#I’d make a real antihero out of him | Explore Tumblr posts and blogs

laeveteinn · 2 years ago

Text

Though updates are slowing down, I had the chance to write up some meta on innocent (until proven guilty). I might add more at a future date! For now I have constructed a semi-coherent answer for the question “Why did you write an Albus-adopts-Tom AU?”

Part of the answer is, funnily enough, “because I specifically didn't want to write an Albus-adopts-Tom AU.”

So a year-and-some-months ago, I was making a list of candidates for "time-traveler X adopts Tom" AUs. This was a purely hypothetical list, as I had no real intention of reading, much less writing these stories. I put Albus on the list because he had some history with Tom that could potentially generate drama and plot.

"But I wouldn't write Albus adopting Tom," I said, blithely oblivious to my fate. "Because I personally don't find Albus interesting enough. He's a straightforward hero, who's happy with himself and his choices. That's a fun character type, but it's not my type when I'm looking for a longfic protagonist."

Around this time, I realized I didn't remember canon well, so I revisited various canon sources (rereading some of the books, rewatching some movies, looking at the wikis, etc.). This turned Dumbledore into one of my favorite characters, a plot twist that I had not seen coming. There were three main reasons why I suddenly became interested in him, after revisiting canon:

I felt a connection with the details of his backstory. When I first read Albus's backstory many years ago, it bored me; I skimmed the Rita Skeeter excerpts as fast as I could. But on a re-read, I found those same sections really entertaining (Did he really plagiarize his work on dragon blood? Inquiring readers want to know!). Many of the details also felt personally relatable, as Albus, Aberforth and co. remind me of people I know well in real life. (Innocent has some heavily autobiographical elements.)

Before my reread/rewatch, I had this fairly vague concept of Albus being a hero who I generally approved of. However, once I got down to brass tacks and paid closer attention to canon, I found I disagreed with a lot of specific things Albus did. When he was on the page, I regularly felt like screaming, “Oh, come on! Don’t do it, Albus, don’t even think about- he did it.”

This catapulted him to stardom in my head. While I enjoy reading about characters whose actions I agree with, my favorites tend to be the characters whose lives are defined by a series of what I’d consider catastrophic mistakes. These characters, perhaps because their thought processes feel unfamiliar to me, are the ones who capture my interest, long after the story’s over. I love antiheroes and villains who get into bad situations and then make everything worse- especially if they actually had good or at least recognizably sympathetic intentions, at some earlier point. And revisiting canon yanked Albus out of the “straightforward hero” category in my head and resorted him into the “morally dubious trainwreck at risk of breaking anything he touches” category. So yeah, I’m a fan now.

Thus, I had acquired a new favorite character, to place on the display case next to Voldemort. They’re quite a complementary pair. Nose issues all around.

“I can now see myself writing fics with Albus as a protagonist,” I said. “Grindeldore could be fun, or maybe Riddledore. I still wouldn’t write a big 'Albus-adopts-Tom’ fic, because I have no idea what the story would be, but I might read it if somebody else wrote it.”

(This was perhaps the fifth time I stated in no uncertain terms that I would never write an Albus-adopts-Tom fic, now with a simmering undercurrent of “I’m in danger.”)

And then I read Ouroboros by @metalomagnetic, in defiance of my usual “don’t read WIPs” rule. If you’re unfamiliar, Ouroboros is a magnificent epic of a fic, where Voldemort accidentally travels back in time, adopts his younger self, raises his younger self as a Dark-Lord-in-training, gives his younger self a bunch of new psychological issues, and then falls head-over-heels for him. Ouroboros speedily reorganized the fundaments of my life and the chemistry of my brain. And when I ran out of chapters, my immediate impulse was “I want more right now!”

But the fic wasn’t done yet, and I had no interest in pressuring Metalo for updates or spoilers. Thus my brain (now barreling forward with real runaway-train energy) decided that it wanted the next best thing: the same story as Ouroboros, only different. So, in order to design an overly-detailed daydream to tide me over until the next update, I identified some of the core elements of Ouroboros that resonated so hard with me:

The time-travel Tom Riddle adoption premise, executed with one of the “elder statesmen” of the HP-verse. Someone who didn’t feel out of place in the 1930s as Harry would. Someone who was instead intimately familiar with the era and its main players. Someone who specifically knew young Tom Riddle, sometimes better than Tom knew himself.

The dramatic father-son dynamic, which was marked by love and humor but also a certain lack of familial kindness, especially from the father’s side of things.

The romantic dynamic between a young Dark wizard and his Dark Lord mentor, which shows up pretty late in the story and upturns the established father-son dynamic in unexpected ways.

And I realized with equal parts joy and horror that I now had a possible story, for that Albus-adopts-Tom AU that I was definitely never going to write. I could too easily envision parallels between Albus’s parenting style and that of Ouroboros’s Voldemort. Both those characters have an incredibly complex history with young Tom, plus a giant stack of other secrets eating away at them. They could both make Tom feel inferior just by existing near him. In both cases, I could see Tom trying to close the distance and crack the secret of their identity, only to be wrong over and over and over again.

“But,” I reasoned in a last-ditch attempt to get out of writing this, “who’s the love interest? Albus is a stretch. As a romantic lead in this setting, he doesn’t feel anything like Voldemort, despite various parallels in their parenting. And would it mean anything for Albus’s arc, if he fell for Tom? What would he even learn?”

Which is when I remembered one Gellert Grindelwald.

I might’ve gotten away with leaving this story unwritten, if not for Gellert. But the second I introduced him, the second I considered the magnitude of Albus’s freakout over his kid dating him of all people, this story became irresistible. While it takes Gellert a hot minute to show up on the page, his character was at the very heart of the story I wanted to tell from day 1.

Tl;dr: I blame Gellert for everything.

#my fic #my meta

16 notes · View notes

kingexpl0sionmurder · 4 years ago

Text

Date The Hell Out Of You - Kaminari Denki

Author: @kingexpl0sionmurder Pairing: Kaminari Denki/F!Reader Rating: 16+ (Fluff) Words: 1,575 Warnings: I have opinions about comic books so don’t come at me. I think it’s a very mild argument anyway so it shouldn’t be a big deal, but if you feel offended pls know it wasn’t my intention to bash on Batman lol. AN: Hellooo here is my contribution to this months bnharem collab! The theme is Co-Workers and I just wanted Denki and a bookstore so you get this short and fluffy little thing. You’re welcome! Please check the masterlist below for everyone else’s works and heed each pieces warnings before you dive in!

Collab Masterlist My Masterlist My Ko-Fi

---

“You cannot sit there and tell me that you think Batman is better than Iron Man. I refuse to believe it.” You huffed, crossing your arms across your chest and glaring daggers at his best friend.

This had become like a routine to Kaminari, ever since he’d started working at the bookstore, which had been almost a year ago.

He took his lunch break at the same time most days, anxiously hoping you had a break at the same time as well. It wasn’t because he thought you were cute (he totally did, honestly), he just enjoyed your company. You had some loud and unique opinions on a lot of things, and he was thoroughly entertained when you went off like this.

“Well they’re both billionaires with no special powers, just a lot of cool gadgets, right?” Sero pointed out, leaning back in his chair with his arms folded behind his head, his bento sitting forgotten on the table.

“You’re right. But Tony Stark has a sense of humor. Batman is such a stick in the mud.” You made a face from your spot across from them, your chopsticks resting over your cup noodles, the utensil keeping the lid closed so they would cook.

“Yeah, but in terms of physical strength, Bruce Wayne has got Tony beat.” Sero sat forward, picking up his chopsticks again. “Tony relies on his tech. In a hand to hand fight, Batman wins every time.”

“Tony is smarter, though.” You sighed. “Look, do I need to direct you to read the Civil War series? It’s only like 7 issues. I can lend them to you.”

“It’s got Spider-Man in it.” Kaminari supplied helpfully. “He’s your favorite.”

Sero chuckled. “Yeah, okay. Maybe it’ll change my mind.”

“Trust me. Batman is lame, he’s got some interesting villains though.” You finally moved to eat your ramen. “What about you, Kaminari? Any opinions?”

Shrugging, he finished off the last bit of rice in his bento. “I don’t know, I’m not huge into comic books. I like Deadpool, though.”

“That’s so on brand.” Sero chuckled. “He’s a ridiculous dumbass, just like you.”

“Hey!”

“Listen, Deadpool is probably one of the funniest antiheroes. He breaks the fourth wall so often, it’s my favorite thing.” You grinned at him. “I think it’s a perfect choice.”

Kaminari could feel the blush creeping up his neck at your words. You thought he was funny. “Thanks, Y/N.”

Clearing his throat, Sero stood up. “My break’s over. Can you check on the YA section when you’re back on, Kami? Some kids were in here earlier and I think they moved all the Twilight books around.” His teasing grin told him that Sero had not missed the way he’d reacted to what you’d said to him.

“Sure thing, boss.” He gave him a salute. “I’ve got like 10 minutes left.”

Sero packed up his bento and shoved it back in the breakroom fridge and left, leaving Kaminari alone with you.

Kaminari opened his mouth, spitting out the first thing that came to his mind. “But here’s the real question.” He pointed at you with his chopsticks. “Team Edward or Team Jacob?”

Kaminari was crouching down, putting the last copies of ‘Breaking Dawn’ back on the shelf when someone walked up to him.

“If she’s Team Edward you’re going to have to call up Aoyama and ask him to hook you up with some body glitter.”

He glanced towards his right, smiling at the scuffed black boots belonging to his other best friend, Shinsou.

Kaminari stood, staring at the cat sticker stuck to the side of the reusable coffee cup that his perpetually tired friend always had with him. His gaze then flicked to his face, his customary grin back on his lips. “You think he can help?”

Rolling his eyes, the purple haired man shifted on his feet. “Of course. He works for some makeup place, I bet they have loads of glittery shit.”

Humming, Denki let his gaze move back to the shelf, making sure everything looked okay. He threw his arm around Shinsou and began walking back to his own section (he was in charge of The Classics, okay?) leaning into the taller man. “I’ll pick you up some black eyeliner while I’m at it.”

“Please do, I’m almost out.” He snarked, before his smirk fell and he sighed. “Look, you need to do something about this crush you have on Y/N.”

“I do not have to do a thing, my friend. I am happily content sitting over here and pining away quietly.” Kaminari threw his arm out dramatically. “Leave me be.”

“Quietly?” Shinsou snorted. “Look, man, I just mean, I’ve been seeing Monoma hanging around her a lot, I just don’t want you to miss your chance.”

Kaminari stopped walking. “Monoma? But he works in the reference section, where they sell those ‘for dummies’ books!”

“Maybe he read ‘Flirting for Dummies’ and now he has a clue. You should look into it yourself.” Shinsou’s raised eyebrow caused Kaminari’s frown to deepen.

“I know how to flirt, Shinsou.” Huffing, he crossed his arms over his chest. “Don’t you need to go back to Science Fiction and get some work done?”

Sipping his coffee, he fixed Kaminari with a look. “Since I am such a wonderful friend, you’re going to swap me on Saturday and work my section, which is conveniently right next to Manga and Comics, where Y/N will be. You are going to make a move or so help me, I am going to beat you over the head with a copy of ‘Wuthering Heights’.”

“Why that one? Why not something longer, like ‘Don Quixote’?”

“Do you want it to hurt?” Shinsou asked, looking entirely done with his shit. “You’re ridiculous. Just do something, otherwise Monoma might get a date before you do.”

Kaminari cursed under his breath. The thought of you laughing and smiling at Monoma’s terrible jokes rubbed him the wrong way. “Fine. I’ll think of something.”

Seemingly satisfied, Shinsou patted him on the shoulder. “I believe in you.”

—

“How come you and Sero always have these fancy looking bentos for lunch?” You asked, sliding into the seat across from him.

Kaminari paused with his rice halfway to his mouth and looked up. “Our roommate. He’s like a mother hen, he always packs us lunch.”

Looking impressed, you raised an eyebrow. “He sounds like a keeper.”

Chuckling, Kaminari sat back in his chair. “Yeah, he’s a handful, but under his extremely aggressive exterior he’s a good guy.” He gestured to your ramen. “Maybe I can get him to make you one. All I have to do is tell him you eat cup noodles for lunch every day and he’ll have a heart attack.”

“I like my ramen, okay? It makes me feel like Naruto.” You raised your arms and grinned. “Believe it!”

Rolling his eyes fondly, he turned back to his lunch, poking at his tamagoyaki. He’d been working in the section beside you all day, listening to you gush over the newest shipment of manga you’d received, shoving books at him and making recommendations. He’d been trying to work up the courage all day to get off his ass and ask you out, and he was failing spectacularly.

“You know, if you want to be like Naruto, you should be eating tonkatsu miso with the little narutomaki in it.”

You blinked at him, looking surprised. “Yeah, you’re probably right.”

This was it. His chance. “We should go get the real thing sometime.” He swallowed thickly, his palms sweating. “Like, maybe tomorrow night?” He closed his eyes, waiting for you to respond.

“Kaminari, are you asking me on a date?”

The fondness in your tone had him opening his eyes to see your expression. You were blushing, biting on your bottom lip as you stared at him.

“I mean, yeah. A date. If you want to, I mean.”

He was seconds away from backpedaling, his heart climbing up his throat and on the verge of escaping his body. The anticipation was killing him.

His nervousness and fear of rejection was all for naught. Your face lit up, a genuine smile gracing your lips. It was the most beautiful thing he’d ever seen.

“I would love that.”

A breath he didn’t realize he was holding escaped his lips. “Yeah, okay. Awesome.”

You giggled, leaning your elbow on the table, resting your cheek against your palm. “Did you think I’d say no?”

Feeling a little ridiculous, he blushed and nodded. “I was worried you might. I’m an idiot and you’re...you.”

You scoffed, kicking him under the table lightly. “You’re not an idiot, Kaminari. To be honest, I thought you’d never ask. I guess Shinsou wasn’t lying.”

“About what?” He sat up straight, frowning. “I’m going to kick his ass. What did he say?”

Snorting, you shook your head. “He might have mentioned that you liked me. I wasn’t sure though.”

“Are you kidding? Was I not being obvious enough?”

“You flirt with everyone, I didn’t think I was special.” You teased. “I’m glad he was right, though.” You turned back to your noodles.

“You are though. At least you are to me.” Grinning, he nudged your foot with his. “I’m going to date the hell out of you, Y/N. Just wait and see.”

His heart swooped in his chest when you looked back at him across the table. “I’m looking forward to it.”

#kaminari denki #denki kaminari #kaminari x reader #kaminari denki x reader #denki x reader #bnha #bnharem collab #mha #kaminari fluff #kingexpl0sionmurder writes

163 notes · View notes

shimmershae · 3 years ago

Text

Okay. So I did one of these wish lists last season and got gifted way more than I ever could have anticipated so I thought why not do it again?

Shae’s wish list for Season 11.

Putting it under a cut because it’s long and rambling. And it will probably be revised and/or added to whenever the mood strikes me.

Things I want to see in Season 11:

The actual episode. Why the hell does everything have to be so dark in the literal sense?

Carol and Daryl to have an epic reunion that will totally blow the reunion in the woods outside of Terminus out of the water. C’mon. It really feels like the stage is being set for it and you know Angela loves her callbacks. What better moment to revisit than this one? The one where we all just knew these two were embarking on something new (only they didn’t, not in the way we’d hoped)? Like, it’s a seemingly insurmountable task but I know Norman and Melissa have it in them again. The real question is: do the writers?

Judith and RJ bonding with Aunt Carol and her telling them stories of the old days and all the people they didn’t get to meet. What better way to foster our nostalgia and make us remember why we fell in love with this show and its characters in the first place?

More Carol and Dog because those scenes in Diverged were the epitome of precious.

More Princess. Princess’s “meet and greets” with all our community members, yes. But Princess’s first meeting and assessment of Carol and Daryl. Methinks she’d have something mighty interesting and enlightening to say.

All this angst for Daryl and Carol eventually building to a head and Kang finally delivering on that “heart to heart” she mentioned what feels like a million and one years ago.

Aaron and Gracie scenes because Aaron is such a good daddy, ya’ll.

Rosita continuing to have significant screen time and not having to step back into the shadows just because Maggie is back.

Speaking of, I’m glad Maggie is back. I really am. For the simple fact that Baby Hershel is the cutest alone. But I’m not happy that everybody so far seems so ready to just defer to her when they’ve been perfectly fine making it without her. That is not okay and that shit needs to stop soon-ish.

Hershel making fast friends with Judith and RJ and Gracie and all the Jabila kids. They’re the next generation, ya’ll. I just really need this.

More Jerry and Nabila, please. Because I have a special soft spot for my Jabila.

Jerry and Ezekiel scenes. Because Jerry is Ezekiel’s person and the truest bond he has on the show.

Kelly and Lydia striking up a friendship because Kelly’s a sweet cinnamon roll and Lydia is in desperate need of friends.

More scenes of Lydia, period, and not just her seeking out Negan because they both feel like outcasts. Lydia was raised in Hell. Negan wreaked Hell. It’s different and I don’t appreciate the heavy-handedness of Angela trying to make Negan into something he has no right to be. Leave him at an antihero if you must persist but stop trying to convince us he’s earned his place as a good guy because he hasn’t. JDM may have risen to the challenge of making him a much more compelling, shades of gray character these past two seasons, but Negan is still the guy that gleefully bashed Glenn’s head in with a barb-wire wrapped baseball bat and if he’s not going to show remorse about it? The least he can do is show the common sense not to go out of his way to antagonize Maggie.

Kelly reuniting with Connie and Carol getting to have a hand in doing in. Some acknowledgment from Connie that she chose to go back into the cave with Magna would be nice but ultimately not necessary because I don’t think Connie blames Carol at all.

Dog surviving the season unscathed and getting all the cuddles he deserves.

The not-so-rosy truth about Leah being exposed and Daryl making his choice clear once and for all. Spoiler alert? Leah doesn’t even rank.

I’d love the fake dating/fake marriage trope to be trotted out at the good old Commonwealth with Carol and Daryl because I think it would be so much freaking fun and hey. If Kang is going to continue to give us fanfic (unknown child, a la Rick and Michonne), why not try out a true blue?

Some freaking clue as to why/how Rosita and Father Gabe hooked up. Like I just don’t get it, especially when you consider Siddiq was RIGHT THERE. The amount of distrust Rosita and the rest of Team Family had in him back in the early days of their arriving in Alexandria. I just find it hard to wrap my mind around this relationship when it wasn’t even on the radar pre-time jump.

That said, Father Gabe did have a great scene with Judith in (what was then) the Season Finale where he gave her a message for Rosita and I did find it touching. So I dunno, ya’ll. I could be persuaded. But not all that easily.

Some resolution to the whole Virgil thing. Talk about your random characters in the right place at the right/wrong time. Him promising his wife flowers every day touched me but come the fuck on.

More Carol and Lydia scenes and more Carol and Kelly scenes because Carol with these young ladies gives me life. You know what? Carol getting to interact with and have friendship with any and all of the ladies gives me life and should be a regular thing. Like TPTB missed the opportunity of a lifetime having Carol and Michonne sharing all kinds of bonding scenes. It would have been so poignant to watch them relate to each other over their lost children.

Can we please get some Commonwealth scenes where the kids of Alexandria learn how to be actual kids? I mean, not that they aren’t already, but I’d love to see them have the chance to be carefree and have fun. You know, though, that Jude is definitely going to be a tough little nut to crack, and she’s always going to be keeping one eye open for trouble.

Speaking of Commonwealth, I’d love to see all our faves dolled up, lol. Yes, it’s a rather shallow wish, but can you imagine Carol in a simple but beautiful dress and Daryl utterly tongue-tied to the point that the kids--Lydia, Judith, and RJ--just start giggling uncontrollably and Carol and Daryl both blush? Because I can and it is glorious.

Let the villains villain. Not everyone needs to be redeemed. Some people are just too far gone.

You know what? It’s past time to let Carol in particular unpack some of her trauma and cast it aside so she can move on that future Daryl keeps reminding her they have. She and Daryl are way overdue for a heart to heart where she just opens up a vein and lets it all flow. It’s the only way she’s going to be able to heal and move on, IMHO.

Some indication that Rick and Michonne and the Grimes babies and the rest of their family (Carol, Daryl, etc.) are going to be reunited.

The promise of at least a chance of a happy ending for everyone we’ve watched and loved these last 10+ years.

There’s more. There’s always more, lol. But that’s enough for now. As I think of things I just really, really need to see? I’ll come back to this list. Because hey. Like I said. I did one of these for Season 10 and I got way more of them than I ever could have anticipated so.

#The Walking Dead #Season 11 hopes and wishes and dreams #Caryl #Carol x Daryl #Carol Peletier #Daryl Dixon #really all of our faves #I want this season to be so emotionally satisfying #not devastating #sometimes those two things can be one and the same #sometimes nah #things that make me smile and cry #for reasons

64 notes · View notes

thecaffeinebookwarrior · 4 years ago

Text

The Importance of Antiheroes

By Brooksie C. Fontaine (me) and Sara R. McKearney

Few tropes are as ubiquitous as that of the hero. He takes the form of Superman, ethically and non-lethally thwarting Lex Luthor. Of Luke Skywalker, gazing wistfully at twin suns and waiting for his adventure to begin. In pre-Eastwood era films, a white Stetson made the law-abiding hero easily distinguishable from his black-hatted antagonists. He is Harry Potter, Jon Snow, T’Challa, Simba. He is of many incarnations, he is virtually inescapable, and he serves a necessary function: he reminds us of what we can achieve, and that regardless of circumstance, we can choose to be good. We need our heroes, and always will.

But equally vital to the life-blood of any culture is his more nebulous and difficult to define counterpart: the antihero. Whereas the hero is defined, more or less, by his morality and exceptionalism, the antihero doesn’t cleanly meet these criteria. Where the hero tends to be confident and self-assured, the antihero may have justifiable insecurities. While the hero has faith in the goodness of humanity, the anthero knows from experience how vile humans can be. While the hero typically respects and adheres to authority figures and social norms, the antihero may rail against them for any number of reasons. While the hero always embraces good and rejects evil, the antihero may do either. And though the hero might always be buff, physically capable, and mentally astute, the antihero may be average or below. The antihero scoffs at the obligation to be perfect, and our culture's demand for martyrdom. And somehow, he is at least as timeless and enduring as his sparklingly heroic peers.

Which begs the question: where did the antihero come from, and why do we need him?

The Birth of the Anti-Hero:

It is worth noting that many of the oldest and most enduring heroes would now be considered antiheroes. The Greek Heracles was driven to madness, murdered his family, and upon recovering had to complete a series of tasks to atone for his actions. Theseus, son of Poseidon and slayer of the Minotaur, straight-up abandoned the woman who helped him do it. And we all know what happened to Oedipus, whose life was so messed up he got a complex named after him.

And this isn’t just limited to Ancient Greece: before he became a god, the Mesoamerican Quetzalcoatl committed suicide after drunkenly sleeping with his sister. The Mesopotamian Gilgamesh – arguably the first hero in literature – began his journey as a slovenly, hedonistic tyrant. Shakespearian heroes were denoted with an equal number of gifts and flaws – the cunning but paranoid Hamlet, the honorable but gullible Othello, the humble but power-hungry MacBeth – which were just as likely to lead to their downfall as to their apotheosis.

There’s probably a definitive cause for our current definition of hero as someone who’s squeaky clean: censorship. With the birth of television and film as we know it, it was, for a time, illegal to depict criminals as protagonists, and law enforcement as antagonists. The perceived morality of mainstream cinema was also strictly monitored, limiting what could be portrayed. Bonnie and Clyde, The Good the Bad and the Ugly, Scarface, The Godfather, Goodfellas, and countless other cinematic staples prove that such policies did not endure, but these censorship laws divorced us, culturally, from the moral complexity of our most resonant heroes.

Perhaps because of the nature of the medium, literature arguably has never been as infatuated with moral purity as its early cinematic and T.V. counterparts. From the Byronic male love interests of the Bronte sisters, to “Doctor” Frankenstein (that little college dropout never got a PhD), to Dorian Grey, to Anna Karenina, to Scarlett O’Hara, to Holden Caulfield, literature seems to thrive on morally and emotionally complex individuals and situations. Superman punching a villain and saving Lois Lane is compelling television, but doesn’t make for a particularly thought-provoking read.

It is also worth noting, however, that what we now consider to be universal moral standards were once met with controversy: Superman’s story and real name – Kal El – are distinctly Jewish, in which his doomed parents were forced to send him to an uncertain future in a foreign culture. Captain America punching Nazis now seems like a no-brainer, but at the time it was not a popular opinion, and earned his Jewish creators a great deal of controversy. So in a manner of speaking, some of the most morally upstanding heroes are also antiheroes, in that they defied society’s rules.

This brings us to our concluding point: that anti-heroes can be morally good. The complex and sometimes tragic heroes of old, and today’s antiheroes, are not necessarily immoral, but must often make difficult choices, compromises, and sacrifices. They are flawed, fallible, and can sometimes lead to their own downfall. But sometimes, they triumph, and we can cheer them for it. This is what makes their stories so powerful, so relatable, and so necessary to the fabric of our culture. So without further ado, let’s have a look at some of pop-culture’s most interesting antiheroes, and what makes them so damn compelling.

Note: For the purposes of this essay, we will only be looking at male antiheroes. Because the hero’s journey is traditionally so male-oriented, different standards of subversiveness, morality, and heroism apply to female protagonists, and the antiheroine deserves an article all her own.

Antiheroes show us the negative effects of systematic inequalities (and what they can do to gifted people.)

As demonstrated by: Tommy Shelby from Peaky Blinders.

Why he could be a hero: He’s incredibly charismatic, intelligent, and courageous. He deeply cares for his loved ones, has a strict code of honor, reacts violently to the mistreatment of innocents, and demonstrates surprisingly high levels of empathy.

Why he’s an antihero: He also happens to be a ruthless, incredibly violent crime lord who regularly slashes out his enemies’ eyes.

What he can teach us: From the moment Tommy Shelby makes his entrance, it becomes apparent that Peaky Blinders will not unfold like the archetypical crime drama. Evocative of the outlaw mythos of the Old West, Tommy rides across a smoky, industrialized landscape. He is immaculately dressed, bareback, on a magnificent black horse. A rogue element, his presence carries immediate power, causing pedestrians to hurriedly clear a path. You get the sense that he does not conform to this time or era, nor does he abide by the rules of society.

The ONLY acceptable way to introduce a protagonist.

Set in the decades between World War I and II, Peaky Blinders differentiates itself from its peers, not just because of its distinctive, almost Shakespearian style of storytelling, powerful visual style, and use of contemporary music, but also in the manner in which it shows that society provokes the very criminality it attempts to vanquish. Moreover, it dedicates time to demonstrating why this form of criminality is sometimes the only option for success in an unfair system. When the law wants to keep you relegated to the station in which you were born, success almost inevitably means breaking the rules. Tommy is considered one of the most influential characters of the decade because of the manner in which he embodies this phenomenon, and the reason why antiheroes pervade folklore across the decades.

Peaky Blinders engenders a unique level of empathy within its first episodes, in which we are not just immersed in the glamour of the gangster lifestyle, but we understand the background that provoked it. Tommy, who grew up impoverished and discriminated against due to his “didicoy” Romany background, volunteered to fight for his country, and went to war as a highly intelligent, empathetic young man. He returned with the knowledge that the country he had served had essentially used him and others like him as canon fodder, with no regard for their lives, well-being, or future. Such veterans were often looked down upon or disregarded by a society eager to forget the war. Having served as a tunneler – regarded to be the worst possible position in a war already beset by unprecedented brutality – Tommy’s constant proximity to death not only destroyed his faith in authority, but also his fear of mortality. This absence of fear and deference, coupled with his incredible intelligence, ambition, ruthlessness, and strategic abilities, makes him a dangerous weapon, now pointed at the very society that constructed him to begin with.

It is also difficult to critique Tommy’s criminality, when we take into account that society would have completely stifled him if he had abided by its rules. As someone of Romany heritage, he was raised in abject poverty, and never would have been admitted into situations of higher social class. Even at his most powerful, we see the disdain his colleagues have at being obligated to treat him as an equal. In one particularly powerful scene, he begins shoveling horse manure, explaining that, “I’m reminding myself of what I’d be if I wasn’t who I am.” If he hadn’t left behind society’s rules, his brilliant mind would be occupied only with cleaning stables.

However, the necessity of criminality isn’t depicted as positive: it is one of the greatest tragedies of the narrative that society does not naturally reward the most intelligent or gifted, but instead rewards those born into positions of unjust privilege, and those who are willing to break the rules with intelligence and ruthlessness. Each year, the trauma of killing, nearly being killed, and losing loved ones makes Tommy’s PTSD increasingly worse, to the point at which he regularly contemplates suicide. Cillian Murphy has remarked that Tommy gets little enjoyment out of his wealth and power, doing what he does only for his family and “because he can.” Steven Knight cites the philosophy of Francis Bacon as a driving force behind Tommy’s psychology: “Since it’s all so meaningless, we might as well be extraordinary.”

This is further complicated when it becomes apparent that the upper class he’s worked so arduously to join is not only ruthlessly exclusionary, but also more corrupt than he’s ever been. There are no easy answers, no easy to pinpoint sources of societal or personal issues, no easy divisibility of positive and negative. This duality is something embraced by the narrative, and embodied by its protagonist. An intriguingly androgynous figure, Tommy emulated the strength and tenacity of the women in his life, particularly his mother; however, he also internalized her application of violence, even laughing about how she used to beat him with a frying pan. His family is his greatest source of strength and his greatest weakness, often exploited by his enemies who realize they cannot fall back on his fear of mortality. He feels emotions more strongly than the other characters, and ironically must numb himself to the world around him in order to cope with it.

However, all hope is not lost. Creator Steven Knight has stated that his hope is ultimately to redeem Tommy, so by the show’s end he is “a good man doing good things.” There are already whispers of what this may look like: as an MP, Tommy cares for Birmingham and its citizens far more than any “legitimate” politicians, meeting with them personally to ensure their needs are met; as of last season, he attempted a Sinatra-style assassination of a rising fascist simply because it was the right thing to do. “Goodness” is an option in the world of Peaky Blinders; the only question is what form it will take on a landscape plagued by corruption at every turn.

Regardless of what form his “redemption” might take, it’s negligible that Tommy will ever meet all the criteria of an archetypal hero as we understand it today. He is far more evocative of the heroes of Ancient Greece, of the Old West, of the Golden Age of Piracy, of Feudal Japan – ferocious, magnitudinous figures who move and make the earth turn with them, who navigate the ever-changing landscapes of society and refuse to abide by its rules, simultaneously destructive and life-affirming. And that’s what makes him so damn compelling.

Who needs traditional morality, when you look this damn good?

Other examples:

Alfie Solomons from Peaky Blinders. Tommy’s friend and sometimes mortal enemy, the two develop an intriguing, almost romantic connection due to their shared experiences of oppression and powerful intellects. Steven Knight has referred to Alfie as “the only person Tommy can really talk to,” possibly because he is Tommy’s only intellectual equal, resulting in a strange form of spiritual matrimony between the two.

Omar Little from The Wire, an oftentimes tender and compassionate man who cares deeply for his loved ones, and does his best to promote morality and idealism in a society which offers him few viable methods of doing so. He may rob drug dealers at gunpoint, but he also refuses to harm innocents, dislikes swearing, and views his actions as a method of decreasing crime in the area.

Chiron from Moonlight, a sensitive and empathetic young man who became a drug dealer because society had provided him with virtually no other options for self-sustenance. The same could be said for Chiron’s mentor and father figure, Juan, a kind and nurturing man who is also a drug dealer.

To a lesser extent, Tony from The Sopranos, and other fictional Italian American gangsters. The Sopranos often negotiates the roots of mob culture as a response to inequalities, while also holding its characters accountable for their actions by pointing out that Tony and his ilk are now rich and privileged and face little systematic discrimination.

Walter White from Breaking Bad – an underpaid, chronically disrespected teacher who has to work two jobs and still can’t afford to pay for medical treatment. More on him on the next page.

Antiheroes show us how we can be the villains.

As demonstrated by: Walter White from Breaking Bad.

Why he could be a hero: He’s a brilliant, underappreciated chemist whose work contributed to the winning of a Nobel Prize. He’s also forging his own path in the face of incredible adversity, and attempting to provide for his family in the event of his death.

Why he’s an antihero: In his pre-meth days, Walt failed to meet the exceptionalism associated with heroes, as a moral but socially passive underachiever living an unremarkable life. At the end of his transformation, he is exceptional at what he does, but has completely lost his moral standards.

What he can teach us: G.K. Chesterton wrote, “Fairy tales do not tell children that the dragons exist. Children already know that dragons exist. Fairy tales tell children the dragons can be killed.” Following this analogy, it is equally important that our stories show us we, ourselves, can be the dragon. Or the villain, to be more specific, because being a dragon sounds strangely awesome.

Walter White of Breaking Bad is a paragon of antiheroism for a reason: he subverts almost every traditional aspect of heroism. From the opening shots of Walt careening along in an RV, clad in tighty whities and a gas mask, we recognize that he is neither physically capable, nor competent in the manner we’ve come to expect from our heroes. He is not especially conventionally attractive, nor are women particularly drawn to him. He does not excel at his career or garner respect. As the series progresses, Walt does develop the competence, confidence, courage, and resilience we expect of heroes, but he is no longer the moral protagonist: he is self-motivated, vindictive, and callous. And somehow, he still remains identifiable, which is integral to his efficacy.

But let us return to the beginning of the series, and talk about how, exactly, Walt subverts our expectations from the get-go. Walt is the epitome of an everyman: he’s fifty years old, middle class, passive, and worried about identifiable problems – his health, his bills, his physically disabled son, and his unborn baby. Whereas Tommy Shelby’s angelic looks, courage, and intellect subvert our preconceptions about what a criminal can be, Walt’s initial unremarkability subverts our preconceptions about who can be a criminal. The hook of the series is the idea that a man so chronically average could make and distribute meth.

Just because an audience is hooked by a concept, however, does not mean that they’ll necessarily continue watching. Breaking Bad could have easily veered into ludicrosity, if it weren’t for another important factor: character. Walt is immediately and intensely relatable, and he somehow retains our empathy for the entirety of the series, even at his least forgivable.

When we first meet Walt, his talents are underappreciated, he’s overqualified for his menial jobs, chronically disrespected by everyone around him, underpaid, and trapped in a joyless, passionless life in which the highlight of his day is a halfhearted handjob from his distracted wife. And to top it all off? He has terminal lung cancer. Happy birthday, Walt.

We root for him for the same reason we root for Dumbo, Rudolph, Harry Potter: he’s an underdog. The odds are stacked against him, and we want to see him triumph. Which is why it’s cathartic, for us and for Walt, when he finally finds a profession in which he can excel – even if that profession is the ability to manufacture incredibly high-quality meth. His former student Jesse Pinkman – a character so interesting that there’s a genuine risk he’ll hijack this essay – appreciates his skill, and this early appreciation is what makes his relationship with Jesse feel so much more genuine than Walt’s relationship with his family, even as their dynamic becomes increasingly unhealthy and Walt uses Jesse to bolster his meth business and his ego. This deeply dysfunctional but heartfelt father-son connection is Walt’s tether to humanity as he becomes increasingly inhumane, while also demonstrating his descent from morality. It has been pointed out that one can gauge how far-gone Walt is from his moral ideals by how much Jesse is suffering.

But to return to the initial point, it is imperative that we first empathize with Walt in order to adequately understand his descent. Aside from the fact that almost all characters are more interesting if the audience can or wants to empathize with them, Walt’s relatability makes it easy to understand our own potential for toxic and destructive behaviors. We are the protagonist of our own story, but we aren’t necessarily its hero.

Similarly, we understand how easily we can justify destructive actions, and how quickly reasonable feelings of anger and injustice swerve into self-indulgent vindication and entitlement. Walt claims to be cooking meth to provide for his family, and this may be partially true; but he also denies financial help from his rich friends out of spite, and admits later to his wife Skylar that he primarily did it for himself because he was good at it and “it made (him) feel alive.”

This also forces us to examine our preconceptions, and essentially do Walt’s introspections for him: whereas Peaky Blinders emphasize the fact that Tommy and his family would never have been able to achieve prosperity by obeying society’s laws, Walt feels jilted out of success he was promised by a meritocratic system that doesn’t currently exist. He has essentially achieved our current understanding of the American dream – a house with a pool, a beautiful wife and family, an honest job – but it left him unable to provide for his wife and children or even pay for his cancer treatment. He’s also unhappy and alienated from his passions and fellow human beings. With this in mind, it’s understandable – if absurd – that the only way he can attain genuine happiness and excel is through becoming a meth cook. In this way, Breaking Bad is both a scathing critique of our current society, and a haunting reminder that there’s not as much standing between ourselves and villainy as we might like to believe.

So are we all slaves to this system of entitlement and resentment, of shattered and unfulfilling dreams? No, because Breaking Bad provides us with an intriguing and vital counterpoint: Jesse Pinkman. Whereas Walt was bolstered with promises that he was gifted and had a bright future ahead of him, Jesse was assured by every authority figure in his life that he would never amount to anything. However, Jesse proves himself skilled at what he’s passionate about: art, carpentry, and of course, cooking meth. Whereas Walt perpetually rationalizes and shirks responsibility, Jesse compulsively takes responsibility, even for things that weren’t his fault. Whereas Walt found it increasingly acceptable to endanger or harm bystanders, Jesse continuously worked to protect innocents – especially children – from getting hurt. Though Jesse suffered immensely throughout the course of the show – and the subsequent movie, El Camino – the creators say that he successfully made it to Alaska and started a carpentry business. Some theorists have supposed that Jesse might be a Jesus allegory – a carpenter who suffers for the sins of others. Regardless of whether this is true, it is interesting, and amusing to imagine Jesus using the word “bitch” so often. Though he didn’t get the instant gratification of immediate success that Walt got, he was able to carve (no pun intended – carpentry, you know) a place for himself in the world.

Jesse isn’t a perfect person, but he reminds us that improving ourselves and creating a better life is an option, even if Walt’s rise to power was more initially thrilling. So take heart: there’s a bit of Heisenberg in all of us, but there’s also a bit of Jesse Pinkman.

The savior we all need, but don’t deserve.

Other examples:

Bojack from Bojack Horseman. Like Walt, the audience can’t help but empathize with Bojack, understand his decision-making, and even see ourselves in him. However, the narrative ruthlessly demonstrates the consequences of his actions, and shows us how negatively his selfishness and self-destructive qualities impact others.

Again, Tony Soprano. Tony, even at his very worst, is easy to like and empathize with. Despite his position as a mafia Godfather, he’s unfailingly human. Which makes the destruction caused by his actions all the more resonant.

Antiheroes emphasize the absurdity of contemporary culture (and how we must operate in it.)

As demonstrated by: Marty Byrde from Ozark.

Why he could be a hero: He’s a loving father who ultimately just wants to provide for and ensure the safety of his family. He’s also fiercely intelligent, with excellent negotiative, interpersonal, and strategic skills that allows him to talk his way out of almost any situation without the use of violence.

Why he’s an antihero: He launders money for a ruthless drug cartel, and has no issue dipping his toes into various illegal activities.

Why he’s compelling: Marty is an antihero of the modern era. He has a remarkable ability to talk his way into or out of any situation, and he’s also a master of using a pre-constructed system of rules and privileges to his benefit.

In the very first episode, he goes from literally selling the American Dream, to avoiding murder at the hands of a ruthless drug cartel by planning to launder money for them in the titular Ozarks. Despite his long history of dabbling in illegality, Marty has no firearms – a questionable choice for someone on the run from violent drug kingpins, but a testament to his ability to rely on his oratory skills and nothing else. He doesn’t hesitate to engage an apparently violent group of hillbillies to request the return of his stolen cash, because he knows he can talk them into giving it back to him. The only time he engages other characters in physical violence, he immediately gets pummeled, because physical altercation has never been his form of currency. Not that he’s subjected to physical violence particularly often, either: Marty is a master of the corporate landscape, which makes him a master of the criminal landscape. He is brilliant at avoiding the consequences of his actions.

It’s easy to like and admire Marty for his cleverness, for being able to escape from apparently impermeable situations with words as his only weapon. He’s got a reassuring, dad-ly sort of charisma that immediately endears the viewer, and offers respite from the seemingly endless threats coming from every direction. He unquestionably loves his family, including his adulterous wife. As such, it’s easy to forget that Marty is being exploited by the same system that exploits all of us: crony capitalism. The polar opposite of meritocratic capitalism – in which success is based on hard work, ingenuity, and, hence the name, merit – crony capitalism benefits only the conglomerates that plague the global landscape like cancerous warts, siphoning money off of workers and natural capital, keeping them indentured with basic necessities and the idle promise of success.

Marty isn’t benefiting from his hard work in the Ozarks. Everything he makes goes right back to the drug cartel who continuously threatens the life of him and his family. He is rewarded for his efforts with a picturesque house, a boat, and the appearance of success, but he is not allowed to keep the fruits of his labor. Marty may be an expert at navigating the corporate and criminal landscape, but it still exploits him. In this manner, Marty embodies both the American business, the American worker, and a sort of inversion of the American dream.

In this same manner, Marty, the other characters, and even the Ozarks themselves embody the modern dissonance between appearance and reality. Marty’s family looks like something you’d respect to see on a Christmas card from your DILF-y, successful coworker, but it’s bubbling with dysfunctionality. His wife is cheating on him with a much-older man, and instead of confronting her about it, he first hired a private investigator and then spent weeks rewatching the footage, paralyzed with options and debating what to do. The problem somewhat solves itself when his wife’s lover is unceremoniously murdered by the cartel, and Wendy and Marty are driven into a sort of matrimonial business partnership motivated by the shared interest of protecting their children, but this also further demonstrates how corporate even their family dealings have become. His children, though precocious, are forced to contend with age-inappropriate levels of responsibility and the trauma of sudden relocation, juxtaposed with a childhood of complete privilege up until this point.

Conversely, the shadow of the Byrde family is arguably the Langmores. Precocious teenagers Ruth and Wyatt can initially be shrugged off as local hillbillies and budding con-artists, but much like the Shelby family of the Peaky Blinders, they prove to be extremely intelligent individuals suffering beneath a society that doesn’t care about their stifled potential. Systemic poverty is a bushfire that spreads from one generation to the next, stoked by the prejudices of authority figures and abusive parental figures who refuse to embrace change out of a misguided sense of class-loyalty.

Almost every other character we meet eventually inverts our expectations of them: from the folksy, salt-of-the-earth farmers who grow poppies for opium and murder more remorselessly than the cartel itself, to the cookie-cutter FBI agent whose behavior becomes increasingly volatile and chaotic, to the heroin-filled Bibles handed out by an unknowing preacher, to the secrets hidden by the lake itself, every detail conveys corruption hidden behind a postcard-pretty picture of tranquility and success.

Marty’s awareness of this illusion, and what lurks behind it, is perhaps the greatest subversion of all. Marty knows that the world of appearance and the world of reality coexist, and he was blessed with a natural talent for navigating within the two. Like Walter White, Marty makes us question our assumptions about who a criminal can be – despite the fact that many successful, attractive, middle-aged family men launder money and juggle criminal activities, it’s still jarring to witness, which tells us something about how image informs our understanding of reality. Socially privileged, white-collar criminals simply have more control over how they’re portrayed than an inner-city gang, or impoverished teenagers. However, unlike Walt, Marty’s criminal activities are not any kind of middle-aged catharsis: they’re a way of life, firmly ingrained in the corporate landscape. They were present long before he arrived on the scene, and he knows it. He just has to navigate them.

Just like our shining, messianic heroes can teach us about truth, justice, and the American way, so too does each antihero have something to teach us: they teach us that society doesn’t reward those who follow its instructions, nor does it often provide an avenue of morality. Even if you live a life devoid of apparent sin, every privilege is paid for by someone else’s sacrifice. But the best antiheroes are not beacons of nihilism – they show us the beauty that can emerge from even the ugliest of situations. Peaky Blinders is, at its core, a love story between Tommy Shelby and the family he crawled out of his grave for, just as Breaking Bad is ultimately a deeply dysfunctional tale of a father figure and son. Ozark, like its predecessors, is about family – the only authenticity in a society that operates on deception, illusion, and corruption. They teach us that even in the worst times and situations, love can compel us, redeem us, bind us closer together. Only then can we face the dragons of life, and feel just a bit more heroic.

Other examples:

Don Draper from Mad Men. A similarly Shakespearian figure for the modern era, Don is a man who appears to have everything – perfect looks, a beautiful wife and children, a prestigious job. He could have stepped out of an ad for the American Dream. And yet, he feels disconnected from his life, isolated from others by the very societal rules he, as a member of the ad agency, helps to propagate. It helps that he’s literally leading a borrowed life, inherited from the stolen identity of his deceased fellow soldier, and was actually an impoverished, illegitimate farmboy whose childhood abuse permanently damaged his ability to form relationships. The Hopper-esque alienation evoked by the world of Mad Men really deserves an essay all it’s own, and his wife Betty – whose Stepford-level mask of cheerful subservience hides seething unhappiness and unfulfilled potential – is a particularly intriguing figure to explore. Maybe in my next essay, on the importance of the antiheroine.

#my writing tips #writing tips #tommy shelby #peaky blinders #walter white #breaking bad #jesse pinkman #bojack horseman #don draper #writing advice #antihero #the types of antiheroes #long post for ts

984 notes · View notes

dailycharacteroption · 3 years ago

Text

Blatherskite (Gunslinger Archetype)

The word Blatherskite is an American English word that means nonsensical, long-winded talking with no real meaning behind it, or more commonly, someone who engages in such talk, and I can think of no better name for today’s subject.

In the grand scheme of “people who have guns”, there are those who’s bravado and confidence is entirely determined by the fact they have said gun. They talk a big game about their greatness and their command of the situation… right up until the point where their gun goes missing or runs out of bullets. At this point they run away if they can, but they also try their best to save face, calling their escape a “tactical retreat” or a million other such excuses.

Even among this particular brand of underhanded patheticness, however, there is a surprising amount of diversity in the concept, and even the most craven of these desperados can come back again and surprise their enemy once they’ve had time to reload and regroup.

At their best, a blatherskite might be the selfish and self-serving type, looking out for number one while also having enough daring to scream their way through a firefight with more collected foes, while at their worst, they can be backstabbing snakes that falter under the slightest real pressure only to strike at vulnerabilities, including targeting those that can’t fight back purely to get back at the one who defeated them.

That being said, the more heroic tend to have more substance behind them, and can use their reputation for being all talk to their advantage, even if it’s only to gain a brief advantage or cover against more serious attacks.

Stealthy and slippery compared to the average gunslinger, blatherskites also gain a selection of deeds associated with them. The first of which lets them save face by taking a glancing blow and pretending to stagger back in pain, letting them slip into a better position and let their enemy assume they are defeated. They can even spend some resolve to turn a true strike into a similar glancing blow, reflexively shifting it to a nonvital area.

As a coward at heart, these gunslinger’s first reaction when a fight starts it to hide or at least take cover, stepping or even dashing behind cover with a bit of expenditure of their reserves.

They are at their most lethal when attacking the unarmed, however, true to form, striking before others have even drawn their weapons, or those that have lost theirs, to say nothing of what the worst of the worst would do.

Though they are less than honorable or courageous, they are perfectly capable of taking advantage of the assumptions their foes make about them. As such, they can allow themselves to seem defeated by a debilitating effect (or at least pretend to be if they spend a little grit), making their foe drop their guard, making them extremely vulnerable to the blatherskite and their allies catching them off guard.

With how underhanded this archetype is, I can see why it made it into Antihero’s Handbook. If you’re looking for a character that is less than heroic, but still terrifyingly effective when the chips are down, this archetype might be for you. I’d definitely get a decent constitution score though, lest those minimum damage wounds pile up. Beyond that, try to build with stealth and bluff in mind.

The power that seems to be associated with a gun is different than any other personal weaponry. I think this is because when you break them down, pretty much any melee weapon is some variation of club or sharp pointy bit. A gun, on the other hand, kills from afar with little more than a point and pull action, compared to the loading of a crossbow or the pulling back of an arrow. I suppose this is the source of the power trip that the blatherskite revolves around, and why they fall apart as soon as that advantage is no longer working out.

Though the curse has long faded, the gunman Valn never really regained his confidence after being bitten by a chickcharney. Now a broken mess, he relies mostly on the threat of his gun, rather than his skill with it in a fight, but despite his hangups, he is a crack shot when he needs to be.

Ever since the outlaw Murcass shot the captain of the guard and claimed the town under his “protection”, the townsfolk have prayed for salvation from this braggart. If approached by a large group, he will flee, so a small team is needed to hunt him down, though behind is bluster is a wily and vicious opponent.

On the run from their terribly ancient nosferatu parent, Vicau travels far and wide with a firearm they barely understand, using bluster to get their way. However, despite their self-serving priorities, there is more to their character than that, and with the right push, they might just do the right thing.

#pathfinder #archetype #gunslinger #blatherskite #chickcharney #nosferatu #dhampir #anchient-born #Antihero's Handbook

26 notes · View notes

just-another-hhazbin · 4 years ago

Note

I really wish that Alastor develops and stops being a narcissistic, idk it just bugs me when one of the main characters is like this even tho he's a villian, cannibal and all that stuff but I need there to be atleast one person other than himself he truly cares for like maybe nifty or husk Maybe he doesn't show it, but I cannot stand a not side character be narcissistic Thankyouu for coming to my Ted talk

I am going to carefully remind everyone that narcissistic personality disorder (NPD) is a real thing and that we’re not gonna perpetuate stereotypes or biased narratives.

That being said, we’re gonna address this as narcissism the trait, not NPD the disorder. Just to make things clear.

Personally, I don’t mind when villains are narcissistic. I think it’s a bit overdone, but sometimes people are just like that, especially selfish assholes who tip the line into evil. I actually enjoy the occasional antihero or protagonist who is narcissistic, because their motives tend to be either interesting or amusing.

That being said, I do hope to see some character growth from Alastor. He’s starting off with the description of “selfish asshole cannibal,” to paraphrase Vaggie/Husk/official statements, so I’d like to see him go somewhere else. I want character development in my stories, plot, who? Haven’t heard of her. Give me ✨growth.✨

With the other instances I described, it tends to be interesting because they’re working toward something, trying to become better or stronger in some way, and then the motivations and interpersonal dynamics can be interesting with the selfish vs unselfish and blah blah blah.

But this is Hell, and this is the Radio Demon. People are, as a general rule, selfish, which makes narcissism the personality trait far less eye-catching to a reader/viewer.

Furthermore, Alastor is already starting off toward the top. Yes, he might make a grab for power or something, but the man turned down Overlord status. He isn’t into the power field of politics. Alastor’s game is to fuck around and find out (with as much bloodshed as possible).

Combine with, again, what we saw in the comic... Yes, I’d definitely like to see some character growth with Alastor. I do think he has some sort of soft spot for Niffty and Husk, and I hope that he will grow some form of attachment to the other Hazbins, even if it’s not what would be considered a typical relationship. I think he wants to care for someone else. He just doesn’t know how to.

Luckily, he’s in a pretty good place to find out.

#hazbin hotel #alastor #hazbin hotel headcanons #hazbin hotel alastor #hazbin alastor #alastor headcanons #alastor headcanon #hazbin hotel headcanon #hazbin hotel alastor headcanons #hazbin hotel alastor headcanon #hazbin alastor headcanons #alastor hazbin #alastor hazbin hotel #alastor comic #Hazbin hotel pilot #hazbin hotel meta

53 notes · View notes

dangermousie · 3 years ago

Note

I would like to order a salty no. 3! (tropes, authors, actors)

Mmmm, our kitchen is at your command. Here is my salt shaker and it’s BIG!

Actors - I used to love Xu Kai but after the triple horror of Court Lady, Ancient Love Poetry and that esports mess with Miss Wooden Tree with Boobs, my eye starts twitching when he's mentioned for a role or even when I see a promo picture of him. He might go back on my good list at some point (I mean, I used to dislike Zhang Zhehan only to fall like a ton of bricks after WoH - great timing!) but right now any time I see his face twitch twitch twitch.

Hu Yitian is like a male Cheng Xiao - cannot act. His face doesn't do it for me either so I am just happy he mainly does moderns.

Cheng Xiao is the worst actress I've ever seen in a cdrama, which is saying something. She must have a hell of a sponsor but maybe they should stick her on a runway instead and not make me want to spork myself. She also keeps getting cast with fave after fave, as if she's on a mission to prove these men, who normally have great chemistry with anyone, cannot be defeated by her woodeness. When I think of the fact that she is about to be on my screen opposite Luo Yunxi, I begin to comprehend the cruelty of the universe.

The only good thing about the utter destruction of Zhang Zhehan (a topic I am not going to get into unless I rage stroke) is that there are two less Ju Jingyi dramas circulating out there. The only reason, she’s not the worst is because Cheng Xiao exists.

Dylan Wang and his handsome sheep face and his wooden lack of acting and the insane fact that they keep insisting on casting that man with the ultimate handsome miquetoast vibe as some violent, powerful, scary antiheroes, makes me long for...I don’t know what, but not a Dylan Wang drama. To paraphrase Groucho Marx, “whatever he is in, I’m against it.”

Wu Lei - he’s a decent enough actor but whoever thought he had the vibe for a powerful, wild, death on the battlefield barbarian general in The Long Ballad is the same person who keeps casting Dylan Wang as a badass. It burns my brain!

OK, switching to Korea. Kim Jung Hyun should make a comeback. He’s mega talented and his agency clearly leaked stuff to punish him for wanting to leave. Also, I don’t care how unprofessional he was - he was clearly having a mental heath crisis and was in an abusive relationship. Also, I don’t care if an actor is a bad person - his ex is a dumpster fire but she’s a good actress so she should act. I’d rather have a terrible person who can act (Lee Byung Hun), then a sweet person who can’t act (Taec.)

I am not sure if it’s an actors thing but whatever - people who ship actors in real life are insane and one of the reasons China had an excuse to crack down on fandom. (I don’t mean fun banter but people who genuinely believe X x Y are secretly banging. It’s called ACTING, people!)

Tropes: I love wrist-grab, noncon, amnesia, noble idiot, fakecest etc - all the tropes fandom hates either because they are overused or because they are problematic. I want my life to be original, wholesome and conflict free. I want my fiction to be the opposite.

Whoever makes period stories where the characters are modern characters in period garb should be set on fire.

Authors: Meatbun is one of the best authors and probably in Top 3 novelists I’ve ever read and people who do not appreciate 2ha (unless they cannot read it due to literally being triggered) have bad taste. And before anyone jumps down my throat for being an illiterate, I have been reading all sorts of things for decades, and was reading Euripides and Livy by third grade, took whole classes on scholastic writing and 16th century English poetry, can and do read books in three languages, and read an insane amount of both Russian and English 18th and 19th century novels.

Also, while I don’t want to compare average danmei and average het web novel since I don’t think I’ve read enough of either (I probably read over 100 web novels total but I think I’d have to read way more), a good/well-regarded danmei is way better than a good/well-regarded het web novel. I’ve never found the latter that made me really emotionally invested or one that had a wow plot.

On non-web novel front, Victorian novels and novelists were amazing. Also the whole worship of Hemingway spare style is stupid - Hemingway could get away with it because he was Hemingway. Your average author would vastly benefit from adding color to their writing.

People look down on romance novels because they are for women. Nobody looks down on those stupid spy thrillers which are equivalent for men.

If you haven’t read Jorge Amado, you wasted your entire life.

The end.

#asks

21 notes · View notes

lilydalexf · 4 years ago

Photo

Old School X is a project interviewing X-Files fanfic authors who were posting fic during the original run of the show. New interviews are posted every Tuesday.

Interview with Audrey Roget

Audrey Roget has 10 fics at Gossamer, with some different ones at AO3, fanfiction.net, and her website. You might know her from her very good fics or as part of Musea, a collective that all wrote fic and posted X-Files fic recs. I’ve recced some of my favorites of her stories here before, including Three Times Dana Scully Didn’t Go to San Diego for Christmas and The Shirt. Big thanks to Audrey for doing this interview.

Does it surprise you that people are still interested in reading your X-Files fanfics and others that were posted during the original run of the show (1993-2002)? A little, yes. Not so much by folks who were around in those days. I sometimes go hunting for beloved stories from the early years, both those I read and loved, and those I never got around to. I am always delighted to hear that later generations of fans have stumbled across my stuff, especially since I haven’t posted anything new in a number of years. It’s fantastic that both years-long fans and new ones are out there continuing to rec fic from all eras, and to maintain archives for fans yet-to-be born. What do you think of when you think about your X-Files fandom experience? What did you take away from it? What did you take away from your experience with X-Files fic or with the fandom in general? It may sound corny, but the main thing I think of, and the thing that has ultimately been most valuable and lasting, has been the friendships. The feeling of having found a tribe – not just of TXF fans, but of other people who could be as enthusiastically engaged as I was (if not more so) with fictional stories and characters – was mind-blowing. Since I was a kid, I had often mulled over the books/movies/TV I loved and speculated internally about what happened off the page or off-screen, or created new stories for characters in my head. But, except for an elementary school phase where I and my two BFFs regularly played Charlie’s Angels, I hadn’t engaged in that kind of gleeful immersion in a fictional world with others until TXF fandom. My involvement in fandom followed pretty quickly from getting hooked on the show, so for me, it’s all one big ball of experiences. Even as my interest in/involvement in fandom has waxed and waned over the years, I’ve been lucky to remain friends with wonderful people who I originally connected with as fellow fans.

Social media didn't really exist during the show's original run. How were you most involved with the X-Files online (atxc, message board, email mailing list, etc.)? What got you involved with X-Files fanfic?

My initial entrée to the fandom was through fanfiction. I didn’t get interested in the show until mid-season 5. Around the same time, I read an article in a zine called Might (co-founded by Dave Eggers) about this thing called fanfiction that people would write and publish online. At first I thought it was satire or a joke – the fic cited involved Wilma Flintstone and a polished sabre tooth, as I recall – but then realized this was an actual thing. So I figured that a show then at the peak of pop culture must have fanfiction, and I went looking. Early on, I scrolled atxc on a daily basis and downloaded stories. But I didn’t engage in discussions about the show on Usenet, since I only knew how to access it with my Earthlink email client, and I didn’t want to post using my real name.

Later, I set up a pseud address with Yahoo and subscribed to a couple of email fanfic/discussion lists, and stayed subscribed to those for years. There was also a period in there somewhere – of maybe only a year or so, when I think about it – when I’d often nerd out into the wee hours with other fans via IM chat groups. That was around the time the small writers’ collective Musea was founded, and we were active for several years after the show’s initial run. In the early aughts, I followed many authors to LiveJournal and eventually set up my own account and stayed involved in fandom that way, until it mostly dispersed as well. What was it that got you hooked on the X-Files as a show? In a word: Chemistry. I had casually watched a couple of episodes during the first four seasons, but I’m not a huge sci-fi/horror fan at heart, and the story lines didn’t immediately grab me. But I happened to tune into The Red and the Black in 1998, and BOOM. For the first time, the intense layers of emotion and attraction between Mulder and Scully really struck me – and then of course, upon further viewing, I realized it was unmissable, an essential element in the fabric of the show. As a wise woman once said, a switch had been flicked. Mulder and Scully’s magnetism was like nothing I’d ever seen, and though I eventually came to appreciate the storytelling, humor, production values, and other components that made the series so successful, watching those characters interact has always been what kept me coming back. Were you involved with any fandoms after the X-Files? If so, what was it like compared to X-Files? I was part of a list-serv discussion group for The West Wing for a while, which was a fun melding of character and plot analysis with political discussion. Later, I got into the House, MD fandom, again mostly as a fanfic reader/writer. I was finding that other fandoms, unlike TXF, were more dispersed, the networks of people structured more loosely, if at all. There were fanfic and discussion communities on LiveJournal, and fanfiction.net was the other main hub for posting and reading, but if there was anything centralized like Gossamer, Ephemeral, or the Haven, I never found it. Within all those fan communities, as in TXF, there were partisans for various characters and pairings, and flame wars erupted over plot developments that outraged this faction or that. One main difference was that those other shows had larger, ensemble casts and more varied subplots. So on one hand, there was more opportunity to explore back stories and multiple perspectives. In House MD in particular, there were several entrenched rival shipper camps, which were about equally grounded in canon, rather than TXF’s central ship. I was less into TWW fic, but my impression was that readers were less militant about their pairing preferences than TXF or House fans. Who are some of your favorite fictional characters? Why?

I was deeply fascinated by Greg House for several years. (And the love-hate chemistry between him and Lisa Cuddy was a strong draw for me.) House MD came early in a wave of TV shows centered on anti-heroes, and Hugh Laurie brought amazing complexity and thoughtfulness to the character.

Philip and Elizabeth Jennings (The Americans) are a lethal pair of antiheroes. The inherent moral conflict of a sympathetic narrative from their POVs, and the global political conflict they embody was TV catnip for me. The internal struggles at the hearts of those characters were so exquisitely written and performed, they completely fascinate me.

The West Wing felt so much like a show created specifically for me. I’m especially fond of story arcs and scenes that centered on CJ Cregg, Charlie Young, and Josh Lyman. Though I loved Martin Sheen’s human portrayal of Jed Bartlet, the fact that he was the President always made him a little untouchable in my mind. But CJ, Charlie, and Josh were basically hard-working functionaries who were ambitious and idealistic and funny and flawed, and they spoke to me. What is your relationship like now to X-Files fandom? Do you ever still watch The X-Files or think about Mulder and Scully? Do you ever still read X-Files fic? Fic in another fandom?

I do continue to think about Mulder and Scully and watch episodes somewhat often. I’ll sometimes run a favorite episode as background when I want something comforting on. I read TXF fic pretty regularly, which can inspire me to go back and watch a particular episode or story arc I haven’t thought about in years. Just recently, I started listening to The X-Files Diaries podcast (@XFDPodcast, @admiralty-xfd), and that’s a fun dive into the characters, and how other fans react to and interpret episodes.

Every once in a while, a TV show or movie – and more particularly, the characters – will grab my attention and make me curious about how fanfic writers have interpreted the original material. Random example, I saw Singin�� in the Rain for the first time in a theatre a couple of years ago, and the chemistry of the three leads sent me to AO3 as soon as I got home. I also loved the first season of Mercy Street and found some well-done stories in that fandom. I usually peruse the Yuletide gifts every year and have been amazed by the sheer variety, creativity and cheekiness of the output. There are a bunch of other shows I’ve followed faithfully, and sought out fanfic – Broadchurch, The Killing, Agents of SHIELD, Elementary, The Good Wife. Although I’ve found some well-written stuff in those fandoms, I’ve rarely gotten the same charge from them as reading TXF fic. Do you have any favorite X-Files fanfic stories or authors?

syntax6 (@syntax6) – Universal Invariants/Laws of Motion. I’d also shout out to syn’s Hunter fics, too – well worth reading even for those who have never seen or particularly loved the show itself.

JET – I re-read Small Lives Awake every year around Thanksgiving time. Other annual holiday re-reads: Revely’s The Dreaming Sea and Jordan’s Through the Fire (both set at Halloween).

Amal Nahurriyeh’s Casey universe – the rare post-col fic that felt hopeful, made extra intriguing by a kick-ass original character. [Lilydale note: the series starts with Machines of Freedom and has lots of additional fics and snippets.]

Prufrock’s Love – Finding Rokovoko was genuinely terrifying and tender.

melforbes (@melforbes) – Seaglass Blue is a recent favorite, lyrical and bittersweet.

These are just a few (apologies to those that didn’t come to mind immediately). Fortunately for readers, there’s an astonishing number of authors who have written in TXF fandom whom you can depend on for a good yarn, insightful character study, and/or ingenious “fixes” where 1013 went awry.

What is your favorite of your own fics, X-Files and/or otherwise?

Probably the two set in my own (former) backyard of Southern California: Enivrez-vous and Ravenous. I’d first read the Baudelaire poem that was the source of the former’s title back in university days, so I was tickled to be able to use a few lines as an epigraph. Do you think you'll ever write another X-Files story? Or dust off and post an oldie that for whatever reason never made it online? It’s not out of the realm possibility. I’d meant for “Three Times Dana Scully Didn’t Go to San Diego for Christmas” to be followed up with “And One Time She Did.” In fact, the idea for that never-finished story was what inspired “Three Times” in the first place. I have a couple of scenes sketched out and – unusually for me – even know exactly how to end it. Every year, November rolls around, and I think I should finish and post it…maybe in 2021?

Where do you get ideas for stories? Sometimes it’s from my environment. “Enivrez-vous” and “Ravenous” describe places that I’m fond of, that made me want to place Mulder and Scully there. “What Not to Wear” has that element too – I set it in Memphis as a tribute to a great trip there with a sister Musean. But WNTW was also inspired by a kink challenge in a years-ago LiveJournal thread, so sometimes ideas come from fandom discussions or even other fanfics. In the House MD fandom, a fic by another writer made me want to continue the story, and the author kindly allowed an authorized sequel. What's the story behind your pen name? I wanted my pseudonym to sound like it could be a real person’s name – or at least, maybe like a romance writer’s pen name – rather than an online handle. I also wanted to use a slightly obscure fictional character, to amuse anyone in the know. I had long had a bit of an obsession with Whit Stillman’s 1990s film trilogy, which started with Metropolitan; the 3rd installment, Last Days of Disco, came out the same year I started down the TXF rabbit hole: 1998. The central heroine of Metropolitan – who is mentioned in or makes a cameo in the other two – is Audrey Rouget, a lover of Austen and, eventually, a book editor. I altered the spelling of the last name as a nod to every writer’s companion, Roget’s Thesaurus. Do your friends and family know about your fic and, if so, what have been their reactions? I have a few close friends – from outside TXF fandom – who know that I’ve written fanfic. I don’t know if they know my pseud; if they do, or if they’ve ready any of the fic, they haven’t said so to me. They are fannish sorts themselves, but not really TXF fans. A smattering of other friends and family members know or could intuit that I’ve been a fangrl on some level for years. My boss, whom I’ve known for about 3 years, recently mentioned off-handedly that she was really obsessed with TXF “back in the day,” and I am DYING to know if she got involved in fandom, but don’t think I’ll ever work up the courage to ask.

Is there a place online (tumblr, twitter, AO3, etc.) where people can find you and/or your stories now? Most of the X-Files stuff continues to be generously and steadfastly archived by Forte at The Basement Office. The House MD stories and some TXF things are at fanfiction.net; same for AO3. If ever post anything new, it will probably go to TBO and AO3. I really ought to get it all together in one place, one of these days…

(Posted by Lilydale on April 6, 2021)

#old school x #xfiles fanfic #xf fanfic #xf fanfic author interviews #audrey roget

75 notes · View notes

qqueenofhades · 3 years ago

Note

so…now that we all know what you DISLIKE about star wars (and 400% fairly so, you have my full support here)…

what drew you into the universe, what keeps you around?

favorite characters, ships (OTPs or actual spaceships lol), overall themes, do you have a favorite random weird creature or robot that you adore? whatever you wanna talk about!

go off honey (again, but supportively 💖💖💖)

tax paid: the very nerdy star wars punk vest i made and the even nerdier matching vest i made for starsky

Lmaooo, entirely valid. You were like "star wars?" and I was like the drunk person at the bar who can't stop shouting about how much their ex sucks. But now that I have gotten all that off my chest, let's talk about why I love it (since if I didn't love it, I wouldn't have such strong opinions). Basically my feelings on the OG SW trilogy are similar to my feelings on the OG LOTR trilogy, as that tumblr post floating around somewhere put it: sure, they have flaws, but also, they're perfect. I have a complicated relationship with the prequels, as do we all, since George Lucas cannot write dialogue or direct actors to save his life (stick to what you're good at, George, hire other people to do the rest), but even they have their moments. Like. Hit me with that "Across the Stars" love theme, John Williams. Gahh. Just like that.

Because... Star Wars wasn't actually this omnipresent corporate global entertainment monolith when it started out. It was a dorky low-budget indie sci-fi film in the 1970s which everyone thought was going to bomb. But it told a simple and compelling story in an interesting way, everyone agrees that ESB is one of the best films/sequels ever made, and then ROTJ gave it a happy ending while it was still okay to do that. My main thematic gripe with the Disney trilogy (I will try to keep those to a minimum, lol, but I have to bring it up to compare) is that it very clearly fell into the "actual happy endings are naive and unrealistic and a cynical postmodern audience won't accept anything less than things being Bad" trap that, yet again, we have GOT to thank for. It obviously existed to some degree before that, but GOT blew it up to huge levels, where the only valid situation or character is that which is Grimdark and Depressing. Which, in my view, misses the heart and soul of what SW is all about??

Like. ESB is genuinely dark. ANH was this fun plucky little sci-fi film where the scrappy good guys won the day against the Nazi stand-ins, as they were supposed to, and then ESB comes along (speaking of John Williams, let us all chant together, DUH DUH DUH DUHDUHDUH DUHDUHDUH, DUH DUH DUH DUHHHH DUHHH DUHHH DUHHHH) and things go... wrong. Leia and Han are on the run for most of the movie, then get captured and tortured by the Empire and and betrayed (however unwillingly) by Lando. The Rebellion is attacked on Hoth (I tell you, those fuckin AT-AT walkers were SCARY when you see it as a young kid for the first time), and forced into hiding. Luke loses his hand, doubts Obi-Wan and Yoda and realizes that his mentors are fallible, makes dumb mistakes, and of course gets hit with The Most Famous Line In Movie History. But it's also just adrenaline and excitement. THE ASTEROID FIELD! THE HAN-LEIA BANTER! THE FIRST LUKE-VADER DUEL! THE FACT THAT YOU HEAR TWO FRICKING NOTES OF THE IMPERIAL MARCH AND YOU'RE JUST LIKE OH YEAH OH YEAH OH YEAHHHH!

But also then... Return of the Jedi. It gets shat upon for the Ewoks and reusing the Death Star as the Big Bad and being supposedly cheesy and not as Thematically Dark as ESB. Which is all kinda silly, in my opinion, but also, can we talk about Luke Skywalker's character arc and how he chooses possibly the most radical compassion ever demonstrated by a hero in an action movie, let alone a space opera. He insists that Anakin Skywalker is still in there somewhere and puts his own neck on the line to prove it. Luke doesn't save the galaxy by being a Badass Jedi. He saves it by throwing away his lightsaber and saying "I will not fight you, Father." He saves it by trusting that even in the depths of darkness, Anakin can come back from the charred ruins of Darth Vader and finally do what he was supposed to do all along. He can end Palpatine for good and all (we don't talk about "Somehow Palpatine has returned" because it's nonsense, obviously). Anakin can avenge the Jedi and what was done to him and all the lies he believed and the pain he wreaked on the galaxy, even then. It's not too late. It's not too late. Like. I don't care if this is Lightweight or Childish or whatever. It makes me CRY every time I watch it. Especially the moment where Luke takes off Anakin’s helmet and sees how ruined he actually is under there, and yet the downfall and death of the trilogy’s chief villain is not triumphant at all but instead utterly heartbreaking. “You were right about me Luke... tell your sister... you were right.”

Excuse me, I need to just /CRIES INTENSELY/

Luke won't be tempted to the dark side for his own sake, but Leia's ("If you will not join me, then perhaps she will"). I likewise hold firmly that Anakin/Vader is one of the best movie villains/antiheroes of all time and likewise have many feelings and Strong Opinions about his arc, prequel writing clumsiness and eye-rollingly tepid love story aside. (See: he and Obi-Wan were deeply in love and in a way they still are, don't @ me. I have no problems with Padme and obviously stan Natalie Portman at all times, but Anakin and Obi-Wan’s relationship is the real love story, the heart of the prequels, and in some ways even the subsequent movies, the end.) And “so this is how democracy dies, with thunderous applause” is... raw af as a line. For being in a Star Wars prequel movie. What?? (Also, the Revenge of the Sith novelization had no business being as good as it was. If only that dude had also written the movie.)

Anyway, my point is: the OG trilogy had plenty of moments of staggering emotional weight and where things genuinely sucked for the good guys and the outcome wasn’t entirely clear. The difference is that it didn’t choose to dwell on them, and it allowed for a transformative fictional space where a happy ending, fiercely fought for and squarely earned, was the right outcome. We didn’t need to go back thirty years later and make everything suck for fear that a cynical modern audience couldn’t connect with it otherwise. (Like I said, we didn’t need the new movies at all, but Disney heard that Cha-Ching of the Almighty Dollar). Star Wars was sci-fi, sure, but it also had the fantasy elements that allowed a happy ending to be the right choice for what we saw the characters go through and the philosophy that carried us through the original trilogy.

Likewise it’s just... Peak as far as dynamics go. C-3PO the fussy metal butler who worries about Everything and R2-D2 who is the droid embodiment of YOLO? Flawless. Sassy scruffy space pirate and badass politician warrior princess bicker constantly, butt heads, drive each other crazy, and then fall in love? Iconic. (And has shaped my ship tastes for... all of eternity, oops.) The above-discussed transformation of Luke Skywalker, whiny ordinary teenage kid, to the truly great man who fulfills what Obi-Wan, Yoda, AND the rest of the entire Jedi order couldn’t manage to do, because of their own flaws and blind spots and black-and-white moral views that didn’t know what to do with a man who loved as passionately as Anakin Skywalker, for better or for worse? The guy who managed to save the galaxy with love? STAN.

So... what? The Disney trilogy decides to retcon all that, throw everything that they’ve fought for out the window, make Han, Leia, and Luke miserable and rejecting the roles they grew into in the original trilogy, and die without ever really reuniting or seeing each other again as a trio? The underlying message was that “these happy endings aren’t satisfactory/realistic/sophisticated enough” and idk, maybe it’s just the shitshow of the last few years, but I’d like to see some entertainment that had the cojones to tell me that despite all the darkness and despair, maybe there’s a chance for hope. (”Rebellions are built on hope,” thank you Only Valid New Star Wars Movie Rogue One.) And Rogue One worked so well, despite being utterly GUTTING as all the heroes died one by one, because we knew what was coming next (A New Hope) and that their sacrifice was going to be worth it. I don’t care if that’s “realistic” or not. As I’ve said before, that’s what stories are for, and if I only wanted things that were Real Life, I would only read the news. Besides, the idea that happy endings never happen in reality is equally bullshit. We as a culture need to accept that more, instead of finding reasons to tear everything down.

So just... yes. The original trilogy might have flaws, but also, it’s perfect. And do I want to rewatch it all now? Kinda.

(Anyway. I warned you this was gonna be long. Oh look, it’s long, and I’m sure there is even more I could say, but still. Ahem.)

sleepover weekend asks

#buffaluff #ask #star wars #long post

25 notes · View notes