#also it just makes sense this is an arc about motherhood

[casscainmainly]

These are obviously Cass' top 3 people ever but Babs being in her own panel with an exclamation point... it's so rare for her to be above Steph nowadays is the Babs Cass relationship coming back for real??? Mother-daughter Babs Cass 2025????? We're so close to perfection...

[remus-poopin]

There's this underlying theme of motherhood being under-looked in Harry Potter - Voldemort underestimates Lily, Molly is seen as this frumpy housewife, etc... and JKR thinks she's blowing everyone out of the water by then making motherhood the single most important thing i the story!

Yet! Not a single working mother! In the entire series! "The struggles of motherhood" is JKR's favourite card to invalidate trans women's experiences, and yet she seems to have an (unsurprisingly) narrow mind when it comes to what motherhood can look like.

Here's an example that comes to mind: in the context of the second war, with Remus being a man persecuted by both the Ministry and Death Eaters for his condition and position in the Order, there was no reason for him to marry Tonks. I'm not talking about "building a family" or "being together", I'm talking about signing wedding papers.

Personally, I think JKR places a weird amount of value on traditional marriage, and upholds the ideal of a nuclear family above all things. She could not have Tonks giving birth a baby without being married to a man first.

YEP!

For the Tonks/Lupin issue you can’t even blame this fully on the fact it’s being written in a children’s book because JKR’s description of their relationship later on pottermore falls into the same traditional (and honestly puritanical) traps. And like you mentioned, this doesn’t even make sense for their story/relationship. (there’s an implication that they were only just friends until that confrontation in HBP and were never actually together or even hooking up. Most remadora shippers, like myself, tend to not like this version of events because it makes their whole marriage/relationship look a bit ridiculous. Tonks’ behavior in HBP comes off a lot different if they never had any romantic interactions at that point. It also seems odd that they would get married in less than a month of being together if they were strictly platonic up until that point)

And yes her view of motherhood is incredibly limiting and a bit revealing. In general it’s used as a tool which to measure her female characters by: The non maternal/improperly maternal women are clearly marked as villains (Rita Skeeter, Umbridge, Petunia, Bellatrix, Marge), the maternal ones are seen as demonstrating proper femininity and are therefore good (Lily, Molly, Tonks), women who were looked down upon previously get a redemption arc focusing around this (Narcissa) (Fleur can also fit into this category as she takes on a Molly like role in DH) and the women who don’t have kids but are still supposed to be seen positively look after kids to some capacity (McGonagall)

Her use of motherhood in the terf rhetoric she spreads is stemming from a similar idea. Gender essentialists tend to highlight female suffering as their primary justification for their exclusionary behavior, whether this suffering be biological or societal. Suffering and pain is used to define femininity itself. Suffering, female suffering, is noble, divine, inherent, and honorable. Motherhood, like you mentioned, is one of the biological sufferings they reference for their argument. The pain of giving birth and the sacrifice of your body and the rest of your life is noble, divine, inherent, and honorable.

In the books motherhood is suffering and motherhood is sacrifice. A woman who accepts this role of pain achieves righteousness. A woman who rejects it is selfish and wicked.

[undaughtered]

i’m pro choice and religious also but i’m curious if you could expand on how your pro choice beliefs are informed by your faith bc i’ve always felt like mine are in conflict w each other and im very curious bc ive never heard that before!

cw: mentions of rape

in the story of the immaculate conception we are faced with two options to account for the palpable power imbalance between mary- a young, unmarried, working class jewish girl living under a violent colonial power- and god.

the first option is that god is an authoritative, patriarchal god who subjects creation to his will. mary is not really given a choice in the matter of her pregnancy, and her utterance "i am the handmaid of the lord" is thus made under coercive circumstances, a faith born out of fear as would be typical for a young woman in her cultural context. in this scenario, mary's life only becomes worthy of protection after her pregnancy. she is sanctified not through her existence but through the injection of christ into her womb. in this scenario, because mary is coerced in a deeply imbalanced relationship, she is also a victim of coercive rape. jesus is thus the product of rape, and while this argument infuriates christians, this is the underpinning to pro-life ideologies. women are not worthy of protection until they have a child. they are justified not by their own existence but through their relationships to cishetero masculinity, of which god (in this scenario) must be the pinnacle. mary is not and is never worth more than the baby inside of her, which is a god.

of course, the attributes of god in this scenario are largely antithetical to what we know about god, especially what we know about god in a theological context. (such as: the spirit that covers mary in her impregnation is a feminine spirit, the shekinah, not a penetrative masculine entity. in fact the whole of mary's story has very little to do with men: between the shekinah and elizabeth, up until joseph is actively called into the narrative, it is a story about motherhood and sisterhood, not about heterosexual union or male/female connection for the purpose of childbearing.) if mary only becomes sanctified after she becomes pregnant, then the theological underpinnings of christ's conception and his redemptive arc make no sense. christianity at its core is rooted in the idea that all people are uniquely worthy of life. to be worthy of life means also to be worthy of dignity. since mary is the first to believe that christ is the son of god, the one coming into the world, she is the first christian (along with mary magdalene, the first to believe christ returned from the dead- two women named mary are the first to take up the two basic tenets of what it means to be christian); which means that god knew mary was worthy of life and this, worthy of dignity, before she became pregnant. it was mary's womanhood specifically that deemed her as worthy of dignity, because god could have chosen any way to manifest himself in the world but he chose to be the child of a woman.

this god- who is keenly aware of and yearns to give life to his creation, which cannot be bestowed without a deep and enduring respect and elevation of their dignity- cannot be an authoritative patriarchal figure, since that figure is incapable of upholding the life and dignity of a young, marginalized woman. this also means that, since god is not capable of violating creation's dignity, he cannot have coerced mary into pregnancy, meaning that she could not have been raped, meaning that by definition, mary was given a choice. in fact, this is suggested in the lucan narrative by her verbal consent to become pregnant: "let it be with me according to your word." this isnt a passive submission to god's will, because god does not desire passive submission from those he loves. it is an active choice. god wants us to choose him just the way we, as people, want those we love to choose us.

and we can sit and debate omniscience and omnipotence and predestiny, and whether mary really had a choice if god knew she would simply say yes, but i like to humble myself before god and not pretend to even remotely understand his thoughts. i only know what i can see, and what i can see is mary's verbal consent, and the nature of god as it has been revealed to me.

i cannot believe in a god who would violate a woman's dignity even for the most noble of reasons, because that is not the god i know from scripture. otherwise he would not be of the material of pure love that i know god is because he said so (john 15:12, 1 john: 48 and 4:16). so for me the entire basis of christianity comes down to women's choices and their freedom to choose- in that house in nazareth, in front of the tomb in jerusalem, but never once does the god that i know take away that freedom from his creation, whom he made because he loved. to whom he gives the dignity of choice, even when it leads us away from him, because he loves us. but he loves us enough to let us say no.

[lunar-years]

The horrifying fandom takes and theories it's generated aside, one of things I really love about Ted Lasso is the way it handles motherhood/babies/the future for its two main female characters. Like, on the one hand is Rebecca who so obviously and vocally has always wanted to be a mother, but married someone who didn't feel the same way and put her own desires aside for his, then had that fact thrown back in her face years later after he's abused and divorced her and gotten another woman pregnant.

A big part of Rebecca's arc is the constant frustration of having to accept the hand life's dealt her even when it's the opposite of everything she'd always wanted for herself. She's someone who wanted to be a wife and wanted to be mother and then finds herself in middle age as neither of those things. Then she makes the decision to pursue it on her own (which was awesome, I love that they showed her going to the fertility clinic and inquiring about whether pregnancy was a possibility for her! there's not way to become a mother!) and then she has to face her inability to get pregnant. And it sucks! but as sad as that is, it's also very...real? And the show doesn't miraculously let her have a miracle pregnancy anyway (like stupider shows would do, tbh), but instead has Rebecca come to terms with herself and her life under its new circumstances. She finds purpose outside of the things she once thought she would be and the roles her younger self assumed she would play as an adult. By the final episode, she's calling Richmond her family! She's realized what she wants most is the stay at the Club. She's come into her own. And then, yeah, there's the little ambiguous opening of Matthijs and his daughter and her possible future there with them--but importantly it isn't the end all to her happiness, anymore. It's a sign that she still has opportunities, just maybe not in the way she first envisioned, that no doors have closed forever and that what she's been looking for might come from unexpected places. there's no timeline!

And then you have Keeley, who's in her 30s and focused on her career and still figuring out how she wants that to look and who she wants to be. And yeah she's dating, and she has a serious onscreen relationship, but the topic of children (or marriage for that matter) never even once comes up! It's not made some big arc about how she doesn't want those things, and it's not some big fight with Roy or a goofy "really, you've never thought about babies?' conversation with Rebecca, it's just never something that's made relevant to her character nor her growth! She's a whole person without those things and she's clearly not actively pursuing them. And these two women with very different goals and wants are completely supportive of one another--it's never even a question :)

I thought both of their storylines in that sense were very refreshing to see on TV and like, comforting? If anything, the discourse it's spawned has been very...eye-opening...about how conditioned people have become to expect traditional marriage and babies storylines from every single female character. But the show doesn't give in to that mentality and instead shows that there's not one way a family has to look and not one way to be a mother and there isn't a set timeline for any of this stuff even if later you change your mind. And then if things don't turn out how you think, it doesn't mean you aren't going to end up with a good life! that was such a good message.

[aihoshiino]

chapter 154 thoughts

Chapters Since The 143 Kiss Happened And Went Entirely Unacknowledged And Unaddressed Count: 11

Aqua Hoshigan Status: (Still) white

man

This is one of those chapters where, technically speaking, I should probably be tearing it to bits (AND I DEFINITELY WILL) - it represents a pretty substantial break in or retcon to the series continuity as it's been presented to us thus far and the actions of certain characters in the lead up to this event don't quite make sense if they've had access to some of the information that's seemingly been in their hands for a while but… would you guys forgive me if I said I didn't really care LOL. As I've said before, I'm the sort of reader who can excuse a lot of raw Plot Bullshit so long as I feel like the hearts of the characters are intact and for all its fumbles, this is a chapter I think is unerringly dedicated to the hearts of its characters. I've made no secret of the fact that Ai is and always has been my main avenue of investment in Oshi no Ko as a series and in this chapter, we uncover the final secret in her heart in particular after having the entire series thus far dedicated to laying it bare to us.

We pick up exactly where we left off last chapter with the reveal that the HKAI breakup was indeed founded on Ai's pregnancy, as a lot of us had predicted.

This, uh, does not quite line up with previous events!

From what we'd previously been told, in terms of placement in the timeline, the death of Airi and her husband happened after the twins were born and sometime in the leadup to the Dome concert, which would put it in the ballpark of Ai's 18th to 20th birthday depending on how long it was in the works for. But based on how this flashback section is structured, it seems to place their deaths before Ai even knew she was pregnant, let alone giving birth. If it was just clashing with 15YL's retelling then I could dismiss that as an element of the movie's fictionalization that we've seen and Kamiki alludes to but this also clashes with where this event was placed temporally by Ichigo, when remembering a real life event. So… What gives!!!!

Like, at the end of the day, the exact placement of Uehara's death only matters inasmuch as it needs to be before Ai gets her new apartment, since the point Ichigo is really making is that Aqua is pinning his hopes on a dead man who was dead before he could have ever contributed to Ai's murder. But placing it that far back in the timeline - before the twins were even born! - just makes Aqua's willful ignorance in relation to it come off as a lot sillier and more difficult to swallow than if it happened closer to Ai's actual date of death.

I'm also a little disappointed that we really quickly breeze past Ai revealing she's pregnant - it's not the point of the scene overall and it would be weird to go really deep into her POV in the middle of a Kamiki flashback but one of my big issues with the Movie Arc was that it ripped past anything and everything to do with Ai's pregnancy, including how she herself felt about being pregnant. Like I said in my 145 review, skipping over the parts of it we've seen makes sense but I think there's still a bunch of really fascinating potential in exploring how Ai felt when she realized she was pregnant - how did she hide it for long enough that she was almost halfway through her pregnancy and getting fucking enormous before her first checkup? How did Ichigo and Miyako react when they first got the news? There's so much juicy character and relationship work you could mine out of that but the story fails to do so. We sort of get a crumb of this in the DVD but her feelings there are all centered on the pregnancy in relation to Hikaru and even then she breezes past it so fast it's clearly not meant to be the focus of any of what she's saying and idk. For a character whose entire hook is her struggles with motherhood, familial love and all the rest of it, that's a little disappointing.

THAT SAID!!! All that makes me sound like I didn't like what went on with Ai this chapter but I actually loved it. It's so painfully in line with everything we've been told and shown about her thus far in the manga and in this chapter, we see all her strengths, weaknesses and human contradictions laid bare in a way I find incredibly rewarding and compelling.

The HKAI breakup especially is just soooooo deliciously cringe inducing. It's an echo of the argument with Nino that 15YL portrays, where Ai's good intentions, avoidant tendencies and absolute absence of tact all snowball and end up ruining one of her most important relationships. Like… I can't believe I'm about to say this about a conversation in which Ai is one of the people talking, but she really is the reasonable one here! She's right to identify that their relationship is not working, that adding babies and marriage to the mix will only make things worse - her intentions, as they always are, are good and she's making her decisions with Kamiki in mind… her delivery is just absolutely dogshit!!! GIRL, PLEASE, YOUR WORDS!!!! USE YOUR WORDS!!!!!

For all my issues with Akasaka's writing lately, I think he portrays these kinds of two sided failures of communication so well, where you can see exactly where both characters are coming from and why they are failing to get their feelings across to each other. From an outsider's POV it's clear as day that Ai views herself and her children as the burden, one she doesn't want to put on Kamiki for the sake of a girl who doesn't even know if she can love him… but is it any wonder why Kamiki took it the way he did and why his guts were so utterly wrenched out as a result?

Kamiki's attempted proposal and Ai's immediate rejection of it are really interesting with the context of 45510 in particular. Extrapolating from her talk of marriage there, she brushed him off so quickly because she simply didn't believe he was serious… and yeah, he's pretty clearly not fully cognizant of the weight of what he's trying to propose, never mind that he's meeting "let's break up" with "LET'S GET MARRIED" lol.

Also interesting to extrapolate from both 45510 and other material surrounding Ai is that, at that point in her life, she simply didn't understand what the point of marriage was. On top of her being Literally Sixteen And A Child right now, Ai is said to have come from a deeply dysfunctional home where her mother engaged in a number of equally dysfunctional relationships, at least one of whom was with a man who was creeping on Ai even as he was working up to marry her mom. It's no wonder she doesn't really take the idea of marriage seriously, but it still hurts so see her reject Kamiki so bluntly - even more bluntly in the Japanese text somehow, simply chirping 無理! (Muri!) in response, i.e, not just "no way" but telling Kamiki to his face it's impossible.

Honestly this whole breakup scene is so darkly hilarious just in terms of how bad Ai is completely beefing it. Congrats babygirl that's the worst anyone's ever done it!!!

And we finally get the "I can't love you" drop after just shy of 25 chapters of buildup…….. And honestly, it feels a little hollow.

I talked about this a little before so forgive me for repeating myself but that line - or rather, Aqua and Ruby's implied misunderstanding of it - from Ai to Hikaru was given a huge amount of weight in the story when it was first introduced. It was implied to be the lynchpin in which everything else about the HKAI romance rested only for the story to go UH WELL ACTUALLY IT'S ABOUT WHETHER OR NOT AI FORGIVES HER KILLER which is like… fine, it just feels very jarring on a reread or when trying to sew together a plot thread like this. It especially feels strange because the emphasis is placed on them not getting it right or at least that Gotanda disagrees with their interpretation, only for the manga to whip back around and not only return this line to its previous heightened importantance but also to largely not line up with what was established about this line and its place in the narrative when it was first introduced. It's just more evidence that Akasaka's plans for the Movie Arc and its resolution changed in some way during serialisation because these inconsistencies are pretty glaring.

Not just that, but like… it's hard to feel impacted by this line when we didn't even see it in the Movie Arc. In general, it's so fucking weird that so much about the main emotional resolutions going on right now revolve around Ruby's performance in the movie when most of the big emotional moments people are reacting to are happening entirely offscreen. This would already be bad even if it wasn't taking place in a manga like OnK with its increasingly frustrating habit of offscreening more and more bits of the story that are extremely important for the characters. Before this chapter I would've said that maybe we'd see some of it after the movie released but given that Kamiki's arc and the revenge play as a whole is pretty clearly wrapping here, what would even be the point of it?

Idk. It's just increasingly obvious (and just as frustrating) to me just how much of the Movie Arc was wasted time and how much of the setup that needed to happen to make what follows really land just… didn't. This chapter's resolution for Ai and Hikaru, both separately and as a couple, is still excellent, but it could have been a lot better if its foundations weren't so meager.

We also finally get concrete proof from the horse's mouth that Kamiki was the one who deliberately leaked Ai's address and……. honestly this is kind of a wet fart too lol. OnK has previously very strongly implied that "Kamiki is Ai's killer" was a red herring or that we should at least be slightly skeptical of Aqua's assertions and conclusions but… nope, he was right all along, I guess?? Alright………………………… I certainly don't believe his insistence that gosh he totes didn't think Ryosuke would go THAT far and I'm still wondering wtf the two of them were doing at the hospital the night the twins were born but like. Honestly at this point, I don't really think it matters and I care much more about emotional resolutions than I do granular plot details - and boy do we get one hell of an emotional resolution.

I haven't shouted her out yet because I was saving it for this section but fuck, man, Mengo's expression work told chapter is killer as usual but this final stretch of pages is just gutwrenching. Ai's gentle, rueful smile on the DVD contrasted with the look of shocked, dawning understanding on Kamiki's….. Jesus Christ.

And at last, we uncover the final secret hidden at the bottom of Ai's heart. The entire manga thus far has been a process of stripping away the viewer's willful ignorance with regards to Ai's humanity but the DVDs had been an oddly ominous mystery box floating around, containing some implied dark secret that would change the entire trajectory of Ai's character as we knew it… but of course, the person who tells us that is Ai herself, a girl who hates herself, thinks of herself as dirty and impure, irresponsible and incapable of love.

So is it really any surprise that her darkest secret, the thing she can only confess with her eyes shining with black stars is simply that she's a fallible human? That she was a lonely young girl, confused and hurt in her own ways and that she hurt someone she dearly cared for and wanted to take it back?

Is it a little convenient that she put all this in the DVD? Yes, absolutely, and I'll be the first to say that the DVDs existing at all are a pretty clear retcon in service of getting info onto Aqua's hands. But it's also perfectly in line with Ai's timid, avoidant methods of reaching out. It parallels both Viewpoint B and 45510 (moreso the latter) where she pours her heart out in words, waiting for others to read and understand her. In 45510 in particular, her leaving the blog post is an extremely clear and strong parallel to the DVD - love letters put into bottles and thrown to the ocean in desperate hope the person they're addressed to might find and understand them.

As Akane says, Ai is torn between secrecy and a desire to have her true self exposed, so she attempts to craft scenarios in which this must happen, even if her avoidance can only allow her to do so with indirect methods. With the blog and moreso the DVDs & their method of delivery, Ai attempts to create situations where the initiation confrontation and disclosure is out of her hands and she has no choice but to tell the truth.

Ai's entire speech here is just heartbreaking. If the start of the chapter didn't make it explicit enough, we see her here put her good intentions into words to better understand how they were misinterpreted.

This adds SUCH a fascinating additional layer to her death that has me gnashing my fucking teeth. One of the things I've talked about a lot in my Ai meta is that Ryosuke is essentially an agent or even an embodiment of the entertainment industry and the way it has exploited her - the misogyny, entitlement, purity culture and abuse that ruled her life went on to end it. With this additional detail, though, Ryosuke becomes an agent not just of the things that plagued Ai of B-Komachi, but Ai as a human, too. All her life, Ai is willfully misunderstood and mischaracterized by the people around her, assigned narratives and roles without her consent and punished for both living up to and failing to live up to them. Ai's death is the end result of a lifelong cascade of failure on the part of every system and individual that has had the opportunity and responsibility to care for her - and, as Aqua throws in his father's face, that includes Hikaru.

Hikaru's supposed understanding of Ai is not one based in empathy or love but projection and possessiveness - understanding in this context is ownership, exclusivity and frankly, arrogance. A claim to a piece of Ai that no one else knows. But as Aqua forces him to realize… Hikaru never understood Ai, even as she did her best to make herself understood. For all his arrogance of understanding Ai and the nature of their relationship, Kamiki is ultimately just the same as every other person who idolized and objectified her then discarded her when the image they'd created in their mind didn't match reality. Ai wasn't his pure and perfect soulbonded saviour - she was a lonely, broken kid like him, still struggling to understand love after a lifetime spent starved of it.

Once, Kamiki begged Ai to save him. And here, the bitter truth is laid out for all of us: the salvation Kamiki had wished for was waiting for him, reaching out with open arms and he not only desecrated it but irrevocably destroyed any path back towards it. In killing Ai, Hikaru Kamiki killed himself.

The imagery of this moment is so fucking gorgeous. The visual of Kamiki and Ai reaching out to each other, in mutual understanding at last but separated by time and death… the "what if" happy Hoshino family… Ai's words being framed as a 'love letter' that transcended time to reach Kamiki and Aqua's eyes blazing with white as tears pour down his face… Jesus fucking Christ Mengo I'm already dead!!!!!

Like I said up top, I make zero secret of the fact that I am primarily invested in Ai above everything else in the manga and the way her importance has been seemingly downplayed since the late 130s mark chapter wise has really bugged me. As such, this chapter was INSANELY cathartic for me. Not only do we get a really beautiful cap to Ai's post death arc (hopefully finally killing those dumbfuck Secretly Evil Ai theories for good) but it's done in a way that once again recenters her love and her wishes as the heart of everything. Even Aqua's revenge play is completely redefined in this context - no longer the childish, selfish and self destructive lashing out we've seen before but as a quest to both honor Ai and to punish the person arrogantly assuming ownership of her heart even as he so catastrophically misunderstands her.

This is a really fantastic end to Aqua's arc too… on paper, that is. I know for a fact that a certain genre of OnK readers are going to bitch and moan that Aqua didn't run his dad over with a 2003 Honda Civic but I really can't imagine Aqua's revenge quest going any other way unless OnK was intended to be a pure tragedy. Over and over, we have seen that Aqua's revenge is at odds with not just his happiness but with Ai's wish for him to live a full life with a bright future. It is self destructive, hurtful to the people around him and antithetical to any of them moving on and reclaiming what their futures. With the emphasis the story places on moving towards a happy future, in selfishly reclaiming your happiness even in the face of systems that seek to crush you and on honouring Ai's wishes and legacy, it would be flatly thematically incoherent for Aqua to choose killing.

The issue is not with this as Aqua's end point but with the path we've taken to get here. As was the issue with Ruby during the Movie Arc, we don't actually see any of the internal work that happened in service of this arc, just the big emotional end points of offscreen development. But it stings especially bad with Aqua when such a huge chunk of the last few arcs locked us out of his head, sharply contrasting the start of the story that lived and breathed his interiority - AND when this is more or less the capstone to his series long struggle to choose love or revenge. It's not that I dislike this as an emotional payoff for Aqua's revenge - this is more or less beat for beat what I'd expected - but that it lacks proper support from the rest of the story. In general, this chapter falls flatter than it should because all this heightened, dramatic emotion rests on arcs and setup that simply have not been shown to the reader, save for Ai.

Speaking of Ai, the info in the DVD here potentially represents a pretty major break in the continuity of Aqua's behaviour based on when we're told he had access to it but I'm willing to bite my tongue and see if that gets filled in, if only because this chapter review is already so fucking long. Let's just say that I Noticed and I sure hope Aka or his editors did too.

And finally… Oh, hey there, Ruby! Aren't you an interesting little snarl to this chapter. Or maybe "snarl" isn't quite right, but her presence here is potentially interesting either way. I'm not quite sure how to read both her expression and her presence - the expression on her face looks VERY displeased and it looks to me like she's outside the room, so is she maybe eavesdropping and not happy with what she hears? Or is she in on Aqua's talk with Kamiki here and just struggling with her emotions with regards to it all? I'm quiety hoping it's the latter, because it would confirm that Ruby DID recognize her dad in 147 and Akasaka wasn't expecting me to believe he was hitting her with the stupid stick quite that hard lol.

In either case, I'm actually excited to see what Ruby takes away from this. In the ways that AQRB has echoed the HKAI dynamic, Ruby has always been in Kamiki's shoes - the one desperate to be saved, clinging to her oshi and relying on him as her sole bastion of light in the world. So what will she think now after being faced with the logical endpoint of this wished-for codependence? When she sees how destructive and self destructive it can potentially be? Just as she saw Ai reflected in herself, will Ruby see her father in her own reflection - and if so, what will she do about it?

Break next week! So we'll be sitting pretty for two weeks to find out. Not that I actually mind this time because with a chapter like this on top of season 2 of the anime coming back today, a week without a break might have actually killed me… please, akamengo, i'm just a little guy!!!!

[bibibbon]

something that i can’t stand when it comes to this fandom is that basically no one can wrap their head around the fact that a victim can also be an abuser.

yes, rei was physically and emotionally abused by endeavor. yes, she was literally sold to him.

but she also just completely checked out and left fuyumi to pick up the slack.

yes, it’s not her fault that the abuse caused her to shut down, but as a result of that she neglected her children.

after she left fuyumi had to raise her brothers and become the woman of the house.

again, at the end of the day the root cause of the abuse is endeavor, but rei had checked out even before dabi's death.

it’s not victim blaming to point out the fact that rei neglected her kids. victim blaming would be saying that the abuse she suffered was her fault.

sometimes this fandom can be so fucking braindead. it’s always black and white, good or bad, hero or villain.

there is not a soul on this earth who is 100% a pure and good person.

all might, knowing full well what one for all contained and the massive responsibility that came with it. including an old wrinkly guy who will stop at nothing to take it, to a child and then proceed to not tell the aforementioned child what he was getting himself into. he with held crucial information because he knew that if he told izuku everything there was a chance he wouldn’t take it.

on the flip side, no one is 100% evil.

dabi cares deeply for the league, even though he doesn’t show it. shigaraki is literally the only person he will take orders from. some people may think he showed everyone hawks killing twice just for more ammo against the hero's. but thats not true at all. he cared about twice, and he wanted the world to know who he was. he wanted the hero’s to know that twice was human.

again i’m fucking rambling but i just hate how this fandom can be allergic to nuance and critical thinking.

I do think that many people do want a simple answer because at the end of the day it's easy to root for the good guys and boo the bad guys. There's also the fact that the narrative itself does sometimes struggle in creating a proper grey space morally.

Take for example the abuse victims in MHA. A lot of them are straight up innocent perfect heroes victims like izuku (who can never feel resentment in the narrative) and shoto while the others are straight up villains like Dabi and shigaraki. There's no in between with these characters and it's annoying. I remember talking with @mikeellee she has her saying of Shigaraki being the dark deku which honestly after that chapter where izuku comes into contact with a evil version of himself makes more sense.

I do agree with you in the sense that no one is 100% good or evil and in a way almost everyone is a victim to hero society. All might did willingly give a quirk that has a big responsibility to a naive quirkless child and all might is a bad mentor. However, at the same time all might is also a victim to a society he contributed to creating which is honestly so ironic and I wish horikoshi would explore these aspects of all mights character yet he doesn't and just gave us iron might (I dont like iron might tbh).

Also I love the fact that you brought up Rei himura and honestly Iam a big advocate for giving rei a redemption arc since it would of been more interesting and it would actually make sense to give her one than giving enji todoroki one. Rei was a victim and yes motherhood is difficult especially with the fact that she was abused and stripped of autonomy or agency but she also wasn't the best mother and that's something she does recognise in the narrative. My main problem however, is that the narrative doesn't allow her to fully engage with the family and she doesn't do much about it. Yes she apologises to both shoto and touya but what about her other children?!?! What about fuyumi who had to take on the role of a mother and shoulder a huge family burden? What about natsou who was also neglected?!?!. I say by giving rei himura a redemption arc the series can do so much that being actually involving the entire todoroki family into this, having more introduction to the hospital arc that may connect both touya and Rei and you can also have Rei make a connection with genten as @nyc3 suggested.

However, this also applies to the flip side. Characters like twice, shigaraki and Dabi aren't completely evil. Yes they have done bad things, yes they are bad people but they are also victims of the hero system and hero society. I do think that the leauge is a bit underdeveloped and I did definitely want more development between Dabi and shigaraki's while frenemies fiasco going on.

In the end I do think that almost every fandom may be allergic to nuance in one way or another. I do actually mean this because I remember seeing people try and say that Eren Yeager is completely good while some tried saying that he is completely evil but in reality he is complex and layered. You really can't put a definitive label on the aot characters because they all did their fair share of good and bad things and that's what makes them well written and enjoyable.

[syrena-del-mar]

Blind Spots of Motherhood: Last Twilight, Episode 10

We're coming off of the emotional rollercoaster of last week's episode and seeing the consequences of Day and Mhok's getaway. And the consequences are big, which not even Night can assuage.

I love scouring the tags as I watch Last Twilight, and I've been seeing many call Day's mom evil or a narcissist. In my opinion, she does not fit the bill (if you're looking for one that is, go watch Twins, now that's a narcissist). There's a tendency of wanting to villainize mothers, and BLs do a great job of giving us mothers that do fill that role, but I sincerely don't think that's the story P'Aof is trying to tell us here. Rather than evil, I think her arc is more about being a flawed mother that does more harm than good through overparenting, her perceiving Day to be more vulnerable than he really is, and sidelining of Night.

Stages of Adjustment to Vision Loss

Just like the seven stages of grief, similarly there's a theory about the seven phases of adjusting to vision loss. The Stages of Adjustment applies not only to the one suffering the vision loss, but even their friends and family.

Phase 1: Trauma, where personal attitudes and generalization form one's personal view of a person who is blind takes over.

Phase 2: Shock and Denial. Self-explanatory.

Phase 3: Mourning and Withdrawal, it's where the loss of regular activities and routines occur.

Phase 4: Succumbing and Depression occurs when an individual is unable to come to terms with the sudden low vision/blindness and they stop caring for themselves. Feelings of inadequacy becomes prevalent.

Phase 5: Reassessment and Reaffirmation occurs when individuals regain and maintain control of their life. Loved ones play a significant role in assisting them to reach this independence at this stage.

Phase 6: Coping and Mobilization happens when individuals develop coping techniques to live with the vision loss and acknowledge their abilities and accept when the need assistance.

Phase 7: Self-Acceptance and Self-Esteem occurs when the individual realizes that they have value and their loss of vision is just one of the many attributes.

When the Last Twilight first started, we met Day as he was dealing with Phase 3 and 4. With the help of Mhok, we've seen Day grow in his independence, but also come to terms that his vision loss may be forever. He no longer was thinking and hoping for that transplant surgery, he wasn't even counting on it anymore. Instead, with the help of Mhok (and Night), Day was able to reach Phase 6 and was transitioning into Phase 7.

But just as Day was moving on with his, his mother wasn't. She's still struggling with his disability and has gotten stuck in Phase 3 and 4, just as Day had been. She's so blinded by Day's disability, that she's drowning in the fears of what could happen to Day rather than seeing the strides of improvement that he has made.

Overprotective Parenting fails in Harm Reduction: Day

"Expecting him to be independent at one time and overprotecting him at another will only result in a frustrated youngster. It is important to judge and treat the blind child fairly; not indulging him, yet not setting goals and expectations so high that he is discouraged." -The Blind Child: Becoming an Independent Adult

Day's mother is frustrating, to say the least. She is so incredibly misguided in how she treats both of her sons, it's no surprise that Day locks himself away into the cavern of his bedroom.

She only sees Day for his disability. Acknowledging and accepting that Day is blind is important, and that does signify life adjustments, but that doesn't mean making Day's blindness the only thing about him. She forgets that Day was a full-functioning adult that had his own lifestyle before he lost his sight. She's only come to known Day for his blindness. She's the one that puts his blindness at the forefront.

She wants him to get out of his bedroom, to stop locking people out, but once he has some sense of independence, apart from his family, now she's afraid? Her son, vision loss or no vision loss, is an adult, but instead of giving him such dignity, she regresses and infantilizes him. She pushes him back into that suffocatingly big bedroom. She takes away his phone, his internet, every tool that connects him to the outside world. She takes away what little independence he had started to build up again.

Any good parent would be worried about their child who has undergone a traumatic event, but over-protecting does more harm than good. In her anxieties, she ends up resorting to using unintentionally abusive tactics. Yes, Day would be physically fine, but in her overprotectiveness, she fails to realize that it could lead to dependency inducement, learned helplessness, and bouts of depression. Day's mother fails to realize that taking away any autonomy that Day has only started rebuilding, would only result in Day's emotional state worsening.

Blindness doesn't have to mean debilitating, but locking your son up in his room without any way to interact with the world around him that he is trying to relearn? That's more crippling than any vision loss could ever be.

Readjusting as the Glass Child: Night

"The most egregious form of rejection that anyone can ever experience is parental rejection" -Is Rejection, Parental Abandonment or Neglect a Trigger for Higher Perceived Guilt in Adolescents

Oh man, the pain I felt for Night this whole episode was next level. The idea of a glass child is not one's delicateness but rather as a sibling of a individual with disabilities, the sibling becomes invisible to the parents, only seen when the parents need them. If it wasn't obvious before, it's clear that this was the role that their mother was forcing Night into.

There's nothing that hurts worse than the sharp words of a mother directed to her child. His mother explicitly blaming Night for Day's disability was a new low-blow. Night had already been beating himself up for the accident, his father (who doesn't even live with them) knew that, but seemingly their mother was oblivious. The only one that Night could rely on was an outsider, a father that they hadn't been in contact with for years. Their mother created that environment by not paying attention to her other son, who was also in that accident.

Nothing fuels sibling rivalry like preferential treatment from parents. Even worse when one has to be the caretaker of the other when they already have a fractured relationship. Instead of easing the tension between the two brothers, their mother is too busy worrying solely for Day without accounting for Night. Caretaker burnout is already incredibly exhausting when you're caring for a loved one, but Night has personal guilt and Day's resentment to deal with as well. Not once does their mother ask him how he's doing, if Night is alright.

Night is the forgotten child, the child that's expected to take care of his brother no matter what, no matter how independent Day has become. She has parentified Night without any consideration of how he was doing or what was going on in his life. This was probably already a running theme as they grew up, assuming from their positioning in the family portrait. In doing so, she unknowingly worsens the strife with the brothers, making Day believe that Night had only been "behaving well" in order to win some preferential treatment from her.

Even on Christmas, their mother only cares for Day, feeding him first and putting food on his spoon, body fully turned against Night. In that scene, visually Night seems like he's intruding and he feels it as well! It's why he excuses himself, saying that he's going to meet up with some friends. Even after being forgiven by Day, his mother doesn't make any effort to include Night other than just having him at the table. It's as if he wasn't part of their nuclear family, just a convenient body that is there to help out as Day adjusts to his new life. If it hadn't been for Day, Night would have left that table that night and would have believed that nobody cared for him. I'm hoping this makes her confront and reassess how she's treated Night, now and in the past.

It's ironic, even though Day is blind and held a lot of contempt for his brother, he was still saw Night and all his struggles. Meanwhile, their mother was seeing right through him, blaming him for what happened to Day. Driving a dagger, that Night had already stabbed himself with, even deeper.

Final Thoughts

I'm not quite ready to jump on the 'Mother Gothel' train for Day and Night's mom. I think she is juggling being a career woman and being a mother at the same time, while failing to adjust to Day's blindness and making mistakes in her parenting as a result.

I also don't think it's out of maliciousness or self-importance, either. When I see their mother, it's as if she's trying to save a sinking boat that is already pierced by numerous holes. There's no going back to their lives before Day's blindness. She needs to adjust her priorities, because disregarding Night and locking up Day is not the answer.

This episode was frustrating, not because I found her to be outright abusive, but because of her worries she ends up hurting her sons even more. No parent is perfect, and they can hurt you while thinking they're acting in your best interest, but they have to be willing to love and let their kids learn on their own.

[evesaintyves]

I just love the way you write Tonks, she's so much bolshy and dirty and crass, she feels like a real auror and an actual badass that people wouldn't want to mees with! I liked Tonks in books but I admit I was a bit bored by her 'cutesy sweetheart' personality..

thank you so much, that's such a kind thing to say! ❤️ i'm gonna ramble about this a bit if you don't mind!

obviously i extrapolate a lot, but i think there are seeds of that bolshiness etc in canon. from her very first scene we see Tonks kind of talking shit about Harry's house (and her parents!) and giving her mentor, a pretty intimidating dude, guff in front of everyone. she stands up to Remus when he deadnames her (though i agree with the common fanon interpretation that they're flirting a bit in that exchange). she's introduced as a character who speaks her mind and doesn't take any shit*. all of that is on a mission and in front of a kid, so i imagine she's probably even a little more outspoken under other circumstances. it's also clear to me that she's got to be strong-willed, a little singleminded, incredibly talented, and probably a little arrogant to make it as an auror so young: she talks about how difficult it is to qualify and not many do. she's also canonically kind of reactionary and impulsive - i mean, that's how she dies.

some of my characterization of tonks is just personal - so much of her plotline is pretty sad, and her personality disappears entirely toward the end as she becomes a fulcrum for lupin's character arc. and her death, honestly, is kind of stupid. so i feel this urge to give her some justice and a little bit of a fuller personhood in the way i write her.

to me, tonks is (on top of being obviously interpretable as queer) clearly punk/alternative coded, withe the hair and the way she speaks to her elders and her sense of humor. i'm old and i was a tween/young teen in the mid/late nineties when tonks would have been around, and i remember how discovering riot grrl and queer punk bands of that era completely changed the way i thought about myself and the standards i was being held to and just the possibilities for what girls could do and how they could exist in the world and in their own bodies. being gross and crude, rejecting and subverting and playing with the power of the male gaze, talking openly about fucking and bleeding and being gay and being angry: it all seemed like a superpower to me.

tonks is clearly, from the start, in a state of experimentation with her own identity - the way she changes her hair from violet to pink in front of harry - and she's uniquely positioned as a metamorphmagus to create herself from scratch whenever she likes. it reminds me so much of being a kid and discovering that there were all of these new possibilities for who i could be, if i could be brave enough to try them. and we know that Tonks is brave 😉. so like, why not write a Tonks who is liberated, doesn't give a fuck, insists that the world make room for her? i think the contrast with people-pleaser overthinker self-hater lupin is really irresistible, too.

my vision of tonks is as a person i would have looked up to as a kid at that time, but who is still from her pov very much figuring her shit out and trying to construct a self that gives her peace and fulfillment. she dies in that state of flux - having also just undergone the enormous identity-changes of marriage and motherhood. she's fascinating! i insist on it!

so thank you again, such a sweet ask!

* i bet she put up with a ton of bullshit trying to be in a relationship with lupin tho smh girl i mean like

[iridescentscarecrow]

I saw on twitter that you caught up with mtefil and i'm so glad since so few people know about it. What do you like about it? Personally I love it's rendition of the fallen angels, so vile and pathetic yet human.

hello!!! i kind of regret keeping the small liveblog thread i did on my priv and not posting on main, since i ended up having a lot more things to say than i expected. i'm still sorting out my thoughts right now, and i want to go back and reread some stuff with context, but here's a quick summary of what i felt:

i like the fallen angels a lot too, but my favourite aspect of mtefil is probably the depiction of the sins, it's wonderfully clever. i think the order of my interest goes lust (aria arc specifically ) > sloth > gluttony > greed > envy.

for lust, i feel like i might appreciate it more than other people because i was very interested in the "agelessness" associated with "sexiness" vis a vis idolhood and the creation of aria as someone "bottomless", as these are themes consistent with some of my favourite things in fiction. asmodeus is one of the characters i ended up liking the most because of this. her inflicting violence onto priest as a expression of her love for sarah, and the propertyship there was very good. asmodeus is constantly seeking worth & dignity! her connecting with priest through like a shared sameness really got to me. i liked how imuri was the audience proxy for our knowledge that aria was actually priest's assaulter, it made for some really horrifying moments of tension, i was kind of shaking through it, also, i think it contributes to my idea that imuri is the protagonist (the first page of the manga is literally her painting) and priest is the "love interest" - also a fun concept because of how bel frames him as a romcom protagonist later on? but that's just extended thoughts. the ending scene of the arc with him fantasizing about imuri and then throwing up was very powerful to me, because i think the gendering of priest is essential to the series. him being disgusted with himself because he feels like a predator, and immediately giving up the caregiving role (of gendered labour) that he assumed over imuri earlier stuck to me.

i like how gender entwines with every aspect of MTEFIL, tbh. its very well planned, even if it does end up beating you over the head with its themes at time lol! the sins are one thing - most of the male ones are dimensions of patriarchal abuse, and the two female ones we've seen are leviathan with her ill fitting motherhood, and asmodeus, who like i said, is focused on Worth through sexual conquest. the church refers to the "father, the son" & the witches to "evil" feminine figures. a lot of the manga discusses how the witches are alienated & considered inhuman, and their struggle is a tussle over humanity. verge literally brought up "storytelling" !! and this makes sense because imuri's Role is the "femme fatale", that she constantly refers back to and describes herself with, and that's essentially story trope.

sloth was the depiction i was most impressed by when it came to inventiveness. i was reading through the files intently before he was revealed since they're all written very well, so when he showed up, i assumed he was writing the child's room ones almost immediately. the scapegoating of women, paired with the eternal childhood of it all and priest's own exhaustion is all very fun.

gluttony being a grooming allegory is honestly insane. i often feel like depictions of gluttony end up imagining it as a kind of Greed Lite - but with a focus on food, which is boring TBH. the manner in which the sin of taste is presented as experienced/practiced by the abused & the way this connected to leah's "forbidden love" as described by the files... i really liked leah in this arc. beelzebub talking with her and saying,, this is just human nature,, centering her shame... it made me feel very ill if i'm being honest.

greed is a typical depiction but the way it's fleshed out connects really well to the manga's themes, although im more interested in tachibana than the actual character of greed. i feel she represents it in a more nuanced way than him, although that's probably whats intended. the file about her with the line referring to "the womb" and the one file conversation she has with verge really sticks to me. she's obviously portrayed as the sole woman in a room full of men and the way she revels in her success when it comes to The Meritocracy fascinates me. i hope we get more of her

envy is probably the one i have the least thoughts on: leviathan as the state & the sea monster connect to motherhood is kind of apparent but i wish i had more to chew on with respect to how that ties to the sin of envy. but that's a minor nitpick, and i'll probably understand more later.

overall, i'm kind of happy with how these themes are being tackled in a shounen manga, and i had tons of fun with it. i wish it had more attention! i like priest a lot, i think he's incredibly well written but my particular tastes in characters mean that my favourites right now are imuri, asmodeus, leah, and verge. the latter is probably biased by the fact that i'm deeply invested in the weird yaoi he and dante have going on, it's so fun?

this is everything that i could think of for now, but i'm considering talking about newer chapters when they drop on my main, perhaps? thank you for the ask, it gave me the opportunity to go on about it a little :D i liked it very much!!

[warningsine]

We Are Lady Parts, a British series about an introverted engineering Ph.D. student who is roped into playing the guitar for a local all-women Muslim punk band known as Lady Parts, was one of the most delightful and original television debuts of 2021. Its absence these past three years has been deeply felt—but luckily, Lady Parts is now back onstage, returning with a second season of antics and self-discovery, streaming on Peacock (in the U.S.) and Channel 4 (in the U.K.).

Music has always played a major role in the series thanks to Nida Manzoor, We Are Lady Parts’ showrunner and creator, who, alongside her siblings, also writes and supervises the music for the show. Season 1 blessed us with original songs like “Bashir With the Good Beard” and “Voldemort Under My Headscarf.” Not only are there some great new additions in the second season—from “Malala Made Me Do It” to “Villain Era”—but the music this time around boasts both a tighter sound and a stronger voice. There are even some standout covers, like a stunning punk take on Britney Spears in Episode 3. Slate chatted with Manzoor to discuss We Are Lady Parts’ musical evolution, a surprise (and instantly iconic) cameo, and how we can pay homage to the trailblazers who came before us. This conversation has been condensed and edited for clarity.

Slate: While music has always been the central impetus of the show, it seems to drive even more of the plot this season. After establishing themselves and growing a fan base, the members of Lady Parts are trying to make the band a real deal by recording a debut record. This means that you got to play with the music a bit more this season. For example, there are a few more cheeky covers in there. What was your intention with writing and supervising the music this season?

Nida Manzoor: Music is at the heart of the show. It’s the heart of Season 1, and I had such a joyful experience writing the songs with my brother and sister. For Season 2, I wanted to challenge us, and thereby challenge the band. I wanted the songs to be more complex. I brought in my collaborators more on a ground level. All I came with were song titles and styles. I wanted to do a Western-sounding song called “Malala Made Me Do It” because I wanted to see the band just be silly and go different places. With the song “Glass Ceiling Feeling,” which comes later on in the show, I wanted to see the band feel like they’ve evolved from Season 1. Moving away from their traditional punk songs and seeing them explore different ways of expressing themselves was really exciting to me.

Let’s talk about “Malala Made Me Do It.” The sentiment sort of reads as an alternative to the mantra “What would Jesus do?” in so many clever ways. How did this idea come about? What does “Malala made me do it” mean to you?

“Malala Made Me Do It” was one of the first ideas I even had for Season 2, before I had any other deeper story ideas. And then, as I was writing the script with Bisma’s story arc, where we see her being challenged as a mother with her daughter moving into adolescence, I wanted to explore this idea of motherhood and her tension through the song. But with the song itself, I was like, “It’s just going to be a Malala hype track. I want it to celebrate this incredible woman who’s done so much real, meaningful work for girls and women.”

I must spoil this moment for readers because I have to ask about Malala’s cameo in the show during the fantasized music video for “Malala Made Me Do It.” What was your pitch to Malala to get her on the show? 

Initially, I had no intention to reach out to Malala. I was like, “She’s not going to want to be in the show. She’s a very serious person in the world.” But then I went to a talk of hers, and she was expressing her love of comedy, and she had this incredible dark sense of humor, this great wit. And I’m like, “Maybe I have a chance for Malala to be in the show.” So I wrote her a long letter of why I’d love her to be in the show and how I think she’s an inspiration, and sensing her love of comedy really emboldened me to do that.

She was immediately like, “Yeah, let’s do this,” and was so chill, so kind and gracious on the day. So full of love, so easy to work with. I feel like there’s a lot of reverence around her, but she’s a woman in her 20s—she contains multitudes. She does a lot of meaningful, serious work, but she’s also a really fun, joyful person. I really wanted to celebrate that.

Speaking of celebrating women, one of the focal storylines in the season, with the character of Sister Squire, explores what it means to pay homage to those who have come before you by doing something meaningful with the space that they’ve created. Who are some of your inspirations that you tried to honor with this show, particularly with Season 2?

One person for me is the actor who plays Sister Squire, Meera Syal. She is a comedy legend and hero of mine. She co-created a sketch show called Goodness Gracious Me, which is all about the South Asian experience. It was so witty. The show was so inspiring because it was impressive, it was cool, it was edgy. It made me, as a young brown girl, feel cool. To get to have her play Saira’s hero in the show was honestly a dream come true. Between working with her and Malala, I was like, “I can retire now.”

In terms of women in punk specifically, there’s the singer of the band X-Ray Spex, Poly Styrene. She was a woman of color in punk in the ’70s. It was just so rare. Her music really talks about identity, self-expression, these really meaningful feminist themes. It’s so contemporary, yet she was writing this stuff in the ’70s with such a playful tongue-in-cheek vibe. She’s been a hero and inspiration as well, making the show.

I want to talk about the covers this season. You cover three of my favorite songs: “The Reason,” by Hoobastank; “More Than Words,” by Extreme; and then, of course, “Oops!…I Did It Again,” by Britney Spears. How did you decide what songs to cover? 

I knew I wanted to do a Britney cover. I am a millennial, I came up at a time when Britney was just everything and a goddess and a queen and so much a part of my childhood. Getting to do a cover of her song, but in a punk way, was just joyful. I think it was one of the most fun days to shoot on set because we felt like we were getting to perform such a brilliant and iconic song, but also making it Lady Parts, in those iconic costumes with their suits. Even now, when I rewatch the show and when I was working in the edit, just watching the Britney performance was my favorite thing. It was everything.

Hoobastank, “The Reason,” it’s just that classic early 2000s, very cheesy, but still such a great tune. It was so fun to get to honor that song and that band because they were such a formative part of my childhood. It was something my sister suggested. We were initially going to write an original that Amina sings to Ahsan. She’s like, “Oh, it should sound like Hoobastank’s ‘The Reason.’ ” I’m like, “Wait, Hoobastank’s ‘The Reason’ is perfect. Why don’t we just try and get that song?” Because it’s nostalgic and brilliantly cheesy and it’s perfect for the rom-com storyline. So that was a no-brainer.

Oh my God, do you remember the music video for “More Than Words”? Black and white and the two of those guys with their long hair and guitar. Again, such an iconic moment growing up. That song was so phenomenal. So much of making Lady Parts is an excuse to just bring in all the music I loved growing up, and that was one of those songs that I would watch the music video for and just sing along to. Me and my siblings would sing those harmonies. So, again, it was like, “Oh, I love this song. Can I have it in my show?” It’s such a romantic song, and having Amina and Billy play that and sing that to each other was perfect for the story.

Throughout Season 1, music was a way for the members of Lady Parts to get what they really wanted, whether it was control or creative agency or freedom from self-imposed religious ideals and traditions. Would you say that it still serves the same purpose this season, or does it function slightly differently?

I hadn’t thought of that. I definitely wanted the music of Season 2 to feel like an evolution. I still think music is a way that we see the characters express themselves and express their frustration with how they feel they’re boxed in and limited. With a song like “Glass Ceiling Feeling” or “Villain Era,” it’s that traditional pop-punk sound, but what was new and different was that it was Amina leading that song, so you got to see her really enter her villain era and lead it. “Malala Made Made Me Do It,” for me, was a big move away from Season 1. I was like, “What if Lady Parts did a Western?” It was just trying to push and evolve the music from Season 1, but, in much the same way, I wanted the songs to feel organic, coming out of the storyline and the truth of the characters and grounding it in their experiences.

We wanted the songs to be fun, but we wanted them to also evolve from Season 1 in terms of style and complexity. All the songs are much more difficult to play in Season 2. The actors really upped their game because the songs are faster, they’re more intricate, there were more harmonies in them, so there was a level of difficulty that was much higher this season. But I think, in many ways, the songs operate in a similar vein of allowing the characters to express themselves through music.

[darklinaforever]

Well... People are aware that if some are not happy that Michael becomes Michaela and do not want Sophie to also become an individual of the opposite sex, therefore a man, for Benedict... well that's nothing have with homophobia ?

It's quite simply that we cared and care about these characters that are Michael Stirling and Sophie Beckett ?

Personally, I don't care if Benedict is bi. Who didn't suspect it after season 1 ? It didn't shock me at all.

But it's not because he is confirmed bi that some people should suddenly hope that Sophie becomes a man ?! For what ?! Sophie is a great female character ! And I don't want anyone to touch it ! At this point, I've been waiting for years for the Sophie in the book to meet the Benedict in the show (because I find the one in the book bland...). There is the potential for a great love story !

Look, I really understand the desire for representation, but there are other shows for that if you want !

Limit, if Bridgerton wanted queer characters, they could invent or take secondary characters for that ! Brimsley and Reynolds were excellent ! After all, they fill this show with a pretty unnecessary subplot ! They could have completely made up this type of plot which for the most part would have been much more interesting !

Moreover, Benedict could very well have had adventures with men during seasons 1 and 2 instead of always making him change female partners until making him have a threesome with another man, just before the season or he is supposed to marry a woman. No because if this is supposed to be a real arc of discovery and exploration for Benedict... well that's pretty damn botched.

It's almost like it's basically there to just confirm the suspicions about Benedict's bisexuality that have been there since the beginning of the show. There is no real discovery and really in-depth exploration. It's like it's there just to be there.

Again, it would have been much better, if the goal was really to have Benedict discover more about his sexuality, to see him explore it in previous seasons. Or simply from part 1 of season 3 and not just in part 2 ?

And obviously the people who are super happy about that (which is to their credit even if I don't think it was very well written) some want Sophie to become a man and... I clearly say no.

As much Michael we will say that I can accept it, because it makes (technically) sense since Francesca as a widow will not be obliged to marry again m, and I imagine that in this scenario she will surely succeed in having a son by John / fall pregnant shortly before he died so that she could continue to live peacefully in security and then experience her second romance with Michaela to represent the second chance in true love. On the other hand, I imagine that we will lose all this desire for motherhood that Francesca had in the book which had particularly touched me, but we will see what they will write to compensate. Until then I I really like Francesca from the show after all, so we'll see ! And then, I never deprive myself of a good romance between two women, so if it's done well I would surely appreciate it. But nothing will match Franchael's original story in my heart... They were objectively the best Bridgerton romance, as well as the best book. So it’s a real shame not to see it adapted for the screen.

But the central fact is ; Why touch on central romances for beginning ?

Once again, this has nothing to do with homophobia for the most part, but simply the fact of caring about these characters who basically come from the books.

My god, are you aware that some people who didn't want Michael to change sex or don't want the same thing to happen to Sophie are members of the queer community ?!

The thing is, I really hope Sophie doesn't get changed into a man. She is the best female character in the books for me and I don't want to lose her.

[silverystrings]

whether for good or ill

i think that there is so much tension and hatred towards house of the dragon and has been since the beginning, that hating on the writers and everyone involved has become too much. i just don’t think that sara and ryan are d&d. d&d and everyone involved in game of thrones were arrogants and misogynists and thought that they were better. i mean by the end they didn’t give a fuck that much.

but with ryan and sara, i think they aren’t those arrogants and misogynists despite the contrary beliefs. i think they geniunely enjoy the world and they tried a different approach. they are the not like the other girls. jk jk unless..

no but this particular history was difficult to do either way. we are talking about the targaryens; the incest made them mad blood purist “perception” of the audience//general/local audience. and they do start with “they are their own enemy/downfall”. so i don’t think they have forgotten that. they have “themes”. and yes they have tried to do a character arc for everyone in big and small ways. and yes hbo crossing two other episodes probably damaged this second season a lot. i mean season 1 was also like this until the last two episodes where shit it’s at its peak. and the second season probably could have ended up too in that way.

as some reactor said, it felt like in this finale everyone kind of found themselves, even more setting up to do for season three.

daemon in the finale of season 1 wasn’t really loyal to rhaenyra in the complete sense. the way he was looking at her at visenya’s funeral, the clashing in the council, the choking, the way he said “dreams didn’t make us kings, dragons did” ????????? and the scene in the second season with rhaenyra, the way she says my throne, and he throws it in her face what he thought all along, that viserys chose her because of daemon.. and then he goes to harrenhal alone, tries to be a king, gets haunted by all these “dreams” and finally understands and supports Rhaenyra fully, that she is the rightful queen, and the part they play in the greater story. we know that season 3 and potentially 4 are just deaths after deaths. and as a lot have predicted, they probably will be estranged again. but it won’t be for the throne, for the heir, for this thing that has been between them since the beginning of the show. it will be because of his daughters. (laena;have you looked after our girls)

alicent—i don’t think the writers did nothing with her. i mean they love liv and what she brings to the table and alicent. they never wouldn’t have a plan for her character. she is a character that is the only one who survives and dies the last. as i said i don’t define her character as her being a mother. in fact that’s why ryan and sara are better at bringing something different. constantly in game of thrones we have all the women or the contraversial ones like cersei or catelyn but especially cersei: have being a mother define her character. “your love for your children is the only redeeming quality. if it wasn’t for my kids i would have thrown myself off the red keep a long time ago.” there are so many scenes and quotes about cersei and her loving her children and doing everything for her children. and yes that’s great. but in the books, she wants to rule for herself because her time has come, and she doesn’t want tommen to rule or learn or anything. yes she cares deeply and is constantly concerned for their well being. but still in the show it was very exaggerated. because they loved cersei but the audience didn’t. so her one quality was her motherhood. and that’s great. but as i said sara and ryan don’t make motherhood their only quality. alicent is a child bride and she has a veeeery complicated relationship with her kids. and her crowning aegon is definitely moreso because her and otto truly believed in keeping the peace of the realm. having a female heir, war was gonna follow. so that’s why alicent did it. yes the viserys part it’s oopsies but i mean dreams and tragedy are a targaryen thing and not far fetched. so she did that. and she completely lost. and by the end she sees that this isn’t “right” and wanting war to end. she is at last herself. she did what she was supposed to do, the mission of her life, and now she is free. i am so curious to how her arc is gonna go from now. is she gonna go and meet up with daeron? maybe she will try to put him on the throne when the people turn against rhaenyra and she thinks he is the best of them?!?! i know people think her story was over in s1. i think those are very misogynistic fans. alicent isn’t a villain and it’s not gonna be one. the writers have said this since the beginning. and i for one love that. she is the most normal character in the whole show. i said what i said. otto for making her be a child bride was the worst. the targaryens and rhaenyra and daemon were always gonna be a problem for her. and she making male heirs was always gonna be a problem for them. she is free. is she gonna be like arya? idk.

rhaenyra— ooof. i think this season was her finally getting assurance that she is the “chosen” one for the prophecy and that she is the heir, not because viserys spurns daemon. and i think as daemon finally understands the dreams importance, rhaenyra also understands the dragons’s importance. i mean they completely turn the tide for her in this season. and i know how much criticized rhaenyra’s and alicent’s relationship is. but alicent coming to her at last and essentially confirming and wanting her to take the throne it’s like the last thing to come full circle. her father truly believed on her and not because of daemon, daemon finally accepts that she is the heir too and is firmly done with the “pursuit” of it. and alicent, her best friend, the mother of viserys’s other kids, her enemy, her best friend, finally “supports her”. it was a rollercoaster it’s true. but she came on top. and i think now she will not be stoping herself in blooding her hands or doing necessary things for keeping herself on that throne. i think others have done thinkpieces on how she was like sacrificing the people to claim the dragons. all those scenes. and how she will truly believe that she is that one for the prophecy and will do anything now. i think dragons dying is gonna be her weakness just as how she started to feeling powerful with the dragons. i have seen theories of fisherman lucerys. and this is exactly the type of thing that sara and ryan could do. we won’t even know what started the war in the first place. luke dying is sad, but not defining. i know it sounds crazy. but even if he died or not, the war was always gonna get ugly.

i think these are the big characters of the show. and others are all also in personal journeys. rhaena finally having a dragon and being “useful”, criston accepting his faults (i mean alicent’s brother questioned him in front of everyone, pissing in his honour as a knight, the thing he was obsessed with, almost killed himself over, killed joffrey over, is now accepting his faults and accepting his death, he fought in wars before but wanted something more for his name, and he lost all of it to the dragons. he is defeated in every sense. his only arc is fighting as he was before the kingsguard. we have helaena who again isn’t defined only by a tragedy as sick as b&cheese. she still touches jahaera after. she is a dragon dreamer. and i don’t want her to just kill herself because of sadness. i know that we criticize the show for the grief and how quickly it’s over. i do agree too. but again i m not gonna define them by it. helaena speaking to daemon and aemond knowing how their fates are intertwined or rather their deaths. why did they do this? i guess helaena never being heard for her dreams and she now herself reaches out at the end to speak her “wisdom” and is actually listened and believed by both of them. it’s some sort of progress. but doesn’t she see herself is the question? possibly the same day too?!? hmm. aegon and aemond. i think everyone has said a lot abt them. tragedy is always gonna be present in this show. shakespearean tragedy. and also everyone is grey. we see the tragedy of both of them bc they never were suited for the throne. and that power.. absolute power as otto says.. especially in this family period and in this war.. it was gonna be poisonous..

idk i get all the complaints.. but as i said i could never treat them as d&d. especially for the female characters. they are actual characters. and yes i was mad too, at the “women peace and men bad bc war”.. but that is present in the book too. it’s the women who bind the wounds. and i did want to see mother playing this game for her son, rhaenyra wanting the throne for herself and being vengeful. and i think we will see that. but in different ways. not in obvious ways, in caricature like ways. and men did want war and were thirsting for war. so much peace that the last “war” was with maegor. so everyone jumped at the chance to write songs for them without knowing the cost of war especially with dragons. this isn’t a theme only in hotd but in asoiaf too.

i think they and the adaptation has flaws.. but i can’t call all of it shit or soulless. it was always gonna be a hard story to do. especially in the pov of the targaryens. they are their own downfall and so are the dragons. that’s how it’s gonna end hotd and same with every adaptation.

i m almost excited for a knight of the seven kingdoms, but man not for aegon the conqueror one. i genuinely think we don’t need it. and everything post dance is so much more interesting so i won’t be mad at those adaptations. but again grrm is never finishing those books. and so sometimes the question does arise of what’s even the point of these adaptations. i guess we just can enjoy them but even that is a crime. however picking the story where all the dragons die isn’t a bad idea for a show. especially with the events of asoiaf and game of thrones. it’s just that the “heroes” are not obviously targaryens and so it’s kind of hard and depressive to enjoy them. idk idk idk and just thinking abt the years its gonna take to make these other seasons it’s insane. insane for the fandoms and not normal people obviously 😭

[imangel4u]

Jiara Pregnancy Season 5 (Rumors, Interviews, Theories)

Could Kiara Be Pregnant in Outer Banks Season 5?

As Outer Banks fans eagerly anticipate the fifth and final season, one theory has gained traction: Could Kiara be pregnant? While it may seem like a far-fetched plot twist, a closer look at the narrative and character developments throughout the show reveals several subtle hints that could suggest this storyline. In this think piece, we’ll explore the reasons why a potential pregnancy for Kiara might not be as unlikely as it seems.

1. The Emotional Connection Between Kiara and JJ (Pre-Death)

One of the most significant developments in Outer Banks Season 4 is the deepening bond between JJ and Kiara, culminating in their intimate moment in the hyperbaric chamber. Their relationship has always been a fan-favorite, but the intensity of this scene cannot be overlooked. As fans noticed, the pair were sweaty and emotionally charged, which, along with other physical cues, implied that something more than just a kiss occurred .

This scene marked a turning point in their relationship, and with their growing emotional closeness, it’s reasonable to speculate that their connection could have lasting consequences. A pregnancy would not only serve as a dramatic turn in their story but would also deepen the stakes for both characters, particularly following the emotional weight of JJ’s eventual death . The possibility of Kiara carrying JJ’s child could represent a bittersweet legacy and a continuation of his spirit.

2. Kiara’s Parents’ Warning in Season 2

In an earlier season, Kiara’s parents expressed concern about her association with the Pogues, warning her that she could end up pregnant by one of them. This line, although delivered in a judgmental manner, has taken on new significance as Kiara’s relationship with JJ has evolved. Fans have revisited this moment as a subtle hint, suggesting that the writers may have planted the seed for this storyline well in advance .

If Kiara were to find out she’s pregnant, it would not only bring this warning full circle but would also offer an opportunity to explore her relationship with her parents in a more profound way. The pregnancy could lead to tension with them, adding to Kiara’s internal conflict between her loyalties to the Pogues and the expectations placed on her by her family.

3. The Impact of JJ’s Death

The death of JJ in the Season 4 finale could serve as a catalyst for a number of emotional arcs in Season 5. Fans have speculated that Kiara’s potential pregnancy could be a way for the writers to honor JJ’s legacy, providing a sense of continuity even after his tragic end. A child would serve as a poignant reminder of their bond and the love they shared in their final moments. It would also give the Pogues an emotional anchor as they navigate the challenges of the final season .

4. The Pregnancy Theory vs. Sarah’s Pregnancy

Another factor complicating the potential for Kiara’s pregnancy storyline is the confirmation of Sarah’s pregnancy in Season 5. This development could make the writers cautious about introducing another pregnancy arc, as it might feel repetitive. However, if handled differently, Kiara’s pregnancy could still stand apart. While Sarah’s storyline might focus on the joy and challenges of motherhood, Kiara’s pregnancy could explore themes of grief, legacy, and survival—giving her character a unique narrative that contrasts with Sarah’s .

5. Fan Speculation and Thematic Depth

The theory of Kiara being pregnant has sparked a significant amount of fan speculation, with many viewers revisiting key moments from previous seasons, particularly Season 4, where JJ and Kiara’s connection was front and center. The idea of Kiara potentially being pregnant fits well within the show’s larger thematic exploration of family, loss, and coming-of-age struggles. It would provide another layer of emotional depth to an already complex character, forcing Kiara to reconcile her adventurous spirit with the responsibilities of parenthood.

Conclusion

While there is no official confirmation that Kiara will be pregnant in Outer Banks Season 5, the theory remains compelling for several reasons. The growing bond between JJ and Kiara, combined with the hints dropped in earlier seasons and the potential for emotional conflict, makes the possibility of a pregnancy plausible. With Season 5 set to explore deeper emotional arcs, Kiara’s potential pregnancy could be a way for the writers to highlight themes of legacy, love, and loss, while adding an additional layer of drama to the final season.

As we await more details, it’s clear that the theory resonates with many fans, and whether it comes to fruition or not, it speaks to the enduring investment viewers have in Kiara’s journey—and the fate of the Pogues.

[ride-thedragon]

HOTD CHARACTERS AS ALBUMS:

Alicent Hightower as 30 by Adele.

Now that we are finally here, and I'm starting with my faves.

What is 30 by Adele?

It's her latest album that covers the topic of her divorce and the challenges she faces in the wake of it with the idea of motherhood impacting her decisions and thoughts around this time. Her signature ballads and intertwining of genres are apparent, but the story she invokes is that of trials and a time of change in her life.

So Alicent?

Yes. It's the album I think best fits her arc in season one and prepares for the rest. Let's go through this song by song. But also go listen to the album and think of her because at the end of the day. This is my interpretation.

30 x Alicent.

Strangers By Nature

Now, this first song is the introduction to the album. She's apologising to Lovers from the past, the present, and the ones in the dark. Taking back anything done wrong against them and saying that by the end, they were all strangers by nature to her.

If we are talking about Alicent I think that's were season 1 leaves her. So much is being uncovered about her and her character especially outside of Viserys in Episode 9 I think it's a good song within that context.

No one really knows her now, fully to her entire extent. How she loves, what she does to ensure she's kept aware of situations, what she stillnholds on to is kept guarded and compartmentalised for certain things.

Easy on Me.

This was the biggest hit off the album. It's a song about a dissolving marriage, a song dedicated to her child and childhood, and overall, it is very Alicent.

I think it applies well as a reflection of who she had been. Trying to balance her love for Rhaenyra and her duty to her father and Viserys. The betrayal and anger and disagreements she found herself in.

Say what you will but as the bridge of the song puts it,

"I had good intentions

And the highest hopes

But I know right now

It probably doesn't even show."

If that isn't her, what is?

My Little Love

Now I find Adele just extremely Alicent coded, but the reason I chose this album instead of 21 or 25, for example, is because this album was dedicated to her child.

I refuse to explain this one. Go think of these gay lovers and cry your heart out because it hurts.

But also, it's a song of her explaining everything up until her divorce to her son. Kind of reckoning with the failure she feels and how stuck and stranding it all is.

For Alicent, I think it's the same. By the end, she's reconciling her past with her future. Trying to appease her want for Aegon to be crowned with her love for Rhaenyra and to an extent Viserys. She's also around all her children in episode 9, which is interesting when thinking about the song.

Cry Your Heart Out

Hello, season 2 Alicent. I genuinely think this is the direction it is going to go in because its just tragedy after tragedy for them. Especially when we see her under water and near water so much, baby girl, cry your heart out, it'll clean your face.

Oh My God

Alicole girls. Hi.

This is entirely Criston and Alicent coded for whatever they have going on.

I'm having a hard time doing this because I want you guys to go listen to it. But basically, the song is about this guy who she's with during this time who's her place of refuge with all he conflicting narratives and lies around her.

Also religion.

Can I Get It?

Otto fans, Rhaenyra fans, Alicent fans, and fans of her children. You get to decide who this is about. It's about wanting to be someone's after everything you've done for them, everything you've been through to be at their side. Counting for someone to put you back together after everything is...

I Drink Wine

Hey alcoholism. Genuinely, this is thee Rhaenicent song of the Album. How can someone become so bounded by the choices somebody else makes? And it just goes down from there.

All Night Parking Interlude

I'm going to say Criston. I think they genuinely found a sense of home together.

Woman Like Me:

Hello episode 1 to 10 Rhaenicent. Hello, Viserys Targaryen. It's basically her saying, "How dare you?" Do you know who I am? What is expected? And slaying.

Hold On

Episode 8 Alicent Hightower, the woman you are.

To Be Loved

Season 2 Alicent. "I will choose to lose it's a sacrifice" and "you have no idea the sacrifices made to put you on that throne." That arc is going to play out so well. I'm geeked. An ode to her conversation with Rhaenys as well.

Love is a Game

The effect of Otto Hightower on women recorded by Adele.

Wild, Wild West

Now, this is such a random part of the album, but I do think it's a part of the charm. Unlike Larys Strong, who I hope burns in hell. Anyways, because big pivotal moments happen to her in different places, let's say rats what this is.

Can't be Together

Rhaenyra and Alicent, the tragedy you are. I'm so sorry I wasn't it westeros to save you from this.

Conclusion

Listen to the album Alicent folk. Listen and see if it's your pick. It's certainly mine.

Next up is her counterpart, Rhaenyra.

[calliecopper]

Unpopular Shameless (U.S) opinions because I can't get them out of my head

Karen is one of the most overhated characters in the show. Hating Karen for Daddyzgirl but not hating Sheila for her sexual assult of Frank in s1e2 is hypocritical. Especially since that's likely where Karen learned that type of behavior from. Also, many of the other reasons people hate Karen can be pretty easily explained or understood, just like most flaws or bad decisions made by every other character in the show can be explained; for some reason people do not want to extend the same grace to Karen as they do other characters. I think a large part of this is due to the fact that characters used for comedic relief seem to generally be better liked by the fandom, and Karen is not often used as such.

On that note, Sheila had no right to take Hymie at the end of s2. Karen decided to give Hymie up for adoption specifically after the event wherein Sheila got drunk and crashed her babyshower, which ended in literal gunshots being fired. In s3 it's established that Karen called the Wong family because she believes Sheila to be unfit to care for him. While her motivations were likely also selfish, I have no doubt that Karen's personal experiences dealing with Sheila and her lackluster parenting led to her trying to keep Hymie away from Sheila. It's no coincidence in my mind that Karen's personality and her approach to motherhood changed drastically after the babyshower. So, Sheila's decision to take Hymie for herself was not only disrespectful to Karen, but it also pushed Karen to leave home underage and get herself into dangerous situations (which is kinda similar to Ian from s4, huh?)

Debbie is also severely overhated by fandom. I won't argue much for later seasons because I think all the characters suffered a large decline in their writing quality, but regardless, people hate Debbie in seasons 4-6 for reasons that I, again, don't really think are completely valid. I actually think Debbie's most interesting storylines occur in seasons 4-8/9, and I think that her poor decisions earn her a disproportionate amount of hate. I've seen some calling her the worst character on Shameless, and while she can be kinda annoying, I think her storyline honestly makes sense, and her journey into motherhood with Franny is really interesting to look at when you look at her own relationship with Monica.

Speaking of Monica; this is less of an opinion and more of an idea I've had before, but I think it would've been really interesting if we had seen a lot more of Monica. Specifically, I think it would've been cool to see Frank actually die in s4, and then spend s5-7 with Monica instead. Maybe see her popping in and leaving at more frequent intervals and explore more of her relationships with each of the individual kids, as well as seeing more of her antics and schemes instead of Frank's. I wanna know what she gets up to when she's away from home, just like we get to see what Frank gets up to. I think it would've been cool to primarily explore Frank's relationship and impact on the kids in the first part of the series, then Monica's, then after her death really explore the kids on their own without the active influences of their parents. Like Fiona said at the end of s4, the whole idea of "It's not Frank, not Monica, it's me."

Really really unpopular opinion here. Kev and V should've gotten a divorce. I really love them in the early seasons, but seeing them in s5 kinda made me think they weren't good together. I think having an arc of martial struggles and showing them working through it would've been really cool, but I don't really feel like they ever worked through their issues? It feels like the conversations V should've been having with Kev about how she's having trouble connecting with the kids were conversations she was actually having with Svetlana. I think they were shown to always have communication issues, and s5 could've shown growth there in their relationship, but all that happened was that they included a third into their relationship, whom they both eventually started treating very badly, and they fucked their feelings out. I don't feel like they ever reached a good space together. I honestly think an arc of divorce and learning to co-parent would've been best for them. Especially since showing the love in a relationship before and even during a divorce, and how much it really does hurt, would've been very realistic. Sometimes you really do love somebody and sometimes it just doesn't work.

Frank was a worse parent than Monica. People get this idea that Monica ruined Frank, and that he could've been a good father had he not met Monica. I'll say that the logic there isn't logic-ing when Sammy and Queenie are right there. Frank was fucked up before Monica. Even so, Frank was an infinitely worse parent than Monica. There's the mentality of "well at least he was here" but he really wasn't there. When he was he was actively mooching off of his children and bringing danger back into the home. He canonically goes on months long benders. He only returns home when his alternative living situations end up crashing and burning. He uses physical force against his children. Monica ran out on them. She took the squirrel fund money (which Frank did too) and spent it all. In her attempt to be a fun mother she made life actively harder for the kids. She was by no means a perfect mother, but never do I believe that she had malicious intent or a desire to actively harm her children. She's not a good parent, but the idea that she was the worse one pisses me off so bad. This idea that "Frank could've been a good parent" actually applies more to Monica. If she hadn't met Frank and had gotten the help she needed, she could've been a good mother.

I like Sammi in s4 and think she's is a good and interesting character. I don't really like what they did with her in s5, but I do think her calling the MPs on Ian was an interesting plot point. If they'd made an effort to make Sammi likeable in s5 instead of painting her as a psychotic bitch, I think it would've provided more nuance to the end of s5. Especially since, similar to the "Mandy hitting Karen with a car" incident is praised, Mickey almost killing Sammi is seen as a "deserved" moment simply because Sammi was an annoying character. The punishment absolutely does not fit the crime, and while it was accidental, Mickey did fully intend on torturing Sammi and he deserved to go to prison for it. The women of this show really are hated more than they deserve to be, but I blame the decline in writing quality for some of that. Not all of it though.

Ian and Mickey breaking up in s5 was the healthiest thing for them at that point in time. There's mixed opinions on why Ian broke up with Mickey, but I've always been under the impression that Ian didn't want to burden Mickey. Based off his s10 hesitancy to get married, the whole idea of "how do you know you want to be with me, I'm bipolar" suggests to me that Ian was struggling with those feelings immediately post diagnosis, and thus went about a slightly self-destructive route of leaving Mickey before he either got left or ruined them both. I don't think Ian was really correct in that thinking, but I do think that he needed to do some growing outside of a relationship for awhile. I think Mickey also needed to grow a bit. I don't really like how their relationship is handled s7-11, but I think them breaking up and coming back together in a healthier way was the best move for them to avoid ruining each other.

That's all for now maybe I'll add more later but yeah. I love pretty much every character on this show; the whole point is that they're morally gray.

[pynkhues]

Hi! I just read an extremely popular Brio fic and it was wonderfully well written but I found I kept losing interest. I realized it’s bc while Rio felt somewhat authentic for the AU, Beth seemed like a completely different character. There wasn’t really much background information on her so the changes didn’t really make sense to me, even in an AU setting.

How do you approach AU settings to make sure the characters feel connected to the originals? Like in your pornstars AU I can still see Beth in there, even if it’s not something I would have ever expected of her! So I’m curious as to how you approach that.

Also why do you think this seems to happen more to Beth versus Rio? Are people just projecting themselves onto her you think? Idk I just feel like she has such a strong personality that I’m curious why I seem to feel that way in some fics.

Anyways, love your work 🩷🩷🩷

Hi! Thanks for your lovely words, although I'm sorry for your experience with that other fic. It can be such a bummer when we're overall enjoying a story - whether fic, or books, or shows - but for whatever reason it's just not quite landing. I know the feeling pretty well, haha.

For me, I find that capturing a character in all writing is basically about distilling two things:

What they want

What they need

These two factors in so many ways embody the main narrative arc of a story. In fact, many author talks I've been to suggest that plot in its entirety is a matter of asking three questions - what does a character want? What's standing in their way stopping them from getting what they want? And how will they overcome this obstacle? I don't entirely agree with this, and it's not a method of plotting that I personally subscribe to these days (although I have used it in the past and still sometimes find it helpful when I'm stuck), but I do think it can be useful to think about in terms of the role character motivation contributes to story overall.

More to the point though, I find dividing a character's wants and needs to be super useful, both in terms of analysis and writing, as to me, it's those wants and needs that really feed into everything when it comes to characterisation.

Beth's actually a great example of this as her want vs need are both complimentary and frequently in conflict with each other:

What Beth wants is to earn enough to save her house, provide for her children and get herself, her sister and her best friend to a point of financial security that doesn't leave them in a state of constant free fall.

What Beth needs is to feel real self worth, to connect with the woman inside of herself beyond wifehood, motherhood and even sisterhood, and to be seen and acknowledged as that woman by people she respects (i.e. Rio, but not just him). She needs to be seen as capable, and to feel autonomous and in control of her future.

Both of these wants and needs have greater implications when filling in the details of a character. In Beth's case, her adultification as a child in raising her sister feeds her lack of identity as an adult at the start of the series and her need to find herself (she's been raising children her whole life!), Dean's cheating compounds those feelings of self-worth, and him losing the family house is what becomes the catalyst for Beth to act. Her wants are created due to the situation Dean forces her into, her needs have been there for a lot longer than that.

When writing fic in general, but especially AUs, I try not to change the wants or needs of the characters. Like I said, I tend to view them as pretty crucial to the character overall, but I also think those wants and needs are what makes me feel connected to them as opposed to other characters or other shows. Those are the things I like! Why would I want to change them?

And anyway, I tend to find it super fun figuring out how those wants and needs might guide characters in a different setting. In both the porn star AU and the pirate AU, I really wanted to use the time period, the industry and the context of those story worlds to see how Beth might navigate her needs and wants, and to see how those factors might influence the shape of her story arc. It was pretty interesting to realise that I didn't think much changed, even in the pirate AU which is set so far in the past. I hope that means I understand her as a character, or at least, I guess, my interpretation of her, haha.

As for other writers - - yeah! I mean, in some ways I do think Rio's probably easier to write because his own wants and needs are more ambiguous on the show and he's therefore a little more malleable in fic. A lot about him can be true when we ultimately saw so little of him, whereas Beth, as you said, has such a strong personality and defined character that to change elements of her voice or her background, or to make certain decisions for her, can leave us with the age old feeling of: 'she wouldn't do / say that'.

I do think that, especially by the end of the series, there was a not insignificant portion of the fandom who didn't like her so ultimately wrote her differently (I personally had issues with the fact that so many people wrote Rio as punishing and Beth as both taking and deserving that punishment, which is why some high profile fics in the fandom aren't of particular interest to me), but I think there are other factors as well.

Yes, some projection, yes, some who mostly wrote her to be able to write about Rio, yes, some who were simply disinterested in her interiority, but I also think GG was a lot of people's first fandom, and a lot of people's first time writing fic, and that ultimately, Beth was a complicated character who only got more complicated over the four seasons of the show. She's not easy to write, and I do think the fandom was chockfull of talented writers, but a lot of talented writers who were still ultimately pretty new to writing.

I've been writing for a long time (man, I think I worked out that I posted my first fic when I was about 13 which was like, twenty years ago now, haha, and I had my first short story published in a journal at 19 too), and ultimately writing is a skill like anything else - you get better the longer you do it. :-)