitious villagers. The village’s chieftain, influenced by paranoia, ordered the family cabin to be burned to prevent the spread of the supposed "infection." According to the texts found throughout the game, the boy stood outside the house the whole time watching the flames, the next day he had disappeared from the village and nobody knew where the boy was.

In the modern world, Luis thrived, earning recognition as a prodigy in biology and securing a position at Umbrella Pharmaceuticals. Despite his remarkable achievements, including work on groundbreaking research, his tenure at Umbrella left him disillusioned. For example, we know that he was an employee of Project Nemesis (note to Racoon City - Nemesis T-Type).The corporation’s ethical compromises clashed with Luis’s growing moral awareness, leading to his resignation. This decision underscored a recurring theme in Luis’s character: the struggle between ambition and conscience.

Luis’s return to Valdelobos in 2004 placed him at the center of a nightmare. The village had fallen under the control of Los Iluminados, a cult manipulating the villagers’ religiosity to propagate a parasitic organism known as Las Plagas. Saddler, the cult’s leader, enlisted Luis for his scientific expertise, tasking him with enhancing the parasites. Initially compliant, Luis became horrified upon realizing Saddler’s true intentions. His guilt over his role in the cult’s atrocities drove him to seek redemption.

This is where Luis’s complexity truly shines. Torn between his past mistakes and a desire to atone, he takes enormous risks to undermine Saddler. Partnering with Ada Wong, Luis orchestrates plans to escape with the cult’s critical research sample, the Amber.

Here, too, I would like to emphasize a particular passage from the Separate Ways DLC that was already a bit of a foreshadowing of what his fate would be: Namely, during the scene in which other village members fell victim to the cult, Luis spoke of the fact that the next dance would be his… It should also be noted here that the already deceased was lying in exactly the same posture as Luis will later do… So it really was his “last dance”, so to speak (You can see it a little in the photo below, but it is clearly visible in the game itself)

Luis’s interactions with Leon S. Kennedy in the main game reveal yet another layer of his character. Despite their initial mistrust, Luis proves his worth as an ally, displaying a blend of wit, vulnerability, and a desperate need to make amends. His decision to assist Leon and Ashley, even at great personal risk, underscores his transformation from a man driven by self-interest to one guided by selflessness.

Ultimately, Luis’s arc concludes tragically yet heroically. Fatally wounded by Jack Krauser, Luis uses his final moments to ensure Leon and Ashley have the tools to fight back against Saddler. His death is not just a sacrifice but a culmination of his redemptive journey—a final act of defiance against all the things he did in the past. There is also the fact that Luis has doubts. Mainly about the things he himself has done in the past - And it is precisely these doubts that seem to characterize his last moment.

Something I would like to add: Krauser threw his knife directly into Luis’s spine. I mean clearly he aimed to kill. When a victim is stabbed in the area of the spinal cord, the spinal cord can be severed, sheared, torn, or otherwise damaged. This will result in a loss of function below the point of injury. That’s why it’s so impressive and powerful that Luis was able to muster up the last of his strength and force his hand to shoot at Krauser-hitting directly at his knife that could have killed Leon. That would now also explain why Luis can’t properly use his lighter and needed Leon to do it for him. Because after the lighter drops we can not see him move his body again…

Luis Serra is a character defined by contradictions: a brilliant scientist haunted by his complicity in unethical experiments, a dreamer shaped by the harsh realities of his upbringing, and a man who ultimately chooses redemption over survival. Something I would also like to point out is to link the whole story to Don Quixote. Because just like the self-proclaimed knight, he also had this urge of idealism throughout his life - which also led Don Quixote to make mistakes in the end and ultimately to his death... But in the end he became a hero and more or less passed on the title of knight to Leon...

[saixria]

The way friendship is a recurring (literary) motif in Epic like light vs darkness and “sleeplessness” kills me. Like yeah this is a tragic Greek myth story about gods and monsters and war and bloodshed and death and gore, but also friendship and love. It’s not just the friendship between Athena and Odysseus/Telemachus, but Odysseus and the crew, Odysseus and eurylochus and Polites. Even after sacrificing his whole crew to get home, betraying them and being betrayed by them, Odysseus still sees them as his friends in WYFILWMA. Athena still sees Odysseus as a friend regardless of if Odysseus still sees her as a friend. Hermes flippantly calling Odysseus “old friend” vs Athena genuinely, wholeheartedly calling Odysseus “old friend”. Odysseus calling Athena “mentor” instead of a friend in Monster after My Goodbye thinking she never saw him as her friend like he saw her as one (you can also argue this is just bc he already called Polites his best friend and it would be weird to use the word friend again but still)

Just. URGH. Friendships in epic.

[raayllum]

King of What? :: a S7 Ezran Meta

Introduction

Because S7 in particular gave me even more Ezran feelings than usual, and I thought "What's more fun than methodically breaking them down and sorting them into categories?" so here we are. We'll be looking at a lot (but not all) of Ezran's s7 arc as well as some holdovers from previous seasons. There are also some motifs to keep in mind, such as the:

Phoenix motif

Need motif (+ him and Callum later)

Reflection Motif

that we will dive into more later once they're more relevant / we can put the pieces in place. For now, a little background meta key up because S7 breaks Ezran down and then systematically builds him back up while also, in some ways, doing a complete overhaul.

So let's talk about it?

Pillars of Identity: Who is Ezran?

TDP is a series obsessed with a lot of things, but if I'd have to wager what the second core idea of the series is beyond the Cycle of Violence, I'd probably put in on a theme of Identity, specifically questions such as, "how do I, as a person, exist within the Cycle (breaking it, perpetuating it, both)?" and "who has, or is, my grief turning me into?" as they are deeply interrelated. To answer those questions, that requires establishing who a character is in 'normal life,' or outside of grief and the cycle (ie. trauma) and who they are within it.

With that in mind, I think Ezran has about five approximate pillars for his identity, in roughly this order:

Harrow's son

The king

Callum's brother

Zym's friend

Rayla's friend

I don't think that other characters pillars would be that different (Rayla's primary would also likely be her three duty bound parents) as it does make sense; most children's primary influence in life, especially as they grow, start with their parents as role models even if they may eventually separate and take an opposite road (love you Soren). Where Ezran differs, I think, is that while I don't know if Rayla would consciously conceptualize herself as her parents' daughter as her primary pillar, I do think that Ezran — especially Ezran in arc 2 — is always orienting himself around "I am Harrow's son" (for better or for worse in terms of what that means).

This is also why I put Ezran's identity as king as his second pillar. In his childhood / pre-s3, I think his second pillar would've been his identity as Callum's (little) brother. However, we see him place returning to his kingdom above helping Callum (brother) and Rayla (friend) returning Zym (another friend) to Xadia. The loss of his father strips away the relative safety of body and mind that being a prince comparatively gave him, fundamentally altering his internalized and externalized sense(s) of responsibility and his choices accordingly. It's the loss of his father and the subsequent grief, yes, which Callum also experiences, but uniquely the mantle of the throne as well, which is what he highlights in 7x02:

This all started the day that assassin came to Katolis and killed him. Our king. Our father. I never asked for this. I wasn't ready to be a king. I'm just a kid. That day changed me forever.

So let's talk about being the king. Let's talk about

The Crown

Ezran's crown is one of the few objects in the series to have an episode titled after it (3x02) and the only one I can remember that continues to be a symbol we consistently come back to throughout (i.e. unlike 1x07's "The Dagger and the Wolf"). Despite returning to Katolis to be king and sitting on the throne itself throughout the episode, Ezran struggles with the crown. It is, to him, in some manner different than the throne, despite ostensibly representing the same thing. He has, effectively, already made the choice to be king, yet persists in his doubt and hesitation as he struggles to learn the balance.

Opeli, however, contributes to that distinction, noting specifically that "the crown is a heavy burden to bear" and that "no one blames you for being a child". Ezran's choice to fully commit to, and his acquiring of the kingship fully, is made synonymous with him putting on his father's crown for the first time. In a lot of ways, Ezran returning home to Katolis was him realizing he can't run away from growing up (2x09) in his own words, and therefore that putting on the crown is him committing to becoming someone new: this is Grown Up Ezran, or Growing Up Ezran, actively. He is, from this day on by choice, no longer just a child, but also — more so — a king.

AARAVOS: The whining child king, in over his head, and he knows it. (4x04) DOMINA: Who is this child? ZUBEIA: He is a king! (5x01) KARIM: I've never negotiated with a child before. CORVUS: He is a king. (6x07)

This also folds into how Ezran conceptualizes his father. Again, as children often do, he looks to his father for guidance with the things that Ezran is struggling to handle per his sense of responsiblity (teaching Zym how to fly in season 2): "I just wish Dad was here. He'd know what to do, you know?"

When Ezran returns home in season three, he does so with the direct consequence of his father's actions on his shoulders and wrapped around his brow, and with his letter in hand, and these changes likewise reflect a more nuanced understanding of his father:

All of you knew King Harrow as a great king. He was a warrior, a leader, and a champion. But I knew him as my Dad, who loved me and my brother and our mom, and sometimes told really bad jokes. [...] I didn't see everything he had to do as king, but I do know my father had to make some very hard decisions... I haven't been through the things that made my father the king he was. So I've decided that I don't have to be the king my father was. My father made choices to keep fighting battles that started hundreds of years before he was born. To punish children for crimes their parents committed. I don't want to be that kind of king.

This is, of course, a speech made in the context of actively rejecting war and of pardoning those who would otherwise be punished, both things that Harrow did engage in directly and deeply regretted in the letter Ezran currently holds. Ezran then walks the balance of simultaneously rejecting who his father was, and honouring who his father was and who he wanted to be. This is perhaps best exemplified in season 3 of Ezran, two episodes after rejecting his father's 'way', having a mirrored path across the courtyard set to "Last Sunset" in one of their most overt parallels, prepared to give up his life and freedom in hopes others will make better choices with the (hopefully) renewed agency they now have.

By the time we get to season 4, Ezran has changed greatly. He's more confident as king, the team's resident diplomat and negotiator, and a lot more active in general, though not without plenty of room to grow. 4x03 offers a cold dose of reality that the road to the future he wants is going to be harder to walk, but still confident that we can get there because, "We all want peace, and we all want love."

He also has a more complicated yet positive view of his father as king and of the world at large. He best expresses this, perhaps, the first time he removes his crown (which is a permanent part of his identity, and of his character design):

I am King Ezran of Katolis. As my gift [of sacrifice], I offer you my crown. It has no jewels and it isn't made of precious metal. It's made from the steel of my father's sword. My father was a strong king, and I wanted to carry that strength with me. But he also taught me that strength isn't always about weapons and war. This crown reminds me of that lesson.

Rather than just seeing Harrow as something to not be, Ezran has come around to wanting to carry his father closely with him. He's learned that "peace demands just as much strength as war" and also decided to embody Harrow's closing thoughts as a king: "I now believe that true strength is found in vulnerability, in forgiveness, in love." A dual strength for a dual king, symbolized by Ezran taking his father's sword and reshaping it into something new.

Ezran is a King of Love as Strength. He is king because he's literally Harrow's son and heir, but also emotionally — narratively — Harrow's son in terms of breaking the cycle and choosing love (similarly how Janai in S7 becomes known as a queen of mercy just like her previous royal role model, Aditi). Harrow's son by fact, and Harrow's son by choice in some ways:

EZRAN: History doesn't have to be a narrative of strength. Not if we don't want it to be. It can be a narrative of love. KARIM: These are childish dreams. EZRAN: Not dreams, choices. I am a king. And as a king, I choose love over strength.

So Ezran being king, to him, is synonymous with choosing love as strength. With making choices. With being Harrow's son (positive). He forgives Zubeia and Avizandum because of Zym. He forgives Rayla because "I'm sure she doesn't mean to make [Callum] feel that way". He provides an anchor, a pillar, for other people to build their identity around ("Don't you remember who you are?") as a reminder and a lever (hi Soren). He can honour and strive to be better than his father simultaneously. He can hold pain and love in his heart at the same time.

Until he can't.

King of what? King of ashes? [Of nothing?]

In seasons 4 and 5, we see Ezran remove his crown. Both are about sacrifices: he is prepared to offer his crown to Rex Igneous and to Finnegrin in order to help with their mission, asserting its sentimental value and importance to him: "You must bring Rex Igneous a worthy gift." / "It's not worthless. It's really important to me."

In season 7, he removes it just once. This is in admission to Callum that he "never asked for this". He was given the option of being king or not being king, but neither would've necessarily made him happy, and he made the best choice with the options he had... Options that he never asked for in the first place. The crown being a reminder to choose strength over love? He never asked to have to learn that lesson, either. It was a burden placed on him in making the best out of a bad situation, which is — unfortunately — an unavoidable part of life. But it can still be, or feel, unfair to him.

I think we see this aspect of Ezran struggling with what he wanted vs what was forced upon him in how he (and others) in 7x02 treat his high ranking position. We've seen first hand in 5x01 that Callum would overrule something like Rayla — and Runaan by extension — being arrested, but Ezran has the final say here as king. However, he does not directly highlight his own ranking. Merely, he reminds his brother of Callum's position:

Callum. High Mage. We need you at this council meeting.

And Rayla ("you're not my king, but you are my friend") reminds Ezran of his, because it is Ezran's status as king — the power, the trauma — that is driving them apart:

So, King Ezran. How determined are you to stop me?

Being king gives Ezran control over the people around him — Opeli, Soren, Corvus, Aanya, Callum — and over what happens. It gives him control. A sense of safety. And while these are understandable desires, they swing the wrong way in his anger.

So let's talk about who they swing towards!

Targets (Sol Regem, Runaan, Callum)

Ezran's anger has three direct targets in season 7, and as such, it's easy to see the way each stacks on top of the other.

The initial one is Sol Regem ("We need to find Sol Regem and destroy him"). This leads to finding an already dead dragon, which means in addition to having no one to blame, it means Ezran has no way to know or understand why Sol Regem attacked Katolis (beyond a hatred of humans). The destruction of the castle feels like losing his family all over again, in some ways, in addition to his childhood home.

Then lo and behold, the man responsible for killing his father walks right into it.

You! This is all your fault! Everything changed the day you came. You killed my father!

I think this line shows a few things. As king, Ezran was supposed to protect and be there for Katolis (2x09) while also working to break the cycle. That's what, by Ezran's measure, a good king would do. He's utterly failed at the former, and if he's a bad king, then he shouldn't be king. So whose fault is it that Ezran, a bad king, is on the throne? Logistically and emotionally, it's Runaan. It's not quite rational but it is reasonable for Ezran to look at every event in his life from the past two years spiralling out from his father's death, and culminating in Katolis' destruction.

However, despite Runaan becoming the next target of Ezran's anger, he's not actually the most consistent target of it throughout the season: Callum is.

After 7x02, Ezran doesn't breathe a single word of ire about Runaan for the rest of the series, even if he's still clearly angry months later in the 7x09 'epilogue'. Instead in 7x03, he's fixated on finding and dragging his brother back as punishment ("we can't let him get away with it!") for betrayal, which Ezran also takes personally and extends beyond himself: "Callum betrayed me. He betrayed all of Katolis."

The idea that a king represents his kingdom is an old one in terms of history, and considering that Runaan killed the king of Katolis, and Callum helped him escape, it's not that much of a reach. However, Ezran isn't even thinking that logically. If Ez was proposing hunting down the kingslayer and bringing him back to face justice, that'd be one thing. However, he only talks about holding Callum accountable, not even Rayla (who also betrayed him) or Runaan (the escaped prisoner).

His targets, quite literally, switched from Aanya having her arrow notched at Runaan and then to his brother, and Ezran's anger has subsequently followed.

Now, some of this is undoubtedly because of the three, Ezran is the closest to Callum. They had a childhood together and Callum was customarily always in his corner, if sometimes a bit scatterbrained/unreliable or angry. He, accordingly, expected Callum to be on his side, and barring that (stopping him from going after Rayla in the meeting) was prepared to enforce it. A lot of our emotional upset tends to come from "I expected you to understand/support me, and you don't" after all.

However, I think Ezran's emotional interplay is a bit more complicated. I think in 7x01, Ezran attaches to Callum as an extension of himself even as he self-isolates, such as sending Callum to go with Corvus "because we have to do something" in investigating Sol Regem, and for no real in-universe reason besides "Corvus offered to go, but I need to feel in control so I'm going to tell/order someone to go with him".

The other, bigger part of this is that Callum is the biggest hole in Ezran's reasoning.

EZRAN: He killed our father. Isn't that enough?

We know that part of Ezran's grief is that it forced him to be king and grow up quickly, something that Callum is adjacent to but can't relate to in the same way by virtue of not having the crown. But since the reasoning Ezran highlights is that 1) Runaan is a murderer (unlike the bulk of the people at his council table—oh wait) and 2) it's okay/right to punish him for killing their father... having his brother, who is also King Harrow's son (cue the identity pillar) disagree is a pretty big blow to it. They both loved their dad; he was their father, and they were both his sons. Callum is in the closest position imaginable to Ezran as anyone could be, emotionally, yet they have two completely different perspectives. It gives Ezran's reasoning much less ground to stand on, and he can't handle it. The fact that Callum's perspective (which was already a betrayal in its own way) then becomes action (which is what Ezran labels the betrayal), I think, is just the cherry on top.

Another thing that's worth noting, I think, is that neither Ezran or Callum are necessarily the ones who escalate things in 7x02; Aanya and Rayla are. Soren, Corvus, and the other guards are working under Ezran as his crownguard, but Aanya and Rayla are the rogue parties. Aanya isn't operating under Ezran's jurisdiction, but as his friend and ally. What this does mean, though, is that literally everyone at the Banther Lodge is on Ezran's side against Rayla and her weakened, injured father... except Callum, but as a mage, he's enough to tip the scales to take down the crownguard... and then use himself as a human shield.

One of the things about Ezran's anger and its targets in season 7 is that it does a very good job at illustrating exactly why the Cycle is so destructive to participate in, because yes, you may aim your anger at the people who 'deserve' it and are directly responsible—the acceptable, understandable Targets if you will—but you catch others in the crossfire. There is always collateral damage of people who didn't do a thing to you, whether that's the people who love them, or the people who are like them. (Insert Zubeia wanting to take revenge for the loss of her mate and child, claiming the lives of the assassins sent to take it, and then Lyrennus' pain at the loss of his child + Ethari's at the loss of his partner.) There is no clean way to kill your enemy in a manner that does no harm to anyone else (who is innocent).

Ezran's targets by proxy of wanting to deal with Sol Regem's destruction of Katolis are the dragons and Zym (more on them in a second, though, cause that deserves its own section). His targets by proxy of wanting to punish Runaan is causing deep pain to Rayla, even before she's taken any action against him, and then on a more literal sense his own brother. His targets by proxy of wanting to drag Callum back by force likely would've been Runaan, Rayla, potentially Ethari, or even Corvus or other crownguard in the fight.

Callum shielding Runaan (and Rayla by extension) force Ezran to confront this fact, at least a little. Does he value punishing Runaan (and Rayla, a girl who's saved him countless times, who was willing to lose a hand for him, who has otherwise always taken his side)—perpetuating the cycle—over his brother's life. And Ezran is angry enough that he good and truly considers it (although we could say perhaps he was waiting to see if Callum would move out of the way). But where Ezran was willing to hurt Rayla emotionally if it meant physically punishing Runaan, he is not willing to risk killing Callum to keep the assassin as a prisoner.

This is also, I think, the turning point for Aanya. She is Ezran's friend and was willing to follow his lead, and upon seeing the choice that Ezran made—sparing Callum over killing him and Runaan—she shifts gears. She and everyone else (who are deeply uncomfortable with Ezran's increasing rage, but unwilling to speak out against it) recognize that pursuing and punishing Callum will not actually making Ezran feel better. So she tries a different tactic.

EZRAN: We can't let him get away with it. Corvus, I need you to track them. CORVUS: [Gently corrects him] King Ezran, we already know where they're going. The Silvergrove. EZRAN: Right. And that's why I need you to track them. (7x03)

I also think Ezran taking 'being king' as such a core identity piece—Callum was Harrow's son too, but not in the way Ezran wanted/needed—lets Aanya reach him. She's also a child monarch, and reminding Ezran of this and that he and Callum can heal ("But I'll always be your brother" / "You're brothers") is something that Ezran deeply needed to hear from someone else, too.

AANYA: I know it hurts right now, Ezran. But you need to know that you and Callum are not broken. The both of you will heal one day. You're brothers. It's okay to be angry, and it's okay to be sad. But I think you should let this go, for now. You're the king of Katolis, and your people need you. EZRAN: You're right. I need to protect them.

EZRAN: But Katolis needs me. (4x03)

However, that doesn't mean Aanya's advice, nor how Ezran pursues that protection is faultless, so next, let's talk about

Dragons as Friends and Foes

Ezran has always been the dragon boy.

Back in 2021, I wrote a more long winded post that basically boiled down to—in a show where elf, human, and dragon relations are key—it was likely that Callum was always designed to be the human who engaged the most with the culturally elven side of things (primal magic, Rayla being his lancer), and Ezran (with his ability to talk to animals) was designed to handle the dragon-human side of things. Think how we see Callum's first meeting with Rayla, an elf, while Ezran is the one who discovers Zym as a dragon egg.

Although other characters (namely Rayllum in S3, and Soren in seasons 4-6) bond with dragons as well, this remained true throughout arc 2, wherein Ezran is the closest to Zym and Zubeia, the primary negotiator with the various archdragons, going on his 'big dragon missions' (5x01-5x03), etc.

Season seven, therefore, presents an interesting departure in Ezran's view of dragons. Previously, while they should've been enemies, he always saw them as friends and allies: being the first to run to and aid Pyrrah in 2x07, trying to commune with Zubeia to wake her up in 3x08, defending Avizandum in 4x08 on behalf of Zym, etc.

Sol Regem's attack changes all of that. As Ezran states:

But doesn't a home need to be safe? [...] Our ancestors spent generations building Katolis. I don't want to waste our time if it's all going to get knocked down. [...] We have to be ready. We have to be strong enough so that they won't even think about attacking us. Before we rebuild, we have to build our defenses.

In season 4 and 5, all Ezran wanted to do was work with the dragons. To work together with Zubeia to stop Aaravos; to call upon the dragons to help stop Claudia and Viren. Now, the dragons are a 'them'. Now there's an 'us'.

This isn't necessarily a 'wrong' way to think about it, though. An archdragon did attack and devastate Katolis, seemingly — to Ezran — for no apparent reason. To want to prevent that from happening is reasonable. Yes, Ezran is friends with dragons, but most friends aren't also born with the inherent capacity to utterly destroy your life as a built in feature.

At the same time, this new 'us vs them' mindset is challenged a few times in season 7. Although Ezran's assurances to Zym that "we're only building such powerful weapons so that we never have to use them" will not work out without consequences in arc 3, I'm sure, thus far we only see Ezran use them on another enemy he's willing to be increasingly violent with: Aaravos.

In 7x07, the Startouch elf offers up a double serving of manipulation — the bigger one being to join him and that he's humanity's ally, which Ezran steadfastly rejects, and the smaller one beneath regarding the Nova Blade (+ Callum), which Ezran 100% plays into. Both of these push Ezran further as a character.

The first avenue that Ezran rejects leads him to claim that:

I have allies already. The elves and dragons, fellow victims of your evil.

Even if the only elf he's currently working with is a recent addition is Terry, forcing Rayla and Runaan to go on the run in 7x02, and his draconic ally in Zym is deeply worried about Ezran and Aanya's project. But it shows that despite his coldness towards previous allies, Ezran still holds unity close and refuses to relinquish it entirely as an ideal.

Secondly, we have Ezran's choice to use the Nova Blade. This is both a departure and in line with his thoughts in 5x06:

CALLUM: We borrow this Nova Blade, wait for Aaravos to get out, and then just stab-stab, buh-bye bad guy. EZRAN: Wait, slow down. Shouldn't that be the last resort? If we can stop Aaravos from getting out at all, we can solve this without any violence.

On the one hand, Ezran in 7x08/09 is just following through with what he said here. If Aaravos was still trapped, they didn't need to resort to violence. Now that he's out, violence is accordingly on the table, just as Ezran said it would be. However, I think it still feels like a departure in some ways because of Ezran's repeated emphasis on strength and love over violence, and his choice (4x08, 5x06) to melt his father's sword down into a crown... only to now acquire a sword that isn't made for defense whatsoever, but for the express purpose of killing.

That said, more on the Nova Blade in a second.

For now, I want to return to the archdragons, and just do a little season track:

7x01: Ezran finds out an archdragon / former king of the dragons destroyed Katolis. Furious, he wants to destroy Sol Regem in turn, but cannot as the great dragon is already dead.

7x02: Ezran takes out his anger on Runaan, Zubeia's servant assassin.

7x03-7x05: Ezran goes with Aanya to learn how to build weapons that can stand a chance against dragons / archdragons, in spite of Zym's misgivings.

7x07: Despite Callum giving Ezran the mission to go retrieve Zubeia, Ez delegates it to his crownguard + Terry, choosing to remain in Katolis and converse with Aaravos instead to "keep [Aaravos] busy".

7x09: Ezran (and co.) are spared from sacrificing their lives and "everything we are" because of the archdragons, who all sacrifice themselves to stop Aaravos. Ezran holds Zym while his parents / Zubeia die, and then instructs a memorial to be created in the Valley of the Graves.

So, after a season of being angry at an archdragon, at seeing dragons as potential enemies... Ezran and everyone / everything he loves is saved by those very same creatures. Instead of destroyers who force him to sacrifice, they are saviours who choose to sacrifice on his behalf. This doesn't remove responsiblity from Ezran's shoulders per se—in many ways, a world without archdragons adds to it, as he states, "It's up to us now, Zym" (in a nice callback to 1x03)—but I do think it greatly contributes to his perspective in his closing scene this season.

One of the ways it does so is bringing back the gift motif from 4x08, not only in "worthy gifts of sacrifice" but in Ezran's realization that:

We offered gifts that meant a lot to us. But the truth is, they don't mean anything to you.

being directly contrasted in 7x09, with:

AARAVOS: And what will your sacrifices buy? A mere moment of peace before I return to a world without you? Without archdragons. Your deaths mean nothing.

EZRAN: They have given us a great gift. A chance to keep on living. Keep trying to be better.

The first time Ezran spoke of the dragons in 4x01, it was with excitement for Zubeia and Zym's visit to Katolis. He believed "it would change how people see dragons". He offered gifts of friendship and peace in the Valley of the Graves, only for the portrait to be defaced. By the end of season 7, Ezran's desire for people to see the dragons differently has come true, and his honouring of Zubeia is allowed to stand in a way that's far more permanent than a painting.

OPELI: It's the gift ceremony. I'm concerned that holding in the Valley of the Graves is insensitive. EZRAN: Wait, what? It's a sacred beautiful place. It's a place of peace. OPELI: Some people have come to me in confidence. They worry that honouring a dragon in a place that is a memorial to so many great humans, some of whom died at their hands, is offensive. (4x03)

EZRAN: Aaravos pushed us to to the brink. We were ready to sacrifice it all. Everything. You and me, Callum, Rayla... We almost gave up everything we are. But because of them, the archdragons, we didn't have to.

Now, I don't think this change at the end of the season will be enough necessarily for Ezran to halt Project Ruby Fire. I don't think it undoes the hard choices he's made or the things he's learned about himself. But I do think it asserts what he's aspiring towards, and helps direct himself to who he wants to be and how he's going to proceed going forward (Evrkynd, Runaan).

Speaking of which, let's finally talk about Runaan. Again.

A Phoenix

I've alluded to this this a bit before, but I think one of the main reasons Ezran chose to forgive Runaan was because of the archdragons' sacrifice. The dragons gave him a chance to keep living, to keep trying to be better—and Ezran then turns and gives that "great gift" in turn to Runaan. I don't know if I think that Ezran would've otherwise had Runaan executed, but forgiveness even more than just being spared is a much more active choice in a lot of ways, and not something that Ezran had to conflate, but chose to.

The other reason I think Ezran chose to forgive Runaan is because, as of the end of S7, he's been Runaan.

As an assassin, I had convinced myself that I was a kind of peacemaker. A twisted peacemaker, I suppose. I believed that my act of precision violence was preferable... necessary, even, to prevent far greater bloodshed.

[...] I was trained to accept that I was already dead, so that I might carry out my dark work without fear. But I am not dead. I am alive. I have a family I love. I have so much to lose, the very things I took from you.

"They have given us a great gift. A chance to keep on living."

Ezran now understands how someone can believe that to keep back chaos and death, you have to kill another person. To believe in your bones that someone has to die, even if that means your own destruction. That doesn't mean Runaan was right about Harrow, or that Ezran is necessarily wrong about Aaravos, but the journey to get there, the mindset, of how undeterred you are when you reach that place... Ezran's been there. He knows, now, in ways he didn't before.

He forgave Zubeia because everything was complicated: because he could relate to longing for his mother (Zym), to watching his father grieve his wife the same way Zubeia was grieving Avizandum, to wanting to protect his kingdom (Avizandum). To grieving family. Of a child who had lost things.

He forgives Runaan because he can understand being an assassin, and already dead, and realizing you almost lost / have forsaken your family along the way. Of violence testing you, and failing, and having to try again. To reforge yourself into something new—because the true heart you had before is gone, but that doesn't mean your heart is.

Ezran stands in front of the fireplace twice in season 7. The first is with Zym in 7x02 and where he has his initial disagreement with Callum. The second time is with Runaan in 7x09, a fire in his eyes. This evokes not only Ezran's fury and association with the dragons, but also the framing of Aaravos from earlier in the season.

Ezran once asked if he was now the king of ashes. 7x09 demands him to answer if he wants to keep being a King of Ashes. If he wants to continue feeding his anger and hate, if he wants to continue fuelling the fire of hatred and grief within him. And Ezran says no. He says yes to forgiveness, though this time, he does not know the way:

EZRAN: But it's not that simple or easy. [...] Somehow, we have to hold it all in our hearts at the same time. (4x03) CALLUM: But somehow, you got past that. You forgave her, because everything was complicated. (7x02) EZRAN: I'm going to forgive you. I don't know how, but I have to try. (7x09)

He is presented with a phoenix (Runaan, back from the grave) and chooses to become one himself, and welcome back in all the other pillars of identity that had been crumbling over the past season.

EZRAN: I think about the people I love who are counting on me to do the right thing. Not the strong thing, not the harsh thing. The right thing. Do you love your sister, Prince Karim? (6x07)

It's sort of fitting, then, that in choosing once again to be Harrow's son (positive), he's presented with a more literal bird phoenix in "Harrow's soul in is in Pip" then, too.

And the same rebirth goes for the world around him, too.

ASTRID: Everything burns when a star dies. (7x09)

OPELI: King Ezran... perhaps it is finally time to rebuild. EZRAN: No. It's time to build something new. [...] Our world faced its end. But we survived. And on the other side, we find ourselves at a new beginning. [...] There is no such thing as utopia. But with hard work and discipline, persistence and patience, we can build a better place.

The Crown, Again (reforge into something new)

So I've talked about the reflection motif, and I've talked now about the phoenix motif. There's still more I could touch on in regards to Ezran's whole thing with Aaravos and the Orphan Queen, the layers of Aaravos' manipulation, the theme of following in your predecessors' footsteps and the good and harm that can come of it, but that's probably a meta for another day. For now, I want to return to the Need motif we touched on earlier.

TDP is very interested in questioning what characters deem necessary. Thus far, this was mostly done through Aaravos ("Aaravos did what was necessary" / "we will do what must be done"), Claudia ("I did what I had to do" / "Maybe he's just doing what needs to be done" / Whatever it takes, however dangerous, however vile"), and Viren ("I tried to explain that I had only done what was necessary"). S7 starts to shift gears and push further at the main trio, questioning and picking apart some of their mindsets (which again, could be a meta on its own) in regards to what sort of violence they believe is necessary and why, only for none of it to actually have been so because of the Archdragons. A nice little meta-narrative reflection.

What I want to actually focus on here is Ezran's idea of need. This is usually couched within his place of being king, and loyalty to his kingdom, as we've seen previously ("But Katolis needs me" / "You are the king of Katolis, and your people need you").

EZRAN: I wish [Zym] could come with me too, but you need to go be with your mom. That's your home. Both of us need to go home. (2x09)

So Ezran believes that needs to be king because Katolis needs him. Great. What does Ezran need?

Season 7 gives various answers, according to himself:

"Callum. High Mage. We need you at this council meeting" (7x02)

"We can't let [Callum] get away with it. Corvus, I need you to track them" (7x03)

"I need to protect [my people]" (7x03)

"Destiny works in mysterious ways. The Novablade came to my ancestor, only to be lost for generations until we needed it" (7x09).

The other people in his life have other ideas, as discussed.

ZUBEIA: But Zym, you must go. Your brother Ezran needs you. (6x02)

AANYA: But you need to know that you and Callum are not broken. The both of you will heal one day. You're brothers.

CALLUM: Mom said it was okay to be angry, but I couldn't let the bad feelings stick. Because we were going to need each other. Because we're brothers. I still need you, Ezran.

Broken things can be mended. Crowns and swords can be reforged. People can be, too. As much as Ezran loves his council and his crownguard, he needs people who don't just see him as king. Callum is not his High Mage, but will always be his brother, and that's what's most important. He needs Callum and Rayla and Zym; he needs Aanya who can help keep him grounded. He needs his family because they help keep him who he is as much as he has for them in the past ("Don't you remember who you are?" in 4x07) now that it is up to them to maintain it, and the archdragons are gone.

And to be himself, Ezran needs to be:

Harrow's son with accordance to a Narrative of Love

The King of Katolis

Callum, Zym, and Rayla's brother

rising from the ashes and bringing others up with him, over and over again the way he always has. The way he always will.

Because not all cycles are bad, either.

Conclusion

As stated, there's more to Ezran's arc in S7: ideas of history and half-truths, of chains and Startouch elves, of home and memorials. Of what we carry against our will, what we choose to set down, and vice versa. What this meta was, then, was the first at likely two passes, focusing on Ezran's emotional state(s) throughout the season and his emotional processing. More structural and thematic based analyses of his character in S7 / across the show thus far will definitely folllow.

For now, though, thank you for reading and I hope you enjoyed a bit of a deeper dive!

All hail the king.

[the-gay-archivist]

God isn't that poetic? How is that not so beautifully literary? This is why I love this show because of how classic the characters actions are. Caitlyn starts a war to help the woman she loves save her dad. The tragedy is that it fails from circumstances outside their control. But the beauty is that incredible act. Caitlyn knew that betraying Ambessa may cost her life and the city's freedom but did it anyway. And she'd do it over and over again to do right by someone she loves.

Call it irresponsible, I call it romantic.

This is the beauty of storytelling.

Well turns out this is a face someone (Caitlyn) started a war for.

I would too so I’m not judging

[messymoonmad]

TW: S/A

Hi, messy!! I've sent seen few asks on your account, and I saw someone bring up their thoughts on Penelope's part in your amazing Hold Them Down animation, and I felt the confidence to share my thoughts, as well.

First off, your animation is amazing. I love it so much, and I love how you portrayed Antinous to be purely chaotic and evil, despite how attractive your version of him is.

Now, into my thoughts.

I feel like the part where the bunny and the wolves is very true. As a S/A survivor myself, I felt like prey to my assaulter, so the way it was portrayed hit home to me, but not in a bad way. It felt as though someone truly understood how it feels to be in those shoes, whether you're a victim or not (I'm not assuming you are or are not btw). I felt how Penelope felt, and even though mine wasn't as bad as how that was seen, since I've only been assaulted by a few people and not a BUNCH, it still hit right in the heart. I just want to say that I appreciate the fact that you included that, showing how terrible S/A is, and just how terrifying it can be for the person who is being assaulted.

Now, time to compliment you fufufu.

OMFG I LOVE YOUR ART SO MUCH AND YOUR ANIMATIONS ARE AMAZING AND OMFG SJJRNEJDIDNENXJCJRNRNRID

Gosh, so glad I was so calm, cool, and collected there lmaoororkfkfkd

You're so brave for telling me about this, thank you ! I really tried to show that segment in a psychological horror light rather than focus on "antinous' fantasies". I dont want to subect the audience to the unhuman act of SA but to tell them how it FEELS to be SAed. Also depicting how antinous views penelope as a weak lamb, a fruit. The cannibalistic metaphor justreally does it for me (especially with the subtility of the lyrics talking about her like a 5 star dish)

[dragonkeeper19600]

One change to Shadow’s story that Sonic 3 made that I actually like is that Gerald Robotnik never edited Shadow’s memory.

In Sonic Adventure 2, I kind of vaguely remember that Gerald Robotnik changed Shadow’s memory of Maria’s final moments so that Shadow would believe that Maria’s final words were a plea for revenge.

However, in the movie, Gerald doesn’t do that. Instead, he uses good, old-fashioned manipulation to keep Shadow on-target.

Every time Shadow expresses doubt about wiping out all life on earth, Gerald feeds into his pain and steers him back to essentially being a suicide bomber. One line that goes particular hard is when he says, “It isn’t about that she would have wanted. It’s about what they deserve.”

It really helps drive home that, at the end of the day, Shadow is just a lost, hurt teenager who’s under the sway of a toxic adult. The one family member he has left, the one adult he thinks he can trust, is the one purposely undermining any hope he has of healing from his loss.

[blackbirdroadw]

what a beautiful way to connect the plot lines. i feel so deeply for david, as much as i'm sure some might feel otherwise. both he and nick have suffered the damage that, though with love, their mother hasn't been intentional enough with her parenting to reduce as well as i think she could have. she's a model parent in many ways, but her lack of strategy that most parents align with still allows for emotional harm that really could be prevented without much additional attention.

i hope stories like these will encourage people who are not yet parents but who want to be to consider being scientific and comprehensive in their parenting methods; hopefully, the montessori philosophy that all children are eager for learning and growth when given the resources they need (especially considering what they're physically and mentally capable of at any given age) to pursue those things will be appreciated as factual. i think that would solve a lot of what has led to recent events.

Chapter 8 - 12

lovely and kind and brave and smart

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Heartstopper updates three times a month, on the 1st, 11th, and 21st at 11am UK time.

[iheartradio8]

Xo Kitty Outfits: Minho and Kitty

I wanna talk about Kitty and Minho’s outfits this season because I think everything they wear makes them look GOOD together

They start the season off dressed completely opposite to each other. Minho is white; Kitty is black. This could represent how there feelings are opposite right now too. Minho is completely in love with Kitty; Kitty has never viewed him in that way.

When there eyes first meet after the plane Kitty is dressed and red and white Minho is dressed in blue and black. Red and blue are complimentary colors, meaning they’ll always look good together (this is why some of the best ships use this color scheme). Red and blue also contrast each other in meaning. Red is, hot, passionate and, loud; Blue is, cold, calm, and subdued. This actually represents their relationship well. Kitty is outgoing sunshine, while, Minho is the pessimistic clouds. Their outfit are opposite but fit together perfectly (like the pair) (Also this is a stretch but Kitty outfit has hints of blue with the overalls and Minhos sweater has hints of red (?) which shows there connection)

During their talk the color palette of there outfits are almost the exact same making them look like a pair. Kitty’s outfit has hints of blue and cooler tone brown that contrast Minho’s warmer brown. Kitty’s outfit is cool and dark; Minho’s is warm and light. They still have opposing feelings for each other, but their emotions aren’t completely opposite anymore.

The kiss boy and girl uniforms directly contrast each other. The girls uniform is dark, cool blue; The boys uniform is light, warm tan. But the uniforms have elements of each other’s color pallets, making them feel cohesive.

In this scene, while, kitty is directly matching Pravienna, her and Minho still look like more of a pair (which makes sense because they spend the bulk of the time together not Kitty and Pravienna) The red of Minho’s jacket matches the red of Kitty’s hair.

In this scene Kitty is wearing the compliment to Minho’s signature color, green. Even when she kisses Yuri her outfit looks better with Minho’s

In the hot tub scene every element of the two’s main color palette this season is present. Minho has the black, blue, and white. Kitty’s outfit is full red. This could also represent the emotion in the scene. Minho’s outfit is calm and quiet, while, Kitty’s outfit is loud and angry. (Also huge stretch but black could represent the unrequited aspect of there love seeing as Kitty is wearing all black when she rejects Minho and Minho TAKES OFF HIS BLACK JACKET to get in the pool and comfort Kitty)

The rain scene has arguably the most iconic Kitty and Minho outfits of the season. It’s what they used in most of the promos and they’re used in the climax of these two’s relationship this season. This makes sense because the outfits are literally perfectly complimentary. Kitty’s outfit is primarily blue and Minho’s is primarily red. Perfection.

In the wet dream, again, every element of the twos color palette is present. Kitty’s outfit is the red and blue; Minho’s is the black. Also, If we’re viewing black as a loose symbol of the unrequited aspect of their relationship then Kitty is literally being confronted by it in the dream, With Minho’s wearing it head to toe.

There are two things of note in this scene’s outfits . One, Minho is introduced to us season one episode one in green; Kitty’s primary/most iconic outfit in season one episode one is blue. So, In a way they’re wearing each other’s color. (Especially Kitty, they really hammer in green being a Minho thing). Two, blue and green are analogous colors, meaning they’re next to each other on the color wheel. After theses outfits they transition into wearing the same colors which could represent them feeling the same way about each other.

Im gonna make a pt.2 with the rest of the outfits <33

[river-of-wine]

What do you think of Karen telling Molly: "Listen... it's a hard life, this world... for anyone born without means. Any as judges those who find it hard, is a fool. I'm a lot of things, I'm not quite a fool." in that one camp interaction? Because to me it seems like a very strange thing to say if you are trying to comfort a person who was born with means.

Molly’s class has been something that has been bouncing around my mind since before I was even that far into her game because of her Rockstar description. “She claims to be from a well-to-do Irish family” CLAIMS TO BE?? It’s an odd sort of vagueness no one else has, and the fact something so seemingly intrinsic to Molly’s character as her societal standing is something brought into question more than once both in and outside of the game’s narrative. That remark from Karen is not the first time she says something questionable about Molly’s class, as she describes her as being “too high and mighty for the likes of us NOW” and that she’s “a society lady NOW” with such emphasis on this being a factor about Molly that has changed. It’s important to Molly’s character that she does indeed come from a more privileged background than her peers - especially in regards to how her status as “a lady, well bred”, in her own words, is the one piece of leverage she uses to one up people like Sean and Karen in their conflicts - however the question that her status as a supposedly wealthy woman gets and the frequency that it’s made note of is definitely something. I think it’s an interesting parallel to her place in the gang as well, where she has this artificial high standing over others because of her relationship with Dutch and the privilege it affords her, but she has absolutely no power from that position.

It is also unlikely but entirely possible that Karen isn’t directly referring to wealth here in terms of means and rather reflecting on Molly and her own statuses as women in the society of 1899 America, as Karen’s views of women and their places and lack of freedoms in America is something that has been previously discussed, but I think it’s more likely that she is referring to class given her wording. There’s a lot of thoughts I have in regards to what all of that about Molly’s social standing could actually mean, but I find I struggle putting them into words. It’s something though!