#And subsequent discussion of that canon

[neverenoughmarauders]

Lily's meaningless sacrifice

One thing that irks me is when people suggest that in canon, Lily had any idea that Harry would survive (this is merely a canon post, nothing to do with fanfiction). It irks me, partly because it's just incorrect and that's the sort of person I am. More importantly, however, it irks me because Lily not stepping aside when she had nothing to gain from dying is fundamental to the story.

Let's start with JKR own words from an interview in 2005:

MA: Did she know anything about the possible effect of standing in front of Harry? JKR: No - because as I've tried to make clear in the series, it never happened before. No one ever survived before. And no one, therefore, knew that could happen.

Lily knew nothing about the possible effect of standing in front of Harry. Lily was faced with this choice:

Scenario 1: Steps aside, and Harry is killed.

Scenario 2: Be killed, and Harry is killed.

Scenario 1 is (on the surface) objectively better (unless you're a DE and thus want less muggle-borns around). To Voldemort, it's a simple choice: In both scenarios Harry will die, in one, Lily will survive. In fact, this is what makes a lot of people defend Severus' choice to only ask Voldemort to spare Lily. Severus could not save Harry (and apparently it's totally cool not trying to save others if they bullied you).

Lily could not save Harry.

Lily's choice, as far as she is aware, is not whether to save Harry or not, but whether to save herself. And yet, Lily cannot stand aside. As JKR points out earlier in the interview, what Lily did is not that surprising to us readers ("I don't think any mother would stand aside from their child"). Why? Love. Because, as Dumbledore reminds us on multiple occasions: there are worse things than death - most notably in DH:

"Do not pity the dead, Harry. Pity the living, and, above all, those who live without love."

Love, and life with and without love is an undercurrent in the story. Lily's sacrifice is meaningless when made, and yet it's the biggest and most understandable expression of love anyone can show someone else. Lily cannot, and does not want to, live in a world where she has witnessed her son being murdered - especially when her husband has been murdered too. A world without Harry and James is no world for Lily Potter.

It is also - bear with me - not that different from what it was like to be in the Order at that time:

[Y]ou weren’t in the Order then, you don’t understand, last time we were outnumbered twenty to one by the Death Eaters and they were picking us off one by one...

“He — he was taking over everywhere!” gasped Pettigrew. “Wh — what was there to be gained by refusing him?”

The Order operated against the odds and were being picked off one by one. As Peter asks - what was there to be gained by refusing him? What was there to be gained from standing (metaphorically or not) in front of Voldemort's victims? I've said this before and I'll say it again, Sirius' answer is powerful:

“What was there to be gained by fighting the most evil wizard who has ever existed?” said Black, with a terribly fury in his face. “Only innocent lives, Peter!” “You don’t understand!” whined Pettigrew. “He would have killed me, Sirius!” “THEN YOU SHOULD HAVE DIED!” roared Black.

Only innocent lives. They weren't fighting this war because they were winning. In fact they were very much losing. But they were fighting because it was right thing to do. Many Order members chose to die, rather than to step aside and let Voldemort take over. Only in their case it didn't make a difference - or at least, it didn't feel like it at the time. Members were murdered, and Voldemort was just getting stronger and stronger.

What was there to be gained by refusing Voldemort?

I firmly believe this is a theme that is repeated throughout the book: not just love and choice, but the obligation to choose what is right, no matter the odds (the irony that this was written by JKR will never be lost on me), and how love is a powerful motivator to do just that. Doing the right thing might seem hopeless in the moment - wasteful even - but that doesn't mean it's not worth doing, or that in the end, it won't add up.

Imagine what Harry felt like at the end of PS/SS when he risked his life to stop Voldemort, only to realise that Voldemort would keep trying to come back:

“Well, Voldemort’s going to try other ways of coming back, isn’t he? I mean, he hasn’t gone, has he?” “No, Harry, he has not. (...) Nevertheless, Harry, while you may only have delayed his return to power, it will merely take someone else who is prepared to fight what seems a losing battle next time — and if he is delayed again, and again, why, he may never return to power.”

Harry Potter isn't about doing the right thing because it will bring you rewards, but because it is the right thing.

“Remember Cedric. Remember, if the time should come when you have to make a choice between what is right and what is easy, remember what happened to a boy who was good, and kind, and brave, because he strayed across the path of Lord Voldemort. Remember Cedric Diggory.”

This speech doesn't sit well with a few people because it sounds like you're asked to remember what happened to someone who did do the right thing (spoiler: he died). But that's not the point, of course. Cedric wasn't killed for doing the right thing or making a hard choice - Dumbledore asks the students to remember Cedric because the enemy is willing to kill innocent people indiscriminately. Standing aside will not be good enough against people like Voldemort. There is, as Dumbledore put it, a need to keep fighting what seems a losing battle. Why? Only innocent lives.

Both James and Lily die that evening because they are unwilling to let Voldemort near their innocent son as long as there is breath in their bodies. James had no choice (this irks me because he did, he could have run away - he could have not fought Voldemort in the Order to being with. They all had a choice, but not the point). Lily had a choice. And she chose, like many had before her, to fight what seemed like a losing battle. She died, not knowing that she had saved her son. Her sacrifice was meaningless - like so many before her - and yet her sacrifice changed the world.

In the end, by choosing to do what was right, she was granted the wish she most desired: Her son lived.

[soralymystaken]

I think a lot about Lloyd and Harumi, solely because they have one of the most unique yet complex relationship dynamics in all of Ninjago, and it’s something I don’t feel like we talk about enough.

So often I see online that their dynamic is overly simplified. I so often see people arguing between them being “true-love” or “friends to lovers to enemies,” but stating it’s just one of those is overlooking all of the complexities. Even stating it as a one-sided thing from Lloyd isn’t looking at the whole picture. Of course, there can be many interpretations of how they interact. Again, that’s the reason I adore this dynamic so much. This, however, is my personal interpretation:

Also, warning, spoilers plus some swearing.

At the beginning, we see Lloyd have the whole “love-at-first-sight” trope, and we learn that Harumi invited him into the castle. While, of course this immediately is seemed as a positive interaction, later events reveal otherwise. It continues like this: Lloyd falls deeper in love with Harumi whilst she continues manipulating him to keep him on strings. She eventually realizes his feelings, and wants plays on that, making the process work exponentially better. Finally, we learn Harumi’s motives and her reasoning, and, in the episode, Lloyd is devastated. However, I have some additions on this, but I’m gonna finish up my review of canon before getting to that. We do also know that Lloyd still has feelings, though. We primarily see thing from Lloyd still trying to save her from Garmadon’s grasp along with his sadness from her death.

The next time we see her and Lloyd’s dynamic (at least as far as I want to mention,) is Crystalized. When Lloyd is captured, he apologizes. He still clearly has feelings for Harumi, and, in a turn of events, it seems that Harumi does as well, as she convinces the Overlord to spare him and to try to get him on their side.

Okay, enough about prior knowledge, lets discuss headcanons. So, firstly, I’m 100% sure that Lloyd was tormented by Harumi’s origin story. We know how high of a standard he holds himself to, and we also know how morally-driven he is. Him learning about the real stories of the real people who he had really hurt couldn’t have been taken easily. I’ve actually written a whole fic that revolves on that fact, and how Lloyd’s lingering feelings would have amplified that feeling to oblivion. Also, for people who assume he would immediately drop his feelings when he learned Harumi’s true motives, literally just look at how he talks about Garmadon and you’ll see he can’t exactly move on that easily. Things like this take time, and, again, he has guilt because of this whole thing. Moving on from a relationship when you believe you were the reason the person tried to destroy the entire world and subsequently died isn’t the same as a high school breakup. That’s fucking devastating, and especially for someone who hasn’t had the best relationships up to that point.

However, this dynamic really starts to become cloudy when you look at Harumi. Now, look: I’m like 90% sure she only had feelings for Lloyd in S15 as fan-service, but, fan-service or not, it’s canon, and therefore I’m still gonna cover it.

So, first off, when and how did Harumi develop feelings? Personally, I think there could be three main reasons. For one, gaslighting. The whole time, she was gaslighting Lloyd into loving her. Sometimes, when you keep up a lie like that for so long and with that level of commitment, you can convince even yourself of these feelings. Do I think this is the case for Harumi? Well, it depends. If you truly do believe there is a spark between them, then no. However, if you really don’t like the fact that they were given a romantic storyline in S15, then this is a totally valid reasoning.

The second reason that comes to mind is Lloyd’s persistence. Now, just to cover all our basis, reminder that “being persistent” and “never giving up on a love that could be” are not cutesy tropes and relationship goals, and no means no. I see too much stuff online saying shit like “I never gave up on her and, even though she said no 20 times, she gave in in the end.” This is not something to romanticize. If someone rejects you, fucking respect that and move tf on. That being said, though, I think that could actually be the case in this dynamic, albeit in a much less creepy way than some fuckers online do it. Lloyd clearly, even after all of the shit Harumi pulled, still has lingering feelings: a mix of platonic and romantic. I truly believe Lloyd is someone who believes that anyone can change for the better, and applies this to Harumi. The fact that, even after all the pain Harumi caused, he still searched for her in the rubble could be the reason she developed feelings. In my opinion, this is the most likely option.

The final one is a bit colder, and is for y’all who believe Harumi is evil through-and-through. Lloyd is fucking overpowered. Harumi’s reasoning to the Overlord could be just that: the reason. I personally don’t love this one as much, but if this is something you resonate with, I would totally understand why.

All of these factors strung together make Lloyd and Harumi one of my favorite dynamics. There is so much more that I didn’t even discuss here. Is it romantic or platonic or just romantic for one of them? Did Harumi develop feelings even sooner yet denied them solely because of her hatred? Is Lloyd’s relationship with Harumi less to do with Harumi herself and more-so to do with trying to rebuild a relationship with his father through her to prove he can hold onto someone he loves? All of these are questions I’d love to dive into but simply do not have time.

Hopefully you enjoyed my little rant. I love overthinking stuff like this and also love chatting about over-the-top headcanons. If you have any thoughts on this (or other headcanons you want to share), please do!

[daeneryseastar]

rhaenyra is as much of a girl’s girl as the society she lives in allows her to be.

book wise she has multiple ladies in waiting (not just alicent, which is a grave oversight in the show), one of which is said to have gouged out her own eyes at the sight of rhaenyra’s murder. that doesn’t sound like someone who isn’t capable of inspiring loyalty from the women around them. rhaenys fully and wholeheartedly supported rhaenyra and her cause, even dying in her attempts to make her the first queen regnant of the seven kingdoms. laena betrothed her daughters to rhaenyra’s sons, ensuring that her blood sat both the iron throne and the driftwood throne, all while being a pretty difficult backing to break due to the wealth and naval power of the velaryons (all of this in spite of the bastardy rumors surrounding jace and luke). the agreement also puts forward how politically astute rhaenyra is, and how she didn’t just rely on her father’s word to put her on the throne. she made alliances using her sons hand in marriage; borros baratheon might not have declared for aegon had a proposal taken place the night luke brought rhaenyra’s terms. baela was only held back from partaking in the many battles because of her dragon’s size, otherwise she would have been right beside her betrothed fighting for rhaenyra. there’s even a chance that rhaena would have joined had she had a rideable dragon of her own. she had mysaria, a former sex worker, as her mistress of whisperers, a very esteemed position on her small council. the cases of rosby and stokeworth have no bearing on this, because they were never named as heirs (along with being literal children during a war time) which is what rhaenyra was using as the basis for her rulership. jeyne arryn knew her own position as lady of the eyrie would be challenged (again) if aegon stepped over rhaenyra and subsequently supported her cause. important women like alysanne blackwood and sabitha frey were key players in cregan’s army.

show wise she is shown in the season two trailer to be taking advice from rhaenys and allowing her to be a part of the war efforts. baela and rhaena are explicitly included on her war council, with rhaena as her cupbearer. moondancer is no longer a hardly rideable dragon and baela seems to be taking direct part in the war. rhaenyra is already shown in a set picture to be communicating with mysaria (whether that’s discussing blood and cheese, the aftermath of it, or something entirely different remains to be seen). these are not the acts of someone who hated other women, and using her falling out with alicent and the resulting enmity between them (that is almost completely one-sided due to the difference in power dynamics) as an excuse to otherwise is worse than strange, considering alicent’s canonical goal was to seat her son, a known violent misogynist, on the throne over a woman who was the named heir to the king.

the green’s entire ideological standpoint is that women cannot rule, ever, for it would make the main members of the green’s powerless, and any other lord or heir’s claim would be up for debate if they have an elder sister. if the iron throne had truly been aegon’s by right alicent, otto, and criston would not have left viserys’ body to rot for days AND they would have had the backing of most of the houses. if alicent had cared more for her children’s wellbeing she would have convened a great council before the war began or considered any other effort that would not lead to her children fighting on dragonback. rhaenyra’s (peaceful) ascension would have at least started the necessary changes needed to grant women more authority and (!) autonomy in the seven kingdoms. queen consorts had significantly less influence after her murder, along with the targaryen’s losing their ability to hatch dragons. rhaenyra does not need to be a feminist for her cause to be inherently feminist by proxy.

rhaenyra was not a feminist, but she did have great love for other women. it’s disingenuous at best and downright insulting at worst to try to paint her as anything else. she inspired loyalty even after her murder. if the black’s cause had truly relied on putting rhaenyra on the throne, her armies would have disbanded once she was dead. instead corlys and larys poisoned aegon, with rhaenyra’s son being placed on the throne afterwards. it was ultimately about bloodlines in the end. jaehaera suffered the unfortunate consequences of an ambitious hand because of her status as aegon’s daughter. it plays directly into how alicent outlived her entire family, besides jaehaera, and went mad with grief, learning to hate the color green. how greed and the allure of power can and will corrupt those who choose to make that a priority in their lives, and how the innocent will usually pay the price for those sins.

[centrally-unplanned]

Time for a pet peeve take response - let me capture our target below:

[Unpopular Fantasy Opinion Take:] The fantasy genre by-and-large took the wrong takeaway from Tolkien, and has been generally spiraling since as a result. They took his surface-level aesthetics and fantastical elements, and left his engagement with real, historical texts, his philology & his moral seriosity. In a different timeline, subsequent authors would have adopted Tolkien's erudite love of language and mythology and applied it to other cultures & mythologies - not just superficially, but by engaging with the great Chinese novels or the Shahnameh like he did with Beowulf. Even when you *do* see more recent novels "inspired by" other cultures, they are very blatantly just taking the (degraded distillate of the) Western, Tolkien-esque tradition and coating it in a thin veneer of Chinese or Mesoamerican lore.

This is not the first time I have seen this specific take, and it is part of a "fallen literature" genre that is always confusing supply & demand, with a hefty bout of selection bias for good measure.

To get the obvious out of the way, the "lessons" people took from Tolkien are entirely what audiences want to read, and were never going to be any other way. Most people don't wanna read hard, heavy books! Even if they want that sometimes, for every one Gravity's Rainbow they are gonna read a dozen Gone Girl's as a palette-cleansing snack, which means by-the-numbers the latter will dominate. Fantasy did not invent the genre of adventure stories and swashbuckling heroes and hot maidens to woo and mystical mumbo-jumbo; people stapling tried-and-true genre tropes onto elves and orcs once they took off was a given. The "shallow" part was the only part that could have changed; a world where the median fantasy novel is dealing with theological issues could never have been.

And to top this all off, no disrespect to Tolkien at all, but like...he isn't that deep? The "moral seriousness" of the Lord of the Rings is very simple - characters are often cartoonishly evil or blatantly good, the conflicts they face are often black and white, and in particular the moral dilemmas faced by characters boil down to tests of courage more than half the time. What Tolkien does have is his own unique interests? Like in Middle Earth the "act of creation", from art to life, is itself a moral undertaking with metaphysical implications. This is super cool - but it is also again very simple, it is barely even discussed in the novels and his ideas can be summarized in a paragraph. This is all good btw! The novels would not benefit from more complicated morality. But modern books are just as complex, and often more so.

Actually just a little aside here - a lot of people do this thing with Tolkien where they mention his letters and drafts like that is canonical story text? Yeah he wrote like an essay about the theological implications of the various orc origin stories, but he didn't publish that, it is nowhere in the Lord of the Rings and is barely in the Silmarillion. Other authors have notes like those; you just don't read them.

And the "other cultures" stuff is particularly egregious - I'm sorry, are we just not reading many modern stories? You think Spinning Silver isn't pulling great threads from Slavic folklore? You think the Chinese Gays in Mo Dao Zu Shi/The Untamed aren't dropping refs to Daoism and the four classics in between their will-they-won't-they necromancy shenanigans? In response this author would, of course, pivot from their bailey of "no one references other traditions" to the motte of "and if they do it is shallow" with no definition of what qualifies as such, nor again any admittance that audiences care way more about getting the gays than the deep cut cultural refs. The fact that the median person in the west prefers their Dungeons & Dragons campaigns in a default Tolkien-esque setting because the point is to have a comfortable backdrop for ease of play of a combat dice game will just not factor into their analysis.

The elephant in the room for all of this is that foundational texts differ, structurally, from modern texts, because they were made in different environments. The Lord of the Rings probably wouldn't sell well today! The prose is wooden, the characters are flat, it throws random lore it never explains at you, Tom Bombadil is just there as a walking momentum-destroying plot hole, etc. People read it because it was a first in a world that didn't have books committing to this level of world-building & detail in a fantasy environment. And as a new genre, things like his crazy level of language building are appealing, it's all so new and different, something cool to dig into.

But imagine picking up your 185th elves-and-orcs sword & sorcery book in 1998 and reading "ah yes Quenya is just one of two alphabets for the Elven tongue and it is inspired by Finnish-Germanic and I write entire poems in it even though I never finished a cohesive dictionary or grammar system but I do have 15 pages of pronunciation notes"?? You would throw at it at a fucking wall, absolutely insufferable. It was cool the first time, and that is why you learn Elvish, just like you learn Klingon. That was never gonna keep as a zeitgeist - instead just popping up here or there as this or that series takes off.

You have to accept that audiences are in the driver's seat on this one - they have infinite stories to choose from, they are absolutely not being dragged along by willful writers. Which means genres will evolve and change over time - and that is fine.

[soft-pine]

okay so @monstermoviedean is watching s14 rn and her takes are god tier!!! and you should all go read her blog please!

but it just makes me want to talk about lebanon/14.13 so much! like it really is one of my favorite episodes of spn. which is crazy i know because i truly hate john with every fiber of my being but i think this episode reveals so much about him & dean's relationship with him with delicious subtly!

and i've yapped at random on twitter about this but i want to gather all my thoughts in one place.

dean's relationship with john is The most important relationship in spn that i'm interested in unpacking. (i am normal and fine and this has nothing to do with my own issues)

i think for some people who understand john as abusive, it is frustrating and jarring to see him come back after so many years and just be kinda nice. especially given that dean has just finally started to talk to his family about some of the bad things john did.

i maintain that dean has been pretty clear with cas and like random strangers that his dad was shitty. but in 14.11, he tells mary the winchester surprise story. while he doesn't frame the story as truly a critique of john, it is a contrast to his quiet silence and pained expression after newly-resurrected mary says john was a good father in 12.02. in 14.12, dean opens up to sam about how when john was pissed off at dean, he would send him away. this is a stark new light on dean's comments from 7.14 where he apologizes to sam for sometimes "ditching him" when they were kids. sam quickly shuts down dean's apology in 14.12 and subsequent discussion about dean's regrets and feelings about john. but since sam's shift in his opinion about john in 2.02, dean pretty consistently keeps his criticism to himself in front of sam so this is a marked change. and the very next episode script draft includes the infamous "probably pulled the wide-eye hitchhiker routine. dad made me do it all the time on hunts. as bait." so, given the episodes and revelations that bookend 14.13, it's understandable how hard it is to see john and dean interact at all.

but i think it's perfect! because it so clearly shows every truth of their relationship.

firstly, we can look at who john apologizes to. in 1.16, 1.20, and 14.13 john is reunited with sam & dean after time apart. and in all three episodes, he apologizes and/or works to make amends with sam for their fractured relationship. in fact, in 14.13, it's a mention of the winchester surprise that triggers john's apology to sam.

in contrast, the only time john apologizes to dean for his childhood is 2.01 when he says sorry for making dean always have to look after him and sam. and then promptly asks him to kill sam if he has to.

it's crushing to me that at no point does john see the way he treated dean as anything to make amends for. instead, in 1.21 and 14.13, he frames dean not "having a home" or "having a family," "a normal life" as circumstances outside his control or as somehow dean's choice. and yet, john is entirely responsible. he is the one moving dean from school to school, getting him into credit card fraud, taking him on hunts. in 12.09 it's established that dean has as long arrest/warrant record which includes things we never see him getting arrested for in canonical spn. he is the one who always said hunting was temporary (6.02) and yet never allowed for a way out. so even though john's affect is kinder, we know he isn't meaningfully taking accountability for a huge amount of his actions.

it's the reason for the kinder affect we can look at next. because what is one of the most common indicators of abusive dynamics? treating people differently in public vs private. and critically for almost all of 14.13, mary is observing john. and we know that despite their marital problems (5.16), she considered him a good father. he doesn't know that the life he forced sam and dean into is the very worst thing she could have imagined for her children (4.03), but we can tell from his apologies to sam that john is at least aware of things he did which he regrets.

before mary arrives, he is giving sam and dean orders, "You boys better tell me what the hell is going on right now." i recognize he's very disoriented but this affect disappears entirely after mary shows up. i cannot overstate how much i love how not stern and harsh john is here because it shows that he could have always chosen to be like that. but there weren't negative consequences (a wife who might be angry with him) to face.

i've said before that i think one of the reasons that john kept sam & dean away from hunter gatherings and meeting other hunters (2.03, 12.06) is because hunters they met might have acted exactly how dean acts to krissy's dad in 7.11 and told him to quit. the hunters/community john did maintain relationships with were sometimes kinda shitty people - Deacon (2.19), Travis (4.04), Martin (8.09). not that Bobby, Caleb, Pastor Jim, Bill Harvell, Daniel Elkin were necessarily like that but I do think its worth looking at who John's friends who he didn't have a falling-out with were. Like Fred Jones who gave Sam & Dean their first beers when they weren't even 10 (8.08).

some other details about that first reunion kitchen conversation that always stick out to me are john finishing the drink dean pours for him while dean & sam barely touch theirs. it's also significant to me that dean tells mary in 12.01 that john died to save him. but here, he tells john that he died taking out yellow-eyes (which is literally not what happened. like specifically he died by making a deal with azazel). dean, always working to deescalate and maintain the peace, instantly clocks which thing they will each find more soothing to hear.

one thing that i see people often critique is the idea that john coming back is somehow the thing dean wished for the most. but what dean actually says is that this is something he's wanted since he was four years old. so it's really not about john back at all. john died when dean was 27. but mary died when dean was four. and that cause nearly every hard, traumatic, awful thing in dean's life. to some extent, i think it was about wanting john to have mary back. throughout dean's entire life, john used the loss of mary as an excuse for how he acted and what he made dean & sam do. so of course what dean wants most is... for that not to have happened.

and this brings my to my second favorite part of the episode. but you'll only catch if you're paying attention. dean says he's thrilled to have john back and yet at every chance he gets, he leaves the room john's in. he leaves the kitchen when john reunites with mary. dean gets the grocery list from mary while john has a tearful apology with sam. dean talks to john again only because he has to tell him about the pearl but then leaves to help cook. after dinner, he goes to do the dishes. dean really is not actually trying to spend time with john - even when they get a deadline for when their time with him is over, dean is not trying to make the most of it. and god i love him for that.

i sympathize with people who are frustrated to see dean fall back into the role of caretaker for john's emotions and wellbeing. and i agree but i appreciate that it is very clear that's what's happening. he's performing the role he's always been forced to perform. he may be more aware of it as a performance this time. he may be taking more steps to remove himself from having to interact with john. but i would almost feel worse if he wasn't getting john a drink, doing what he said, going on little errands, cooking, cleaning up. john says "You want to give your mom a hand?" and of course he goes.

i think dean always has held both deep hurt from and empathy for john and this episode is full of both of them. and while i think it's always hard to hear dean slip back into those moments of empathy (8.12 is always rough for me), it's so real that's where he would be sometimes. so much of being a child who's made responsible for your parent's emotions means that there is such a deep part of you that wants to protect them from harm.

i personally think the song "til it shines" by bob seger is an insane choice to play over their dinner scene. because, though that's not the part of the song that plays, the lines "Take the chip off of my shoulder. Smooth out all the lines. Take me out among the rustling pines, till it shines, ah, till it shines" always strike me as trying to see something through rose-tinted glasses in a way. or maybe acknowledging the performative, white-washing that's being done?

anyway, i understand why people want dean to have a cathartic yelling session with john. but honestly im not sure that would ever sit right with me. i think honestly 14.13 is kind of perfect. john comes back and it proves everything. john could always be kind (he took you to a freaking baseball game (4.19)). he could always apologize. he always did say he wanted the boys to get out of hunting but never even tried to make it happen.

and that brings me to my favorite part of the episode. my darling. my baby. my treasure. dean says, "i have a family." and what that means to him is his own. he gets to keep it. he gets to mean it without john's scrutiny. without him tearing it apart. the conversation sam & dean have over dishes is another deeply meaningful part. dean specifically rejects the idea of telling john the truth about any of it - even if it would change things. because he's good with who he is. "Cause our lives – they’re ours."

this matters so much to me because i don't think dean's healing can ever be contingent on john - not on his reaction, not on finally telling him the truth, not on john getting comeuppance for all the shit he did, not even on changing the past so john has more information because the critical thing that 14.13 and 4.19 show is that john literally did not do the best he could. so what could change that?

in the kitchen, dean tells sam that he blamed john for "the longest time". do you understand how much it means to me to hear him say that?! because i think of course blaming john is the first step! dean was hurt and he was angry about that and he should be!

but dean's healing can't just stop there. while i know there will be moments as he heals where he's angry with john again, the beautiful core of dean's healing i see in 14.13 is him being clear on where the boundary of him and his wants, goals, needs, and priorities are vs john's. i think a lot of dean's young relationship with john was him being forced to keep parts of himself (the parts that didn't like to hunt for example) secret out of shame and necessity. but here, i don't think dean is carrying that shame anymore. he is very clear on how what he wants from his life differs from what john would want but dean sticks to his own values. he has a family. he's good with who he is. it's just none of john's goddamn business.

anyway, as always mitski says it best....

plus we get two of THE MOST shots of dean's face of all time for me!!! like my god stabbing me would hurt less!!!

plus! PLUS!! CHERRY ON TOP!!! LOOK AT THESE NOOOOOODLES

in conclusion. your honor, i love her.

[seirei-bh]

Jason Mendal's facade. Deep analysis about him: his past, traumas, ideologies and subsequent development -Theories

I'm going to try to do a deep analysis here about why Jason is the way he is and how he became the person he is now. At least the little info que got about him until ep 5. Before start to read, you have to keep in mind that although there is some canonical data here, there is also a lot of speculation on my part, so these theories may be refuted in future episodes.

I am going to talk here about all the possible reasons for how his behaviour is today, applied to his business, as well as to his relationships of rivalry, friendship and romance. About his ideas, mentality, his heart, and everything related to the little we know about his childhood, personality and way of behaving. It will be a long analysis with many points to discuss.

Backstory and possible traumas

To begin with, another theory about Jason that I have after ep 5 that I'm going to add to my huge list of theories about him (you can read them in some of my previous posts, like this one and others in my Jason's headcanons post) is that, regarding the big number of brief romantic partners he had, and why he doesn't want to have a long and stable romantic relationship with anyone, I think one of the reasons to that fear may also be related to the death of his father and with his own actual “perfect” life in general.

First, I mean the fact that his father died when he was a teenager has made me think that perhaps Jason's emotional situation could be similar to Anthony from Bridgerton series, who after losing his father and seeing how much his mother suffered from that loss, that created a trauma that made him never want to fall in love for fear of losing someone else whom he loves again and suffering for it.

Perhaps his mother had depression after the death of her husband, maybe because of this she neglected her son or even lost her job, so they even had financial problems, and Jason having to deal with tons of responsibilities since he was too young. That also made Jason become a person more focused on getting money and power at any price and as quickly as possible.

We do not know how his father died, it is most likely that it was due to a car accident or some serious illness. About Jason and his mother, I wonder if maybe they never got along, or if their relationship deteriorated after his father died. But regardless of that, the death of one of your parents in your teenage years is something that can affect you greatly. This makes me think about what kind of situation Jason would live in high school, I’ve the feeling that he wasn't very popular, or at least not at first, and that he was one of those people who go from being one of those who suffered bullying to those who end up bullying others as a wrong way to show that he could be stronger and thus create some popularity with which he would stop feeling alone and unprotected. I bet his "charming personality" started to come through here, and the death of his father had a lot to do with it. Being a person who did everything possible to try to fit in, even if he had to destroy others to do so.

I also wrote a long time ago in another post that it is possible that other children made fun of Jason at school for having white locks, and that he perhaps dyed his hair all brown for a long time, and that perhaps his poliosis was also a consequence of Waardenburg syndrome, which can have other consequences. Which would only add more insecurities to that little Jason and cause him to accumulate more resentment.

He saw all those popular boys at high school who were very confident guys, seemingly charming (even though they were really jerks), rich, dating with all the pretty girlfriends they want, and who had everything going well in their lives, while him, being a good and nerdy boy couldn't achieve anything and who felt more vulnerable than ever after losing his father, so he told himself that to succeed and be stronger that was the law of the jungle that prevailed and that he had to be not only like them, but better, imitating them and also later going further than them in life, whatever was the price to pay. Succeeding the unpleasant way.

To add here something more: Chinomiko said originally when New Gen was still in the previous High School ideas, Jason was a character like a “stupid comical villain”, so at least we can imagine he ended been being a jerk in his teenage years for sure. Probably the typical pathetic bully who likes to bother others, but since his character had the best glow up I also guess that now he's more complex than before too.

And all this will also manifest itself in being obsessed with the ideal of perfection and in projecting an image of himself of absolute self-confidence. Which would also make him start faking a perfect image not only at high school, later at work, but among his “friends” and with his romantic partners, so it would be exhausting for him and would end getting bored of them and don’t make him feel happy. But by the other hand, he’s afraid that a woman could find out his true self and be disappointed, so he prefers to hide his insecurity and prevent them from seeing them, ending the relationship as soon as possible.

It could also be possible that Jason's father, before he died, was a very humble and good man who had high expectations for his son and convinced him that he had to reach very high levels professionally, either because he positively supported this and had great dreams and hopes for the future of his son so he could have the better chances in life he couldn't achieve, maybe even his father was the one who had the dream about “Goldreamz” and had the desire to start his own company one day, OR on the contrary, because he was a cold man who put a lot of pressure on him to achieve excellence, because he had no expectation that his son couldn’t achieve anything like him (I think it's more probably the first option than this second one because the second one is too similar to Nathaniel's father, but who knows). Both which also led Jason to want to achieve a high professional goal, either so that his father could have been proud of him and make their dream come true, or because he wanted to show him that he could be better than the low expectations that his father had.

Someone may think that Jason getting "daddy issues" and most of his problems being caused because of this is very cliche or simple, but we have seen that before with other Mcl characters, whether due to negligence and parental abuse (Nathaniel's parents), due to little attention and abandonment (Castiel's parents, Nina's father) or due to the death of their parents or one of the parental figures (Lysander, Armin and Alexy's biological parents, or Violette's mother), so I think it wouldn't be so strange for Jason to have a trauma related to that and that a lot of things that he try to goal in his life were in some way related to that, same about why he has that behaviour in his relationships.

Another thing: Jason mentions in ep 5 that his parents were not millionaires, and his birthday was rather modest. He is quite dry and serious when mentioning this, which makes me think that it is a detail of his life that he doesn’t like to talk about, since he may consider it a weakness. And it doesn't surprise me, since Jason couldn't set up the company alone, he needed the help of various private investors to whom he now owes money and favors. Also in his description he says that he likes expensive brand clothes and numbers (I guess this refers to money, not maths XD) So the fact of appearing to be a man with a lot of money is something that probably has him obsessed, and that it has cost him a lot of sacrifice to achieve, and he may also have still debts to those investors, but he does his best to pretend that everything in life is going very very well. He won’t want his rivals, his companions, or any flirt to find out that there are things in his life that are either not going so well or have not gone well in the past. (I’m not saying he’s broke, but I mean he’s not so rich as Amanda, despite of he tries to do his best to look like that, especially because all his company investors are probably rich men of very high category, high social standards you know), basically about this Jason is a bit like Jordan in The wolf of wall street movie, in the sense of someone who started very low in the social scale and ended up climbing to the top, according to him with clean methods, but who knows if he or any of his investors actually have any illegal secrets about his finances, and I wouldn't be surprised if that were the case and Jason purposely ignored this, since he himself said in ep 5 that he didn't know how some of his workers did their jobs and that he "wasn't interested in knowing it." He said this about Danica, but I think it really implies that he applies it to everyone who works with him and for him.

His business ideology:

There is a saying in Spanish that is quite famous in the world in marketing and great finances and that can be applied perfectly to Jason to explain and summarize his behaviour in business and his way to see the life: it is said that in business you need to have a "mentalidad de tiburón" (literally have a mind like a shark), this refers to a white shark, if it doesn't move it sinks, and means this is the mentality that an ambitious man of business must follow in order not to sink and continue continuing with his goals and dreams, the mentality of a person whose main motivation is money, who does not mind jumping the limits of ethics and morality in order to achieve it.

The equivalent in English here is “wolf-like mentality”, it’s similar to what I’ve explain, but includes too the saying of “divide and conquer” and to clarify this even more to understand Jason’s character, here I add all the main points it includes, something that can perfectly fix in Jason’s character to understand him better, a very Maquiavelo-like:

This can also apply to his personal relationships (romantic ones included), this way of thinking can explain it very well too what could be other of the reasons why he feels he cannot have a long romantic relationship: because his business are the first, and also can explain why perhaps he lost the interest in women very quick, because he’s mostly focused in the mentality of immediate results and thinks maybe the other choice is a lost of time + the fear for the previous trauma about the attacked and losing someone I’ve mentioned before.

And about wolf mentality and his rivalry and work…

Now let’s talk about the matter of his rivalry with Devon.

Maybe the answer is just a simple as: Jason was just frustrated for not be able to achieve his dreams for all the stuff I’ve been wrote before, which led him to steal the project from Devon (whether it was stealing it by himself acting alone and by himself in a desperate act or because some third person manipulated and convinced him to do it), but even if those were the main reasons, I still think there's something more here we still don’t know. Something more that happened between them before or during the town hall project thing, something more personal and complex than what we've been told, or at least that there's something more here that Devon doesn't know.

Maybe could be also for envy too. Devon was a good person and didn't have to pretend to be perfect to achieve his dreams like Jason did to have friends or a romantic partner and Devon seems to had a loving and stable family, maybe they meet each other since they were teenagers, but we still have no confirmation about this, so maybe I’m wrong, the only thing we know for sure is that at least they didn’t meet each other since childhood, since Chinomiko said it on Instagram long ago. But still this doesn’t feel enough (to me at least) to explain Jason’s behaviour.

For now, I also keep other of my old theories about there is possible a third person involved in all this problem. We’ll see what’s the real answer to this question.

Although here I want to add one more point, and that is that Devon and Devenementiel curiously represent the exact opposite of Jason and Goldreamz in the business approach, the called “sheep mentality”, and these are the differences between them:

Ironically, today in the competitiveness of modernity in business, it's considered that in reality the best entrepreneurs are neither one nor the other, but a mix between both types of mentality. Does this mean that there will be a time in the future when both companies find themselves in a delicate situation and decide to collaborate in order to mutually triumph against a greater enemy (Ioann and his company, f*ck Ysa's ex boyfriend, I hope we can punch him, that Ioann is gonna be the new Debrah and main villain mark my words) by overcoming their differences? Well, only time will tell...

Now, about Ysaline-Jason:

There is the small detail that Ysaline comes from a rich family, or at least her mother became rich and famous in her work in recent years, and thanks to that Ysaline was able to do private and expensive studies abroad (and Jason clearly knows this, he's an stalker who got her number and email easily XD and other characters like Thomas and Amanda knew Ysaline's mother was rich too just searching some info about her on internet). And that may also cause some insecurity in Jason, fearing that perhaps Ysaline may be disappointed if she finds out that he's not as perfect as he seems or at least that he was not at all in his past. Maybe he even had an ex girlfriend who, after she found out that, felt disappointed about him and left him, and that made him more superficial and cautious with her subsequent love conquests, or maybe since he only get romances once he started to put on his popular guy facade and succeed, he thinks he needs to impress and seduces her in the same way he did it with other women, because he thinks she will only be seduced by him by superficial stuff like his charms, attractive, money and work. Until Ysaline shows him what she wants is really get to know him, with all his weakness, in heart, mind and body, and until he realizes he really wants to know her better just because he loves to spend time with her and she makes him happy, and we know that will happen.

I've read some theories from different people and social webs that some think that Jason wants to use Ysa's family's money to invest in his own company, but I think his intentions are not in that way, but rather:

I think also one of the reasons why he agreed to help in ep 5 her was not only to seduce her or to show her Goldreamz so that she would want to work there with him, but also because Jason is able to see her potential, since a person with her studies, her family money, all the important contacts her mother has, and with the previous experience of having worked in a big important company and who has also shown him face to face that she has a competitive and brave side, she can undoubtedly go very far, and obviously he wants her to go far having her by his side, but of course he will also have a conflict here since I don't think he is the type of person who is comfortable mixing love with business, not like Ioann, the hell with that shitty man.

Obviously he also wants to manipulate her or at least bother Devenementiel somehow with all this. The little we have seen of Danica in ep 5 is that she is someone very efficient and fast at her job, Jason saw that and brought her to his side, now Jason sees that although Ysaline has failed in one of her projects, she still has potential to become a great event organizer. He also wanted to closely observe how she works when she is motivated and has someone guide her in the right path, when she is herself, and maybe even Jason sees in her the person he was before he achieved excellence. And Ysaline has ambition, she herself told Devon in one of the previous eps (if you follow Devon's route) that she dreamed of one day becoming a big star in the world of events and had the goal of being one of the best at her job. Even in one of the dialogues you can get in ep 2, Jason asks Ysaline "Aren't you willing to do anything to achieve success?" Jason knows that they are both similar in that way, and he wants to take advantage of that.

However Ysaline not only has ambition and a competitive will, but also a certain level of morality and feeling of unity with her co-workers, boss and her family and friends. And although it is still early to assume this, it's quite possible that she is the character that represents the perfect mix between the two business ideologies, both the wolf and the sheep. I'll call that fussion "the kitten mentality" because I can.

Of course, returning to the relationships issue, one thing to try his best to seduce her and make her work for him or at least have her as an ally and briefly as lover, and something very different is what we know will happen: that he will fall in love with her and both will want more, but he will feel that he cannot and shouldn't go further.

So we have here all this matter about his fake perfect facade of rich, charming and popular man of business + his humble origins + wolf-like mentality + his trauma about the losing of his father and more people in the future. A perfect cocktail to be afraid to have a stable relationship.

Greetings to all Jason fans like me who have him as a route and loves to suffer. In this house we love traumatized fictional men with red flags.

And let's add of course there will probably be many more problems that will make him fear having a relationship with Ysaline once he falls in love with her, because problems already numbered in more than 2000 words weren't enough first because he will try to convince himself that he only wants to manipulate her so that she change sides and join to Goldreamz, and to seduce her so that she'd end up in his bed (and she maybe would believe that too), but then when he finds out he's in love with her, and she with him, Jason will have to make the decision about whether to go ahead with his revenge against Devenementiel or not, because he knows that will end up hurting her, since she could suffer if her colleagues and boss find out about her relationship with him and distrust her or if that even ruins her reputation, which is was already bad in her previous company because she slept with her previous boss, and above all because she will never forgive him and will hate him if the Devenementiel closes and all his friends and her loses their jobs because of Jason's actions. And having a relationship with him makes her feels more guilty for what happened, like believing she was part of his plans and she helped him in some way, and then she could believe she was nothing except another more of his conquers and everything was a lie (her ex-boyfriend trauma attacking again here), or at least she wasn't as important to him as she thought.

And perhaps, even if he tries to stop those actions, and not harm Devenementiel further so as not to make her harm her, perhaps, by then, it will be too late to stop those revenge plans...

So he will lose another person that he loves and wants in his life. The only person who accepted him and loved him exactly who he really is and who really knows him. His biggest fears making true, again.

but this is an otome game, guys, everything will be solved at the end and everybody will be happy, don't worry!

[ingravinoveritas]

Following up on this excellent post from @nightgoodomens, it really is astonishing to see so many people in the GO fandom misunderstanding the characters/personalities of Aziraphale and Crowley. While I by no means am against people having head canons or differing interpretations, it has become frustrating to see people pushing their ideas about Aziraphale and Crowley onto others and declaring them to be official canon, leaving no room for any kind of discussion.

One of the things spoken about in the above linked post is the denigrating of Crowley, which seems to be a near constant in the fandom at this point, particularly in relation to the "apology dance" scene. (Which, to be fair, is chock full of soft!Dom Aziraphale vibes--thank you, Michael Sheen.) What seems to keep getting missed is that the entire apology dance routine is something that Aziraphale and Crowley do to each other. There is just as much of a possibility that Crowley sat there with a similarly smug look on his face and let out a guttural, snakey "Very nice" when Aziraphale did the dance in the years he listed off, because they play this game together.

Aziraphale and Crowley's relationship is one of equals, and I think this is also something people seem to not understand well. It seems as though a lot of fans who project themselves onto Crowley want to be taken care of, and so they want to believe the same of Crowley, and that the reason he wants to be taken care of is because he is broken. But someone doesn't have to be broken to want someone to take care of them. Sometimes the people who are a shambles on the outside can be dominant, just as sometimes the most buttoned up, put together people can also be submissive. And sometimes the people who look in control on the outside can feel not at all that way on the inside.

But this nuanced thinking seems to increasingly be difficult for many GO fans, particularly those who spend a great deal of time on social media, a place where people are either blindly praised or denigrated and torn down, and where such behavior greatly reinforces that binary, black-and-white mindset. We so badly want the world to be clear-cut--good vs. evil, heroes vs. bad guys--but very often that just isn't how things work. And it is exactly what Terry and Neil were trying to speak against in the GO book (and subsequently, the TV show).

The other thing that I think influences a lot of fans' perceptions about Aziraphale and Crowley is their chosen corporations (i.e., Crowley being thin and Aziraphale being plump). There is an automatic assumption that thin somehow equals more vulnerable, and for all of the emphasis that is placed on Aziraphale and Crowley being genderfluid/nonbinary/not subscribing to traditional gender roles, it's Crowley who seems to be viewed as more androgynous/femme, and is therefore looked at as inherently vulnerable. Meanwhile Aziraphale is thicker and viewed as more masculine, and therefore he is somehow inherently not vulnerable. Yet if the body types were reversed, it seems highly likely that fans' attitudes toward them would be much different.

(It also saddens me that this seems to mirror the fans' treatment of Michael and David, where Michael serves as a target for the fans' venom and is seen as less desirable/more threatening because he presents more traditionally masculine, while David is not targeted or attacked and is seen as more desirable/less threatening because he presents much more androgynously. Consequently, many fans find it easy not to sympathize with Michael, and when you can readily disregard someone's feelings, it becomes easier to see them as "less." In the case of Aziraphale and Michael, it leaves no room for either one to be vulnerable and is unfair to both of them.)

What I have always taken away from Good Omens--and from Michael and David's portrayal of Aziraphale and Crowley and how deeply they both understand these characters--is that Crowley doesn't need to be a perfect angel for Aziraphale to like him. He just needs to be a little bit of a good person. And Aziraphale doesn't need to be a perfect demon for Crowley to like him--he just needs to be enough of a bastard to be worth knowing. Neither one has to fully subscribe to the other's outlook or point of view to listen to what they have to say.

Aziraphale and Crowley meet in the middle. In the place that becomes their side, and where they take care of each other, fight with each other, and love each other. And that's more than most of us could ever ask or hope for...

[purpleajisai]

Uchiha Observation n°1: Sasuke’s lineage - headcanons, storyline and hints in canon

This post is part of the worldbuilding process for a fanfic idea that I’ve been maturing over the past year, so I will update this if needed. I have wondered about the relationship between Madara and Sasuke for a long while now, and I knew there has to be a deeper connection than just reincarnations of Indra. The moment that piqued my interest was the point that Hashirama made about Sasuke looking like Izuna, implying that if Madara saw someone so similar to his beloved younger brother he could listen to what Sasuke had to say and perhaps change his mindset in regards to the war.

This cannot be a coincidence. Today, I’m going to share my headcanon regarding Madara and Sasuke’s kinship: Sasuke is Madara’s great nephew, connnected through Izuna. Here is the genealogical tree:

First of all, let’s explain Izuna’s generation. Of course, you can see Madara represented there as an older brother as well as the 4 unnamed younger siblings mentioned in the river flashbacks. The language used by Madara suggest that there were 5 other siblings aside from him, not 5 in total and including him. In the case of Izuna, according to the databooks he died at age 24, which is definitely old enough to be married and have a child.

And perhaps the readers are wondering why I’m not considering Madara to be married as well since he’s not only older than Izuna but also the clan leader. The only reason why I’m not giving him a wife and kids at the time of Izuna’s death is because I want to adhere to canon in this regard (no spoilers about the fic’s plot).

In the storyline I’ve planned, Izuna would die and leave behind a little baby or even a pregnant wife. The exact moment is yet undecided. However, it is through this only son of Izuna from which we can connect him to Sasuke. Once Izuna’s son grows up, having the pressure of being the last surviving heir to the clan, it’s not far-fetched for this man to have more than 2 children to ensure his legacy and prevent the clan from descending into anarchy. The reason why his firstborn son, who would be Izuna’s eldest grandson, is marked as “disgraced” in this chart is because the existence of this generation collides with the 2nd Great Ninja War. A possible reason I may consider to add for his fall into disgrace and shunning by the clan is that he would’ve left some Uchiha comrades to die in order to protect important Konoha intel, therefore gaining the reputation of a traitor and not being suitable for inheriting the clan’s leadership.

With the eldest son banned from the position of clan heir, the younger son would immediately take his place. From the disgraced eldest brother, we get Obito’s ancestry, and from the younger brother we get Mikoto’s generation. For Obito’s case, I theorize a normal Uchiha picked at random wouldn’t be able to handle the toll of Madara’s eyes, whether in EMS or Rinnegan form. Technically speaking, these eyeballs are actually Izuna’s, reinforcing his importance for this lineage. Please consider the importance of genetics in handling kekkei genkai in the Naruto universe. For Mikoto’s case, I added an older brother for her. Why? Because it used to be a custom in the Sengoku period and the subsequent Edo period to follow agnatic (male-only) succession for leadership. The death of Mikoto’s brother would put Fugaku as a leader, given that he’s the husband of a bearer of the lineage of clan leaders.

Finally, we get to Itachi and Sasuke. Neither one nor another were “normal” Uchiha: both unlocked the mangekyo sharingan and handled the toll of the Susano’o, among other remarkable feats. If Sasuke is connected to Madara through Izuna’s descendants, it would imply the existence of a direct line of ancestry that starts with Indra himself. The headcanons regarding the internal structure of the Uchiha clan will be discussed in a future post. The direct family line from Izuna to Sasuke can therefore explain why both looked so similar (recessive genetics) and why Madara felt nostalgic or touched at the sight of someone who resembled his beloved little brother so much.

Thanks for reading thus far, and if you have any questions plkease use the blog’s ask box.

[bookcrazyace]

Dick & Jason and Why We Need to Stop Mischaracterizing Them and Their Relationship

I know it's been brought up a million times and will probably be brought up a million more times but I wanted to put my 2 cents in. Jason and Dick and their relationship is grossly mischaracterized and it hurts the narrative. Now there isn't anything wrong with a little ooc content I'm a fanfic writer and I've fallen onto some of the more fanon sides of things to make it fit my narrative better but the problem arises when people mistake fanon for canon and bring it up in serious fandom discussions.

Dick was the first Robin so we'll start with him first. Characterizing Dick as the happy-go-lucky Robin is very distinctly wrong and actually quite the opposite of what he actually was. Dick wanted revenge for the death of his parents and that's what drew Bruce to him in the first place. Bruce made Batman to focus his anger and grief into something productive that would help people. When he recognized the same yearning for vengeance in Dick he trained him so that Robin could be for Dick what Batman was to him, a coping mechanism. In the end Dick manages to let go of the notion of revenge and it means that Robin succeeded and he then takes on a new identity, Nightwing (Canonically Dick and Bruce start having arguments and that's more the reason he leaves but from a narrative perspective Dick going from Robin to Nightwing can be seen as him getting rid of the feelings of revenge and gaining new goals. Also it's an excellent juxtaposition to the fact that while Robin succeeded in freeing Dick Bruce is still Batman.) Dick starting off as a vengeful spirit and blossoming into one of the most outwardly cheerful members of the batfam (despite the most definitely present repressed anger) is so much more powerful than him essentially not changing throughout the entire story especially when you consider that multiple times in canon Bruce has said that NIghtwing is better than Batman and what Batman was meant to be.

Jason ever the fan favorite and probably the person in the batfam that is misharacterized the most (in my opinion) is the next topic of discussion. Jason being the angry Robin takes so much away from his story and honestly I'm not vibing with it. One of Jason's notable lines as Robin is the phrase "Being Robin gives me magic!"you surely can't hear that and picture a violent criminal in the making. Jason being a street kid that jacks tires for a living but still being kind and childishly innocent makes him as Robin so much more interesting. Jason's drive to help people is obviously heavily influenced by his mother and how he took care of her up until her death. The tragedy of his mother's death is what drives Bruce to him. Of course Jason's process of becoming Robin wasn't immediate like a lot of people believe, Jason was actually sent to an all boys school for a short period of time before realizing they were a front for a crime ring he then helped Batman take down their operation. I feel like after seeing all that one would lose their faith in most people but Jason didn't remember he wasn't Robin until after this incident and he still was so happy and bright. The big turning point in Jason's story (from what I remember I haven't read the comics in a while) Batman suspects he pushes a man they were chasing off of a roof (I don't remember if it's ever made clear whether he did or not) this puts a pretty big strain on their relationship. Soon after all that goes down Jason finds out that the same mother he grew up with, the same mother he took care of, the same mother he watched die isn't actually his mother. The tense atmosphere between him and Bruce in combination for his yearning for answers leads him to run away to find her. When he meets her she sells him out to the Joker who subsequently beats him with a crowbar and leaves him to die in a warehouse that's rigged to blow up. Jason's mother is in the warehouse too and he does everything he can to save her. In the end they both die but when Batman questions her Jason's mom tells him that he tried to save her. In most modern iterations of Jason's death story his mother is written out and his death is pinned on him and his "impulsive and brash decisions". When Jason comes back to Gotham after his revival he seeks vengeance and is incredibly violent a very stark contrast to the bubbly kid that was just happy to be there. Two of his most notable actions as Red Hood are decapitating the lieutenants of the top crime lords and delivering them in a duffel bag and attacking Tim Drake the new Robin in Titans Tower. Jason's main drive for attacking Tim and becoming a crime lord is the fact that he died, he died as Robin and he didn't think that children should have to take on crime in the way Bruce did Jason decided that the best way to get rid of crime was to control it. The way Jason went from sunshine personified to a gritty crime lord who was willing to kill is what makes his story so interesting. The way an innocent child that got exposed to the darkness of the world and got swallowed by it is what makes the story so meaningful. In comparison to Dick, Jason is Batman's greatest failure he became the very thing Bruce tried to prevent him from being, a vengeful spirit that kills. In some ways Dick and Jason's stories are opposites and parallels.

Now for Dick and Jason's relationship. Despite what a lot of people think Dick didn't hate Jason when he first appeared (I think there was a point where Dick wanted to adopt Jason but I don't remember). Making Dick hate Jason as Robin sort of ruins both of their character arcs Dick evolved past his hatred and need for vengeance and thus adores Jason, Jason growing into someone so angry and hating Tim as Robin despite the fact that Dick showed him so much kindness makes everything hit so much harder.

In conclusion, this isn't really a huge deal but I've been thinking about it a lot recently. I've written and read fics where Jason was an angry Robin and Dick was a happy one. I've written and read fics where Dick hated Jason at first. Fandom is all about what fans do with a piece of media they like and at the end of the day the characters can be whoever you want them to be. Don't let this post uninspire you or make you feel called out if you enjoy the more fanon dynamics and personalities of these characters. Fee free to point out any inaccuracies to me it's been a while since I've read the comics.

[olderthannetfic]

I'm not really contributing to any of the ongoing discussions here. Just relaying a recent experience I had.

I was perusing ao3 (as you do at 1AM) and came across a fic with a promising premise. The summary read like it was centralized around one of my favorite characters, and the tags were all tags I liked, especially so with said character.

So, I got that initial reader's high, tapped the title link like "let's gooooooo," only to get a few paragraphs in and realize that this was not a "favorite character" positive fic. Very quickly, it became apparent that this author did not like this character. The narrative was written from others' POVs with a focus on said character's less endearing traits. Traits that were not all that significant in canon. It was kind of like they took a behavior, exaggerated it to the max until it consumed and rewrote the character's personality, and then had others (that, in canon, actually like the character) bash them for it. Which is kind of weird-funny to me cause, 100%, the character is controversial. There are a lot of reasons to be critical about them. I've seen fics where the basis is 'everything is canon, but the character is completely written out.' You like them, you don't, or at the very least they're tagged character bashing.

But okay. Whatever. The tags and description were misleading. The story was disappointing. It happens. I'm the one who decided to keep reading anyway because it was actually quite well written despite the characterizations making me sad. It's all good. It's the expected hazards that come with the perusing. But then, I had let my curiosity get the better of me.

I read the comments.

Four down, I found a deleted comment. I don't how bad it must have been. But the responses to it were certainly... yeah. Someone, not the author, responded with quite the vitriol. They shared the user's pseud 'in case they deleted their comment,' said they went through the user's bookmarks, aired out the "problematic" pairings the user had read, said 'of course they like this character, they already have the leanings,' and then concluded by calling them an incest loving pedophile.

The author also responded with a remark along the lines of, "while I appreciate you taking the time to read my work, I hope you never do so again as I don't want 'your sort' here." And ended it with a 😊 ❤️.

Like... I don't know what the original user said, but did it really warrant that? The problematic ships listed weren't even problematic. The only ship they could even be referring to as 'incest' among the ones listed was a ship I know is between between two people, not related, never canonically thought themselves to be so, three years apart, mostly just really good chaotic friends, that the fandom had decided blanketedly were brother and sister. Plus, the controversial character I said was one of my favorites, canonically, has only loved one person their whole life, who is the same age as them. So I don't even know what they mean by 'leanings.'

Which, subsequently, made me wonder if the original comment had even been genuinely deserving of such harsh responses. I guess it also just bothered me a lot cause, like I said above, the pseud is still there despite the deleted comment. Anyone can go and harass them if they wanted.

I don't really have a point.

It was just a lot. I'm still thinking about it a day later, and I don't really know how to feel about it all.

--

I know how to feel about it:

This author does not deserve comments.

[limpfisted]

BALDUR’S GATE 3 RP CANON COMPLIANT/DIVERGENT MEME: send in prompts for starters in between “canon events” for us to add our own flavor and further canon development to the game! this list is NOT EXHAUSTIVE, merely a “jumping off point.” if there are other canon events not included here, you can also send those in as well!

ACT ONE.

[ NAUTILOID. ] A starter where our muses awaken on the beach after the nautiloid crashes.

[ ETHEL. ] A starter where our muses are exploring the area around Aunt Ethel’s house.

[ HARPIES. ] A starter where our muses save the tiefling child from the harpies.

[ PICKPOCKET. ] A starter where our muses were pickpocketed by the tiefling kids—and now have to find their stuff.

[ LESSONS. ] A starter where our muses teach the tieflings how to fight, with Wyll.

[ TIEFLING PARTY. ] A starter where our muses approach one another at the tiefling party, to gossip, chat, dance, or hit on each other.

[ BRIDGE. ] A starter where our muses discuss Raphael’s deal.

[ MIZORA. ] A starter where our muses discuss Wyll’s pact—and his transformation.

[ BLOODLESS. ] A starter where one of our muse’s reacts the other being sucked dry by Astarion.

[ DREAM GUARDIAN. ] A starter where our muses react to the Dream Guardian visiting their dreams, and the power of the tadpoles.

[ SPORES. ] A starter where our muses react to the effects of the Myconoid’s gift.

[ SCRYING EYE. ] A starter where our muses are forced to think of a way to shank the scrying eye in the Grymforge.

[ SCRATCH. ] A starter where our muses react to Best Boy coming to camp the first time.

ACT TWO….

[ LAST LIGHT. ] For our muses to rest together at the Last Light Inn.

[ FAIRY. ] For our muses to listen to the moonlight lantern fairy curse their name.

[ SHAR. ] For our muses to complete the Shar puzzles together!

[ NIGHTSONG. ] For our muses to react after Shadowheart saves / does not save the Nightsong!

[ ENGINE. ] For our muses to react to Karlach being able to touch again.

[ FLESH. ] For our muses to explore the guts of Moonlight Towers together.

[ LOVE. ] For our muses to react to Dame Aylin and Isobel being reunited.

[ ORPHAN. ] For our muses to react to Arabella’s tragedy.

[ HIDE N SEEK. ] For our muses to play hide and seek with Thaniel!

ACT THREE. (spoilers under the cut.)

[ CIRCUS ] for a love trial, with more or different questions, and our own answers.

[ REFUGEES ] for our muses to try to help the refugees in some small way, large or small.

[ MANSION. ] for our muses to explore Cazador’s mansion.

[ TENTACLES. ] for our muses reaction to the reveal of the Act 3 Dream Guardian spoilers, and their subsequent request.

[ ELFSONG. ] For our muses to get a drink together and enjoy a good rest for a change.

[ STEEL FOUNDRY. ] for our muses to try to figure out a way into the steel foundry.

and that’s all for now, i may write more later!

[cyren-myadd]

I wonder if there is a much older draft of Avatar 2 where Spider actually was adopted by the Sullies

These are two early concept arts of Jake and Neteyam's songcords, both of which feature the "unofficial adoption of Spider" as an important event. The creative team recently clarified that these are old concepts and shouldn't be considered canon, but the fact that they exist implies there was a time in the past where Spider would've been more like a part of the family rather than the stray he was in the final version. Even the old concept art of Neytiri's songcord features Spider's "adoption," implying a much more positive relationship between them than what they had in the movie.

I wonder what the older vision for Avatar 2 was like, and what other changes it underwent to become the final version we eventually saw on screen. I can imagine that if they were originally going to have Spider be closer to the Sullies, they must've changed it because of the decision to bring back Quaritch and have him undergo character development. The beginnings of Quaritch's future character development and the fact that he survived the final battle of A2 at all only occurred because he developed a relationship with Spider. If Spider was a part of the Sully family and had a healthy parental relationship to compare Quaritch to, I doubt he would've ever bonded with and subsequently saved him. Plus, if Neytiri "unofficially adopted" Spider, she probably wouldn't have threatened to kill him, which would've eliminated one of the most intense scenes in the movie. Ultimately, I understand the narrative reasoning behind making Spider the "stray" of the group and think it was the right choice, but I'm still curious to know what different ideas they had in mind for Spider when they made the old concept art.

Man, I would've loved to be a fly on the wall in the writer's room for those years when they were hashing out the script! I wonder what other things changed over the course of the development, like how did they decide to kill off Neteyam, and how did they decide to make Kiri the way she is. I'd also love to know how they reached the decision to turn the events of "The High Ground" into a comic series and how they decided to split "The Way of Water" and "Fire and Ash" into two separate movies. I remember watching an interview with James Cameron where he discussed how difficult it was to split TWOW and FAA into two movies. If I'm remembering correctly, he said one of the big challenges was some important character moment for Spider that they had to shuffle around to get the narrative to flow. I wonder what that moment is and how they decided to put it in FAA rather than TWOW.

I don't know if any older drafts of the A2 script exist, but if they do I'd love to get my hands on them one day and read through to see all the little changes and different ideas they had.

[kradogsrats]

Schrödinger's King in the Bird Box

Time for a return to the single topic that most torments me in this entire franchise canon: is Harrow in the goddamn bird or not?

Except not really. I'm not going to go over the evidence again. I've done it before. Almost everyone has done it before. It has only gotten stronger. At the absolute minimum, an attempt was made to put Harrow in the bird. That's not really disputable. I admit it. It's over.

This is actually the second time that I've struggled with narrative cognitive dissonance regarding a real core factor of this show (like not "what's the deal with Archdragon reproduction," but something that is clearly supposed to be thought about with the intent that it will eventually make sense), and eventually managed to rotate it so hard in my mind that the way I wanted to see it slipped out of my grasp and I saw it the way it's actually intended. Ironically, I think I may have been thinking about the Ocean arcanum at the time.

Anyway, what previously always bothered me about this question was mainly two things:

It would have a devastating impact on Ezran's character development if Harrow reappeared during s1-s3, but the timeskip and arc of s4-s5 made it so it would also be deeply weird for him to reappear before the show ends.

If Harrow is in Pip's body, both Viren and Pip's subsequent behavior, as well as how Pip is treated by the narrative on a meta level, make absolutely no fucking sense.

But... if Viren doesn't know whether the spell was successful or not? If we are meant to not know whether the spell was successful or not, because it's not going to get resolved in the show itself?

If we accept that the earliest point with any chance of the hooks for this plot being set is late s7—because yes, Aaron Ehasz would do an exact beat-for-beat repeat of Zuko and his mom—that both puts Ezran far enough in his growth for it not to be threatened by the "real" king returning, and keeps Harrow out of the loop for long enough that it doesn't really make sense for him to do anything but step down from the throne in favor of Ezran, anyway. As for Viren and Pip's behavior, if the show isn't going to advance that plot much further during its runtime, there's no reason for us to be constantly reminded of it. The setup has been made, and they can just let it stew because it's not actually relevant.

That being said, Viren's behavior actually does make a lot of sense if "is Harrow in the goddamn bird or not" is a question that is also tormenting him. To that end, I'll be doing some digging here on the nature and context of the body-switching spell, Pip/Harrow's behavior post-swap, and what the hell is going on in the Harrow section of Viren's dark magic dream.

The Spell is Made Up (Unlike All Those Real Spells)

First of all, I think there's been some long-term incorrect assumptions made about the body-switching spell. It's not a known spell: this is Claudia and Viren essentially flying by the seat of their pants... but we rarely stop to think about how that contextualizes the rest of the discussion around it.

The initial plan is to find the assassins and ambush them before nightfall. As Soren points out and Viren himself confirms: if they fail, the assassins will be unstoppable under the full moon and Harrow is as good as dead. Claudia decides to put her mind to that problem, so naturally she stops to flirt with Callum in the library and gets the inspiration for the spell from something he says.

(Fun fact: none of that happens in the novelization. Zero amount.)

She brings the idea to Viren, and they develop the spell from there. It's not really clear if Claudia actually knows whether something like that would be possible, but Viren does know that transferring the essence of a person can be done—he's got a nice little coin collection that proves it.

As for the snake, there's no way Viren "acquired" a two-headed soulfang serpent because he has a book somewhere on how to use a rare, malformed specimen of a dangerous Xadian creature to switch people between bodies. He probably thought "that's weird, but could be useful," or maybe whoever sold it to him just had a great sales pitch. A non-trivial amount of success at dark magic is in having access to rarer and more powerful reagents than your competition.

Anyway, what this means is that Viren has absolutely no idea what success looks like for this spell, particularly when using it on subjects of different species. When he describes it to Harrow, he is 110% talking out of his ass. He sounds like he knows exactly what the spell will do and how, and I think a lot of us kind of fell for that. He needs to sound confident, because if he admitted that he doesn't know if it will even work, with a possible failure condition of "snake eats your soul," well... a) Harrow rightfully wouldn't go for it, and b) he'd look incompetent, which is the worst thing ever.

When he goes to Harrow's room, he casts the spell... but did it work? I think that whatever it did, it did it in a way that Viren can't tell whether it worked or not. Maybe both Harrow and Pip passed out. Maybe Viren just didn't want to hang around for the aftermath—in the novelization, when he exits the room and runs into Callum, his eyes are still black from spellcasting.

Activities of Dr. Pip Harrow, Ph.D.

Probably the thing that has always bothered me the most about the entire Harrow-Pip theory is that yes, literally everything in the lead-up and immediate aftermath of the assassination points to that being exactly what happened... and then the narrative lens of the show completely drops the rope. Pip doesn't even appear in the novelization until Viren's pre-coronation scene, which is funny given his looming presence over half the scenes with Harrow in the show.

Pip appears exactly twice after the assassination—once in s1 and once in s2—otherwise he goes completely ignored. He's not in the background of Viren's office, or the throne room, or Harrow's bedroom. No one ever mentions him ever again. Ezran never mentions him again, in the show or in any supplementary materials. You'd think the boy who can talk to animals might have some interest in his dead dad's beloved pet... but who knows, maybe Pip has always been an asshole and Ezran's actually like "thank goodness I never have to speak to that dude again."

Anyway, in all of Pip's appearances, he behaves like... a bird. A trained bird—Harrow can rely on him not just fucking off—but he doesn't demonstrate human-like intelligence the way Bait does. That being said, Bait is essentially a main-cast character (at least as much as, say, Corvus... maybe even Soren) while Pip is a plot device, and even then it takes until well into the first arc for Bait to show the kind of complex reasoning and initiative that separates him from an unusually smart dog. Pip's human is also a stressed-out king, rather than a rambunctious ten-year-old, so he's probably a bit more sedate overall. I would personally bet, given the way the show has progressed with regard to Xadian creatures, that Pip is as intelligent as Bait.

The point of that is: even if Harrow's consciousness is occupying Pip's body, he's not really doing anything with it. He's pissy, sure:

But is that Harrow's pissy-ness or Pip's? Even if Pip is only as intelligent as a trainable bird, that's plenty intelligent enough for both grieving/confusion that their human is gone and holding a grudge against obvious assholes. Viren cages him, but is that because he flipped out and got bite-y? And was it Harrow flipping out, or Pip? Or is he caged just because Viren's of the general attitude that animals belong in cages? Those who fail tests of love... We just don't know.

A lot of us also, to circle back to assumptions about the spell, have tended to think of a body swap between Harrow and Pip resulting in Harrow flailing his arms around wildly and screeching... but again, we know literally nothing about this spell, nor do we actually know anything about Harrow's behavior after Viren leaves his room. Maybe his body sat catatonic on the bed until Runaan came in and shot him. Maybe Pip, being intelligent, was able to maintain the facade—once everyone's in the heat of battle, it would be hard to notice even significant deviations from normal behavior. Even if "Harrow" appeared to fight only halfheartedly, or give up entirely... well, he hasn't been the same since he lost Sarai. Maybe the spell only partially worked, and only half of his soul is inside Pip, with minimal or no influence over the bird body's behavior.

Viren does appear to take some precautions in case Harrow is alive inside Pip. The cage, for one... but he also has nearly all subsequent important conversations outside of his office. Like I said earlier, Pip's cage isn't rendered in the background of any scene, but since he escapes from Viren's office I'm assuming that's where he's been. Even if Pip was just out of frame in every scene in Viren's office post-assassination through end of s2, the only things he's seen are... Viren eating butterflies, and the conversation between Viren and Claudia about the mirror and her side mission to bring the egg back at all costs. He doesn't know about Soren's instructions to murder the boys. He knows about the mirror and Viren's obsession with it (which he could have known before), but he doesn't know about Aaravos. He may know that Viren stole his seal but only if Viren was stupid enough to stamp the letters with it in front of him (which... look, he could be). The only things he's really learned are that a) his sons are alive, and b) Viren lied to him and the egg is alive.

Now, realistically, if we were meant to hang on to the is-Harrow-in-the-bird plot thread because it's going to be significant within the scope of the show... I'd be expecting to see at least one cut to Pip glowering at some point during all these machinations. If it weren't for the mirror and Aaravos, I'd expect Viren to be yelling all his monologuing at Pip, too. But the show does none of that. Instead, the next time we see Pip, we see him peace-ing out of the show for at minimum the next three seasons, and possibly the remaining two, as well. If Harrow's in there... why? Did he go to find Callum and Ezran himself? It's not actually clear that he knows Ezran can understand animals, so it would be reasonable for him to think Viren is his only chance at ever not being a bird again. Maybe he thinks that chance is gone with Viren's arrest and would rather not spend the rest of his life in a cage. Maybe he really isn't in control of the body.

Back to Viren, though: since Pip refuses to demonstrate any behavior that could be taken as distinctly Harrow's, Viren actually has no idea at any point whether Harrow's in there or not. He doesn't know if Harrow lived. He doesn't know if he succeeded or failed. It's a constant reminder that he's almost, but not quite, in control. Almost, but not quite, good enough to achieve what he wants.

It probably drives him absolutely insane.

Did You Think You Were Somehow Getting Out of This Without Me Mentioning Kpp'Ar?

Just kidding, it's finally time to talk about Viren's dream. We've gone two entire seasons and a two-year timeskip without any mention of Harrow or Pip (though those maniacs dropped the fucking snake basket on us as an incidental but obvious prop early in s4), and then suddenly we get punched in the face by Viren's subconscious.

First, though, I do actually need to point something out in the scene with Kpp'Ar. Bear with me, I promise this is relevant.

Viren sealed Kpp'Ar's soul in a coin 12-ish years ago, and the coin has been sitting collecting dust in his secret dungeon for... some amount of that time. Now he opens the door and finds Kpp'Ar standing there, free—and I will note that I don't believe Viren actually knows how to free people from the coins, or whether it can even be done. His reaction is surprise, followed by suspicion and wariness:

When he encounters Harrow—dead—his reaction is horrified shock, which is fair since the last time he entered the room that way there was no surprise body chilling out waiting for him in it:

Then, when Harrow speaks to him, suddenly alive and unharmed, he drops straight into relief:

Some of this is undoubtedly due to the differences between Viren's relationship with Kpp'Ar and his relationship with Harrow. With Kpp'Ar, after that initial moment of confusion, he's absolutely determined to not show a single hint of ignorance or weakness—this is a trick, or a test, and a passing grade in "light verbal sparring with the mentor you're pretty sure you remember betraying" is a thing that is both normal to want and possible to achieve. For Harrow, who he wants so desperately to call him brother, who he walked into this very room ready to die for, before everything went horribly awry—he not only immediately and willingly goes to his knees, he literally prostrates himself.

... I'll give everyone a moment to get all the innuendo and suggestiveness out of their systems, because that's not the point. This time.

What is the point is that Viren's reaction to Harrow isn't disbelief, but relief. Hope. Kpp'Ar is supposed to be in a coin, and Viren immediately questions how he got out. Harrow is supposed to be dead but Viren doesn't give a second thought to how he's not. Fortunately, Harrow helpfully explains:

Fun fact: back in s1, we don't actually see Viren actually taking action against the assassins. We don't even see evidence that he re-entered the room at all—it's only Soren and Claudia who participate in Runaan's capture.

I haven't actually touched a lot on the complex shit going on for Viren, emotionally, throughout all of this—I mentioned it's was probably driving Viren insane over the course of the first two seasons, but let me elaborate. If Viren successfully switched Harrow and Pip, that means Harrow survived... but he expressed his feelings on the proposal in no uncertain terms, and there's a good chance he will literally never forgive Viren. I don't think Viren thought far enough ahead to consider how to get Harrow into a human body again, but I do think he's dragging his feet on it a little because if he can work things to his advantage—unite the Pentarchy against Xadia and follow through on the war Harrow was avoiding—he'll prove to Harrow that he was right all along. Any chance of that flies out the window with Pip at the end of s2.

If the body-switching spell failed, it means Viren essentially killed Harrow himself. That's the reality I think he grows more and more resigned to over the course of s1 and s2, when Pip remains unresponsive. He had no choice but to take the best chance at saving someone he loved—but this time, instead of saving Harrow, he murdered him.

In the dream, Harrow has not only survived, but credits Viren with his survival. He doesn't just dismiss Viren's show of remorse, but makes his own apology to Viren. He calls Viren brother. After an impossibly long nightmare, everything is okay. All is forgiven. Maybe there was nothing to forgive, in the first place. Maybe Viren was right all along.

Then it all turns sinister with the callback to the coin incantation, and we have a sharp return to reality:

The cinematography here treats Pip a lot more like how I would expect him to be treated in s1/s2 if we were meant to know he was actually Harrow. There's focus actually on him, instead of just other characters' reaction to him. He "speaks"—as I noted in another post—in raspy sounds very unlike his songbird chirps from s1. This is absolutely Harrow as Viren actually left him—even if he's not dead, he's in a warped prison of dark magic, a perverse mockery of himself.

Oh wait.

Harrow-who-is-both-human-and-alive was never an option, and what we've got now is mirror images of Harrow-the-dead-human and Harrow-the-live-bird, and they're going to do to Viren what he did to them.

Now, it's not that none of this makes sense if Viren knows for sure that Harrow is in the bird... but it makes a lot less sense and has less emotional resonance. If Viren knows Harrow survived as Pip, he'd be more likely to question Harrow's human form than his survival—the way he does with Kpp'Ar. He might be more guarded, expecting hostility—which, I will note, is what he gets when Pip enters the scene. Instead, because until now he believed that he actually killed Harrow in his attempt to save him, he's so relieved to see Harrow alive that for that one moment he loses all pride and is ready to beg for forgiveness at Harrow's feet.

Since legitimately none of this makes sense if Viren didn't at least attempt to put Harrow in the bird, we're left with Harrow maybe or maybe not alive, Viren having maybe or maybe not been the one to actually kill him (gonna be a fun one with the Runaan context), and a plotline that is definitely not going to be resolved in the remaining two seasons of the show. I'd be kind of surprised if they even did any more setup for it (like Callum/Ezran finding out it's a possibility, or even a hint drop like Runaan being all "it was fucking weird, he just sat there" or something) outside of future supplemental media.

Conclusion

Either Harrow is alive and in the bird, with the future intent being to do a spinoff story The Search-style, or we're in for a huge bummer of a "actually, it was Viren all along who killed Harrow, therefore Runaan is a good guy and we can all be one happy family" pile of absolute bullshit. Yes, they said Harrow's dead. Harrow's body is dead, we knew that all along. There's a note in the artbook that Viren was actually going to rip the shroud off at Harrow's funeral in order to publicly prove it's his body, because that is an extremely normal thing to do.

The show just treats it extremely weirdly because, even as the only person with any chance of knowing, Viren is in the same uncertain boat as the rest of us. (Actually more uncertain than the rest of us, since he's not genre-aware.) Also it's another chance to torment Viren emotionally, and they'd never pass that up.

Thanks for coming to my absolutely ridiculous TED Talk on this topic, I hope this screenshot now does as much psychic damage to you as it does to me:

[miraculouslbcnreactions]

What do you say about 2 most despised characters in the fandom: Andre the Ice Cream Man and Thomas’s self-insert?

Are they the most despised characters? I feel like that honor goes to more prevalent characters like Gabriel, Lila, or André Bourgeois, but I could be wrong. Either way, my thoughts on the two you asked about are as follows:

Andre the Ice Cream Man

Andre reminds me of the weeping angels from Dr. Who. Great - or in this case fine - initial concept, but the more they show up, the less sense they make because the rules keep changing.

If we go by his initial appearance, then he's just some guy who can magically sense who you're supposed to be with and who gives you ice cream to point you to them. That's a cute concept for a rom-com. I can even accept him getting akumatized when he first shows up because, if you're a magical match maker who delights in love, then it makes sense that you'd be sad to see someone giving up on love even if it's just a teenager being dramatic. Those feelings are still quite real plus this show is aimed at little kids. They're going to view Marinette's heartbreak more seriously than an adult audience.

Unfortunately, every subsequent appearance ruins the initial setup by changing Andre's rules, turning him into a pretty obnoxious character. If he can sense perfect matches, then why does Marichat set him off? Shouldn't he be able to sense that this is a perfect match? And why didn't Adrigami set him off in the season three final? They got ice cream without him throwing a fit while Marichat was refused service once and caused an akumatization another time! That makes no sense. Does this man sense true matches or just support whatever couple comes to see him? And what happened to the whole, "anyone who eats his ice cream together stays together forever" thing? Consistency matters, people! Pick a lane! Obnoxious shipper who can't take a hint or true magical match maker. Which is he?

Based on his initial appearance and rules, Andre should be the only person in Paris who knows the truth of the square right from the start. If they'd done that, then he could have been a fun character that was used to subtly push the square together and give them an odd feeling of hope in dark moments where their love is wavering. After all, who doesn't love ice cream when nursing a broken heart? It could have been a cute running gag where Andre shows up with ice cream every time a part of the square is moping. Instead we get whatever nonsense canon is doing with him because even the super minor characters suffer from how wildly inconsistent canon is.

I'll end the Andre discussion by saying that I'm not sure if I'll ever forgive the writers for having Andre be the one to out Marinette's crush on Adrien. Five seasons of waiting and that's it? That's the big reveal? You are not getting me hyped for the actual big reveal, guys. Between this and the what-if episodes always making someone look terrible, my feelings about the eventual square reveal are basically just low-key dread. Thank goodness there are so many solid reveals in the fandom to give me the satisfaction I crave!

Thomas’s self-insert

Confession time, I didn't know that this was a self-insert when I watched this episode. I thought that Thomas' character was just a gag about how most people don't really know what directors do because that is certainly a thing. The fine details of individual roles in the entertainment industry are kind of nebulous to industry outsiders. We can see this in the fact that people often attribute way too much power to individuals and ignore how many people are involved in making movies and TV shows.

One of my favorite stories about this is the fact that a Star Trek writer had his episode win a Hugo only for him to completely disavow the episode because they changed his script so much after he turned it in. This is not a unique story, btw. Stuff like this happens all the time. It's why I've mentioned that I use "writers" as a bit of a catch-all term for "anyone who effects the story telling" for simplicity's sake. Though I will note that, outside of season one, every season of Miraculous was written by a team. Members of that team are then credited as directors, so these guys have a lot more powers than the guy who won the Hugo. The guy who won the Hugo won it because Star Trek was apparently being run like Miraculous was in season one when the show was written by a bunch of different writers who just sold scripts for individual episode and those scripts then got worked into a final version by a smaller core team. Film is a complicated industry like that.

Anyway, back to the character question!

I now know that this was a self-inset, but it doesn't really change my initial feelings about the episode. All of the problems come from Marinette's writing, not Thomas' self-insert character. I'm actually not sure why his character gets so much hate. As far as bad self-inserts go, it was pretty tame. I'm not sure if I'd even call it bad. Thomas wasn't painted as a god or anything like that. He was the butt of a running joke that I didn't find very funny, but I do think that it indicates a level of humility to let your self-insert be seen as less than perfect. He doesn't even take credit for being both a writer and a director:

Jagged: Ladybug is one of my best buds! I can't wait to see her movie! Thomas: Well I'm— I'm the director, so actually it's more my movie, so to speak. Jagged: Oh, so you're the one who created the story? Thomas: Well, technically the screen writers wrote the story, inspired by Ladybug's exploits. Jagged: Oh, ok. So you did all the drawings? Thomas: No, no. The animators do all the drawings. Jagged: So what do you do then? Thomas: Well I—

Now that I know that this character is a self-insert, also I find this moment at the end a lot more cute:

Thomas:(after seeing the conversation) You know what. Take my seat and enjoy the movie. I've seen it ten times or more. What matters the most for the movie is to be seen by people who really want to see it right? Marinette: (stutters) But... I-I... Uh... But... Thomas: Sorry, I guess you don't know who I am either Marinette: Of course do. You're Thomas Astruc the movie director! (hugs him) Oh thank you, thank you, thank you, thank you, thank you! Thomas: She recognized me. Somebody actually recognized me! (wipes away tears) This is the best day of my life! 

I may not like major elements of this dude's show, but I really don't see this as an ego trip. I see it as a nice moment between creator and creation, possibly because I got to view the episode without any biases when I first watched it. I'm not sure if knowing the full story would have changed my read, though, because I really do think that it's fine for writers and directors to put themselves in minor roles in their creation. You have to come up with so many characters for a story like this, why not let a random akuma be based on you?

To give you a little perspective, the head writers of the show RWBY both voice characters in the show. Once again, I have no problem with that, especially since RWBY didn't have the massive budget you need in order to hire a bunch of voice actors. The thing that I do judge them for is the fact that both of their characters get unnecessary romance plots with major characters. One of the writer's characters - a guy named Jaune - even gets an obnoxious amount of screen time to the point where he feels like more of a main character than some of the actual main characters.

This whole video analyzing that show is excellent and may be worth a watch even if you've never watched RWBY because it plays with some of the same general genres as Miraculous and suffers from some similar writing problems, but I'll give you two specific time links to parts that talk about the self-insert problem so that you can see what I mean if you'd like a little more context:

The RWBY issue is the kind of setup where finding out that it's an author self-insert makes me uncomfortable. These two characters have some pretty clear writing problems, so learning that they're also self-inserts? Not a great look. It makes it feel like the writers were prioritizing their self-insert characters over telling a good story. That's not what we got in Miraculous so Thomas' character seriously doesn't phase me. I doubt it would phase most salters if the overall show was actually good.

[sinorim-pisani]

tl;dr Linguistic anthropology except it's about Danny Phantom???

Wake up, new danny phantom obsession just dropped ya'll:

It's time to talk about GHOST LANGUAGE!!

But not the canonical Esperanto, which is a cool and interesting decision on the show's part.

I mean the idea that the ghosts have an entirely new form of communicating that sounds like static and space and ice and fire and everything a creature can feel, all condensed into what is essentially a massive creole language!

I'm a huge fan of authors who, when describing non-esperanto based "ghost speak", choose to take a more eldritch noise approach. Danny, for instance, when using the language of the ghosts, is often said to sound like all the noise of a wintery atmosphere; words like frost, ice, static, tingle, sharp, quiet and cold are employed to connect Danny's speech with his ghost core qualities. It is a fantastic way to bring an eerie and disquieting sense to Danny, and to indicate to us readers that ghosts have a unique and deeply ingrained method of communication beyond the use of human tongues.

To read way too much into something so little, I think that this could indicate that ghosts communicate with their cores! (I know, you're like Sinorim are we back to the ghost cores??) YES, we are back to how interesting ghost cores are!!

Big Question #1: If every creature-turned-ghost that spoke some form of human tongue throughout ANY period in human history, ended up in the Infinite Realms, how would they best be able to communicate?

In Danny Phantom, what makes a ghost a ghost (beyond the whole being dead thing) is their core, and their Obsession, which can be said to be an emotionally charged motivation that stems from strong emotional stimuli during life. Ghosts are creatures of feeling, of sentiment and emotion and memory, and all of those both factor into and stem out of a ghostly core. So to make a couple leaps: if a ghost could not communicate with a human tongue to its neighbor (who would be unable to understand the words), but they both have that commonality of a core and therefore a heightened sense of emotional minutiae, I would say logically the ghosts would then begin to develop a "language" based on feeling and sense. Multiply that effect by.....infinity, tack on a couple millennia, and you end up with a ghostly wordless creole language.

Big Question #2: Since a ghost's core, and subsequently their emotional cognizance and memory, is pretty much like a human fingerprint (individual and quite distinct), how would their language output be affected, and how would others actually be able to comprehend it?

This one is as easy as the difference between po-tay-to and po-tah-to, to-may-to and to-mah-to! What?? But that's just a joke, you say?? While it is a silly set of phrases, it also really concisely demonstrates the vast diversity of pronunciation, and is basically the reason why an international phonetic alphabet exists. Between pronunciation, accents, and the development of linguistic dialects, I think I can say that, at least on the comprehension side, a universal understanding of the Big Emotional Sentiments would have developed over time.

The interesting part lies in the idiosyncrasies of memory. A little side discussion - Danny has an ice core. Why? No idea! but I'm hazarding a guess that it may have something to do with his MEMORY and the emotions he felt when he died. Perhaps he felt the cold metal of the portal walls against him, perhaps the shock itself reminded him of the numbness associated with freezing temperatures or frostbite, maybe he felt a wintery sort of loneliness (it makes sense I swear), and all of that contributed to his development of an ice core. I can use Vlad as an example too, but I'll save that for another time.

So when Danny uses the Language of the Ghosts, he is understood by other ghosts because of a collective awareness of emotional sentiments. However, because of his ice core, which was determined by his individual emotional cognizance and henceforth informs his development, his form of ghost language will always be touched by his memory of the cold. When other ghosts hear Danny in their language, they'll not only understand what he is communicating, but they'll also be able to understand who Danny is, from the little touches of his cold memory that are infused in his communicating, once again thanks to his ice-based ghostly core.

And when humans hear it, they get super bad vibes because they can't understand the sounds and memories and feelings that the ghosts trying to broadcast to them!

I'm imagining poor Danny first learning he could speak the language, and then trying to show it off with his friends and being sad that it freaks them out when all he was trying to say was "You guys are the best" T.T

Good god this turned into an entire essay.

Does any of this even make sense?

Ultimately I just think that it's super cool that authors make Danny sound like the wintery freaky eldritch creature that he could be when he's speaking to ghosts XD

To be continued!

[now-you-sound-like-a-jedi]

Satine and the Resol’nare

Okay, I will warn you in advance: this is an entire essay complete with introduction and conclusion, feel free to scroll on if you can’t be bothered listening to me ramble :)

So, one of the criticisms of Satine and the New Mandalorians that I see quite a lot is "but what about the Resol'nare?" This is a difficult question to answer because much of Mandalorian culture, including the Resol’nare, is found in the Legends Extended Universe, and was discarded along with the rest of that canon after Lucasfilm’s complete overhaul of the Star Wars canon, so much of it is not relevant to a discussion of Satine because she exists in a separate version of the universe. But let’s put that aside for the purposes of this debate

In the Legends EU, the central tenets of Mandalorian culture could be found in the Resol’nare. According to this, the core of what it meant to be a Mandalorian is to wear armour, speak Mando’a, defend oneself and one’s family, educate one’s children as Mandalorians, be loyal to and support one’s family, and to obey the Mand’alor. So let’s break this down piece by piece in regards to Satine.

First of all, she obviously does not wear armour. However this does not necessarily mean that she has disregarded this element of Mandalorian culture altogether. Beskar’ta emblems can be found throughout Sundari, from Satine’s own throne room to the tunnel leading from the docks into the city. Furthermore, beskar’ta emblems are prominent designs on the clothing of several Mandalorian characters: the shirts worn by Almec, Korkie, and others feature them in the same position on the chest as they would be on a breastplate, Ahsoka’s dress in the Siege of Mandalore is patterned with them; and Satine’s own dress in the Clone Wars episode ‘Corruption’ appears to have a beskar’ta-like pattern sewn into the very fabric. Essentially, the most recognisable feature of Mandalorian armour is everywhere in her city even if the armour itself is absent, indicating that, far from being erased, the heritage of their armour is fundamental to Satine’s Mandalore. While we’re on this point, there is an assumption that Satine banned the wearing of armour on Mandalore, but there is nothing explicit in canon to confirm or deny that accusation - it simply never comes up. It is possible to argue that she did, because no one on Mandalore wears it, but it is equally plausible that no one wears armour on Mandalore simply because they no longer need to.

So, we have established that, while Satine does not exactly follow the first of the Resol’nare, she cannot be said to have wholeheartedly disregarded it either. But what about the others? Let's move onto speaking Mando’a. Satine is the only named character in the Clone Wars to speak any dialect of Mando’a onscreen (specifically Concordian), something that none of her opponents ever does, and Mando’a script can be seen across several episodes on screens in Sundari. This demonstrates that Satine's Mandalore continues to utilise Mando’a in day-to-day life.

In the Clone Wars episode ‘Voyage of Temptation’, she asserts that ‘just because [she’s] a pacifist doesn’t mean [she] won’t defend [herself]’, which covers the third tenet of 'defending oneself and one's family'. Satine has no children, so we have no information with which to assess the fourth on a personal level, and we also don't have enough information about the New Mandalorian school curriculum to examine this on a city-wide level either. In terms of loyalty to one’s family, the only example we have is of her and Korkie, most notably when she was willing to concede to Almec’s demands rather than allow her nephew to be tortured.

Finally, we come to obeying the Mand’alor: there is no indication that there was a Mand’alor during Satine’s rule, as “Mand’alor” by definition means “sole ruler of Mandalore”, a position Pre Vizsla did not achieve (despite his possession of the Darksaber) until 19 BBY, and which he subsequently lost to Maul.

What we see here is that Satine follows three of the Resol'nare, doesn't follow one, and we simply don't have enough evidence for the other two. From this, we can deduce that Satine isn't actually as far from being a textbook “good Mandalorian” as she is often portrayed. The no-armour thing appears to be the exception rather than the rule.

Furthermore, based on canon evidence, we cannot confirm that any other Mandalorian adheres to the Resol'nare any more than the New Mandalorians do. We don't see anyone in Death Watch speak Mando'a, not even Pre Vizsla, nor any character in the Mandalorian (except the Armorer). Which of course is not to say that they don't, only that we cant confirm it either way. Sabine Wren does, and she wears armour, but she certainly doesn't seem in any rush to rally to the Mand'alor and struggles a lot with how far loyalty to her family should actually go. Bo-Katan doesn't speak Mando'a either, she refuses to obey the Mand’alor when Maul takes the title, and she sure seems to pick and choose when to follow the "loyalty to one's family" part.

Essentially, when it comes to the Resol’nare, Satine is no less a Mandalorian than any of her opponents are.