#THE PAIRINGS WERE DECIDED BY THEMATIC SIMILARITY

[vengelark]

barbie bracket! round one

[kelparty]

My take on Homura's Pokémon team

(In depth explanation below the cut!)

Hello Tumblr, today I decided to make fan Pokémon teams for some characters I like, starting off with Homura because I'm in a spooky mood and she just *screams* dark type trainer. This is 100% self indulgent and I'm not sorry for it at all :] So here's my thought process on the making of this team!

1. Absol: The quintessential Homura Pokémon. A guardian angel who warns others about impending disasters? Who is frequently misjudged as dangerous by the very same people it's trying to help? They're literally the same. So for Homura's ace, Absol it is!

2. Gourgeist: This is based off of the cake song from Rebellion. More specifically, Homura's part. Each girl chooses a food item to call herself, relating to her actual character traits. There's a deep analysis to be made about all of them, but I'll focus on Homura for now. Homura is a pumpkin, because she's round, as in, "goes round in circles" - like Mami points out - in relation to her time travels, where she's quite literally going around in circles in a time loop. So I gave her the pumpkin mon, Gourgeist, as a nod to that.

3. Sableye: This one's a bit of a reach, but Sableye are characterized as being obsessed with gemstones. Our girl also has an obsession (with Madoka) so I think they'd get along well. Also, the mega uses a big gemstone as a shield on its arm, in a way that's visually similar to Homura's shield. And it's purple :D

4. Umbreon: I mean this one was mostly an aesthetic choice, but there's also something to be said about how a cute, friendly Eevee evolves into a frightening Umbreon, kinda like Homura undergoes a big transformation after starting the time loop. And since Madoka is frequently paired with Sylveon, they compliment each other nicely so it's a two for one deal.

5. Spiritomb: something about how Spiritomb's spirits are stuck in a (literal) cicle because of unresolved business when they were alive, just like Homura is stuck in a loop of her own making. And also, according to its dex entry, Spiritomb are made of 109 spirits, and Homura has canonically lived through 100 timelines at the start of the anime. Funny coincidence!

6. Malamar: This is a reference to Rebellion and how she was controlling everyone inside her labyrinth. Malamar's dex entry states that "anyone who falls under Malamar’s control loses their memories surrounding the event", which I just thought was very fitting.

So this my take on what Pokémon would fit Homura thematically. I had lots of fun making this analysis, and I hope I didn't miss many good choices. Feel free to tell me what changes you'd make :))

[so-called-yokai]

don't take drinks from strange men in bars. or do. i'm not your dad.

Okay, so this got a bit longer than I intended it to, but that's fine. It's also pretty open-ended at the, uh... end because this is -- and I cannot stress this enough -- not tcest, and I couldn't decide how to close it properly because it's 9am and I haven't slept yet. :D If the adhd allows, I'd like to write a couple follow-ups, one for each disaster twin.

(Inspired by this post by @khayalli [and written with her blessing!] because it's been living in my head rent-free for days now.)

NOT TCEST NOT TCEST NOT TCEST

The bass thumps heavily enough for Eshra to feel it in his bones, and he closes his eyes to let the music wash over him… and maybe to give his sensitive vision a break from the pulsing pink and purple and blue lights bathing the club, thematic though it is. He huffs a silent laugh to himself. Valentine's Day, and here he is, whiling away the night at a yokai nightclub. His date? The half-drunk, rainbow-hued, fruity concoction in front of him, handed over by the bartender when Eshra asked for 'the strongest, gayest thing you've got'.

Never let it be said that service around here was lacking. Even with his eyes closed, Eshra's pretty sure he can feel the room spinning a little, and he's only halfway done.

Something tingles at the edge of his senses then, and if he were just a little more sober, he might have recognized it as his trouble-sense pinging a bright red warning. He is not, however, so he just opens his eyes to find he's no longer alone at his little corner table with its semi-sheltering veil of decorative greenery.

Seated in front of him are a pair of men. No, turtles. Turtle-men? Eshra blinks once. Not even close to the weirdest thing he's seen in the Hidden City, so he brushes it off and takes them in more completely. They're about his own age, which surprises him a little, and share similar builds to each other: tall and broad across the shoulders, but not bulky like the meathead gargoyles that so often make a pass at him on nights like this. No, they're built in a way that makes Eshra's mouth water, although he'd never admit it. Not this early in the game. The one on the left -- the one with the crescent-shaped red markings over his eyes -- wears a fur-edged bomber jacket, a thick leather collar with a heart-shaped ring, and a blue bandana across his eyes. The one on the right also has a bandana, although his is purple and covers his entire head, on top of which is perched a pair of techy-looking goggles. The t-shirt he's got on looks like it's at least a size too small for him, and if that wasn't done on purpose, Eshra will eat his non-existent shoe.

Both turtles are sporting identical, slightly unnerving smirks, their eyes gleaming with a dangerous sort of mischief, and the blue one pushes a glass in Eshra's direction. It's glowing in a way that drinks should probably not be glowing, even down here, and Eshra flicks his eyes between it and its bestowers, lifting one brow ridge. His trouble-sense is blaring a klaxon now, but all that does is tell him that tonight might not be such a lost cause after all.

"Couldn't help but notice you lookin' a little lonely over here," Blue says, his voice smooth and his tone charming in a way that should probably be more alarming than it is. Purple says nothing, simply watching Eshra like a hungry predator, and the so-called-yokai feels a pleasant shiver go down his spine. He would happily let either one of them devour him, he decides, and so he leans forward, resting his elbows on the tabletop and lacing his fingers together so he can prop his chin on them. His lids drop low over his eyes, and under the table he flicks his tail forward to brush its feathery tuft against someone's leg. Purple jumps a little, and Eshra's muzzle curves into a smirk of its own.

"And you're offering to help with that," he coos, sweet as can be, his eyes darting between them. It's not a question.

"Thought we might," Blue replies. He's obviously the face-man of the pair… of brothers, Eshra realizes, subtly scenting the air. Their scents are similar in a way that suggests a biological relation, and he resists the urge to cluck his tongue in disappointment. No menage for him tonight. That's all right; either one of these decidedly untrustworthy turtles would be a treat all on his own.

Eshra shifts to rest his chin in his right palm, so he can reach for the glowing drink with his left hand, deliberately and not-at-all subtly letting his clawed fingers brush against Blue's, which are still resting on the rim of the glass. The turtles have three digits on their hands just like he does, he notes absently, unsure why that random little tidbit pleases him so much. It's not something to worry about, though, not when Blue's smirk spreads even wider at the contact, and not when Purple is suddenly watching him so intently that Eshra is sure his feathers will combust under the heat of that gaze. There's a challenge in their eyes.

Fuck it.

Eshra takes the drink and tosses it back inelegantly, uncaring that a few drops escape to slide down his chin and trace his throat. He can practically feel the turtles' gazes following the path of those glowing droplets, and he's pretty sure he hears one of them swallow thickly. Lowering his chin again, he brings one hand to it to wipe away a stray drop with his thumb, touching the pad with the tip of his tongue and never letting his eyes leave theirs.

It works fast, whatever was in that drink, sending heat racing along Eshra's veins until it pools low in his belly. He lifts his crest a few degrees in silent question -- not that it's a language either turtle can translate -- and can't help but give an all-over quiver. He knows they see it; Purple isn't even trying to hide his smug expression.

Suddenly it's like every sense is in overdrive. The music is a hungry, primal thing in his ears, and he's sure he can feel his heart pounding in rhythm with it. He can pick out every small detail he missed before on his first examination of the brothers: the creases in Blue's brow that belies that hasn't-a-care smirk, the large starburst-shaped scar peeking out from the top of Purple's bicep-length glove, the way both their teeth look sharper than he first guessed. He can smell sweat, cologne, motor oil, and something underneath all of it that he just knows will imprint itself on his brain, something intrinsically them. The heat in his gut is a living thing now, gripping him in iron talons, refusing to be denied.

Smoothly, because the game is still afoot and it wouldn't do to forfeit his position by tripping over his own feet, Eshra slides out of his chair and moves to stand near Purple's elbow, looking down at the both of them, letting them read the invitation in his eyes before he voices the question aloud.

"Your place or mine?"

[trendingdrama]

I most recently saw ‘Destined With You’ and ‘Doom at Your Service’ and loved both. I want to watch something that is more serious than silly and I’ve discovered that I really like the whole theme of love that exists beyond time or just love happening despite tragic circumstances. ‘While You Were Sleeping’ is probably my most favorite kdrama. If there are some kdramas you can think of that have similar vibes to those, I’d love to hear about them.

at the outset with time travel or past lives / tragic love...I just know a few ...

Mystic popup bar :

this is more of mix of part comedy , drama , romance ( sub sub plot) and action. Weol Ju (played by hwang jung eum) is a pop up restraunt owner who sets her food tent at night where both the dead and the living can grab a drink and she helps people appease their grudges / problemswith a special drink...( i am sorry this synopsis seems weird but give it a go you might like this :) )

2.Hotel del luna

i think this a mix of romcom , fantasy and horror. The story revolves aroung jang man wol ( played gorgeously by IU ) who is the owner of the hotel del luna (she is bound by curse to look after the hotel for dead and make easy passage for them to the nether world). Things start to be different for manwol once she hires goo chan sung as the assistant manager ....While this synopsis sounds boring it is far from it ... It does explore on some thematic aspects of ' resentment ' letting go and found family themes . Also since you said you liked while you were sleeping it's from the same directors that's an added bonus. Also cinematography and OSTs are my absolute favs...

3. Youth of May

this one not a fantasy but rather a sad romance melodrama.. but the directing acting the story was amazing . It revolves around old school romance of two strangers who met at the time of gwangju uprising. (And this drama made me look into south korean history ) It just gives you that nostalgia of what it is to be in love. Also because it is in the backdrop of a major event in sk history it does depicts deaths and cruel reality of the olden time. Anyway this was one of the best dramas i have watched ( please be ready with lots of tissues when watching this )

4. My dearest

Was released as a two part series with total of 21 episodes with each episodes were a art in itself , set in historical times of Qing invasion Yu Gil Chae is a pretty, bubbly, and a bit spoiled young lady who's called the 99 tailed fox of Neunggun-ri. She is also a bit of an outcast because other young ladies are jealous of her. They seem to think she's too straightforward and her behavior is inappropriate for a young lady, while young noblemen think highly of her. Gil Chae knows how to get men to fall for her but fails to capture the heart of the person she likes. Lee Jang Hyun is a mysterious man who suddenly appears in the Neunggun-ri social scene. Nobody really knows anything about him. Young nobles don't like him, but the elderly are wrapped around his finger. He's been dating around a lot, but he becomes curious about a certain 99 tailed fox, and one day, the said fox quite literally crash lands into his arms.

Once war is brewing, the pair finds themselves separated before they could even start to make sense of their feelings.

But the drama isn't just about their love it is much more than that it captivates it's viewers to empathize with emotions of ongoing war and how wthe invasion affects each and every character ( not just the main ) and the beautiful storytelling and the cinematography with added acting brilliance of nam goong min and ahn eunjin you keep yearning for more and more...

this is definitely the most serious one out of this lot.

JUST another rec of a not romance in fantasy but just a thriller fantasy drama that i am currently watching seems absolutely good

5. TOMORROW

Choi Joon Woong seeks a job, but it's hard for him to get hired. One night, he witnesses a man trying to end his life and decides to stop him. He gets acquainted with grim reapers Koo Ryeon and Im Ryoong Gu, who belong to a crisis management team. Their purpose is to prevent people from committing suicide. After Joon Woong ends up in a coma and becomes half-human and half-spirit, he is employed by a company of grim reapers as the newest member of the crisis management team.

other dramas: that fit love in tragic circumstances maybe :

queen for seven days

it's okay to not be okay ( tragic past )

extraordinary you ( not tragic but how love transcends two webtoons / two stories in fantasy based story where characters are in webtoon and one of the side character relaises THAT FACT !!)

it's okay that's love

[eternal-reverie]

I still need to do my khdr rewatch but I just wanna say ever since I first saw Baldr, I had a nagging feeling that he was someone potentially chaotic and then that came true…

but uh I just going to put this out there; I think there’s some potential he’s the Master of Masters.

OK HEAR ME OUT

Upon learning Baldr had a missing sister, my mind went immediately to the only other pair of siblings we know in the overall story: Lauriam and Strelitzia. Missing sisters meeting their tragic demises, which then torment their brothers into yielding into their dark impulses; thematic parallels done very much on purpose between khux and khdr.

Then I thought of how exactly siblings were involved in these circumstances. So Lauriam and Strelitzia were chosen as union leaders. Who decided that? MoM, when he gave the list to Ava. And it’s such a choice??? Like I spent hours thinking of why in the first place, and MoM probably had a good idea that darkness was going to infiltrate the dandelions (since it was looking over his shoulder while he wrote the book) so why did he choose to involve these family members other than to guarantee future events down the road? And honestly before Dark Road released, I thought that one of the reasons he brought them together for the task was cause…it would be a touching family reunion! Just a kind gesture. Perhaps something he wished would have been granted for him….He could never separate siblings after what he went through…as Baldr.

So if Baldr is the MoM, where he’s calmed down after the darkness possessing him vanquished, and with foresight about the events that led him to his end, he somehow becomes this master figure with a unique hatred and fear towards darkness, then leads his other fallen classmates as the foretellers.

My large leap in this logic is that kh is not the type of series to let characters go that easily. And with so many new characters introduced in Dark Road, I simply cannot believe that we saw the last of them. I think the most likely way we’ll see a lot of them again is when the foretellers are inevitably unmasked; a restoration to their original identities that were obscured by the abstract aspects and roles that only served to the seal darknesses away within themselves (similar to how defeated organization members were restored their humanity and original names.)

and you know!!!! we would be so shocked if we point out Urd, Hermod, or whoever on the screen after a foreteller’s true identity is revealed in kh4?!? “False lights” and all, I think it makes sense that Baldr, named for the Norse mythology god of light, who’s such a character driven to extremes, could have his moral pendulum swung so hard the opposite way to enact all of this. This whole risky plan is just his attempt at redemption and saving everyone he hurt in the most drawn out way possible so much suffering for literally everyone in the story so far like holy crap I hope it’s worth it??? Sora help

tl;dr Baldr could be MoM because of the cinematic parallels between the pairs of siblings in khuxdr; speculating why the MoM had both Strelitzia and Lauriam chosen as union leaders and if he has a soft spot for family???

[riveriafalll]

Oh also for the Harry Potter and the Job he should have gotten fic I was wondering how you decided on the romantic pairings cause a couple of them are different from nttd & I was curious as to whether there was anything thematic about them as well/ why this version of them would work well

hope you're having a good day, apologies for the barrage of asks haha

🍁anon

Oh! The romantic pairings weren't actually my idea - my beloved beta @once-and-future-fandoms who is more moral support than editing help ehehehe, kinda fell in love with nttd!Theo and Pansy, and really shipped Harry and Theo (notter canon was written across the doc a lotttt), and they also adored Panmione canon (actually they wanted thronmione canon, Theo/hermione/ron/pansy, but I needed to do otherwise for plot)

Since NTTD had already established its main pairings, and id tagged half of them, I couldn’t add in the canon Once wanted for NTTD, so I decided to write a fic specifically with those pairings. When I’d decided that, I then needed an actual plot - the summary was actually what came to me first, usually I struggle massively with summaries and write the fic first, but here, the summary occurred to me first.

Personally, I think that Harry is over his Draco crush - he definitely had one, and it was a big part of him understanding his bisexuality (that’s a lie, he still doesn’t), but Theo is such an enigmatic character, who is kind and understanding but fiery and incredibly smart and just a hint of arrogance, that Harry is drawn to him.

For Pansy and Hermione, Hermione is still crushed over losing Ron, despite knowing it was for the best and being half the driving force for the divorce, while Pansy is so sick of being the proper Pureblood wife, that they gravitate towards each other at first to complain about how shitty men are, then the fact that they both were pushed into being the mum friend and the responsible one and finally they realise how similar they are, and that they really get along.

For Draco, I’m writing his marriage with Astoria to be of utter devotion. He adored his wife, he thought that she was the most beautiful, elegant, strong, fierce woman in existence, and he worked hard every day to be the husband and the man that she deserved. Even six years after she’s died, while he isn’t stuck in grief or dealing with it unhealthily, he’s still so in love with her that the idea of anyone else is impossible. Dracos story is about finding friends, rather than love, and that despite what people say, his children don’t need a new mother.

Never worry about asking lots of stuff at once!!!! Fan interactions really make my day, and I love to hear them!!!

Edit: I thought I posted this???? It was in my drafts, but I could have sworn I posted!!!

[permanentclawgrip]

okay this was originally part of my roommate rant post but imma do it separately because its more of a critique of a mindset:

I do not understand rapid completionist collecting culture

i know what youre saying, "eve, what the fuck are you talking about that makes no sense" let me explain

theres probably a proper term for it but I've noticed a worrying trend specifically in online spaces recently of rapid completionist collecting culture. basically a subculture of wider collectors which focuses on the attainment of a "complete collection" as fast as possible and often with a disregard for the actual content of what they are collecting. i have seen posts about this in comic collecting forums. ive seen similar kinds of posts on video game forums. my experience with it has been through my roommate though, who i will kind of vaguepost about (nothing new for this blog tho).

My roommate, who we'll call Adam (not his real name) for the sake of brevity, has a real strange relationship with these cultures. I first noticed it soon after i moved in with him, when he decided to watch every publicly available tv show and movie that marvel has made,,, ever,,, including every ,,, single ,,, saturday ,,, morning ,,, cartoon. this small feat took months. all catalogued in a nice tidy spreadsheet noting the runtime of them, the episode count of the shows, which storylines were adapted (iirc), and his overall rating (again iirc). this was not a months long project because oh he only watched an episode or two a day, no not at all. i would leave for work with some x-men cartoon playing in our living room and come home to fantastic 4 playing instead. every day. hours upon hours. it was not a simple, "oh one day ill watch them all eventually". it was a dedicated marathon of back to back to back marvel. it honestly completely burnt me out on all things superhero just being in proximity to it.

so what is there to take from this? "let people like stuff!" "its just a show why are you so mad?" well its hard to put my finger on it to be honest without sounding pretentious or hyperbolic. ill try my best...

in just a second...

first lets get pretentious!

i personally find this style of engaging with content to be very shallow. ive always kind of had a bone to pick with background watching, having a show on while doing some other task, but this is different. while background watching is annoying imo, most of the time people are doing so with shows that are kind of built for that (think sitcoms or light dramas) where you can kind of tune in and tune out on a whim and the point is more on the other activity that the show is the background stimulation for (i.e. homework, sewing, cooking, hanging with friends, etc.). in short, when background watching, the point is not to really watch the show. so that should be the polar opposite to what my friend was doing, right? nope! all these stats and all this time, just to usually be playing destiny or scrolling through DiscussingFilms' twitter posts for most of it. this is a recipe for not really getting anything from these shows.

secondly, the binge model is kind of horrible for story engagement or thematic understanding. there are very few stories in long form media which adapt well to binging. it has been discussed before, so im not going to re-litigate those arguments here, but suffice to say that binging is bad actually. pair that with these shows mostly being background fodder and it just strikes me as profoundly pointless.

Maybe I just have different wants from my media than others, but i usually like my media to have a point beyond just "it looks cool" or "it belongs to an ip i like". spin offs dont really excite me unless theres a reason for it to exist beyond just "hey look at this cool side character! guess what? theyre a main character now!" yes a lot of good stuff has come from "spin off" series (look at puss in boots: the last wish as just one example), but their mere existence will never excite me. i prefer to really watch movies or tv shows that im interested in: dim the lights, grab some popcorn, and set aside time to really engross myself in every detail. its not for every show and it is a little time consuming, but the depth in every piece of art that you learn to see is so worth it. but maybe thats not everyone priority.

okay now lets get hyperbolic!

im not going to sugar coat this and itll sound weird, but i see a lot of similarities between this kind of hyper obsessive yet shallow fixation and some very very disgusting subcultures online. and i dont mean that because i dont understand them. i mean that because i am sadly referencing many of the boys and young men who fall down the alt-right pipeline through porn fixation. if you do not know what i am talking about, youll have to trust me on this because i do not think that anyone should look these things up on their own because good god every trigger warning possible applies if you look at some of these peoples accounts. they make my stomach churn and i am pretty resilient to things. basically for those who dont know, what im referring to is a subculture of predominantly young men who become obsessed with porn and porn stars to the point that it is all they can think about. if this is giving hints of incels, it should because the venn diagram is actually just a smaller circle within a larger circle. their obsession and incel nature leads them to the expected political and social beliefs: misogyny, transphobia, grooming, forced marriage, etc. truly some of the worst humans.

now is this a leap? admittedly yes. but i dont think the comparison isnt without merit. the initial actions are the same and both lead to heavy levels of social isolation. sure you have your in group that understands every reference you make, but beyond them, you become stunted. that social isolation is the most dangerous fuel for a man to have.

overall thesis

i could write at length about this topic (and who knows i might one day) but ill keep it brief for now. in short, this trend of hyper obsessive binging that ive seen is extremely confusing to me at best and potentially dangerous at worst. i wish i had a way to break people's habits with this kind of thing but sadly i do not know how.

[arumaru]

Why does fandom sometimes ship Kris with Berdly?

I saw this being asked on Reddit, and was curious to see what tumblr thought. From an outsider’s perspective, three things come to mind. In combination, I think it sort of explains why the ship exists in the first place:

Like a few people have mentioned, Kris and Berdly both like videogames, and dialogue from the game suggests that they've played videogames together in the past. It's possible that prior to the events of Deltarune, they were friends (or at least friendly acquaintances).

So far, the main four Lightner characters are Kris, Susie, Noelle, and Berdly. A lot of people ship Susie with Noelle (in accordance with what current canon suggests will be true), which leaves Kris and Berdly as the only other two "main" Lightner characters without a match. "Pairing the Spares" is a popular fandom trope, so I wasn't surprised to see people pairing Kris with Berdly. 

There's a few random canon details that by complete accident, are thematically convenient for a lot of ship artists and fanfic authors. Kris's soul (or heart) is trapped inside a birdcage at the end of Chapter 1. In the Dark World, Kris's skin becomes a bright shade of blue. Additionally, both Kris and Berdly take on a similar knightly, silver armour look (that is particularly interesting considering that Kris and Berdly are the only two Lightner characters who have "attempted" to open a Dark World). In Berdly's case, it's played off as a joke before Ralsei intervenes, but the knightly aesthetic is still shared between the two. Lastly, fandom speculation over Kris's endgame story arc centers around Kris escaping the Player's control. In canon, Berdly's arc contains a similar theme, with him falling under Queen's control and ripping out his plug (what does that remind us of?) after he decides that he no longer wants to cause any more harm to his friends.

Overall, I really enjoy some of the fanart and fics out there, even if I don’t ship it myself. I think it’s funny, and most people are probably riding on it for the humour as well. However, after looking into some of the other stuff out there, I think that the reason people pair the two characters together (just in general) is because it FEELS like there's a story to be told there. 

At least those are my two cents on it.

[supersquiddy]

Correct me if I’m wrong, but did the movie basically say Kaworu’s fixation on Shinji was “wrong” and then have Shinji get with Mari and Kaworu get with Rei at the end? I don’t get why they put so many romantic connotations in kawoshin just to say homo bad, het good.

Hi! For me personally, I saw things a bit different. Yes, Kaworu did say he misunderstood Shinji's happiness. Yes, Kaji said that it was Kaworu's happiness Kaworu wanted. But he also said that Kaworu wanted Shinji's happiness to make himself happy. I don't think this is necessarily a condemnation of Kaworu's actions. It seems like if Shinji was happy, he was happy, he just had to make Shinji happy. But he didn't know how. He assumed what Shinji needed to be happy. And yes, it is wrong to assume what someone needs, but Kaworu really doesn't know what else to do. From my understanding, in 3.33, Kaworu's understanding of what Shinji needed to be happy was that Shinji needed to pilot again. They needed the spears to reverse the damage Shinji did to the world. However, things didn't go as planned. It was actually a trap. Kaworu thought Shinji's happiness would be found in an Eva again but he was wrong. That's why in 3+1, Kaworu apologizes to Shinji about misunderstanding his happiness when Evas were brought up.

And it's a lot like real life, some people want to help another person but they don't ask the person what they really need. They just do what they think is right for the person. They are wrong but they aren't bad people (usually) for it.

Personal example: I have a friend who I love to bits. He's pretty much the Shinji to my Kaworu (platonically.) There have be plenty of times when I felt so similar to him. (The "I'm you. I'm just like you." line from Kaworu hit me so hard cause I thought about how I felt about my friend.) I'm always trying to help him, trying my best to help him be happy because that makes me happy to. Especially since I feel so similar to him, it's like I'm giving myself the help I never got. But oftentimes, I project my own ideas of what it means to be happy on him instead of concidering what he wants. It isn't out of malicious intent, it's just comes from the strong desire to help him. But it isn't right. So Kaworu's scene hit home to me and I got it cause I experienced it in a way.

I personally don't think that since the movie said he misunderstood what Shinji wanted, doesn't necessarily mean he was a bad person. I think the movie was just trying to flaw him like all the other characters since Kaworu is, compared to the main cast, pretty flawless. However I wish they did a better job since I've seen many people disappointed or confused about this choice. I wasn't bothered by it at all because I related to it. Hopefully my rambles make sense to you!

Now to address the other part of your ask! What was that ending? To keep it short, I believe that these "pairings" aren't set in stone. Mari and Shinji did flirt with each other but does that 100% mean they are dating? Not exactly. Rei and Kaworu were seen standing and talking next to each other, does that mean they are dating? Not exactly. One thing I've noticed that is sometimes lost in online discussion is interpretation. Not everything we watch has a set meaning. You and I can watch the same thing and have wildly different takes from it, and that's perfectly fine. Everyone won't always agree what they feel or think a piece of media has to say. As far as I know, Anno did not come out and confirm it himself that Shinji and Mari are dating and that Kaworu and Rei are dating. So it's all up to how you interpret their relationship. Some might see it as purely romantic, some might see it as purely platonic, they are both interpretations that can work. I think it's interesting at least that Shinji and Mari are shown on one side of the track. While Askua, Kaworu, and Rei are shown on the other. They are all, I asume, dead. But Mari was able to retrieve Shinji. So it's the classic one side has the living, the other side of the tracks have the dead visualization. I have nowhere to go with that but I just wanted to point it out.

I find it also interesting that they showed Kaworu and Rei next to each other. This movie compared Kaworu to Gendo. Kaworu is determined to make Shinji happy just as much as Gendo is determined to see Yui again, and they both fail to make things go as planned. So very interesting things can be taken from seeing Kaworu and Rei together. Since they are representations of Shinji's parents, they could be dating. (I don't believe that but I'm trying to show that things can be interpreted in different ways.) Or, if you want to go the more "deep route", they are important halves to Shinji's whole. Kind of like you are half one of your parents and half the other. (Very lose explainion of genetics but you see what I'm saying???) I'm not saying that they literally ARE his parents, but are halves of Shinji similar to how one is "half" their parents. Think about in EOE. First when Kaworu was another part of giant Rei. And then that part where Rei and Kaworu were with Shinji, helping him decide between humanity and Instrumentality. Shinji asks "what are the two of you within my heart?" Rei responds that "We are the hope that people will one day be able to understand each other." And Kaworu says "We are the words, "I love you."" Shinji just wanted to be understood and loved. However, Shinji says it is just a pretense, just a claim. But that isn't important to dive into for the point I'm making. Kaworu and Rei are reflections of what Shinji desires. And it's a decent thematic choice to have them resemble his parents in 3+1 the since they are halves of Shinji's heart that makes up his whole. Shinji's WHOLE character is driven by the desire to understand, but how? He is driven to be loved, but how? Kaworu and Rei reflect that.

All of that to say that there are a lot of things you can take from just the little bit of information. I wasn't fond of the ending but it didn't make me feel like the movie was saying that straight was good and gay was bad. HOWEVER, I do not fault you at all for seeing it like that. Because, on the surface it really does look like that....it really does. Both Kaworu and Mari are queer coded and seemly put in het relationships. But in Evangelion, things aren't always what they look on the surface. There is so much you can take from one scene, there are different ways to read what you're presented. I can't pretend to know Anno and his intentions for the Rebuilds, especially this one, but I don't believe he wanted things to be so cut and dry.

As you can see, I'm very passionate about this!!! Hopefully what I said made a lick of sense. And if not, please Anon ask me to clarify some things. Or maybe you want to challenge what I said! Which is cool too. Eva is a series I really love and I learned quickly that you got to realize that not everything is as it seems in the show.

I'll leave you with this: Remember that Kaworu and Shinji's names are written in the Book of Life. They are bound to meet each other over and over again. Being linked that way is pretty romantic. I'm with you Anon, kawoshin has so much potential that was seemingly shattered by this movie. But there are still some beautiful albeit brief moments between the two.

[sanjiafsincedayone]

Why SaNa over other ships?

Now, this is not to hate on other ships or downplay them, because what shipping really comes down to is often simply preference. What characters or dynamics you enjoy and what reasons you might have for liking different things. 

No, this is simply my own reasons for why I like SaNa and also why I think they could make sense and thirdly why it’s possible Oda could be setting it up to actually happen in canon. It’s all just my views and I apologize if I forget a moment or add something that is more head canon, but again, this is my reasons and they will always be partially biased. (And there are too many to remember them all properly, so if you want to add feel welcome to do so.)

I think Sanji and Nami is a lovely ship even based just on fan content and the community. But we also get some great moments in the manga, and I personally think there is potential for Oda to make an actual romance work between them.

1. Why I like Sanji and Nami

I personally fell in love with Sanji before I even started to watch or read One Piece, simply based on his voice actor (Hiroaki Hirata), his design and his fighting style. So obviously I already have a bias towards Sanji (SanjiAFsincedayone having a bias towards Sanji? Who knew?). I didn’t ship Sanji with Nami from the start and even now I am a multi shipper who enjoys fan content with Sanji as a main part of several pairs, most prominently ZoSan.

So, when did I fall for SaNa then? Well, I have talked about it in various posts before which you can find in my Masterpost - SanjiAFsincedayone, but for me shipping Sanji and Nami more seriously didn’t start until Thriller Bark. 

Sanji took a knife in the back for her as she is dressed in a wedding dress, even this one scene is enough to explain why someone might like to ship them together.

I for sure saw many SaNa moments before that, and felt Nami seemed special to Sanji, but I didn’t think it would have a big chance of happening and I preferred other ships above it when consuming fan material. Again, shipping is after all mostly fantasy and wanting more of something in a romantic/sexual way. Thriller Bark was when Sanji and Nami’s interactions caught my attention properly and I started to look a bit closer and actually note the way Oda wrote them and their moments. Going back after and rereading I think there is a lot of interesting things even before that. But the wedding theme and bridal carry and how Oda showed them in Thriller Bark was just too on the nose to ignore.

What got me into shipping Sanji with Nami were mainly three things. 

1. Their dynamics getting more interesting over time and Sanji and Nami being two of the most well written and interesting characters in One Piece. 2. Sanji consistently seeming to have a preference for Nami in combination with my belief that he is after true love and isn’t just a pervert forever doomed to be alone. 3.  The manga showing the potential of it actually happening and them finally catching my attention in Thriller Bark. Basically there are moments to follow and look at in the actual story as well, which in turn also leads to more fan content and material for shippers.

So point 1 and 2 really is mostly about my preference and how much I enjoy watching them together and how well I imagine they would fit together. I think their personalities and desires overlap well with them being able to understand and compromise for each other while aslo being on a similar level of intelligence and communication. They also have their kindness and empathy as a highlighted shared theme for their characters.

Them talking about the Children in Punk Hazard or Sanji helping Nami turn in the argument between both Luffy and Vivi and Luffy and Usopp are some examples. Or Nami letting Sanji smoke in her body because she knows how hard it is for him. Small gestures like this show both understanding and a willingness to compromise.

I think they are fun and have a relationship that right now might need working on, but it’s clear how much they care for each other and how they actually appriciate each other a lot.

Simply put I think they are interesting together and I think they could work as a romantic couple in the future, where their dreams and family oriented views migh allign. Again, from how I view them as characters and interpret their wants and possible futures I think Sanji and Nami is a good match. They can have a restaurant either traveling the world or docked close to both Cocoyashi and Zeff, Nami can tend to her mikans together with Sanji and they can manage a restaurant for a living. I also think they are the most parental members in the crew and has shown some possible signs of wanting to settle down with families. This would also work well as a final contrast to their less than happy childhoods (You might also want to check out my post (Part 3) Sanji x Nami hints - Thematic parallels).

There is a lot of potential in their dynamics and how different they seem while they also seem willing to adapt and try to understand each other that make them interesting as characters of romantic plots. At the same time they have enough in common to relate to each other and work well together. Again, as a fictional ship within the fandom there is a lot of great artists, writers etc. that truly explore them and make Sanji and Nami a great and fun ship with an active fandom to engage with.

Of course there are more shallow reasons like them matching in age and being good-looking but really I could ship Sanji with almost any woman if it was only about the looks. I mean, Purin is basically made to be a perfect match for Sanji, but I personally find his dynamic with Nami much more interesting and his dedication to Nami is of course unpraralleled thanks to the time Oda has spent on them over many years.

I love Sanji and Nami as individual characters and with the amount of moments between them there is also a lot to explore and enjoy in the manga. It makes them interesting in a third aspect for me, which is of course analysis and the potential of them actually ending up together and looking closer at the way Oda writes them from a story perspective. For me what we have gotten from Oda in terms of Sanji x Nami moments is very interesting and I see potential there even though it would need more development to truly work for the current story.

But, again shipping doesn’t have to mean anything for the actual story... There are crack ships or slash ships that surely will never happen but that could still be great and fun to explore for the fans. Honestly, everyone is free to ship whatever they want. We all have different taste after all.

So, what about the manga then? 

2. Why do I think they could make sense as a romantic couple even in canon?

First, my own view is that Sanji is someone who seeks true love, and as briefly shown with both Violet and Purin it seems like he would take an actual relationship seriously if given the chance. I also think it would make him happy and thus as Oda might want to create happy resolutions for the strawhats I think Sanji ending up with someone has quite a big chance of happening. This is combination with his preference for Nami and in turn Nami truly caring for him (though not yet in a romantic way) is something that makes me think it could happen. Other ships have potential too depending on how Oda decides to develop them, but considering how he keeps adding moments for SaNa in the way he does as of now I still think SaNa is the most likely ship for Sanji.

As I mentioned earlier I also think Nami has shown some possible inclinations for wanting a family (or at least being a great mother if we look at her with children in many arc, not the least Punk Hazard) and maybe even getting married eventually. 

If she ends up with someone we will need to see a more obvious attraction and want for romance from her no matter what ship we might consider. She has at this point not shown a lot, but I do think the thematic parallels she shares with Sanji in combination with how their moments are written has the potential to grow into something more. 

As a romantic pair I think Sanji and Nami would be happy, he would adore her and take care of her and both of them would probably find that ideal. In fact it’s already a big part of their dynamics and seem to make them both happy. They also seem to try to understand and show interest in knowing each other as seen with several scenes and general attention towards each other’s backstories. They also challange each other in different ways and we have seen them compromise a few times. I think compared to many other relationship in the manga Oda has shown more personal moments between them. So a romantic additional aspect is not too far off. Not that Oda would make it happen now, but that he would lay down the groundwork for it to work by the end of the series.

In short I think they would make each other happy, but also challange and grow thanks to the other. I think their dreams of traveling the world with Nami drawing her map and Sanji cooking on all the seas and finding All Blue and then settiling down together close to both their “homes” in East Blue with a restaurant and family seems to fit them both. It wouldn’t always be easy, but I think they would actually enjoy their dynamics with Nami bossing Sanji around most of the time.

Now this all sounds nice and all, but it’s of course just my imagination based on biased interpretations of the manga. So where do I get it from?

3. The way SaNa is portrayed by Oda

Now this is really the biggest point... Because again, I can ship whatever characters I want and it is just for fun. It doesn’t have to happen for me to enjoy it or I wouldn’t ship Sanji with Zoro. But with Sanji and Nami there are legit reasons in addition to my preference that makes me think it could happen in the manga.

It might take years to actually go through it all in order with my additional interpretations, but I will try to go through the basics themes and moments that to me could indicate SaNa over any other Sanji or Namji ship.

I think the obvious thing to talk about first is simply how Sanji definitely has a romantic (and sexual) interest in Nami. No matter what other character you might see with either of them, this has been shown consistantly over the whole manga. You may argue that Sanji might be interested in others equally, and though I wouldn’t agree it’s a fair point. However from a story perspective it would still need to be resolved. It’s highly unlikely for Nami to end up with anyone unless Sanji ends up with someone else and gets a happy ending too.

As for Sanji’s interest in Nami I personally think Oda has paid a lot of attention to it in a way that makes it the most likely ship for Sanji. He might yet add moments between other ships and develop them (most notably San/Pu of course), but in my opinion the way Oda has added Nami in other potential romantic moments with Sanji it seems Nami is above every other woman so far.

Most importantly I think we have seen: 

Sanji leave Violet who actually seemed to show interest in him to run off to save Nami (and the crew, but the point is that Oda chose to highlight and add this moment with focus on Nami to begin with).

Sanji being more focused on Nami even when Vivi and Robin has been on the ship or at the same place. Oda definitely puts Sanji with Nami above other women at least in amount of moments and involvment.

Sanji being very concerned with Nami in front of Purin and being shown happy with her (the bridal carry for example) and saying he loves her right in front of Purin.

Sanji having stronger reactions to Nami than other women. This could just be my way of seeing it, but I do think we have seen the strongest reactions from Sanji when it comes to Nami. Not the least with turning into a literal devil when he heard she was kidnapped by Absalom. For example compare Sanji rushing after Nami in both Skypiea and Thriller Bark even to him going after Robin. Or his reaction to Nami getting sick in Drum. We simply have a lot of strong reactions from Sanji towards Nami in different ways and more importantly Oda seeming to add focus on them. 

We also have him reacting to things like “women’s tears” or calls but only indicating Nami might be calling him personally. For example Sanji hearing Tashigi cry or saying he trusts Violet or Robin even though they are lying but for Nami adding things like “I think I heard Nami call out for me” or moments like “I leave my Nami to you”. Basically the way Oda writes it there often seems to be added a more personal stake in Sanji’s reactions and moments with Nami compared to with other women.

So from Sanji’s point of view, and the way Oda has written them so far, I think he puts Nami above every other woman. But more importantly, Oda shows us moments between them that he doesn’t add for other ships as consistantly or in romantic looking ways. Keep in mind that both Nami and Sanji are main characters, but they are not Luffy. Oda choosing to not use Luffy (who will obviously have strong moments with all of his nakama, like how he had his own time with Sanji both in Baratie and WCI) for some of these moments but rather insert Sanji or Nami instead for each other’s stories makes it more relevant. Because it’s not an obvious choice in the same way. It’s a choice based on their characters and dynamics within the world, not because of their roles as main hero or heroine. Here are some examples.

1. Their first meeting. Sanji is for the first time seen in love cook mode and he basically seem ready to leave everything behind for Nami. Right away his reaction to Nami is stronger than what we have seen from him and it seems to hold true even with time.

2. SaNa having interest and plot relevance to each other’s back stories. Sanji getting involved with hearing Nami’s back story and saving his sister.  Also, calling her “sister” which indicates a platonic familiarity where he puts Nami above Nojiko romantically (yes, despite flirting some with her). Nami in turn also getting involved and showing interest in Sanji’s backstory, pushing to go with Luffy to save Sanji and being the one to remind us of Sanji’s past and character traits.

3. Sanji getting personally tantalized by using Nami. This has happened several times, the first with Kuroobi in Arlong Park, but also with Mr. 2 in Alabasta, Absalom in Thriller Bark and then in Fishman Island (Zou too, but that wasn’t just Nami) and on Zou. You can check my post (thought not updated fully) Sanji and Nami – Fights and danger for a more detailed view. (Even in movies like Strong World Sanji has a direct talk with Shiki about Nami and it seems most people are aware of Sanji being extra sensitive to Nami.)

4. Sanji asking Nami if she is jealous or if she loves him, indicating again that he is interested to know is she is interested in him. Once even responding “I love you too”. In general Nami responding in these situations in a more “positive way” or Oda showing Sanji interpreting her actions as more romantic. For example the “proposal” or the hug in WCI.

5. Romantic looking moments or themes. Now this is of couse not something that has been done mutually between them and thus aren’t actually romantic scenes. But the tropes and common use for many of the things that Oda has chosen to use for Sanji and Nami are romantic in nature. Of course the two forced marriages are the strongest examples with them rescuing each other from getting married to someone else. But we also have the switch body trope, the slap and of course smaller gestures like the bridal carries or the way Oda drew the hug between them in WCI. I am not saying that SaNa is the only ship with romantic looking moments, because San/Pu And San/Violet obviously has some as well. However, considering the amount SaNa moments and the fact that he has left Violet and Purin in particular for Nami seems to make the SaNa moments trump any other ship. At least for me personally SaNa as it is now and as Oda has portrayed it in comparison to other Sanji ships gets in the way of Sanji ending up with someone else unless Oda starts to make some changes.

I want to make some emphasis on how Nami and Sanji seem to get some “bigger” moments between them in almost every arc. Again, compare this to Sanji with other women, or even Nami with other crew members.

Baratie - Their first meeting and Sanji’s reaction to Nami and interest gets focus. Arlong Park - Sanji shows interest in Nami’s past and Kuroobi mocks Sanji by specfically mentioning Nami. ( Loguetown Arc, Reverse Mountain Arc, Whiskey Peak Arc and Little Garden mostly have small moments, like Sanji asking if Nami is jealous or Sanji giving Nami his jacket.) Drum Island - Nami is sick and we see Sanji worry and care for her and in the end even sacrificing himself for her. Nami worries about him too. Alabasta - Sanji fighting Mr. 2 looking like Nami and lots of small moments like Sanji asking Nami if she loves him.

Jaya - Nami showing interest in Sanji’s back story. Small things like Nami hiding for the bugs behind Sanji or Sanji. Skypiea - Sanji being hell-bent of saving Nami and making the others look for her. Then him saving Nami and Usopp from Enel and Nami being worried in return. (Both times Sanji gets hit by Enel Nami is there and worries.) Then a lot of small moments like him giving her a flower and Nami pulling Sanji’s ear for flirting with Conis. Long Ring Long Land - Nami encourage Sanji be the ball and win, but mostly small moments like Sanji getting annoyed with Aokiji for flirting with Nami or him sitting next to her and trying to kiss her. Water 7 - Sanji leaving his love letter to Nami and Nami being worried for (and impressed with) Sanji. Enies Lobby - Sanji losing against a woman, Nami being understanding and then stepping in to basically revenge him. Also Sanji hearing it as Nami loving him and then him showing up to save Nami and Usopp from Jyabura.

Post-Enies Lobby - Not much, but Sanji stepping in to make Nami and Zoro stop fighting and make Nami understand Zoro’s pov. Thriller Bark - Sanji just being extremely focused on Nami and worried about her throughout the whole arc. Also him getting specifically selected by Luffy to save Nami. Of course the wedding theme with the bridal carry and Sanji’s reaction to Nami. Also Sanji’s Zombie protecting Nami (and later kicking Robin) and his “obsession with Nami” being mentioned. Sabaody Archipelago - Another smaller arc, but we do get Nami worried about Sanji possibly drowning. And smaller moments like Sanji being angry for Nami being put in danger by the Fishman Riders or him telling Franky to take care of Nami as he runs to protect Zoro. When they return we of course also get the nosebleeds, and Sanji daydreaming about Nami’s development.

Fishman Island - Sanji’s reaction to Jinbei and Arlong. Also the fishmen pointing out that Nami might be their weakness due to Sanji’s “over reaction“ to her falling. Punk Hazard - The body swtich, Sanji’s body saving Nami and Sanji being careful with not hurting her etc. Also them working together to save the children, Sanji listening to Nami’s request and saying he loves her more because of her kindness. Also small things like Sanji giving his jacket to Nami again. Dressrosa - Sanji leaving Violet behind to save Nami, insisting that he should be the one to save her and then him getting attacked by Doflamingo and Nami getting worried and not wanting to leave him. Sanji basically tries to sacrifice himself for Nami for the 4th time (Drum, Skypiea x2, also maybe in Thriller Bark). Zou - We get a lot of focus on Nami and Sanji together, and then of course when Sanji is gone Nami is the driving force for his plot. Once again Nami is also used to taunt Sanji (inside Capone). Then Nami is both the one to mention Sanji being from North Blue and to listen to Pekom’s talk about his family. Not to mention her insisting on going with Luffy to WCI and having a fight with Zoro as she defends Sanji. Whole Cake Island - The way she pushes for them to find Sanji, her hapiness when they find him and her hurt and the slap. We even get something like Nami being tantalized with Sanji by both Purin and Brulee. The only strawhat besides Luffy who gets a personal story thread with Sanji and a personal resolution for their conflict is Nami. The tension seems personal and combined with Sanji having another love interest but choosing Nami above her it does seem like Nami is the more natural choice both for Sanji and for Oda. 

There is also a distinct increase in romantic-looking moments between them, with them touching more than ever before.

Wano - Even after WCI it doesn’t seem like Oda is stopping the SaNa moments. Sanji manages to save and carry Nami three times in the beginning of Wano. On top of that we have the bath scene and of course a lot of small moments and mentions between them like Sanji asking Usopp to take care of “My Nami-san” or Sanji jumping in abobe Nami to save her from arrows. 

How many times have we had Sanji be the one to go after Nami or save her? By his own choice, by being the one present or even by Luffy asking Sanji to go. Oda puts Sanji next to Nami a lot, and I think it’s possible he might be doing it for a reason.

Who knows what we might get, but the fact that we have as much as we do really seems to show Oda having a preference to put them together in various ways.

The point is they have a lot of time and moments dedicated to them from Oda despite them both being secondary characters. At this point it’s possible Sanji is the person Nami has moments with the most in the story besides Luffy (and perhaps Usopp) as they often end up together. Of course this is including them thinking about and talking about each other as well, and not just direct interacting. For example counting the body switch and Nami being worried and focused on Sanji while on Zou. Oda doesn’t have to, but he has chosen to write it like this. On top of that he adds romantic interest from Sanji and romantic looking moments between them.

I could go on, and there are plenty of moments and examples to find between Nami and Sanji that are interesting to look a bit deeper at. You can check out my Masterpost - SanjiAFsincedayone for some of them. But as it is now here are the main points for why I think SaNa at least has a bigger chance to happen than other ships with the two of them as it is now.

One-sided attraction and romantic interest from Sanji’s side that needs to be resolved in one way or another.

Nami seems special to Sanji. Even small things like only using -san for her and -chan for others is a detail that makes her stand out to him.

Great involvement in each other’s stories. Oda likes adding Sanji and Nami in moments together both for interaction and explenation about each other. For example Sanji is also often used to save Nami.

Interactions of understanding and changing dynamics between the two, like them compromising for each other or wanting to know about the other’s past. Matching personalities and a possible future.

Romantic themes and moments, mainly the weddings, but also the amount of times Sanji has saved Nami and things like the hug being drawn in a very romantic looking way with Nami being more focused on.

Tension and urgency. This is basically Sanji and Nami having a lot of focus on each other in dire situations and Oda showing it with specific mentions.

So, to summarize, I like Sanji and Nami both as indvidual characters and together. I enjoy them as a ship and to explore their dynamics in a romantic way no matter what they might end up as in the story. Anyone should be able to respect that people have different preferences. Additionally I think and speculate that they would work well and could happen in the manga as well. This is obviously a biased interpretation and opinion. 

I might be wrong, but you should be able to respect that too as we have yet to get anything objectivly confirming any ship. We don’t know if any ship with end up canon at all. Maybe Sanji and Nami will remain a ship that never becomes canon, but even so they are a ship that is definitely worth enjoying.

I hope you found this post interesting and can enjoy your own ship and fandom while also seeing that it’s ok for others to like something different than you. Thanks for reading.

[ranboooooooo]

written before session 6

soulmate pairings in double life: which ones, if in a cohesive narrative with themes and character arcs, should win or lose:

(be warned i havent actually watched every pov so)

rancher duo: win. if i were telling the story with them as the main characters, it would be about hope and working together in the face of adversary as well as forging your own path in life and beating fate. with the whole canary-coal mine metaphor they’ve got, the story would frame them as destined to die. therefore, them cooperating and choosing to focus on the positives in their lives and then beating fate would be the most narratively satisfying ending for them

impulse/bdubs: lose. their choice to cause discord and rifts in other peoples relationships is the perfect set up for a karmic end. their lies being the reason that they died would be satisfying and more thematic then them winning.

desert duo: neither? i would end their story before it got to the end. In my mind, their story in double life is best looked at through a lens of regret, guilt, and forgiveness. i would continue their story from the previous games: grian, after killing scar in third life, was too guilty to face scar in last life; and then got a secret soulmate as a way of avoiding scar out of guilt once again. since continuing the story from the previous stories, the ending isnt that important: win or lose, it isnt the end (and making it like a "no hope cause its a death loop” situation doesnt really add anything cause the story is more about their relationship conflict then anything else). I believe that the best ending to their story would just simply be a mending of their relationship (or just any sort of development) more than a win or loss

martin/cleo: win. i would turn it into something along the lines of a strategic victory: the characters thought of their situation rationally and decided to make decisions based on that. Work separately to ensure they both don’t end up dying to the same conflict, making allies that will defend them if they need it, ect. their win would be satisfying because it would feel like they earned it and the narrative would be about them doing what they have to to survive

pearl/scott: lose. i would tell the story by making it about how the rift in their relationship caused their downfall. Their inability to solve their problems and petty disputes would kill them both, making their ending thematic.

ren/bigb: lose. literally had relationship drama in the middle of something way more important. very similar to pearl and scott in terms of themes i would use.

joel/etho: lose. honestly they just have die tragically energy. also the immediate violence could be used thematically if they lose because of it. i havent watched either of their povs if u can tell

[tippenfunkaport]

I dont think it's necessary to compare Glimbow to Catradora to validate it, they are two completely different kinds of relationship and the only similarities seem to be from how theyre a relationship at all.

However, the way Glimmer holds Bow's hands in so many scenes, yeah, pretty gay-- i mean er, pretty romantic, sorry old habit.

They honestly come across as a couple who've been sort of dating for a long time but not really decided whether they were together or not.

I wish Bow had a bi panic moment. He deserves it!

They are both completely valid on their own! I don't point out the parallels with Catradora to validate it so much as because it annoys the snot out of me when people think because they didn't see Glimbow that means it came out of nowhere. It was so clearly baked into the very structure of the show the same as Catra and Adora were as a literal storytelling device. So me saying, "yo Glimbow is there from the beginning just like Catradora" is really just a reflex from being used to people who act like Glimmer and Bow never interacted all show and were just randomly paired off in the last episode out of nowhere.

But just like the way Adora and Bow mirror each other and Catra and Glimmer mirror each other, I love the way Catradora and Glimbow are so thematically similar in many ways but their relationship develops in completely entirely differently because of the environments they were raised in. It's beautiful narrative symmetry.

And, yeah, I totally think Glimbow have been fundamentally dating for most of their lives without realizing it, particularly the way they are always touching each other, which is part of why I find their dynamic so much fun to write.

Re: bi panic. My own personal thoughts on the matter are that Bow knew he liked guys and kind of grew up thinking he was going to have what his dads had where he and his husband would be running the library someday and then along came chaos sparkle princess who blew his plans to oblivion. Which is, I think, part of why it took him so long to realize he was in love with Glimmer. Between being a princess and magic and a girl, all things he'd spent his whole life thinking were not in his future, he didn't realize how important she was to him he was until he was in WAY too deep.

[innuendostudios]

Thoughts on: Criterion's Neo-Noir Collection

I have written up all 26 films* in the Criterion Channel's Neo-Noir Collection.

Legend: rw - rewatch; a movie I had seen before going through the collection dnrw - did not rewatch; if a movie met two criteria (a. I had seen it within the last 18 months, b. I actively dislike it) I wrote it up from memory.

* in September, Brick leaves the Criterion Channel and is replaced in the collection with Michael Mann's Thief. May add it to the list when that happens.

Note: These are very "what was on my mind after watching." No effort has been made to avoid spoilers, nor to make the plot clear for anyone who hasn't seen the movies in question. Decide for yourself if that's interesting to you.

Cotton Comes to Harlem I feel utterly unequipped to asses this movie. This and Sweet Sweetback's Baadasssss Song the following year are regularly cited as the progenitors of the blaxploitation genre. (This is arguably unfair, since both were made by Black men and dealt much more substantively with race than the white-directed films that followed them.) Its heroes are a couple of Black cops who are treated with suspicion both by their white colleagues and by the Black community they're meant to police. I'm not 100% clear on whether they're the good guys? I mean, I think they are. But the community's suspicion of them seems, I dunno... well-founded? They are working for The Man. And there's interesting discussion to the had there - is the the problem that the law is carried out by racists, or is the law itself racist? Can Black cops make anything better? But it feels like the film stacks the deck in Gravedigger and Coffin Ed's favor; the local Black church is run by a conman, the Back-to-Africa movement is, itself, a con, and the local Black Power movement is treated as an obstacle. Black cops really are the only force for justice here. Movie portrays Harlem itself as a warm, thriving, cultured community, but the people that make up that community are disloyal and easily fooled. Felt, to me, like the message was "just because they're cops doesn't mean they don't have Black soul," which, nowadays, we would call copaganda. But, then, do I know what I'm talking about? Do I know how much this played into or off of or against stereotypes from 1970? Was this a radical departure I don't have the context to appreciate? Is there substance I'm too white and too many decades removed to pick up on? Am I wildly overthinking this? I dunno. Seems like everyone involved was having a lot of fun, at least. That bit is contagious.

Across 110th Street And here's the other side of the "race film" equation. Another movie set in Harlem with a Black cop pulled between the police, the criminals, and the public, but this time the film is made by white people. I like it both more and less. Pro: this time the difficult position of Black cop who's treated with suspicion by both white cops and Black Harlemites is interrogated. Con: the Black cop has basically no personality other than "honest cop." Pro: the racism of the police force is explicit and systemic, as opposed to comically ineffectual. Con: the movie is shaped around a racist white cop who beats the shit out of Black people but slowly forms a bond with his Black partner. Pro: the Black criminal at the heart of the movie talks openly about how the white world has stacked the deck against him, and he's soulful and relateable. Con: so of course he dies in the end, because the only way privileged people know to sympathetize with minorities is to make them tragic (see also: The Boys in the Band, Philadelphia, and Brokeback Mountain for gay men). Additional con: this time Harlem is portrayed as a hellhole. Barely any of the community is even seen. At least the shot at the end, where the criminal realizes he's going to die and throws the bag of money off a roof and into a playground so the Black kids can pick it up before the cops reclaim it was powerful. But overall... yech. Cotton Comes to Harlem felt like it wasn't for me; this feels like it was 100% for me and I respect it less for that.

The Long Goodbye (rw) The shaggiest dog. Like much Altman, more compelling than good, but very compelling. Raymond Chandler's story is now set in the 1970's, but Philip Marlowe is the same Philip Marlowe of the 1930's. I get the sense there was always something inherently sad about Marlowe. Classic noir always portrayed its detectives as strong-willed men living on the border between the straightlaced world and its seedy underbelly, crossing back and forth freely but belonging to neither. But Chandler stresses the loneliness of it - or, at least, the people who've adapted Chandler do. Marlowe is a decent man in an indecent world, sorting things out, refusing to profit from misery, but unable to set anything truly right. Being a man out of step is here literalized by putting him forty years from the era where he belongs. His hardboiled internal monologue is now the incessant mutterings of the weird guy across the street who never stops smoking. Like I said: compelling! Kael's observation was spot on: everyone in the movie knows more about the mystery than he does, but he's the only one who cares. The mystery is pretty threadbare - Marlowe doesn't detect so much as end up in places and have people explain things to him. But I've seen it two or three times now, and it does linger.

Chinatown (rw) I confess I've always been impressed by Chinatown more than I've liked it. Its story structure is impeccable, its atmosphere is gorgeous, its noirish fatalism is raw and real, its deconstruction of the noir hero is well-observed, and it's full of clever detective tricks (the pocket watches, the tail light, the ruler). I've just never connected with it. Maybe it's a little too perfectly crafted. (I feel similar about Miller's Crossing.) And I've always been ambivalent about the ending. In Towne's original ending, Evelyn shoots Noah Cross dead and get arrested, and neither she nor Jake can tell the truth of why she did it, so she goes to jail for murder and her daughter is in the wind. Polansky proposed the ending that exists now, where Evelyn just dies, Cross wins, and Jake walks away devastated. It communicates the same thing: Jake's attempt to get smart and play all the sides off each other instead of just helping Evelyn escape blows up in his face at the expense of the woman he cares about and any sense of real justice. And it does this more dramatically and efficiently than Towne's original ending. But it also treats Evelyn as narratively disposable, and hands the daughter over to the man who raped Evelyn and murdered her husband. It makes the women suffer more to punch up the ending. But can I honestly say that Towne's ending is the better one? It is thematically equal, dramatically inferior, but would distract me less. Not sure what the calculus comes out to there. Maybe there should be a third option. Anyway! A perfect little contraption. Belongs under a glass dome.

Night Moves (rw) Ah yeah, the good shit. This is my quintessential 70's noir. This is three movies in a row about detectives. Thing is, the classic era wasn't as chockablock with hardboiled detectives as we think; most of those movies starred criminals, cops, and boring dudes seduced to the darkness by a pair of legs. Gumshoes just left the strongest impressions. (The genre is said to begin with Maltese Falcon and end with Touch of Evil, after all.) So when the post-Code 70's decided to pick the genre back up while picking it apart, it makes sense that they went for the 'tecs first. The Long Goodbye dragged the 30's detective into the 70's, and Chinatown went back to the 30's with a 70's sensibility. But Night Moves was about detecting in the Watergate era, and how that changed the archetype. Harry Moseby is the detective so obsessed with finding the truth that he might just ruin his life looking for it, like the straight story will somehow fix everything that's broken, like it'll bring back a murdered teenager and repair his marriage and give him a reason to forgive the woman who fucked him just to distract him from some smuggling. When he's got time to kill, he takes out a little, magnetic chess set and recreates a famous old game, where three knight moves (get it?) would have led to a beautiful checkmate had the player just seen it. He keeps going, self-destructing, because he can't stand the idea that the perfect move is there if he can just find it. And, no matter how much we see it destroy him, we, the audience, want him to keep going; we expect a satisfying resolution to the mystery. That's what we need from a detective picture; one character flat-out compares Harry to Sam Spade. But what if the truth is just... Watergate? Just some prick ruining things for selfish reasons? Nothing grand, nothing satisfying. Nothing could be more noir, or more neo-, than that.

Farewell, My Lovely Sometimes the only thing that makes a noir neo- is that it's in color and all the blood, tits, and racism from the books they're based on get put back in. This second stab at Chandler is competant but not much more than that. Mitchum works as Philip Marlowe, but Chandler's dialogue feels off here, like lines that worked on the page don't work aloud, even though they did when Bogie said them. I'll chalk it up to workmanlike but uninspired direction. (Dang this looks bland so soon after Chinatown.) Moose Malloy is a great character, and perfectly cast. (Wasn't sure at first, but it's true.) Some other interesting cats show up and vanish - the tough brothel madam based on Brenda Allen comes to mind, though she's treated with oddly more disdain than most of the other hoods and is dispatched quicker. In general, the more overt racism and misogyny doesn't seem to do anything except make the movie "edgier" than earlier attempts at the same material, and it reads kinda try-hard. But it mostly holds together. *shrug*

The Killing of a Chinese Bookie (dnrw) Didn't care for this at all. Can't tell if the script was treated as a jumping-off point or if the dialogue is 100% improvised, but it just drags on forever and is never that interesting. Keeps treating us to scenes from the strip club like they're the opera scenes in Amadeus, and, whatever, I don't expect burlesque to be Mozart, but Cosmo keeps saying they're an artful, classy joint, and I keep waiting for the show to be more than cheap, lazy camp. How do you make gratuitious nudity boring? Mind you, none of this is bad as a rule - I love digressions and can enjoy good sleaze, and it's clear the filmmakers care about what they're making. They just did not sell it in a way I wanted to buy. Can't remember what edit I watched; I hope it was the 135 minute one, because I cannot imagine there being a longer edit out there.

The American Friend (dnrw) It's weird that this is Patricia Highsmith, right? That Dennis Hopper is playing Tom Ripley? In a cowboy hat? I gather that Minghella's version wasn't true to the source, but I do love that movie, and this is a long, long way from that. This Mr. Ripley isn't even particularly talented! Anyway, this has one really great sequence, where a regular guy has been coerced by crooks into murdering someone on a train platform, and, when the moment comes to shoot, he doesn't. And what follows is a prolonged sequence of an amateur trying to surreptitiously tail a guy across a train station and onto another train, and all the while you're not sure... is he going to do it? is he going to chicken out? is he going to do it so badly he gets caught? It's hard not to put yourself in the protagonist's shoes, wondering how you would handle the situation, whether you could do it, whether you could act on impulse before your conscience could catch up with you. It drags on a long while and this time it's a good thing. Didn't much like the rest of the movie, it's shapeless and often kind of corny, and the central plot hook is contrived. (It's also very weird that this is the only Wim Wenders I've seen.) But, hey, I got one excellent sequence, not gonna complain.

The Big Sleep Unlike the 1946 film, I can follow the plot of this Big Sleep. But, also unlike the 1946 version, this one isn't any damn fun. Mitchum is back as Marlowe (this is three Marlowes in five years, btw), and this time it's set in the 70's and in England, for some reason. I don't find this offensive, but neither do I see what it accomplishes? Most of the cast is still American. (Hi Jimmy!) Still holds together, but even less well than Farewell, My Lovely. But I do find it interesting that the neo-noir era keeps returning to Chandler while it's pretty much left Hammet behind (inasmuch as someone whose genes are spread wide through the whole genre can be left behind). Spade and the Continental Op, straightshooting tough guys who come out on top in the end, seem antiquated in the (post-)modern era. But Marlowe's goodness being out of sync with the world around him only seems more poignant the further you take him from his own time. Nowadays you can really only do Hammett as pastiche, but I sense that you could still play Chandler straight.

Eyes of Laura Mars The most De Palma movie I've seen not made by De Palma, complete with POV shots, paranormal hoodoo, and fixation with sex, death, and whether images of such are art or exploitation (or both). Laura Mars takes photographs of naked women in violent tableux, and has gotten quite famous doing so, but is it damaging to women? The movie has more than a superficial engagement with this topic, but only slightly more than superficial. Kept imagining a movie that is about 30% less serial killer story and 30% more art conversations. (But, then, I have an art degree and have never murdered anyone, so.) Like, museums are full of Biblical paintings full of nude women and slaughter, sometimes both at once, and they're called masterpieces. Most all of them were painted by men on commission from other men. Now Laura Mars makes similar images in modern trappings, and has models made of flesh and blood rather than paint, and it's scandalous? Why is it only controversial once women are getting paid for it? On the other hand, is this just the master's tools? Is she subverting or challenging the male gaze, or just profiting off of it? Or is a woman profiting off of it, itself, a subversion? Is it subversive enough to account for how it commodifies female bodies? These questions are pretty clearly relevant to the movie itself, and the movies in general, especially after the fall of the Hays Code when people were really unrestrained with the blood and boobies. And, heck, the lead is played by the star of Bonnie and Clyde! All this is to say: I wish the movie were as interested in these questions as I am. What's there is a mildly diverting B-picture. There's one great bit where Laura's seeing through the killer's eyes (that's the hook, she gets visions from the murderer's POV; no, this is never explained) and he's RIGHT BEHIND HER, so there's a chase where she charges across an empty room only able to see her own fleeing self from ten feet behind. That was pretty great! And her first kiss with the detective (because you could see a mile away that the detective and the woman he's supposed to protect are gonna fall in love) is immediately followed by the two freaking out about how nonsensical it is for them to fall in love with each other, because she's literally mourning multiple deaths and he's being wildly unprofessional, and then they go back to making out. That bit was great, too. The rest... enh.

The Onion Field What starts off as a seemingly not-that-noirish cops-vs-crooks procedural turns into an agonizingly protracted look at the legal system, with the ultimate argument that the very idea of the law ever resulting in justice is a lie. Hoo! I have to say, I'm impressed. There's a scene where a lawyer - whom I'm not sure is even named, he's like the seventh of thirteen we've met - literally quits the law over how long this court case about two guys shooting a cop has taken. He says the cop who was murdered has been forgotten, his partner has never gotten to move on because the case has lasted eight years, nothing has been accomplished, and they should let the two criminals walk and jail all the judges and lawyers instead. It's awesome! The script is loaded with digressions and unnecessary details, just the way I like it. Can't say I'm impressed with the execution. Nothing is wrong, exactly, but the performances all seem a tad melodramatic or a tad uninspired. Camerawork is, again, purely functional. It's no masterpiece. But that second half worked for me. (And it's Ted Danson's first movie! He did great.)

Body Heat (rw) Let's say up front that this is a handsomely-made movie. Probably the best looking thing on the list since Night Moves. Nothing I've seen better captures the swelter of an East Coast heatwave, or the lusty feeling of being too hot to bang and going at it regardless. Kathleen Turner sells the hell out of a femme fatale. There are a lot of good lines and good performances (Ted Danson is back and having the time of his life). I want to get all that out of the way, because this is a movie heavily modeled after Double Indemnity, and I wanted to discuss its merits before I get into why inviting that comparison doesn't help the movie out. In a lot of ways, it's the same rules as the Robert Mitchum Marlowe movies - do Double Indemnity but amp up the sex and violence. And, to a degree it works. (At least, the sex does, dunno that Double Indemnity was crying out for explosions.) But the plot is amped as well, and gets downright silly. Yeah, Mrs. Dietrichson seduces Walter Neff so he'll off her husband, but Neff clocks that pretty early and goes along with it anyway. Everything beyond that is two people keeping too big a secret and slowly turning on each other. But here? For the twists to work Matty has to be, from frame one, playing four-dimensional chess on the order of Senator Palpatine, and its about as plausible. (Exactly how did she know, after she rebuffed Ned, he would figure out her local bar and go looking for her at the exact hour she was there?) It's already kind of weird to be using the spider woman trope in 1981, but to make her MORE sexually conniving and mercenary than she was in the 40's is... not great. As lurid trash, it's pretty fun for a while, but some noir stuff can't just be updated, it needs to be subverted or it doesn't justify its existence.

Blow Out Brian De Palma has two categories of movie: he's got his mainstream, director-for-hire fare, where his voice is either reigned in or indulged in isolated sequences that don't always jive with the rest fo the film, and then there's his Brian De Palma movies. My mistake, it seems, is having seen several for-hires from throughout his career - The Untouchables (fine enough), Carlito's Way (ditto, but less), Mission: Impossible (enh) - but had only seen De Palma-ass movies from his late period (Femme Fatale and The Black Dahlia, both of which I think are garbage). All this to say: Blow Out was my first classic-era De Palma, and holy fucking shit dudes. This was (with caveats) my absolute and entire jam. I said I could enjoy good sleaze, and this is good friggin' sleaze. (Though far short of De Palma at his sleaziest, mercifully.) The splitscreens, the diopter shots, the canted angles, how does he make so many shlocky things work?! John Travolta's sound tech goes out to get fresh wind fx for the movie he's working on, and we get this wonderful sequence of visuals following sounds as he turns his attention and his microphone to various noises - a couple on a walk, a frog, an owl, a buzzing street lamp. Later, as he listens back to the footage, the same sequence plays again, but this time from his POV; we're seeing his memory as guided by the same sequence of sounds, now recreated with different shots, as he moves his pencil in the air mimicking the microphone. When he mixes and edits sounds, we hear the literal soundtrack of the movie we are watching get mixed and edited by the person on screen. And as he tries to unravel a murder mystery, he uses what's at hand: magnetic tape, flatbed editors, an animation camera to turn still photos from the crime scene into a film and sync it with the audio he recorded; it's forensics using only the tools of the editing room. As someone who's spent some time in college editing rooms, this is a hoot and a half. Loses a bit of steam as it goes on and the film nerd stuff gives way to a more traditional thriller, but rallies for a sound-tech-centered final setpiece, which steadily builds to such madcap heights you can feel the air thinning, before oddly cutting its own tension and then trying to build it back up again. It doesn't work as well the second time. But then, that shot right after the climax? Damn. Conflicted on how the movie treats the female lead. I get why feminist film theorists are so divided on De Palma. His stuff is full of things feminists (rightly) criticize, full of women getting naked when they're not getting stabbed, but he also clearly finds women fascinating and has them do empowered and unexpected things, and there are many feminist reads of his movies. Call it a mixed bag. But even when he's doing tropey shit, he explores the tropes in unexpected ways. Definitely the best movie so far that I hadn't already seen.

Cutter's Way (rw) Alex Cutter is pitched to us as an obnoxious-but-sympathetic son of a bitch, and, you know, two out of three ain't bad. Watched this during my 2020 neo-noir kick and considered skipping it this time because I really didn't enjoy it. Found it a little more compelling this go around, while being reminded of why my feelings were room temp before. Thematically, I'm onboard: it's about a guy, Cutter, getting it in his head that he's found a murderer and needs to bring him to justice, and his friend, Bone, who intermittently helps him because he feels bad that Cutter lost his arm, leg, and eye in Nam and he also feels guilty for being in love with Cutter's wife. The question of whether the guy they're trying to bring down actually did it is intentionally undefined, and arguably unimportant; they've got personal reasons to see this through. Postmodern and noirish, fixated with the inability to ever fully know the truth of anything, but starring people so broken by society that they're desperate for certainty. (Pretty obvious parallels to Vietnam.) Cutter's a drunk and kind of an asshole, but understandably so. Bone's shiftlessness is the other response to a lack of meaning in the world, to the point where making a decision, any decision, feels like character growth, even if it's maybe killing a guy whose guilt is entirely theoretical. So, yeah, I'm down with all of this! A- in outline form. It's just that Cutter is so uninterestingly unpleasant and no one else on screen is compelling enough to make up for it. His drunken windups are tedious and his sanctimonious speeches about what the war was like are, well, true and accurate but also obviously manipulative. It's two hours with two miserable people, and I think Cutter's constant chatter is supposed to be the comic relief but it's a little too accurate to drunken rambling, which isn't funny if you're not also drunk. He's just tedious, irritating, and periodically racist. Pass.

Blood Simple (rw) I'm pretty cool on the Coens - there are things I've liked, even loved, in every Coen film I've seen, but I always come away dissatisfied. For a while, I kept going to their movies because I was sure eventually I'd love one without qualification. No Country for Old Men came close, the first two acts being master classes in sustained tension. But then the third act is all about denying closure: the protagonist is murdered offscreen, the villain's motives are never explained, and it ends with an existentialist speech about the unfathomable cruelty of the world. And it just doesn't land for me. The archness of the Coen's dialogue, the fussiness of their set design, the kinda-intimate, kinda-awkward, kinda-funny closeness of the camera's singles, it cannot sell me on a devastating meditation about meaninglessness. It's only ever sold me on the Coens' own cleverness. And that archness, that distancing, has typified every one of their movies I've come close to loving. Which is a long-ass preamble to saying, holy heck, I was not prepared for their very first movie to be the one I'd been looking for! I watched it last year and it remains true on rewatch: Blood Simple works like gangbusters. It's kind of Double Indemnity (again) but played as a comedy of errors, minus the comedy: two people romantically involved feeling their trust unravel after a murder. And I think the first thing that works for me is that utter lack of comedy. It's loaded with the Coens' trademark ironies - mostly dramatic in this case - but it's all played straight. Unlike the usual lead/femme fatale relationship, where distrust brews as the movie goes on, the audience knows the two main characters can trust each other. There are no secret duplicitous motives waiting to be revealed. The audience also know why they don't trust each other. (And it's all communicated wordlessly, btw: a character enters a scene and we know, based on the information that character has, how it looks to them and what suspicions it would arouse, even as we know the truth of it). The second thing that works is, weirdly, that the characters aren't very interesting?! Ray and Abby have almost no characterization. Outside of a general likability, they are blank slates. This is a weakness in most films, but, given the agonizingly long, wordless sequences where they dispose of bodies or hide from gunfire, you're left thinking not "what will Ray/Abby do in this scenario," because Ray and Abby are relatively elemental and undefined, but "what would I do in this scenario?" Which creates an exquisite tension but also, weirdly, creates more empathy than I feel for the Coens' usual cast of personalities. It's supposed to work the other way around! Truly enjoyable throughout but absolutely wonderful in the suspenseful-as-hell climax. Good shit right here.

Body Double The thing about erotic thrillers is everything that matters is in the name. Is it thrilling? Is it erotic? Good; all else is secondary. De Palma set out to make the most lurid, voyeuristic, horny, violent, shocking, steamy movie he could come up with, and its success was not strictly dependent on the lead's acting ability or the verisimilitude of the plot. But what are we, the modern audience, to make of it once 37 years have passed and, by today's standards, the eroticism is quite tame and the twists are no longer shocking? Then we're left with a nonsensical riff on Vertigo, a specularization of women that is very hard to justify, and lead actor made of pulped wood. De Palma's obsessions don't cohere into anything more this time; the bits stolen from Hitchcock aren't repurposed to new ends, it really is just Hitch with more tits and less brains. (I mean, I still haven't seen Vertigo, but I feel 100% confident in that statement.) The diopter shots and rear-projections this time look cheap (literally so, apparently; this had 1/3 the budget of Blow Out). There are some mildly interesting setpieces, but nothing compared to Travolta's auditory reconstructions or car chase where he tries to tail a subway train from street level even if it means driving through a frickin parade like an inverted French Connection, goddamn Blow Out was a good movie! Anyway. Melanie Griffith seems to be having fun, at least. I guess I had a little as well, but it was, at best, diverting, and a real letdown.

The Hit Surprised by how much I enjoyed this one. Terrance Stamp flips on the mob and spends ten years living a life of ease in Spain, waiting for the day they find and kill him. Movie kicks off when they do find him, and what follows is a ramshackle road movie as John Hurt and a young Tim Roth attempt to drive him to Paris so they can shoot him in front of his old boss. Stamp is magnetic. He's spent a decade reading philosophy and seems utterly prepared for death, so he spends the trip humming, philosophizing, and being friendly with his captors when he's not winding them up. It remains unclear to the end whether the discord he sews between Roth and Hurt is part of some larger plan of escape or just for shits and giggles. There's also a decent amount of plot for a movie that's not terribly plot-driven - just about every part of the kidnapping has tiny hitches the kidnappers aren't prepared for, and each has film-long repercussions, drawing the cops closer and somehow sticking Laura del Sol in their backseat. The ongoing questions are when Stamp will die, whether del Sol will die, and whether Roth will be able to pull the trigger. In the end, it's actually a meditation on ethics and mortality, but in a quiet and often funny way. It's not going to go down as one of my new favs, but it was a nice way to spend a couple hours.

Trouble in Mind (dnrw) I fucking hated this movie. It's been many months since I watched it, do I remember what I hated most? Was it the bit where a couple of country bumpkins who've come to the city walk into a diner and Mr. Bumpkin clocks that the one Black guy in the back as obviously a criminal despite never having seen him before? Was it the part where Kris Kristofferson won't stop hounding Mrs. Bumpkin no matter how many times she demands to be left alone, and it's played as romantic because obviously he knows what she needs better than she does? Or is it the part where Mr. Bumpkin reluctantly takes a job from the Obvious Criminal (who is, in fact, a criminal, and the only named Black character in the movie if I remember correctly, draw your own conclusions) and, within a week, has become a full-blown hood, which is exemplified by a lot, like, a lot of queer-coding? The answer to all three questions is yes. It's also fucking boring. Even out-of-drag Divine's performance as the villain can't save it.

Manhunter 'sfine? I've still never seen Silence of the Lambs, nor any of the Hopkins Lecter movies, nor, indeed, any full episode of the show. So the unheimlich others get seeing Brian Cox play Hannibal didn't come into play. Cox does a good job with him, but he's barely there. Shame, cuz he's the most interesting part of the movie. Honestly, there's a lot of interesting stuff that's barely there. Will Graham being a guy who gets into the heads of serial killers is explored well enough, and Mann knows how to direct a police procedural such that it's both contemplative and propulsive. But all the other themes it points at? Will's fear that he understands murderers a little too well? Hannibal trying to nudge him towards becoming one? Whatever dance Hannibal and Tooth Fairy are doing? What Tooth Fairy's deal is, anyway? (Why does he wear fake teeth and bite things? Why is he fixated on the red dragon? Does the bit where he says "Francis is gone forever" mean he has DID?) None of it goes anywhere or amounts to anything. I mean, it's certainly more interesting with this stuff than without, but it has that feel of a book that's been pared of its interesting bits to fit the runtime (or, alternately, pulp that's been sloppily elevated). I still haven't made my mind up on Mann's cold, precise camera work, but at least it gives me something to look at. It's fine! This is fine.

Mona Lisa (rw) Gave this one another shot. Bob Hoskins is wonderful as a hood out of his depth in classy places, quick to anger but just as quick to let anger go (the opening sequence where he's screaming on his ex-wife's doorstep, hurling trash cans at her house, and one minute later thrilled to see his old car, is pretty nice). And Cathy Tyson's working girl is a subtler kind of fascinating, exuding a mixture of coldness and kindness. It's just... this is ultimately a story about how heartbreaking it is when the girl you like is gay, right? It's Weezer's Pink Triangle: The Movie. It's not homophobic, exactly - Simone isn't demonized for being a lesbian - but it's still, like, "man, this straight white guy's pain is so much more interesting than the Black queer sex worker's." And when he's yelling "you woulda done it!" at the end, I can't tell if we're supposed to agree with him. Seems pretty clear that she wouldn'ta done it, at least not without there being some reveal about her character that doesn't happen, but I don't think the ending works if we don't agree with him, so... I'm like 70% sure the movie does Simone dirty there. For the first half, their growing relationship feels genuine and natural, and, honestly, the story being about a real bond that unfortunately means different things to each party could work if it didn't end with a gun and a sock in the jaw. Shape feels jagged as well; what feels like the end of the second act or so turns out to be the climax. And some of the symbolism is... well, ok, Simone gives George money to buy more appropriate clothes for hanging out in high end hotels, and he gets a tan leather jacket and a Hawaiian shirt, and their first proper bonding moment is when she takes him out for actual clothes. For the rest of the movie he is rocking double-breasted suits (not sure I agree with the striped tie, but it was the eighties, whaddya gonna do?). Then, in the second half, she sends him off looking for her old streetwalker friend, and now he looks completely out of place in the strip clubs and bordellos. So far so good. But then they have this run-in where her old pimp pulls a knife and cuts George's arm, so, with his nice shirt torn and it not safe going home (I guess?) he starts wearing the Hawaiian shirt again. So around the time he's starting to realize he doesn't really belong in Simone's world or the lowlife world he came from anymore, he's running around with the classy double-breasted suit jacket over the garish Hawaiian shirt, and, yeah, bit on the nose guys. Anyway, it has good bits, I just feel like a movie that asks me to feel for the guy punching a gay, Black woman in the face needs to work harder to earn it. Bit of wasted talent.

The Bedroom Window Starts well. Man starts an affair with his boss' wife, their first night together she witnesses an attempted murder from his window, she worries going to the police will reveal the affair to her husband, so the man reports her testimony to the cops claiming he's the one who saw it. Young Isabelle Huppert is the perfect woman for a guy to risk his career on a crush over, and Young Steve Guttenberg is the perfect balance of affability and amorality. And it flows great - picks just the right media to res. So then he's talking to the cops, telling them what she told him, and they ask questions he forgot to ask her - was the perp's jacket a blazer or a windbreaker? - and he has to guess. Then he gets called into the police lineup, and one guy matches her description really well, but is it just because he's wearing his red hair the way she described it? He can't be sure, doesn't finger any of them. He finds out the cops were pretty certain about one of the guys, so he follows the one he thinks it was around, looking for more evidence, and another girl is attacked right outside a bar he knows the redhead was at. Now he's certain! But he shows the boss' wife the guy and she's not certain, and she reminds him they don't even know if the guy he followed is the same guy the police suspected! And as he feeds more evidence to the cops, he has to lie more, because he can't exactly say he was tailing the guy around the city. So, I'm all in now. Maybe it's because I'd so recently rewatched Night Moves and Cutter's Way, but this seems like another story about uncertainty. He's really certain about the guy because it fits narratively, and we, the audience, feel the same. But he's not actually a witness, he doesn't have actual evidence, he's fitting bits and pieces together like a conspiracy theorist. He's fixating on what he wants to be true. Sign me up! But then it turns out he's 100% correct about who the killer is but his lies are found out and now the cops think he's the killer and I realize, oh, no, this movie isn't nearly as smart as I thought it was. Egg on my face! What transpires for the remaining half of the runtime is goofy as hell, and someone with shlockier sensibilities could have made a meal of it, but Hanson, despite being a Corman protege, takes this silliness seriously in the all wrong ways. Next!

Homicide (rw? I think I saw most of this on TV one time) Homicide centers around the conflicted loyalties of a Jewish cop. It opens with the Jewish cop and his white gentile partner taking over a case with a Black perp from some Black FBI agents. The media is making a big thing about the racial implications of the mostly white cops chasing down a Black man in a Black neighborhood. And inside of 15 minutes the FBI agent is calling the lead a k*ke and the gentile cop is calling the FBI agent a f****t and there's all kinds of invective for Black people. The film is announcing its intentions out the gate: this movie is about race. But the issue here is David Mamet doesn't care about race as anything other than a dramatic device. He's the Ubisoft of filmmakers, having no coherent perspective on social issues but expecting accolades for even bringing them up. Mamet is Jewish (though lead actor Joe Mantegna definitely is not) but what is his position on the Jewish diaspora? The whole deal is Mantegna gets stuck with a petty homicide case instead of the big one they just pinched from the Feds, where a Jewish candy shop owner gets shot in what looks like a stickup. Her family tries to appeal to his Jewishness to get him to take the case seriously, and, after giving them the brush-off for a long time, finally starts following through out of guilt, finding bits and pieces of what may or may not be a conspiracy, with Zionist gun runners and underground neo-Nazis. But, again: all of these are just dramatic devices. Mantegna's Jewishness (those words will never not sound ridiculous together) has always been a liability for him as a cop (we are told, not shown), and taking the case seriously is a reclamation of identity. The Jews he finds community with sold tommyguns to revolutionaries during the founding of Israel. These Jews end up blackmailing him to get a document from the evidence room. So: what is the film's position on placing stock in one's Jewish identity? What is its position on Israel? What is its opinion on Palestine? Because all three come up! And the answer is: Mamet doesn't care. You can read it a lot of different ways. Someone with more context and more patience than me could probably deduce what the de facto message is, the way Chris Franklin deduced the de facto message of Far Cry V despite the game's efforts not to have one, but I'm not going to. Mantegna's attempt to reconnect with his Jewishness gets his partner killed, gets the guy he was supposed to bring in alive shot dead, gets him possibly permanent injuries, gets him on camera blowing up a store that's a front for white nationalists, and all for nothing because the "clues" he found (pretty much exclusively by coincidence) were unconnected nothings. The problem is either his Jewishness, or his lifelong failure to connect with his Jewishness until late in life. Mamet doesn't give a shit. (Like, Mamet canonically doesn't give a shit: he is on record saying social context is meaningless, characters only exist to serve the plot, and there are no deeper meanings in fiction.) Mamet's ping-pong dialogue is fun, as always, and there are some neat ideas and characters, but it's all in service of a big nothing that needed to be a something to work.

Swoon So much I could talk about, let's keep it to the most interesting bits. Hommes Fatales: a thing about classic noir that it was fascinated by the marginal but had to keep it in the margins. Liberated women, queer-coded killers, Black jazz players, broke thieves; they were the main event, they were what audiences wanted to see, they were what made the movies fun. But the ending always had to reassert straightlaced straight, white, middle-class male society as unshakeable. White supremacist capitalist patriarchy demanded, both ideologically and via the Hays Code, that anyone outside these norms be punished, reformed, or dead by the movie's end. The only way to make them the heroes was to play their deaths for tragedy. It is unsurprising that neo-noir would take the queer-coded villains and make them the protagonists. Implicature: This is the story of Leopold and Loeb, murderers famous for being queer, and what's interesting is how the queerness in the first half exists entirely outside of language. Like, it's kind of amazing for a movie from 1992 to be this gay - we watch Nathan and Dickie kiss, undress, masturbate, fuck; hell, they wear wedding rings when they're alone together. But it's never verbalized. Sex is referred to as "your reward" or "what you wanted" or "best time." Dickie says he's going to have "the girls over," and it turns out "the girls" are a bunch of drag queens, but this is never acknowledged. Nathan at one point lists off a bunch of famous men - Oscar Wild, E.M. Forster, Frederick the Great - but, though the commonality between them is obvious (they were all gay), it's left the the audience to recognize it. When their queerness is finally verbalized in the second half, it's first in the language of pathology - a psychiatrist describing their "perversions" and "misuse" of their "organs" before the court, which has to be cleared of women because it's so inappropriate - and then with slurs from the man who murders Dickie in jail (a murder which is written off with no investigation because the victim is a gay prisoner instead of a L&L's victim, a child of a wealthy family). I don't know if I'd have noticed this if I hadn't read Chip Delany describing his experience as a gay man in the 50's existing almost entirely outside of language, the only language at the time being that of heteronormativity. Murder as Love Story: L&L exchange sex as payment for the other commiting crimes; it's foreplay. Their statements to the police where they disagree over who's to blame is a lover's quarrel. Their sentencing is a marriage. Nathan performs his own funeral rites over Dickie's body after he dies on the operating table. They are, in their way, together til death did they part. This is the relationship they can have. That it does all this without romanticizing the murder itself or valorizing L&L as humans is frankly incredible.

Suture (rw) The pitch: at the funeral for his father, wealthy Vincent Towers meets his long lost half brother Clay Arlington. It is implied Clay is a child from out of wedlock, possibly an affair; no one knows Vincent has a half-brother but him and Clay. Vincent invites Clay out to his fancy-ass home in Arizona. Thing is, Vincent is suspected (correctly) by the police of having murdered his father, and, due to a striking family resemblence, he's brought Clay to his home to fake his own death. He finagles Clay into wearing his clothes and driving his car, and then blows the car up and flees the state, leaving the cops to think him dead. Thing is, Clay survives, but with amnesia. The doctors tell him he's Vincent, and he has no reason to disagree. Any discrepancy in the way he looks is dismissed as the result of reconstructive surgery after the explosion. So Clay Arlington resumes Vincent Towers' life, without knowing Clay Arlington even exists. The twist: Clay and Vincent are both white, but Vincent is played by Michael Harris, a white actor, and Clay is played by Dennis Haysbert, a Black actor. "Ian, if there's just the two of them, how do you know it's not Harris playing a Black character?" Glad you asked! It is most explicitly obvious during a scene where Vincent/Clay's surgeon-cum-girlfriend essentially bringing up phrenology to explain how Vincent/Clay couldn't possibly have murdered his father, describing straight hair, thin lips, and a Greco-Roman nose Haysbert very clearly doesn't have. But, let's be honest: we knew well beforehand that the rich-as-fuck asshole living in a huge, modern house and living it up in Arizona high society was white. Though Clay is, canonically, white, he lives an poor and underprivileged life common to Black men in America. Though the film's title officially refers to the many stitches holding Vincent/Clay's face together after the accident, "suture" is a film theory term, referring to the way a film audience gets wrapped up - sutured - in the world of the movie, choosing to forget the outside world and pretend the story is real. The usage is ironic, because the audience cannot be sutured in; we cannot, and are not expected to, suspend our disbelief that Clay is white. We are deliberately distanced. Consequently this is a movie to be thought about, not to to be felt. It has the shape of a Hitchcockian thriller but it can't evoke the emotions of one. You can see the scaffolding - "ah, yes, this is the part of a thriller where one man hides while another stalks him with a gun, clever." I feel ill-suited to comment on what the filmmakers are saying about race. I could venture a guess about the ending, where the psychiatrist, the only one who knows the truth about Clay, says he can never truly be happy living the lie of being Vincent Towers, while we see photographs of Clay/Vincent seemingly living an extremely happy life: society says white men simply belong at the top more than Black men do, but, if the roles could be reversed, the latter would slot in seamlessly. Maybe??? Of all the movies in this collection, this is the one I'd most want to read an essay on (followed by Swoon).

The Last Seduction (dnrw) No, no, no, I am not rewataching this piece of shit movie.

Brick (rw) Here's my weird contention: Brick is in color and in widescreen, but, besides that? There's nothing neo- about this noir. There's no swearing except "hell." (I always thought Tug said "goddamn" at one point but, no, he's calling The Pin "gothed-up.") There's a lot of discussion of sex, but always through implication, and the only deleted scene is the one that removed ambiguity about what Brendan and Laura get up to after kissing. There's nothing postmodern or subversive - yes, the hook is it's set in high school, but the big twist is that it takes this very seriously. It mines it for jokes, yes, but the drama is authentic. In fact, making the gumshoe a high school student, his jadedness an obvious front, still too young to be as hard as he tries to be, just makes the drama hit harder. Sam Spade if Sam Spade were allowed to cry. I've always found it an interesting counterpoint to The Good German, a movie that fastidiously mimics the aesthetics of classic noir - down to even using period-appropriate sound recording - but is wholly neo- in construction. Brick could get approved by the Hays Code. Its vibe, its plot about a detective playing a bunch of criminals against each other, even its slang ("bulls," "yegg," "flopped") are all taken directly from Hammett. It's not even stealing from noir, it's stealing from what noir stole from! It's a perfect curtain call for the collection: the final film is both the most contemporary and the most classic. It's also - but for the strong case you could make for Night Moves - the best movie on the list. It's even more appropriate for me, personally: this was where it all started for me and noir. I saw this in theaters when it came out and loved it. It was probably my favorite movie for some time. It gave me a taste for pulpy crime movies which I only, years later, realized were neo-noir. This is why I looked into Kiss Kiss, Bang Bang and In Bruges. I've seen it more times than any film on this list, by a factor of at least 3. It's why I will always adore Rian Johnson and Joseph Gordon-Levitt. It's the best-looking half-million-dollar movie I've ever seen. (Indie filmmakers, take fucking notes.) I even did a script analysis of this, and, yes, it follows the formula, but so tightly and with so much style. Did you notice that he says several of the sequence tensions out loud? ("I just want to find her." "Show of hands.") I notice new things each time I see it - this time it was how "brushing Brendan's hair out of his face" is Em's move, making him look more like he does in the flashback, and how Laura does the same to him as she's seducing him, in the moment when he misses Em the hardest. It isn't perfect. It's recreated noir so faithfully that the Innocent Girl dies, the Femme Fatale uses intimacy as a weapon, and none of the women ever appear in a scene together. 1940's gender politics maybe don't need to be revisited. They say be critical of the media you love, and it applies here most of all: it is a real criticism of something I love immensely.

[palmett-hoes]

i said in this post that i have original characters and backstories for neil's extended family. it took me,, a really long time to write it all down. it's been a full month since the original post, and this is still just a run through of things, not full prose, which i might be interested in doing one day but not anytime soon

now, some things to note about what i'm writing, why, and how. methodology, basically. this might not have come through yet in my posts, because i just don't post about my half-finished ideas, but i research a LOT. i like to base what i write about on real life, even if it's just headcanons and fanfic

also, i love helping people with research, so if anyone wants help with research for a fic or just their personal headcanons or anything hit me up!!

as a white person who wants to write characters from different ethnic backgrounds, i feel i have a responsibility to really do my due diligence and research as much as possible to consider things from every angle. and part of that for me is making sure that every character of color has a backstory. they don't just appear somewhere, i have to give them a reason for being there and a story for how they got there, even if that's not what i write their STORY about. people, come from places, basically. i follow a lot of demographic census information and population averages, as well as a lot of history, from as general as transatlantic trade in the last 500 years to as specific as the changes in a single city in a certain year

talking to other writers in the fandom i know i'm a little overzealous, but this is what gives me peace of mind to feel like i am putting the effort in to get things right

so anyway, as for what that means here:

i like writing neil as mixed black/jewish. it works well thematically for his character, as well as just what FEELS right for how i visualize him in my head

only, that can't simply come from nowhere. we know who his parents are. they need to also be poc for neil to be one, and they're a complicated pair to handle in that lens

one choice i made about that, for multiple reasons, is that everything about neil's parents' backgrounds should mirror each other. it can't simply be that one if them is black and one is jewish, or even that mary is both and nathan is white, because that says something i don't want to say any way you slice it. additionally, i want both facets of his ethnicity to be important to neil, and i feel as though he would want to ignore the half of himself from his father.

so: they both have to be mixed, giving them a sort of,, ideological equal footing, as it were. that way, i can also write three different experiences, rather than accidentally implying that This is what being black is, or This is what being jewish is, or This is what being mixed is. and that's also important to me, even if it's just in my head or not even directly addressed. it's still a big consideration of mine anytime i write about any of them

now, finally, onto mary and nathan! i'll put it below a cut because this is already long enough, the under-the-cut is much longer, and i don't want to wear out your thumbs if you don't care

mary hatford

canon timeline, neil was born in 1988. as a tentative number let's say mary was around 30 when he was born, meaning she would be born in the 50s. say her parents were roughly the same age, so they were born around the 20s

like i said, what's happening where in history is very important to me for building these backstories, and major historical events tend to have a lot of influence on population shifts. and well,, jews and europeans in the early-to-mid 20th century? there's no getting around involving world war II. nothing explicit, but it is mentioned and part of the story

mary’s paternal family are the hatfords. they're from the british west indies, largely jamaica, but they've been involved with shipping and trade all over the trans-atlantic region for generations.

they have a complicated relationship with the british empire, having both worked for them and against them at various points, sometimes both at once. similarly, they've tried multiple times through the generations to relocate the family to england permanently, but have been turned away or pressured out

they associate england and the british empire with power, and they both disagree with and desire that power in degrees which vary person to person. they do have a general idea between them though that living in england is a sign of status and authenticity, and while they don't want to leave jamaica permanently they do want their center of power to be in england, and there is a deep resentment against the anglos for not allowing them to stay permanently despite their wealth and influence, the fact that their work will always be looked down on and seen as lesser

i did come into building the hatfords with the primary idea of them being black british, and looking into the organized crime connection second. them being jamaican/west indies is a reference to the jamaican posse, who have a large presence in the london crime scene, although that's really the only connection. the hatfords aren't really yardies in any sense

the hatfords' status as organized crime is a little iffy. mostly they skirt the line between legal and illegal, owning legal trading companies and doing plenty of legal shipping. their main business in the criminal underworld is being middlemen moving supplies for other groups. they have a lot of contacts, and they serve an invaluable role in international smuggling, but they rarely get their own hands dirty. they move things from one place to the other and don't question too much what it is, though they don't deal in people

mary's father is named samuel hatford (first name in reference to samuel bellamy, the gentleman pirate king of the early 18th century). he was born in England, raised largely in Jamaica, then moved back to England as a teenager/young man. he's light-hearted and a bit idealistic for someone from a crime family, seeing the best in people even when they're cold and often believing in principle over profit, which at times put him in conflict with what's best for business

he almost enlisted in world war II, but instead convinced the family to work as weapons and supplies runners supporting the Allies and guerilla resistance groups

mary's mother is named cima ben nahman (ladino/judeo-spanish/sephardic names, doesn't really reference anything or anyone in particular). She's is an algerian jew. Born in algeria (city undecided, though algiers had the largest jewish community at the time), she moved to france for a few years as a young woman, probably for education. she joined anti-fascist organizations which became resistance groups once germany invaded

she's stoic, and has a ruthless mind for strategy. like most algerian jews, she's caught between her home country and its colonizer. the french empire played the algerian muslim majority against the jewish minority as a way to create infighting and distract the algerians from uniting and turning against them, but the algerian jews also then became reliant on the french for protection. (it's a really, really complicated situation)

cima sort of hates them both, both algeria and france. her only allegiance is to being jewish

(contrast this to samuel, who feels that he is BOTH british and caribbean, even when those two identities may be in conflict)

cima and samuel met when samuel provided weapons and supplies to cima's militia group. he took particular interest in them and went out of his way to help, above and beyond the other groups the hatfords were supplying

in the waning period of the war, cima was seriously injured, i'm currently thinking a land mine accident. she survived, but her recovery was slow. she lost an arm and had burns across half her torso, neck, and face. samuel brought her to england supported her through her recovery. in the hospital, they spoke a lot about why they each chose to fight, and the ways they did because neither were formal soldiers fighting for a country. samuel was in many ways fighting for an ideal, while cima was fighting for her people. cima also talked to him a lot about judaism and religion during this time, which samuel took an interest in. eventually, cima decided to stay

they got married. samuel converted, which was somewhat controversial with his family. however, cima agreed to join the family business, where she became an integral but sometimes ruthless member. after algerian independence, she brought some of her trusted family and community into the fold as well, some moving to england and others to france

both cima and samuel believed very heavily in responsibility, though what it meant for each of them was different. cima believed in preparedness and follow-through, samuel believed in family and protection, doing what's right outside of the bounds of the law. this contributed a lot to how they raised their children

when they were born, mary and stuart were raised in england (and i like to think they have an oldest brother). the hatfords were a big family, and influential, although careful about balancing the legal and less-legal sides of their business. the ben nahmans were smaller, and most of them were in france so mary and her brothers saw them less often. they were raised very religiously and culturally jewish, though close with the caribbean side of their family too, as well as being the first generation who were born and raised in england. this put them at a cross-section of three very different cultures, and was where mary first learned about changing and blending in with different groups

mary was the youngest and a little bit spoiled by her father, aunties, and uncles. her mother however was much less tolerant of her. clearly very affected by her time in the war, cima became extremely distrustful and suspicious, and tried to instill in her children a similar sentiment of secrecy and self-sufficiency, avoiding attention and casual relationships. she could be harsh on them, especially mary, who was the most resistant to this

growing up, mary was irresponsible and fun-loving, goading her brothers and cousins, getting in trouble, and starting fights. she didn't understand the tenuous balance of being organized crime, and at times put the whole family at risk by overestimating their sway. her mistakes affected the whole family but it was usually her mother who confronted her about them first and most harshly

she resented her mother's control, and didn't understand the reasons behind it. she also couldn't differentiate between the boundaries her mother sets as a result of her own trauma, and the necessary boundaries she set for the safety of the family, viewing them as one and the same, and leading her to hate any kind of control exerted over her

really, a lot of cima's character is just who mary ends up becoming after being married to nathan and being on the run. i like the story of a child becoming the parent they once hated. rather than learn from her mother, both her failures and her successes, mary becomes her, doomed to make the same mistakes. this is also why cima is wounded by a landmine, because mary dies in fire

---

nathan wesninski

nathan was HARD to come up with a story for, mostly because,,, WHY THE FUCK DOES THIS GUY WORK FOR THE JAPANESE YAKUZA

wesninski is a VERY polish name. the japanese-polish connection is,, not super strong

so anyway, working off the idea of the wesninski family being a polish jewish one, WHERE is he going to meet a japanese crimelord to get into a multi-generation debt/business arrangement with?

turns out, the answer is brazil

brazil actually has a large jewish population (roughly 10th largest in the world). it began with its colonization by the portuguese, but the 19th century to modern population largely comes from central and eastern europe. brazil ALSO has the largest japanese population outside of japan

also this story ended up being WAY more detailed and prosaic than samuel&cima's story, which is basically just bullet points. there's no reason for this i love both stories very much just for some reason the words flowed for me here and not there

to avoid having a second jewish story where wwII is prominent, the wesninskis get a page out of my own family's book: nathan's grandfather (neil's great grandfather) came to the americas fleeing the russian pograms around the turn of the 20th century

so

Wesninski came to brazil (city undecided, have a lot more research to do about individual cities in brazil). he had waardenburg syndrome(a hereditary genetic condition that can affect eyes and hearing) which runs very strongly in his family (his son, nathan, and neil will all inherit it), and he is completely Deaf. while he came to brazil alone, in his new home he connected both with the local jewish community and the local deaf community, and eventually marries another Deaf Jewish woman

eventually they were able to establish a kosher deli and restaurant in the city, one which became a common hangout for the Deaf community. then one day (probably around 1915), a group of japanese men came in, and kept returning

these were the moriyamas, recently arrived from japan, in a place with very few japanese people and businesses. they liked the wesninski deli because they didn't share a language with anyone in there, couldn't even be heard by most of them, and it would also be difficult for the authorities to question them. two layers of protection for a crime family in a vulnerable place

wesninski and the moriyamas were amicable to each other, but as they didn't actually have a way to communicate that was the extent of it. but the moriyamas were polite and payed well and didn't bother the other customers. als, as a jewish establishment, they had a lot of education resources, which were helpful to the moriyamas in learning about brazilian society, including beginning to understand portuguese

now, in japan, the moriyamas were a small yakuza family. they got driven out by their bigger and stronger and more established competition around the time when japanese immigration to brazil was just starting, so that was where they went. though they had little option in where they ended up, they also had little competition in establishing their business

i still have a lot of research to do about the moriyamas. about both how the yakuza operate and about how brazilian organized crime works, and about life in brazil for early japanese immigrants. so a lot of the moriyama details are pretty vague

now the wesninskis had a son, meyer (nathan's father. name in reference to meyer lansky, famous american jewish mobster of polish descent) who was around 14 when the moriyamas arrived. he himself was not fully deaf like his parents, though was hard of hearing and raised in the Deaf community. as he goes through his rebellious teenage years, well, the gangsters are right there

in the early days the moriyamas were still more concerned with mostly the japanese enclaves, but they had aspirations of expanding. meyer wasn't japanese, but he was helpful to the moriyamas who came into the deli to study. he was perceptive and bold, could keep a secret, knew his way around knives from working in the deli, and knew the city. he was a good asset to them, and he was interested in causing some trouble

over the next ten years or so, meyer got increasingly more involved, alongside the moriyamas becoming increasingly more established throughout the city. he goes from someone who helps out occasionally and relays information beyween parties to getting involved with minor shakedowns, bribery, evidence disposal. by the time he's in his 20s he's thoroughly enmeshed

his parents were older when they had him, and his father died relatively young, leaving meyer the store and his mother to take care of. they were vaguely aware of his connections to the moriyamas and didn't approve of what he did with them but he also kept the worst from them, and was always a diligent son, and the only one they had. he assured them no matter how far he went that he wasn't "really" part of the gang

"yakuza have tattoos, and see, ima? no tattoos. i'm still a good jewish son, not a gangster"

now the problem arises when meyer falls for camara da machado, a young Deaf woman who frequents the store

(based on/inspired by/FC yaya dacosta (where the name comes from) and rutina wesley)

she was a Deaf girl born to a hearing family who struggled to give her the support she needed, maybe even just a single mother, and she'd spent a lot of time alone at the deli from a young age (12-ish?). she was shy and quiet and a little bit of a shrinking violet, but the wesninskis became very fond of her. she started tentatively helping them out around the store which became a job. she was often included in family meals and holidays, and always had a bed in their apartment above the deli if she needed one, and more than once had helped patch meyer up after he got in trouble to hide the extent of it from his parents

she was a couple years younger than him but he'd always been sweet on her. and she'd had a crush on him from basically the moment she'd layed eyes on him. they'd known each for years and camara was basically family, and then one day when they were both in their 20s it just suddenly clicked for them

so meyer and camara fell in love. meyer was head of the house, had to keep the deli running, and had his mother, camara, and possibly camara's mother (undecided at this juncture) to worry about and he decided he didn't want to continue working with the moriyamas in case it dragged his family into danger. being a gangster was a fling of youth and he was ready to grow up

when he informed the moriyamas of this though, they,,, did not agree.

while MEYER might not have considered himself part of the gang, THEY didn't think he just got to walk away. he'd worked with them for too long and knew too much. there might even have been a desire to tie him to the family permanently through marriage. and well,, one man against a growing criminal empire can't do much

it was a huge shock to him, and made him truly realize how naive and reckless he'd been. he'd been a dumb kid who wanted to start some trouble, the moriyamas were career criminals. they expected that once you were in, you were in for life, and they did not take kindly to meyer disagreeing with this

he didn't know how to explain this to his family... so he didn't. they'd all told him they wanted him to stop, but he'd meant for the announcement to be a surprise. after learning that he would not be permitted to walk away, he chose to just hide it and continue with business as usual

it worked for a while, maybe a few years, a time during which the moriyamas were getting a lot more brutal as they got more established and increasingly looked to expand, putting them in competition with other gangs and greater law enforcement, until they were a true crime empire spread across whole regions of the country. meyer had lost a lot of esteem in their eyes by asking to leave, leading them to put him under increasing scrutiny and giving him more incriminating tasks, to ensure that he would be incriminated if he ever tried to turn them in. it's during this time that he first had to kill for them

then camara got pregnant

and meyer was terrified. he didn't know how the moriyamas would deal with a kid. the only marriages and children he knew of within the family were endorsed by the boss, many arranged by him, and he knew his wouldn't be approved. yakuza wives were heavily involved with the business too, and he absolutely did not want that for camara

he broke down and told her everything. she's horrified, and furious that he kept it from her, but she didn't want to give up her baby. it would be hard, but she believed they can keep it hidden, and if the moriyamas found out, maybe it wouln't be so bad?

(spoiler: it would)

they have a son, born natan da machado, under his mother's name

meyer and camara never got married. meyer was going to propose after he left the moriyamas but that obviously didn't happen. marriages were supposed to be blessed by the boss, and meyer never dared to ask. they already lived together, anyway

but with natan, they decided that meyer couldn't acknowledge him as his own. in the deli or in the streets, he didn't acknowledge natan. he was camara's bastard son, and meyer didn't want anything to do with him

it was a flimsy disguise at best. natan was mixed, but there was a strong enough resemblance to his father. even if his hair was a darker red or he had brown skin, they had the same eyes

they tried to keep him away from the moriyamas as he grew up, hoping they wouldn't see him and make the connection, but they also kept him very hidden in general, just in case. he spent a lot of time inside, with his grandmothers

and that was how natan grew up, feeling like a secret, his father cold and distant, only acknowledging him in their apartment. cut off from other kids his age. a hearing boy in a Deaf family (natan himself was HoH but still had most of his hearing. meyer and his maternal grandmother could both hear, but they had gotten out of the habit of it and mostly communicated through sign)

natan developed a deep feeling of resentment towards his father and shame about himself from a young age. he felt like a mistake, defective somehow. so wrong he had to be hidden away from everyone

there's only so long that you can hide a child, though, and when natan was around ten the moriyamas found out about him, and they were not happy.

they didn't like split attention or loyalty. they kept children and family under very tight wraps. they should be one hundred percent enmeshed in the moriyama empire, raised to be loyal and helpful in whatever way they were needed. the fact that meyer wanted and was willing to leave for this family, and then hid his son, was a huge betrayal

still, they gave him an opportunity to prove his loyalty: kill camara or the moriyamas would kill them all: her, natan, meyer, and both their mothers

but meyer couldn't do it, and instead he told camara to run and hope they didn't actually care enough to chase her down. and she did. and she couldn't take natan with her. (i haven't fully fleshed out why yet, currently thinking that meyer was given this ultimatium when they already had natan)

so camara left her son, and got away

i built the story of mary's mother as a reflection of mary's story if something had been different, and i built nathan's story the same way. his wife takes her son and runs away with him when the moriyamas try to take him from her. nathan's mother was in the same situation and left him behind

over the next forty years of his belonging to the moriyamas he gets to marinate in that resentment. from the father that ignored to the mother who ran away from him, he internalizes it as being something wrong with him, not the circumstances. the more he's taught to torture and kill and the more he excels at it, the more this belief gets cemented. he's good at killing, he was meant to kill. he's twisted and broken and wrong inside and he always was and his parents always knew

and then when it happens again but differently this time he throws away a decade and millions of dollars and his standing with his boss to hunt down his son and his wife because he didn't get to run away so why should they? why does mary love nathaniel more than camara loved natan?

from here, the exact detail's of nathan's story aren't quite solidified. whether he was raised by his father from then on or by his grandmothers (or whether his grandmothers left with his mother) or whether the moriyamas put him somewhere else entirely, but from then on he lived under the moriyamas' direct supervision, and they taught him how to turn a knife on a man

they took his mother's name from him, though, so he's natan wesninski, not natan da machado, because they own the wesninskis now

and when the moriyamas decided to expand beyond brazil when natan was a young man instead of a child, and settled on the east coast of the US, they renamed him nathan, because it sounded more "american"

---

so that's it. obviously there are still a lot of unfinished details in both stories, but they're strong enough at this point to stand on their own and i haven't changed or rethought a lot of the major details in a long time

i've become extremely attached to these OCs and their stories, and i hope they interest other people too. some day i'd like to write them out in prose properly, along with the story of nathan and mary meeting, but that'll be a while away considering the pace i move at

so until then i just wanted to put this out there

[ghostietea]

On Tohru and Akito: a long overdue analysis

As some may know, Tohru Honda and Akito Sohma from the manga Fruits Basket are pretty much my all time favorite protagonist/antagonist pair. They just work incredibly well as thematic pieces and driving forces of the story in relation to eachother. And beyond even the surface level they have a rich and layered goldmine of parallels that make them fascinating to think about. While it may make many a newbie raise an eyebrow, I think this is a fact that is to some level pretty widely acknowledged in the fandom proper. However, there is another level of their relationship that is often mostly left out of analytical conversations about them and their parallels: their eventual friendship. Something which, partly due to screentime, is often somewhat simplified down and misinterpreted. Which I think is a shame because, when you look at it, their eleventh hour friendship is deeply interwoven with their parallels and the very thematics and ending of the story. So then, what’s really going on with the girls that stand as part of the thematic core of Furuba? Beyond (most of, true analytical objectivity is impossible in interpretation) my personal sentimental feelings, let’s talk Akito and Tohru: their parallels, relationship, and role in the story overal. Read more present, this is going to be a long one but I hope you stick around 😊

One facet of Akito and Tohru’s role in relationship to eachother that I think is both interesting and imperative to understanding their purpose is their nature as eachother’s foils, especially their parallels. See, the two girls are both opposite and the same. Takaya sets them up as foils before we even properly meet Akito, as you can see in these panels: 

However, their foil relationship becomes a lot more intriguing once their similarities become more apparent later in the story. Just think about it: two girls with boy’s names whose fathers died when they were young, leaving them alone with their mothers, who both developed behavior that, according to the environment that they grew up in, would keep them from being abandoned. Akito, coming from the cultish Sohma clan where she was treated as a God to the point that she thinks she can do no wrong and has tied all of her self worth to the role, plays the part of a male ruler who must uphold tradition and keep the zodiac with her by any means. Akito is terrified of being abandoned, especially since she has no idea how to have relationships outside of the context of the bond, only exacerbated by the fact that Ren, one of the only people that openly questions her role, has constantly told her that she’s useless and will be abandoned. This is something that informs all of her (many, terrible) decisions and leads her to try desperately to keep the curse together, something which puts her in direct conflict with Tohru, who actually wants the curse broken in part so that she won’t be abandoned. Tohru may not be as obvious with her abandonment issues as miss screeches-at-people-not-to-leave-her, but they still inform a good deal of her character. Like Akito, she develops behavior around the time of her father’s passing to try to keep herself from being abandoned, mirroring her father’s proper speech because she was worried that she was losing Kyoko.  But, as she grew older in her much warmer environment, Tohru turned to kindness instead of fear to capture others, maintaining a facade of extreme positivity, politeness, and determination so as to not bother anyone. And, while she hides it, Tohru just gets worse after losing her mother. She becomes dedicated to preserving her feelings about her mother as is, refusing to move on much as Akito also refuses to move on from the curse and what her father wanted. Then comes the beach house reveal, where Tohru learns that Akito plans to take away her new family, even locking up the one most precious to her. Tohru tells herself that she’s going to break the curse for the freedom of the zodiac and cat, but she is also, in a way, doing it to keep herself from being abandoned. Later this feeling changes to become more focused on preventing the loss of Kyo himself, something which Tohru doesn’t want to admit. Tohru is a truly good and kind person and does want to help, yes, but also some part of her is doing this to keep the ones she loves by her side, understandably as she is a teen that recently lost the person she revolved her whole life around. But it comes to a point that you have to realize: Akito and Tohru are both motivated by the same thing, they just present it in wildly different ways. I don’t think that I have to explain how exactly their behavior foils eachother, the more worldly and modern Tohru acting on radical kindness and acceptance and thinking she deserves nothing while the sheltered, traditional Akito uses manipulation and fear to get what she thinks she is entitled to. It’s very apparent, but just gets even spicier in the context of how similar they are. Another parallel is in Tohru’s mom picture vs Akito’s father box, both relics of their dead and favorite parent that they are extremely protective of and treat almost like it is their deceased parent. Early in the series Tohru is seen carrying around a photo of her mom which she talks to, something which seems pretty harmless, until we consider how terrified she is every time she thinks she’s lost it, even going as far as to refer to it as if it were her mother.  Notably, it barely shows up in the second half of the series, as she reluctantly drifts away from her mom and towards Kyo. In this later part of the series, we are introduced to Akito’s box, which she (semi, it’s complicated) thinks contains her father’s soul. Akito’s box is shown in a much darker light, from how the reveal of what it us to her is framed to how cruelly she reacts when it’s being stolen. Akito’s box is to Tohru’s photo what their owners narratively are to eachother: a dark mirror.

Ok, and now for the reason that I think it was important to bring all these parallels up first: because as you cannot understand Tohru and Akito as enemies without understanding their differences, you cannot understand them as friends without knowing their similarities. While it is easy to write off Tohru reaching out to Akito as just another case of Tohru being Tohru, that does a disservice to the full picture. I’ve seen around in the fandom that a good deal of people seem to think Tohru trying to befriend her is just Tohru being overly kind and forgiving, and this is something I think ties back a bit to some early fandom misconceptions about Tohru. Bear with me for a second, this is going to be a bit of a tangent but it ties back. It’s died down some now, but in the early Furuba fandom it was very common to just think of Tohru as a pretty flat nice girl doormat character, which besides misogyny is probably partially the fault of the 01 anime, which cuts off before we get to see more of Tohru’s insecurities and tones down what we do see (also, in the case of the relationship I’m talking about, 01 ads in that God awful end confrontation that I despise for being everything that I’m about to argue the ACTUAL confrontation that I like is not). Manga Tohru is a very subtle character, she hides a lot of her feelings behind a perpetually happy front which doesn’t start to let slip until later. And, since it’s later on in the manga which went unadapted for years and is mixed in with a bunch of crazy stuff, I think Tohru’s quiet development is often somewhat overlooked. For example, early series Tohru is very well known for the speeches she gives to the zodiac when she first meets them, speeches that, importantly, always tie back to things that her mom said. Tohru’s worldview back then revolved completely around Kyoko, so it’s probably a bit of a thing that in the later story, when Tohru draws ever nearer to the realization that she must move on, she does not give her mom speeches anymore? As opposed to the early story, when it was pretty much back to back character intros, in the late story Tohru notably only gets to befriend two new Sohmas: Isuzu and Akito. Notably, she doesn’t quote her mom either time, these are both people that she can relate to on some of her more hidden issues, and she shows a more personal side of her emotions in her turning point confrontations with them than she did earlier. It is especially important to realize that, in her confrontation on the cliff, Tohru is deciding that she is willing to go against her mom. Early series Tohru was a front anyways, and is a different Tohru from the one that finally gets through to Akito. I was using it as an example, but the evolution of Tohru’s befriending confrontations will be important later. Furthermore, there is the perception of Tohru as a doormat. Listen, Tohru may be very kind and polite, but one of her defining characteristics is being very determined and strong willed when need be. This is something that is especially relevant to her interactions with Akito. From the first meeting outside the school, Tohru knows to be wary of Akito and even breaks politeness and shoves her when she senses that Akito is making Yuki uncomfortable. This sets up immediately that Tohru can and will stand up to Akito. This is driven in even farther at the beach house, when Tohru, after again physically getting between Akito and a zodiac, decides that she will directly go against all of the Sohma family’s centuries of tradition and Akito herself to break the curse.  There’s even a cute moment when, upon remembering Akito telling her not to, Tohru just decides to meddle even harder. Tohru, while polite about it, does not like Akito and puts herself in direct opposition to her. Tohru does not originally want to be Akito’s friend, or to have anything to do with her. The cliff scene is not just Tohru befriending someone because she just is over forgiving and loves everyone (an argument can be made that she still goes to easy on Akito, but it’s in line with how the narrative treats her too so that’s another conversation), there was a specific reason both that she chose to try to get through to Akito and that it actually worked. Up until their big confrontation, Tohru still thinks of Akito as a threat, and while she has gotten more information that shakes up her view of Akito, she still doesn’t understand her well enough to see her as much more than an obstacle. Then Akito barges into her yard when she’s just been rejected, crying and confessing how terrified she is of being abandoned, of things changing, and Tohru just goes still, eyes wide in shock. And she realizes: her and Akito have been afraid of the same thing the whole time.  This is when Tohru decides to try to reach out to her. Because Tohru, on a deep level, sees Akito because of their similarities.  She calls Akito out on her insecurities, and Akito reacts badly, accusing Tohru of being “dirty” and trying to condescend.  Tohru partially rebukes this, not trying to hold herself above Akito as pure and righteous, but instead confessing her own fears of abandonment and change in an attempt to empathize with Akito.

At this part of the story, Tohru is fully coming into the realization that, in order to live her life, she needs to stop clinging to this idea of an “unchanging” relationship with her mom, something that scares her quite a bit. She realizes that, while she saw the flaws in Akito’s “eternity” and tried to destroy it, she had not been as perceptive with herself, clinging to that same notion. Tohru is an incredibly repressed character, especially in regards to emotions she thinks of as “dirty,” and she is showing a remarkable amount of vulnerability in this scene. Another thing to note about Tohru is that she, in her immense repression, will often process her own issues through other people. We see this throughout the story, from her showing grief over her mom by crying for Momiji and his mom to her projecting her fear of losing Kyo onto Kureno and Arisa. So then, it’s quite something to consider that the last Sohma she befriends is the one most emblematic of the issues she keeps locked up tightest? That as she’s speaking to her she’s deciding to move forward from her own fears? In a way, could accepting Akito be a symbol of Tohru accepting what she thinks are the darker parts of herself? Akito is also coming to a realization about moving on, acknowledging that the zodiac curse is coming to an end and that everything she believes is a lie, and she is absolutely distraught about it. But Tohru, in a way that nobody else does, understands Akito, and wants Akito to be her friend. Not out of pity or reverence, but a desire for solidarity. And this is the very reason why Tohru was actually able to get through to Akito. As we see with Kureno before he gets stabbed and Momiji at the beach house and when his curse breaks, it’s not like people haven’t kindly tried to get through to her before.

Of course, the reason it worked for Tohru can also be partially chalked up to the fact that Akito herself has come a long ways in personal realizations to the point that there’s just some things she can’t deny anymore, but that’s not all. Akito tends to react very negatively to what she sees as condescension, she thinks people want to try to pick her apart and see how she ticks just so they can look down on her, so they can see her as lesser. She thinks Tohru is trying to condescend too at first, especially since she perceives Tohru as this holier than thou saint wannabe. Fascinatingly, Akito’s view of Tohru is incredibly similar to that early fandom idea of Tohru as an angelic mary sue, and she hates her for it. She thinks that Tohru is trying to be like this and is seen as such, and that she (Akito) is the only who can see that Tohru is wrong somehow.

But Tohru rejects this notion of a pure her that both the fandom and her early self tried to project, presenting herself as flawed and human and purposefully trying to not put herself on a pedestal above Akito. She makes it very clear that she’s not trying to condescend, she is the same way (well, sorta) and she gets it. Notably, after this point Akito doesn’t accuse her of looking down on her, instead freaking out temporarily because of how much Tohru called her out before venting about her fears to her. And, while, partially due to outside circumstances, it does take Akito a bit longer to accept her offer of friendship, she legitimately manages to get through to her very soon after this point. If Tohru had tried one of her early series mom speeches on Akito, or just tried to blindly accept her without understanding, it would not have worked. Akito would have just written it off or reacted badly and left it there. But because Tohru tried to befriend Akito out of understanding as an equal it actually worked. You can’t separate Akito and Tohru’s parallels and their eventual friendship because one aspect is integral to the other.

A connected aspect of their relationship that I see talked of very little but is actually a pretty strong undercurrent is that of equality and power. To explain this, we have to look at Akito for a bit. Throughout her life, pretty much everyone around Akito has either put her on a pedestal or looked down on her. This is something that not only greatly damaged the way she thinks of herself and others, but has given her an intensely hierarchical view of relationships. We even see this notion clearly take form for her in the black paint scene, where she decides that Yuki, who she’d previously seen as the same as her, has to be lesser or else she will become useless.  From the moment Akito was born she was “God,” an existence above everyone else. Even her own father only seems to give her affection for being God, and when he dies and she takes his place as the head of the family she is just elevated even farther at an extremely young age. The only people (she thinks) she’s close to are the zodiac, and the curse itself puts an inherent power dynamic into that relationship that can only be overcome with its undoing. Akito clings to her power, to her rank in the hierarchy, all the while the very thing she desperately upholds has made her the real outsider. Akito, who does everything in the name of belonging, was always alone from the start. As Tohru points out, as long as she is above the group she cannot be a part of it.

Simultaneously, and almost contradictory to the pedestalization and power dynamic aspect, Akito is extensively coddled and pitied. A lot of the older adults around her treat her almost like a crotchety, spoiled child. A child who is coddled to the point of never being given any reprimand or instruction on just how to behave like a functional human being until things have gone far too far. Then you have cases like Kureno, who seems to still see Akito like a kid, pretty much just coddles her as a job, and only stays because he pities her. This leads to a strange dual sided dynamic in multiple cases, where Akito is seen as someone’s better and has more power but is also being looked down upon in a way too. Akito has never in her life been seen and treated as an equal, so it’s pretty important when it is made clear that Tohru tries to befriend her as an equal. After all this time, Tohru, an outsider that is not under Akito’s control, who can hold her ground in a challenge against her, is finally the one to meet her on the same level. There’s this page that I adore that symbolizes this idea really nicely. It opens on a panel of Akito sitting a distance away from the zodiac who are all having fun together, a motif we’ve already seen a few times, but this time Tohru sits down right next to her.

This page comes at a critical moment, when Tohru is offering her hand in friendship to Tohru, it’s Akito realization of what Tohru is trying to do. Later on, we get Akito narrating what this page was showing, which I think I just need to put in:

We also see a bit of their conversation after they reunite in the hospital later, where Tohru again denies that she is better than Akito. Now, I think both the Tokyopop and Yen Press translations of this scene are a bit weird, the Tokyopop version uses the word “pretty” (confusing) while the Yen Press uses “kind” (don’t think that’s the best word). However one time I saw like a Malaysian english release in the half price books that used “pretty on the inside” and I like that best so I’ll just pretend that’s it.

I think this scene is interesting because it could seem like they’re just talking about morality but that’s not it. This is, once again, Tohru pretty explicitly trying to stop the creation of any sort of hierarchy between her and Akito. It’s not about right or wrong, Tohru know very well that Akito’s done things wrong and actively worked to stop her, it’s about not wanting them to be put on some sort of different rank based on morality and Tohru understanding Akito enough to empathize with the fact that (wrong or no) Akito was really hurt by Tohru and they won’t get anywhere if they don’t acknowledge that. Furthermore, I’ve already talked a bit about it already, but I think the way that Tohru asserts that she gets what Akito’s feeling and thinks she herself is “dirty” during their confrontation is relevant here too. She is, again, presenting herself as someone on the same level who understands Akito and is not being nice out of pity. This then leads to the page I talked about before which is again, Akito realizing this! This is a huge moment for her, someone who has had all of her relationships messed up by inequality and has no idea how to have a normal relationship, who is having a breakdown because she thinks that because of this it’s too late for anyone to love her, to have someone who understands her and wants to meet her on the same level. Even if she tries to deny it and shift blame, at this point Akito has realized that the zodiac bond is not what she thought and that she has been acting horribly. The groundwork is already there for Akito to have a change of heart, especially considering that a lot of her horribleness stems from legitimate extreme ignorance and her obsession with the bond so once she’s snapped out of that… The main thing that’s holding her back past that is that she’s panicking and cannot see a way forward. So then when there’s someone who actually gets where she’s coming from instead of just tolerating her and is offering her the sort of friendship that she’s never gotten to have of course she’d go for it! Tohru Honda has proven Akito wrong in ever way and, in the end, she even proves her wrong on her greatest fear: that she can only be wanted because she’s God. Because of Akito’s specific issues, nothing could have been more powerful for her than someone coming to her as an equal. Again, the piece about why Tohru could get through to her. It just wouldn’t be the same if Tohru didn’t have a reason to want Akito around or if she somehow saw Akito as below her, the very core of their relationship is the destruction of hierarchies. From the beginning Tohru has been trying to destroy the hierarchy of the zodiac, and when it comes down to it she does not take Akito’s spot at the top, but decides to stand beside her and the zodiac instead. Early in the series we see Akito trying to have some power over Tohru through fear, but when the time comes and Akito is pretty much defeated Tohru does not take power as the victor, hoping that Akito joins her instead of being somehow defeated. And at the end of it all this works, and Akito dissolves the zodiac and with it most of her power and her godhood of her own accord. 

Despite their relative lack of page time, Tohru and Akito’s relationship has always been something that I come back to. Sure, a lot of that is just sentiment as they meant a lot to me when I was younger, but I think there’s something there. They work amazingly as protagonist and antagonist, contrasting nicely and working as symbols of both sides of the thematic conflict. There’s a palpable tension to their early interactions that makes you both scared and interested to see what happens when these two inevitably have to go head to head. But then, as the story goes on, it seems more and more like they are a tragedy, so similar yet on different sides of the story, fated to have one of them stuck with an unhappy ending brought on by the other.

But, even as dark as it gets, that wouldn’t really be Fruits Basket, would it? In the end, Tohru and Akito’s similarities win out, not their differences. I think it would have been so easy to just make this a story where the sweet heroine “saves” the villain just because, but that is so blatantly not what’s going on. Tohru simply sees herself in Akito, she’s not trying to somehow fix her and nor should she have to, she just wants to be her friend. And then the two manage to overcome their driving fear of moving on, forging new bonds and inspired by their interaction with the other. It’s not like Tohru somehow fixes Akito’s problems, Akito has to do things herself and in fact independence is a big theme of her endgame arc. Tohru simply offered her friendship, and that was enough. There’s a distinction to be made between how Tohru inspires Akito and Tohru somehow “saving” her, because Akito very much has to learn to save herself in the end after a lifetime of pushing her issues onto others. And, as a side note, all this is sort of why it bugs me when people act like Tohru would be like a mom to Akito. First off, Tohru shouldn’t have to be the mom to everyone. And, kind as she is, Tohru is also not a Kureno, she sees and interacts with Akito in a completely different way and their relationships with Akito are one of the big points were Tohru and Kureno differ. Second off, Akito has spent her life coddled and clinging onto anything that she can hold onto as a resemblance of parental affection to a toxic degree. Part of her arc is that she needs to grow out of this, become more independent, and have more balanced relationships. Akito at this point does not want or need to make a mommy figure out of one of her peers, and doing so may in fact be regressive. Sure, she will definitely need a level of guidance going forward, but it would be more beneficial for her to learn from example and under more of a friendly, balanced context coming from multiple people, not one person holding her hand. For all the reasons I’ve gone over in this entire post, I think it is much more meaningful for Akito to have Tohru as what she was canonically presented as in text: someone who sees her as an equal. The whole point of their relationship is, again, the defiance of hierarchies, something which I think is often sorely overlooked even though it is very openly there in text. And that, in part, is why I think their relationship is so powerful to me. Beyond hero and villain, right or wrong, or any story roles, it’s about two girls finding solidarity and friendship on a very personal, human level. This is Akito for the first time being seen not as this distant, untouchable male deity or some pitiful being, but as a flawed, hurt human girl who is nonetheless capable of change and being loved. This is Tohru coming out of hiding, presenting her flawed, terrified human self to someone she saw as an enemy. Fruits basket is, in part, a story about friendship and defeating systems of power and abuse. Even in a messy third act that muddles its themes at times by weighing character endings too heavily on het romantic love, especially in regards to the women (Hello Rin, Machi, Uo, ect.), Tohru and Akito stand out as a friendship that is given a huge amount of narrative weight. It just feels nice that, in a story that often focused on the power of relationships between women only to ditch all that and focus primarily on their relationships with men, these two girls are one of the driving forces of the endgame. The curse didn’t get broken by romantic love, but by the friendships everyone made along the way, including Tohru and Akito. Tohru has gotten it to this point, and now Akito just needs to bring it to a close and finally end things. At the very beggining, before this all started, all the cat wanted was for the God was to move forward and live as a person among the humans, and, finally, a long time later that wish was granted. The tale of the zodiac gets its happy ending not by a villain being defeated, but by the power of friendship and solidarity between women.

[paranaturalpop]

I rate your pnat ships by how well they work as foils

I’m Professor Pops, welcome to Literature 405: comparing and contrasting in pnat ships. Love is in the air but all that really matters is narrative symmetry!

Mina and Agent Day (submitted by @anxanhh)

two women on missions who need a confidante. 

Mina is a calculating woman of science with a tender, vulnerable heart deep down that she guards. Day is a fun, giggly love goddess but beneath the surface she is just as calculating.  

They are both focused on their prospective goals to the point of subterfuge. 

They have similar missions, to solve the many mysteries of Mayview, but they’re at odds instead of working together. Will these lone wolves learn to let their walls down and work towards a common goal? 

Their spectral energies are complementary colors!!!!!!!!!!!! 

9/10 so different yet so alike. They should kiss and also develop as people.

Spendcia

Where's that post about paranatural having what my hero academia wants?

These two had interacted in cannon only once before we found out they were dating, power move on Zack’s part

The cousinhood and the consortium seem to have bad blood…. Enemies to lovers????

As teachers, Garcia is tired and phoning it in while spender is energetic and committed. But when it comes to mystery solving Spender is burning himself out while Garcia keeps him grounded.

Garcia does things like pack spender lunches with little hearts drawn on the bag but was surprised to be called his boyfriend. He acts chill but inside he is deeply invested in spender but also knows about spender’s isolating tendencies. 

8/10 there's a reason these two have been off and on again for 6ish years, they’re walking a tightrope of vulnerability.

Imaax (submitted by Rubyya)

The Destiel of Paranatural. No I will not elaborate.

Here’s a pnat history lesson, the original ship name was Maxaac, but Zack weighed in on twitter with a much better alternative: Imaax. Also sometimes called Team Lightning Rod. 

Black and blue colors, just like the emotional bruises they leave on the people around them. 

Isaac wants to be seen as heroic and Max wants to be seen as aloof. It presents in different ways but deep down they both really care what other people think.

They both fear sincerity. Isaac protects himself with theatrics and Max with sarcasm. 

Isaac puts on a big show of having strong ethics but he’s a little mean on instinct. Max puts on a big show of cutting people down with his snark and devil-may-care attitude, but when push comes to shove he’s kind and cares how other people feel. 

Max immediately insults every person he meets and they still want to be best friends with him, while Issac tries so hard to be cool and nice but people just can’t stand him. 

The meta tension between Isaac, who wants so badly to be the protagonist, and Max “magnetic personally” Puckett who is exhausted with being the protagonist, is delicious. 

There’s a reason official art tends to portray them together. They bring out the best in each other. Isaac brakes through Max’s performative pessimism and Max brings Isaac down to earth. 

10/10 these two were written as a pair and it shows.

Suzabel (submitted by Rubyya)

One of my fav tropes is ‘enemies to friends’ where the enemy part is completely one-sided. Isabel probably thinks she and Suzy get along great. 

Both the heads of their respective clubs, but with very different leadership styles. 

Isabel only studies her grandfather's spectral style to please him and is a near master of it, while Suzy is incredibly self-motivated even though her actual skills are lacking. 

Isabel is at a crucial time in her life where she’s learning to distance herself from adult authority figures in order to take on more personal responsibility. Suzy is already blazing with independence and could help her adjust. 

Inversely, Isabel could teach Suzy a thing or two about treating your club members with respect and doing the emotional labor necessary to prevent future conflict. 

Red and pink! Valentines colors! 

Isabel could kill you but would never, Suzy would actually try to kill you. 

Investigative reporter/person living mysterious double life is a great dynamic.

Back when Izzy had Eightfold they had the ship name ‘Paper Girls’ which is awesome

7/10 Don’t ask me how I know this but they would kill at karaoke together. And they’re ok foils.

Bullymagnet

Max ‘too cool for clubs’ vs a boy who defines himself by his tight knit group. 

Max is learning to be less passive aggressive and johnny is learning to be less aggressive aggressive. 

Max’s entry to spectral life was when he injured Johnny and saw a shade of a doctopi on him, and Johnny's first shade was Max's doctopi after the hit ball game. 

Johnny refuses to commit to not bullying max anymore even though he really likes him, and max is working on being nicer but he’s still gonna be snarky with people even though they’re his friends. Old habits die hard. 

If he hadn't seen that shade, Max might have joined Johnny's gang. He has the style, the stunts, the snark. 

8/10 Just two bros whose lives are changing forever.

Isaac and Dimitri (submitted by Rubyya)

Here’s my pitch for a ship name: Brainstorm

Orange and blue are complementary colors. 

Isaac hurt Dimitri accidentally somehow. Hurting others accidentally is the central theme of chapter 5. 

Idealist/pragmatist is a classic dynamic

They both have relationships with their spirit partners that are rooted in fear. 

Dimitri’s self concept is overly dependent on his sense of intellectual superiority, and Isaac’s on ethical superiority. 

7/10 have not directly interacted in the comic yet but the narrative symmetry is there

Johnny and Isabel (submitted by Rubyya)

Burnhound Vs Shockadile

These two are natural leaders who know how to treat their friends with respect.

These jocks are both lethal weapons, but while Isabel is a master martial artist, Johnny is a passionate but blunt instrument.

They’re both going through similar identity crises.

Isabel is struggling to reconcile her violent and disciplined upbringing with a good, gentle heart and Johnny is trying to reconcile his violent and self-centered lifestyle with a developing respect and empathy for other people.

Johnny dies his hair red, so he would think it’s cool how Izzy emits a fiery red aura when excited.

8/10 there's a reason these two were the team leaders in the hit ball arch.

Violet and Lisa (submitted by Rubyya)

People have been theorizing about what kind of cryptid Lisa is since day one meanwhile Violet gives off big normie energy.

Lisa is very plugged into all the Mayview weirdness as the queen of the school underground, while Violet was the only person who thought to go get a teacher during the hit ball arch. Lisa was also the only one who really spoke openly about how something was clearly very wrong with Jeff, everyone else talked around it and played by the so called ‘rules’. Lisa’s secret brokering Vs. Violet’s ‘sunlight is the best disinfectant’ attitude presents two different approaches to trying to survive in a school run by a mysterious shadow organization within a town that contains several other mysterious shadow organizations.

“If you were, I’d have to be jealous too.” just two middle schoolers pinning over their crushes.

7/10 two girls against the world.

Isaac and Johnny

ship name: Firestorm?

Just 2 fiery redheaded mediums with anger management issues that command primal forces and wanna be best friends with max

Johnny chooses to have red spiky hair, Issac has had red spiky hair thrust upon him.

Both met Maxwell Pucket and decided they needed to change for the better.

I’ve said this before but Johnny and Issac have equal and opposite philosophies. Johnny doesn't care about the greater good, he just cares about a small group of people who he loves. Issac cares about the greater good, but can’t connect with individuals and ends up hurting them. Together they form one GoodTM boy.

Both their spirit partners want revenge on Spender. This spells trouble.

If there’s anyone to teach Isaac about unconditional friendship, it’s Johnny

Isaac has sworn off violence and Johnny worships at the altar of it.

9/10 they’ve only interacted in canon once so far but I’ve think we’ve got a big storm coming.

Suzy and Collin (submitted by Rubyya)

The Bakudeku of pnat. I will continue to not elaborate.

Suzy once stole Collin's phone which prompted Collin to try to cut her hair which prompted Suzy to stab Collin and at no point did either of them think to move to a different bus seat. As different as they are they are also very much the same.

Collin is the definition of mouth service (constantly disapproving of suzy’s antics but going along with it anyway.) while suzy is all action.

Despite their different attitudes they both seem genuinely passionate about the journalism club.

Fashion icons. Suzy’s sunglasses and legwarmers, Collins sweater vests and wrist bands, this duo could walk for Paris fashion week: middle school edition.

We’ve gotten an indication that Collin cares a lot about what Suzy thinks of him (taking off his wrist bands when she made fun of Max's) but we haven't gotten any sign yet that the feelings are mutual.

5/10 I think their story is yet to be told and we’ll get to know more about how they compare/contrast to each other in the future. Maybe brought on by Dimitri's betrayal?????

Cody and Isabel (Submitted by @a-bitchtm)

Cody is gay by WOG but that doesn't matter here since we are evaluating thematic compatibility, not romantic compatibility.

Red Vs. Blue

Izzy’s arch about stepping into her role as leader through communication and honesty contrasts Cody’s role as the secret class president. Izzy finally told Isaac the truth about the consortium, while Cody blatantly lied to max about being president.

Both seem to have generally good motivations and the skills/talent to back those motivations up.

Isabel is in the process of unlearning the ‘firm hand’ philosophy that she learned from her grandpa and Cody’s dad straight up tried to mind control him into murdering a toddler.

They were both taught to fall back on their capacity for violence and intimidation but those teachings conflict with the people they really want to be.

6/10 just two kids who are being led astray by authority figures trying to learn to be themselves.

Cody and Collin (Submitted by @gatortavern)

They both like vests.

Both beholden to blood thirsty predators

Collin is a journalist, Cody is a vampire/leader of the shadow government. It’s a huge power move on Cody’s part to hang out with Collin.

Cody’s support of his friends is enthusiastic while Collin would have you believe Suzy has kidnapped him.

4/10 they hang out for a reason but those reasons have yet to be fully developed

Isabel and Max (submitted by @Paranatural-goofiness)

They’re both people who have learned to put up walls to keep people out. Isabel through violence and intimidation, max through sarcasm and mockery. T

he other side of this is their mutual journey to let their walls down and connect with other people more genuinely, starting with each other.

Their search for acceptance and identity has led them both to become incredible athletes. Spectral fist martial arts = shred eagle stunts

As we saw in the hit ball game, Izzy faces things head on while Max is all about evasion. However we’ve seen how Izzy has actually learned to be evasive and guarded about her feelings while Max is a little more forthcoming.

8/10  Never has there been faster friends.

Isaac and Cody (submitted by Rubyya)

Drama kings

Isaac wants the likability Cody has.

Parallels of power: Isaac with power he didn't choose and cant control vs. Cody who also didn’t choose to have his power (elected), but wields it like an instrument.

Involuntary anime hair and involuntary glowing monster eyes

These two definitely both fall under the category of “lawful”.

I can see these two ending up on opposite sides of a conflict because they both have such rigid personal codes and an intense sense of duty.

I know I’ve been approaching almost all of these platonically but Isaac probably really wants a cool vampire boyfriend deep down

 7/10 Unstoppable force, meet immovable object. You two should watch anime together.

Hijack and PJ (submitted by @gatortavern)

They both wanna join the activity club so bad

Both have immature ideas about heroism and villainy. 

Both aspire to heroism while at the same time understanding that they aren't that yet and maybe never will be. 

They both, like many people in this comic, wanna be friends with max.  

5/10 Two supernatural babies who should play wii sports together

Stephen and Isaac (@Gatortavern)

Two boys who are easily overwhelmed

Lawful vs. chaotic

Isaac has enough secrets to give Stephen his conspiracy fix for a long time. 

In their own ways they both just want everything out in the open. 

Isaac is Stephen's dream, someone actually living a secret double life, and Stephen is Issac's dream, someone with a cool scar who would think he’s actually very interesting.��

5/10 these two are both very intense in their own way.

Johnny and Ed (Submitted by @theevilbrainman)

Two souls lost in the wind

Two people for whom friendship and loyalty is central to their character, and they’re both struggling with personal growth because of it. Johnny is afraid to change because his friends have always liked the person he already is, and Ed is struggling to even define himself outside of Isabel, the person he cares about the most. 

Both impulsive and uninhibited. 

They both live lives free from expectation. Johnny’s wild bully persona means no one is surprised by his antics or cruelty, while Grandpa Guerra doesn't really care if Ed takes up phantom fist like Isabel. He actually calls him a freeloader. Not having much expected of you can feel free but it’s also lonely and can warp your self-perception. 

6/10 these two crossed paths at exactly the right time.

I didn't cover every submission because even though only 9 people submitted you sent in 34 ships between you. Pnat’s fanbase is small but very dedicated. 

Honorable mentions: 

Johnny and clear sinuses, submitted by @gaul-the-unmitigated

Isaac and therapy, submitted by both @squidgeons and @somethingfishysgoingon

PJ and Johnny, submitted by @gatortavern, who seems to be under the impression that Johnny Would protect PJ and not destroy him just by breathing near him.

Day and Scabs, submitted by @gatortavern, because funny.

Special thanks to everyone who sent in ship between people who have never interacted in cannon, which was a lot of you. My eyes are opened now, so many possibilities.