#all i know is that there was a lot of legitimate horrible ’’’’’’bullying’’’’’’ from multiple people but then also some more abstract weirder

[princesssszzzz]

Team fandom fights has rotted the brains of some I fear. I’m mostly team green but that person is embarrassing! Loud and Wrong! A lot of people are projecting hard onto these characters to the point where they no longer understand the characterization or the relationships between everyone

Absolutely, it is projection bc they didn’t get it from F&B or even the show. Especially onto Aemond. Half the takes on the show are people’s headcanons they collectively decided to treat as canon while what actually happened on screen is ignored. It’s also people who have been in their own little fandom bubbles and echo chambers since season 1 so they feel comfortable saying bullshit and don’t think anyone will even question what they’re saying. Echo chambers where people tell each other every character that isn’t their fave is secretly a horrible person and their faves are perfect and should be defended no matter what.

The characters during the dance are not a monolith of a “team”, they are individuals. For example, Aemond and Rhaena are much different than Aegon and Baela. Totally different; each pair one on team green one on team black yet totally different characters and interactions with each other. First off Aemond is absolutely wrong in his interaction with Rhaena and that’s not the first time I’ve seen people try to justify the “ride a pig” comments seconds after acknowledging it as bullying when it’s said by one of the strong boys.

Aemond and Rhaena barely interact, and adding up all their interactions, there is no normal person in this world that would say Rhaena is a bad person and not only that, but that Aemond or literally anyone would be justified in attacking her in any kind of way. There’s literally people in the fandom saying she should be killed by Aemond like wtf 🤨 Literally going off the characterization of them, Aemond is STILL pissed at the strong boys and there is absolutely no reason anyone should be falsely claiming he hates Baela and Rhaena at the end of season 1. Hence why the WRITERS of the show have him ranting endlessly about strong boys despite Baela and Rhaena being randomly added to the fight scene. He’s not mad because a younger girl hit him, he’s mad because he doesn’t like the strong boys and his eye was taken out. Aemond doesn’t give af about being pushed by a girl years younger than him, much smaller than him, and who isn’t trained to fight. And he’s not mentioning them in his little toast for a reason. Especially not Rhaena, when Aemond is a character that absolutely knows he was wrong in how he spoke to her and mocked her for not having a dragon, but would not admit it. That doesn’t mean he’s besties with them, that means they would literally just have a “cordial” relationship post time skip if the dance never happened. Even Baela is cordial with Aegon and calls him cousin despite not knowing that mf and this is after she’s hearing him be disrespectful for the first time.

This takes me back to the dinner moment where Rhaena raises her cup to Aemond after Viserys’ toast. Anyways, I just think it’s funny. I’ve also seen people creating fan art showing Baela and Rhaena flipping off Aemond and being antagonistic towards him when they literally aren’t like that whatsoever. This seems like the false characterization of Baela and Rhaena and their relationship with Aemond specifically that fans are constantly trying to push despite that not being on screen. Don’t even get me started that Aemond literally watched Rhaena clearly disagreeing with him and Jace fighting. Disagreeing with both Jace pulling out a knife and Aemond grabbing a rock.

People are not paying attention to this show and just seeing what they want to see atp.

Aegon and Baela interact multiple times and Baela genuinely can’t stand him. Then we add in the show interactions with him sexually harassing her, they have a fight and legitimately have no reason to give af about each other. Baela is not some mindless violent person despite what people keep pushing, she literally jumped in shock when Daemon killed Vaemond. Aegon is not a good person to Baela, and no amount of people saying Baela went to the rat pits is going to change that.

The interactions between Aegon and Baela is more obvious and it’s just impossible to misinterpret what type of people they are and their moments. The events of the dance and Aegon’s behavior leads Baela, someone who has never killed anyone, to risk her life attacking him. They are supposed to oppose each other. Their dragons names are literally Moondancer and Sunfyre.

That being said, despite what the chronically online claim, as of the end of Season 1 I’m absolutely under the impression neither Aegon or Aemond (or Daeron) hates Baela or Rhaena or want to kill them over Aemond getting pushed or simply because their father married Rhaenyra. Neither the show or the book is as simple as team black v team green and people need to start comprehending that sooner rather than later. I’m 99% sure Aegon on screen in the future will have an opportunity to kill Baela and will not take it. Baela and Rhaena are innocent, hence why so many things that happen purposefully don’t involve them. So much for these people and their “Baela and Rhaena are the villains and the green boys should go fight them” headcanons and wishes. People ignoring that these characters are related, and that does mean something. There is no blind “I want to kill them!!” going on. What’s not clicking 😭 Aemond didn’t even want to kill the kid that actually took his eye but you want to headcanon that he’s eager to kill Baela and Rhaena? Please go sit tf down 😂 Aemond and Aegon are not some mindless brutes trying to kill everyone on team black. How has this NOT been understood by someone claiming to be a team green stan. I don’t even like the show but I understand it better than it’s fans…..

[eternalstateofoctober]

wow i literally haven’t remembered this in almost ten years but it just unearthed so hey remember when in like 1st or 2nd grade the kids in your class idr who exactly but yeah threatened to push you out of your second story classroom window but you jokingly talked them out of it and made a deal it would happen in sixth grade instead and then it was a thing all through elementary school

[heavencasteel420]

I find it really frustrating when people interpret Jonathan (particularly Season 1 Jonathan) as being an edgelord who dislikes people for no reason. As a joke, it's stale and, as a remotely serious take, it's devoid of empathy or even basic comprehension of what happens in the show. Let's think for a second about how the citizens of Hawkins (the town where Jonathan has lived his entire life, and therefore his main reference point) behave towards him, his family, and others he's shown to have positive feelings towards (such as Nancy and Will's friends):

Kids bully his younger brother for homophobic reasons;

His younger brother's friends are bullied, both verbally and physically, often for racist and ableist reasons;

The police gossip about how his mom is crazy and speculate about her sex life;

Lonnie, his abusive deadbeat father, commands more respect in the town than his hardworking, loving mother;

Nancy is the only person at school to show any concern about Will, a missing little kid;

Steve makes a snide remark about him hanging up missing posters (although he has the decency to object to Tommy's crueler remarks);

Tommy makes a sick joke--twice--about Jonathan killing Will;

Even Barb, a "nice" girl who generally disapproves of Steve's crew, doesn't go up to him with Nancy or say "hey, in addition to my concerns that you are sexually in over your head with Steve, he and her friends were really fucking mean about a literal missing child"; this doesn't mean she was cool with it, of course, but it does suggest that this type of talk isn't noteworthy to her;

Steve and his friends--however legitimate their grievances--chose to confront him about the photos in the most schoolyard-bully way possible, which may have not been so bad in that context, but (in light of their behavior at other times) does imply that they also just kind of enjoy bullying;

Multiple people just stare and don't try to help at all when he and his mom are completely imploding in front of the morgue (although I understand it's an awkward situation for a bystander);

Steve and his friends slut-shame and humiliate Nancy in the most public way possible (at least pre-internet);

Steve says that he "always figured [Jonathan] for a queer," which at best means that Steve is willing to use homophobic slurs in a fight (even if he never actually thought that and is just talking shit, and even if he's not a particularly passionate homophobe) and at worst means that this is something that is generally said of Jonathan and that he's subject to homophobic bullying (whatever his actual sexuality);

Steve compares him to his "screw-up" father, knowing this is a sore spot;

Steve calls his mom--Joyce, a hardworking single mother with an objectively hard life--a screw-up;

Steve says "it's no surprise what happened to your brother"; this is an incredibly cruel thing for him to say, and also seems like the kind of callous thing he's heard from his parents or other adults ("it's a shame about that little boy, but something like that was bound to happen in that family");

Hopper and Karen Wheeler are the only non-related adults who show any concern for Jonathan.

Why would Jonathan like the people of Hawkins as a whole? From his vantage point, they're largely callous, bigoted, and cruel. Many of the main characters experience them as such. What kind of masochistic suck-up would he have to be to like Steve as he is for most of Season 1? Maybe he's an edgelord, but he's got his reasons.

I mean, I don't know. I disliked a lot of people in middle school, and some of it was being a moody teen, but also a lot of people in my middle school were homophobic conservative religious fanatics who were regularly horrible to me, my friends, and others. I was still a moody teen in high school--moodier, even!--but I was generally fine with my classmates because they were a lot nicer and less prejudiced. My mom is a warm and sunny person, but she'll talk shit about her hometown because a lot of people were racist or sexually predatory. Sometimes people thinks badly of those around them because those around them act badly.

[seattlesea]

The Wasted Potential of Piper McLean’s Backstory

I think it’s safe to say that Piper’s backstory was easily the weakest, most boring, and worst-written one of all the characters in Heroes of Olympus, but it didn’t have to be. Riordan wasted a lot of potential for her backstory that could’ve added much more to her character just for ‘My dad doesn’t pay attention to me!!11!!!11!’ and then showing multiple flashbacks of Piper and Tristan spending quality father-daughter time alone together and completely invalidating all of Piper’s annoying complaining. Not only that, but Piper’s backstory is just a boring copy of Rachel’s. 

So, this is what Riordan did with Piper’s backstory:

1. ‘Neglectful’ dad. Piper spends 50% of The Lost Hero complaining about how little time her dad spends with her (and 49% thinking about Jason) instead of focusing on actually helping him. And while neglectful parenting can be very dangerous to a child’s happiness and social skills, Piper clearly wasn’t neglected or ‘ignored’. How do I know? Well for one, there are multiple flashbacks in The Mark of Athena of Piper and her dad hanging out- surfing, researching Greek mythology stories, watching Tristan’s movies and laughing over them, Tristan telling Piper Cherokee stories, etc.- and two, Piper isn’t unhappy nor unsocial and doesn’t show any symptoms of child neglect besides being clingy and possessive (but remember that the McLeans weren’t always rich, and were actually quite poor before, so Piper didn’t learn that behavior from her father). Besides, for someone who is claimed to be ‘smarter than all her other siblings’, Piper clearly doesn’t know that it’s her father’s agent that controls his schedule, not Tristan.

2. Rich and pretty= bad. In a lot of different circumstances, being rich and pretty has its cons, but Piper’s complaints about it are completely offbeat. Why? Cause we don’t know why she’s complaining about it. She complains about being rich, but why? She complains about being ‘too pretty’ (as if that’s something people legitimately complain about), but why? There’s no backstory or reasoning given to this. If there was, Piper’s constant complaining might have been valid, but Riordan just threw it into her story to give the readers a reason to take pity on and feel sympathy for her, and because he didn’t give Piper an actual reason for her complaining, it made it unbearable. If he had written it in smaller doses (much smaller) and wrote it realistically, it could’ve been really awesome. Because if you’re going to complain about something, make sure you’re complaining for a reason. Why does Piper hate being rich? Why does Piper hate having a bunch of awesome things most people would kill for? Why does Piper hate being attractive? And how Riordan tried to validate her complaining with ‘She wants to be normal’- NO ONE WANTS TO BE NORMAL. What teenager wouldn’t want a private airplane and giant mansion after living in a shitty wood house most of their life? Cause yes, Riordan, write your character complaining about her private chef making her a gold-wrapped sandwich while most of the other characters were worrying about where their next meal was going to come from and have her complain about having things while most people didn’t have 5% of what she had. That’ll totally make her a likable character. There’s a difference between being modest and being ungrateful.

3. Bullies. Being bullied sucks, and Piper has every right to complain about it. But...she didn’t. She didn’t complain at all. She didn’t even care about it. So she’s perfectly fine with being bullied and pushed around for her ethnicity, but her dad working a little overtime is the end of the world? How??? Besides that, Riordan didn’t write in bullies to shine a light on racism towards First Nations people, but for one reason only- to degrade femininity. Piper is described as a ‘tomboy’ (even though she doesn’t actually dress tomboyish, but that’s for another mini-rant) and the only bullies towards her we have been introduced to are girly-girls- Isabel and her group of friends who wore ‘matching pink tops and enough makeup for a Halloween party’, Drew Tanaka, Khione, etc. That’s not progressive, it’s sexist. ‘Femininity’ and ‘weakness’ are not synonymous, and nor are ‘masculinity’ and ‘strength’. Also, how did Isabel and her friends not know who Piper’s dad was? I’m pretty sure Tristan didn’t hide her from the entire world (though that would’ve been a way cooler backstory). 

4. Stealing. Anyone else out there who also knows that Piper isn’t actually a rebellious trouble-maker? Cause she isn’t. She got kicked out of four schools for being accused of stealing, but she never actually canonically broke any rules. As for the stealing part of her backstory, it was really, really lame. It was just a bad, invalid excuse to make Piper look like the badass and cool trouble-maker when in reality, all she did was politely ask for things. Not exactly ‘badass and rebellious’, and it was completely unnecessary. Piper wanted attention from her dad, but she got it multiple times and could’ve gotten it in many other different ways that didn’t enforce the racist ‘kleptomaniac First Nation’ stereotype. 

And this is what he should’ve done with her backstory:

1. Rich and pretty= distrust. Piper was reluctant to tell Annabeth about her famous father in The Lost Hero, but for the wrong reason. She didn’t want Annabeth to know about her movie-star dad because she didn’t want the ‘attention’, but she should’ve not wanted Annabeth to know out of distrust. And by ‘distrust’, I mean ‘not knowing if they want to know you for you or for your money’. This is a common con for rich and famous people, and they often turn paranoid and distrusting because they can never be certain if someone wants to be their friend because they think that they’re a cool person or if they want to be their friend because they’re rich and famous. That would’ve been a perfect reason for Piper to be reluctant to make new friends (especially after announcing to her whole cabin that her father was Tristan McLean), but she didn’t care. She even said that she ‘hated using the famous dad card’ but never showed signs of being dubious of new people who knew who she was. As for being pretty, a lot of attractive people are also distrustful because they never know if someone wants to date them for their personality or for their looks (and in Jason’s case, it was definitely the latter. No one wants to kiss someone a few minutes after knowing them and never actually talking to them one-on-one and it be anything but sexual attraction). Piper should’ve been very reluctant to get into a relationship (especially after Jason embarrassed and sexualized her in front of the entire camp calling her a ‘knock-out’) and it would’ve added a valid reason for her to complain about her looks. Cause again- why does she hate being attractive? Cause she’s tired of being stereotyped? No, cause she stereotypes other people. Cause she doesn’t want to be attractive? No, cause she never said anything about that. There was no reason for it, so it was a huge waste of many chapters and made for a horrible character arc. 

2. Alone in a big house. Piper complained about her dad being ‘too busy’ despite him being a very loving, caring, and inclusive father, but why didn’t she even mention the other part of it- being alone? Sure she had personal chefs, assistants, etc. with her, but no one related to her and no one who wasn’t being paid to be around her. Being alone sucks, but being alone in a giant house with a bunch of games and other stuff you’d love to share with another person but can’t? Damn. Speaking of which, what about Piper’s past schools? Five schools and no confirmed friends? It’s not like Piper has a hard time making friends since she was able to become friends with Leo (and only after being at the Wilderness School for a few months versus full school years at the others). Riordan could’ve written a very interesting backstory that didn’t have to relate to monsters (like Leo’s) but focused on the wrong parts. 

3. Impossible (and toxic) beauty standards and pressure. While being unattractive (or thinking you’re unattractive, cause you’re not ugly, you’re just not your type) sucks, being attractive (and extremely attractive) has multiple cons. Not only is there- racism in the beauty industry, society’s toxic and even deadly standards of beauty, not being open to relationships out of fear of only being liked for your looks, fear of not being taken seriously and being stereotyped, being cat-called and even the fear of rape, being compared to others, etc., but there’s the constant pressure (especially from family members, friends, and peers) of showing off your looks even if you don’t want to or are not comfortable doing so. I have an ‘hour-glass’ shaped body, and at first I loved my body and was very confident about it, but after the constant urging from my family members to wear tight (almost revealing) clothes to show off my body starting at only twelve years old despite me not being comfortable wearing those types of clothes, I hated my body and wore exclusively baggy and layered clothes for nearly 3+ years. This would’ve been perfect for Piper’s backstory, especially since her mother literally sexualized her by putting her in an ‘embarrassingly low v-neck dress’ in front of tons of campers. She wore basic, simple clothes, but she only wore them to avoid being labelled a ‘girly-girl’. It’s not even canon if she actually likes those clothes or are actually comfortable wearing them or not, she only wore them to avoid being something else she didn’t like. It could’ve led to an awesome character arc- going from insecure about your looks because people keep pressuring you into showing them off to only wearing and doing what you like. Piper tried to hide her looks, but for what reason? To avoid being stereotyped as ‘girly’? Yes, Piper, because girly-girls are the only type of girls that are pretty. Obviously.  

4. Charity. Rachel rocked this one. If Piper wanted to be kind and modest, why didn’t she give any of the things she had to people who actually needed it? Instead of moping about how rich you are, give the things you don’t want to those who need it. It’s a lot more effective and moral than spending all your days complaining and sulking, and it’s much more likely to gain readers’ favor than constant whining. 

5. Stereotypes. Riordan tried so hard to avoid the ‘snobby rich girl’ stereotype, but in my opinion- he should’ve utilized it. Piper went from ‘I don’t care about what I have’...to the exact same thing. She didn’t grow at all regarding her fortune and riches. Even in The Trials of Apollo, she lost everything and didn’t even care. Who wouldn’t care if they lost everything they had? Piper could’ve been grateful that she still had her dad and humanity while still being upset she lost everything. Back on topic- Piper could’ve gone from spoiled, obnoxious, and money-obsessed to ‘It doesn’t matter what I have or what I am but who I am’. She should’ve started off as the basic, stereotypical rich girl- a greedy, selfish, idealistic, spoiled, rude, dramatic, and overly ambitious primadonna diva who tried to buy her happiness and relationships but realized she couldn’t fill the hole in her heart with money and lipstick. Or how about the reckless homewrecker who broke hearts just for fun before realizing she actually wanted a real relationship, so started letting people in? Riordan avoiding the rich girl stereotype to make Piper more likable is what helped make her dislikable, because it ruined the chances of a good character arc. Besides, while not showing it on the surface, Riordan did actually sink into the rich girl stereotype by making Piper a selfish, ungrateful, and attention-seeking whiny brat, but she never grew from that or even realized she was doing it. 

6. Looks don’t matter. The fandom thinks that Piper is the one who stands for ‘looks don’t matter/it’s what’s on the inside that matters’, but she’s the opposite. She: -dismissed Percy and stereotyped him based off how he looked -hated her entire cabin and mother just because they were girly -hated and stereotyped Drew just cause she was wearing jewelry and makeup -constantly fussed over her looks and looked at herself more times in one chapter than all the other characters did combined -commented on Jason’s appearance multiple times, etc. So no, she isn’t the one who stands for that. The character who doesn’t think about their appearance at all is the one who stands for that, not the character who thinks about their looks 24/7. She should’ve been the character to stand for that, cause who better than the daughter of beauty and a famous, attractive movie-star? She should’ve been the one to scream to the mortal world that ‘Hey, I’m attractive but I’m not my attractiveness’. 

7. Racism. If Riordan wanted to expand on Piper’s character, why not write about the number one thing she should’ve been struggling with before being introduced to the mythological world- racism? She’s Cherokee, and there are multiple things against First Nations people nowadays like horrible living in reservations, living in the land she knows was stolen from her people and watching her father pay taxes to the very people who stole it, etc. Bullies suck, but bullies are common. The struggles of First Nations people is not, and it should’ve been added to Piper’s backstory not only to make her more realistic and better-written, but to shine a light on the racism and oppression against First Nation tribes. 

8. Monster attacks. So Piper is the daughter of a rich and famous movie star, most likely used multiple different pieces of technology, was out in the open only a few hours away from Camp Jupiter, and was out in the mortal world her whole life, but didn’t experience any monster attacks whatsoever, even at fifteen years old? That’s extremely unrealistic and dumb. Monster attacks should’ve been used to make her backstory more interesting and realistic. 

9. ADHD and dyslexia. Was I the only one bothered that Piper didn’t show any signs of ADHD or dyslexia? Every demigod has them and Frank is the only one confirmed not to, but Piper had no trouble focusing, staying still, reading, concentrating, forgetfulness, short attention spans, etc. She was even able to read the directory at Medea’s Department Store, the writing on the wall at the Cyclops-infiltrated warehouse, Greek stories with her dad, etc. In canon, she doesn’t even have ADHD or dyslexia, but showing her struggling with it (especially as the daughter of a famous movie star who’s pressured into being perfect and poised at all times) would’ve added so much to her backstory and character.  

10. Abandonment issues. So Piper’s mother literally leaves her before she was even born...and she didn’t care? It’s understandable that she would accept her mother’s choice after finding out that her mother was a goddess who couldn’t stay with her, but what about before? She didn’t even comment on it. She showed signs of abandonment issues (insecurity over her relationships, the inability to trust her partner’s intentions, constant jealousy, difficulty with feeling actual intimacy, possessive and controlling behavior, clinginess, constant need for attention, etc.) but they were never expanded on or even called out. She was portrayed as the perfect one without any faults or need for help cause she was (in Riordan’s eyes) supposed to be the ‘strong one’ who didn’t need others to help or save her, but that just led to a dull character and flat arc. 

11. Standards of perfection. Piper is the daughter of a rich and famous movie star, is extremely attractive, etc., so writing her backstory as being constantly pressured, raised, and even demanded into always being poised, presentable, and perfect her whole life would’ve been way better than whatever the hell Riordan was doing. Piper should’ve rebelled against society, not her dad who didn’t even do anything wrong. Basically- What Piper did: My dad wants to bring me to a nice salon cause he loves and cares about me? NO! I’m going to cut my own hair even though cutting your hair in First Nations culture is literally taboo without even bothering to tell my dad that I don’t want to get a haircut to see if he’ll agree! What Piper should’ve done: Society wants me to always be perfect and presentable? NO! I’ll show them that I’ll be whatever I want to be without their input!

12. Rich and famous ≠ a perfect life. People are often mistaken that rich and famous people have the best, perfect life, but they don’t. With society’s impossible standards, controversy in the fame department, tons of hate for a bunch of different reasons, and more, Piper could’ve been the one to show that more money doesn’t equal more happiness, cause who in the world would constantly want flashing cameras in their faces, the inability to go out without being followed and/or harassed, fake friends, constant judging, the inability to have any privacy or being able to do anything normal people can, etc.? 

So, yeah. Piper’s backstory was just a steaming-hot mess, a pile of wasted potential, and flat-out bad writing. Riordan could’ve written an awesome character with a great character development, but it was trashed only because he couldn’t focus on the right aspects of her backstory. 

[dgcatanisiri]

Right. THAT is why I don’t watch every video essay that passes through my recommendations, just because it’s about a subject of queerness. Because it wants to talk about one of the biggest examples of queerbaiting as if it existed in isolation from everything else that happened in that fandom.

I need to blow off some steam here.

When it comes to addressing issues of St*rek, you CAN. NOT. divorce the discussion of how the show queerbaited the audience from the audience’s racism. The show had a canon queer character (of color) and centered around a character of color. And, when it came to fan content, what I would usually see come about, if the above two were involved AT ALL? Was crap like this.

A gif of Scott and Stiles, Stiles going for a fist bump, Scott a five, and them just rolling with it, with the text below bringing up a “stoned fratboy” AU. And the very next reblog text drops Scott IMMEDIATELY and makes it into a St*rek thing. Nothing about this show mattered but the characters of Stiles and Derek.

This will forever be what that pairing is associated with in my mind. The erasure of Scott to prop it up, even when it’s not even the subject.

The thing is, this pairing has ALWAYS been my go-to of straight people translating the dynamics of straight relationships onto queer couples, a translation that always misses the mark - aesthetic attraction aside, you aren’t going to genuinely fall for and proceed to act on an attraction to someone who is legitimately aggressive to you. The bully and the bullied do not ACTUALLY end up together, because the bully has made it clear that, if they were given the chance, they’d leave you bloody, not your heart a-flutter. 

AND THAT WAS THE DYNAMIC. For the better part of Derek’s time on the show, he did not give a single flying fornication about Stiles - his focus was on SCOTT. On how Scott - the “Teen Wolf” of the series name - was now a werewolf, how that made a connection between them, as pack. Derek legitimately threatened Stiles with bodily harm on multiple occasions - and in a few occasions off the top of my head, actually followed through with it. Stiles was something that Derek had to put up with, and routinely made it clear that he didn’t particularly care to.

It doesn’t matter how flustered Stiles might have gotten about Derek, the genuine reality always was that Derek DIDN’T care about Stiles. It was not until the show began actively leaning in to the queerbaiting that we saw any positive shift in their interactions. Until that point, it was a lot of antagonism, and, again, antagonism may have often been used to describe straight pairings, but... I mean, people, even the straights are reaching the point of calling out this shit as being unhealthy dynamics at best. 

But they were attractive white guys who breathed in the same room, while being the only romantically unattached characters in the main cast during the first season. Despite the fact that both had plenty of interactions with other characters that could have offered them something with more foundation - Scott and Stiles are best friends who are as close as brothers, Derek is after Scott to join the pack. Stiles on screen is pestering Danny about “am I attractive to gay guys?” and then got him to come over to his bedroom (it’s the same scene as that infamous “Derek in Stiles’s bedroom” bit, not that anyone ever discusses that...) Hell, go in the direction of the dynamic above, Scott and Jackson are rivals on the lacrosse team throughout Jackson’s time. Yet, even with that being the same dynamic AND not involving either character - so not “conflicting” with the ship while offering the same draw in terms of their interactions - it’s a barely touched ship when you look it up on AO3.

So we have the fandom actively AVOIDING featuring the characters of color, diminishing them, and, based on my experience in terms of the content that existed throughout the time of the show’s airing, even transplanting Scott’s characterization over to Stiles - Stiles is the snarky shit who doesn’t mind suggesting killing a perceived threat because he wants the danger dealt with directly, while Scott is the compassionate nurturer who will do everything in his power to find a solution that saves the most lives. But I recall a lot of trying to make Stiles out as “the pack mom!friend,” as if he’d be the one taking care of all these characters if they showed up unexpectedly. 

Like, that example always came with the way he positioned himself over Isaac and Erica in the episode “Raving.” The way that actually is him using them as a shield - if the kanima broke through the door they were pressed against, it’d hit them first, giving Stiles time to run away. But sure, he’s the pack mama, looking out for the baby betas.

When Stiles or Derek suggest or do something morally questionable, they’re justified. When Scott disagrees, he’s the worst. When Derek betrays Scott (working with Peter in season one), his actions are brushed off entirely. When Scott (justifiably) does not trust Derek (his plan for dealing with Gerard in the season two finale), he’s a horrible person for leaving Derek in the dark - even though Derek has spent the whole season actively preying on a group of teenage outcasts, threatening to kill anyone he believes is the kanima, and just generally being a variety flavor bag of dicks.

The fandom diminished Scott, and it even diminished Danny - at the same time that we had Danny and Ethan’s relationship in season three, there were still calls for “a gay couple” on the show. Like, that was the way it was looked at, that “we need a gay couple,” exact words. Because Danny/Ethan was not main cast, or, to put it bluntly since I already said this was a matter of racism, because Danny wasn’t white, this canon gay relationship was ignored and erased in the name of getting the two white boys to kiss. Not “a gay couple in the main cast.” Just “a gay couple.”

For the record, I’m not gonna touch on the age gap element, Stiles at 16, Derek in his early 20s, even though I know it’s become a popular thing to go into as time has gone on - in today’s example of “nuance is a thing,” the nuance of this is that we have adult actors playing teenage characters, which creates muddied waters since fictional construct says one thing, but your eyes and head are seeing actors of a more appropriate age interacting, and while I don’t condone it IRL, this is still fiction and I’m gonna just leave that alone for the time being. The core of my complaint overall here is that fandom was inventing this relationship wholesale and then getting pissy when canon didn’t conform and actors disagreed.

So when you have an interview where, after a few years of being asked repeatedly about “is St*rek gonna happen?” when he plays neither character, when this show is supposedly meant to center on his character, but no one seems to talk to him ABOUT his character, when these “fans” are minimizing him and his character, Tyler Posey makes a snippy remark about how this is “weird, twisted, bizarre, and they’re watching for the wrong thing”? Yeah, actually. He’s right. St*rek shippers WERE watching for the wrong thing.

In the eyes of these shippers, Scott could do no right if it would mean that Derek was wrong. To them, “Teen Wolf” was a description of Stiles (the teen) and Derek (the wolf), and Scott was an incidental character at best. And how dare anyone involved be at all upset over this.

But the videos on queerbaiting NEVER bring this stuff up. And, when those from outside the fandom, who report on these in autopsy fashion, bring up things like Tyler Posey’s comment, they do it in a manner that even suggests that he - the actor who was nineteen/twenty years old at the time of the show’s filming and premiere - was responsible for the various forms of queerbaiting that the producers pushed, like the infamous “Dylan O’Brien and Tyler Hoechlin cuddling on a ship” thing. So, you know, just perpetuating this attitude that permeated this fandom, of this casual low-level racism. 

But no, this never comes up. But speaking as someone who was there during the height of Teen Wolf’s Tumblr popularity? Oh, it ABSOLUTELY was everywhere. But, because the people doing these autopsies were in the midst of this (and, while I’m acknowledging this at the end of this ranting, I do want to be clear that I am speaking about this fandom as an entity in its own right, and not any singular individual in and of themselves, I don’t think that all shippers of this ship are racist or that shipping it is in and of itself racist, just that as an overall experience of this fandom is this core of) or they came after the show’s heyday and missed it, know the pairing for being queerbaited before they know the show/fandom/pairing itself... They’re not seeing it. They’re not talking about it. And it makes for a deep failing in these examinations. Because that racism is why the pairing got as popular as it did. Again, there were other pairings with other foundations available. And yet somehow, it’s the white guys who hate each other getting all the attention in the fandom, over anything else. 

[nobodyfamousposts]

You know I was watching a video by overly sarcastic productions and I’m pretty sure that from that definition Adrien is a Mary Sue. The episode was Trope Talks: Mary Sues.

Pretty much Adrien is this to a T.

I hear people throwing the term around a lot and complaining about the term being thrown around a lot but I think what ends up being missed is what actually constitutes a Mary Sue in the first place.

A Mary Sue is not a character who is overpowered or “too strong” like the complaints about Captain Marvel. If that was true, then literally every anime protagonist or super hero that exists is a Mary Sue by default. Every one. Ever.

Nor is it someone with a tragic backstory like Batman or any other long line of superheroes or anime protagonists. Whether it’s dead parents, a past trauma, abuse, bullying, or just a conga line of horrible circumstances, plenty of characters have had bad things happen to them. That’s kind of part of life and what makes them relatable and sympathetic.

It’s not even someone who is loved by many people. Or is a good judge of character. Or whom manages to talk someone into a heel-face turn. Regardless of what claims may come, these are not what make a character a Mary Sue.

What makes a Mary Sue—the central core aspect of what makes a character problematic all boils down to how the narrative itself treats the character.

The narrative is generally indicative of the author’s own preferences or leanings. We see it all the time with stories that create straw characters to symbolize people the author doesn’t like or things the author doesn’t agree with in order to belittle it. The opposite can just as easily occur where a character or position is hyped up to look better or promote what the author wants promoted.

Those previously mentioned tropes are a sign of that. For a Mary Sue, everything from powers to past traumas to relationships are all just “things“ for the character to have. Whether to emphasize their importance or to highlight their greatness. While they’re not necessarily what automatically makes a character a Mary Sue, they are often utilized as tools by the narrative for the sake of propping the character that is a Sue. That’s why they’re easy to pick out and attribute to a Mary Sue as well as used to claim characters are Sues. Because they are tools used to try to make people support a character instead of actually making a character people can like and WANT to support.

A Mary Sue is given powers for the sake of making the character awesome without the character actually doing anything to be awesome. A Mary Sue is is given a tragic backstory for the sake of making the character sympathetic without the character actually doing anything to warrant sympathy. A Mary Sue is given relationships for the sake of being the center of attention and adoration by other characters to shell how awesome they are without having to do anything to show how or why anyone would or should actually like them. Any relationships a Mary Sue has are NOT legitimate connections between two or more people, they’re just labels to slap on the Mary Sue to make the character seem more relevant and important.

Ultimately, a Mary Sue supplants the story for the sake of having this character BE the story, and it’s a major reason why they are despised in most fandoms. A reason that, sad to say, was actually deserved in the early days of fan works.

That said…

Adrien IS a prime example of a Mary Sue because of the way the narrative is going out of its way to portray him. Even the creator has come out and said he is “perfect” and that any flaw he could have isn’t actually on him so much as an indication of something being wrong with the world around him. Anything bad that happens, even as a direct result of that character’s own actions, is portrayed as being the fault of anyone and everyone else but that character, in this case Adrien. That, RIGHT THERE is pretty much the epitome of what a Mary Sue IS.

Some call it an ego trip. Some call it a power fantasy. Many consider it as a sort of reality warper. It’s ultimately the case when the story is being turned in on itself to make this character look good without the character actually DOING anything to BE good and even when the character is specifically doing things that AREN’T good.

This is why Bella Swan from Twilight is a certifiable Mary Sue.

This is why it can be argued that Rey from Star Wars is a Mary Sue.

This is why Anita Blake is definitely a Mary Sue.

And this is what separates Adrien from Marinette. And Adrien from pretty much everyone else in the series.

It’s not that he has superpowers—if anything, I think he got cheated in the powers department, all things considered. No, it’s the way he doesn’t seem to take those powers or the responsibilities that come with them seriously. Given that he has had THREE instances already in which he threw a major fit in the middle of an akuma battle because he wasn’t happy about something only for him to be shown as being RIGHT to do so even to the detriment of his partner, his Miraculous, and ultimately all of Paris.

It’s not that he has a missing mom and a neglectful dad, it’s how the narrative keeps emphasizing how sad Adrien is without actually DOING anything with it so they can milk the “Sadrien” angle. Because let’s face it, seeing Adrien looking sad sells.

It’s not that he has multiple girls who like him. I mean, he’s a model, and is rich and famous. I’d be surprised if he didn’t have multiple girls who were into him.

No, it’s in the over the top emphasis of his supposed greatness. It’s in this consistent impression the narrative is giving that the female lead we are supposed to be rooting for—whom we all KNOW has gone well out of her way to do things for him, try to make him happy even to her own detriment, and has struggled more than any rational person should be willing to just to try confessing to the guy is somehow the one side of the love square that “isn’t trying hard enough”.

It’s in the way he is always portrayed as being the “moral voice” and the one in the right in any situation regardless of how little he’s involved or even understands what’s going on. Whether it was lecturing people on how to deal with a bully or for being happy when their bully was leaving (when he was never actually a target of that bully). Or lecturing people on how to deal with a liar (when again, he wasn’t the one being played or threatened). Or threatening to quit when Paris was flooded by an akuma all because he wasn’t being told secrets that he wasn’t showing he was ready to know and that his tantrum CERTAINLY didn’t show he was ready or mature enough for.

It’s in the back and forth on whether he is supposed to be the epitome of “perfection” and the wise person everyone should listen to only to suddenly be made out as the innocent victim of everyone else when his less than noble or heroic behaviors are pointed out in order to excuse or justify his behaviors. (I call it the Standard Adrien Defense and it follows this trend each time.)

It’s in the clear and blatant double standard between what Adrien/Chat is allowed to do and get away with vs what is allowed from anyone else. It’s in the way that Adrien can do things that anyone can agree is wrong without getting so much as a lecture but anyone else in his place will—and have been raked over the coals by the same narrative that gives him the equivalent of a pat on the head and a cookie.

It’s in the way he’s just…there. He has the plot connections. He has the relevance. He has the position of being at the center of quite literally everything from the villain’s plans and motivations to the adoration of the female lead…and he does NOTHING with any of it.

And it’s in the way that no matter what he does or what side he takes, the narrative always ALWAYS frames him as being the one in the right when there’s a conflict, the one to sympathize with when he and another character are hurt, and the one we as the audience are supposed to agree with and support more in any situation.

And the truly sad thing is that Adrien as a character has potential. From a humorous character to a serious one, from the wise and introspective person to the wide-eyed innocent being thrown into the hero job, there was SO MUCH that could have been done with his character. Instead, Adrien is reactionary. Anything involving him is less a matter of what he personally is doing and more about what is being done to or for him. He has no dreams or aspirations other than being with the main female character, has no interests to speak of, and his other relationships actually seem pretty lacking—again, based less on what HE’S doing and more on what other people are doing to and/or for HIM. He somehow has a wide-ranging impact without actually taking action.

As it stands, Canon Adrien is about as real as the cardboard cutout or wax statue of him. To the point he might as well be either for all that he actually seems to accomplish. Because nothing annoys fans or creates salt quite like wasted potential, and that’s all canon Adrien is at this point.

That’s why Fandom Adrien is awesome, whether he’s portrayed as being dense as a brick, showing a polite exterior while internally screaming, acting like a massive dork, or just acting passive aggressive in how he deals with his father and people like Chloe or Lila. Because however way he’s being made to deal with the crazy situations the fans put him in, he’s at least doing SOMETHING besides standing there and looking pretty for people to fawn/fight over.

Strangely enough, this may be the first case I’ve seen where fans have taken a Mary Sue and made him a real character rather than the other way around.

[cloudybookash-blog]

Just finished the first season of She-Ra and I only have a small amount of complaints that I think fall more into my personal opinion on characterizations and story lines than anything else. 

Love that the princesses that are there from the beginning are cute, gay and happy. Love that for them.

Love the diversity. Glimmer is body divergent but it never addressed as something inherently bad, or as a flaw - homegirl just look like that. Beau (Bo?) being part of the princesses because he is, and all his little background mannerisms where he’s seen cleaning and keeping things neat. 

Scorpia’s entire personality is the greatest, she’s such a realistic character who belongs to a family that gave their allegiance and power source to the horde willingly and she prides herself in her role by taking care of her troops and running a tight ship whilst also being one of the bad guys because well, she was never welcome with any of the other princesses. Her story is so believable and truly underrated. Plus, she’s just very nice. 

The other princesses having such a wide array of personalities (albeit without many complexities, I’ll admit) is refreshing. 

I’m a fan of the art-style, love all the pretty colors (and kind of reminds me of Steven Universe, ngl). Each setting has its own beautiful color palette, which is always helpful in identifying new places and remembering them when there are about 10.

My only problems really came in three (maybe four) people.

1. Adora. If anything I would’ve thought she’d make the perfect villain. First in everything, the favorite, constantly better than her peers with the emotional range of a teaspoon. Yes, yes, she’s fantastic with her new friends but we’ve seen better characters. She’s given multiple occasions to coerce her old crew into joining the rebellion but she never takes them, and when she does it’s done without heart, like I questioned her integrity a couple of times she just didn’t seem all that willing to help her old friends.

Yes, with Bow (apparently that’s how his name is spelled) and Glimmer she’s loyal and caring, thoughtful even. But none of that loyalty and thoughtfulness is present in her previous relationships. Upon finding out that the Horde is evil and that she more than likely was kidnapped as a young child (insinuating that almost EVERY horde soldier was stolen from their families) she doesn’t, not once, speak to her entire old crew and show them what she knows in a way that isn’t overtly condescending.

There’s a moment where I think Catra is going to join Adora, but even then, Adora is only bargaining, and asking Catra to join her because Catra is literally about to kill her. And EVEN THEN she barely tried, rather than apologising for not being aware enough when they were kids to stand up for Catra in a way that would’ve mattered to her, she just goes on about how Catra doesn’t have to do this. This forces Catra to give up her grounds has someone who’s been wronged because the wrong-does refuses to admit fault.

Like I said, my problems are probably all to do with personal preferences of characters. People probably view this as a unique flaw never really had in an MC before. Except, it’s pretty common in male MC’s in high fantasy’s. And I not only read a lot of those, but also hate them specifically because the characters have minimal self awareness and almost 0% integrity anytime they’re genuinely confronted with their flaws.

2. Catra. Listen, she would’ve been a GREAT She-Ra. You can’t deny it. She’s always coming in second best, she can never get ahead, she’s not only hated but has been actively tortured because of her ties to Adora. She’s been told the only reason she’s kept around is because Adora seems to like her. She’s literally alive because some six year old wanted a pet. She would be the first one to have zero (0) reasons to stay with the horde.

Her entire life has been spent in the shadow and to be able to be She-Ra, with enough support could bring her the confidence in her person she so sorely needs. We’ve seen she’s a great leader, although as a villain in a serial she’s obviously going to be beaten time and time again but she does actually have good plans and she has a flare for the dramatic. 

This isn’t Loki-style fanning over a ‘morally-grey’ character this is sadness at the fact people may interpret her character as, ‘people who are ambitious are evil, people who don’t conform to society, or aren’t very charming socially are evil’. Rather than we (the audience) should try being a little more aware of the people around us and how our actions can deeply effect them.

Catra’s personality and in the end her resolve is formed by the actions of Shadow Weaver, Adora, and her team. They bully, ostracize and abuse her (some, unknowingly of course) but that’ s the point. Her ‘evilness’ is brought on by years of people not being self-aware enough to understand the damage they were causing. She’s a great sympathetic villain, I don’t think I’ve ever even felt sympathy for a fictional ‘bad guy’ before so don’t get me wrong she’s fine in her role. I just, personally, would’ve enjoyed seeing her at the forefront of the rebellion rather than Adora.

With a personality that would’ve been open to an underdog scenario, and her persistent attitude (especially if this was fueled by people supporting and relying on her) she could’ve been a great She-Ra.

3. Entrapta. Again this is solely the whole how she’s going to perceived thing, ‘geeks and freaks are weird and societal outcasts are evil.’ It keeps up this narrative of only certain types of people are allowed to be good, there’s a check list of traits you have to have that are unrelated to your ideologies that decide which side you fight for.

Entrapta, like Catra, is treated like an outcast and always (in sinisterly subtle ways that are usually used as comedic relief) made to feel bad for who she is. She’s curious on top of everything else but the lesson we get about her story ark is curiosity killed the rebellion. It’s like saying ‘don’t be too curious’, otherwise you’ll end up with no morals and will be easily manipulated into joining the ‘evil people’.

When, again, the meaning should be that we REALLY need to put more effort into making those in our society who are different know and understand that they’re important. No, this doesn’t mean baby school shooter, incel type people or people who legitimately go out of their way to hurt others for no reason. But, we shouldn’t treat neuro-divergent people with such hostilities (subtle or otherwise) because then WE create the monster. Just as with Catra, Entrapta was created through the actions of her peers towards her person.

I can’t blame either of these villains for choosing the dark side, who wasn't to be good when the people on the good side don’t want you to be, well, YOU.

4. Decidedly, four things that bug me. Bow and Glimmers (already mentioned Adora’s part in this) and extendedly the other Princesses’ treatment of those in the horde they meet. One specific scene got me MAD. Bow is imprisoned and one of Adora’s ex-crew mates begins betraying his own just because Bow is the first person to actual listen and all this kid wants is to have friends, real friends that would do anything for one another and this poor kid is TRYING. Bow’s reaction was abysmal to say the least. At first, he cracks a joke that he doesn’t really have a choice as he’s imprisoned, we get it, funny ha-ha. But, he genuinely appears to believe that the only reason he’s listening is because he’s imprisoned, that he (who gave Adora her chance before even really getting to know her) wouldn’t give the exact same to this kid actively risking his life to relay information about Glimmer. 

Bow’s the puppy-love character whose flaw is (supposed to be) that he loves/trusts too easy. So why is he suddenly not listening to this kid just trying to have a friend who is actively helping Bow and is (possibly) the sole reason they find Glimmer in the end. Without his help there wouldn’t have been enough time to hack into the horde’s tech again to search for her. But, Bow doesn’t say anything when his rescue arrives AND THROWS THIS KID OFF A CLIFF MID-SENTENCE. I don’t know, that felt so wildly out of character.

Glimmer I understand more, she’s hotheaded and originally was VERY against Adora. It took a lot of life threatening situations for her to finally begin trusting Adora. Still, upon getting to know Adora, learning how horribly she was raised, the trauma it’s left her with, Glimmer (not for one seconds) questions whether they should MAYBE check on other horde members, no one should be kidnapped and raised in such an environment only to die for a regime that’s been lying to them. Yet, that’s exactly what happened.

Don’t get me wrong, these are four things that I pretty much understand have more to do with my preferences with characters and story-lines than anything else and like I said, the list (though detailed because I love being negative) is small in comparison to list of things that I like so far about the show. 

Just wanted to get that out there.

Also, does the Voltron fandom follow She-Ra because this ECHOES Voltron vibes and I honestly don’t see a reason why they shouldn’t also vehemently back this show (other than the straights that watch Voltron are too busy getting off on gay men to care or give any ground to a just as diverse, funny, cast that just so happens to have gender flipped the story.)

[emjenenla]

I'm Holding On; Why is Everything so Heavy? [a SoC Fanfic]

Modern AU. Kaz knew he only was only asking because he thought he was supposed to. Most people were like that; Kaz’s multiple lives and many secrets relied on it.

Warnings: violence, panic attacks, PTSD, mentions of car accidents, near drowning, sex trafficking

Title: I'm Holding On; Why is Everything so Heavy?

Author: Emjen Enla (Fanfiction)/emjenenla (Tumblr)

Teaser: Modern AU. Kaz knew he only was only asking because he thought he was supposed to. Most people were like that; Kaz’s multiple lives and many secrets relied on it.

Rating: PG-13/T

Canon/Timeline: Modern AU; same general time frame as SoC (Kaz is seventeen, Jordie is four years older which means he’s twenty-one)

Dominant Characters: Kaz Brekker, Inej Ghafa, Jordie Rietveld, appearances by Jesper Fahey, Nina Zenik, Alina Starkov, Per Haskell, mentions of Pekka Rollins, Jan Van Eck, Wylan Van Eck, Mal Oretsev, one OC, various others

Pairings: technically more Kaz & Inej friendship than legitimate Kanej, mentions of Wesper

Warnings: violence, panic attacks, PTSD, mentions of car accidents, near drowning, sex trafficking

Notes:

- Long story short, I became obsessed with the idea of Kaz in a hoodie riding a subway with earbuds in so no one would try to talk to him and this fic happened. I hope you all enjoy. :)

-Special thanks to wylanvanwreck on AO3 and their story The Mighty Dregs as well as a post by @crows-and-co. Both formed the basis of the thought experiment that became Kaz in this AU.

-Also, why is Jordie in the Fanfiction archive character list as Joshie R.?

Disclaimer: I don’t own Six of Crows or “Heavy” by Linkin Park (the song I got the title from)

--

Kaz knew that his day was officially a bust when he had a panic attack in third period.

Okay, technically he didn’t have a panic attack in third period. He realized it was going to happen and fled to the bathroom, where he locked himself in a stall and waited until he could breathe again. The bathroom was thankfully empty. If someone heard him, one of two horrible things would happen; he’s be pitied or mocked. He’d lost a lot of his bully shielding when he’d cleaned up his school presence during the switch to high school. That change had been necessary both for Jordie’s peace of mind and to keep Kaz Rietveld and the Dregs lieutenant Brekker separate. Of course, that meant that he’d gone from that scary kid who smoked weed behind the school to a crippled AP student who no one thought could fight back.

Even worse than bullies would be if some well-meaning student told the nurse. Marya Hendriks was one of the nicest people on earth and she meant well, but if she figured out about the panic attacks she’d tell Jordie. Kaz had been hiding his admittedly shaky mental health from Jordie basically since the accident that killed their parents. He knew that was a bad idea in the long run, but it didn’t change the fact that therapy and meds cost money which was something the tragically orphaned Rietveld brothers did not have.

So he hid alone in the bathroom until almost the end of the class period before he admitted to himself that he had to go back. He felt shaky and a little panicky, but he was standing by the sink washing his hands when Jesper came in.

“What are you doing here?” Kaz asked. “You’re supposed to be in class.”

“So are you,” Jesper said. “You’ve been gone a long time. Are you sick?”

Jesper was Kaz’s oldest friend, though they didn’t spend as much time together as they once had. If asked Kaz would blame that on Jesper starting to date Wylan, though he knew it was at least partially because of the Dregs and the ever-lengthening list of things that Jesper didn’t know about.

“I’m fine,” Kaz said drying his hands and brushing past the other boy. “Did Dryden manage to explain anything today?”

“I don’t understand it,” Jesper said. “And neither does anyone else. Can you tutor me after school?”

“Lunch or tomorrow morning,” Kaz said. “I’m busy tonight.”

“Fine, lunch then,” Jesper sighed. He liked to have his lunch periods and he hated getting up early. “I honestly don’t get how you’re the only one who doesn’t get confused by Dryden. Everyone else is struggling.”

“That’s because I’ve long since accepted that Dryden doesn’t know how to do algebra and I don’t try to understand what he’s teaching,” Kaz said. “I still get all the right answers, so there’s nothing he can do to me.”

They reached the algebra classroom. Kaz’s bad leg was killing him after all the time spent curled up in the bathroom stall. He really should have been using a cane, but when the injury had first happened he’d refused. He’d come around to it after joining the Dregs because it turned out a cane was a pretty good weapon. Unfortunately, since the cane was now connected to Brekker, Kaz Rietveld couldn’t start using one.

Kaz opened the door just as the bell rang and students began pour out. He stuffed his hands into the big pocket of his black hoodie and tried not to hunch his shoulders to obviously. Touch aversion was on the list of things he’d pretended to get over to keep from worrying Jordie, in reality it was hard to shake the horror of being trapped with his parents’ bodies in a car that was slowly filling with water. The negligent and painful treatment he’d received from the doctors afterwards hadn’t helped either.

Kaz twisted his hands around the black leather gloves hidden inside his hoodie pocket and tried not to think about how much better he’d feel if he was wearing them. He could wear the gloves as Brekker because he could explain it away as trying to avoid leaving fingerprints, but there was no explanation for Kaz Rietveld wearing gloves.

If he was completely honest, he hated being Kaz Rietveld.

He crossed the room to his desk and began gathering his books. Dryden looked up from arranging papers on his desk. “Are you alright, Kazimir?”

Kaz knew he only was only asking because he thought he was supposed to. Most people were like that; Kaz’s multiple lives and many secrets relied on it.

“Yes, sir,” he said with a submissive smile that he knew Dryden’s ego liked. “Thank you for asking.”

~~~~

Kaz was feeling a little calmer by the time they got out of school. Helping Jesper with algebra during lunch had helped a lot. Kaz loved math; it was easy and straightforward and never failed to make him feel like he was at least partially in control of his life.

When the last bell rang, Kaz made his way through the halls to his locker, hands buried deep in his hoodie pocket. He unlocked his locker and pulled his ancient slide phone out of the front pocket of his backpack. The only texts he had were weird Instagram photos that Jesper had sent him during study hall. No texts from any of the Dregs which meant that things were still on for tonight.

Someone slammed into his back and Kaz almost broke the kid’s arm. He’d learned from being Brekker that nothing kept people from touching you without mockery or pity like the promise of violence to anyone who violated your personal space. Unfortunately, that was on the list of things that were frowned upon at East Ketterdam High.

He glared at the kid until he was gone, then pulled his second piece of ridiculously outdated technology out of his backpack. It was a 4th Gen iPod Nano in an absolutely revolting shade of orange. The thing had been Jordie’s first and bore his dubious taste in color as a result. Jordie had given it to Kaz shortly before their parents had died, and Kaz had been stuck using it ever since.

Still, it was better than having no music player at all. Kaz unwound the black earbuds and shoved them into his ears. He put his playlist of pirated music on shuffle and gathered up the rest of his things. Then he swung his backpack on and left the school.

He made his way to the nearest subway stop. Subways were pretty much the only type of transportation he could manage these days. He was so deathly terrified of cars that some days it was a struggle to cross the street, and buses could still be struck by other vehicles and be pushed off the road into water. Subways ran on tracks and had only limited interaction with other subways, so he could handle them.

The subway was busy enough that there were no seats. No one stood up to offer him a seat, but that was okay; Kaz didn’t want anyone’s pity. He hooked an arm around one of the poles and leaned against it, watching as the stops zoomed by. He finally gave into the urge to put the gloves on. The subtle leather covered his hands, and he felt a million times safer.

He got off the subway at a stop near West Ketterdam High. He was now on the opposite side of the Barrel from his school and the dingy apartment he and Jordie lived in. It was a long trip for what basically constituted as a commute, but when he’d joined a gang he hadn’t wanted to risk running into someone he knew from the East Barrel.

He climbed up the steps out of the subway station and set off down one of the streets. His bad leg was throbbing worse than before after the jarring it had received on the subway. He wormed a bottle of Advil out of his backpack and shook two into his hand. He chewed them so they’d kick in faster and put the bottle away. The Advil would barely help, but his prescription meds were too expensive to use most of the time.

His mouth was still full of the sour, acidic taste of medicine when he reached an old but well-kept house in a dingy side street. He climbed the front steps and knocked. A minute later Alina, Inej’s foster mother, answered the door. She was a young woman and dressed casually, her long, inexplicably white hair was hanging loose around her shoulders. “Hello, Kaz,” she said with a smile. “You know you can just come in. You don’t need to knock.”

“I know,” Kaz said stepping into the house.

The smile Alina gave him was fond and it made Kaz want to do something to wipe it off her face. “Inej isn’t home from school yet,” she said. “I made some cookies this afternoon, though. Do you want some?”

“Maybe later,” Kaz said. “I’ll wait for Inej upstairs.” He tried to avoid Inej’s foster parents as much as possible. He knew that they’d assumed he was Inej’s boyfriend though to be honest he wasn’t sure if he and Inej were even really friends.

He climbed the creaky stairs and headed into Inej’s bedroom. Her foster sister, Nina, was already there lying stretched out on her bed on the left side of the room. Kaz raised an eyebrow. “What are you doing here?”

“I was sick today,” Nina said in an airy voice that suggested she’d just skipped out.

“Fun,” Kaz crossed to Inej’s bed on the right side of the room. He took off his backpack and lowered himself to the floor, suppressing a hiss of pain. Then he leaned over and began rummaging under the bed.

He heard Nina’s sheets rustle as she rolled over. “Is it a big job tonight?”

“You know that I can’t tell you that.”

“Oh, come on, Brekker,” Nina whined. “I thought you’d stop this when I joined up.”

“Whether or not you’re a Dreg doesn’t change the fact that this is an active job,” Kaz said without looking at her. “Only people involved can know about it right now. If you want all the details, I’m sure Inej will be happy to fill you in tomorrow.”

“Fine,” Nina grumbled and fell silent.

Kaz pulled a heavy cardboard box out from under the bed and opened it. Inside were his and Inej’s knives, lockpicks and other equipment. He began separating his favorites out and strapping them to various parts of his body underneath his clothes.

“You know if Alina and Mal find those Inej is going to get in a lot of trouble,” Nina said. “This house has a ‘strict no weapons policy.’”

“I bought all of these,” Kaz said. “That means they’re technically mine, and I don’t live here.”

Nina snorted. “You know, I’m not sure Alina and Mal would accept that loophole.”

Kaz opened his mouth to respond, but something changed, and he knew Inej was there. He turned to see her standing silently in the doorway in her leggings and boots and oversized knit sweater. He didn’t know how he always knew when she was around, but he did.

“Hello,” he said.

“Hi,” Inej crossed the room and began taking her knives out of the box. “How are you today?”

Kaz did not let himself think about the panic attack he’d had that morning. Besides, Inej didn’t know about those so he couldn’t tell her anyway. “Ready,” he said.

“Me too,” Inej said. Settling down to strap on her weapons.

Inej had been abducted by sex traffickers at fourteen. She’d been rescued a year later and put into foster care while the system tried to find her parents. Two years later and it was blatantly obvious that no one was actually looking for Mr. and Mrs. Ghafa, and Inej would probably be stuck in the system until she turned eighteen.

Kaz finished arming himself by sliding an oyster shucking knife into one of his battered high tops. He worked himself to his feet, ignoring the worried look Inej gave him and moved his backpack into Inej’s closet. His cane—a sleek black thing with a rounded knob on top—was also there, leaning against the wall. He took it out and tried not to lean too heavily on it.

“Ready to go?” He asked Inej.

She nodded. At some point she’d changed out of her fuzzy knit sweater and put on a dark-color zip front sweatshirt with a hood that she could pull over her head later to keep her braid out of the way.

“Tell me how it goes,” Nina called after them as they left the room.

Inej called goodbye to Alina at the front door and they let themselves out into the street. At the sidewalk, they turned right and began the walk to the Slat. Kaz knew that Inej rode the bus to the Slat when he wasn’t around. When he’d first started keeping his stuff at her house, she’d suggested they ride the bus a number of times. He’d gotten around it by simply ignoring her and walking; eventually she’d stopped asking.

It took them a little over twenty minutes to walk to the Slat, which was a beaten down four-story building of an indeterminable original purpose. Even though it wasn’t even five o’clock yet, the place still had a number of seedy looking people hanging around. Those were the gang members who made their livings working for the Dregs and nothing else. That was Kaz’s legacy to the gang; before he’d joined up and started running things Per Haskell had barely been able to pay his own expenses let alone anyone else’s.

Kaz let himself and Inej in through the creaky front door, then he stalked across the big front room and knocked on Per Haskell’s door. “Come in!” the gang leader called and Kaz stepped inside leaving Inej outside.

“Just letting you know that Inej and I are here,” Kaz said.

Per Haskell looked up and snorted. “You look like a high school nerd, Brekker, that undercut doesn’t help.”

Kaz looked down his oversized hoodie, dark jeans and old high tops. “This is how I dress, sir,” he said hoping he didn’t sound like a petulant teenager, this was not the first time he and Per Haskell had had this conversation. “If you want me to wear a full suit, give me the money to buy one and I will.”

Per Haskell hacked out a sound that was half laugh half smoker’s cough. “That would be something to see,” he said. “When are you leaving for the job?”

“When it gets dark,” Kaz said. “It should only take us an hour or two”

“I’ll let you handle this,” Haskell said leaning back in his chair and reaching for the large mug of room temperature lager sitting on the desk. He spoke like there had been a chance he would come. Per Haskell hadn’t done any real work in as long as Kaz had known him; he didn’t even know exactly what the plan was, only what the goal was.

“I can handle it,” Kaz said without letting any annoyance in his voice. He reminded himself that his long-term goals relied on Haskell’s incompetence. “Don’t worry about a thing.”

~~~~

When the sun set, he and Inej rode the subway out of the Barrel and into the business part of Ketterdam. At this time of day, comparatively few people were heading into the business district because people didn’t live there, so they were both able to sit, something Kaz would never admit to being relieved about.

After they got off the subway they only had to walk a couple blocks before the headquarters of Van Eck Industries rose up before them. They stood on the corner looking up at the darkened windows. Kaz pulled off the backpack he’d brought from the Slat and pulled out a pair of ski masks. It was almost hilariously like something out of a movie, but they needed to make sure their faces didn’t end up on any of the building’s copious security cameras. They would deal with them, but only from the inside.

They both fitted their masks on and became a pair of extremely stereotypical bandits. Then they headed across the street to the employee entrance. The door was locked with a randomly generated password, but Kaz whipped out one of the laptops he’d bought for the Dregs with Per Haskell’s money and within seconds had bypassed the lock and they were in.

Once they were inside, they made their way to the security room. The guard on duty tonight was exceedingly lazy which was why they’d chosen tonight for the job. When they entered the security room, the man was sitting at his desk watching a soap opera and vacantly munching on potato chips. He obviously wasn’t watching the many security camera monitors around him, because if he had been he would have seen the two masked people slinking through the hallways.

Inej crossed the room on silent feet and punched the man a couple times with a pair of brass knuckles she always kept in one of her pockets. When he passed out, she heaved him out of his chair and began to drag him towards a closet.

Kaz sat down in the security guard’s chair, stuck a flash drive into the computer and released the most potent of his half a dozen custom computer viruses into the system. When he was finished, he glanced at Inej who stood in the center of the security room watching the security footage on the computer screens flicker out. “I’ll never get tired of that,” she said with a smile.

Kaz smiled as well and made sure he kept his face turned away until he could smooth out his expression again. “Whatever,” he stood up, and pulled his mask off. Now that the security cameras were out of commission there was no reason to keep wearing it. “Let’s move. We’ve got thirty-one minutes before the second security guard finishes her round and gets back here.”

~~~~

Jan Van Eck’s office was on the top floor of the building. With the computer virus in effect, Kaz had to open the electronic lock by opening it up and fiddling with the wires, but it still took him less than a minute. He’d started to learn to pick locks at age nine, while in the hospital after the accident and trying desperately not to think about any of the bad stuff. He’d kept practicing afterwards and now he was one of the best lockpicks in Ketterdam.

The door to Van Eck’s office opened into a borderline ridiculously expensive space that was exactly what you’d expect of man of his wealth and famous arrogance to have. A DeKappel painting hung on the wall behind the desk. Kaz and Inej lifted it down to reveal the safe.

Inej stood guard by the door while Kaz cracked the safe. Even though they were in the middle of a big job, Kaz found his nerves settling. Lockpicking was as relaxing as math.

He got the safe open in what he estimated to approximately half the time it would have taken the Dregs’ second best lockpick. He swung the safe door open and shone a flashlight inside to get a better view of the contents. There were stacks and stacks of cash inside along with some other boxes and papers. Kaz whistled softly. “Someone learns to learn that keeping copious amounts of cash in his safe is just asking for it to be stolen.”

“Is there a lot?” Inej asked.

“Yes,” Kaz began taking out the cash. It was all carefully tied up in those little paper slips you got on bills from the bank. Kaz estimated there was around twenty thousand dollars. His fingers itched to take the money for himself. Twenty thousand dollars would take care of rent and food and all that credit card debt Jordie pretended they didn’t have. He pushed the urge away; Per Haskell might be one of the most useless generals in the Barrel but stealing from him was still a bad idea.

Inej left her guard post and began loading up her backpack with money. Kaz dug deeper into the safe and pulled out some jewelry that was probably worth a couple hundred dollars apiece. Kaz stuffed them into his own backpack with part of the money and laptop he’d used on the outside door, then began going through the papers. This was not strictly part of the plan, but Kaz and Inej built their reputation on having dirt on everyone in Ketterdam so it wouldn’t be right to pass up a chance to gain some new information.

He found a couple worthy-looking papers and memorized them in a handful of seconds. When he was finished he looked around the office. His eyes fell on the DeKappel sitting in its frame against the wall. It was probably a nice painting, though all art looked the same to Kaz. Still, it was expensive and the fact that Van Eck had it so prominently displayed meant that it was important to him...

“Do we have a screwdriver?” Kaz asked Inej.

“Yeah,” Inej said still focused putting the last of the money into Kaz’s backpack. “Why?”

Kaz grinned as his heartbeat sped up. This was going to be great. “We’re taking the painting.”

Now she looked up at him, confusion on her face. “Why?”

Kaz’s smile got even bigger. “Why not?”

She stared at him for a moment then she smiled and shrugged. “Sure,” she dug around in the front pocket of her backpack and pulled out a screwdriver. “Here you go.”

It took them almost ten minutes to get the back of the frame off and the painting taken out. Once that was done they rolled the painting up and fitted it carefully into Inej’s backpack. Then they put the back of the frame back on, closed the safe and hung the empty frame on the wall again.

“Alright,” Kaz turned towards the door, pulling on his own, now significantly heavier backpack. “Let’s get out of here.”

They left Van Eck’s office and headed down the stairwell towards the outside. They were almost to the ground floor when they heard footsteps and voices. They both froze and stared at each other. “How long have we been here?” Inej asked.

Kaz checked his watch. “We should still have ten minutes,” he said. “Maybe-”

A door above them opened. Kaz looked up and his stomach clenched. A couple big, burly men Kaz recognized as members of the Dime Lions were pushing their way into the stairwell. He and Inej looked at each other in shock. Where had the Dime Lions come from? Had they just so happened to plan a break-in for the same night?

“You there!” one of the Dime Lions yelled. “Intruders! Stop right there!”

“Run!” Kaz told Inej and they took off down the stairs.

More Dime Lions entered the stairwell from the bottom. Inej slid down the railing of the last flight of stairs and slashed at them with her knives. Kaz reached the bottom a second later and took out one of the Dime Lions with a well-placed swing with the knobbed end of his cane. They shoved their way out of the stairwell. Within seconds they were out of the building through a different side entrance that opened onto a boardwalk facing the harbor.

“Split up,” Kaz ordered. “We’ll meet up later.”

Inej nodded and took off one direction. Kaz knew that within minutes she’d be up a building and well out of any danger.

He, on the other hand, had it a bit more difficult. His leg meant that he couldn’t climb as quickly as Inej could and he couldn’t run as fast either. Still, he would get away; he was way smarter than basically everyone Pekka Rollins had working for him.

Kaz pounded down the boardwalk with the Dime Lions after him. It sounded like most of them were after him. Which probably meant that they’d recognized him and Inej. They knew that he was Brekker, the most wanted man in Ketterdam, and they knew they’d never catch Inej.

He knew he’d never outrun the Dime Lions, so he just needed to find a good place to stand and fight. He turned left and ran along a narrower part of the boardwalk that jutted out into the water. When he was halfway along it he whirled around and lifted his cane, prepared for a fight.

Half a dozen Dime Lions pounded down the boardwalk after him. The front two charged him immediately. Kaz simply stepped out of the way so one ran into the boardwalk railing and beat the other over the head with his cane.

He stepped away until his back was against the railing opposite the one the Dime Lion had just hit. “So what are you all doing here tonight?” he asked with a classic Brekker smile. “Did the Dregs beat the Dime Lions to the pigeon?”

“We’re not Dime Lions,” one of the men said, eyeing Kaz like he was trying to come up with a halfway decent plan to attack him. “We work for Jakob Hertzoon.”

Kaz had never heard of Jakob Hertzoon before, but he also knew for certain that at least four of these people were definitely Dime Lions. You didn’t just switch loyalties in the Barrel, especially if you worked for Pekka Rollins. Something weird was going on here. He and Inej were going to have to look into this Jakob Hertzoon person. “Oddly enough, I don’t believe you,” he said.

“Give back the property you stole from Van Eck Industries, Brekker,” the man growled. That alone proved that he was definitely from the Barrel. Kaz’s face had never been picked up by the government, so no one outside of the Barrel gangs knew Brekker was really a kid.

“I think I’ll keep it,” Kaz said.

“Get him,” the man said and all six of them charged. Kaz swung his cane and caught the closest one in the nose. She screamed and stumbled back. Kaz got the next one too, but then the rest were on him, grasping at his clothes and backpack, shoving his up against the railing. Their touches were a million points of horror. Kaz struggled but couldn’t get free, his cane rolled out of his fingers.

They were trying to get the backpack off him. Kaz tried to twist away from their hands and felt himself fall backwards into space. He was weightless in the air for mere seconds before he splashed into the harbor.

The water of the harbor was cold, dark and dirty. Kaz couldn’t tell if his eyes were open or closed. He couldn’t tell which way was up. He couldn’t tell anything at all, because he was back in that car eight years ago, trapped with his parents’ bodies while the cold, disgusting water creeped inside.

He struggled but it was in vain. He couldn’t get out of the car, he was going to die here. There was nothing he could do to stop it.

Then hands grabbed him and dragged him out of the water. He struggled to get air into lungs that didn’t want to inhale. He was out of the water, he wasn’t going to drown, but now he was going to suffocate.

Hands grabbed at him, trying to sit up him up. They were too much like the bodies of his parents which had bounced and pushed against him as the car filled with water. He shoved the person away. “Get your hands off!” he screamed with all the air his starving lungs possessed. “Don’t touch me! Don’t touch me! Dontouchme!”

The hands vanished, and Kaz collapsed again. Gravel drug into his cheek and that was what reminded him that he wasn’t still in the car; there was no gravel in the car.

He lay there gasping for an indeterminable amount of time until his vision cleared, and he felt like he could sort of breathe again. Then he peeled his eyes open and looked around.

He was lying on his side on a gravel bank underneath the boardwalk, the water lapping a few inches from his shoes. Inej was crouching a little further up the bank, as dripping wet as he was. She must have dived in after him and pulled him out.

“I’m sorry,” she said quietly. “I thought you were drowning at first, so I tried to sit you up to see if you’d breathe easier that way. I didn’t mean to make things worse.”

Kaz realized immediately that the game was up. If Inej had been less perceptive she might not have realized what had actually happened, and he might have been able to pull the drowning card, but she knew. He could tell that she’d recognized the panic attack for what it was. He could see her rearranging every interaction they’d ever had--everything about him that had never made sense from the buses to the gloves--to accommodate this new information. He could see her bursting through the armor that was his Brekker identity to the sad, weak, pathetic Kaz Rietveld underneath. It was horrible.

He forced himself to his feet. Cold, slimy harbor water ran down his body. He tried not to think of the car. “Let’s go,” he said attempting to sound normal with dubious success.

“Kaz,” Inej said carefully, still not moving any closer to him, “the Dime Lions left after you fell in the water. We’re safe here for a couple minutes if you want to catch your breath.”

“I’m fine!” Kaz snapped. He tried to walk and stumbled, catching himself on one of the boardwalk supports. “Let’s get back to the Barrel before one of the Dime Lions manages to come up with the brilliant idea of calling the cops.”

“Kaz,” Inej said. “You know you can-”

“Inej,” Kaz spoke over her with his nastiest tone. “Let’s go.”

~~~~

Per Haskell found Kaz and Inej’s sodden appearances hilarious and spend a good five minutes laughing until he had tears in his eyes. He was decidedly less pleased about the soaked money in Kaz’s backpack and the ruined laptop. He told them he was docking part of their shares even though the money would dry out useable enough and he thought the laptops were useless anyways. At least Inej had had the foresight to ditch her backpack before jumping in the harbor, so her half the money and the DeKappel were fine.

After finishing up with Haskell, Kaz and Inej returned to Inej’s house. Kaz had a change of clothes stored there for bloody jobs (jeans, a tee-shirt and another hoodie, this one navy blue) but not a second pair of shoes so he had to settle for being completely dry aside from his feet. He tried not to think about the harbor water squelching between his toes as he gathered up his school backpack and fished his iPod out of the front pocket.

Inej watched him from her perch on her bed. “You know you don’t have to leave just yet,” she said. “There are still some cookies left over from this afternoon. We could watch a movie. I could probably convince Mal to make popcorn.”

Kaz knew what she was doing, she was trying to convince him to stay because she was worried about him, because she thought he was weak. He would not allow that. “I’m leaving,” he said without bothering to come up with an excuse. He had no idea how he was going to salvage this situation, but he was going to have to do it somehow and he needed some space to think about it.

“Kaz,” Inej said. “I’m not trying to make you uncomfortable, but I don’t think that just ignoring that is a good idea. You can talk about it with me; you can trust me.”

He couldn’t trust anyone. He’d learned that in the years since his parents had died. Even Jordie, who should have been his partner in this quest for revenge, could not be trusted. Kaz had something he needed to hide from absolutely everyone in his life.

“No, we’re not going to talk about that,” Kaz said as coolly and Brekker-like as he could. “As far as you’re concerned that never happened. Never bring it up again, and if I figure out that you told someone else--anyone else--I will not hesitant to kill you.”

Instead of flinching back in fear, Inej lifted her chin. “I don’t believe you,” she said. “You’re not that cruel.”

“You should,” Kaz said even if he wasn’t totally sure if he would kill her either. “Good night,” then he turned and left the house.

~~~~

It was now after ten pm, so the subway was nearly empty. Kaz sat in one of the cars, folded over at the waist, his forehead pressing into his knees, eyes squeezed tight closed, earbuds blaring overly loud music into his ears. He couldn’t get his mind off how catastrophically badly tonight had gone. Kaz Rietveld’s weaknesses were not supposed to affect Brekker. Brekker was supposed to be strong enough to get revenge on Pekka Rollins.

One of the curses of having a memory like Kaz’s was that nothing ever faded. Pain never got duller. He could still remember the exact way his dead mother’s soaked hair had felt against his hand. He remembered the way blood had trickled out of his father’s mouth. He remembered struggling to keep his head above water when his leg was too badly shattered to kick. He remembered it all as if it had just happened, and he would for the rest of his life.

Mr. and Mrs. Rietveld had died after a multi-car pileup had forced their car and a couple others off a bridge and into the harbor. Officially, it was just a horrible accident, but the fact that the accident had been orchestrated by Pekka Rollins and the Dime Lions was an open secret among all of Ketterdam. When Pekka Rollins wanted someone dead, they died, but what Kaz had never been able to figure out was who the target that day had been. He knew it was ridiculous to get caught up that detail, but he needed to know. He needed to know who Rollins had been after. He needed to know what his parents had died for, once he knew that, he would gladly rip Pekka Rollins’ throat out and everything would be better.

Kaz wasn’t stupid, he knew that destroying everything Pekka Rollins loved and then killing him wouldn’t fix any of his problems, but he had to believe that. He needed to believe that killing Rollins would be the magical cure for everything that was wrong with his life; he didn’t know how he would keep going if it wasn’t.

The subway arrived at his stop. He got to his feet, hissing in pain. He chewed another couple Advil while he climbed out of the subway station and stuffed the bottle into the pockets of his new hoodie. He headed down the dimly lit streets to the tumbled down apartment building where he and Jordie lived.

Their apartment was a two room, one bathroom flat that they probably paid too much rent for. Still they stayed because as long as they paid the rent, the landlord would overlook anything. That had been especially helpful back when they’d both been minors and their uncle had never been around enough to constitute as their actual legal guardian.

Their uncle had been supposed to take care of them, but instead he’d fooled around and burned through their admittedly meager inheritance before Jordie reached eighteen. He also went on long trips without telling them where he was going or when he’d be back, so they’d mostly fended for themselves. They hadn’t seen him since Jordie had turned eighteen and Kaz privately hoped the man had managed to die, though he doubted they were that lucky.

Kaz struggled up the steps to the eighth floor, wishing the elevator actually worked. Still he eventually made it to the apartment and reached for the knob.

The door was unlocked.

Instantly on high alert, Kaz pulled out his earbuds and slid his backpack from his shoulders. He’d left all his knives at Inej’s, but the backpack was heavy enough to serve as a weapon in a pinch. He twisted the knob quietly and stepped into the apartment.

He made his way silently down the tiny hallway to the main room. He saw the form of someone sitting on the old, saggy couch. He hefted the backpack up and stepped closer, then stopped. “Jordie?”

Jordie jumped and whirled around, getting to his feet. It was obvious he hadn’t heard Kaz come in. His face twisted into a frown. “Kaz! It’s about time!”

“What are you doing here?” Kaz asked. “You work nights on Thursdays.” That was why he’d planned this job for tonight; he knew Jordie wouldn’t be around to notice he was gone.

“We’re not talking about me right now,” Jordie snapped. “It’s after eleven! I’ve been calling you for hours! Where were you?”

Kaz knew he was failing at completely keeping the surprise off his face, he hadn’t checked his phone picking up his backpack and apparently, he should have. “Hanging out in the university district with Jesper,” he said. He remembered that Jesper had mentioned that he and Wylan had been going on a date in the university district tonight, so perhaps if Jordie had called Mr. Fahey this story wouldn’t be instantly disproven. “We lost track of time.”

Jordie ran a hand through his shaggy dark hair. “Kaz, you can’t just wander around the city with no one knowing where you are. I should give you a curfew.”

For as long as Kaz could remember, Jordie had always been a little more. A little taller, a little heavier, a little better looking, a little more trusting, a little more tactful, a little better. It wasn’t until Kaz had created his Brekker identity that he’d truly acknowledged the ways that he was more. He was smarter, and braver, and a better fighter, and a better planner. He was more untrusting and untrustworthy, more hardworking, more reckless, more morally gray, and above all more vicious. Jordie was the better brother, but Kaz was the one who would get them their justice.

That was how he knew Jordie would never go through with the threat of a curfew. Jordie liked things to be easy; he knew that he would have to fight tooth and nail to impose something like that on Kaz and he’d rather not do the work. Kaz resented that on some level, because it was the same method of thinking that kept Jordie from truly trying to seek justice for their parents, but in this situation, it was helpful.

Suddenly Kaz was very tired. He’d had an absolutely horrible day and he really just wanted to curl up on the couch with a warm blanket. He’d make himself a mug of hot chocolate and maybe spike it with that bottle of whiskey that Jordie thought he didn’t know was hidden under the sink. He’d turn on the TV and watch whatever mindless programs were on until he fell asleep. Now his brother was here, and he had to deal with him instead.

“I’m sorry,” he said. “I didn’t mean to worry you.”

Jordie wasn’t done, “I asked off of work tonight, did you know that? I wanted to spend some time with you. We’ve barely seen each other recently and I thought it would be nice to have a night just the two of us. Instead you spend the whole night galivanting around the city and I was stuck here watching the hours tick by and thinking of all the money I was losing!”

Kaz would not stand for that. “You know,” he snarled. “If you wanted to spend time with me, you could have asked me in advance. You could have said, ‘Hey, Kaz, I’m thinking about taking Thursday night off, so we could hang out. Do you have any plans?’ like any normal person. You can’t just expect me to never have anything going on. I’m not a little kid content to sit around practicing magic tricks and waiting for you to finally have time to notice me!”

That was a low blow, and mostly untrue because while Jordie had had increasingly less time as he picked up jobs to try to take care of both of them, he’d always tried to make time for Kaz. Kaz knew he’d feel guilty about playing that card eventually, but right now it didn’t matter.

Jordie’s mouth opened and closed in shock. “How can you say that?” he asked. “Everything I’ve ever done is to make things better for you.”

“If you really wanted to make things better then maybe you would have stopped our uncle from spending all our money,” Kaz snapped. “Maybe you would try to make Pekka Rollins pay for what happened to our parents!”

“Kaz, I can’t either of those things!” Jordie snarled. “You can’t just expect things to work out the way you want them to all the time, sometimes you have to accept what you get.”

“And sometimes you can’t just lie down and let the machine walk all over you!” Kaz said.

“I can’t bring Mom and Da back, Kaz,” Jordie said. “Getting Pekka Rollins won’t bring them back either.”

“I know that,” Kaz snarled. “I’m not a child, but that doesn’t change that he still deserves to pay.”

“Let it be, Kaz,” Jordie said quietly. “There’s nothing you can do.”

“If that’s the way you want to be,” Kaz said crossing his arms. “Then I don’t see why you’re so angry about where I was tonight. I told you that I was hanging out with Jesper and we lost track of time. I’d known that we were going to hang out for a while, if you’d asked me beforehand we could have avoided this whole situation. Now, I’m going to bed and there’s nothing more you can do about this situation.” Then he turned and stalked off into the apartment’s only other room.

His bed was on the right and Jordie’s was on the left. He peeled off his wet shoes and socks and kicked them as far under the bed as he could so Jordie wouldn’t step on them or something and start getting more suspicious. He took off the gloves too; he was lucky Jordie had been too angry to notice them. Then he threw himself face down onto his bed without bothering to change. Perhaps his eyes were a little wet, but he’d never admit that; Brekker didn’t cry.

Jordie never came into the bedroom, and when Kaz got up for school the next morning he was already gone.

--

Honestly, I think that one of the things I enjoyed most about this story was exploring the dynamic between Kaz and alive!Jordie.

Anyway, hope you all enjoyed.

Emjen

[xx-thedarklord-xx]

For a DVD commentary: “Muggles aren’t very accepting to what they don’t understand. This has been proven countless times throughout history. Witch hunts were popular in several countries. Also, muggles like to vilify things that aren’t perceived as normal and are quick to want what they can’t have...” This explanation of attitudes to muggleborns was awesome (When to Give & When to Take) I was wondering what you were thinking, how you empathised with Draco and so on-you explained it really well!

First, let me say you are the first one to ask me something regarding that reblog. So thanks for that!Second, I love that you asked about the Simple Acts series. I apologize for how long this reply will be. Now to answer your question. I think my favorite thing about writing Draco is understanding how important duality is. This is true about all characters. But there is so much layered into his upbringing that just isn't good. Ideals that are twisted and concepts that are far more harming that originally intended. But despite all the bad parts to why purebloods might treat muggleborns badly, there is always some kind of reason behind it. Always something that originally drove that mindset. Whether it was just a bigoted excuse or it had once started out as something that got twisted. Explaining or even talking about that can be difficult. Especially since this is my own interpretation for that story line. But there are multiple facets to the whole thing. I think that it would have started as Draco said, it would have begun as a trust issue and the seed of doubt would have spread. Over time, the views become twisted, people are set in their ways and dislike change. The wizarding world is so outdated in a lot of ways. But as Draco said later in his dialogue, there is no excuse to ever make someone feel as if they didn't belong. There is no reasoning or justification that can legitimately wave away dehumanizing someone else. His own actions and self-aware are the primary reasons he knows his parents were wrong. The quote you put in there, of part of his reasoning also shows duality. The duality of humans. What was mentioned is the bad parts. The side that wizards see and use as a means to treat others horribly. They discount the actions of good muggles and just decent human beings in general. Duality is one of my absolute favorite concepts in writing. Because I see a complicated character that was never given the depth that all characters deserve. Every action has a purpose or reason behind it. Whether it is bad or good. There was a driving factor behind the decision. The duality to Draco is not only seeing his mistakes but understanding them as well. If we don't provide a back story to the whole issue, then we are only left with vague speculations. Which is why I love fanfiction because it gives writers the chance to see issues in ways that canon didn't provide. That scene where he apologizes to Hermione is one of my favorite parts to the series. Because I was able to delve into what made him a bully. Not the end result of his actions, but the beginning, the thoughts that would have made him think that was acceptable. It showed so much character growth because it granted me the option of showing that the world is complicated. It was more than just, 'Draco was a bigoted arse'. Because that is so underdeveloped. There is so much more to it than that. It would be so easy to write off the whole thing in that simplified way. But when is anything in life that straightforward? I just really like duality to people. There isn't a single character in my opinion that doesn't have that. I can take a glimpse at all of the characters and learn so much if I treat them as I would a person. Because even the bully in real life, has a thought process. Whether they are lying to themselves or they made the wrong decision. I just want to know what it is. I find people fascinating, because of how complicated they are. I don't know if this explained my thought process much. My emotions were all over the place during the writing of that installment. I couldn't delve into Hermione's thought process without tearing up. I couldn't get into Draco's thought process without looking at things from more than one perspective. I guess my final explanation to why I was able to emphasize with Draco is that I realized the full potential of his duality. Hopefully some of this makes sense!

[bluephoenixdruidicprincess]

Shadowhunters Season 2 Review and Thoughts for Season 3

Alright, it’s that time again. It’s time for me to give you all the low-down on Shadowhunters Season 2 as a whole. My thoughts, my feelings, and improvements I would like to see made in Season 3. Season 2 was definitely an improvement over Season 1 but trust me, it still has its issues.

This is going to be an honest review of my thoughts and feelings regarding this show. If you’re the kind of Shadowhunters fan where you only want to hear positive things about the show, this is not the place for you. If you decide to stick around and get offended by what is said, then that’s on you. I warned you. Just know that if you send me any rude comments or messages, I will 100% ignore you. I find that’s the best way to deal with bullies. I work 14 hour days. Do you really think I want to waste my incredibly valuable free time dealing with derogatory comments? Hell no. This review will consist of my honest opinions. Opinions are never right or wrong. I’m not telling you how to think and feel. I’m telling you what I think and feel. So please, let’s discuss with dignity and respect. If I’m critical about the show, it’s only because I want it to get better. There is, in fact, a difference between hating a show and being critical of it. I do not hate Shadowhunters; I am being critical and analyzing the flaws as I would with any other show. There are positives but there are also negatives. It’s great if you want to promote positivity with this show (and I encourage you to do so) but that doesn’t mean you shouldn’t acknowledge the things that are legitimately wrong with it. Also, keep in mind that despite the fact that I do love the books, me being critical of this show has nothing to do with my love of the books. I don’t really care if the show deviates from the source material as long as it’s good and it makes sense. My problems with this show are problems that I would have with any show or book for that matter. I think it’s perfectly reasonable to take issue with a show that has plot holes, shoddy world-building and inconsistent characters. There will be spoilers for the books and movies.

I want to preface this with I am neither PRO nor ANTI Shadowhunters. I see it as neither a good or horrible show. It’s serviceable. That’s really what this show is. Ultimately, as far as tv shows goes on their own, it’s nothing all that special. It could be -- it certainly tries -- but at the end of the day, it falls flat. It’s a show where it’s interesting to watch and see what’s going to happen, but I also don’t find myself all that excited to watch the newest episode. This show has never gotten me to the point where I was counting down the days until the next episode airs. Usually, I’ll watch an episode and then I’ll be like, “Ok. That was alright. I’m ready to go watch something else now.” There’s no, “OMG! That episode was insane. When is the next one coming out?” That has never happened to me with this show. This is going to be spread into two different sections. The show’s storytelling and the characters and their relationships. So let’s get on with this.

The Storytelling

If there is one good thing I have to say about Shadowhunters in its sophomore season, is that compared to Season 1, vast improvements were made to the writing. Granted, the bar wasn’t set all that high considering how nonsensical and ridiculous Season 1 was but hey, it was an improvement. It was an improvement in the sense that at least now, the episodes are arcing properly. I may not have been a big fan of how a lot of the actual story was being told, but at least it was arcing. But, I do have to say that overall, Season 2 had a very clunky feel to it. There were a lot of different plot points going around and most of them were dropped without having any real resolution. Izzy’s drug addiction was completely dropped, her insecurities toward Alec were dropped, Aldertree served absolutely no purpose in the overarching plot in season 2, Jocelyn’s death did absolutely nothing for the story. It didn’t drive Clary in any way which was actually the idea behind it. While under a spell, Alec attempts to commit suicide because of the guilt he has for the part he played in Jocelyn’s death and then that’s completely dropped. The demon-shadowhunter baby plot point never shows up again. Trust me, I could go on and on. I haven’t even hit 2B yet. But I don’t want this post to end up being 15 pages long so I’m going to stop here. Let’s not get me started on the dumbness and pointlessness that is Azazel. I’m sure you guys get the point. I do feel like Season 3 is probably going to be written a little better than Season 2. For Season 2, we had new showrunners and I think ultimately, they were using Season 2 to filter out a lot of the weird plot writing that Season 1 had going on. With a lot of those weird plot points closed out now, Season 3 is probably going to arc much better. Or at least one can hope. I am definitely going to use Season 3 as a factor in deciding whether or not I’m even going to stick with the show.

I’ve talked about the show’s issues with arcing, dropped storylines, now let’s talk about elements of writing that drive a show. Let’s begin with pacing. Pacing was a HUGE problem with Season 1. Now, Season 2 episodes were a little bit better paced but there were still points when characters jumped to conclusions about something and you’re just like, “Wait, how did we get from Point A to Point B?” If I have one critique to make regarding this show’s pacing, they need to stop having 3 or 4 plot points going on in a single episode. This show has so much potential to be really awesome if they could focus on the characters and their interactions with each other. The characters, their actions, their motivations is what should be moving the plot forward but it’s the other way around in this show. And that also adds to the clunkiness of the storytelling. An episode should have an A plot and a B plot and that’s it. But sometimes we’re getting C, D, and even E plots at times in a single episode. All of these are characters are super interesting. Let’s spend less time with the plot and more with the characters.

Another issue this show has is payoffs. This kind of goes along with pacing. The show isn’t always evenly paced in its plot which is why we sometimes have moments within the story that kind of come out of left field. If you have an idea of where you want your character to be at a certain point in the season, you need to pace that character development out. So when that character has that really epic moment, it completely “wows” your audience. This is what’s known as a pay-off. If you don’t pace it well, the pay-off is very bland and uninteresting. A good example of this is in the Season 2 finale. That moment when Clary was about to be executed and Jace manages to break free and save her. The pay-off could’ve been amazing but I found myself asking, “Why didn’t he just do this in the tent?” All throughout 2B, Jace has never been depicted of having problems using his angelic superpower and yet now, he’s only willing to use it to break free of the chains when Clary’s about to be killed? This would’ve worked fine if throughout 2B, we’d seen Jace having issues using this power and then in this moment, when he sees Clary about to be killed, that’s when he’s able to turn it on. That is what’s known as a pay-off. And it could’ve added something to the Clace dynamic. Then, of course, the other big thing I’ve talked about is Clary’s fighting skills. This is something I wish they had paced out a little more evenly so when she killed Valentine in the finale, it would’ve been far more impactful. Everyone likes to talk about how Clary was so bad-ass in that moment but for me, it was a “whatever” moment. I’ve lost count of how many Circle members Clary actually killed without pause through the duration of Season 2. And I’m supposed to be impressed that she killed Valentine? What would’ve been far more impressive is if throughout the series, we see her learning how to fight, stumbling through at times (because that is far more realistic), her mother’s death driving her to be better and then finally in this moment after watching Valentine kill Jace, knowing Valentine’s actions led to her mother’s death and the destruction of her brother’s soul, she’s able to call forth everything she’s learned to exact her revenge. To finally destroy the man who took everything from her. Once again, that’s a payoff. But instead, it just falls flat. Yes, it’s great to see a girl be a bad-ass but at the same time, it’s nothing I haven’t seen her do before. Why should I care? Because it’s Valentine this time? In Season 3, I would definitely like to see a greater emphasis placed on character motivations and payoffs.

This show has a huge subtlety issue as well. Now this pops up in various forms throughout the writing. Sometimes, it’s through character actions or sometimes it’s over-explaining things through dialogue. Either way, it leaves the audience with the impression that the writers think their audience is stupid. Now, my most hated scene in the Season 2 finale is that moment when Alec was given the specific job to take care of the demons while Magnus closes the rift. And Alec takes one shot and misses and then decides he needs to abandon the mission and go to Magnus pleading for help. Alec would never do this. His job was to keep the demon off of Magnus and instead he leads it directly to Magnus? It makes no sense particularly since earlier in the episode, Alec took multiple shots to slay the demon that was flying around Manhattan and it never phased him when he missed. He was chillin like a melon. And it goes completely against what we know about Alec to begin with. He is not afraid to sacrifice himself to save the people he loves. He would not have retreated back to Magnus. He would’ve continued fighting until he killed the demon or the demon killed him. Because in Alec’s eyes, the life of Magnus and his sister is far more important. I get what this scene was going for. They wanted to showcase that Magnus still cared about Alec but there are hundreds of ways they could’ve done this. But I guess the writers were afraid that it wouldn’t have been clear that Magnus still cared about Alec if it wasn’t this big huge moment of Alec pleading Magnus to save him? If you don’t have subtlety in your story telling, you also lose a lot of the impact. The dialogue also needs some work in this as well. The show has the tendency to spoon-feed information that can be inferred by the audience. I feel like this show is trying to gain the early to mid-20s audience. If this is the case, how about treating us like we’re intelligent 20-year-old adults? Exactly how bad do they think the public school system is that we can’t infer what something called “a Kill Tree” does or that Edomi are demons that come from Edom? The dialogue at times gets a little clunky because of this need to over-state everything.

I also have a problem with how this show deals with conflicts. And this stems from the arcing as well as the pacing problem. This show resolves conflicts within the story alarmingly fast. There are conflicts that can’t be resolved easily and every time the show does, you lose the impact of these characters feeling like real people. It also hinders the plot because it makes the plot feel very disjointed. 

Now let’s talk about the adaptation part of the story-telling. My problem with this show has never been them not following the books. My problem is them following the books, then not following the books, and then going back to following the books again without keeping with the changes they made. Let me better explain this, as I know it’s a little confusing. This show will make changes to a particular plot or character point that doesn’t exist in the books. And that’s fine. I don’t have a problem with that. My problem is that they’ll make those changes and then take another scene 100 pages down the line out of the book and use it nearly verbatim. When you made that original change, the context has changed as well which means that scene isn’t going to work the same way. You have to change that scene to fit the new context. An example of this is the infamous Seelie Court kiss scene. Previously in Season 2, the writers had made the change that Clary was really enjoying this new-found romantic relationship with Simon. Or at least, there weren’t any hints that she was secretly coveting Jace in episodes prior. She had even told Simon that despite knowing Jace isn’t her brother, she had no plans to break it off with Simon. She wanted to be with him. And this change would’ve been alright but the show still tried to keep the Seelie Court kiss scene more or less verbatim as it is in the books. In the books, this scene and how it plays out makes sense because the reader could always tell that even though Clary didn’t overtly hate her romantic relationship with Simon, it didn’t make her feel the same way she felt when she was with Jace. None of that is applied in the show. The show goes on stating that Jace is the kiss that will set them free as it is the kiss Clary most desires but there was no set up to this revelation so the pay-off of the kiss scene doesn’t work. Because you were never really led to believe that while Clary was dating Simon she wanted to be with Jace. As I said, they made a change and as a result the context has changed so the future writing also needed to change…which they didn’t do. When authors write certain things at certain points in their books, it’s for a very calculated reason. Everything more or less has a purpose. When you adapt a book to any kind of film, it’s a given that changes are going to have to be made and that has never been my issue with the show. It’s always been them making a change and then not having the rest of the story change along with it to support that change. Ultimately, at the end of the day, I wish Shadowhunters had taken The Vampire Diaries or the The 100 approach to their writing. I wish they had taken the bones of the source material and then told their own story and created the characters and their personalities in their own way. When Shadowhunters was first announced, initially, that’s what I thought they were going to do. I can’t help but feel like maybe this show might’ve been better written and executed if it weren’t for them being so bogged down by the source material. As much as I love the books (and trust me, I do), this show could have really benefited from a Kevin Williamson level of adaptation. For those of you who don’t know, he was the one who developed The Vampire Diaries for tv adaptation and I was always really impressed with how it was adapted. And I will never apologize for liking Vampire Diaries. Yes, it got a little convoluted in later seasons but seasons 1-3 are fantastic. I am more or less excited for Shadowhunters Season 3 because we are starting to delve into the second half of The Mortal Instruments series and I feel like the second half is going to work much better for adapting. Shadowhunters made the decision to create the show with an ensemble cast in mind however, the first half of The Mortal Instruments isn’t very conducive for an ensemble cast. You pretty much follow Clary and Jace and that’s about it. But the second half starts focusing much more heavily on the other characters. And I feel like it’s definitely going to be easier to adapt. Season 1 and 2 were bogged down by the fact that in the source material, there isn’t a whole lot that characters like Alec, Magnus, Izzy, and Luke are actually doing. Clary and Jace are the ones that are driving the story. And it’s very clear with the storytelling in the show, that the writers didn’t really know what to do with them. This is definitely something I think is going to be improved in Season 3.

Season 3 also needs to work on their world-building. More specifically, their use of magic systems. I continues to grate my nerves that there are no rules to their magic system. As I’ve said before, rules are so important in a fantasy and most importantly in the magic system within that fantasy. If your magic system has no rules then you can do anything with magic. If you can do anything with magic, what makes it compelling? All it does is become a convenient plot device. And I love magic systems. I don’t want to see a magic system be used as a cheap plot device. I want magic to be its own character in a way.

So there are certain themes I’d like to see explored in Season 3. Well, really only one theme. And that is, “consequences”. This show has a huge problem with it’s characters never facing any true consequences for their actions. In the finale, it was laughable to me that when Jace mentions to Clary that she can’t just bring someone back from the dead without a consequence and she’s all, “not this time. This time there won’t be any consequences.” This line is funny to me because it actually implies that Clary has faced consequences for her actions before, which she has not. I really hope the show goes into this theme in Season 3. That they really bring to the fore front that Clary’s selfish nature is the root cause for these horrible things that are going to happen. I really hope the show has the guts to go this direction. They probably won’t considering how much they love to paint Clary as this Mary Sue who is beyond special and could never do anything wrong because she’s so selfless and wonderful (ugh, I just vomited a little in my mouth writing that). But as Season 3 hasn’t aired yet, I’m going to hope for the best. It’s not just Clary that has this issue either. It’s the show’s story-telling as a whole. Their inability to have any truly impactful consequences. The best example is how Max played out in Season 2B. Now, I’m not saying that Max should have died, as he does in the books. I’m saying something resonatingly impactful should’ve happened to him. My own dark theory was that Jonathon hurt him so bad that it put him in a coma that he would never wake up from and that was the driving force for Izzy to go after Jonathon. And it kind of sort of happened. Max does go into a coma but then he gets a miracle treatment from the Silent Brothers and he’s perfectly fine now. It has no lasting impact. Essentially there was no consequence for anyone letting Jonathon into their lives besides a couple of nameless dead shadowhunters. Max recovers and then they go after Jonathon. Yes, they’re mad about what Jonathon did to Max but ultimately, it’s not going to leave a lasting impression on their psyche. It definitely felt like the writers chickened out. There are a lot of different directions the theme of consequences could take Season 3 and I hope the writers are brave enough to take it because at this point, they really need it.

Characters and Their Relationships

Let’s talk about these characters and their relationships now. How these characters are depicted gets very uneven at times. And this show has an issue with slow-burn. They do not know how to do a slow-burn. It stems from their pacing and subtlety issues. They want people to like this show so badly that they’re forgetting why people cling to fandoms in the first place. It’s not that two people are in a wonderful relationship that leaves you in a pile of goo everytime you see them together on screen, it’s how they got there, how their relationship developed, how they as characters develop. That’s what leaves you in a pile of goo. And I haven’t had that experience with this show yet. Yes, I love Malec but there are so many problems with the writing that prevents me from having that gooey feeling. This show is by no means bad but i wouldn’t call it good either. The times it leans closer to the good spectrum are when the characters are driving the story. Let’s start talking about these characters.

First up is Clary. Oh boy. I’ve made no secret about my distaste for Clary. And it’s really difficult to pinpoint exactly what it is about her that grates on my nerves. There’s a lot of little things that bother me. Ultimately, it’s the Mary Sue-ness of her character. As I said earlier, it’s her doing really selfish things but everyone else ignoring it because they think she’s so selfless and wonderful. Now, I don’t have a problem with Clary being a selfish person. At her core, that’s what she is. She follows her heart and that leads her to doing selfish things. It’s perfectly human. Humans are selfish beings. Even when we go out of our way to help others, there’s still a selfish undertone – for a lot of us, it makes us feel good knowing we helped someone, it benefited us in some way. But the fact that no one calls Clary out on her crap any more is what I dislike. Clary does these selfish acts because it’s a way to push the plot forward but it’s never used to push her character forward and that’s the issue I have with her. If the show didn’t tote her around as this perfect being and just own up to the fact that she is selfish, I would have no issues with Clary. Dare I say it, I may even like her. Which is why I mentioned earlier when I talked about the consequences theme for Season 3, I would like to see her selfish nature be called to the fore front. For Clary to really be held accountable for her selfish decisions. For her to really look at herself and be like, “oh, no. I’m causing this. Everything bad that’s happening is all because of me.” Really, I just want the show to do something that will make this audience think, “Yeah. She’s not perfect. She makes mistakes.”

On to Jace. I fluctuate a lot on my feelings for Jace. Dom Sherwood does a fantastic job of portraying him. That’s never been my issue. He is fantastic at bringing this very angsty feel to Jace. Which is important because Jace is quite angsty. And I do love it when male characters show their vulnerable side. However, sometimes the writers take Jace’s angst to an absurd level. Just how easily this guy gets moved to tears, I find a little ridiculous. This guy is more emotional than I have been in my entire life. And I say that with the time period I went through puberty in mind where getting a B on a homework assignment was enough to drive me to tears. It’s really hard for me to believe that a 20-year-old, whether they be male, female, unspecified gender, whatever, would be crying over some of the things he cries over. My feelings might be hurt a little but I don’t think I’d cry over some of these things. But I’m also a really sarcastic person and sarcastic people usually don’t let too many things bother them. We believe in hiding our insecurities through jokes. It’s probably why I like Book Jace so much. A lot of the fandom thinks Book Jace is mean. I don’t know where they get that. I think he’s really funny and whenever the fandom says that he’s mean, I really have to question how they, as a person, functions in the real world. Trust me, there are some genuinely mean people in the real world. Some of them are located right here in this fandom. If you think Book Jace is mean, how do you deal with those people? But don’t take this to mean I hate Jace. I haven’t genuinely hated Jace since Season 1 Episode 6 when I changed his name (temporarily) to The Douche. I like him much more in Season 2. His motivations and his character development as a whole is super interesting. And I love it when he gets snarky. Doesn’t happen nearly as much as it should, though. I live for the moments when Jace gets sassy. I really like what Christine from polandbanannasbooks said about the kind of person Book Jace is. He’s a more sexy and angsty version of Chandler Bing. I’d like to see that guy pop up more in the show.

With Clary and Jace talked about now, let’s take a brief interlude and talk about Clace now. Clace is definitely an example of a couple they rushed when they didn’t need to. It’s not that Kat and Dom have bad chemistry, They have this fun, breezy chemistry about them that works super well when they’re just hanging out. However, when it gets to the point where they’re being forced into having a romantic, epic moment, it’s just that. It feels forced. The show also doesn’t do them any favors by making them so generically YA at the same time. They fall for each other simply because “they were meant for each other.” No work has actually been put forth into developing their relationship, what it is about each other that they like so much. It’s just bland, cheesy, YA tropes. And not the good kind of YA tropes. My hopes for Season 3 is that we’ll get moments where they’re start actively learning about each other on an intellectual level.

For Simon as a character, I’m not really super interested in him. He’s super funny. The show clearly gave all the Jace snark to him. But at the end of the day, even though it felt like he had a lot to do this season, it also feels like he didn’t really accomplish that much. For me, as a character leaving an impact on the season, he didn’t really factor all that much. I am very interested to see how his character is going to progress in Season 3 as it looks like they’re going completely off-book with him. Like I said, I almost prefer that the show would go off-book.

I guess we’ve got to talk about Izzy, now. Izzy has always been a character that routinely falls on the wayside for me. A lot of the fandom seems to really like her but I find her kind of dull at times. And she is a bad-ass but she never contributes a whole lot. The show never really knows what to do with her. They like to tell us she’s a bad-ass but she has very few character moments that actually lend to that. She seems to only serve as a support function for Alec and Clary. I was super excited when they started introducing this drug addiction for her character. A lot of people say this ruined her character. In my eyes, it’s hard to ruin a character who was on as shaky foundation as she was to begin with. She has no real consistent character foundations. I liked the drug addiction plot because something interesting was finally being done with her character. And no one comment saying, “Oh but Izzy is so great because she’s the best pathologist in NYC. That’s a contribution.” I hate the whole “Izzy is the best pathologist” angle. First of all, it is such a Mary Sue angle to make her the best. Second of all, what exactly makes her better than all of the other pathologists? Third of all, I find it insulting that this 19-year-old is the best pathologist in NYC when you have people who spend 10+ years receiving their medical training. At what age did she begin her training? When she was 6? Not to mention, there are so many plot holes with the pathologist angle that I don’t even want to get into right now. Basically, for Izzy, I hope that she gets written better in Season 3. They were going an interesting angle with the drug addiction but then she got a miracle cure and it’s never mentioned. There was absolutely no point to that plot at all.

I’m very much on the rocks about whether or not I want the show to go the Sizzy route. The Sizzy that I love is from the books. And Izzy’s personality has changed so much that we’re not going to get Sizzy from the books. Now what the show is currently doing with Simon and Izzy could lead to some really interesting foundations in their romantic relationship IF they keep it a slow-burn. But this show also sucks at slow burns so I don’t know how optimistic I should be.

Next up is Alec. My favorite character in both the books and show. He was already pretty good in the books but the show did a really great job with figuring him out as a character in the show. I just really enjoy him. He is a little inconsistent with his logic. And like with Izzy, I wish that he would do more in the fore front of the story. He fares much better than Izzy does in the story telling but his plot points always feel like they’re just kind of added on and then subsequently dropped. He has all of these great B plot ideas that never really seem to affect any of the main story and as a result, they’re usually dropped. And then of course, a lot of the fandom doesn’t perceive Alec as his own character. They see him as one half of Malec. And if he’s not doing something that’s going to forward the Malec plot than it’s automatically trash.  I definitely wouldn’t mind seeing Alec spend a bit more time away from the Malec plots and really give us a chance to see more of him as a person.

As I made in my previous point, we can’t talk about Alec without talking about Magnus. I am very off and on about Magnus as a character. Honestly, this guy’s motivations and his changes in motivations were starting to give me whiplash. I care about Magnus in the sense that he’s a really interesting character and when he’s allowed to be snarky, he’s great. But the way that he reacts to situations, it doesn’t feel real. And I’m not talking about the acting. I’m talking about the writing. He reacts to things in a very childish and vindictive way.

Which means I have to stop beating around the bush. I have to talk about Malec this season. Oh boy. This is going to be long. Malec in this season was great…when they have absolutely no conflict. When they’re hanging out and having fun, supporting each other, you love them as a couple. However, when they’re in a fight, Malec grates on my nerves. I had gotten to the point in 2B where I straight up didn’t care about what was going on in their relationship. I became apathetic to Malec. The world must truly be ending. Now, this is not me saying I don’t want Malec to ever fight. This is a dig at how poorly written the Malec fights are. Here’s the thing, the ideas behind the Malec fights are actually really good but the flaw is in their execution. There’s a very childish tint to it. I hate what happens in these Malec fights and I hate how they’re resolved. Here is the specific formula on Malec fights:

1) Alec does something that angers Magnus

2) Magnus tells Alec to get out (because that’s a totally healthy way of dealing with your problems)

3) Alec apologizes and Magnus forgives him but Magnus (in his eyes at least) has nothing to apologize for

Rinse and repeat. It happens this way every couple of episodes. And I hate how unequal this relationship is. And this is not me being mad that my favorite character is the one at fault in his relationship, this is me being mad that it’s being written like everything is always Alec’s fault and Magnus never does anything wrong. Even though it’s not true. He also adds to these fights but it’s never called to attention in the writing. This is not a very healthy way to approach a relationship. And with it always highlighting that Alec is at fault, this could very easily be interpreted as an abusive relationship. You have one party believing he’s at fault for a conflict, he apologizes, and the other party gets to continue thinking he’s the perfect one in the relationship and can proceed to blame his lover for anything that goes wrong. Because that’s the way it’s always been. Now I know that’s a little extreme. Granted, Malec isn’t quite there yet, but if this formula keeps up, it won’t be that big of a stretch to call this an abusive relationship. A relationship is all about equality. You cannot have a successful relationship if one person holds all of the power. I really hope Season 3 is going to address this. I really hope there’s a reason for why Malec conflicts were written this way and not just because the writers really like Magnus. I’m hoping Season 3 is going to explore Alec noticing these tell tale problems in his relationship with Magnus and starts questioning it. Maybe this will lead to them breaking up for a much longer space of time because he doesn’t truly believe that Magnus respects him or his position in this relationship. I really did not like how Malec got back together in the finale. I believe the exact words I said in response to Alec saying “I can’t live without you” was “oh, please. Come on.” Seriously, they had been broken up for barely 1 episode. At most, it was a couple of days. You need to be broken up a little longer than that before I’ll accept that sort of declaration.

Not only do I have a problem with Alec always being the bad guy in the relationship, I also have a problem with how Magnus deals with conflicts. Essentially, when a relationship conflict crops up, he responds with, “You’re making me mad. Get out. I don’t want to deal with you.” That is not a healthy way to deal with relationship woes. Why does a character who has 500 years worth of relationship experience behave like a 16-year-old yet his partner, a 20-year-old is far more willing to stick it out and compromise right off the bat. And I have to ask, is this how he’s always going to deal with these relationship conflicts? Is this how he’s always dealt with them? If that’s the case, no wonder he’s had 7,000 relationships. He’s probably never made it past the first fight. He probably tells each of his lovers when they have a fight to get out and leave him alone and they’re probably all, “You know what Magnus? You’re a cool guy and all but I need someone who who’s going to behave like an actual mature adult so I’m going to peace the fuck out.”

When this guy gets his feelings hurt, he becomes ultra vindictive and childish. I mean, just in the last 2 episodes of season 2, he was absolutely horrible. He was actually willing to let NYC be destroyed because he didn’t want to help Alec. As much as I do like Magnus – and I really do, don’t misunderstand me – but Alec deserves better. Like I said, I hope the writers are going for Magnus’ behavior to be called out in Season 3 but I also know better. Hope for the best but prepare for the worst.

Well, I think I’ve ranted on Malec for long enough, let’s talk about Luke. Luke has the potential to be a really great character but he also suffers from much the same things that Izzy and Alec suffer from. The story not really knowing what to do with him as a character. I mean, there are long stretches of time where Luke just kind of disappears. Hopefully, this will change in Season 3 and he’ll become a much more active agent in the story. I also hope he quits his day job as a detective because he is the worst detective ever. I don’t even know how he still has a job. He never seems to be working.

And a little side note. I’m also low-key shipping Luke and Maryse. I think they could be really interesting as a couple. 

Now we’ve got Maia. I actually really like Maia but for whatever reason, the show just cannot write her in a decent, consistent way during a finale episode. In the 2A finale, they had her automatically jump to killing Clary with no real development into her making a decision like that and in 2B she’s all damsel in distress in the Seelie realm. Never mind the fact that she’s been depicted as a bad-ass werewolf in earlier episodes, but in the finale she was just really quiet and meek. It was very strange. Definitely for Season 3, they need to make Maia more consistent with her character development and not just change her personality whenever it suits the plot.

Will Tudor was also amazing as Sebastian/Jonathon. I’m not a fan of the burnt blob he turns into. I find Jonathon a much more threatening villain when he’s Will Tudor being creepy as fuck as opposed to the burnt blob the show decided to add. I’m really hoping he returns as Will Tudor and not the burnt corpse.

Not a whole lot to say about Valentine. Ultimately, I’m very disappointed with where he went as a villain. I always found Valentine to be moderately interesting in the books and the show just took away everything that was interesting about him and left us with a Disney villain. Alan Van Sprang did the best he could trying to humanize Valentine but the script wasn’t doing him any favors. Hopefully the next super-villain this show has will write their villain in a less cheesy and cliché way.

In my Season 2 Finale review, I had also had this theory where I was hoping Maxim Roy will come back to play Lillith in the form of Jocelyn. I think that would be really interesting. And no, I don’t keep up on the Season 3 spoilers/behind-the-scene stuff. I want to be surprised when it airs. So no one tell me that Maxim Roy isn’t returning. I’d prefer to be disappointed on my own.

One more thing I want to mention is the Jalec parabatai bond. The show has taken a lot of steps to improve the parabatai bond and I love that they have. However, they seem to only highlight the angsty parts of it or to use it as a plot device. The parabatai bond is super interesting in both the positive and negative effects it leaves on those who have it. The show loves to talk about the negative effects of it. I would like to see the show start to show the benefits it has. They also need to make this bond more consistent and equal. A lot of times, it feels like Alec experiences the effects more than Jace. It was beyond weird to me in Season 2 Episode 3, that Jace finally makes it off the ship but yet can’t tell that there’s something wrong with Alec. And then Jace cuts his hand, and Alec has no problem feeling that? If there’s one thing I’d like from the parabatai bond in Season 3, it’s the consistency.

At the end of the day, this show tries really hard to be epic. It really wants to be on Vampire Diaries caliber but the writing just isn’t there. The acting is. That isn’t the issue. I love the actors, I love the way they portray their characters. Even the ideas the writers have are actually really good ideas. It’s just the execution that they have a problem with. Once the writing catches up to the actors’ talent, I think we’ll have a truly amazing show on our hands.

Well, that’s about all I have about Season 2. Again, I am neither PRO nor ANTI shadowhunters. In my eyes, it’s neither a good or bad show. It’s just bland. What I’m doing here is just looking at this show and telling you what it makes me think and feel. Do you have to agree with me? No. But you should still respect it. So, with that said, I would love to hear your thoughts and feelings about Season 2. Are there changes you think could be made that I didn’t mention? I’d love to hear how other people interpret this show. This is why fandoms are so much fun but they’re horrible places when can’t people can’t respect each other’s opinions. So please, respect make the dream work.

And with this blog post out of the way, I am now going to go see American Assassin and proceed to fall in love with Dylan O’Brien’s talent to create strong but vulnerable characters.

[shirlleycoyle]

Be My Mayor, Anne Hidalgo

As a New York City resident, I have had more than two months to sit at home and think. One of the things I have thought about is how the city might be different if we had a better mayor.

It is not news that our mayor sucks. Bill de Blasio has been widely criticized for years as a micromanager, a bully, someone who literally is sleeping on the job, and generally someone who doesn’t seem to like New York City very much, culminating in an embarrassing presidential campaign whose sole purpose seemed to be so he could spend time away from New York. He is behind on every issue, constantly getting dragged by the city’s press corps for mostly legitimate reasons, and appears wildly out of touch with what is going on in the city he runs.

And that was all before his city became the epicenter of a global pandemic.

As you can imagine, these traits do not carry over well to running the city with the worst coronavirus outbreak in the country. In fact, those traits are in large part why the city he runs has the worst coronavirus outbreak in the country. At least, that’s the gist of a New Yorker feature published earlier this month (the state’s governor, Andrew Cuomo, deserves a good chunk of the blame, too). He was slow to institute social distancing measures because of how it would play politically and factor into his ongoing feud with Cuomo. He fought with his public health experts and only started listening to them when one threatened to resign. He encouraged New Yorkers to “Go on with your lives + get out on the town despite Coronavirus” in early March, well after it was clear the virus was here. And he snuck in a final session at his public gym after he issued an order calling for all gyms to close.

Now, de Blasio is transferring the vital contact tracing efforts, which will largely determine if and when the city can reopen successfully, from the Department of Health and Hygiene, which does contact tracing, to the public hospital system, which does not, for reasons no one can convincingly explain except that de Blasio personally doesn’t like the Health and Hygiene experts, a theme of the New Yorker feature. Along the way, the New Yorker quotes various former consultants, aides, health commissioners, and advisors calling de Blasio’s various missteps during coronavirus’s critical early days in the city “pathetic,” “self-involved,” “psychotic,” “mind-blogging,” and “just horrible.”

I want someone better to be New York’s mayor so badly, now more than ever. Specifically, I want Paris’s mayor, Anne Hidalgo, to be my mayor. I want Hidalgo to save New York from Bill de Blasio.

Hidalgo is a city leader I have admired for years, because she has exactly the traits de Blasio lacks: a coherent, clear vision of what she wants her city to be and the personal fortitude to enact it. She has the confidence to dismiss irrational criticism as such and embrace good policies because they are good. She has led a years-long effort to make Paris more livable and pleasant by reducing car usage and expanding green space, efforts scientists and urban experts know would be great for the people living there. Hidalgo has made a lot of enemies with illegitimate gripes doing this, but hasn’t compromised on her vision. With an election this year, on which one of her major platforms was the “15 minute city” where people can find “everything you need within 15 minutes of home,” she won the first round of voting with the highest vote total (the second round was postponed due to coronavirus). Amazingly, her rivals have largely attacked her on the grounds that she hasn’t gone far enough on any of these initiatives.

Hidalgo’s reaction to the pandemic has been similarly aggressive, with 30 miles of new bicycle lanes repurposed from car lanes. Cycling is, and will remain one of the safest modes of transport as we continue to live through this pandemic.

She is doing this not just to further her existing vision, but on sound scientific grounds that more cycling is a key ingredient to getting cities working again after they re-open.

“I say in all firmness that it is out of the question that we allow ourselves to be invaded by cars, and by pollution,” Hidalgo said, as relayed by Citylab, in a quote that ought to make American urbanists cry with jealousy. “It will make the health crisis worse. Pollution is already in itself a health crisis and a danger—and pollution joined up with coronavirus is a particularly dangerous cocktail. So it’s out of the question to think that arriving in the heart of the city by car is any sort of solution, when it could actually aggravate the situation.”

These are not the ramblings of some crazed environmentalist, as she would surely be accused of if she were mayor of a major American city. Multiple studies have linked air pollution, especially particulate matter from car exhaust, to higher coronavirus death rates. And, during a critical time for small businesses, bike lanes are increasingly proving to provide positive economic impacts for the corridors along which they run, especially for restaurants.

Meanwhile, in New York, a city uniquely reliant on public transit by American standards, we have no coherent vision for what the other side of this looks like. How are we supposed to get around? Are we all supposed to buy cars? Where are we to park them, both near home and at work? Are we all supposed to bike on roads where 27 cyclists died last year? Or are we all supposed to walk to the water and ride de Blasio’s signature transportation mode, the NYC Ferry?

To be sure, cycling is not a solution for everyone. Lots of New Yorkers have commutes too long for a bike ride, and lots of people—including the disabled and elderly—might not be able to bike as a main transit method. But that is true for Paris, a city with robust public transportation usage, as much as for New York, and it’s not a reason to do nothing. Instead, de Blasio has done worse than nothing and made cuts to the Department of Transportation’s budget that will slow down buses and halt safe streets initiatives, making bicycling more dangerous.

Transportation is not the most important thing in the world, especially during a pandemic, but it is a key factor for cities working. And, if a city can’t get transportation policy right, the odds are it’s getting lots of other stuff wrong, too. The last three months—much less several years—have demonstrated our current mayor can’t get these things right. It’s time to have a mayor who can. Save us, Anne Hidalgo.

Be My Mayor, Anne Hidalgo syndicated from https://triviaqaweb.wordpress.com/feed/