#The amount of subtext here is huge

[stuffedeggplants]

The horseback "insurgents” in Bandits of Golak are a reference to the dacoits (bandits) of northwestern India. Charuk calls the bandits “rebels,” harkening back to some historical/famous dacoits as people who also resisted/fought the British Empire. 

The people of Golak are rebelling against the Galactic Empire where people of India rebelled against the British Empire.

[apoloadonisandnarcissus]

Sauron’s Masterplan in Season 2

What could be Sauron’s intentions into shapeshifting into Elrond in 2x07? For the tent scene with Adar, and the following scene with the Orc and the horse. Context here.

First things first, him kissing Galadriel is a minor detail in all of this. Forget about the kiss, or the romantic subtext (shipping), and let’s concentrate on Sauron's masterplan. 

Celebrimbor 

Sauron, obviously, needs him to make his “rings of power” masterplan a reality. No doubts here.

Concerning Adar

Sauron planned the whole battle of Eregion, and he “planted the seeds” for it into Adar’s mind in 2x01. Because he wants Adar to assemble a huge army for him to take at the end (which is what happens in 2x08), and become Lord of Mordor. He also wants to take his revenge on Adar, while he’s at it.

Sauron’s plans for Galadriel

He also wants Galadriel at Eregion, as Elrond tells us in 2x02, and in the same episode Sauron sends her a vision of Celebrimbor in danger. I don’t think this had anything to do with Nenya, actually; it was Sauron’s doing to "plant the seeds" of her travelling to Eregion.

When Galadriel, Elrond & co are on their way to Eregion, Sauron controls the path they need to take (he destroys a bridge using lightning for them not to go that way). There are two others paths (both who are being watched by Sauron, as Elrond says).

Elrond: What other paths might we take? Camnir: To circumvent it, we shall either have to turn due north, adding two weeks to our journey... Elrond: Or? Camnir: We go south, through the Hills of Tyrn Gorthad. Which will get us to Eregion much faster. 

Elrond chooses to go south, to the Barrow-downs, where they will encounter the Barrow-wights who killed the Lindon soldiers carrying the message that Halbrand is Sauron. Galadriel advises against this, influenced by Nenya, and says that’s the road Sauron wants them to take, so they need to go north. Elrond, however, dismisses her warning.

But is it, really the path Sauron wants them to take? Because he wants Galadriel alive at the end of all of this, why would he want her to fall into a trap? One of the Barrow-wights even manages to take Galadriel, until Elrond saves her. 

Sauron wants Adar’s army at Eregion, and he needs Celebrimbor to forge the rings of power in the meantime. So, Galadriel arriving “faster” at Eregion wasn’t, probably, his idea, at all. Sauron, most likely, wanted her to take the longest road, and arrive after the rings of power were completed, and he had control over Adar’s army. 

Why? Because he wants Nenya, yes, but he also wants to bind himself to her, and harvest her "light" for himself, and keep Morgoth’s bounds at bay. This has been one of his goals ever since Season 1. And Tolkien tells us, in his letters, that Sauron still has good intentions as Annatar, and truly wants to rebuild and heal Middle-earth from Morgoth’s corruption.

Galadriel being taken captive by Adar wasn’t in his plans, either (which explains his reaction to “the body” in 2x06). And he grows impatient and restless once Adar’s armies show up at Eregion, also adding to the fact that Celebrimbor hasn’t finish the rings of power, yet. And he’s starting to “lose it”, as we saw in 2x07. Which isn't like him, at all.

Sauron's powers 

Sauron is a mastermind, a control freak, and a micro-manager villain who plans everything up front and is always ten steps ahead of every other character. He does have an insane amount of powers, but he doesn’t have the "gift of foresight"; he can’t see the future. And, so, he doesn’t know how things will actually turn out when he plants the seeds into other beings’ minds.  

And so, he needs to take matters into his own hands, every now and again. With Celebrimbor, he crafts a gigantic illusion to keep him locked at the forge tower for him to finish the rings of power, while the siege of Eregion begins. With Galadriel, he destroys a bridge to prevent her and her company from going that way.

Meanwhile, Celebrimbor discovers the truth, but Sauron still needs him to finish the Nine. Now, the Elven army arrives, and Adar wants to negotiate with Elrond, by luring him with Galadriel on a cage. We see Sauron looking at this scene from Eregion walls, while Celebrimbor is being taken away back to the forge tower by soldiers. But we, the audience, aren’t shown anything else from the mastermind behind this whole thing.  

“Eye of Sauron” is, among other things, exceptional eyesight. He can see everything (this power is not a “giant eye ball on the top of a tower” like in the Peter Jackson adaptation).

However, Saruman in “Fellowship of the Ring” does give a good description of the "Eye": "the lord of Mordor sees all. His gaze pierces cloud, shadow, earth, and flesh. You know of what I speak, Gandalf: a great Eye, lidless, wreathed in flame."

Sauron [...] a sorcerer of dreadful power, master of shadows and of phantoms, foul in wisdom, cruel in strength, misshaping what he touched, twisting what he ruled, lord of werewolves; his dominion was torment.  The Silmarillion

There’s a shadow above the two armies, while the Elven army is charging at a portion of the Orc army (because the Orcs are already attacking the walls, and trying to tear them down to infiltrate the city). Sauron is a master of shadows; who can weaponize and control them (and he does this several times in the legendarium), and he “shadow walks”: he uses shadow as a means of teleportation (and that’s how he was able to travel so fast from Eregion to Khazad-dûm to ask for more mithril).

Could Sauron pull this off? Could he conceal Adar and the Orc army from sight, right in front of Elrond's nose? Absolutely. One of his set of powers is world manipulation; Sauron can manipulate reality and the weather at will, and he can trick several characters at the same time. We already saw him doing this in Season 2. Once you understand this, all is fair game.

Why does Elrond stop charging, then? For any other reason other than Adar being in front of him, really.

Elrond meeting with Adar

Now, why would Sauron want to stop Adar and Elrond from meeting? It’s only because of Galadriel and to set her free? No. Because that's the least of his problems.

First of all, Sauron doesn’t know what Adar and Elrond will discuss in this meeting:

Sauron is aware Adar seeks a truce between Orcs and Elves; what guarantee does he have Adar won’t propose this and Elrond won’t accept?

What guarantee does Sauron have Elrond won’t make an alliance with Adar? Elrond could very well surrender Nenya to test Adar’s theory (Morgoth’s crown + Nenya to destroy Sauron);

Elrond and Adar could reach an agreement in stopping the attack on Eregion.

All of this would mean the ruin of Sauron’s masterplan. Not because Eregion wouldn’t get destroyed, but because, if Elrond was to side with Adar, even if temporarily, they would be able to enter Eregion without bloodshed and stop Celebrimbor from forging the Nine rings of power.

Because this is what Adar proposed to Galadriel in 2x06:

Adar: It is said the Three Elven Rings saved your kind from fading. Is it true?If it is, then perhaps together, this crown and your Rings would be powerful enough to truly destroy Sauron forever. The Deceiver believes he is still beyond my grasp. But I know he hides in Eregion. And I suspect you know for certain… Halbrand is Sauron. Isn’t he? The fate of that city now rests on your ability to put aside your pride. I suggest you find the will to do so. If you can.

Which Galadriel eventually accepts, later on:

Galadriel: As we speak, Elrond hastens from Lindon with an army of Elves. And Nenya, my Ring […] Once he arrives, he will seal off the city, loose Celebrimbor from Sauron’s grasp, and then together, Uruk, you and I will eradicate all trace of Sauron from this world. Never to return. Adar: And what then? Galadriel: Any Rings that have known his touch must be destroyed. Adar: I meant, what then for the Uruk? Will your High King permit us to return home in peace? Or will he proceed with his plans to invade Mordor?

And Sauron is aware of all of this. Would he risk Elrond and Adar meeting and reach an hypothetical agreement? And pretty much obliterate his entire masterplan? Because his plan is at risk if these two characters were to meet.

Then, Sauron also needs the two armies to fight outside of the city walls to gain himself more time, for Celebrimbor to finish the Nine. But he can't have the Dwarves joining in, and influences King Durin (via his ring of power) not to send aid. Sauron doesn’t want the walls to be breached just yet. Not until the Nine are complete.

All of this means that, from Sauron POV, Adar and Elrond can’t possibly meet nor make any sort of negotiations. And he has to do something about it. The logical conclusion is: Sauron shapeshifts into Elrond and goes to meet with Adar himself, to make sure his masterplan doesn't get wrecked.

And that's what happens in the "tent scene" in 2x07: there is no negotiation, the battle still goes on as planned, and he even manages to "plant the seeds" of discord among Orcs and Adar, for his next move in 2x08 (take the Orc army for himself). And he provides Galadriel with a means to escape, because he needs her, too.

Then we have this shot right here, after the tent scene, and while "Elrond" is leaving the Orc camp. Is this really Sauron or an illusion he crafted for Celebrimbor, to make him think he's right there, but he isn't? Because Sauron has the power to do this.

And that explains why the have this off-screen narrator, of showing Elrond leaving the Orc camp:

And so, he goes on to make sure the battle is to proceed, himself. Because Sauron wants the two armies to fight each other, instead of the Orc army to be focused on tearing down Eregion walls.  

Interestingly enough, this is exactly what “Elrond” tells Vorohil before sending him off to Khazad-dûm: Ride to them now. Meantime, I will ensure that Eregion's walls hold for one more night.

Which can, also, explain what Sauron is doing at the beginning of this scene: he has his eyes closed, as if he’s performing some sort of magic, but Celebrimbor is right there, working on the Nine, and so whatever Sauron is doing here is not meant for him.

We saw him performing something like this before, both in 2x06:

And when he meets Galadriel at the top of the hill in 2x08, he smiles. Because everything turned out in his favor, at the end. Adar is dead, the Orc armies are his, and Galadriel is there, to hand him over the rings of power, and to bind herself to him. I would even argue that Sauron knew and wanted Celebrimbor to give the Nine to Galadriel.

“Only blood can bind” (Adar; 2x05) 

And Galadriel is about to join him, until Nenya influences her otherwise, and she jumps off the cliff, to escape the situation. Which wasn’t in Sauron’s plans, either. And he realizes one of the rings of power resisted him. Him, their master and creator (he believed). And so, he needs to do something about it, too, in Season 3. Create a master-ring to control the lesser rings of power:

[buckybarnesss]

Something that frustrates me is that Theo can full transform into a wolf and it’s never talked about. Like how is it a big enlightenment thing for the Hales and then the evil 17 year old test tube were-creature can just do it casually and he doesn’t even USE IT FOR ANYTHING

lol fucking theo.

okay.

here we go.

i can understand how this would be frustrating and yeah it kind of is but the thing about theo is that narratively he's a derek mirror.

especially for scott and stiles.

read more because i had thoughts on this subject.

for the two of them, derek has always been there. it started with the three of them and for the type of shit they dealt with on a regular basis derek being there was comforting. even when they were actively being deeply annoyed by him because derek was safe to them in so many ways that i think that like a lot of teenagers they took for granted that he'd always be around because it's derek.

than he wasn't.

and argent left too.

it's the moment where the paradigm shifts and says "you're on your own kids".

it really pulled a rug out from under the two of them.

derek's departure at the end of season 4 in smoke and mirrors was so significant but also understated. i think people really do dismiss the amount of growth that occurred in the derek and scott relationship. fandom gets so hung up on their antagonism in seasons 1 and 2 they don't look much deeper for why they were like that and sort of ignore that season 3 spends a lot of time showing them moving away from that.

stiles and derek are more difficult to parse for some. their relationship whether you ship it or not is mostly in subtext. stiles is fucking attached by season 4.

stiles fears change. it's a huge part of his season 5 and 6a arcs. it terrifies him to lose people he cares about or have his relationship with them change.

i think it's important to remember that in smoke and mirrors, derek is all but dying in front of stiles. he's bleeding out. it doesn't look good. no one knows the dumbass is gonna evolve or whatever werewolf magic he pulled out his ass. he is dying and his last words to stiles are to go save scott.

this is after a season of where derek's been messed with magically by kate, where he's been losing his werewolf powers and lydia predicted his death.

when derek's lying there bleeding out stiles hesitates. twice.

he gets more focus than peter or braeden does in this moment. the focus is derek and stiles. we get like six close up shots of stiles being deeply affected by this and by affected i mean fucked up.

sure, derek doesn't end up actually dying but he leaves with braeden. we have no idea if they've really spoken all that much in the in-between.

stiles's face as they watch derek and argent leave does not give the vibe that he has had closure.

derek being unable to give stiles a proper goodbye is a whole other post.

it's really significant that derek leaving unmoors stiles emotionally even months later and that scott recognizes it. we are shown stiles getting sentimental and gooey over the initials d.h for a reason in creatures of the night. he misses derek.

why all this background when this post is about theo? it's because derek's absence in season 5 is glaring and tangible. it's an unsaid thing that theo is able to take advantage of.

it's a compare and contrast but sort of in opposite directions for stiles and scott.

both derek and theo grew up in beacon hills but left for a period of time before returning.

derek is immediately recognized by stiles and theo is recognized by scott.

both are accused of killing their sister. derek didn't kill laura but theo did kill tara.

derek is a born werewolf who earns his full shift which is an inherited rare gift whereas theo is a chimera artificially created by the dread doctors.

derek rejects the influence of peter and duecalion whereas theo is a tool of the dread doctors.

derek's desperation in building a pack and losing them versus theo's desperation to build a pack and killing them himself using deucalion's teachings about taking power.

derek wanting to kill lydia because he thought she was the kanima versus theo wanting lydia because he wanted her knowledge and she was the key to the hellhound

scott wanting to trust theo is an obvious course correction of how he mistrusted derek in the beginning and how he misses the connection he had with derek.

scott's just desperate for something to work out.

stiles's mistrust of theo is in contrast of how he trusted derek despite scott's insistence that derek wasn't trust worthy.

it also highlights that stiles's is on edge. he cannot afford to trust someone. not again. he cannot let another person close.

which brings us to parasomnia and the benefit of a doubt conversation.

there's a lot happening with stiles and scott during season 5. there's nogitsune fall out, them growing up and the pain that comes with it but also how stiles's behavior is increasingly paranoid and irritable. it's why theo is able to take such advantage.

but i think on some level scott misunderstands that stiles never really distrusted derek the same way he did.

stiles: "yes. okay? we followed him out here. what do you want me to say? that i'm a stalker? huh? that i'm crazy? totally paranoid? none of this is new information!" scott: "now you're gonna try to at least give him the benefit of the doubt?" stiles: "i give people benefit of the doubt! i've given a lot of benefit to a lot of people." scott: "like derek? ...kira? ...liam?"

i can not post scott's face when he's about to bring up derek to stiles.

scott may not know all the details, he may not understand them but what he does understand is derek leaving has stiles fucked up and bringing him up is going to poke at sore spot. bringing up derek was his entire point. adding kira and liam weren't the important part of this segment of conversation. i don't even think stiles ever mistrusted kira prior to when she begins to lose control of her fox.

scott is trying to appeal to stiles's derek feels and stiles just ends up super mad about it.

so to me in the end, a lot of scott and stiles's whole theo issue was really about derek.

(here's how i can make everything about derek hale lol).

theo being able to shift really was only to compare him to derek lol and who knows if he can even still accomplish this after he was returned from hell. he kind of went back to factory settings. ¯\_(ツ)_/¯

tl;dr season 5 theo is derek-lite.

[veerbles]

thoughts about dream thieves (and some predictions!)

After probably almost a decade of thinking to myself, I’m an adult who’d like to read more and also enjoys YA, I should finally pick up TRC, I finally picked up TRC. I finished Raven Boys and immediately started Dream Thieves, so I didn’t pause to gather my thoughts on the first one, but here I am now. Ready to unleash several K’s of words by using my limited information to analyze characters and make some predictions that may or may not come true.

• I really enjoy the whole magical-realism, bordering-on-alternate-dimensions theme, but I’m SO SORRY Cabeswater gives me the creeps. I can read context clues and infer from the fact that Blue and Gansey both love it that it’s not meant to be sinister? Probably? But like, talking forests and time loops and magical possessions have, in the history of literature, revealed ulterior motives. I’m mostly side-eyeing the way Adam’s sacrifice to Cabeswater immediately derailed his life and mental stability. It might just be an Adam thing. It’s probably an Adam thing. But like, if I were these kids I’d be a biiiit more wary of the scary time-defying magical land I stumbled upon.

• The sudden emphasis on how time is circular kind of came out of nowhere. There was definitely a point made in the first book about how time doesn’t flow the same way inside Cabeswater, but mid-second book the nonlinearity of time was suddenly a huge thing and all the Sargent seers made a point of how every prophecy is something that both happened already and hasn’t happened yet. I’m totally down with some time-fuckery, but I would’ve liked some more build-up. Also, is this meant to play into Blue’s prophecy? Adam’s visions? Gansey’s fate? Glendower’s fate?

• I was preparing myself for a long, drawn-out love triangle B-plot, and I’m glad it didn’t happen. I couldn’t tell if I missed some subtext and Blue’s intense attraction to Adam faded before their fight at his room, or if it was a direct result of it, but I like that their thing (he called her his girlfriend and I was kind of like… is she? Who established that?) was short and not too well-developed. I think it mostly served as a lesson that Blue can influence her fate, but she can’t run from it (“Why couldn’t it be Adam?”). 

• Also, I think the marketing of the first book did it a HUGE disservice. I have nothing against romance as a main plot and maybe I would have enjoyed that as well, but adventure and the found family trope have a much stronger pull. Was really glad the romantic relationships aren’t really the main focus (at least yet?).

• On the same note, these books are so far really good with show not tell. The numerous unspoken hints about the Blue/Gansey attraction did such a good job making me root for them. The slow progression from Gansey caring an inordinate amount about how Blue views him, to Blue dedicating large chunks of her time analyzing him and trying to figure out all of his layers, to Gansey definitely growing aware of his feelings but not doing anything explicit because of Adam… The boat scene with Orla was pure comedy, lmao. Tell me you’re 16/17 years old without telling me you’re 16/17 years old.

• The Blue/Adam “break up” scene was so good because it evoked true emotions in me. I think a reasonable percentage of teenage girls were once The One Girl in a group of guys, and Blue’s feelings of being treated differently because she’s a girl really hit right where it hurt. I think Adam’s inability to understand that she wants to be his friend first and a love interest later was so real. I also do think that this scene brought up multiple points and maybe Blue’s character would have benefitted from addressing each of them separately, even just in her own head. She feels left out because she’s a girl, and she feels he only views her as a Girl and not as a friend; she’s wary of his anger issues and feels she doesn’t know him; she has feelings for Gansey; she has an ominous prophecy hanging over her head. Ultimately, her saying he’s not “the one” is what hurt him most, because she hit him directly in the insecurities, but it wasn’t really the most interesting or impactful point. Who is Blue Sargent and what does she really want in a relationship (or in general?)

• I have a hot take, but don’t kill me for this. …Adam gives off real Peter Pettigrew vibes. I’M SO SORRY. I really hope he gets more character development later on, because right now he’s straight on the path to evil villain. Or, okay, maybe he veered off that path after his talk with Persephone and their quest to fix the ley line, but for a minute there I was like… My guy, I get where you’re coming from, but you’re slowly gnawing on the leg that you used to stand on. It’s okay to be mad at the world because you were handed a worse hand of cards, and it’s okay to want to climb your way up to prove your own worth. But a minute ago your whole point was that you HAD worth, and now you’re acting out because you feel worthless? Adam’s getting eaten away by his insecurities and thinking/saying/doing really uncool things to his friends, and it’s just Not It. At this point of time, I personally would not have made him Secret-Keeper of the house I’m hiding in.

• Direct follow up: Honestly? Gansey should punch someone. As a treat. Gansey certainly has flaws, but he’s also certainly the most self-aware of the whole bunch. He is continuously harder on himself than anyone else is hard on him, and trying to make things right, and he’s kind of getting stepped on by his best friends. Adam stole his most prized possession and sneaked away to do exactly what Gansey didn’t want to do on GANSEY’S search quest, and then took the offer of networking but spit it back in Gansey’s face, and admitted he’s going to fight Gansey for Glendower’s favor because he thinks he deserves it more. Ronan ALSO stole his most prized possession after letting Gansey clean up his messes, and didn’t even really apologize? Like, it’s somehow okay because after he stole it he wrecked it and then dreamed it back? Nah dude. It wasn’t okay you took it to begin with! Now, I definitely think it’s not a black-and-white situation; Adam brings up plenty of good points in his arguments, and Ronan, to the best of my recollection, never asked to be cleaned up after. They’re both super traumatized and Gansey chose to stick by their sides through that. But everybody else gets to lash out and make stupid decisions and I, personally, think Richard C. Gansey III should pull a teenage boy move and punch one of his best friends. Which one is up to him. The punch can be metaphorical.

• This book focused mainly on Ronan and Adam’s journeys, and I have to say I loved the night terrors as a symbol of self-loathing. But I remain unsure about Ronan himself. Unlike Adam I don’t think he’s doing villain-y things, but he’s definitely doing very normal teenaged self-destructive things. And that’s fine. It's expected. But it’s also not really productive to self-acceptance? Which he somehow reached at least partially by the end of this book anyway? My point being, Ronan kind of lost it when Gansey was gone and went on a weird dreamer-bender and took all kinds of suspicious drugs and made all kinds of bad decisions, and I expected that to have ramifications. He didn’t really face any of his self-hatred or made efforts to be a better friend. He did kind of face (literally) his grief over his father, which is obviously huge, but I would have liked him to take down some of those walls, be vulnerable, apologize? Face some of his obvious inner homophobia? Anything before that wholesome ending. I guess I just stay hopeful that it’d happen in the next two books.

• On that note, the whole goddamn Lynch family needs therapy. What the fuck. Hated Declan significantly less than the last book, but all three of them should get some professional help for their asses. Their mother is a dream? Ronan’s new friend’s mother is dating his father’s murderer?? Ronan’s dad kicked him out of his home on the heels of his tragic death to teach him some lesson about… dreaming??? So much shit happened in this book. However: loved the idea of Ronan having an actual parent and functioning sibling relationship now. Hopefully, that would do some good for everybody involved.

• Very happy at the subtle queer themes and foreshadowing that led up to Ronan’s very understated sexuality revelation. I could smell it coming from a mile away without it being spelled out for me, which is good: it means it was written into his character really well. I was both thrilled and kind of confused by some of the Adam/Ronan hints in this book, though. Ronan… slept on the floor by Adam’s bed…? ("Surely he would wake up soon and find himself [...] lying on the floor beside Adam’s bed at St. Agnes.") This was literally mentioned in one line and then never again. And he doesn’t spend too much time thinking of Adam, but somehow the epilogue still explicitly states that his secret is Adam and not his sexuality as a whole. I’m rooting for them, but I’ll need more convincing in later books that this apparent crush didn’t spring out of nowhere. 

• On the subject of themes I didn’t see coming, the redemption arc for The Gray Man with the gray morality surprised me. It’s not that I’ve never read or enjoyed books where this subject was explored, I just didn’t expect it to happen in this book series. It seems to me like so far every character we’re supposed to root for is very clearly that, and evil characters give off hints in advance. Gray Man definitely did some dubious things in this book, even if you disregard the killing itself, so I expected his ending to line up with that. I guess it still might? Truthfully I find the subject of responses to trauma and how it affects your moral compass very interesting, and I’m definitely into characters’ redemption arcs, but I just don’t know if romantic entanglement with a known dissociative killer is a smart thing for a mother of a sixteen-year-old. If the Gray Man drove away at the end and started a new, less-violent life, I’d be far less conflicted. But he very clearly stated his attachment to Henrietta, which just… leaves me mostly confused. 

• Speaking of, I love how a major theme of this odd little magical book is how different people handle childhood trauma (Adam, Ronan, Gray Man). No further notes, just love it.

• I also really like that adults are directly involved in this story, instead of being intentionally kept out of the loop like in most YA stories. In the majority of the YA books I’ve read I really felt like 70% of the problems could be solved by a whole ass grown up swooping in instead of letting a bunch of kids handle real life-endangering shit all by themselves. The 300 Fox Way women are certainly a specific breed of adults, but they are adults, and they do intervene when needed and are kept mostly informed. It’s a nice change of pace. 

• Going to quickly mention my only real point of criticism and then move on. The dialogue in this book isn’t very realistic, and the clear preference for dramatic chapter endings is a little excessive. I can forgive the dialogue issue, because it does help create the atmosphere that this isn’t a real place in the real world but a magical and intriguing town in some mystery land, but I don’t know if this is what the author actually intended. In every other way, the kids are all pretty well fleshed-out and realistic depictions of teenagers. But every time they open their mouths I think: this is not how a natural conversation sounds. And the dramatic chapter cliffhangers isn’t terrible, because it does keep my interest, but I think it’s fine to have a few chapters not ending with a dramatic one-liner, lol.

Predictions! 

Gansey is a reincarnation of Glendower’s. This is not a certain one, but if it’s not true I feel like it’s a missed opportunity. Gansey is constantly described as “both very old and very young”. He died, but mysteriously didn’t die. He has this connection to Glendower and for some reason connects his sense of self to him. It would tie in to the theme of nonlinear time. I think it could be a good ending for this journey, a la “the thing you were looking for was in yourself all along”.

Gansey answering with “That’s all there is” will have more meaning later on. It could be that dialogue thing again, but I found it to be a weird response in the context of that scene. Since I am of the firm belief that this is all heading to a Blue/Gansey kiss, Gansey dying and then undying, and Blue somehow walking him back down that corpse road, I feel like that quote could maybe tie in to that future scene.

Is Adam’s vision really “gone”? In the scene where Adam makes peace with his powers and returns to Cabeswater he remembers the vision from the dreaming tree and thinks: "That wasn’t going to happen now. He’d changed his future. He’d chosen a different way." And I simply can't help but think that that's just... too easy. Why mention the vision so many times if it's not going to happen now? On the one hand, it would be far more interesting if it did happen, but it had a whole different connotation to it than Adam can currently imagine (he specifically says Gansey is dying, not dead.) On the other hand, it does seem like that vision fits in the reality where Gansey dies back in the first book on Neeve's pentagon, if Adam hadn't rushed in and made the sacrifice. I just feel like it's going to make a comeback.

Noah should not be a ghost. There was not once a good explanation for why this happened. Because he died on the ley line? Presumably, if the ley line runs through the US, many people die on the ley line. Gansey’s backstory is that he came back to life from those hornet stings because someone else who should not have died has died. But Noah is like. Not exactly dead? I’m assuming this will need to be addressed later on and serve as some sort of plot resolution.

Persephone has a connection to Cabeswater. She essentially told Adam that she was in his place once (“They won’t understand,” Persephone said. “They didn’t when I came back.”). That lady has something weird going on with her and this tell me it will have some sort of connection to Cabeswater. She kind of gives off the vibes of someone who will get forever lost in a magical forest. Also I feel like maybe one of the psychics won’t make it out alive, and I dread it’d be her or Maura.

Artemus is definitely a Cabeswater creature. I think this was almost explicitly stated? He appeared suddenly and disappeared suddenly? Almost like the surges and outages the ley line causes? Also, I don't remember the specifics from the first book but I think Maura needed Neeve's help to find him because he was in that "place where they can't see", or something like that - presumably Cabeswater. Also, his story does not give human.

[muchcelebrated]

What are your thoughts on the Hetty/Jack/Belle situation? Tell me everything 😊

Ooh I love this question! Thank you!

So first and foremost I am obviously a huge dodgerfox shipper. However, I am also a huge stan of Nurse Hetty Baggett. And when I talk about the love triangle I tend to focus on Hetty because she’s the one that’s most aware of it in the show. Like Belle and Jack are just more passive about it.

I love the way that this triangle is handled because it’s not the typical two girls fighting over this guy and they hate each other because of it. I’m glad that they didn’t write in Hetty begging for Jack’s attention or affection and that they didn’t make her super jealous or make her try to come between them. The small amount of tension we do get is not because of the fact that Jack loves Belle, but because Belle gets special treatment as a professional due to her status. Him sending Hetty away from the surgery upsets her because it insults her skills as a professional not because she’s jealous Belle gets to spend time with Jack and I love that. And even after that, she still helps Belle with delivering the baby and supports her and reassures her like despite being upset over some of the preferential treatment Belle gets she also acknowledges that she does still have skill. She’s a mature adult and her actions reflect that. It speaks so much to her character, and I’m glad that the writers seemed to realize she’s a grown woman and it would be off putting to write her like a little girl fighting over a toy like so many other shows do. The love triangle is just handled with so much maturity.

I also like to think that her quiet moment and sigh to herself after the whole scene where she asks “you love her don’t you?” and Jack decides to do the surgery on Belle isn’t just her being sad or upset but also her accepting their love and deciding to move on. You get the vibe that even though it may hurt a bit now she knows she needs to move on because she deserves better. She doesn’t try to make Jack “choose” her instead of Belle because she knows she deserves more than to be someone’s second choice.

Hetty is a great character with so much potential for future seasons. I hope we get to see her have her own subplot and a true romance. Like I want to see her passion for nursing and learn where that comes from. I want to see her be someone’s first choice and maybe have a parallel moment where she asks for Jack’s advice. I want to see more of her and Jack being friends but also her and Belle being friends. I want to see her helping Belle learn more about woman’s health and I want to see Belle acknowledging how nurses are just as, if not, more important than surgeons. I want them to continue to develop her character because she’s just so well written and one of my favorite characters.

Here’s another post I made awhile back on my thoughts on Hetty and the whole situation with Jack and Belle!

But anyways, at the end of the day a lot of this situation is in subtext, and people are completely welcome to interpreting things differently! This is just my opinion and my take on everything!

[bloodgulchblog]

Important question.

Which halo book is the most gay

Sorry this took a minute, I've been dying on the job lately and this ended up longer than intended. (I am under so much stress and writing absurd amounts about Halo canon is enrichment for me.)

First of all: Is anything in Halo hard-canon, completely undeniable, text-only no subtext, gay? The answer is: not much.

Cards on the table, jokes to the side, Halo is overall very sexless and, when it remembers sexuality exists and maybe a character would have a feeling about that, it's usually heterosexual. Halo was born in the early 2000s and is one of those properties that wears a "mature" coat of paint but knows that a huge percentage of its audience is probably teenagers and thus it's very scared of what would happen if their parents got mad. (This was even true when they were still making the games M rated.) The games have a lot of incidental dialogue with the marines and sangheili allies but it's the kind of thing of thing you know people let skate in 2007 because lol gay, hilarious.

It's one of those things where the only way to square it with, you know, the fact queer people exist in reality, is that queer people existing is commonplace and not taboo ergo it's not brought up. This isn't a great patch job and fixes nothing, but these are the hoops available to jump through if this is your chosen circus and you're trying to have a good time. Do the tigers at the circus have a good time? Probably not, actually. Let's move on.

There are two instances of the written Halo canon specifically and undeniably mentioning gay characters. (...Or at least there have been two for the longest damn time. If I blinked and missed something recent y'all should yell in the notes. The gay couple they kill in the TV show doesn't count.) They are both supporting cast characters in short stories written by the same author, Tobias S. Buckell, for each of the two short story anthologies.

The older story is "Dirt" in the Evolutions anthology, and there are two gay women in it. The first is Felicia:

The second is Allison:

Both of these characters die (Allison dies in an attack that happens literally seconds after this moment, but Felicia is important through the story until she goes). "Dirt" is good, contains the first mention of the Rookie, the most detail we've been given on ODST training, and is a love letter to Contact Harvest so it's following up on the messy pre-Covenant insurrection vs CMA vs UNSC tensions we haven't seen in as much detail since.

The second story is "Oasis" in the Fractures anthology and there is much much less here. The protagonist of "Oasis" is a girl whose remote desert community is being ravaged by a virus, and she's the only one able to set out across the desert in search of help (where she gets caught up in some infighting among the planet's Sangheili).

Nearer the start, she finds one of her neighbors burning the body of his partner, who has died of the virus. I'm not going to post it, it's very sad. They're one-scene characters and one of them is dead before we meet him.

Tobias S. Buckell is the only Halo writer who has given us canonically gay characters, and they're only supporting cast in short stories. I can't know why exactly (fuck if I know what has happened internally on Halo) but the why socially (society homophobic) is pretty obvious.

Honestly, I think the only other direct mention is there's a bit in the first YA novel where one of the kids teases another about whether a third is "his boyfriend" because they've been talking a lot and he's like no stoooop!! about it.

Anyway.

If we have to choose a gayest Halo book based on actual mention of gay people, the award goes to Halo: Evolutions because it has one story where a lesbian is a major character.

Having crowned this dubious king, let's move on to the subtext. It's fine. We're all on tumblr, we all understand having to descend into these mines to have fun.

There are a lot of very gay moments in some Halo stories. Certainly not enough to recommend a whole book to someone, because these are always incidental, but hey. I'm a master at chewing the scraps off the bones.

I'll lead with trying to answer the original question: What is the gayest Halo book?

I think to me, the most sustained gay vibe in a written-out Halo story is whatever was going on between Romeo and Dutch in the short run comic Helljumper.

The actual text of Helljumper is: Dutch has put in for a transfer to a non-combat post in order to be closer to his wife, Gretchen. Romeo is really upset about this and they have conflict about this through a big high octane ODST adventure that ends with Romeo saying "hey Dutch I've put in for a transfer too" while Dutch goes "oh uh, I talked to Gretchen about it and I canceled my transfer request..."

It's the intensity of Romeo's hurt feelings, and the obvious fondness between the characters. I'm not saying "Romeo/Dutch real." I don't like Romeo a whole lot (mostly due to later outings in the Buck novels) and Dutch is definitely very married to Gretchen. I don't actually care that much. But for the space of time where I was reading Helljumper thinking about it that way added more emotional interest and made sense.

For things that only last for moments, I have a little collection of bits and pieces.

First: The essence of the Lord of Admirals Forthencho oversharing with our poor boy Chakas about his Didact feelings. (From Primordium.)

A moment where you know how bad the Arbiter and the Rtas 'Vadum wish they could be reunited one day, from Shadow of Intent:

Also I think the strongest "oh you could build a romance out of that" moment with the Arbiter about the Chief is actually him fully prepared to tell Locke to fuck off over him in Halo 5, but having that conviction in the Arbiter's warrior crush on the Master Chief makes passages like the below (in Outcasts) fun:

Uhuh Thel you are commissioning art of him in your home? Tell us more.

(Yes, I'm playing, I know the saga wall is an important Sangheili cultural piece, I know-)

Zita, you may ask, do you have even a crumb for the lesbians?

Alright boss, best I got is probably Adriana-111 making tea for Melody Azikiwe after the Big Stressful Book Events have concluded (from Halo: Envoy)

Okay.

I think there might be more, so everyone feel free to use this post to shout out your favorite spots that you think are better if you read them gay.

[aihoshiino]

quick heads up for canon typical discussions of sex & underage sex specifically in this post

not necessarily a meta so much as a general ramble (<- shout out to the me of 1 Hour Ago who started typing an Ai post sincerely believing this would be true), but an aspect of Ai's character I'm always really sort of fascinated and saddened by that the text (understandably) doesn't as much go into is her fucked up relationship with her own sexuality. the consistency with which she refers to herself as 'dirty' specifically sticks out to me a huge amount and it reads so strongly to me as Ai perceiving herself as being dirty/impure or somehow Bad for being like... an person with healthy sexual desires and a sex drive.

there's a lot of subtext-adjacent stuff to suggest the twins' dad wasn't her first sexual partner and i do think that's the interpretation that both interests me the most and makes the most sense to me - I don't imagine a girl who wasn't taught what a door chain was for was given the best sex education - to imagine Ai, lonely and unsure of how to connect with people, stumbling into intimacy too quick as a stopgap or a shortcut to the thing she really wanted; warmth, affection, love.

is this necessarily Good Or Healthy? no, but it's also not the shameful, dirty thing that the idol culture's obsession with purity has led her to believe. it's just another way the environment she's in has forced this impression on her that her normal, achingly human problems are things she has to cover up and hide like dark secrets.

i also don't think the ways she was subjected to constant objectification and misogyny as she grew up can be discounted as influences here, either. B-Komachi is specifically identified in Viewpoint B as "[...]a group focused on romance above all else", "[...]promoting that sort of intense romantic fixation...". Specifically, the word gachikoi is used in Japanese, which is used to describe fans with intense and explicitly romantic fixations with the object of their fandom.

Ai was twelve years old when B-Komachi debuted and was being sold to and evaluated as an object of romantic (and implicitly, sexual) desire by adult men old enough to be her fucking father. At the same time, it was drilled into her that she was expected to be eternally pure, eternally available, eternally loving, eternally virginial and to never betray those fans. Is it any wonder that she ended up with such a completely fucked up relationship to her own body and sexual desires that she was apologizing for them with her dying breaths to a man who had just murdered her for having them?

i don't really have a closing argument for this post honestly lol just. whoof! ai really is so endlessly sad and fascinating to me. every time i rotate her a bit i find some new facet to her character that i can spend hours turning over in my head.

[flagellant]

"Blanche (an American) singlehandedly had the power to control the taste/manufacturing of something (in the past) that we (today) consider to be intrinsically Japanese,"

And

"No one person is able to have that much power; they have to be backed by governments/corporations/etc to have that sort of power,"

Are two statements that can and do coexist.

Honestly kind of alarmed by how many people can't grasp that the amount of power she had was because she was an American woman - and in a position of power in the American food industry. Being part of which apparently gave her the power to sway a whole food product in a country with an entirely different culture both in and out of food (which.. yikes? Is this not alarming?).

The people arguing that she couldn't have had that power because she's just one person are making my head spin because... where do you think she got the power from? It was given to her.

Please be open minded and understand the context and subtext in op's posts; op knows where this woman's power came from. The point that op is making (correct me if wrong!) is that one American woman in Japan, surrounded by Japanese folk, had the power to give orders to them. Because America said so, and the world lets America do that because they know America is a huge power - the issue here is that so many cultures have been invaded by America (and Russia, China, England, etc) over more than just their borders because these countries hold a lot of political weight and like to throw it around. And the more you look into what occupation looks like, the more there is of it - and that's scary.

[Anyway sidenote op I'm a big supporter of your work and can't wait for the final report/publication so I can get my facts straight. Also sorry on behalf of all the people who can't just discuss with you nicely and who seem to prefer passive aggression/just straight-up aggression when trying to become involved in your research. You don't deserve that. Hope your holiday is warm and kind to you!] [Also sorry if my knowledge or wording is a bit off, I'm experiencing a lot of brain fog today - but upon catching up with the posts since yesterday, I needed to say something because yikes!]

I find it genuinely hilarious that these two asks came in immediately at the same time. Law of equivalent anons.

[neversetyoufree]

Shipping is fun and all but why do the whole fandom makes it like VNC was about rotting for Vanitas to be with either Jeanne or Noe and sexuality ? It's not what the story is about, it's about Noe and Vanitas's story together and how Noé will end up killing Vanitas. Is it because it's also treating of their relationship that the fandom focuses so much on romance which is a very sub themed (after all in shounen romance is always a subplot, more or less underdevelopped)

I mean, when it comes to Vnc, I'm not so sure that the romance is underdeveloped, anon. I 100% get not caring about romantic shipping, and that's fair, but sex and romance are big parts of this story. I don't think it's unreasonable to be invested in them when they're very present in the manga itself.

You're right that shonen series in general tend to be very light on romance. However, a majority of shonen also don't have their characters very regularly engaging in a metaphor for sex.

It's pretty undeniable that the blood drinking in VnC is meant as a sexual metaphor. Sometimes this is played for horror (like Astolpho's backstory), and sometimes this is played for horny (like the VaniJeanne scenes), but it's almost always there. It doesn't mean that every instance of blood drinking is meant to symbolize literal sex, but both in-universe and in terms of symbolism, drinking someone's blood in VnC is an erotic act. And there's a lot of blood drinking.

With that said, given that these characters are constantly running around drinking and/or craving each other's blood, of course people are going to talk about romance a lot. "Which character wants which other character's blood?" is a huge driving factor for the character dynamics in this story. And there's a lot of straight-up discussion of romance as well!

You cannot talk about or analyze Noé and Dominique's relationship without talking about her massive crush on him. You cannot analyze Vanitas and Jeanne's relationship without talking about their mutual attraction and all the blood drinking scenes. You cannot fully analyze Noé and Vanitas's relationship without talking about how much Noé wants Vanitas's blood.

It may not be the norm for shonen, but Vnc is, objectively speaking, a series that puts a fair amount of emphasis on romance. It's not the main plot, but neither is it a clumsily handled background element like in Naruto or something. This is a series driven by the relationships between its characters first and foremost, and several of those relationships are canonically romantic and/or horny.

(Also, as a bonus fun fact, there's an interview with Mochizuki where she directly talks about how she wanted Vnc to focus more on both action and romance than her previous works).

And as for the Vanoé angle specifically, you're right. Vnc is the story of Noé and Vanitas's relationship. It's the story of how they meet, what they do together, and how/why Noé will eventually kill Vanitas with his own hands. And the thing about that relationship is that it is frankly fucking FULL of queer subtext. Like half the writing on this blog, for example, is about Noé and Vanitas's relationship, and not all of it is gay. Sometimes I talk about the death and tragedy angle, sometimes I speculate about the concrete plot details of what's to come, and sometimes I talk about how absurdly queer-coded Noé's whole "your blood smells amazing" routine is. It's not the only thing going on between them, not by a long shot, but it's there! And I think it's quite reasonable to discuss it.

So like, everyone engages in fandom differently, anon. It's fine to not give a damn about the romantic angle. I personally am almost incapable of caring about ships that aren't heavily implied in their canon sources, which makes me a bit of the odd one out in some fandom spaces.

However, speaking for myself again, this is a meta blog. More often than not, when I talk about romance on here, it's through the angle of examining what's there in canon. I find the relationships between the characters to be the most compelling part of Vnc, so that's what I write about. Sometimes that means writing about how Noé's constantly trying and failing to save his loved ones generally, sometimes that means writing about the history between Vanitas and Misha, and sometimes that means writing about how fucking in love with Vanitas I think Noé is.

I can't speak for others, but I personally don't think I'm reading anything into this series that isn't there. It's fine if it's not an angle you care about personally! I fully support you in blacklisting ship tags if the discussion of romance gets on your nerves. I cannot fucking stand "ship wars," so like. I get it. But "shonen usually doesn't care about romance" does not mean "all the people talking about romance in Vnc are doing it for no good reason."

[jojo-schmo]

Heya!

I just wanted to stop by drop by in your mailbox here to tell you that I absolutely adore your AU. <3 Roleswap!Elfilis is just the skrungle ever, and the hints of metadede (‘wink wink’) just fill my little soul up and bring a grand smile to my face.

I hope you are having a blessed day, and thank you for reading this little note. Catch you around Jojo-Schmo!! <3

How absolutely kind of you to take the time to write this!! That means so so much to me. Thank you, IMELHT!! <3

It's honestly been so overwhelmingly amazing to see so many people like my story! I started developing and posting this thinking I'd be lucky if 10 people read it and liked it, and I'm so happy and grateful beyond words for the reception it's gotten!!

I started this Roleswap project simply because an idea about giving Bandana Dee a cool boss fight got out of hand, haha! Then I started throwing in a bunch of tropes and storylines that I would want to see as a Kirby fan, and now I'm having the time of my life making this! I have a deep love for Kirby characters and I'm excited to have them shine!

I LOVE writing little skrunkly characters, found families, personal growth, -wheezy voice- Romantic subtext?? -starts coughing-

It just feels really amazing to make something I'm not only passionate about, but also sharing with the hopes that it can bring a little happiness and excitement to what can sometimes be a really tough human existence. Reading notes, tags, and replies like these bring a huge amount of joy and relief to my life. Thank you for reading and having fun along with me!!! <3

[ladyloveandjustice]

Winter 2023 Anime Overview: Two More Anime!

I already did a massive review of The Magical Revolution of the Reincarnated Princess and the Genius Young Lady, check it out here! Highly rec'd show.

So here are the reviews of the other two shows I watched last season! (I also watched BOFURI season 2 but it's experiencing delays because of COVID and isn't finished yet. Also, I'm not caught up. Basically it's a fun relaxing show, though). Now onto the reviews!

Ippon Again!

Ippon Again! follows Michi, who plans to quit judo after middle school, but then the very girl she lost against in her last tournament gets her back in the game! From there, a scrappy high school girls judo team goes for the gold!

 It always feels like a miracle when we actually get a sports anime focused on girls that takes them seriously as athletes and doesn’t sexualize them to hell and back, and Ippon Again is one of those miracles. It’s an all around really solid sports anime with lovable characters. It does an especially good job fleshing out the rival team members just as much as our protagonists and making you really root for both of them- and the amount of attention paid to the opponents can make the matches feel genuinely unpredictable.

The show doesn’t really explain a lot of the judo terms, but they’re easy enough to pick up from context. It’s clear the show doesn’t have all the resources in the world from its reliance on freeze frames, but it has smart directing that knows how to cut corners to keep it looking good, and they do whip out some nice looking fluid animation for big moments like the fight in episode four and the fights in the final episodes. I did find the characters a bit hard to distinguish in the early going due to the show’s muted palette and character designs, but I recognized them all eventually.

Like most sports anime, it’s really gay but all the gayness is relegated to subtext (Michi likes to constantly mention she wants to get a boyfriend to the point where it feels almost like a parody, but it’s pointed out she’s never going to look for one because she cares about judo more). I do like the handsome lady that acts as team coach. Another thing I really appreciate is that there are heavier characters on the opposing teams at times, but no disparaging comments are made about their weight- in fact, it’s noted as an advantage.

Overall, it’s a good series that I’d recommend to any sports anime fan, especially ones hungry for sports anime that respects its female characters and pays attention to all the competitors!

Endo and Kobayashi Live! The Latest on Tsundere Villainess Lieselotte

Kobayashi is a huge fan of the villainess character in an otome game, Liesalotte. The villainess is in love with the prince, but she’s such a tsundere that her feelings never get across to him! (When it comes to love, she lies a lot. Do you get it.). Tragically, Lieselotte’s inability to communicate her feelings leads her to die in almost every ending of the game. Kobayashi decides to sit down with her friend, Endo, and they do some live commentary on the game as they play it. Then they discover that the prince inside the game can actually hear their commentary! These game fans are determined to use this new found power to give their fave villainess the happy ending she deserves, and so they slowly start to change the plot of the game…

This is a clever twist on the villainess isekai genre and it’s pretty fun at times! (The prince's confusion over "tsun de rais" is great).

However, the production is noticeably struggling. I read a chunk of the manga alongside this out of curiosity, and the contrast between the two made this especially apparent. The animation is barely hanging in there and is much less expressive than the manga’s art, and the story suffers from skipping over a lot of moments that flesh out the characters in the manga in order to fit into the twelve episode runtime. Unlike with Magirevo, almost everything the anime omits is pretty necessary to help the characters feel fully rounded- for instance, one character realistically get angry that a parent lied to her in the manga, but the anime has to cut that for time, so she just seems to roll with it and feels less like a person with reasonable emotions as a result. The manga's story is just much better paced than the anime, and it looks really good and gets both the comedy and badass moments across a lot better.

There’s also a few sexist, heteronormative or just plain offputting moments/lines and moments in the anime aren’t in the manga (and it’s not just a matter of translation, because the art reflects it in one case).

All that said, the anime does complete the story while the manga is still ongoing. So if you want to know the end (and don't read light novels, since if you can't tell from the title, it is a light novel adaptation!), the anime's still a decent option.

As for the story itself, it’s pretty tropey but cute. I wish the commentary angle was implemented more, and I feel the show could have benefited from being willing to delve into the experience of fandom and the contrast between the two worlds a little more too. It’s worth noting that in-story games’ original love interests for the teenaged "heroine character" include a teacher and a pre-teen kid, though in the storyline of the actual show they both get with age-appropriate love interests.

 I was also pretty annoyed that a very combat-capable female character who is  initially put off by her love interests constant declarations he’ll protect her suddenly (and conveniently!) reveals that she hated physical fighting all along and wants him to be stronger and bleh. She’s given an in-story reason for this, but it feels very contrived to place her in an  “appropriate” feminine role. But then she still physically fights in the finale anyway?? (and so does Liesalotte) (and there’s a minor girl character that explicitly wants to be a knight who physically protects her fragile mage boyfriend even if the anime skips over most of that plotline) so…I guess that mollifies things a bit?? But why did it need to be there?

(It’s even weirder in the manga btw, because there’s a moment the anime skips over where she actually tells him to stop saying he’ll protect her and that they should protect each other and he agrees, which was a very sweet and good resolution! But then they go and undo it!)

All my caveats aside, the ending of the anime was just so completely ridiculous  and full of fannish wish fulfillment I couldn’t help but be endeared. You have an absolutely bizarre reinterpretation of Adam and Eve, a flip on the premise that brings everyone together in a fun way, a scenery chewing villain who’s dealt with in an unintentionally funny way, and it’s just a feast of pure cheese.

If you want to watch something goofy and earnest and fun and don’t mind a clunky production and slightly rushed story , you could do a lot worse than this show. And hey, if the anime’s too threadbare for you, the manga’s getting published in English and it has great art! So you can always give that a look.

[otsukare-katsukare]

As various wrestling people in my circle are posting their stuff I thought what the heck, time to finally put the thing out that I have made, although this is kind of different.

It is not a wrestling fanfic per se. But it also kind of is? It doesn't use any characters you'll recognise, but it owes a huge amount to Steenerico. i think it's something that the wrestling fans on here who appreciate playing with The Tropes, the eroticism inherent to the art form, the interplay between kayfabe and reality, and in a broader sense, shipping and fan culture, will like.

At the same time, this is a story about wrestling that can be enjoyed by anyone, no prior knowledge of it required. So please go ahead and give it a look, if any of that interests you!

Summary:

Two underrated generational talents on the underground Japan scene: Kana, the ruthless ring general with the strongest style in the game, and Kiseki, the happy-go-lucky high flyer with a TV-ready smile. They're best friends, worst enemies, everything in between, they make magic whenever they meet in the ring - you've heard this story before. You know exactly how it goes. And if you're on this website, you know exactly what the subtext of that story is, too.

Unfortunately, Kana doesn't. Want to watch him find out?

[lonesomedreamer]

SNW Liveblog: “The Elysian Kingdom”

This episode? Messy af. Spock in a wig? Sexy af.

The scene with M’Benga and Rukiya is precious, as always—though the subtext of it (her desire to change endings and rewrite stories more to her liking) is a little on-the-nose, considering that the writers of SNW are basically rewriting a classic television show to suit their own whims.

If Rukiya is running out of time, in theory all M’Benga has to do is stop materializing her so frequently…assuming that, while her pattern is in the transporter, she’s not conscious/aware. If she IS, that’s an entirely different (and horrifying) can of worms.

The exchange about superstitions between Pike and Spock is nice.

“Drinks are on me.” This is why Pike’s crew seems so undisciplined, imo. We know that Kirk would, and did, drink with his crew. But he wasn’t casually offering to buy them drinks from the captain’s chair.

“You gonna say the thing?” “Hit it.” Thanks, I still hate it.

I miss TOS’s buttons and tactile controls so much. They’re just more visually appealing (and frankly, more practical) than touch screens.

“Perhaps you did, indeed, jinx it.” I love Spock, lmao. (Also, as someone who calls out sports announcers and coworkers for jinxing things regularly…Pike totally jinxed it.)

People falling out of their chairs during turbulence is a real Trek classic!

Great, M’Benga is what, hallucinating?

These kinds of zany episodes on TOS/TNG took place either on a strange planet—like in “Squire of Gothos” or “Shore Leave”—or on the holodeck. Setting this on the Enterprise instead was…well, a choice.

La’an’s princess costume is delightfully ridiculous and sparkly.

It’s kind of a bummer to see that Christina Chong has real acting chops (even if “Princess Thalia” is intentionally way over-the-top), but is denied the chance to do much acting thanks to how flatly her character is written.

Ethan is hot. No notes.

“Maybe I can get us out of here with the help of some powerful magic called science.”

I vastly prefer hammy/possessed Kirk to hammy/possessed Pike. Sorry ’bout it. (Maybe it’s just the actors, or maybe it’s because regular Kirk comes off as so much more sincere than Pike to me?)

Why is Hemmer, an alien with inherent telepathic abilities, immune to whatever’s happening on the Enterprise, whereas Spock, an alien (well, half-alien) with inherent telepathic abilities, succumbed to it? I can hand-wave most plot holes…this one’s just lazy writing, though.

Worth it? Worth it.

I would watch THIS show.

“Truthfully, I should have known it as well…since that’s what he does in the book.”

“Don’t beat yourself up about it.”

“There’s no such place, my queen, he’s bluffing.”

All those lines were funny and delivered well!

Even though classic tricorders look pretty out-of-place on this redesigned Enterprise, I still love seeing them.

The resolution of the Rukiya subplot reminds me a lot of the end of The Motion Picture.

The moral quandry of it is enormous, way bigger than “storing your daughter’s biological pattern in the transporter to keep her alive,” which raises plenty of ethical questions of its own. M’Benga tells Rukiya that “it’s up to you”—but how can such a young child make such a huge decision: to exist in space as a disembodied consciousness for an infinite amount of time or to wait in stasis for a cure for her human body?! It’s uncomfortably reminiscent of the “willing” sacrifice made by the little boy in Episode 6…not really the comparison you want viewers to be drawing, given how that one ended. Children that age can’t give meaningful consent.

Besides, what does M’Benga know about this entity? How do either of them know that they can trust it? It’s been using the Enterprise as a dollhouse for hours out of boredom/loneliness! What might it do to Rukiya’s energy? And how will becoming said disembodied consciousness impact a nine- or ten-year-old human girl? There are actually a number of great science fiction (horror) stories about this, the premise being that human minds are ill-equipped for that kind of existence. For all M’Benga knows, he could find the cure next week. It was teased in Episode 6. All he needs to do is keep Rukiya safely the transporter—which really shouldn’t be a problem unless she is, in fact, conscious in there. But the writers obviously just wanted to wrap this problematic subplot up and move on.

A grown-up version of Rukiya appears to comfort M’Benga and tell him about her many “adventures,” because it turns out time exists differently for her now even though it’s been ~30 seconds of real time…? It cheapens the scene before and makes me feel belittled as a viewer. I’m okay with feeling uneasy about M’Benga’s choice! I’m not okay with being cajoled into thinking that it was the correct choice. When Kirk let Edith Keeler die, her ghost didn’t reappear to assure him that she understood why he had to! He—and by extension, the audience—just had to live with it.

“She’s safe.” He doesn’t and can’t know that for certain. He let an alien consciousness he neither studied/analyzed nor communicated directly with spirit his daughter away after two minutes of deliberation! Anything could be happening to her out there. Though, to be totally fair, she’s not going to die, so…there’s that?

So yes: this episode is messy. I rewatched it after seeing the ending and reading a lot of reviews/commentary and actually revised this liveblog. It’s not as bad as I initially thought! However, I’ve come to think that the Rukiya subplot itself was a poor choice, one full of troubling implications, dubious decision-making, and questionable ethics. I understand why the writers scrambled to get rid of it. And conveptually, this episode wasn’t even a bad send-off for Rukiya! The execution was just lacking. It could’ve been so much more.

But hey…at least we got La’an’s princess dress, Uhura’s evil queen ensemble, and Spock in that wig.

The Good: Gorgeous costumes—the actress playing Rukiya was a delight; I’ll miss her—Spock in general—some very funny lines/delivery—Christina Chong gets to act!

The Bad: The writing, pacing, set design, and some of the acting was all pretty clumsy—for an episode that turned so heavy, the campy fairy tale stuff was too light and took up too much time. Too much of Ortegas and Pike; not enough of La’an and Spock. (I think there’s too much Ortegas on the show, period. She just doesn’t work for me. No judgment towards other people who may feel differently.) Some truly WTF parenting choices made by M’Benga—huge unresolved questions/plot holes by the end.

But the beauty of SNW returning to Trek’s episodic roots is that it’s a standalone episode. Hoping for better (and more Spockstine!) in the next installment.

[vivi-scera]

hey what's up! i wanted to drop in and say ur mellonear fanfic was AMAZING. easily one of the best works in the tag 💕. please please tell me ur going to write more for them. i just can't get over the amount of detail you put into it... if u don't mind talking about it... i just want to know how ur mind works pretty please 🤲

who— can you guys pls come off anon i'm begging and crying!!!

anyway THANKS SO MUCH. here i was bitching and moaning to my friends that that piece didn't turn out as well as i would've liked. can think of 2 or 3 fics off the top of my head that i love way more. but i'm so glad you liked it <333

and sad to say i am, in fact, not writing more for them <\3 i feel like i've said everything i can say about them? i mean they have like 10 lines total together how much more could i possibly extrapolate sdkjflhsf. i'm not a huge au writer tbh i pretty much only like working within canon. but you'll be happy to know i do plan on writing another death note fic (an au one though, surprisingly). just not for meronia. not telling which pairing but. near is in it trust. obvi it'll have meronia subtext.

and thank you thank you for the compliment about the details even though >.< i thought i didn't put in nearly enough. literally read that semi-canon side story in its entirety and only put in 2 things from it. and one of the things i straight up plagiarized <3 but we're gonna say i just referenced it.

i think i mostly just wanted to focus on how like childish yet mysterious they were. imagine you're kira, a functional god, and these 2 kids are running around without your knowledge trying to thwart you. you don't know what they look like, what they know about you, what they are to each other, what their names are, etc. etc. (they also represent the two halves of your would-be lover but we're not gonna go there). at the end of the day, they don't even care that much about YOU, a god (because they already had their own and well. you killed him)!! i guess i wanted to further emphasize that the stakes (for catching/stopping kira), for near & mello, weren't that high. at least,, not as high as beating each other (SO romantic). it was as if it were, as i referenced, just a game to them!! but a game sort of rigged against them, favoring the wammy industrial complex ofc. (the house always wins wink wink). but also,, it's all very tragic in the sense that they really have no other way to look at things. just child soldier things yknow.

idk there was some insane untapped story-telling potential there in the canon. the set-up sort of gave near & mello their own godhood statuses and stripped kira of his own. if i were to rewrite part 2 of death note i'd either keep it all strictly in light's pov or keep it all strictly in theirs. it did a disservice to the story/characters, imo, by attempting to keep the same dynamic/pov going from part 1. i'm not gonna lie and say the 2nd part was as good as the 1st sorryyy. because they were somewhat misutilized i never even considered the (incestuous) implications until someone ;) started posting about them ofc. then i thought about how much their dynamic reflected my personal favorite pairing of all time (knowers know) so i kind of took some preconceived notions and applied them. actually i was originally writing fic for afore-not-mentioned pairing and i'm pretty sure i just used lines from that to get started lmao.

anyway that's all i got atm. if i think of more i wanna talk about i'll write more <3 thx again for the ask!! feel free to ask more ofc ;3

[ceilidhtransing]

Something I really don't like in the social dynamics between trans and cis people is what I'm going to call “Don't Worry, Local Tran Can Reassure You Your Beliefs Are Fine And You're A Good Person”.

(And I'm very sure this dynamic also absolutely exists in other minority/majority situations - POC/white, disabled/abled, etc - but my specific experience is as a trans person so that's what I'm talking about.)

There's this weird thing some cis people do when they know you're trans, which is veer conversations into issues of trans rights or gender more broadly (and the lack of understanding from some cis people that trans people likely do not want to be randomly dragged into conversations about how people hate us and are trying to make our lives worse is a whole other can of worms) so they can state a view they hold and then look to the trans person for reassurance that yes this view is in fact good and fine and reasonable. (Even when it isn't.) (In fact, especially when it isn't.)

It's often phrased broadly in terms of “basically agreeing with trans rights” but thinking that some aspects of trans liberation (gender-neutral bathrooms, informed-consent access to hormones, calling people whatever they ask to be called, etc) or indeed something that isn't even really happening at all (think 'transitioning children' or 'forcing people to be attracted to trans people') is “going too far”, and that surely real trans people - subtext: “not those crazy activist freaks” - agree.

“I mean I'm basically all for trans rights but like if someone clearly looks like a man and isn't putting a lot of effort in I don't really think I should have to call them a woman, right?”

“I'm not transphobic or anything but I just don't get the point of gender-neutral bathrooms? And what if I was peeing and someone who doesn't belong there came in?”

“It's not like I'm against trans people but surely we need some kind of control over the medical stuff - like what if someone does something they regret? Or what about kids?”

And then they look at you with the clear social expectation that you will play along and totally agree with them and reassure them that they're A Good Cis and that they don't have to do any work at all to change their beliefs.

But what I think a lot of people don't get here is that in situations like this a huge amount of pressure is exerted on the trans person to agree - not only because most people are pretty conflict-avoidant and don't like having to say “no, actually, you're wrong about that”, but also because there is an existing stereotype of “the crazy angry easily-offended SJW freak who always takes things too far”, and we know that openly disagreeing, sticking up for our rights and dignity, and explaining why the person is wrong is likely to get us seen as exactly that stereotype.

Plus, they're not genuinely looking to see whether you agree or disagree; they're just using you in a very “I have a trans friend”-type way to reassure them that their views are fine. Exceptions do of course exist but people seriously looking to be educated tend to ask questions in an attempt to actually learn what the trans person thinks (“why are gender-neutral bathrooms important?”), rather than state a position and then beckon the trans person to agree with them.

This kind of thing is one of the casual conversational ways in which trans people are strongly encouraged to betray their community (and their own personal dignity) in order to be seen by cis people as “one of the good ones”.

“You know, Jack isn't like most trans people; you can actually have a conversation with him and he doesn't get offended by everything” - and their idea of “having a conversation” is just them repeatedly stating casually transphobic talking points while Jack feels awkwardly obliged to agree so as not to make a scene

I guess I don't have a grand thesis statement to make here other than “this is a pattern that happens” and “if you're a cis person who does this please recognise the social forces at play and stop”. The problem here isn't the socially-vulnerable trans people who respond to these deeply awkward and highly pressured situations with “mmm” and “yeah”; it's the cis people who, however unknowingly, put us in these situations in the first place.

If you're going to engage trans people on the topic of trans rights (or indeed engage any minority you don't belong to on the topic of their rights) maybe think about doing more listening than talking, and not treating the whole conversation as just a way for you to be reassured that you're already right about everything.

[lozey]

hi I saw your tags on the musicals poll and im kind of curious about the homophobia comment at the end. is there homophobia in cats? or the cats movie? sorry i only know a little about cats in general

Hey! I'm terrible at explaining things, I really am, but I mean a lot of people who don't like Cats (not *everyone* but a lot), well it comes from a lot.... Homophobic roots. They think its weird, there's "no plot", they think the costumes are strange and they just want to not like it, but a part of them not liking it is inherent homophobia because a lot (and I mean A LOT) of queer people LOVE Cats. Not only that but majority of the actors/actresses who perform in Cats are not straight/ are gender nonconforming. And when you watch Cats, it is unashamedly gay as fuck, either in subtext or context, you can't watch that musical and think everyone performing in it is straight (unless you closed your eyes the entire time). Its in your face about it, even with Rum Tum Tugger, who is portrayed as a womanizer, is hinted at having a romantic relationship with another male character, Mr. Mistoffelees (and sometimes the actors even choose to kiss during Tugger's number, thats how in the face it can be sometimes). And that is just ONE example, I could pull out 50 more.

So you're looking at a lot of LGBTQIA+ people loving this weird and fun musical and some who are performing in this show and you (ambiguous you, not YOU specifically) think its gross and weird. You think the people who like it are strange. The people who are, again, mostly queer.

Its like how a lot of people think furries are gross and weird, and its really telling when majority of furries are people in the queer community, you know what I mean? And you immediately look at furries as a weird sex kink (when its not, it really isn't. Most furries I've met are actually asexual, and I used to go to furry cons all the time, some of the nicest people I've ever met who actually don't appreciate being sexualized).

AND HEY let me clarify that you can hate Cats and NOT be homophobic. Cats isn't everyone's cup of tea, I get it, it IS weird, I'm not saying you have to like Cats or you're being homophobic. I'm a huge Cats fan but I can see a lot (a loooot) of reasons why someone wouldn't like Cats. But there is a certain subset of people (in theatre and out of it) who do not like it for unfortunate reasons, who look at it and see all these queer people in it and immediately don't like it because of that.

Also yes the 2019 Cats movie is super homophobic (imo) and I hate it. It goes out of its way to be SUPER straight, like its overcompensating for its source material being very gay.

Its just a shame that musical theatre fans will be like "We are such a unique group and everyone is valid we love all art here!" and then the second someone says they loves Cats they're like "That show is so weird! Why do you like it? You must like it IRONICALLY, thats the only explanation! IT SUCKS, WHY DO YOU LIKE IT"

And a lot of musical theatre fans will claim its a shame that certain stage actors were in Cats! Why is it a shame? Why do you not like this actor being in Cats?

A huge amount of people don't like Cats because when they think of Cats, they immediately relate it to queer people.

Anyway, thats about all I have to say about that.