#and I figured out the full message of that episode truly was ‘the power of love; always so strong’

[that-one-fandom-girl]

Y’all ever think about how Ladybug didn’t really wait for proof of how the Dark Cupid arrows work and how they can be neutralized, such as seeing someone getting saved from the effects or trying other things on black-lipstick-Chat first, and instead just went off of a random lesson from that day’s schoolwork, like, “hey wait, ‘true love conquers hate’? Hmm, then Imma kiss Cat Noir”, so much so that she chased him, lassoed him to a light pole, and then just absolutely pulled that boi in and gave him the longest smooch she could? All while smiling? With no qualms or realizing that she just admitted that she loved Cat Noir?

And that Cat Noir still looked surprised, and then like he was seriously enjoying the kiss even though he was affected by the akumatized villain, because no matter how affected he is/was, he truly loves Ladybug so much that his love for her is stronger than Hawkmoth’s the villain’s power of hatred?

[minnaci]

okay. whipped out my laptop again for apology tour. same disclaimers apply: i'm not a hellaverse blog (or, if i am, i'm very much in denial about it), i enjoy the show and the characters, and my opinions are informed by my personal lived experiences. apology tour spoilers ahead.

i've done a lot of scrolling through comments and posts since watching apology tour and, while many good points were made, i'm not sure that any of them sufficiently sum up how conflicted i feel about this episode. i'll try to hopefully stumble my way into a coherent analysis.

full warning, it will be blitz-centric, but there is enough nuance in my heart to be sympathetic to stolas, too. both of them fucked up! i just happen to identify more strongly with blitz.

tldr: the showrunners said it best. stolas is not quite as self-aware as he should be, and blitz... is blitz. cw for spoilers and discussions of american racism (particularly antiblackness) and classism.

this crux of the issue in apology tour continues to be miscommunication, which is heavily influenced by 1. both blitz's and stolas's pasts and 2. the sociopolitical context in which they operate.

1 . STOLAS

stolas was a victim of emotional neglect in his childhood, and then a victim of his emotionally abusive wife in his adulthood. he, as he so aptly implies in apology tour, has never truly felt wanted beyond what he could provide to his family. one of the only times we have ever seen stolas happy was at the circus as a child, where he developed a fleeting, parasocial admiration for blitz.

in this way, stolas is painfully, achingly relatable. while he grew up in a disgusting amount of material wealth, he has been deprived of the one thing you cannot buy with money: unconditional love. he yearns for the type of romance he reads about, the type of passionate desire that he watches in his telenovelas, and when blitz comes along— the one, shining memory in stolas's otherwise dull childhood— stolas falls into the fantasy.

and that's exactly what it is. in the beginning, stolas doesn't really want blitz. he wants what blitz represents— a charming, seductive figure to ravish him, to hold him close, to show him that he is desirable and make him feel wanted. it's a fantasy at the price of the key to stolas's job— a fantasy that is, from an outsider's perspective, easily explained by racial fetishization. more on this later.

to stolas, it's a small price to pay. the grimoire, a token piece of power to the goetias, in exchange for the one thing that stolas has always wanted? sign stolas up! stolas has never had to worry about his livelihood, nor his safety— not in any way that matters. not in any way that blitz would have had to.

stolas is ignorant. he is naive and unaware of how the world works. this remains true when he falls for blitz, when he plans to "set them free" (a la "when i see him"), even after he confesses and his fairy-tale fantasies come crashing down around him. he is not in a place where he can comprehend the effects of class on his relationships because it is not something he has ever had to consider before.

all that said, none of that invalidates the way that stolas feels when blitz explodes at him in full moon. stolas setting his boundaries at the beginning of apology tour ("i feel uncomfortable when you talk to me that way") is valid. it's actually an example of communication gone right in this episode, in that stolas explicitly communicates how blitz's actions make him feel.

his resultant upset when blitz keeps pushing him and antagonizing him is similarly valid. his decision to go to verosika's party is valid. my main point here is: while i don't particularly enjoy stolas's actions in full moon or even in apology tour, i can empathize with wanting to be wanted by someone so badly that it basically ruins your life.

again, stolas is ignorant. he lacks self awareness. he is emotionally immature and lacks empathy. but the message here isn't "rich people can't feel heartbreak", at least for me. the message is "even though he is hurt, stolas needs to understand that his actions have consequences, and that blitz experiences relationships (and the world) in a fundamentally different way than stolas as a product of the differences in socioeconomic contexts in which they were raised."

2. BLITZ

oh, blitz. where to start? this is where i admit that there are a lot of similarities between the way blitz and i grew up, and a lot of similarities in the ways that we view relationships now (read: i may project a bit. apologies in advance).

from when he was young, blitz has learned that the only successful type of love is love that is transactional. he loved his mother, and she died in a fire he started. he loved fizz and barbie, and he ruined their lives. the only "successful" love he has experienced is love where he provides something (read: gets "used") and receives something in return. so, unless he can provide something of value to his partner, blitz prefers to keep it casual. in blitz's mind, people don't care about blitz, and people shouldn't care about blitz. loving blitz has always been a recipe for disaster, because in his perspective, if he can't provide something to his lover that offsets the destruction that he causes, then he's not worth it.

it's normal for blitz to feel used. it's normal for blitz to feel less-than, or unwanted, or unloved, and it hurts blitz less to believe that. sex is fun. he can "do sex", and he can do sex good, and maybe to him, that's all that he can do good. he certainly can't hold down a relationship. his employees only care about him because he provides a stable source of income. his daughter only cares about him because he gives her shelter. it's normal. blitz feeling hated is normal, and the normalcy brings him so much comfort that he purposefully pushes people away to maintain that awful, vicious cycle of a status quo. it's a self-fulfulling prophecy.

blitz's approach to stolas in the beginning of apology tour is his desperate bid to return to normal. stolas being so short and angry with him is almost comforting— blitz knows how anger feels. he knows how hate feels. stolas is just another person who finally, finally realized what blitz knew all along— love is something that isn't possible for blitz, because he always fucks it up (at least in his perspective). and if stolas lets blitz fuck him, lets blitz provide this service to him, then maybe, blitz can "earn his way to earth" (read: "earn" stolas's affection back). affection, to blitz, is something for him to work tirelessly and endlessly to receive— a sisyphean affair. he is not ever intended to actually receive it.

stolas doesn't recognize this. stolas doesn't even try. but in stolas's defense, blitz doesn't exactly make it easy. i may empathize with blitz, but i think i would also be a little less prone to empathy if the object of my affections mocked my feelings by brushing them off in favor of sex and then screaming "GAY" in my face when i refused.

the rest of blitz's apology tour is borne out of pettiness towards stolas, because in his eyes, stolas is the one who wronged him. stolas was the one who accepted the rules of engagement with blitz (i.e., a transactional relationship: the grimoire for a bit of fun, kinky sex). stolas is the one who has all the power. stolas is the one who can choose to ruin blitz. stolas is the one who ruined the good thing they had going.

except... blitz doesn't really believe that. deep down, subconsciously, blitz knows he loves stolas, and by being in love, he's done to stolas what he did to his mother, to fizz, to barbie: ruined his life. maybe, if blitz could seduce stolas and make their relationship transactional again, he could correct their course and save stolas the pain of believing that blitz is deserving of love. it's a trolley problem: pull the lever, and blitz is the only one who gets hurt. let the trolley continue, and stolas will inevitably get caught in the crossfire of loving blitz.

blitz can handle a little pain. he handled it when his mother died. he handled it when fizz hated him. he handled it when barbie left him. he handles it over and over again, being used as tool for sexual pleasure or physical violence. he earns his pain, just as he feels he must "earn" the grimoire. just as he feels he must "earn" the little tokens of stolas's affection.

as an aside: the grimoire is more than a symbol of blitz's livelihood. it's a physical representation of the stark difference in class between blitz and stolas, as well as a representation of the transactional nature of all of blitz's relationships, not just the one between him and stolas. it is one magical book among thousands that the goetias own— a veritable drop in the bucket of the immense power, wealth, and influence that the goetias, and by extension, stolas, wield. that same book which is inconsequential to stolas and the goetias is everything to blitz. without the grimoire, he loses his job and everything that comes with it, including (in blitz's transactional view of relationships) millie, moxxie, and even loona's companionship. but i digress.

it's been said before that there is nobody who belongs at the blitz hate party more than blitz himself, and it's true— there is nobody in hell who could hate blitz more than he hates himself. because as much as he might present himself as a little dumb, he's anything but. he knows what he's doing will destroy him. he knows if he continues to do what he's doing, he'll "die alone", which, in some ways, is what he fears more than anything. he even tells verosika that he "doesn't want to be like this forever", but he can't seem to stop himself. he doesn't know how to stop himself.

after all, he's right. everyone hates him. it's evident in the party they've thrown for him. and the worst part thing is: it's his fault, and he knows it. he knows he's hurt all of these people, and even though he plays at callousness, he can't quite hide his hurt that stolas in particular won't hear him out. he can't hide his hurt that stolas can't seem to understand where blitz is coming from. because blitz does try to talk to stolas in apology tour. he tries to tell stolas what he's feeling, and how he regrets how he's spoken to stolas, but stolas is too drunk and too upset to care (which, btw, not blaming stolas for that. if i were a drinker, i'd be right there beside him).

stolas, in this moment, focuses entirely on himself and the pain that blitz put him through (again, not blaming stolas for that), but it tells blitz that stolas really, really does not care about him anymore, if he ever did. and wasn't that what blitz wanted? isn't that what blitz deserves? so it's easy to let a bigger, taller, more handsome, more suave imp sweep stolas off his feet and out of blitz's life. the imp is, by his t-shirt's estimation, "better than blitzo", after all. and don't they say that to love someone is to let them go?

verosika's advice to blitz only cements this. stolas is moving on. stolas deserves better. and blitz? all blitz deserves is to be used, so can he really be mad that some better imp is giving stolas what blitz never could? and again, blitz has dealt with the people he loves hating him before. his father sold him for $5. his best friend hated him for years. his sister still does. at least with stolas, he got the asmodean crystal out of it, and he won't lose the only semblance of companionship he has left.

3 - SOCIOECONOMIC CONTEXT

i saw a post that said that fans are focusing too much on the class difference between stolas and blitz, and i couldn't disagree more. in fact, i'd say that we are not focusing enough on the class difference between stolas and blitz.

all of stolas's ignorance is magnified tenfold by his lack of understanding of how their class and race difference colors their relationship. all of blitz's self-hatred and self-worth issues are exacerbated one-hundredfold by these same class and race differences.

classism and racism go hand in hand, especially in america. in helluva boss (and especially in the beginning of the stolitz dynamic), there is an implication of racial fetishization. blitz, the "lower-class" poor imp, fulfills stolas (an "upper-class" wealthy elite)'s fantasies of being "ravaged" and "taken" in his own home. stolas canonically enjoys the rough treatment, enjoys the taboo feeling of having blitz fuck him. it's very evocative of how some white american women fetishize and fantasize about black men— a fetish that has its roots in white supremacy (and especially the enslavement and ongoing oppression of black people in america.)

that said, in the context of helluva boss, it is very clear that blitz is aware of his socioeconomic standing the implications thereof— more aware than even stolas, who has ostensibly been educated on the social and economic nuances of the realm he helps to rule. he tries to tell stolas about how this difference in class affects him and amplifies his already awful self-worth ("you're a prince. it's hard to believe you would want me. that anyone would want me"), but stolas is incapable of hearing him.

all this to say, blitz is not solely to blame for their current relationship. that isn't to say that blitz is blameless. in fact, blitz isn't the most emotionally mature either— most of what i have written about him are things that i doubt he consciously realizes about himself. but stolas's ignorance and lack of willingness to consider where blitz is coming from, both emotionally and socioeconomically, make up a huge part of why stolitz continues to miscommunicate.

anyways. yeah. viv was right. things sure did happen.

[atiny-for-life]

Xikers Full Storyline Explained - BONUS 3: Namoo & the 'Bittersweet' Preview

Masterlist

HOUSE OF TRICKY : WATCH OUT

Prior to the release of Witch, an animated short titled 'Watch Out' was released which had the energy of a 1950's PSA from the US and gave us a huge amount of information regarding the type of world Xikers are living in:

In it, a voice asks if you're lost in life due to all these choices life has to offer because, boy howdy, does she have the perfect solution for you!

Namoo is a company which has figured out how to rid your life of all these pesky choices by scanning your DNA and determining which career path is best suited for you based on your skill set

That is right, their AI "Good Brother" is trained to scan your DNA to find the Coordinates (genes) which will lay out the Road to your perfect life

Simply follow the path chosen by your Coordinates and you'll lead the perfect life without worries or wandering

Now it's your turn! Check your Coordinates through the Coordinate Ball! A perfect life aligned with your Coordinates awaits you!

'Bittersweet' Preview

Following the release of the PSA, another video was released in line with its premise which shows us exactly how Xikers feel about Namoo and what they've done to the people of their world:

We open on the Namoo headquarters which we've already seen animated in the PSA and zoom in through one of the highest floors to see what's going on inside

Inside it's giving Doom 3 Delta Labs - metal walls, metal floor, metal doors, weak overheard neon lights

Once we exit through the door at the back, we get to the main section where the Coordinate Balls are manufactured and getting prepared for transport to their receivers

We focus on one Ball specifically with the label "Athletic Road" which follows another labeled "Artistic Road" before one carrying the words "Medical Road" heads toward us

The last one seems to have been meant for Minjae whom we now get to see surrounded by his members in a factory warehouse

He seems to know the Coordinate Ball is about to appear to him (perhaps there's a certain feeling to it) and raises his hand, leading everyone to look at him with great indifference

It's obvious already: they don't care for this system at all

Using his powers, given to him by TRICKY, he melts the Ball before it could even fully form, clearly not one to even give a passing thought to whatever life this company wants him to lead

Following this opening, the song begins to play and we get to see flashes of everyone's faces before they begin their performance (it's such a sick af song, by the way, lowkey my favorite on the album - I love the Halloween-y vibes)

From here, we keep getting glimpses of the members in scary situations where they're clearly being threatened or scared by their environment which falls in line with the type of content they released prior to the album's release (think TRICKY HOUSE episode 49 and 50)

Throughout these sequences, we also get to see Sumin as he's being chased what might be a government drone of some kind, given how it's filming and scanning him before it begins chasing him

They truly are following in their older brothers' footsteps by rebelling against an oppressive government - I love a message of rebellion in these shitty times of corporate greed and exploitation - it's time to unionize and vote, my friends

There's also a really cool moment in the choreo where we get to see Yechan activate his powers momentarily which are giving Tokyo Ghoul as spikes shoot from his back before they crumble and fall off

Following Yechan's rap verse, we switch to the melodic "You should better run, you should better run..." as we see news footage of birds flying overhead, followed by a crumbling building which may be indicative of the state their world is in - it's in disrepair, it's collapsing

Ending this section is Hyunwoo who's leaning onto Jinsik's shoulder in the red-lit freaky space Yechan was trapped in earlier where hands are pushing against the walls

This is showing us the past

Jinsik was following his laid out Road set for him by the Coordinate Ball which left him a mindless drone and Hyunwoo then pulled him out of it by telling him there is more to life (though what the lyrics say is "Oh, you might get trapped by playful whispers")

Interestingly, it's later the opposite in WITCH with Jinsik being the one to whisper to Hyunwoo, telling him "Guess what is coming?"

After this moment, we immediately see Jinsik gain an "X" in his eye before we cut to him smiling amidst the others, clearly having just joined their rebellion

We also get to see Hunter's powers which seem to be conjuring up smoke - very useful for their mission, I'd say, given how they'll have to operate undercover

Of course, we also get to see exactly what their current mission is:

First, Yujun steps forward so we can get a good look at their surroundings; they're standing surrounded by a bunch of Coordinate Balls, or rather large orbs made of the material which these Balls are made of

Once Yujun returns to their formation, Minjae steps up and makes use of the powers we've already seen him utilize earlier by annihilating all these orbs so they can't be used to oppress further people

We also get to see a flashback to the first orb Minjae ever broke: his own, while he was still trapped in a cage which makes me wonder if they were all trapped in separate facilities across the country

Because, as we saw in Rockstar, they were chosen by TRICKY from multiple locations, and presumably exactly because of actions like this: they were rebelling against the status quo and ready to cause chaos which TRICKY loves more than anything

So TRICKY picked them, brought them together, gave them powers to rebel and stir up trouble for their oppressors and, by doing all that, created one big real-life game for itself

My best guess is that they were all brought together during the Maze of Choice, the YouTube game released as part of the album's promotion; they were chosen by TRICKY, transported to the maze and had to find their way to its end

There, all the members met for the first time and were given their powers through the Dokkaebi which are controlled by TRICKY which we saw in Rockstar

We end the video after a sprint toward a set of doors which open at with a rattle and squeak at the very end, likely leading us to the next stage of TRICKY's game: back to the Maze it is

[animebw]

Short Reflection: Attack on Titan: The Final Chapters

The impossible problem of reviewing the ending of Attack on Titan is that there's way too goddamn much to talk about.

How could there not be? After ten years and close to a hundred episodes, after almost single-handedly jump-starting anime's mainstream takeover back when the first episode dropped in 2013, after so many twists and reversals that completely flip your perspective on what kind of show you're ever watching, Attack on Titan has become, fittingly enough, one of the most colossal media properties on the planet. It's a story that bursts at the seams with ideas and messages and Things Worth Talking About, and far from putting a nice neat bow on things, the ending somehow only explodes further outward with discussion-worthy topics. I can pick out at least four separate moments just from the final 30 minutes that could support an entire thesis paper all on their own. I could talk about its portrayal of fascism and genocide, its ultimate statement on the nature of war, its portrayal of trauma bonds, its observations on the cyclical nature of generational violence, whether or not it's ultimately hopeful or cynical, how the characters' final choices echo all the way back to their first appearances... and I still wouldn't cover everything meaningful there is to talk about in this two-part two-and-a-half-hour showstopper finale. I could spend all week writing analyses of Attack on Titan's ending and there would still be more to cover. Even trying to figure out how to tackle this monstrosity feels as overwhelming as staring up at the Colossal Titan itself.

But perhaps that's only fitting. Over the years, Attack on Titan has remained one of the boldest, bravest, most staggeringly ambitious properties to ever come out of anime, swinging for the fences as relentlessly as the Beast Titan's rocky barrages of death, never taking the easy way out of an impossible question or desperate situation. It's survived a sea-chance in the landscape of the medium that it itself helped usher in, gone through so many permutations of genre and form and production, yet never once lost its luster. From the first sight of Eren's home being destroyed to the final, haunting shots of this finale, Attack on Titan has been one of the most important anime of all time. So of course its finale would demand just as much of us as the rest of the show. Of course it wouldn't be satisfied if it didn't go out with one last jaw-dropper outing that blew everything you thought you knew out of the water. Of course it would close out its domination of the anime sphere just as inescapable and undeniable as when it first stomped on our screens 10 years ago. After the incredible journey it's taken us on, I wouldn't expect anything less.

Still, I've got to try and say something. This is the end of one of anime's defining properties, the epic conclusion to a story that stands head and shoulders above all its contemporaries. I can't let that occasion pass without commemorating the way it chose to close things out. Just know that this review in no way captures the full extent of my thoughts on the finale, in no way portrays all the countless whirling ideas it inspires in me. There will be time in the future, perhaps, to explore all its nuances in more depth, to give proper space and weight to the thousand component parts making up this massive whole.

For now, though?

For now, I simply want to celebrate the end of one of my favorite anime series of all time.

For brevity's sake, I won't spend too much time on the first two hours of breathless action that make up the majority of these two super-long episodes. There are far more interesting things to talk about in the final act, and I simply don't have time to dig into anything more. All I'll say is that this final battle was Attack on Titan operating at the absolute peak of its powers, and it was truly something to behold. For all the chaos that's historically plagued this series' production, Wit and Mappa alike, this was an absolute masterpiece of a climactic showdown. Stunning action fit to stand with all the series' most iconic moments, heartwrenching grief and tragedy in the face of armageddon, characters barely escaping death and facing down the apocalypse with all their strength, refusing to yield against impossible odds no matter how many walls stand in their way. I can't count the number of times I cheered in delirious glee or broke down in tears from the sheer majesty of it all. As spectacle, as mission statement, as payoff for ten years of escalating action and human drama, it's an unimpeachable triumph.

And then we reach the denoument. The battle ends, the day is saved, the war is over, the bloodshed has stopped, the centuries of pain and suffering the world has endured finally takes a long, haggard breath of fresh air. The Rumbling has been stopped. Eren has been defeated. Peace, at long last, has prevailed.

And then the show throws one more curveball.

Ever since the manga ended, I've been hearing how much manga readers hated it. I've seen every insult under the sun slung its way, seen it called the worst ending of all time, an insult to the series and everyone who loved it. But I've always had my doubts. Considering how Loudly Wrong so many of these people were about many other things, how many of their criticisms seemed to boil down to being annoyed at Eren not being venerated as a gigachad and treated like the deranged psychopath he actually was, I had a sneaking suspicion the hate was overblown nonsense. And while I've heard the adaptation changes a few lines here and there to maybe make some of the final scenes less clunky, if the finale I watched in the show was anything like the finale in the manga, then I can only conclude my skepticism was right. Far from destroying the story or insulting the fanbase, this ending is one of the single most audacious and ambitious ways I've ever seen a mainstream anime conclude. It's an ending that could only come from a creative spirit dedicated not just to writing a cool story, but creative capital-a Art(tm). And long after the Twitter salt of the moment has faded, it will linger in my mind as the punctuation mark that seals this series' legacy until the end of time.

It's maddeningly hard to discuss why without spoilers, but I'll do my best. In short, Eren's plan actually kind of ends up succeeding... in a way that only reveals how pointless it was to begin with. The world is left irreparably scarred by the Rumbling in ways that we are told and shown, in no uncertain terms, will only ensure the cycle of violence will continue long after the concept of Titans themselves have faded from memory. The best way I can describe it is a dark subversion of Lelouch's famous gambit from the finale of Code Geass. In that show, Lelouch took all the world's evil upon himself to give the world a common enemy, sacrificing his own life to unite the warring nations in a desire to defeat him. Here, Eren does much the same thing... but it only leaves the world more broken and insecure than when he started. All the madness he inflicted, all the carnage he wrought, and in the end, all he accomplished was guaranteeing an uncertain, unstable peace that we have no way of knowing how long it lasted before things once again fell to ruin.

On the surface, it's a bitter, bleak ending that spits in the face of all our heroes' hard work. And yet, it's also the most strangely honest portrayal of humanity I've seen in a long time. What this finale gets right about Eren- what all those screaming fanboys were so pants-pissingly angry about- is that he's not some maniacal genius or machiavellan mastermind. In his own words, he's just a garden-variety idiot, an ordinary person with ordinary fallibility and biases and prejudices who was given far more power than he could handle. Right up to the end, he was a scared, lonely boy wearing the hollow shell of mature, stoic rage as a shield from the pain he could never process. He was weak. He was foolish. He was immature and scared and completely unequipped to handle the incredible responsibility of holding the world's fate in the palm of his hand.

Now you tell me: what end result could such a person achieve, if not this ugly, imperfect half-measure?

The truth is, violent individuals in our real world aren't grand schemers like Lelouch who always have the answers and make everyone dance in the palm of their hand. They're people like Eren; flawed, broken, consumed by hatred, making irrational decisions off imperfect assumptions and forcing everyone else to deal with the consequences. Eren doesn't fail because of character assassination, or because the mystical future sight be picked up from the Founding Titan told him so. He fails because no matter how many times he runs through the future in his head, his hatred leaves him incapable of seeing any path forward that doesn't involve annihilation. His fate was not set in stone by intangible destiny, but by his own inability to accept a peaceful path when his heart screamed endlessly for blood. This messy, transient, tenuous peace is the best that someone like him could hope to accomplish. It's a miracle he ended up with a result that good, and that's only because his friends were brave enough and strong enough to stop his hatred in its tracks before it could completely swallow the world whole.

But that messy, transient, tenuous result is what we're left with. All the chaos of the past ten years, and we're left not with closure, but uncertainty. How long will this hold out before the cycle of violence begins anew? How much peace did we earn through such miserable ends? What, if anything, can be done to ensure the next turn of the cycle doesn't end up like this? What better ways were there to keep this from happening in the first place?

What do you do when the answer you've been looking for only leaves you with more questions?

This ambiguity, in all its raw messiness, is the ultimate message of Attack on Titan. This is not a story where the heroes save the day and defeat hatred and save the world for good. This is a story where the heroes do the best they can and accomplish as much as they're able... and then leave us to reckon with the failures they left behind. It's not even really a nihilistic ending; as bleak as it seems on the surface, there are countless moments of hope and light that speak to humanity's desire for love over hatred. Like all the great tragedies of the world, it doesn't claim that humanity is irredeemable and we can never escape our flaws. Instead, it forces us to consider how easy it can be to fall short of our ideals, and how much pain and misery they leave in their wake. It shows us the consequences of giving in to hatred not as an inescapable fact of humanity, but as a warning of what we sacrifice when we lack the courage to prevent our darker instincts from directing our actions. It takes these characters and this world you've fallen in love with for a full decade and, rather than bidding them happily after after, asks you to carry the weight of their failures into your own life, a reminder for every single time you're tempted to let blind rage guide your own actions from now on. "This is what their lives have amounted to," the show says. "Don't let your own life go the same way."

I've watched a lot of anime over the years. Since I started getting into it back in 2017, I've tackled countless series and movies with all different kinds of endings. But I don't think I've ever seen one that so perfectly nailed this kind of hopeful, agonizing ambiguity. I don't think I've ever seen a show commit to an ending this uncompromising or pull it off so astoundingly, let alone in a series this long. And in an anime industry that more and more seeks to only pursue the safest, least threatening options, flattening this medium's remarkable creative potential with art that doesn't say anything or mean anything, the fact that this, of all ways, is how the most popular anime on the face of the planet chose to end its tale is nothing short of remarkable. Attack on Titan is a runaway success story of epic proportions, a single anime that arguably paved the way for the medium's increasing mainstream popularity. And it married that mainstream success with a story that dared to ask hard questions of its audience and send them home with a plea to see their own world a little deeper rather than half-ass a happy ending for easy closure. It's the rare mega-popular franchise that didn't have to sacrifice an inch of depth or complexity to appeal to the broadest common demoninator. And it accomplished all that while still being a never-ending thrill ride of sheer entertainment value the likes of which we may never see again.

It's easy to be cynical about anime once you've watched too much of it. Honestly, I find myself struggling a lot these days to keep the bad parts of this medium from swallowing my enjoyment of it. But in an anime landscape that too often settles for taking the path of least resistance, Attack on Titan is a soaring reminder of what it looks like to be brave. It's a series that never compromised on itself, never gave anything less than 100%, and never once lost its magic through all its ups and downs. It represents the overwhelming power that anime is capable of when it trusts its audience to follow it off the beaten path and face more challenging questions than whether Ultra-Instinct Goku can beat Gear 5 Luffy. It's an achievement as staggering and colossal as any of the titans within Isayama's pages. And this ending, in all its powerful uncertainty, only cements its legacy as one of the single greatest works of art ever produced by this medium, and one my my new personal top 10 anime of all time.

I wish I had time and space to keep talking. I wish I could go in-depth about the show's willingness to let Eren be truly pathetic in hilarious fashion. I wish I could write an essay about Mikasa and Ymir's parallels as women trapped by their irrational love for monstrous men and why that makes Mikasa's final choice so fucking impactful. I wish I could go into every last detail of that ending montage and all the implications it raises about the future of this world. But there will be time later to dig into the guts of this ending and truly pick it apart. There will be time aplenty to appreciate all the moments that make this show such a titan in its own right. For now, all I can say is this:

Thank you.

To Isayama, to all the voice actors, to all the staff at Wit and Mappa who were forced to work unreasonable schedules to bring this story to life, to every hand that touched this series and ensured its continued majesty all the way to the end... thank you. I dedicate my heart to you.

Attack on Titan is over.

It's the end of the world as we know it.

And I feel fine.

10/10

[s0lar-ch3ri]

ok SO ive been in school and its been schooling, so full on rambles havent been a thing i have time for BUT its friday here now so ill ignore my weekend homework and write for you lol

i do wanna say this, i may have forgotten details on drey or lizzie and i wont be checking the wiki out of fear for spoilers (on ep 94 rn so im almost through it!!!) so if i make bullshit up i apologize dearly

ANYWAYS TIME FOR MY FAVORITE LESBIAN AND DREY FERIN!!! (spoilers for up to ep 94 maybe)

lizzie is such a compelling character, but i think what makes her incredible isnt how shes handled crews singlehandedly (possibly figurative and literally), but how powerful her words seem to be. while gill's speech was what set john off his edge, lizzies was the first to inspire him into change. im pretty sure jazz was talked to by lizzie. yes her actions are loud, but her words are the speakers that carry out her messages! the black rose took her and chip aboard, and while it trained her, shes leaving it back behind her in the past because she doesnt need the black rose anymore (opposite to chip, who wants to get that experience back). she builds herself a story away from the black rose, becoming more a person. shes believed to do the shit that rumors say because of how powerful her words are.

shes so strong now, yet shes not exactly forgiving. while chip is excited to find the black rose, lizzie is the exact opposite. shes happy their gone for the bullshit they went through and is full on willing to kill them to not deal with them. when she sees drey she threatens to kill him if hes still in her view, and he has the audacity to not remember her after all that. god grizzly did so well story telling wise for this

while after the black rose lizzie grew stronger and stronger, it seems like drey kind of grew weaker in the sense that his main tool for his weapon is unrepairable (his arms lol). sure, hes adapted to be able to use his feet for stufff, but i doubt he'll be fine in combat. i honestly hope he can retire in piece (I MEANT PEACE LMAO) but we already know that rufus was still in danger despite being retired from pirating. not to mention, he just like, doesnt remember shit of the hole in the sea (well, most of it). it was bad enough that he cant fucking remember lizzie, and maybe she likes it that way.

honestly, i think lizzie has a bit of a hatred for ferins less because theyre navy and more because shes "been played" so to speak by two of them (i havent actually seen or heard the scene yet, but i cant escape the spoilers of ava and lizzie forever). she loved two ferins, one like a parent (atleast somewhat like a parent) and one like her girlfriend. and she tries hiding up from jay, because maybe she reminds her of ava and can just tell that shes someone who could be her friend. and when she leaves (lizzie would say when and not if for a bit), lizzie will feel broken and betrayed again and the last she needs when theres war sparking soon is feelings of weakness.

anyways, while i could do so much with lizzie, im gonna talk about the things you were bringing up with drey, because yes! it is something i never really thought about, why drey chose to be a pirate. i mean, we know he met captain rose who just had asked him and he said yes. (i ended up looking at dreys wiki mainly cause i needed to make sure i dont wanna bs, but im also going off the video itself) but why? why, when the ferin family has been navy for years, does drey just decide "yeah, fuck it"? maybe because drey considers this captain at the time (quoted from the episode) "An angel in your eyes, he is the sexiest man you’ve ever seen before", or maybe because his old small ship was destroyed by said captains ship, but its truly an anigma. looking at the wiki (ok the only reason ive done it for drey is if there were shit going on with drey in the black sea, i probs would have stumbled into it, so im not so scared for spoilers with him), which by the way isnt always the greatest source but there are knowledgeable people who add shit onto the pages, it mentions how drey set out to be an adventurer and shit, and did hesitate to join out of fear of bad treatment hes faced before, which is kinda interesting. plus, drey tries to yell up to the ship that the boat "was all hes got", so my thoughts are he probably had some rough treatment and pressure (if he was ever in the navy thats probably doubled) and decided to become a pirate after seeing how free this crew seemed, i guess.

as for family relationships, i could have sworn drey said goodbye to jay before he left, or atleast jay mentions it to chip in the humble beginnings ep. i think jay may have looked up slightly to drey, being brave to go against the navy and such (even if it had to be hidden from her dad). they probably werent super close, but i dont believe they had bad blood (besides the fact theyre related to jays dad (joke)). most definitely they would have grown closer while drey was on board the deck. i cant imagine ava being close to drey because probs jay and ava were put in the navy at a young age, but whos to say? id say jayson and may were closer to him when he was younger, but they do grow more distant from the distance (so smart wording cherii), even though jayson and drey would be so much more distant from all the "pirate vs navy" shit. also, i did find on the wiki which says taylor ferin and drey were distant so yeah.

but yeah hes a mystery man for sure ALSO just got to the beginning of ep 97, and the idea thats hes grown slightly weaker shows by how he keeps missing the shots. yeah, its pretty impressive that hes firing a gun without using his arms, but hes at a heavy disadvantage (accdiental dnd opun?) if he cant use them properly. the legendary status he had (not that hed be willing to admit it) has retired alongside him, and he gets to watch his niece become the next sureshot.

dont have more ideas to talk on and i hope the wait was worth it tigers have a happy day

hey fnc guy ive been very normal about your posts and writings (literally the chapter in my one shot collection im writing rn is inspired by one of your writings) ive noticed youve seen me ramble on the idiot captains and was wondering if maybe i could do a special character analyzation for ya? besides npcs without any known story to go off (like the tailor lady or smth) of i could write about mythborne and riptide idk im bored lol

:0 we’ll first off tHANK YOU I REALLY APPRECIATE THAT 😭😭

My pick is Drey Ferin becaUSE while we don’t know a ton in depth about him, I just don’t see a lot of stuff talking about him in general and I think he’s just a fascinating little guy. I’ve been thinking abt him. Why did he leave to be a pirate? Was he ever a part of the navy? Do you think he had a good relationship with Jayson when he was younger? Did he have a good relationship with his mom? Or May and Ava and Jay? Did he even ever meet jay?

I feel like his background could be really expanded upon and I think it’s SO interesting the way we know hardly any of his motives and I’m curious abt what other people think think :3

But that’s also all very highly speculative and if you wanna ramble abt someone with a more in depth, canon backstory I’d say go w Lizzie. She’s SO interesting to me and I love her and with the lore drop in 101 OUGH

[daggerlove]

Loki is Sylvie’s postman

I was thinking about that 

"is there a lucky beau waiting for you at the end of this crusade" 

line, how 'lucky' could legit be a bit of a wordplay (lucky = Loki) and how this entire conversation is describing the state of Loki and Sylvie's relationship at the end of season 1 and their relationship as season 2 progresses.

because yeah, obviously 'lucky' in this context is a Loki wordplay, so that automatically sets Loki as 'Sylvie's lucky beau'. Her special one. Significant other.

But also there’s more. 

The cast and crew said that in terms of character development, Loki has already evolved further than Sylvie, he's moved past his anger and pain, but unfortunately, Sylvie hasn't made that journey (crusade = journey) yet.

-

-

Because Sylvie's crusade, as Loki puts it, was putting an end to the TVA. Her entire lifelong mission, her journey was to destroy the people/person responsible for the TVA & what they did to her. This was her 'glorious purpose' and her only goal she's had for god knows how many centuries.

For example, Loki's own glorious purpose was power, control, ruling etc. This was his entire shtick, episode 1 states it and it’s all about it.

And then during that same episode he realizes the hard way that conquests and ruling isn't what he truly wants and needs, that in the grand scheme of things, it's ultimately meaningless. Thanks to the TVA when he realizes that he’s never had  free will and his life's basically meaningless, and when he sees how his life ultimately turns out for him, everything changes for him. 

His life literally gets turned upside down, he figures out during episode 1 (as well as the rest of the season) that his glorious purpose is just nothing.

Sylvie only realized that after she killed HWR. She plunged the sword into his chest and then promptly collapsed to the ground, sobbing, realizing that her own glorious purpose wasn't what she needed, that it wasn't "it", it brought her no satisfaction, no catharsis, no relief, the pain remains and she's just full of regrets now. 

Loki realized that in ep 1 and then had a fine journey of self discovery. Sylvie realized that in ep 6 and she's still on that same journey.

-

and like Eric said, she hasn't had that full journey that Loki had yet and it was what caused their disagreement. They both care about each other, the feelings are very real but they are at different stages of their journey.

Obviously she's working on that and that will probably be one of her arcs in season 2 (something the writers have already hinted at and I can't wait for that), but yeah, Loki has made that journey already, hers has only just begun. 

In a way he, her "Loki" beau is literally waiting for her to be on the same page as him. Waiting for her to get to the end of her journey.

And then you have Sylvie's line:

"Yeah, there is, actually. Managed to maintain quite a serious long-distance relationship with a postman whilst running across time from one apocalypse to another."

Considering Loki and Sylvie are currently parted through literal time and space, 'long distance' is definitely one way of describing their relationship. Given how alone Sylvie is, has always been, how she's never had anyone in her life before (which is something she also admitted to Loki) Loki came barreling into her life, I'd say that what she has with Loki is important, special and serious in its own way to her. He’s the first person she’s let in, bonded with and cared for.

And then this whole postman thing...postmen deliver letters and messages to people, which is ironically kinda what Loki did too in the finale by forwarding the info about Kang, warning people about the impending war, and as far as we know, he's the only one (along with Sylvie probably) who knows what happened and is actively trying to spread awareness. 

He’s pretty much become a bringer of news. Bad ones but okay. He’s a messenger in this case.

Also considering the show is about time travel and since Tom has teased Loki will search for Sylvie it's kinda safe to assume both of them will spend time hopping through time and apocalypses, trying to reunite and also to fix the multiverse mess and the Kang situation.

So in short, Loki is "the lucky postman waiting for her at the end of her journey" aka the one with the knowledge about Kang, the war, and the one who wants and is waiting for Sylvie to make the same journey and is eager to reunite with her

and Sylvie the one who's still running across time, jumping through apocalypses, either trying to find Loki, deal with Kang, both at the same time etc, being on a journey, both literal and metaphorical and has a special someone waiting for her.

It's not the first time episode 3 foreshadowed certain things that happened later on. And if there's any weight to this ‘Loki postman’ discussion, I'd say that Loki and Sylvie's journey ends with them being reunited, on the same page and all that lovey dovey stuff. I think, and considering what the writers have hinted at, a happy ending is guaranteed.

but first Sylvie too has to go through that same character journey as Loki did for her to reach that happy ending with him 

 y'kno what they said in the show

 "you can't get to the end until you've been changed by the journey"

[chainofclovers]

Ted Lasso 2x9 thoughts

It’s no secret that I absolutely adore Coach Beard; he’s one of my favorite characters on the show, and he’s so well-written and well-acted that somehow I tend to be both perfectly satisfied with the details we see and truly curious to understand more about the way he thinks, what’s really happening re: his professional and personal devotion to Ted, where he comes from and where he’s going. I don’t need to know his name beyond the name he wants to be called, but I want to know why we don’t have any other names for him. And I don’t need him to be a bigger focal point of every episode, but I very much needed this episode’s world-exploding reminder that every single character on this show has a rich inner life, full of joys and troubles.

“Beard After Hours” is like a movie, but one that scatters its climaxes and puts off its resolutions...because it’s not a movie. It’s episode nine of a twelve-episode season of TV. When the episode ended, I felt this almost frantic “But he needed to break up with Jane for good before the end of the episode!” feeling. I was so pulled in by the idea of being able to tell an entire story in one night, of going on an odyssey alongside a complicated hero, that watching Beard and Jane find each other in that club felt as intense as the fact that we don’t know if Ted responded to Rebecca’s voicemail and we don’t know what’s going to happen with Rebecca and Sam and we don’t know who isn’t getting married and who is having a funeral in 2x10 (I mean, I have my strong suspicions, but still!) and we don’t know if Richmond will be promoted back to the Premier League. And on and on. I didn’t mind feeling desperate for the story to resolve even though I understood after thinking about it for ten seconds that of course it couldn’t resolve yet. Or ever. Or yet.

I’m a big fan of the TL episode recaps/reviews Linda Holmes writes for NPR, and I have to quote something from this week’s directly because it so perfectly explains my feelings:

The power of the scene where Beard dances in the club isn't that it's a beautiful romantic climax. It's that it's an explanation of why he cannot seem to extricate himself from this bad relationship. What makes the worst relationships so dangerous is that they have elements that feel good that are very hard to get elsewhere. Beard knows that; he tells it to God. What's concerning isn't that Jane makes the world seem more interesting; what's concerning is she's the only thing that does. That doesn't take away from the joy of the dancing; it just tells you that even happiness is complicated.

I love Holmes’ perspective here so much, because it articulates something I was struggling to figure out: how it can feel so legitimate, like such a (temporary but nonetheless powerful) relief, for Beard to find Jane in that club and to have this moment of euphoria as his night nears an end. How it is possible to experience that relief on behalf of a character while fervently wishing it could end differently, because it’s so clear from the abusive text messages and the toxic calls and the manipulative interactions that Jane is terrible to him and they’re terrible for each other. But Beard knows this. He knows it when he hugs Higgins in the parking lot after Higgins is honest with him in a way Ted and Rebecca and Keeley have not learned how to be, and he knows it when part of his prayer includes the clear articulation that Jane isn’t the cure for what “ails me.” He’s inching closer to greater self-knowledge just as Ted is.

And the two big resolutions that really, really needed to happen did. I didn’t know I needed Paul, Baz, and Jeremy to get to wrap up their own night out on the pitch at Nelson Road, but I did. It brought actual tears to my eyes. And the other resolution was Beard showing up with the other coaches’ coffees for their meeting to watch the game film. As interesting as it would have been to see what Ted would have done if Beard hadn’t shown up, I’m so, so glad that he did. He’s got a messed-up face and some truly epic pants on, but otherwise this is just Beard showing up for work, showing up for his friends. It was incredible to realize that Beard and Ted haven’t been exaggerating when they’ve referred to his sex-and-drug proclivities in the past. The night documented in 2x9 might have been particularly scary and violent and euphoric and awful and meaningful, but this type of all-night adventure isn’t a foreign concept for this guy. In all the other episodes of this show, when we see Beard we’re seeing someone who might have been out all night, who might have spent the hours the sun was down desperately pushing himself closer to whatever edges he could find.

I don’t really want to touch upon all the allusions in this episode. They are abundant, they are well-documented, and also I haven’t even seen the movie After Hours. I enjoyed this episode for its allusive qualities and I enjoyed this episode for what it was and I feel like I have to be at peace with the fact that I’m never going to pick up on every single reference on this show and that is okay.

So, yeah, if this entry on my tumblr dot com blog seems remarkably devoid of references and allusions, it’s not because I’m not into it but because I find it too overwhelming to actually write about.

Very into the Misplaced and Discovered box at the Crown and Anchor. (That’s what Mae wrote on the Lost and Found box at the pub, right? Whatever it is, it’s so funny.)

Beard hallucinating Thierry Henry and Gary Lineker was truly upsetting and a great indicator not only of how broken things are between the Richmond coaching staff right now but also how deep Beard’s self-loathing might go. If you’d asked me before Thursday if I thought Beard loathed himself, I would say no. That deepening of knowledge alone makes 2x9 worth it.

James Tartt and his friends in the alley. Such a nightmare. I go back and forth on how much of the night was real, and part of me has decided all of it is, short of the images of Henry and Lineker. (And even that is real to the extent that it was a way of articulating what was in Beard’s head.) But watching Beard in physical danger brought on by the same abuser who had him so upset in the first place. It was a lot.

I’m so excited that Paul and Jeremy and Baz got some spotlight this episode. It was so wonderful to see them out of the pub. I love that they ended up telling the Oxford snots who they really were. They got to see Beard going to bat for them and smoothing over the situation socially, and that actually made it more possible for them to end up being truthful about themselves. Because they have nothing to be ashamed of, and they deserved the magic of that night. (And for it to end on Nelson Road. Every feeling. Oof.)

I feel like I barely have anything to say about the trouser-mending lady or the many places Beard goes or his key-dropping or the nightmarish feeling of wanting to be home and being unable to be home. It all happened and we all watched it and again, it was a lot. But I do feel incredibly moved and fascinated by the fact that Beard very obviously still hasn’t been home when he brings in the coffee. He’s had to sleep at the club for Jane- and key-related reasons in the past, and this time it’s not that he’s slept there but it still feels like a kind of homecoming he was robbed of for the entire night. Ted and Roy and Nate are there. He’s gotten their coffee orders correct. Ted is growing and evolving (he wants to learn from what’s happened, he’s insisting upon it even when the others resist) but he’s done a really perfect (almost romantic in its loveliness) thing by presumably spending his evening following a breakdown of his own speeding up the game film to 10x speed and adding Benny Hill. Ted is not OK and Beard is not OK and Nate is not OK and Roy is pretty OK but could very easily be not OK because he’s just joined a coaching staff with a whole lot of not OK. But they all showed up.

I am very into the realism of the lights being off in the club other than the coaches’ office (@talldecafcappuccino pointed this out!), and the way we’re seeing their desks from a different angle because this episode is unfocused on Ted. It really added to the mindset of being hungover and exhausted and unable to go home or even to know exactly what home should be; even this warm, familiar place feels off even as it’s a relief to be back there.

I am excited to return to our regularly scheduled programming with the full cast of characters, but I really adored this episode for what it taught us about Beard and what it illuminated about the humor, pain, and complexity of each person who inhabits this universe. Beard may not be loud about his long-standing beliefs or about the things he’s learned, but there’s a lot happening in there and I appreciated getting to spend 43 minutes with him and (in the case of the ticket he scrawls on a piece of paper so the pub guys can get into Nelson Road) the moments he sets in motion.

[crybabyddl]

I WOULD VERY MUCH LIKE TO REITERATE SOMETHING

Yes, let’s circle back to the beautiful performance of Edge of Great. More specifically the BODY LANGUAGE, particularly Julie and Luke’s, which I will be analyzing with gifs.

Exhibit A

Jealous Luke looks over at Julie and Reggie vibing

Julie is aware that she’s avoiding Luke, which she is doing so bc she realized her feelings for him thanks to Flynn earlier in the episode.

Since Julie has put the task of ignoring Luke upon herself even though she has no obligation to, she ends up failing her own mission. She sees Luke’s reaction to the lack of her attention.

She literally FREEZES. She’s emotionally worried to confront what she’s feeling and it’s beginning to manifest physically.

Exhibit B

It gets better y’all. After Luke finally has even a crumb of Julie’s attention, he beckons her over with his signature head tilt. This is important bc he did this with his longtime bandmate during the soundcheck of what would’ve been their biggest performance. If he feels comfortable enough using that body language with a girl he’s only known for, what, a week and a half(?) then you know this puppy boy’s got it BAD.

Julie is well aware that Luke is getting jealous. But in classic Julie fashion, she will try to tune it out instead of addressing it. Our wicked beauty doesn’t like confrontation and would rather just deny and avoid than potentially make things awkward, especially when she knows Luke would ask her about it at a later time.

The look on Julie’s face. Her eyes widen and the classic tight-lipped awkward smile is present. She’s literally saying “ok enough of that let’s get back to work doo doo doo” with her face. The way her body SWINGS back into performance mode as she faces the audience again. It may have been a split second, but when you’re deliberately trying to avoid looking into the dreamy (dead) eyes of someone you shouldn’t be crushing on, any amount of time feels too long. Plus, she knows Flynn is watching and doesn’t want her to lecture her (but she does anyway bc Flynn is observant and knows her bestie too well to let any action slip past her).

Exhibit C

Keep in mind; NONE OF THE GUYS KNOW WHY JULIE IS AVOIDING LUKE. Flynn, Alex, and Reggie have noticed the Juke chemistry, but it’s still too soon for them to get past the “we like each other but we’re too clueless to notice that we reciprocate” phase, so even though their respective besties know, they are still denying. Besides, Reg, Alex, and Flynn know better than to keep pestering if they want to keep their kneecaps. In reality they’re both smart enough to tell by this point, but for the sake of the plot and to make everything more adorably frustrating, Flynn has the collective brain cell under lock and key, leaving Juke to be like *dog tilting its head and making that “a-roo?” noise*

Anyway, Reggie notices Luke being snubbed after realizing that his extra dose of Julie time was slightly out of the ordinary. Luke is clearly concerned (look at his eyebrows and how his eyes travel from Reggie, to Julie, then to the audience to trying and get his mind off it and bring his focus back to the main goal; the performance.) If he can’t have the moment of connection with Julie that he so desperately craves, he’s gonna fill that void as best he can by connecting with the audience. >:’)

But Reggie’s trying to help Luke brush it off by conveying his reaction as ‘look at julie coming into her own! i told you she was a star! and you thought you were the lead singer? think again buddy this girl’s got you beat!’

But since Reggie isnt a master at hiding his feelings yet, especially around Luke, —who was able to get under his skin earlier (“girls, am i right?”)—Luke was easily able to see through that and interpreted what Reggie was saying as “look at julie go, she all in the zone. you’re literally making heart eyes at her get a grip you’re slacking lmao” (hence luke’s right eyebrow quirking at reggie like ‘dude seriously gimme a break u know i need attention like tinkerbell’) even though Reggie’s true message was a bit less harsh and more lovingly teasing, but it’s Luke, he sees things through his eyes and at his intensity, regardless of who it’s coming from. (This is one of the reasons why Luke comes off as selfish at times.)

Exhibit D

Poor Lukey boi can’t seem to catch a break today! Not only does Julie ignore him, then has a cute lil (platonic but it’s luke so it still makes him jealous >:P) moment, but now she has the AUDACITY to interact with Alex? The guy who was out learning Ghost 101 with this Willie guy instead of rehearsing with the band? What gives?! What’s he got that your moody ghost bf doesn’t? >:’(

He literally just watches, and even glances back in a way that, to me, screams ‘did i see that right? did i just see what i just saw with my own dreamy (but dead) eyes? say sike rn.’ \_(*_*)_/

Meanwhile, Alex pays no mind. I like to think that Alex is fully aware that Luke is an angry boy rn, but has learned to ignore it, especially this bc literally NOTHING happened. Either that or Alex has no clue and just truly thinks nothing of it and is having too much fun to think about Luke’s moody and childish behavior. Either way, Alex is just straight chilling and we love to see it *^_^*

Notice how Reggie is right there vibing with Julie and Alex. Luke feels a bit betrayed like ‘not you too! i know you were the first to turn on me but i figured since you’re such a golden retriever you’d be loyal and come back to my side!😠🥲’

Also; Luke approaches the rest of the group, wanting to be included in at least SOME of the vibing, but when Julie starts dancing and smiling with her buddy Alex, he backs up like

“you know what? nope. nevermind. not doin’ it.”

and the group’s like “i mean hey it’s your loss, but luke we want you to-”

“no, bc you chose to piss me off right in front of my face so no luke time for any of you! no cuddles, no hugs, no nothing! you made your bed, now lie in it and perish.”

Exhibit E & F: This is where it gets a bit interesting and theorized hehe...

Now we all know that this moment is just fucking ICONIC

WEOWH NEOW NEOW!!! WEOW NEHR NEHR NER-NER-NER NEHR NEHR NEOWHR!!! (wer nehr-nehr-ner-ner-nehr-nehr!!) WUEHNER-NEUHNER-NEHR-NEEOW-NEOWH! DLOOLOODDUH-DOODLAH-HOOBLUEH-NEOWHR-NEUEHR-NEEEEEEUOWRH!!!!

But hear me out– HEAR ME OUT!

What if... now don’t shoot the messenger who just so happens to also be the theorist... but what if...

WHAT IF!!! Luke didn’t!! plan this?!!!

Listen i know you’re probably thinking:

“Well uh Nicole, isn’t that kinda the whole point? It literally wasn’t planned until Charlie realized Madi was gonna be standing on the piano so he suggested the idea for the guitar solo to Kenny.”

And you’re right! But here’s the kicker:

What if Luke THE CHARACTER, just decided to do this as an “Alright that’s it! You wanna be like that? Well what if I just hit you with my super awesome radical totally cool wowza guitar skills & make a moment between us? Huh? What do you think about that? Hmm? HMMM???!!!”

He licks his lips & that to me read** like he was nervous (**read rhyming with bed just to clarify) so that means it could’ve been a spontaneous, spur-of-the-moment thing.

In the second gif, you can see that Julie’s head is tilted, as if she’s a bit confused, but she’s also delightfully surprised.

Julie is quick to smile and scrunch her nose at Luke, something she does often. It tells Luke his impulsive action garnered a positive response from his favorite girl. Julie also starts to shake her head, but doesn’t go through the motion in full, which means she’s still a bit nervous to let her guard down. This is probably because she doesn’t know what he’s thinking or what he will do next. The lopsided smile mixed with the suave, gliding steps towards her probably brought her back to her daydream lol.

Luke’s happy bc Julie’s no longer ignoring him. He smiles like a GOOBER bc this chump is simping HARD for our Julie. So cute! :’)

Exhibit G

And hear me when I offer this:

What if Luke poofed the guys out???

I know, I know. It’s a bold claim to make. But the boys are special, considering they are a threat to Caleb (3 gay-variant himbos vs. a gay magician that could’ve been on broadway but decided to make some sort of deal with a devil so he just entertains capitalists who most likely sold their souls to get into the hgc which i will probably elaborate on in a future theory so dont do that bc im gonna lmao idc we all have big brains) So it’s not too crazy to think that they could share some ghost powers.

We know Caleb transported the guys during You Got Nothing to Lose. And the guys have left a place at the exact same time on more than one occasion.

And you may be thinking “well what if the guys poofed out to give juke a moment alone together?” And to that I say...

Look at Reggie. He isn’t looking back at Alex like “dude let’s give them some space.”

The timing of him turning around, at least to me, makes me think Reggie was surprised by Luke approaching the piano. (But also he lowkey was waiting for Luke to prove him wrong by doing something to get Julie’s attention so Reggie isn’t mad. Neither is Alex but he doesn’t like being told how or WHEN to ghost) Luke doesn’t even give his bandmates a warning eyebrow quirk, a hand signal, nothing. Reggie turns to Alex like ‘dude what is he DOING?’ And before he can even really convey that, they go *POOF*

This man had a plan and he was gonna do it, so he did. Whether it’s the power of love, they stopped performing, or Reggie and Alex actually poofed out, the odds worked in Luke’s favor so he and Julie could have a super special moment, a moment special enough to make an actual living person (Nick) wonder if a “hologram” has a better chance at connecting with Julie than he does.

Again, regardless of who made them poof or how they poofed, they mf poofed so Luke’s a happy hamster. (Idk it just sounded fitting instead of happy camper lol wait what if someone had 3 pet hamsters and named them alex reggie and luke🥺 someone buy some hamsters and let me be their godmother or their aunt and i’ll love them from afar.) Anyway, Luke’s thriving, flourishing, his crops are going to grow in time for the harvest.

You can see Julie lean back as she turns to see Luke. It’s... almost as if... She. Wasn’t. Expecting. Him. To. Be. There..??

Honey badger Luke bc he DGAF <|:) Bitch, it’s Luke mf Patterson and he’s gonna,, GET! IN! YOUR! FAAAACE!!!

You CANNOT tell me he’s not doing the absolute MOST to try and seduce Miss Juliana Mariposa Rose Molina.

Yes I’m making a headcanon that Julie has TWO middle names and that one of them is the spanish word for butterfly and that the other is her mother’s name. Also yes, I believe (i believe that we’re just one dream away from who we’re– oh, that’s not what we’re doing? okay, sorry!) that Juliana is Julie’s full name.

In this house we love and respect Juliana Mariposa (Dahlia)** Rose Molina

**I’m just putting Dahlia there for fun bc I can. :) Whether I’d consider it a possible middle name of hers depends. Anyway I just thought it was a cute thing to add bc it goes along with the other middle names I gave her *^_^* Also, I feel like I made a post giving a bunch of the characters middle names lemme see if I can find it later)

Ok i’m done this took me basically all day from like 10am until 4:08. I obviously took breaks in between, but not long ones...😶

[9worldstales]

MCU Loki: Why I fear they failed to deliver what they promised

At this point I’m kind of confused by who the “Loki” series is trying to reach or which is the goal/message they’re trying to pass along.

They had tried to intrigue assorted audience but, if you ask me, the series has often failed to deliver what it seemed to promise.

Of course I might be wrong. Or maybe I'm not seeing another type of audience the series aimed and managed to reach.

When the series started I wanted to keep a positive mentality and hope whatever seemed not to work would be fixed along the way or have a reason for existing that I just wasn't seeing because I hadn't seen the full story yet.

However, after 5 episodes I'm starting to lose hope the series will make a genuine effort to reach the fans at whom it seemed to aim.

PART 1 – “LOKI” IS NOT FOR THE OLD FANS WHO PRODUCED META SHOWING HOW HIS TRAUMA DAMAGED HIM

"I think it's the struggle with identity, who you are, who you want to be. I'm really drawn to characters who are fighting for control. Certainly you see that with Loki over the first 10 years of movies, he's out of control at pivotal parts of his life, he was adopted and everything and that manifest itself through anger and spite towards his family." [Loki's Struggle With His Identity Confirmed To Be A Focus Of His Disney+ Series]

What was it about Loki as a character that attracted you? He’s just fun, for one. He has a very playful sense of humor about him. I like how he never quite lets you know what he’s thinking. Beyond that, what I connect to about him is the same thing the legions of fans do, which is his humanity and his vulnerability. This is a guy who—yes, on the one hand, he was the prince of Asgard, seems like a nice life—but his father, in fact, killed his actual birth father, adopted him, lied to him about his heritage and parentage his entire life, he was forced to live in the shadow of his oafish older brother who was born to be king. He’s experienced a lot of trauma, and I think that what he’s looking for is just a little bit of control over his life. Which he feels like maybe he’s never quite had. That’s something I think we can all relate with. [From Loki to Doctor Strange and Star Wars, Michael Waldron Is the New Franchise Whisperer]

Let’s be honest, the audience for the “Loki” series is not really meant to be Marvel movies old time fans who enjoyed “Thor” and “The Avengers”, made countless Meta analyzing Loki’s behaviour and who wanted answers about what happened to Loki prior to “The Avengers” or wanted to see Loki’s family terrible dynamics be discussed, or at least to see explored the wrong dynamics of Loki’s interracial adoption (he’s taken away from his planet, the truth is hidden from him, his look is changed to disguise him as an Asgardian, nothing is done against the racial hate for the Jotuns at which Loki is exposed, even witnessing it from his brother) or talk how much in control of himself Loki was during “The Avengers” (okay, the web said the sceptre manipulated Loki, but what about acknowledging that in his own series? It doesn’t have to come from Loki who had no idea he was manipulated but someone could mention ‘think yourself lucky here the stones don’t work, they’ve the nasty tendency to manipulate people’).

The series has avoided digging into all that as much as they could.

Even when Loki talks with Sylvie, the most we get is a small big about how Frigga was awesome in his eyes and taught him magic, but this isn’t meant to explain any of the issues Loki had with his family, it just make Sylvie feel bad because she can’t remember her adoptive mother, as for the D.B. Cooper born out of a bet with Thor, yeah, fun but completely random. What’s meant to be the message about family dynamics here, that it was the bets between Thor and Loki that caused Loki to decide to conquer Earth? Or what about the Sif loop? Is it there to push on Loki the blame of his poor relation with Sif?

No, clearly not.

In regard to Loki the Frigga flashback is there to remark he had a loving and supportive family while the other two are there to have Loki admit he is ‘a mischievous scamp’, ‘a horrible person’ and ‘a narcissist’.

To put it in Classic Loki’s words: ‘Damn it! Animals, animals! We lie and we cheat, we cut the throat of every person who trusts us, and for what? Power. Glorious power. Glorious purpose! We cannot change. We're broken, every version of us. Forever. And whenever one of us dares try to fix themselves, they're sent here to die.’

In short it’s all Loki’s fault if he does bad, nothing happened to him that could have messed him up, he’s just a horrible person… however…

PART 2 – “LOKI” IS NOT FOR THE OLD AND NEW FANS WHO BELIEVED LOKI TO BE A DANGEROUS, EVIL, PSYCHOPATH VILLAIN EITHER

"Loki is an a**, and that makes my life as a writer, easy." ... "Due to the trauma in Loki’s life, I would even [accept a story] in which he is committed to being all bad." [Michael Waldron on Loki: He’s an a**. That makes things easy]

Considering the series is trying to pin SOLELY on Loki his wrongdoing, completely skipping the toxic way in which he was raised you might think they want to paint him as an evil, psychopath who was just born bad.

But no, that’s not the intention, we see it from the start.

Loki is given a quick briefing on how his beloved family loved him despite him hurting them, a briefing that contains false information which would work if we accept the briefing as manipulative but, at this point I’m not so sure that was the author’s intent. The Doylist purpose of the briefing is clearly to show the audience how Loki cares for his family, how he still has feelings, feels pain at the idea Frigga and Odin died and wish to make up with his brother.

It’s not just they loved him and did nothing wrong toward him, it’s also he who loved them and didn’t mean to harm them. That’s why we’re fed that damn discourse about Loki sending the Dark Elves to kill Frigga, because the series wants to remark that no, Loki didn’t want to kill his family, he loved them.

Tom Hiddleston used to say what Loki is came from a place of pain but the series didn’t explore that place of pain… it just gave him more pain and not just in episode 1. Episode 2 has him discovering Asgard is destroyed, episode 3 has him remembering Frigga, episode 4 shows him believing Sylvie die and watching Mobius being pruned. He doesn’t cry in Ep 5, episode 5 wants us to truly feel bad for Sylvie, not for him, but there’s a lot of bitterness from Classic Loki who commits a heroic suicide so you might say we get a sad Loki anyway.

And this also works as a shock to make him change his mind about his ‘glorious purposes’. Sorta, with Thor reminding us he’s not so bad and Loki explaining his behaviour as “I don't enjoy hurting people. I... I don't enjoy it. I do it because I have to, because I've had to. Because it's part of the illusion. It's the cruel, elaborate trick conjured by the weak to inspire fear.”

Plot-wise, this is completely useless.

The show will prove Sylvie is not Loki and has completely different motivations and Mobius, being an expert in Variants, should know.

What’s more why would Mobius care if Loki enjoys hurting people or not?

His goal is to capture Sylvie with Loki’s help. The most he should care about is how to keep Loki loyal to him, not if Loki has fun hurting people or not which, in fact, is a knowledge that won’t be used in his investigation.

No, this is here for the viewers, to tell them Loki isn’t a sadistic, evil villain, he’s someone weak who tries to scare others so as not to look weak. As Mobius will put in ‘a scared little boy, shivering in the cold’ who has an ‘insecure need for validation’.

What’s more?

The show will try his hardest to establish he’s not even competent.

Let’s talk of him as a fighter.

In the movies Loki is a competent fighter and side material establish he’s pretty strong, definitely much more than a human.

In “The Avengers” we see Captain America needs Iron Man’s help to beat him and, anyway, Loki’s plan was to be captured. Loki manages to walk away on his feet when Coulson hits him with that superspecial weapon and it’ll take him to be Hulk smashed after a fight with Thor and a meeting with an explosive arrow of Hawkeye before he can’t fight any longer.

This doesn’t happen in the “Loki” series.

Loki gets beaten up by various people in 4 episodes, preferably women (B-15, the people possessed by Sylvie, the guards on the train, Sif). You might say in episode 5 he’s not but actually Classic Loki is the one who gets swallowed by Alioth and our Loki instead survives because he has Sylvie supporting him as, on his own he couldn’t even distract Alioth.

Let’s talk of him as a wizard.

He can use magic, impressive magic but… it serves him mostly nothing. In the TVA his magic doesn’t work. Outside of it is mostly useless. It doesn’t help win fights. The Tempad he caused to disappear gets broken. To beat Alioth they needs enchantment, not his own magic. What’s more, when they’ve to go on the train his disguise wouldn’t have worked without Sylvie’s enchantment and, if this wasn’t enough, he got drunk, removed the disguise and wasn’t even able to make tickets appear.

Classic Loki too, with his impressive illusions is ultimately a distraction. Alioth tears easily through his illusions which aren’t even solid.

Let’s talk of him as a planner.

All Loki will accomplish is to escape from the Time theatre for a brief period in episode 1 and figure out Sylvie hides in apocalypses in episode 2. The rest of his plans fails or are not plan or are mocked over and not even put into practice.

Let’s talk about him as a manipulator with a silver tongue.

He can’t even persuade Mobius when he’s telling him the truth, Mobius dismisses it as a lie due to ‘cockroach's survival mechanism’.

And psychologically?

He’s just someone who crave attention because he’s a narcissist scared of being alone. Not a psychopath.

Loki is not meant to be a dangerous, evil, psychopath villain in this series, he’s a not serious man, a clown, a scared little boy in need of attention, a narcissist who needs to be loved.

Welcome to cartoon villain Loki, this Loki isn’t the Variant of “The Avengers” Loki, he’s the Variant of “Avengers Assemble”Loki… only he’s even less competent than him.

PART 3 – “LOKI” IS NOT EVEN HERE FOR GENERAL MARVEL MOVIE FANS

"That's a lot of Infinity Stones. That's true but they are useless there in the TVA, so I don't know. Is that gun loaded or not? We'll see..." [Loki Writer Comments On Whether TVA’s Infinity Stones Will Return In MCU]

“We had to create an insane institutional knowledge of how time travel would work within the TVA so the audience never has to think about it again. It was a lot of drawings of squiggly timelines.” Marvel already made its case for how time travel works in Avengers: Endgame, but that, Waldron points out, “is the way the Avengers understand it.” With a TV show it’s a little different. “I was always very acutely aware of the fact that there’s a week between each of our episodes and these fans are going to do exactly what I would do, which is pick this apart. We wanted to create a time-travel logic that was so airtight it could sustain over six hours. There’s some time-travel sci-fi concepts here that I’m eager for my Rick and Morty colleagues to see.” [How the Man Behind LokiIs Shaping Marvel’s Phase 4 and Beyond]

BC: The TVA is there to clean everybody up? MW: Yeah, Avengers: Endgame… that's how The Avengers understand time travel. 'Loki,' episode one, is how the TVA explains time travel to Loki and we're certainly building on what's come before us. [Loki: Michael Waldron On Gender Fluidity, Mephisto, Time Travel & More]

It’s true “Loki” is focusing on a new corner of the MCU but it interconnects very poorly with the movies before it.

Although Loki escaped with the Tesseract... it just dismisses completely the Infinity Stones.

Despite talking a lot about timelines and creating branching realities it waved away the whole plot of "Avengers: Endgame" as apparently supposed to happen even though it should have created branching realities.

We see Renslayer wave away how the Avengers went in the past causing the Tesseract to end up in Loki’s hands... and all the other things the Avengers did that affected the past goes unmentioned.

Bruce meeting the Ancient, Thor meeting his mother and taking away Thor’s hammer, Rocket being seen as he steals the reality stone from Jane, Tony stealing a suitcase and damaging the place in which the Tesseract was kept then meeting Howard Stark, 4 flacons of Pyn particles missing, an alarm given to the military bases, how Steve managed to bring back the sceptre if that timeline was pruned, how a timeline handled being without Thanos and Co as they went in the future or how they clearly didn’t bring the orb back the second they took it as Nebula remained unconscious there and nobody came and when she woke up Thanos could get her. It didn’t even explain why Steve remaining with Peggy didn’t change anything.

It's not that the audience has all explained... it's that they were told to dismiss it as 'meant to happen' and that was it.

What's more, the TVA apparently didn't list a finger to stop 2014 Thanos from going in the future and causing Tony Stark's death.

As if this wasn't enough, “Loki” just skips any possible connection with the movies, even hands Loki false information about them (he lead the Dark Elves to his mother when Loki had no idea the Kurse was a Dark Elf and they would have found her anyway as they were searching for the Aether which Malekith could sense, he’s born solely to cause pain and suffering and death, overlooks how he saved Jane twice or helped the Asgardian escape Hela) and never discusses them again.

Even with Classic Loki, who’s a Variant of “Avengers: Infinity War” Loki, they don’t talk about what happened after Loki’s supposed dead, apparently hinting it was better if he died, nor explain how Loki knew Thor survived.

PART 4 – “LOKI” IS NOT REALLY OFFERING A GOOD REPRESENTATION FOR FEMALES EVEN THOUGH IT CLEARLY AIMS AT FEMALE AUDIENCE

Let’s make a quick experiment.

Everyone, let’s name all the characters we remember which appeared in more than 1 episode of “Loki” for more than one minute.

We’ve, of course, Loki, Mobius, B-15, Renslayer, Sylvie, C-20 and Miss Minute.

5 females versus 2 males.

What’s more, females are not sexualized, they remains completely dressed, they’re clearly not there to attract male gazes, they’re represented as strong, dangerous, in control, something archived often by showing them beating males either physically or intellectually or in rank.

It seems promising. At first.

Is there someone who’s sexualized?

The “Loki” series takes care to offer us Tom Hiddleston naked.

So since there’s an abundance of females in the cast and Tom Hiddleston is shown naked is it aiming at a female audience?

Very, very likely but… but how’s then handled all this?

When Loki is seen undressed he’s not in a situation of power, like Thor who’s twice shows half naked in his movies but because he’s changing/washing and perfectly comfortable in showing his body and once in a situation which could be a male forbidden fantasy, to have many women massage your naked body, no, he’s shown as he’s powerless while being stripped by a machine. Clearly not a male power fantasy, more like a male nightmare.

And, in a totally not surprising way, pictures of this scene were spread by many female fans because it was aimed at them… though a part of them, was also honestly appalled at seeing this scene in contest, finding the forced stripping humiliating and degrading.

Sure, a naked Tom Hiddleston makes a nice eye-candy but this wasn’t how Loki’s many fans wanted to see Loki naked.

But let’s talk of female representation here, since the show seems to be interested in female audience… only who even though this was the representation women wanted doesn’t understand much of women representation in the first place.

Why?

For start because women here are all the same type of woman.

Strong fighters who’re in control and confident, with no real characterization beyond this to speak of despite the large amount of screen time.

Renslayer is an ex-hunter who can fight one on one against Sylvie and who clearly has the position of power she has because she was good as a hunter and shows her abilities in fighting after that Sylvie had beaten 2 guards at the same time. B-15 is introduced by beating Loki and is the commander of a squad. C-20 is another commander and, albeit possessed, can dispose of a part of her squad members.

Do I need to spend words on how Sylvie is depicted as this awesome fighter who has learnt to fight by herself, can keep at bay more than 1 Minuteman, can use a sword, has learnt enchantment on her own and is feared by all the TVA? Do I?

And it’s awesome to have women who are strong fighters in positions of command/power/control… but why women has to be represented as just that?

Even when they add a female as an one episode cameo, it's Sif, beating the hell out of Loki. And what about the Lady in Lamentis 1 who was too old to be strong but managed to blast away both Loki and Sylvie seeing through their deceptions?

Even the harmless Miss Minute can avoid being hit by Loki and gets she has to pretend to do researches to stall Sylvie and save Renslayer.

Women kick asses here… but that’s all they’re good for.

And so we get to Sylvie, who is the superior Loki Variant… because she’s female.

Kid Loki: You're different. Why? Loki: No, I'm not, you see? I'm the same, really. I'm the same as all of you. Have any of you met a woman Variant of us? Classic Loki: Sounds terrifying. Loki: Oh, she is. But that's kind of what's great about her. She's different. She's not trying to take over the TVA, she's trying to take it down. And she needs me. Now, you said Alioth is what keeps us here. You said it's a living thing. You said it's a shark. Well, if it lives, it dies. So I'm gonna kill the shark. I'm gonna kill Alioth, and I could use all the help I can get.

That’s what Loki preaches to his fellow Lokis who think a woman Loki would be terrific.

I mean, they’ve an alligator Loki, a POC Loki, but the one who has to be different is the female Loki. Because being female is a character trait.

Mobius: Okay. I feel like I'm always looking up to you. I like it. It's appropriate. [Ep 1]

Basically females in the “Loki” series are all representation of the Action girl trope and aren’t even different representation of said trope. I mean, “The Avengers” have 5 actions boy who’re clearly as different as they could be. Girls can be represented as different too, if they really aim at young audience they can take good old “Sailor Moon” as an example. 5 action girls who are strong and determinate AND DIFFERENT, more than just someone who kicks the adversary away.

And it’s not like they don’t know how to characterize people in a different way.

Mobius is an analyst who shows sympathetic traits toward the Variants and a certain level or intelligence. U-92 and D-90 are hunters who are shown to held Variants in little regard (U-92 wanted to attack the boy they found in the church, D-90 mistreated the scared people in the shelter). Casey is an harmless and naïve guy who had never seen a fish. The guy who made Loki sign the papers about what he said seemed emotionless but he clearly loved cats as not only he had one but on his cup there was also the image of a cat. Martin is clearly a bossy daddy’s son, who think too high of himself to the point he can’t respect rules. The boy in the church, despite thinking Sylvie was a demon, accepted and ate food she gave him and remained in the place despite the crime. He’s clearly more brave than he looked like but he’s also naïve as he easily trusted ‘the demon’ and Mobius.

What’s C-20 character trait when she gets described by Sylvie?

Sylvie: Yeah. She was just a regular person on Earth. Loki: A regular person? Sylvie: Loved margaritas.

She’s a regular person who loves margaritas. Liking a drink is not a character trait!

There’s a more diverse female representation in “Thor” than in “Loki”.

In “Thor” we’ve Frigga, queen of Asgard, loving mother and wife who’s powerless to erase Thor’s banishment. We’ve Sif, a dangerous and loyal warrior. We’ve Jane, the amazing scientist with a lot of enthusiasm. We’ve Darcy, who’s funny and who seems focused mostly on herself but who, when the city is attacked, worried to save all the animals at the pet store.

But maybe the one who gets the worst treatment is the supposed heroine, Sylvie, because the poor girl is turned into a Mary Sue.

In case someone isn’t familiar with the term:

“The prototypical Mary Sue is an original female character in a fanfic who obviously serves as an idealized version of the author mainly for the purpose of Wish Fulfillment. She's exotically beautiful, often having an unusual hair or eye colour, and has a similarly cool and exotic name. She's exceptionally talented in an implausibly wide variety of areas, and may possess skills that are rare or nonexistent in the canon setting. She also lacks any realistic, or at least story-relevant, character flaws — either that or her "flaws" are obviously meant to be endearing. She has an unusual and dramatic Back Story. The canon protagonists are all overwhelmed with admiration for her beauty, wit, courage and other virtues, and are quick to adopt her as one of their True Companions, even characters who are usually antisocial and untrusting; if any character doesn't love her, that character gets an extremely unsympathetic portrayal. She has some sort of especially close relationship to the author's favourite canon character — their love interest, illegitimate child, never-before-mentioned sister, etc. Other than that, the canon characters are quickly reduced to awestruck cheerleaders, watching from the sidelines as Mary Sue outstrips them in their areas of expertise and solves problems that have stymied them for the entire series.” [tvtropes.org]

So let’s see how she fits this checklist:

1) She's exotically beautiful, often having an unusual hair or eye colour: Sylvie painted her hair blonde even though the Lokis are supposed to be black haired

2) has a similarly cool and exotic name: She is the only Loki Variant who has changed her name from Loki to Sylvie.

3) She's exceptionally talented in an implausibly wide variety of areas, and may possess skills that are rare or nonexistent in the canon setting: Awesome at fighting she can enchant people, an ability the Lokis don’t posses, that she magically learnt on her own and that is necessary in the story. Also she figured out how a Tempad worked BEFOREseeing it in action.

4) She also lacks any realistic, or at least story-relevant, character flaws — either that or her "flaws" are obviously meant to be endearing: No flaws, all her plans involve fighting and brute force is no substitute for diplomacy and guile, which could be a flaw… if it wasn’t for the fact that the series will prove Sylvie can plan just fine without using fighting and brute strength and also be successful at it.

5) She has an unusual and dramatic Back Story: She was taken by the TVA when she was younger than Kid Loki but managed to escape them and had to live alone and on the run till then.

6) The canon protagonists are all overwhelmed with admiration for her beauty, wit, courage and other virtues, and are quick to adopt her as one of their True Companions, even characters who are usually antisocial and untrusting: Loki, who has never loved anyone, falls for her, Mobius saves her and apologizes to her, B-15, who used to look down at Variants, basically asks her what should they do and is shown admiring her, the Lokis don’t criticize her plan, Classic Loki dies to save her, everyone views her as the superior Loki Variant.

7) if any character doesn't love her, that character gets an extremely unsympathetic portrayal: Renslayer, the hunter who has arrested her, is currently playing the part of the antagonist who’s fascist and believes in a murderous, lying cult.

8) She has some sort of especially close relationship to the author's favourite canon character — their love interest, illegitimate child, never-before-mentioned sister, etc.: She’s the Variant and love interest of the titular character.

9) Other than that, the canon characters are quickly reduced to awestruck cheerleaders, watching from the sidelines as Mary Sue outstrips them in their areas of expertise and solves problems that have stymied them for the entire series: Loki, the title character, has conveniently been turned into someone who’s a weak fighter and incapable of planning which Sylvie has to save by enchanting guards or giving him her sword or pruning herself or teaching him how to enchant and coming up with all the plans.

Now all she needs in order to be a perfect Mary Sue is to know how to sing well as Mary Sue usually do this as well, though I’m sure she can do it because Loki could so she surely can.

Sylvie is amazing, Loki himself said so:

Loki: No. We may lose. Sometimes painfully. But we don't die. We survive. I mean, you did. You were just a child when the TVA took you, but you nearly took down the organization that claims to govern the order of time. You did it on your own. You ran rings around them. You're amazing!

There’s nothing inherently wrong in having a new female character who’s competent, for whom the hero falls and who changes him… if all this is built around a solid plot.

Think at “Iron Man”.

Tony Stark is, to quote Tony Stark himself a “genius, billionaire, playboy, philanthropist”.

It’s amazing, isn’t it? But the movie shows us why he’s that.

It spends time setting up his pedigree, how he inherited the money and intelligence from his father, how he was supported as he grew and studied becoming always a greater genius. Tony shows himself to be charming before seducing his first woman onscreen so that when he does it makes sense. His philanthropic activities are, at first, just mentioned but seems rooted in how his father was a hero who helped fighting Nazi and then they became his mission. He felt guilty he was a merchant of death and tried to make up for it.

Sylvie too could have a solid plot behind herself.

Instead than magically knowing what a TemPad does and how it works and managing to escape with it, she could have escaped with, let’s say, a hunter that discovered the truth and decided to rebel to the TVA or just had pity of her. Maybe another Mobius Variant who used to work at the TVA prior to Mobius and that, instead than an analyst was a hunter. She might have learnt fighting from him and then he too died and she was left alone.

Enchantment might have been an ability she might have learnt coming in contact with a mind stone. It could have been an occasion also to talk how mind stones can influence people negatively. Or it could have been taught to her by Frigga who, with a female daughter, decided to teach her a different type of magic than Loki.

Her past could have been explored more instead than being tragic for the sake of tragic. We might have seen her fall in love and either be betrayed or have to say goodbye to her loved one because that reality got pruned. We might have seen her being interested in males and females alike as she’s supposed to be interested in both.

She could have had discussions with Loki that weren’t just about Frigga or about how the TVA kidnapped her from Asgard, she escaped and from that point on she was always on the run, or about how love didn’t feel real, but more about how they were, how they felt, what hurt them and what made them happy, what they liked and what they disliked, their ideals and their fears, things that can built up a relation.

Loki basically fall for her because she’s on a mission for revenge instead than power and seems confident. That’s his reasoning.

She falls for Loki… because apparently he’s the person who spend time with her who praised her. That’s not a solid love story, that’s desperation.

SYlvie could have flaws, she could have learnt diplomacy or persuasion from Loki or could have something she lacks and Loki has so that they would complete each other.

And since the purpose was to have Sylvie and Loki fall for each other… they could have let Loki have characteristics that can motivate the exceptional heroine to fall in love for him PRIOR to him falling in love for her. He might be shown good at something, instead than just a clown.

Even if we say the real purpose of this series was to turn Sylvie into the protagonist, the heroine, a good Loki character was still needed to explain why this awesome girl would fall for him.

So okay, there will surely still be women who can see themselves in Sylvie and imagine they got Loki… and it’s not bad really… but I think we deserved more.

Long story short, yes, “Loki” has many females in its cast and this is meant to draw the female audience… but the representation is poor as almost all of the females have no character traits and Sylvie is just a Mary Sue with no realistic characterization.

A good female representation is diverse and solid. Women don't need to be born irrealistically perfect out of nothing to be good, they can inherith and grow and learn to be as such like any human being.

Last but not least…

PART 5 – DOES “LOKI” REALLY OFFERS REPRESENTATION TO THE LGBT COMMUNITY?

BC: There is a lot of talk on social media about Loki being gender fluid. Wouldn't that actually be a natural fit for the character? MW: Yeah, I guess as, with all questions pertaining to that stuff, I think those answers, truly, are best experienced in the watching of the show, as opposed to me trying to answer them. Because it's just watching it and the way that's addressed and everything will just be more fulfilling. BC: Why do you think it's important that Loki is gender fluid? MW: I think that Loki is a character that a lot of fans see representation in. People that haven't felt represented before, and they see themselves in Loki and everything. So we want to do justice to the character, to who the character is in the comics and in Norse mythology as well. And you also … you know you want folks to feel represented, and everything. That's why it's important. It always has been. It comes from everybody on the creative team. [Loki: Michael Waldron On Gender Fluidity, Mephisto, Time Travel & More]

The series hugely spread the info that this Loki would be fluid and Bisexual. The news were welcomed with delight and it’s awesome how the series didn’t hesitate to put it on paper.

Loki being fluid was written for everyone to see, and Loki having male and female interests was spelled out for everyone to hear.

IT’S A GREAT THING!

However…

It’s all we got.

It had no relevance into the plot whatsoever, it’s just a random info we’re given.

Him being fluid was on a paper along with his other data like eye colour and birth planet.

Him being interested in males and females seems to be put there just to imply he tried a large amount of people before deciding love didn’t feel real.

Assuming the other Lokis too were fluid, they actually found terrific the idea of a woman Loki in a not positive way. They weren’t interested or asking for clarifications about what Loki meant.

Loki’s bisexuality doesn’t even get a side story, them sending Fandral to beat Loki instead than Sif because Loki cheated on him or something. I’m not upset Loki ended up with a female, this is one of the possibilities of a Bisexual person. I’m upset that this was used merely to attract the audience but then wasn’t explored. They could have said Asgard was open minded with it, or disapproved it so Loki had to keep it hidden, or it could have been Sylvie who discussed some experience in that regard.

We were told over and over it was a show about identity. We expected it to be explored instead we were just told ‘ah, by the way, Loki is bisexual, let’s move on.’ And that was all.

Having representation from an important Marvel character is always important, especially considering the shortage of representation. But honestly I expected more.

PART 7 – TO SUM IT UP

Many of the people who worked in “Loki” are fantastic actors. They worked hard for this series, I can see they tried their best.

The premises for the “Loki” series are interesting.

We get a Loki who hadn’t experienced most of what happened in the movies yet, we make him confront with someone who knows his life, the one he lived and the one he was meant to live and we also make him confront with Variations of himself.

Loki has the Tesseract and the TVA has plenty of infinity stones, we could explore them.

The TVA itself have a fascist organization that dictates people’s lives and murders whoever tries to do differently, that goes so far as to brainwash the people working in it, which mistreats and belittle the Variants and establish a manipulative cult around the Time-Keeper with elements of police brutality which could be very actual.

Time travelling was the plot of "Avengers: Endgame" they could have tied the movie to the series, esplore the why some time travels were allowed and some weren't or their effects.

There were references to plenty of awesome comics they could take inspiration from.

But unless it redeems itself with the last episode… well, so far it’s failing to deliver what it promised due to a really poor plot which doesn’t give the characters a chance to be themselves or to be characterized as they’ve no real story nor real differences to speak of.

They’re given more time than a movie as they’re a series… but that’s no good excuse for wasting said time.

I’m still hoping the last episode will be spectacular, that it’ll manage to erase the messes of the other 5… but, as of now I’m disappointed.

I’ll just keep my fingers crossed and hope they’ll surprise me.

[dr-lizortecho]

Well then, I'm assuming that Max can't heal Alex either because Michael didn't ask him to even after he showed him he got his powers back.

sorry if I came off upset/mean, I truly think your take on the show is a very likely outcome and very much something that would have a lot of positive impact and messages for the audience, just that for me personally I wouldn’t like for Max to heal Liz in this specific arena

as for the Alex situation I’m assuming that one of two different things occurred

1) Alex, ever the soldier, reminded the group they’re in a very precarious situation and whatever is occurring to him is happening at a slow rate and since healing drains Max so much waiting until they’ve exited the main danger will be a safer move (it’s one them that will be dead weight drug around by the other members of the squad, and in this case Max is more uniquely qualified to go toe-to-toe with Clyde and a storm), so the plan was Max heals Alex once they leave

2) the writer’s have either planned to give Michael healing powers that he discovers next episode or to have whatever is killing Alex wear off once he’s no longer exposed, both of which don’t inform why Max doesn’t heal Alex or attempt to for that matter, just that the writers didn’t think to include a how/why the characters would skip something so important while not being aware of the continuity they live in (that being why they wouldn’t try and heal Alex because they aren’t aware of what will happen later in the story)

so to wrap this back around, yeah I think Max’s powers need limits, especially when it comes to certain areas of health (such as disabilities, mental health, etc.) and I think the writers have failed in a few regards to that, but I don’t see them “curing” Liz’s memory loss/possible brain deterioration with Max’s powers, I much prefer the notion that her and Kyle figure it out together, from both the Mimi perspective and keeping the narrative that Liz has to come back to her full self

[hamliet]

The Girl Who Gets to Have It All: Buffy Summers

So with @linkspooky​‘s encouragement, I have binged Buffy the Vampire Slayer and relived my childhood culture. And, it's a 10/10 for me. Not that it doesn't have flaws, but it's genuinely one of the best stories I've seen, with consistent character arcs, powerful themes, and a beautiful message. It's also like... purportedly about vampires and demons and superpowered chosen ones, but it's actually all about humanity.

Buffy was able to be a teenage girl, allowed to like the things teen girls are scorned for (boys, shopping, etc), to be insecure about the thing teenage girls are insecure about (future careers, dating, school, parents), and to be a superhero with its good and its bad aspects. The story wasn’t afraid to call Buffy on her flaws (sometimes she got in a very ‘I am the righteous chosen one’ mode) and to respect and honor each of her desires (to be a good person, to be loved, and more). The story listened to what she wanted and respected her desires, giving her the challenges needed to overcome her flaws while also never teaching her a lesson about wanting bad boys or romance is silly or any manner of dark warnings stories like to throw at teenage girls. 

It respected teenage girls--nerdy girls like Willow, jocks like Buffy, lonely wallflowers with trauma like Dawn, and popular/snobby ones like Cordelia, girls gone wild like Faith. It never once reduced them to the stereotypes that were lurking right there: each character was fully rounded, human, flawed and yet with respected interests and goals. This is so rare for a story that I’m still in awe. 

The story as a whole follows Buffy from 15 to 21, of her as she grows from teenager to adult. She acts like a teenager and grows to act like a young adult, wrestling with loneliness and duty. The adults, like Giles, Joyce, and Jenny, are not perfect either, but neither are they “bad parents” or “bad mentors” necessarily. Joyce in particular says something terrible to Buffy, but she tries to do better, and it’s rare to see a parent in YA stories shown with such nuance. Basically, it wrote the long-lasting adult characters as human beings, too. 

Speaking of growing up, I appreciated how Buffy’s love interests mirrored this. Angel was someone Buffy loved and admired, wanted to be like, but who was always either extreme good or extreme bad, and combined with Buffy’s own tendencies towards black-white thinking, made for a beautiful relationship to help her grow, but didn’t necessarily form a foundation for a long-term partner. Spike, on the other hand... they both saw each other at their worst and were drawn to each other even then, and were inspired to become better because they couldn’t bear to be a person who treated the other person so wrongly. They pushed each other to become the best them they could be, and believed in each other. Also, Spuffy is an enemies to lovers ship for the ages. 

(Also, most of the other ships were well-done or at least can be understood. Riley was very obviously wrong for Buffy which paralleled Harmony and Spike in being 100% wrong for each other. Cordelia and Xander were a fun ship even if we all knew it would never last, and Willow and Oz were beautiful and cute. But Xander and Anya and Willow and Tara? OTPs. As were Giles and Jenny, the librarian and the computer teacher.) 

That said, it’s not a perfect series. No story is. All of the characters and ships had problematic aspects to them worthy of critique, and the writing is very 90s in a lot of ways. It’s a product of its time, and in many ways it’s good society has progressed beyond some of the tropes/metaphors used in the show. In other way, though, the show was ahead of its time, and in a good way it wasn’t bound by the fear of purity policing with its takes on redemption (many characters would never fly today). 

So, in order of seasons ranked from my very favorite to my “still enjoyed it very much” (no season was actually bad, imo), here’s my review. I’ll also review my top 10 villains in the show, because Buffy does villains very well in terms of the redeemable and irredeemable.  

Season 7:  Yep, the final season was my favorite. 

Overall Opinion: Buffy's finale is literally "f*ck them men, our power is ours" and while it seems cheesy it actually works (also, f*ck in both a literal and figurative sense). The series strongly hit all the themes: love as strength, and redemption. Buffy consistently shows love as her strength--*all* kinds of love. Friendship w Willow/Xander, familial with Joyce/Dawn, romantic with Spike/Angel. These types of love are also never pitted against each other as is so often the case in current-day media. It's beautiful. Also, Spike’s confrontation with Wood was so powerful in terms of exploring forgiveness, redemption, and reconciliation: where they overlap and where they don't, and what it means to move forward. 

Unpopular Opinion: I have seen a lot didn’t like the inclusion of Potential Slayers, and while I agree they could have been better incorporated/characterized, it was a great way to show Buffy’s final stage of growing up to be ending her chosen one status and projecting/multiplying her powers over the world. 

Biggest Critique: Kennedy was female Riley--the anti-Tara to Riley’s anti-Angel (by ‘anti’ I mean opposite in every way). Kennedy was annoying and immature. Her role, like Riley’s, was less about exploring her as a character and more about her just being stamped as “love interest: lesbian.” 

Favorite Episodes: Beneath You, Lies My Parents Told Me, Touched, Chosen

Season 6: 

Overall Opinion: I said this on Twitter, but I felt like this was Buffy’s The Last Jedi or Empire Strikes Back moment. It is polarizing and dark, deconstructing the tropes it stands on--but by digging to the core of these tropes, it actually makes what’s good about them shine brighter. Everyone’s enemy was the worst versions of themselves. Giles left Buffy, Willow's struggle to relate to the world led to her trying to destroy it, Buffy hurt everyone through her anger, Xander abandoned Anya at the altar, Spike... yeah. It ages well as an integral part of the story, and the Trio were eerily prophetic. 

Unpopular Opinion: Dawn is a great character with a good arc. A traumatized teen acting out and struggling to come to terms with loss and identity? She wasn’t whiny; she was realistic. 

Biggest Critique: Willow’s addiction coding (I’ll discuss this below) and Seeing Red as an episode. I see the argument for both of its controversial scenes from a narrative perspective: Willow starts the season not grieving Buffy but instead being determined to fix it with magic and needs to learn to grieve, but. Still. Bury your gays is not a good look. For the Spike scene... he conflates sex/passion and violence (”love is blood, children” is something he said way back in season 3), but like Tara’s death, it had more to do with Spike (as Tara’s death did for Willow) than with Buffy’s arc, and as for the actual execution... they really botched that. Did it like... have to go on that long or go that far? No. Also, the framing was good, but inconsistent with the rest of the series (Xander to Buffy in the hyena episode, Faith to Xander and to Riley, etc.) 

Favorite Episodes: Once More With Feeling, Smashed, Grave

Season 3 (tied with Season 5):

Overall Opinion: The opening continuity of Buffy meeting Lily/Anne after saving her life in Season 2 was sweet. The Witchhunt episode had really powerful subtext: stories of deaths that aren’t even true are actually demons that possess the town and convince them to turn against their children in the name of protecting the children. It’s a good commentary on, oh, everything in society. Faith’s character arc was fantastic, and her chemistry with Buffy was off the charts (look, I may be Spuffy all the way, but Fuffy has rights). The finale was satisfying in so many ways, seeing the entire graduating class unite to destroy the Mayor and the school with it, symbolizing Buffy et al’s readiness to move on to college. Oz's relationship with Willow was very sweet and meaningful for a first romance for Willow. 

Unpopular Opinion: I actually don’t really have one. Maybe that the miracle in Amends was earned? I think you can make a decent case that Season 3 is the best written of the seasons, but can only truly be thematically appreciated to its full potential in the light of subsequent seasons (which finish Faith’s arc and deconstruct Buffy’s).  

Biggest Critique: It forgot Buffy killed the hyena guy in Season 1, making her continual insistence that she can’t kill people very ????? 

Favorite Episodes: Lovers Walk, Amends, Graduation Day Part 2 

Season 5, which ties with Season 3:

Overall Opinion: The entire season is about family and what it means, from Tara’s to Buffy’s to the Scoobies. I loved Glory aka Enoshima Junko as the Big Bad, I loved Dawn’s interesting meta commentary on retconning (like, the fact that she’s retconned in matters), and most of my ships are still alive. Joyce’s relationship with Spike is one of the most heartwarming aspects, and Spike’s arc’s desire is clearly highlighted: he wants to be seen as a person. The episodes after Joyce’s death are the most honest portrayals of grief I’ve ever seen, and absolutely brutal to watch. 

Unpopular Opinion: Buffy’s choice at the end seems a deliberate inversion of her choice at the end of Season 2 (sacrifice a loved one to save the world), but it actually isn’t: much like at the end of Season 2 where Buffy skips town because she’s devastated after killing Angel and doesn’t want to sort out being expelled, her mom knowing she’s the slayer, and her own trauma, Buffy’s sacrifice here was as much about her wanting the easy way out of relationships, family, college, etc. as it was about saving Dawn. Buffy’s death is coded as a suicide, which Season 6 emphasizes as well. 

Biggest Critique: Like Season 3, I don’t have a lot to critique here. I wish the suicidal coding had been a little more obvious in Season 5 itself, but also I’m not sure it could have been more obvious; it’s pretty apparent if you pay attention. Maybe also that Buffy and Riley’s relationship failing should have been more squarely blamed on Riley, you know, being insecure and cheating. 

Favorite Episodes: Family, Fool for Love, Intervention. 

Season 2:

Overall Opinion: Heartbreakingly tragic but exciting and revealing at the same time. It asked the viewer interesting questions about redemption and forgiveness and atonement through Angel being honest about his past, and then decided to show us his past now reenacted, challenging us. And still, we saw them save him in a parallel to saving Willow in Season 6 (but Season 2 was tragic because it wasn’t enough, while Season 6 was not). Jenny’s death was agonizing, and the scene were Angel watches Buffy, Willow, and Joyce get the news through the window was powerful. We didn’t have to hear them to get the grief. 

Unpopular Opinion: Jenny’s death isn’t a fridging; it works for her arc too when you consider her history. She worked to save the person whose life she was tasked to ruin, and it cost her her own--yet she still succeeded, because Jenny brought joy and wisdom to the show. Kendra’s death, on the other hand... was because they needed the stakes to be high--but we already knew that before she died. So, her death was useless. 

Biggest Critique: The subtext was Not It. It was essentially “do not have sex. Your older boyfriend will lose his soul, kill your friends, you’ll lose your family, your school, your home, and have to kill your true love or else hell will literally swallow earth.” 

Favorite Episodes: School Hard, Passion, Becoming Part 2.

Season 1:

Overall Opinion: I really liked it; it’s just lower on this list because the others are just better. It’s a great introduction to the series and to its characters, from Giles to Buffy to Willow to Jenny to Cordelia. It has great subtext a lot of the time (for example, Natalie French as She-Mantis is a literal predatory bug who engages in predatory behavior with students). Additionally, it subverts the typical YA trope of two guys and a girl, in which the girl is usually the least interesting character. Buffy and Willow were both fully fledged characters from the beginning with distinct strengths (even before Willow became a witch, as she wasn’t one in season 1 yet), while Xander was the more ordinary of the group. 

Unpopular Opinion/Biggest Critique: Xander’s arc showed its first flaws that unfortunately continued throughout the series: his writing was either very good or very indulgent in ways it never was for other characters.  (cough, the hyena episode, cough, in which he gets to skirt responsibility--and acknowledges that he is skirting it--for something the show will later hold others to account for). Xander’s just kind of inconsistent, which weakened his character over all. (Which is why both his love interests--Cordelia and then ultimately Anya--were good for him: they did not indulge him.) 

Favorite Episode: Witch, Nightmares. 

Season 4:

Overall Opinion: it’s still a good season. It’s a good portrayal of college and the growing pains of branching out, the strains of college growth on relationships (romantic and platonic). It shows us the first hints of Spuffy, giving us some serious Jungian symbolism between Spike and Buffy early on, and does well in establishing Xander/Anya and Willow/Tara as beautiful OTPs. Faith and Buffy’s foiling is fantastic. The Halloween episode was very fun as well. However, it suffers because its Big Bad, Adam, is not all that compelling thematically--yet, he could have been. See, the final battle pulls off the Power of Friendship in a really strong way but notably the season does not end there. Instead, it ends on dreams of each character’s worst fears, continuing what we saw in Nightmares in Season 1. Why? Because it shows us that the characters’ wars aren’t against monsters, but monsters of their own making: their flaws. Adam, as a literal Frankenstein, exemplifies this, but it wasn’t capitalized on as well as it could have been. 

Unpopular Opinion: Beer Bad isn’t a bad episode, at the very least because Buffy gets to punch Parker. It’s not one of the series’ best, obviously, but it does give Buffy an arc in that she gets her daydream of Parker begging her to come back, but she has overcome that desire and her desire for revenge. If we wanna talk about bad subtext in Season 4, Season 2′s Not It sex subtext continues in the Where the Wild Things Are episode in this season; it’s a powerful callout of abusive purity-culture churches, until the fact that the shame creates a literal curse undermines the progressive message it’s supposed to send. Also, the Thanksgiving episode (Pangs) is a nightmare of white guilt and Oh God Shut Up White People. 

Biggest Critique: Riley is awful. Like Kennedy, he had “love interest:normal” stamped on him and that was it. The thing is, he could have worked as an Angel foil, representative of the normal-life aspect of Buffy to Angel’s vampire/supernatural aspect, but the writers never explore this and seemed to even try to back away from that later on. They threw all the romantic cliches at the wall to see what sticks, from klutzy “I dropped my schoolbooks, that’s how we met” to cliché lines that had me rolling my eyes. Do you know how bad a romance has to be to make me dislike romantic tropes? 

Favorite Episodes: Fear Itself, Hush, Restless

Villain rankings: 

Dark Willow, the only villain to be truly sympathetic. While the addiction coding was insensitive and, while unsurprising for its time, aged extremely poorly. That said, Willow’s turn to the dark side after Tara’s death worked well for her character and the story: it was believable and paid off what had been building since Season 1's “Nightmares” episode (Willow’s inferiority complex). 

Glory managed to be genuinely terrifying, and humorous/enjoyable too. Her minions and their numerous nicknames for Glorificus were hilarious, as was her intense vanity. Her merging with Ben--a human being who genuinely wanted to be kind and good--added complexity and tragedy to her role. 

The First. A really good take on Satan. The seventh season as well as the First’s first appearance in season 3′s “Amends” had kind of blatant Christian symbolism, and so the First being essentially Satan works. Their disguising themselves as dead loved ones and the subtle manipulation they used to alienate people was really disturbing and well done. 

The Mayor, who was a terrible person but a truly good father. He provided an interesting contrast to the normal ‘bad dad’ bad guy character, in that he provided Faith exactly what the other characters refused to: he saw the best in her and offered her parental support, while the heroes didn’t and wound up pushing her away. 

The Trio, who were villains ahead of their time: whiny fanboy reddit dudebros, basically. The stakes seemed so much lower than fighting Glory, a literal god, the previous season. But that’s why they worked so well for Season 6′s human themes, and were especially disturbing because we all know people like them. I also appreciated the surprisingly sensitive takes on Jonathan and Andrew, who got to redeem themselves, but Warren did not, and I don’t think he should have either. 

Angelus + Drusilla. I’m ranking them below the Trio because Angelus was just sooooo different from Angel that it was difficult for me to feel the same way for him. He was still Angel, so it wasn’t possible to enjoy his villainy, but he also wasn’t nearly as sympathetic as Dark Willow, had no redeeming qualities like the Mayor, and wasn’t as disturbingly realistic as the Trio. However, the emotional stakes were excellently executed with him as the Big Bad, in that you were never quite sure how to feel and it just plain hurt. Also, Drusilla was a favorite recurring character. She was sympathetic and yet batsh*t enough to be enjoyable as a villain at the same time. 

The Master, who was just completely camp and really worked as an introductory villain. He was scary enough to believe he was a threat, and was funny enough to introduce the series’ humor as well. He was, like Glory, an enjoyable Big Bad. 

The Gentlemen, the one-off villains of Season 4′s Hush who were genuinely terrifying. It’s not as if they got a lot of explanation or any backstory, but they didn’t need it. 

Caleb, the misogynist priest. Fitting with the First’s Christian symbolism, Caleb serving as a spokesperson of all bad religious beliefs felt appropriate. He was also a good foil to Warren--being actually supernaturally powered instead of a wannabe--and to Tara’s family in being full-out evil. I despised him. 

Snyder. Okay Snyder is not a Big Bad like Adam is, but let’s face it: Adam is lame compared to the other villains. But Snyder as a principal? He was so irritating and yet really well used in the series to critique overly strict, hypocritical teachers. Like, we all know teachers like him. I loved to hate him, and his ending was so satisfying. 

[twentiethcenturymoviesandtv]

Episode Spotlight: M*A*S*H, Season 1, Episode 17: Sometimes You Hear the Bullet

Frank Burns throws his back out and applies for a Purple Heart.  Meanwhile, Hawkeye Pierce meets, and later operates on, an old friend and struggles with the decision of whether or not to send an underaged soldier home.

More than halfway through season 1, M*A*S*H wasn’t exactly killing in the ratings.  The show wasn’t quite sure of itself yet, with tons of recurring characters that would end up dropped and other characters not yet added to the main cast.  Airing at eight o’clock on Sunday nights, M*A*S*H was, at this stage in the game, a relatively normal sitcom, albeit one with a bit sharper sense of humor.

That all changed with Sometimes You Hear the Bullet.

I’ll show you what I mean.

The episode starts humorously enough: Major Frank Burns throws his back out during a rendezvous with Major Houlihan.  He is placed into traction, where he applies for a Purple Heart for his ‘injury’.  Meanwhile, Hawkeye is visited by an old friend and kindred irreverent spirit: Corporal Tommy Gillis, a journalist who signed up for the front lines as he writes his book: You Never Hear the Bullet, a book meant to be written from a soldier’s point of view, instead of a reporter’s.

A helicopter full of wounded arrive at the unit, and Gillis returns to his post.

Among the wounded is a young man with a burst appendix, a Private Wendell Petersen, who is very anxious to get back to the front lines.  Hawkeye tells him that he has to rest for a few days before returning to his unit.  This doesn’t stop Wendell from attempting to steal an army jeep to try to get back, afraid that he was going to be sent home.

After talking with him, Hawkeye figures out the truth: Wendell Petersen is actually Walter Peterson, and he’s not even sixteen years old.

It turns out that Walter posed as his brother, Wendell, and entered the war to impress his girlfriend back home by returning with a medal.  He begs Hawkeye to keep his secret, and, after returning him to his bed, Hawkeye agrees.

Shortly, more wounded arrive, and among them is Tommy Gillis.  Hawkeye operates on him, but even his best is not enough, and he dies on the operating table after telling Hawkeye that he did hear the bullet.  Hawkeye tries to revive him, but Colonel Henry Blake orders him to move on to save another life.

Afterwards, Hawkeye breaks down crying.

“Henry, I know why I’m crying now. Tommy was my friend, and I watched him die, and I’m crying. I’ve watched guys die almost every day. Why didn’t I ever cry for them?”

“Because you’re a doctor.”

Hawkeye asks what that means, and Henry answers with one of the greatest lines in the show’s history.

“I don’t know. If I had the answer, I’d be at the Mayo Clinic. Does this place look like the Mayo Clinic? Look, all I know is what they taught me at command school. There are certain rules about a war. And rule number one is young men die. And rule number two is, doctors can’t change rule number one.”

Right then and there, Hawkeye decides to change rule number one in some small way, and calls the MPs on Private Wendell, really Walter, outing the fact that he’s underage.  Walter, outraged, tells Hawkeye that he’ll never forgive Hawkeye for the rest of his life.

Hawkeye replies: “Let’s hope it’s a long and healthy hate.”

In one final scene (one that’s usually cut from syndication), Henry Blake begins to present Frank with his Purple Heart, only to find it replaced with a purple earring, while outside, Hawkeye pins the Purple Heart on Walter to make up for turning him in, sending him home, but home a hero.

The end.

Sometimes You Hear the Bullet is considered one of M*A*S*H’s best episodes for a reason.  This is an early episode, one that is regarded as a tone and trend setter for the rest of the series in terms of both storyline balance (one or two serious plotlines, one humorous), and content itself, one of the first episodes to sit down and truly explore the characters within this tragic situation.  At this moment, M*A*S*H ceased being a comedy show and became a dramedy, with one of the most memorable moments and exchanges in the show’s long history.

While this episode may seem like a standard half-hour of television, at the time, especially for this show, it was something different.  It was no longer a slapstick grittier Hogan’s Heroesque irreverent comedy about soldiers, it was a show about a group of people stuck in the middle of a war, with death all around them.  And no matter how good Hawkeye, or any of the doctors, are at their jobs, they’ll never be able to save everyone.

It’s sobering, but it’s a truth that the show had, for the first time, truly explored, and it’s that initial exploration, that glimmer of what this show was going to become, that puts this episode under so much recognition: Sometimes You Hear the Bullet was the warning sign, the first moment that the writers got a handle on the show that would become a classic.

Of course, it has it’s problems.  

Not tonal ones, at least, not exactly.  Throughout its entire run, M*A*S*H often had two or three plots going, one serious, one humorous.  This is a smart strategy: balance out the dark with the light, giving each episode a more even feeling instead of being too much one or the other.  Although the show would get darker and more serious as time went on, the writers never abandoned this plan, allowing M*A*S*H to remain a consistent dramedy throughout the show’s run, keeping the audience laughing and crying at the same time.

In the case of Sometimes You Hear the Bullet, the ‘funny’ subplot is obvious: Frank Burns and his Purple Heart.  The other two storylines are the serious ones: Hawkeye’s friend, as well as the underaged soldier.  However, in most cases, as in this one, these plotlines inevitably intersect, and it’s here that this particular episode might cause a few problems.

I mentioned that the final scene in the episode is typically cut from syndication: the sequence where Frank’s purple heart is stolen and given to the underaged soldier, instead.  While this scene may not, at first, seem inherently out of place within the context of the rest of the episode, swinging from comedy to drama within a minute, there are those who believe that this scene unintentionally undermines the rest of the episode, or the main thrust established a few moments earlier.

And those people aren’t exactly wrong.

I certainly agree that the episode would have been stronger had it ended with the soldier’s final interaction with Hawkeye been proclaiming his hatred, only for Hawkeye to soberly respond that he hopes it’s a long and healthy hate.  Changing that to this new ending, where Hawkeye sends him home with a medal, seems almost out of character for Hawkeye, taking away some of the sincerity and severity of the message just a moment earlier.  The idea that this soldier could bring himself to forgive Hawkeye so soon, before realizing what exactly he’d been saved from, seems a little disingenuous after the weight previously given to this subplot.

In later episodes, it’s possible, even probable that this episode wouldn’t have ended tied in such a neat bow.  But that’s one of the things that’s so interesting about this episode.

Sometimes You Hear the Bullet isn’t the first episode of ‘true’ M*A*S*H as it would be remembered in the future, but it is the first episode where M*A*S*H comes into its own themes, looking hard at war, and the toll it takes not only on the soldiers, but on the surgeons, as well.  Before this, for the most part, ‘characters’, friends of the cast, did not die on the operating table.  Not when Hawkeye could save him.

But I’m going to quote Hawkeye from another season 1 M*A*S*H episode, Yankee Doodle Doctor, as I think that it sums up this the point of this episode pretty well:

“Three hours ago, this man was in a battle. Two hours ago, we operated on him. He’s got a 50-50 chance. We win some, we lose some. That’s what it’s all about. No promises. No guaranteed survival. No saints in surgical garb. Our willingness, our experience, our technique are not enough. Guns, and bombs, and anti-personnel mines have more power to take life than we have to preserve it. Not a very happy ending for a movie. But then, no war is a movie.”

That right there is the point of Sometimes You Hear the Bullet, to the point where the doomed Tommy Gillis even references the film tropes of a young, fresh-faced kid hearing the bullet that kills him.  This is the message that Hawkeye must grapple with: he cannot save everyone.

No matter how much he knows, how good he is, he can never save everyone.  No guaranteed survival.

It’s sobering, but it’s the truth.  And it’s what makes this episode so memorable.

M*A*S*H at this point was still mostly a comedy, a series full of jokes and the occasional serious moment, and it would continue to be so for another few years.  But it was this episode, episode seventeen of the first season, that signaled to audiences that this show could be more than that.  It could make you laugh, sure, but it could make you cry, and it wasn’t that surprising: this was war.

In short: by itself, is Sometimes You Hear the Bullet one of the greatest episodes of television, or even M*A*S*H, ever written?  Maybe.  Maybe not.  But what it is, without much doubt, is the first sign of maturity in a show that had a lot of growing up to do.

Whether the shift was instantaneous or not, the fact is, Sometimes You Hear the Bullet was a game changer in the show’s history, the first break in format that truly showed audiences what they could expect in the years ahead.

On top of that?  It’s just a good episode.

The plot balance is decent, without too much mood-whiplash that could so easily occur in a war dramedy.  The characters, decently familiar to audiences by now, all work off of each other just as well as ever, funny, interesting, and heartfelt in turn.  It’s an example of early M*A*S*H at it’s best, overshadowing many first season episodes with a level of depth previously mostly unexplored, delivering on every scene and remaining mostly genuine.  It’s an engaging episode, full of memorable moments that are thoughtful and earnest, making this episode a standout, a moment in television history, and an unmissable installment for avid watchers of M*A*SH, and television fans in general.

Don’t forget that the comment box is always open for anything from suggestions and discussion ideas to questions and conversations!  Thank you guys so much for reading, and I hope to see you guys in the next article.

[noelleification]

I wrote an essay about she-ra supremacy and i want to share it with you

For context, my English teacher and I have been in an elaborate pissing contest for the past year. He said fan fiction was bad, so I wrote a sonnet about Banana Fish. He said you couldn't write about death using bright language and colorful metaphors, so I wrote a flash fiction piece about it.

One thing that he's done this year that we disagreed on was making us read The Plague by Albert Camus during a global pandemic. So, my most recent attempt at fucking with my teacher was writing an essay about why She-Ra and the Princesses of Power (2018) is better than The Plague.

So, here is my essay. :)

"Recently I was asked, “What is the job of a novelist, and did Albert Camus accomplish this when he wrote The Plague?” While most of my classmates answered yes, I was less taken with the novel than they seemed to be.

The question “What is the job of a novelist?” is difficult to answer. Quite simply, art means different things to different people, and giving a yes or no answer to such a complex question seems impossible. Still, while The Plague definitely has something interesting to say, its message isn’t profound when compared to other, “lower” forms of art. It’s easy to assume value in The Plague because of it’s status, but after reading the novel, I was somewhat unimpressed with the one-note characterizations that served to deliver an ultimately average message.

In contrast, I have repeatedly been overwhelmingly impressed with She-Ra and the Princesses of Power, a 2018 remake of a He-Man spinoff cartoon from the 80s. The new She-Ra broke boundaries in terms of representation, and the show’s resolution was made meaningful by the well-developed characters and important themes. Due to its complex characters, important messages, and groundbreaking representation, She-Ra and the Princesses of Power (2018) is a more important and influential piece of art than The Plague by Albert Camus.

The complex characters in She-Ra are much more rich and well-developed,than those in The Plague. Characters in The Plague are flat and one-dimensional—instead of real, relatable human beings, these characters come across as ideas. They represent something, but they’re not flawed, multi-faceted characters in their own right. On the other hand, She-Ra’s characters—from its heroes to its villains to its side characters—are infinitely complex and well-developed.

The most prominent example of this is Catra. Catra, the deuteragonist of the series, is the childhood best friend of the protagonist, Adora. In order to understand the complex role that Catra fulfills in She-Ra, it is important to understand the background of the show.

She-Ra and the Princesses of Power takes place in the fantasy world of Etheria, in which women with magical powers, called ‘princesses’, rule and protect the land. The central conflict takes place between the Rebellion and the Evil Horde. The Horde, ruled by Hordak, is an army dedicated to wiping out the princesses and taking control of Etheria.

Catra and Adora are two child soldiers raised by the Horde. They grew up together and are best friends. However, when Adora finds a magical sword inside the forest and discovers that she is the legendary warrior She-Ra, she defects from the Horde and joins the Rebellion. Alongside two new friends, Bow and Princess Glimmer, Adora fights to defend Etheria from the Horde.

Catra, however, feels betrayed when Adora joins the Rebellion. While Adora’s arc is quickly established as a redemption arc, Catra spirals into a corruption arc for many seasons. Because of her pain and betrayal, she becomes the right-hand woman of Hordak. She lashes out at those closest to her, makes it her life’s mission to stop Adora, and hurts dozens of people on her way to the top.

Still, Catra is not a one-note villain. Her pain and betrayal is explored deeply throughout the series. Even at her worst moments, Catra is sympathetic. Flashbacks of her childhood show her deep emotional bond with Adora and the physical and emotional abuse she suffered at the hands of the Horde. She is shown breaking down multiple times throughout the series, and her relationships with characters like Scorpia show her humanity, even when she is hell-bent on destroying the Rebellion. Despite Catra’s actions, she is a deeply sympathetic character.

Catra is a complex villain, but she is an even more complex protagonist. In season five of the series, after a series of events lead her to reflect on her actions, Catra betrays the Horde to save Adora. This is not an easy decision for her to make. Catra is emotionally tormented—betrayed by those closest to her and held captive by the same force she once swore to serve, Catra saves Glimmer’s life in a last-ditch attempt to do “one good thing” in her life. Catra believes she will be killed for her actions, and in what she thinks are her last moments, she cries, “Adora, I’m sorry. For everything.”

Of course, Adora is not content to let Catra die. She saves her childhood friend, but when Catra is rescued by the Rebellion, she does not immediately change sides. Catra is shown to be bitter and cruel to Adora, Bow, and Glimmer as she struggles with her own internal conflict. Catra continues to lash out at those who are trying to help her, and it is only when Catra begins to face the consequences of her actions by apologizing to a friend she betrayed that she is able to start on the road to redemption. Her redemption is complex, and it is an arc that continues for most of season five. Catra does not flip a switch that takes her from “evil” to “good”—it is a grueling process that is only made possible by the forgiveness of those around her.

Catra is not the only character with a complex arc. Despite being the protagonist, Adora is a deeply flawed character who has to learn and grow over the course of the series. Season four sees Glimmer betraying her friends and falling deeper into a spiral of fear and hatred after the death of her mother. Even Shadow Weaver, Catra and Adora’s abusive parent figure, is not easily classified as “good” or “evil.” Shadow Weaver is a morally grey enigma who serves whatever side she believes will win and, in the end, makes the ultimate sacrifice by dying to save Catra.

It is worth noting that this is not a full redemption of Shadow Weaver’s character. Unlike Catra, Shadow Weaver has a ‘death redemption’—instead of truly facing the consequences of her actions, she sacrifices her life, which almost seems like taking the easy way out. This form of redemption arc is less satisfying to viewers, especially because many believe Shadow Weaver died for Adora’s sake, not Catra’s. Noelle Stevenson, the show’s creator, has confirmed that Shadow Weaver is not meant to be a fully redeemed character. However, this incomplete redemption once again displays the complexity of She-Ra’s characters. They are not good or evil—instead, they are every shade in between. Contrast this with the static, one-dimensional characters of The Plague, and it is clear that She-Ra’s characters are far more well-developed.

In evaluating the value in a piece of art, it is important to look at the message and theme. The Plague does, in fact, have multiple important themes that it discusses. It centers around love, mortality, religion, humanity, and ethics, all of which are important philosophical topics that force the reader to think. I will not make the claim that these issues are not important, because they absolutely are.

However, it would be irresponsible to dismiss the important messages that She-Ra contains just because it is a show made for children. She-Ra explores a number of complex and thought-provoking themes, such as love, loyalty, justice, grief, forgiveness, and redemption. It does this through its rich characterizations and complex relationships. Despite She-Ra’s PG rating, it nevertheless discusses colonialism, unhealthy and abusive relationships, environmentalism, psychological trauma, and self-worth.

Once again, a fascinating example of these themes comes from Catra and Adora. Catra and Adora were emotionally and physically abused by their parent figure, Shadow Weaver, from a young age. Catra in particular was told she is worthless, and this goes on to drive every one of Catra’s actions for the first four seasons of the show. She-Ra does not shy away from the aftermath of Catra’s abuse. It shows in detail the resentment she holds for those around her, including Adora, for their perceived wrongdoings. Her breakdowns are vivid and heartbreaking.

Despite all of her trauma, Catra craves Shadow Weaver’s love deeply. Some of her most horrific actions in the show are driven by her feelings of heartbreak and betrayal inspired by Shadow Weaver.

However, the abuse that Adora suffers is just as insidious, if less obvious. Adora was raised to believe that she had to be perfect and that the well-being of those she cares about is solely on her shoulders. This message deeply affects Adora’s character throughout the series and plays into some of her most profound flaws. Adora is prone to wanting to face everything alone. She doesn’t want to burden her friends, so she hurts and burdens herself. She blames herself when her friends get hurt, and she ultimately ends up seeing her life as worthless. Adora’s struggles with her self-image are directly tied to the abuse she suffered at Shadow Weaver’s hands. In the final episodes of the show, Adora is willing to sacrifice herself for the good of others.

Shadow Weaver’s influence is to directly to blame. She is present as part of the Rebellion during the fifth and final season, and she is the character who plants the idea in Adora’s head of sacrificing herself for the world. Even when Catra stands up to her on Adora’s behalf, Adora is unable to see her own worth. This results in a number of heartbreaking scenes where Catra pleads with Adora to think about what she wants, not what is expected of her. In the penultimate episode, a character finally tells Adora that “[she] is worth more than what [she] can give other people. [She deserves] love, too.”

Dismissing the messages of She-Ra as being “lesser” or “childish” is, in many ways, a straight, white, male perspective. Privileged groups are able to easily grasp their own worth, as they are never taught that they are worthless. It might seem more valuable to talk about more philosophical concepts if messages like those in She-Ra are seen as a given. But for many, self-worth is not an expectation. LGBT people are considered lucky to be accepted by their families, and they still face homophobia or transphobia on an almost daily basis. Their identity is seen as something to be ashamed of. It takes years of un-learning these patterns that a cisgender, heterosexual individual might never have learned in the first place. The same goes for other marginalized groups as well—women are often seen as less intelligent, and this idea is enforced through constant dismissal and belittlement of their thoughts and ideas. Individuals of color face daily prejudice and have been excluded from these conversations for centuries. Therefore, it is equally important for art like She-Ra to reinforce these messages that marginalized communities might never have been taught.

The messages in She-Ra might not be as philosophical as those in The Plague, but they are doubtlessly more emotional. Driven by the lovable characters and relatable issues, She-Ra made audiences feel in ways that I doubt The Plague ever has.

While The Plague is important from an ethical and philosophical standpoint, She-Ra is important from a much more human one. LGBT people are much more likely to be abused, mentally ill, and impoverished. These are some of the same issues faced by the characters in She-Ra. Given that the audience of She-Ra is largely LGBT, seeing these messages reaffirmed on-screen is deeply moving. A high-brow message is important, but if one doesn’t have the basics of self-respect and self-love, these conversations cannot be had.

It is possible that some might dismiss She-Ra and it’s messages compared to The Plague because it is a modern-day animated show instead of a classic novel. Here, we get into another interesting conversation: high art vs low art.

High art is renowned. It is old and has stood the test of time. People see it as beautiful, historical, and fundamentally important, despite the fact that they don’t rock the boat. Van Gogh paintings and Roman statues are examples of high art: priceless pieces with recognized worth. The Plague is another example of high art.

Low art, on the other hand, is art ‘of the people.’ Anybody can make low art. Current music, literature, art, and television is seen as less worthy or important than older pieces with more widely recognized importance. Some “instant classics” can almost immediately be placed into the realm of high art, but for the most part, newer things are always seen as less important than older ones. Low art is comic books, Taylor Swift, graffiti, and yes, She-Ra. They might be just as artistic and valuable as older pieces of art, but they will not be valued the same.

Here’s the thing, though: high art almost always starts out as low art. Modern day romance novels are seen as trashy even though Jane Austen’s novels are renowned. The Beatles are now seen as one of the best bands of all time, but during their peak, they were dismissed due to their primarily female fan base. Most famous painters didn’t become popular until after their deaths, because before then, their pieces were “low art.” Dismissing She-Ra because it’s low art is biased and, ultimately, ignorant.

Moreover, low art is more likely to be queer, female, poor, and PoC. Anybody can make low art, but art by privileged creators is more likely to be seen as ‘valuable’ in the long run. While underprivileged creators can and have gained notoriety and acclaim for their art, there are more road blocks in their path that keep them from ever being on equal footing with other artists. Dismissing all low art as less valuable is dismissing the perspective of those from marginalized communities.

I will not make the claim that She-Ra is a better piece of art than The Plague. The Plague is a piece of literature that has withstood the test of time and remains relevant to this day. Given that She-Ra is still fairly recent, it’s impossible to tell what it’s legacy will be, and in the end, it is a cartoon aimed at a less mature audience. Even more than that, though, art is subjective. What speaks to one person might not connect with another, and calling one piece of art “better” than another is impossible.

However, I do believe that She-Ra is more important than The Plague. The distinction here is that She-Ra did something that has never been done before. The message of The Plague speaks deeply to people, but it is not breaking any glass ceilings.

She-Ra, on the other hand, is revolutionary. The representation is She-Ra is truly remarkable. Not only is the cast mostly comprised of female characters—which, in a world of male-dominated entertainment, is a rarity—She-Ra also embraces diversity of all types. The majority of the main cast with the exception of Adora is nonwhite, and characters of all different body types are featured. While women are typically forced into a cookie-cutter mold of beauty, She-Ra characters are treated as beautiful no matter what their size or ethnicity. This is a message that young people, especially young girls, need to see.

She-Ra also pushes back against toxic masculinity. Many of the main male characters in the show reject gender roles—for example, Bow is almost always seen wearing a crop top with a heart on it, and Sea Hawk has an undeniably flamboyant presentation. King Micah cross-dresses in the final season. Despite this, the male characters are never made fun of for their feminine traits, and instead, their presentation is embraced. They are also not stereotyped as gay for refusing to fit into traditionally masculine roles. All three characters listed above have female love interests.

The most groundbreaking part of She-Ra, however, is the LGBT representation. She-Ra features multiple loving LGBT characters and couples, and the main characters of the series were confirmed to be in a loving sapphic relationship. They said “I love you” and shared an on-screen kiss. She-Ra even features an important non-binary character who uses they/them pronouns, and their identity is always treated with respect.

Furthermore, the entire story centers around the relationship between Catra and Adora. Their romance is not a throwaway side story; instead, their love is the driving force of the entire narrative. Finding LGBT representation is hard, and finding sapphic representation is harder—but what truly sets She-Ra apart is that this was in a children’s TV show. In a world where many believe that LGBT relationships are not “appropriate” for children, She-Ra made history by teaching kids that it’s okay to love who you love and be who you are. She-Ra made people feel something. Audiences were crying during the series finale, and the show has amassed a cult following of LGBT viewers well into adulthood who have never seen their identity represented in such a meaningful way before.

The Plague is undoubtedly a valued piece of high art, but its messages nevertheless do little to progress society. For this reason, She-Ra and the Princesses of Power is a more important and influential piece of art than the Plague."

[ariainstars]

Thank You, Disney Lucasfilm… For Destroying My Dreams

Warning: longer post.

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So… I watched The Rise of Skywalker on Disney+ a few weeks ago. Again.

Sigh.

I guess it has its good sides. But professional critics tend to dislike it and even the general audience doesn’t go crazy for it. I wonder why?

  The Fantasy

When his saga became a groundbreaking pop phenomenon in the 1970es, George Lucas reportedly said that he wanted to tell fairy tales again in world that no longer seemed to offer young people a chance to grow up with them. The fact that his saga was met with such unabashed, international enthusiasm proves that he was right: people long for fairy tales no matter how old they are and what culture they belong to.

“Young people today don’t have a fantasy life anymore, not the way we did… All they’ve got is Kojak and Dirty Harry. All the films they see are movies of disasters and insecurity and realistic violence.” (George Lucas)

I’ve been a Star Wars fan for more than thirty years. I love the Original Trilogy but honestly it did not make me dream much, perhaps because when I saw it the trilogy was already complete. The Prequel Trilogy also did not inspire my fantasy.

The Last Jedi accomplished something that no TV show, book or film had managed in years: it made me dream. The richness of colorful characters, multifaceted themes, unexpected developments, intriguing relationships was something I had not come across in a long time: it fascinated me. I felt like a giddy teenager reading up meta’s, writing my own and imagining all sorts of beautiful endings for the saga for almost two years.

So if there’s something The Rise of Skywalker can pride itself on for me, it’s that it crushed almost every dream I had about it. The few things I had figured out – Rey’s fall to the Dark, Ben Solo’s redemption, the connection between them - did not even make me happy because they were tainted by the flatness of the storytelling reducing the Force to a superpower again (like the general audience seems to believe it is), and its deliberate ignoring of almost all messages of The Last Jedi.

Many fans of the Original Trilogy also were disillusioned by the saga over the decades and ranted at the studios for “destroying their childhood”. Now we, the fans of the sequels and in particular of The Last Jedi, are in the same situation… but the thought doesn’t make the pill much easier to swallow. What grates on my nerves is the feeling that someone trampled on my just newly found dreams like a naughty child kicking a doll’s house apart. Why give us something to dream of in the first place, then? To a certain extent I can understand that many fans would angrily assume that Disney Lucasfilm made the Sequel Trilogy for the purpose of destroying their idea of the saga. The point is that they had their happy ending, while every dream the fans of the Sequel Trilogy may have had was shattered with this unexpectedly flat and hollow final note.

I know many fans who dislike the Prequel Trilogy heartily. I also prefer the Original Trilogy, but I find the prequels all right in their own way, also since I gave them some thought. However, it can’t be denied that they lack the magic spark which made the Original Trilogy so special. Which makes sense since they are not a fairy tale but ultimately a tragedy, but in my opinion it’s the one of the main reasons why the Prequel Trilogy never was quite so successful, or so beloved.

Same goes for Rogue One, Solo, or Clone Wars. They’re ok in their way, but not magical.

The sequel trilogy started quite satisfyingly with The Force Awakens, but for me, the actual bomb dropped with The Last Jedi. Reason? It was a magical story. It had the spark again that I had missed in the new Star Wars stories for decades! And it was packed full of beautiful messages and promises.

The Force is not a superpower belonging solely to the Jedi Anyone can be a hero. Even the greatest heroes can fail, but they will still be heroes. Hope is like the sun: if you only believe in it when you see it you’ll never make it through the night. Failure is the greatest teacher. It’s more important to save the light than to seem a hero. No one is never truly gone. War is only a machine. Dark Side and Light Side can be unbeatable if they are allies. Save what you love instead of destroying what you hate.

Naively, I assumed the trilogy would continue and end in that same magical way. And then came The Rise of Skywalker… which looks and feels like a Marvel superhero story at best and an over-long videogame at worst.

Chekov’s Gun

“Remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it’s not going to be fired, it shouldn’t be hanging there.”

(Anton Chekov, 1860 - 1904)

If you show an important looking prop and don’t put it to use, it leaves the audience feeling baffled. There is a huge difference between a story’s setup, and the audience’s feeling of entitlement. E.g. many viewers expected Luke to jump right back into the fray in Episode VIII, because that’s what a hero does, isn’t it? The cavalry comes and saves the day. And instead, we met a disillusioned elderly hermit who is tired of the ways of the Jedi. But there was no actual reason for disappointment: in Episode VII it was very clearly said (through Han, his best friend) that Luke had gone into exile on purpose, feeling responsible for his failure in teaching a new generation of Jedi. It would have been more than stupid to show him as an all-powerful and all-knowing man who kills the bad guys. Sorry but who expected that was a victim to his own prejudice.

A promise left unfulfilled is a different story. The Last Jedi set up a lot of promises that didn’t come true in The Rise of Skywalker: Balance as announced by the Jedi temple mosaic, a new Jedi Order hinted at by Luke on Crait, a good ending for Ben and Rey set up by the hand-touching scene which was opposite to Anakin’s and Padmés wedding scene. Many fans were annoyed about the Canto Bight sequence. I liked it because it felt like the set-up for a lot of important stuff: partnership between Finn and Rose whom we see working together excellently, freedom for the enslaved children (one of whom is Force-sensitive), DJ and Rose expressing what makes wars in general foolish and beside the point. So if we, the fans of Episode VIII, now feel angry and let down, I daresay it’s not due to entitlement. We were announced magical outcomes and not just pew-pew.

The Star Wars saga never repeated itself but always developed and enlarged its themes, so it was to be expected that delving deeper, uncomfortable truths would come out: wars don’t start out of nowhere, and they don’t flare up and continue for decades for the same reason. In order to find Balance, the Jedi’s and the Skywalker family’s myths needed to be dismantled. Which is not necessarily bad as long it is explained how things came to this, and a better alternative is offered. The prequels explained the old political order and the beginnings of the Skywalker family, and announced that the next generation would do better. The sequels hardly explained anything about the 30 years that passed since our heroes won the battle against the Empire, and while The Last Jedi hinted at the future a lot, The Rise of Skywalker seemed to make a point of ignoring all of it.

  The Skywalker Family Is Obliterated. Why?

Luke was proven right that his nephew would mean the end of everything he loved. The lineage of the Chosen One is gone. His grandson had begun where Vader had ended - tormented, pale and with sad eyes - and he met the same fate. Luke, Han, Leia, all sacrificed themselves to bring Ben Solo back for nothing. Him being the reincarnation of the Chosen One and getting a new chance should have been meaningful for all of them; instead, he literally left the scepter to Rey who did nothing to deserve it: merely because she killed the Bad Guy does not mean she will do a better job than the family whose name and legacy she proudly takes over.

I do hope there was a good reason if the sequels did not tell “The New Adventures of Luke, Leia and Han” and instead showed us a broken family on the eve of its wipeout. It would have been much easier, and more fun for the audience, to bring the trio back again after a few years and pick up where they had left. Instead we had to watch their son, nephew and heir go his grandfather’s way - born with huge power, branded as Meant to Be Dangerous from the start, tried his best to be a Jedi although he wanted to be a pilot, never felt accepted, abandoned in the moment of his greatest need, went to his abuser because he was the only one to turn to, became a criminal, his own family (in Anakin’s case: Obi-Wan and Yoda) trained the person who was closest to him to kill him, sacrificed himself for this person and died. And in his case, it’s particularly frustrating because Kylo Ren wasn’t half as impressive a villain as Vader, and Ben Solo had a very limited time of heroism and personal fulfilment, contrarily to Anakin when he was young.

The impact of The Rise of Skywalker was traumatic for some viewers. I know of adolescents and adults, victims of family abandonment and abuse, who identified with Ben: they were told that you can never be more than the sum of your abuse and abandonment, and that they’re replaceable if they’re not “good”. Children identifying with Rey were told that their parents might sell them away for “protection”. Rey was not conflicted, she had a few doubts but overall, she was cool about everything she did, so she got everything on a silver platter; that’s why as a viewer, after a while you stopped caring for her. Her antagonist was doomed from birth because he dared to question the choices other people made for him. It seems that in the Star Wars universe, you can only “rise” if you’re either a criminal but cool because you’ve always got a bucket over your head (Vader / the Mandalorian) or are a saint-like figure (Luke / Rey).

One of Obi-Wan’s first actions in A New Hope is cutting off someone’s arm who was only annoying him; Han Solo, ditto. These were no acts of self-defense. The Mandalorian is an outlaw. Yet they are highly popular. Why? Because they always keep their cool, so anything they do seems justified. Young Anakin was hated, Jake Lloyd and Hayden Christensen attacked for his portrayal. For the same reason many fans feel that Luke is the least important of the original trio although basically the Original Trilogy is his story: it seems the general audience hates nothing more than emotionality in a guy. They want James Bond, Batman or Indiana Jones as the lead. Padmé loved Anakin because she always saw the good little boy he once was in him; his attempts at impressing her with his flirting or his masculinity failed. Kylo tried to impress Rey with his knowledge and power, but she fled from him - she wanted the gentle, emphatic young man who had listened to her when she felt alone. Good message. But both died miserably, and Ben didn’t even get anything but a kiss. Realizing that his “not being as strong as Darth Vader” might actually be a strength of its own would have meant much more.

The heroes of the Original Trilogy had their adventures together and their happy ending; the heroes of the Prequel Trilogy also had good times and accomplishments in their youth, before everything went awry. Rey, Finn and Poe feel like their friendship hardly got started; Rose was almost obliterated from the narrative; and Ben Solo seems to have had only one happy moment in his entire life. Of course it’s terrible that he committed patricide (even if it was under coercion), but Anakin / Vader himself had two happy endings in the Prequel Trilogy before he became the monster we know so well. Not to mention Clone Wars, where he has heroic moments unnumbered.

The Skywalker family is obliterated without Balance in the Force, and the young woman who inherited all doesn’t seem to have learned any lesson from all this. The Original Trilogy became a part of pop culture among other things because its ending was satisfying. We can hardly be expected to be satisfied with an ending where our heroes are all dead and the heir of their worst enemy takes over. What good was the happy ending of the Original Trilogy for if they didn’t learn enough from their misadventures to learn how to protect one single person - their son and nephew, their future?

For a long time, I also thought that the saga was about Good vs. Evil. Watching the prequels again, I came to the conclusion that it is rather about Love vs. War. And now, considering as a whole, I believe it to be essentially Jedi against Skywalker. The ending, as it is now, says that both fractions lost: they annihilated one another, leaving a third party in charge, who believes to be both but actually knows very little about them.

Star Wars and Morality

After 9 films and 42 years, it still is not possible to make the general audience accept that it is wrong to divide people between Good and Evil in the first place. The massive rejection of both prequels and sequels, which have moral grey zones galore, shows it.

It is also not possible without being accused of actual blasphemy in the same fandom, to say the plain truth that no Skywalker ever was a Jedi at heart. As their name says, they’re pilots. Luke was the last and strongest of all Jedi because he always was first and foremost himself. Anakin was crushed by the Jedi’s attempts to stifle his feelings. His grandson, too. A Force-sensitive person ought to have the choice whether they want to be a Jedi or not; they ought not to be taught to suppress their emotions and live only on duty, without really caring for other people; and they ought to grow up feeling in a safe and loving environment, not torn away from their families in infancy, indoctrinated and provided with a light sabre (a deadly weapon) while they’re still small. A Jedi order composed of child soldiers or know-it-all’s does not really help anybody.

The original Star Wars saga was about love and friendship; although many viewers did not want to understand that message. The prequels portrayed the Jedi as detached and arrogant and Anakin Skywalker sympathetically, a huge disappointment for who only accepts stories of the “lonesome cowboy” kind. The Last Jedi was so hated that The Rise of Skywalker backpedaled: sorry, of course you’re right, here you have your “hero who knows everything better and fixes everything for you on a silver platter”. The embarrassing antihero, who saves the girl who was the only person showing him some human compassion, can die miserably in the process and is not even mourned.

Honestly: I was doubtful whether it would be adequate to give Ben Solo a happy ending after the patricide. I guess letting him die was the easiest way out for the authors to escape censorship. (I even wrote this in a review on amazon about The Last Jedi, before I delved deeper into the saga’s themes.) The messages we got now are even worse.

Kylo Ren / Ben Solo

A parent can replace a child if they’re not the way they expect them to be. A victim of lifelong psychical and physical abuse can only find escape in death, whether he damns or redeems himself. An introspective, sensitive young man is a loser no matter how hard he tries either way. A whole family can sacrifice itself to save their heir, he dies anyway.

Rey

Self-righteousness is acceptable as long as you find a scapegoat for your own failings. Overconfidence justifies anything you do. You can’t carve your way as a female child of “nobodies”, you have to descend from someone male and powerful even if that someone is the devil incarnate. You are a “strong female” if you choose to be lonely; you need neither a partner nor friends.

In General

Star Wars is not about individual choices, loyalty, friendship and love, it is a classic Western story with a lonesome cowboy (in this case: cowgirl) at its centre. Satisfied? 

The father-son-relationship between Vader and Luke mirrors the Biblical story of Cain and Abel, saying that whoever we may want to kill is, in truth, our kin, which makes a clear separation in Good and Evil impossible. The “I am your father” scene is so infamous by now that even non-fans are aware of it; but this relationship between evil guy and good guy, as well as the plot turns where the villain saves the hero and that the hero discards his weapon are looked upon rather as weird narrative quirks instead of a moral. 

In  an action movie fan, things are simple: good guy vs. bad guy, the good guy (e.g. James Bond may be a murderer and a misogynist, but that’s ok because he’s cool about it) kills the bad guy, ka-boom, end of story. But Star Wars is a parable, an ambitious project told over decades of cinema, and a multilayered story with recurring themes.

A fairy tale ought to have a moral. The moral of both Original Trilogy and Prequel Trilogy was compassionate love - choose it and you can end a raging conflict, reject it and you will cause it. What was the moral of the Sequel Trilogy? You can be the offspring of the galaxy’s worst terror and display a similar attitude, but pose as a Jedi and kill unnecessarily, and it’s all right; descend from Darth Vader (who himself was a victim long before he became a culprit) and whether you try to become a Jedi trained by Luke Skywalker or a Sith trained by his worst enemy, you will end badly?

Both original and prequel trilogy often showed “good” people making bad choices and the “bad ones” making the right choices. To ensure lasting peace, no Force user ought to be believe that he must choose one side and then stick to it for the rest of his life: both sides need one another. The prequels took 3 films to convey this message, though not saying so openly. The Last Jedi said it out clearly - and the authors almost had their heads ripped off by affronted fans, resulting in The Rise of Skywalker’s fan service. It’s not like Luke, Han and Leia were less heroic in the Sequel Trilogy, on the contrary, they gave everything they had to their respective cause. They were not united, and they were more human than they had once been. Apparently, that’s an affront.

The Jedi are no perfect heroes and know-it-all’s and they never were, the facts are there for everyone to see. Padmé went alone and pregnant to get her husband out of Mustafar - and she almost succeeded - although she knew what he had done and that he was perfectly capable of it (he had told her of the Tusken village massacre himself) because she still saw the good little boy he had been in him; Obi-Wan left him amputated and burning in the lava, although he had raised Anakin like a small brother and the latter had repeatedly saved his life. But Padmé was not a Jedi, so I guess she still had some human decency. Neither Obi-Wan nor Yoda lifted a finger for the oppressed populations of the galaxy during the Empire, waiting instead for Anakin’s son to grow up so they could trick him into committing patricide. Neither Luke nor Leia did anything for their own son and nephew while he became the scourge of the galaxy, damning his soul by committing crime after crime. On Exegol, Rey heard the voices of all Jedi encouraging her to fight Palpatine to death. After that, they left her to die alone, and the alleged “bad guy”, who had already saved her soul from giving in to Palpatine’s lures, had to save her life by giving her his own. The Jedi merely know that “their side” has to win, no matter the cost for anyone’s life, sanity, integrity or happiness.

Excuse me, these are simple facts. How anyone can still believe that the Jedi were super-powerful heroes who always win or all-knowing wizards who are always right is beyond me. Luke, the last and strongest of them, like a bright flickering of light before the ultimate end, showed us that the best of men can fail. There is nothing wrong with that in itself. But it is wrong and utterly frustrating when all of the failure never leads to anything better. If Rey means to rebuild the Jedi order to something better than it was, there was no hint at that whatsoever.

  And What Now?

The Last Jedi hit theatres only 2 years before The Rise of Skywalker, and I can’t imagine that the responsible authors all have forgotten how to make competent work in the meantime; more so considering that Solo or The Mandalorian are solid work. Episode IX is thematically so painfully flat it seems like they wanted us to give up on the saga on purpose. The last instalment of a 42-year-old saga ought to have been the best and most meaningful. I had heard already decades ago that the saga was supposed to have 9 chapters, so I was not among who protested against the sequels thinking that they had been thought up to make what had come before invalid. I naively assumed a larger purpose. But Episode IX only seems to prove these critics perfectly right.

The last of the flesh and blood of the Chosen One is dead without having “finished what his grandfather started”?

Still no Balance in the Force?

And worst of all, Palpatine’s granddaughter taking over, having proven repeatedly that she is not suited for the task?

Sorry, this “ending” is absurd. I have read fanfiction that was better written and more interesting. And, most of all, less depressing. I was counting on a conclusion that showed that the Force has all colours and nuances, and that it’s not limited to the black-and-white view “we against them”. That’s the ending all of us fans would have deserved, instead of catering the daddy issues of the part of the audience who doesn’t want stories other than those of the “lonesome cowboy” kind. I myself grew up on Japanese anime, maybe that’s one of the reasons why I can’t stand guys like James Bond or Batman and why I think you don’t need “a great hero who fixes the situation” but that group spirit and communication are way more important.

It was absolutely unexpected that Disney, the production company whose trademark are happy endings and family stories, would end this beloved and successful saga after almost half a century on such a hollow note. Why tell first a beautiful fairy tale and then leave the audience on a hook for 35 years to continue first with a tragedy (which at least was expected) and then with another (unexpected one)? And this story is supposed to be for children? Like children would understand all of the subtext, and love sad, cautionary tales. Children, as well as the general audience, first of all want to be entertained! No one wants to watch the legendary Skywalker family be obliterated and a Palpatine take over. The sequels were no fun anymore; we’ve been left with another open ending and hardly an explanation about what happened in the 30 years in between. If you want to tell a cautionary tale, you should better warn the general audience beforehand.

The Original Trilogy is so good because it’s entertaining and offers room for thought for who wants to think about its deeper themes, and also leaves enough space for dreams. Same goes for the first two films of the Sequel Trilogy; but precisely the last, which should have wrapped up the saga, leaves us with a bitter aftertaste and dozens of questions marks. 

We as the audience believe that a story, despite the tragic things that happen, must go somewhere; we get invested into the characters, we root for them, we want to see them happy in the end. (The authors of series like Girls, How I Met Your Mother or Game of Thrones ought to be reminded of that, too.) I was in contact with children and teenagers saying that the Sequel Trilogy are “boring”; and many, children or adults, who were devastated by its concluson. There is a difference between wanting to tell a cautionary tale and playing the audience for fools. This trilogy could have become legendary like the Original Trilogy, had it fulfilled its promises instead of “keeping it low” with its last chapter. Who watches a family or fantasy story or a romantic / comedic sitcom wants to escape into another world, not to be hit over his head with a mirror to his own failings, and the ones of the society he’s living in. Messages are all right, but they ought not to go at the cost of the audience’s satisfaction about the about the people and narrative threads they have invested in for years.

This isn’t a family story: but children probably didn’t pester the studios with angry e-mails and twitter messages etc. They simply counted on a redemption arc and happy ending, and they were right, because they’re not as stupid as adults are. I have read and watched many a comment from fans who hate The Last Jedi. Many of these fans couldn’t even pinpoint what their rage was all about, they only proved to be stuck with the original trilogy and unwilling to widen their horizon. But at least their heroes had had their happy ending: The Rise of Skywalker obliterated the successes of all three generations of Skywalkers.

If the film studios wanted to tease us, they’ve excelled. If they expect the general audience to break their heads over the sequels’ metaphysics, they have not learned from the reactions to the prequels that most viewers take these films at face value. Not everybody is elbows-deep in the saga, or willing to research about it for months, and / or insightful enough to see the story’s connections. Which is why many viewers frown at the narrative and believe the Sequel Trilogy was just badly written. This trilogy could have become legendary like the Original Trilogy, had it fulfilled its promises instead of “keeping it low” with its last chapter. As it is now, the whole trilogy is hanging somewhere in the air, with neither a past nor a future to be tied in with.

The prequels already had the flaw of remaining too obscure: most fans are not aware that Anakin had unwillingly killed his wife during the terrible operation that turned him into Darth Vader, sucking her life out of her through the Force: most go by “she died of a broken heart”. So although one scene mirrors the other, it is not likely that most viewers will understand what Rey’s resurrection meant. And: Why did Darth Maul kill Qui-Gon Jinn? What did the Sith want revenge for? Who was behind Shmi’s abduction and torture? Who had placed the order for the production of the clones, and to what purpose? We can imagine or try to reconstruct the answers, but nothing is confirmed by the story itself.

The sequels remained even more in the dark, obfuscating what little explanation we got in The Rise of Skywalker with quick pacing and mind-numbing effects.

Kylo Ren had promised his grandfather that “he would finish what he started”: he did not. Whatever one can say of this last film, it did not bring Balance in the Force. What’s worse, the subject was not even breached. It was hinted at by the mosaic on the floor of the Prime Jedi Temple on Ahch-To, but although Luke and Rey were sitting on its border, they never seemed to see what was right under their noses. It remains inexplicable why it was there for everyone to see in the first place.

We might argue that Ben finished what his grandfather started by killing (or better, causing the death of) the last Jedi, who this one couldn’t kill because he was his own son; but leaving Rey in charge, he helped her finish what her grandfather had started. The irony could hardly be worse.

Episode IX looks like J.J. Abrams simply completed what they started with Episode VII, largely ignoring the next film as if it was always planned to do so. We, the angry and disappointed fans of The Last Jedi, may believe it was due to some of the general audience’s angry backlash, but honestly: the studios aren’t that dumb. They had to know that Episode VIII would be controversial and that many fans would hate it. The furious reactions were largely a disgrace, but no one can make me believe that they were totally unexpected. Nor can anyone convince me that The Rise of Skywalker was merely an answer to the small but very loud part of the audience who hated The Last Jedi: a company with the power and the returns of Disney Lucasfilm does not need to buckle down before some fan’s entitlement and narrowmindedness out of fear of losing money. And if they do, it was foolish to make Rey so perfect that she becomes almost odious, and to let the last of the Skywalker blood die a meaningless death. (Had he saved the Canto Bight children and left them with Rey, at least he would have died with honor; and she, the child left behind by her parents, would have had a task to dedicate herself to.)

The only reason I can find for this odd ending is that it’s meant to prepare the way for Rian Johnson’s new trilogy, which - hopefully - will finally be about Balance. We as the audience don’t know what’s going on behind the doors. Filmmaking is a business like any other, i.e. based on contracts; and I first heard that Rian Johnson had negotiated a trilogy of his own since before Episode VIII hit theatres. Maybe he kept all the rights of intellectual property to his own film, including that he would finish the threads he picked up and close the narrative circles he opened, and only he; and that his alleged working on “something completely different” is deliberately misleading.

Some viewers love the original trilogy, some love the prequels, some like both; but I hardly expect anyone to love the sequel trilogy as a whole. What with the first instalment “letting the past die, killing it if they had to”, the second hinting at a promising future and the third patched on at the very last like some sort of band-aid, it was not coherent. I heard the responsible team for Game of Thrones even dropped their work, producing a dissatisfying, quickly sewn together last season, for this new Star Wars project and thereby disappointing millions of GoT fans; I hope they are aware of the expectations they have loaded upon them. George Lucas’ original trilogy had its faults, but but though there was no social media yet in his time, at least he was still close enough to the audience to give them what they needed, if not necessarily wanted. (Some fans can’t accept that Luke and Leia are siblings to this day, even if honestly, it was the very best plot twist to finish their story in a satisfying way.)

I’m hoping for now that The Last Jedi was not some love bombing directed at the more sentimental viewers but a promise that will be fulfilled. “Wrapping up” a saga by keeping the flattest, least convincing chapter for last is bad form. Star Wars did not become a pop phenomenon by accident, but because the original story was convincing and satisfying. Endings like these will hardly make anyone remember a story fondly, on the contrary, the audience will move to another fandom to forget their disappointment.

On a side note, I like The Mandalorian, exactly for the reason that that is a magical story; not as much as the original trilogy, but at least a little. Of course, I’m glad it was produced. But it’s a small consolation prize after the mess that supposedly wrapped up the original saga after 9 films.

We’re Not Blind, You Know…

- Though Kylo Ren (Ben Solo) has Darth Vader’s stature, his facial features are practically opposite to Vader’s creepy mask. This should have foreshadowed that his life should have gone the other way, instead of more or less repeating itself. - As a villain Kylo was often unconvincing; by all logic he should have been a good father figure. (Besides, Star Wars films or series never work unless there is a strong father or father figure at their center.)

- Like Vader, Kylo Ren was redeemed, but not rehabilitated. Who knows who may find his broken mask somewhere now and, not knowing the truth, promise “I will finish what you started”. - The hand-touching scene on Ahch-To which was visually opposite to Anakin’s and Padmé’s should not have predicted another tragedy but a happy ending for them. - The Canto Bight sequence was announcing reckoning for the weapon industry and freedom for the enslaved children. It also showed how well Finn and Rose fit together. - Rey was a good girl before she started on her adventures. Like Anakin or Luke, she did not need to become a Jedi to be strong or generous or heroic. - Rey summons Palpatine after one year of training. Kylo practically begged for his grandfather’s assistance for years, to no avail. Her potential for darkness is obviously much stronger. - Dark Rey’s light sabre looked like a fork, Kylo’s like a cross. - The last time all Jedi and Sith were obliterated leaving only Luke in charge, things went awry. Now we have a Palpatine masquerading as a Skywalker and believing she’s a Jedi. Rey is a usurper and universally cheered after years of war, like her grandfather. - The broom boy of Canto Bight looked like he was sweeping a stage and announcing “Free the stage, it’s time for us, the children.”

Rey failed in all instances where Luke had proved himself (so much for feminism and her being a Mary Sue): - Luke had forgiven his father despite all the pain he had inflicted on him. She stabbed the „bad guy”, who had repeatedly protected and comforted her, to death. - Luke never asked Vader to help the Rebellion or to turn to the Light Side, he only wanted him back as his father. She assumed that you could make Ben Solo turn, give up the First Order and join the Resistance for her. She thought of her friends and of her own validation, not of him. - Luke had made peace by choosing peace. Rey fought until the bitter end. - Luke had thrown his weapon away before Palpatine. Rey picked up a second weapon. (And both of them weren’t even her own.) - Luke had mourned his dead father. Rey didn’t shed a tear for the man she is bonded to by the Force. - Luke went back to his friends to celebrate the new peace with them. Rey went back letting everyone celebrate her like the one who saved the galaxy on her own, she who were tempted to become the new evil ruler of the galaxy and had to rely on the alleged Bad Guy to save both her soul and her body. - Luke had embodied compassion when Palpatine was all about hatred. Where he chose love and faith in his father, she chose violence and fear. - Luke had briefly fallen prey to the Dark Side but it made him realize that he had no right to judge his father. Rey’s fall to the Dark Side did not make her wiser. - Rey has no change of mind on finding out that she’s Palpatine’s flesh and blood, nor after she has stabbed Kylo. Luke had to face himself on learning that he had almost become a patricide. Rey does not have to face herself: the revelation of her ancestry is cushioned by Luke’s and Leia’s support. Rey is and remains an uncompromising person who hardly learns from her faults.

This is cheating on the audience. And it's not due to feminism or Rey being some sort of “Mary Sue” the way many affronted fans claim. Kylo never was truly a villain, Rey is not a heroine, and this is not a happy ending. The Jedi, with their stuck-up conviction “only we must win”, have failed all over again. The Skywalker family was obliterated leaving their worst enemy in charge.  Rey is supposed to be a “modern” heroine which young girls can take as an example? No, thank you. Not after this last film has made of her. Padmé was a much better role model, combining intelligence with strength and goodness and also female grace. The world does not need entitled female brats.

Bonus: What Made The Rise of Skywalker a Farce

- The Force Awakens was an ok film and The Last Jedi (almost) a masterpiece. The Rise of Skywalker was a cartoon. No wonder a lot of the acting felt and looked wooden. - “I will earn your brother’s light sabre.” She’s holding his father’s sabre. - Kylo in The Last Jedi: “Let the past die. Kill it if, you have to.” Beginning with me? - Rey ends up on Tatooine. - The planet both Anakin and Luke ardently wanted to leave. - Luke had promised his nephew that he would be around for him. - Nope. - Rey had told Ben that she had seen his future. What future was that - “you will be a hero for ten minutes, get a kiss and then die? (And they didn’t even get a love theme.) - “The belonging you seek is not behind you, it is ahead.” On a desert planet with a few ghosts. What of the ocean she used to dream about? - Ben and Rey were both introduced as two intensely lonely people searching for belonging. We learn they are a Force dyad, and then they are torn apart again. - Why was Ben named for Obi-Wan Kenobi in the first place, if they have absolutely nothing in common? - The Throne Room battle scene in The Last Jedi was clearly showing that when they are in balance, Light Side and Dark Side are unbeatable. Why did the so-called “Light Side” have to win again, in The Rise of Skywalker, instead of finding balance? - Luke’s scene on Ahch-To was so ridiculously opposite to his attitude in The Last Jedi that by now I believe he was a fantasy conjectured by her. (Like Ben’s vision of his father.) - Anakin’s voice among the other Jedi’s. - He was a renegade, for Force’s sake. - The kiss between two females. - More fan service, to appease those who pretended that not making Poe and Finn a couple was a sign of homophobia. - We see the Knights of Ren, but we learn absolutely nothing about them or Kylo’s connection with them. - Rose Tico’s invalidation. - A shame after what the actress had gone through because for the fans she was “not Star-Wars-y” (chubby and lively instead of wiry and spitfire). - Finn’s and Rose’s relationship. - Ignored without any explanation. - Finn may or may not be Force-sensitive. - If he is: did he abandon the First Order not due to his own free will but because of some higher willpower? Great. - General Hux was simply obliterated. - In The Force Awakens he was an excellent foil to Kylo Ren; no background story, no humanization for him. - Chewie’s and 3PO’s faked deaths. - Useless additional drama. - The Force Awakens was a bow before the classic trilogy. The Rise of Skywalker kicked its remainders to pieces. - The Prequel Trilogy ended with hope, the Original Trilogy with love. The Sequel Trilogy ends on a blank slate. - “We are what they grow beyond.” The characters of the Sequel Trilogy did not grow beyond the heroes of the Original Trilogy. - The Jedi did not learn from their mistakes and were obliterated. The Skywalker family understood the mistakes they had made too late. Now they’re gone, too.

  P.S. While I was watching The Rise of Skywalker my husband came in asked me since when I like Marvel movies. I said “That’s not a Marvel movie, it’s Star Wars.” I guess that says enough.

P.P.S. For the next trilogy, please at least let the movies hit theatres in May again instead of December. a) It’s tradition for Star Wars films, b) Whatever happens, at least you won’t ruin anyone’s Christmases. Thank you.

[cali-holland]

Golden Hearts, Ch. 2: Martinis, Girls, and Guns

Harrison Osterfield X Reader, James Bond AU ~ Sequel to Golden Bullets

Following a messy split, Harrison, Agent 007, resumes his role as an elite womanizer, after his recovery from his previous mission; meanwhile, you’ve stepped back from your 00 status, taking on cases as MI6’s assistant director from your office. When a new threat emerges to MI6 and a dear friend gets kidnapped, can you and Harrison set aside your differences to save special agent Q, better known as Tom? Or will the stakes- and your love, push you two further apart?

Word Count: 3800

Gif is not mine 

Golden Hearts Masterlist

Masterlist   Harrison Osterfield Masterlist

Let me know if you want to be added to the series tag list

Warnings: sexual themes, maybe some swearing, harry and harrison and reader all being jealous idiots 

Featured Song: “Tomorrow Never Dies” by Sheryl Crow from Tomorrow Never Dies (1997)

~ “You're not the only spy out there, It's so deadly my dear, The power of wanting you near”

A/N: Special shoutout to @duskholland​ for helping me come up with ways to write “sensual” scenes and to @allegra-writes​ for helping me learn more about the tango (which idk if this even counts lmao, don’t hate me yall it’s just a steamy dance). Also, the tango sequence was inspired by an episode of Chuck... but idk if anyone’s seen that.

~~~

“She’s not coming.” Harrison said, irritation clear in his voice as he stepped out of his BMW. Leaning against his own car, Harry grabbed his duffel bag from his feet with a frown.

“But you said you could convince her.” Harry answered, and the blond shrugged, running a hand through his hair. He went around to the back of his car and opened up the trunk for him to get out his two bags.

“I thought wrong.” He muttered. With their bags slung over their shoulders, they made their way across the tarmac to the jet that they were absolutely legally borrowing from MI6.

“We’ll just have to go on without her.” Harry paused, “I still think maybe I could’ve-“

“Harry, don’t take this wrong, but if I couldn’t convince her, then no one could.” Harrison stated definitively.

“Why’s that?” The younger agent asked, his eyebrows furrowing as he tried to understand the sudden irritation in his friend.

“No reason.” He replied, biting his tongue. With Harry following him, he entered the jet’s cabin. Harrison shuffled to put away his two bags, one full of weapons and one of his actual things.

“I’ll get the jet ready.” Harry stated, setting his bag in a seat. As he made his way to the cockpit, Harrison noticed a fourth black duffel bag in the cabin. He eyed it suspiciously, but, before he could question it, he heard his friend speak again. “You’re here!”

“You think I’d leave saving Tom to you two divs?” You questioned with a laugh from the pilot’s seat as the surprised Harry took a seat in the copilot’s seat.

Harrison stepped into the doorway of the cockpit, looking at you with an unreadable expression on his face; like he too was surprised you were here, but also like he was proud that you had come. You smiled softly at him, “I thought I should save the person who’s the reason that we’re alive today.”

Registering your words as a repeat of his own, he couldn’t help the fond smile that crossed his face. “Get this thing in the air, yeah?”

“Prepare for takeoff.” You told him, before turning to the controls before you. With your back turned to him, you missed the bittersweet look on his face as he eyed you over one last time before he left for the cabin.

The air was silent between you and Harry while you two got the jet ready for takeoff. You weren’t quite sure what to say about the delicate situation that was this new, top secret mission, so you did your best, “We’ll find him, Harry.”

“I hope so.” Harry mumbled, trying to keep his focus on the jet and his emotions under control.

“He’ll be alright. He can handle himself out there.”

With the jet cruising on autopilot, you followed Harry out of the cockpit to find Harrison hunched over his laptop, checking Tom’s encrypted message again. You weren’t sure how many times he’d examined the message, but yet again you weren’t sure how many times you repeatedly looked at the images until you stumbled upon a discovery last night.

Seeing him look at the one image in particular of the one man who the database could not identify yesterday, you sat down across from him, simply stating, “His name’s Mr. White.”

“Mr. White? Didn’t 009 detain him three years ago for involvement in S.P.E.C.T.R.E.?” Harrison asked, glancing up from his computer to look at you. Whether subconsciously or not, he sat up straighter, his shoulders back with meaning.

“Yes, and, since we had little to no evidence of major involvement, MI6 released him on parole. Last known file was that he was dying from thallium poisoning, and guess where he went to live out the rest of his days.”

“Spain.” Harry answered.

“Barcelona to be exact.” You stated. “And, according to MI6’s database, Mr. White’s back profile matches that of the mystery man in Tom’s photos.”

“So you think White took Tom?”

“Yes.” You nodded, definitively. “White’s our best lead right now. Besides, M has suspicions that Oberhauser has returned, and, if he has, then he’ll be looking to regroup S.P.E.C.T.R.E. with White.”

“Oberhauser’s dead.” Harrison argued, his eyes narrowing at you.

“It wouldn’t be the first time MI6 has mistaken a case.”

“This Mr. White,” Harry trailed off, “How do you suppose we find him if he is in Barcelona?”

“He has a mansion just outside of the city.” You replied, a proud smile on your lips. “I hope you two brought your dancing shoes because we’ve got a party to crash tonight.”

~~~

Light streamed in through the open window, perfectly angled to strike in your sleepy eyes. You shuffled awake, rolling over away from the window. Your eyes peaked open, and you smiled at the site before you.

With his hair a mess and his lips parted enough that a bit of drool was slipping out, the fast asleep Harrison was your favorite thing to wake up to. Feeling your shift in the bed, he subconsciously tugged you into him with his arm wrapped around your waist. You smiled to yourself, feeling his feet nudge your legs; even asleep, he wanted to be as close to you as possible. Ever so gently, you reached a hand up to run through his hair as you tried to memorize every detail of his face. Your hand slowly shifted downwards, running over his puffed out lips.

“Why are you staring at me?” He mumbled against your fingers, eyes still closed tight.

“You’re drooling.” You teased, your finger running over the small wet spot in the corner of his mouth. Blindly, he puckered his lips out to kiss your hand, making you laugh.

Harrison chuckled as he opened his eyes and shifted closer to you to give you a proper good morning kiss. Caving into him, you rolled onto your back and his lips chased yours, never breaking the kiss while he climbed on top of you. You let out a moan, one of your legs wrapping around his hips.

The moment his fingers began to lazily tug on the hem of your t-shirt, which was really his, his phone began to buzz with the sound of his alarm. At first, neither of you made an effort to turn it off, enjoying the simplicity of each other’s embrace, but, as it continued, Harrison regretfully pulled his lips from yours.

“I need to get going.” He mumbled, moving off of you to reach his phone.

“Do you really have to go?” You asked, and he let out a small laugh.

“Duty calls.” He leaned over and gave you one last kiss before he climbed out of the bed. You sat up against the pillows, white bed sheets falling around you. You watched with a small frown on your face as he moved about your room, collecting his clothes for the new day. Your eyes drifted over to the luggage at the front door. He was off on another mission in Luxembourg this time… or maybe it was Switzerland. Ever since you stepped back from your 00 position, you had a hard time keeping up with it.

“What if you didn’t go?” Your voice was so quiet that Harrison almost thought he had imagined the whisper. Tugging on his white button up, he looked at you with a lopsided smile.

“Love, you know I have to. Besides, it’s only a week. I’ll be back from Austria before you know it.” He answered. He could sense that there was something unsure in your voice, and he gingerly sat on the bed beside you, his blue eyes searching for an answer in yours.

“Runaway with me.” You said faintly, but definitively, as your hand clasped his, “Let’s go somewhere, somewhere where it’s just us. No more sneaking around, no more MI6, no more missions, none of it.”

Harrison looked at you for a moment, and you could see him going through his options in his head. Instead of saying anything, he just pressed his lips to yours tenderly. He pulled back and rested his forehead against yours, “I’d follow you anywhere. Just let me do this mission first.”

“I love you.” A small smile slipped past your lips as you tried to contain the eager feeling inside you.

“I know.” He answered, flashing you that signature smirk.

“Y/N, come on, you gotta wake up.” Harry’s voice pulled you from your dream, or rather another memory, as he shook your shoulder lightly.

“Yes?” You mumbled, blinking your eyes open.

“Harrison’s starting the descent now. We’re here.” He explained. As you took a moment to clear your head, he studied you curiously. “Were you having a bad dream?”

“Not at all.” You gave him your best smile, but he could still register the uneasiness in your figure.

You wouldn’t call it a bad dream, per se. It was just a rather sad thing to think about now. That morning two months ago was the last morning you were truly happy and it was the last morning you spent with the one person that you wanted to wake up to every morning.

Figuring it’d be best to change the topic, Harry did just that. “While you were sleeping, I got the three of us rooms at the hotel closest to White’s mansion. MI6 has no blueprints of his house, but it’s secluded enough that-”

“That Tom might be there?” You finished his thought for him, and he nodded, biting his lip nervously.

“That’s the hope.” He replied.

“Did you two come up with a plan too?” You asked, and he nodded again.

“White will most likely have cameras everywhere and guards in areas where we can’t go. If I can get to his computer, I can hack the security system to search for Tom.” Harry explained.

“And what would Harrison and I do?”

“Keep an eye on White and watch for any trouble in the ballroom.” He stated. At his words, a smile of admiration came across your face. He didn’t sound like the cocky wannabe 00 agent anymore; no, he sounded like a true MI6 special agent. “What’s that look for?”

“You’re really coming into your title, 003.” You teased, making a small blush hit his cheeks.

“I learned from the best.” Harry winked cheekily.

Just a few hours later, the three of you were settled into your individual hotel rooms that Harry had acquired. You busied yourself with getting cleaned up for tonight, trying your best to not think about the fact that Harry’s plan ignored the very fact that it’d entail for you and Harrison to spend actual time together. You couldn’t really blame him though; he was oblivious to the history between the two of you. All he knew was that he was on a mission to save his brother with MI6’s best. And, for the sake of Tom and Harry, you needed to remain focused tonight.

“Are you sure you don’t want me to help you out tonight?” Harrison asked as soon as Harry stepped out of his hotel room.

“I don’t need help. Tom taught me how to hack; it’ll be a breeze.” Harry reassured his friend. He adjusted his cufflinks while they made their way down the hall to your room. Laughing a little, he inquired, “Why do you keep asking? Do you not want to be on White watch with Y/N?”

“I wouldn’t say-” He started, but the curly haired boy walking beside him cut him off.

“You’ve got a thing for her, don’t you?” Voicing the speculation that had been brewing in his mind for the past few hours, Harry had an accusatory sense about his words as they came to a stop in front of your door. He looked at Harrison with questioning eyes.

“No, definitely not.” Harrison just about scoffed in response. Defensively, he turned to Harry, “Do you have a thing for her?”

“No.” Harry answered too quickly for his own liking. They stood like that for a moment, staring at each other with suspicious eyes, as if they were silently daring the other to move.

It was Harry who caved first, turning to open your door with the keycard. With the door wide open, Harry and Harrison stood frozen staring at you as you had a leg up on the footrest, strapping your heel in place. You looked over at them, questioningly, “Is there a problem?”

Both boys shook their heads and stepped inside, the door shutting behind them. You switched your feet to put on your other shoe, trying to pay no mind to the two sets of prying eyes across the room. You completely knew you were showing a little in a dress perfectly tailored to your body, cutouts along your torso to emphasize all the right places, complete with a deep v neck and a high leg slit. With your heels on- specially equipped with your favorite secret knife stilettos, you stood to your full height to look at Harrison and Harry properly. You’d be lying if you said your eyes didn’t immediately catch onto Harrison and his tight, yet perfect fitting tux. The dark navy blue ever so slightly highlighted his eyes even more. Noticing your gaze on him, his lips twitched into a small smirk, and you immediately turned around to the set of ear pieces on your hotel desk.

“Here.” You handed them their ear pieces, and all of three of you put them in.

“Are you ready?” Harry asked you.

“Just about.” You said, slipping a couple lipsticks into your bag.

“I’ve missed those.” Harrison stated. He’d recognize those gold and silver lipsticks anywhere. Harry looked at him, raising his eyebrows curiously. “Gold are grenades, silver are tranq darts.”

“Genius.” He replied in awe.

You quickly applied one final touch up of your own lipstick, nothing special, before looking at them with a nod. “Ready.”

Riding in the classically styled Aston Martin DB5 from MI6, the three of you arrived to White’s party and easily blended into the crowd of people. The ballroom was busy, packed with people dressed to the nines. Splitting up, you all mingled your way around the room, taking in as much surveillance as you could.

“Two guards at the south exit.” Harry murmured into his ear piece.

“And two at the east exit.” Harrison added quietly.

“The west exit has three.” You mumbled. “Something’s got to be hiding back there.”

While you stationed yourself by the live band, pretending to be interested in their music, Harrison made his way to the bar, his personal favorite vantage point. He slid into his seat, eyes scanning the bar as a bartender approached him.

“Martini. Shaken, not stirred.” He ordered and you bit back an eye roll at his words.

“Keeping it classy, I see.” You said through the ear piece.

“Love, you know I can’t say no to a martini.” He replied, a cocky smirk resting on his face.

“Champagne?” Harry asked, holding out a flute of the golden liquid to you as he came to stand beside you, effectively drawing your attention away from Harrison.

“Thank you.” You took the flute from his hand and swirled it lightly.

“I didn’t poison it.” He joked before taking a sip of his own.

“She’s not a fan of champagne.” Harrison’s voice came through your ear piece. You glanced over at the bar to see him watching you and Harry, his fingers wrapped around his martini glass. Never breaking eye contact with him, you drank the bubbly champagne down in one quick motion.

“There’s White.” Harry pointed out, spotting the host across the room. “He’s out here, so I’m going in.”

“Be careful.” You said quietly. You watched him as he disappeared through the crowd. While you had faith in your former trainee, that didn’t mean you couldn’t still be concerned about him. 

“Don’t worry about him.” You heard Harrison say through the ear piece and also behind you. You turned to see him standing there, half- full martini glass in his hands.

“I thought you were staking out by the bar.” You motioned to the drink in his hand, and he smiled before finishing it off.

“The view’s much better over here.” He took your empty flute from your hands and placed it on a waiter’s tray, right beside his own now empty glass. The waiter moved along swiftly. “You know what the best way to survey a room is?”

You crossed your arms in front of your chest, shaking your head at him, already knowing his suggestion. “Not here.”

“Dancing.” Harrison sent you his signature smirk, his hands reaching to unravel your arms. “Come on, remember Argentina?”

“I do remember, but we can’t exactly tango in Spain.” But it was too late as he pulled you out onto the dancefloor, just as the musicians picked up their tempo with a new song.

“Sure we can.” He winked. Despite your protests, you still let him take one of your hands in his and rest his other hand on your waist, holding you close enough that you could smell the martini in his breath. To prove his point, he spun you in time with the music. He tried to take the lead, but you wouldn’t let him off that easily as the two of you danced and spun around the dancefloor; hips, feet, arms, all of you moving together in a fluid motion. With his warm hands trailing over the open slits in your dress, he quietly breathed out, “I see you’re still a great dancer.”

“You’re a little rusty.” You answered, your chest pushed against his. Your eyes briefly scanned the room, looking at the security guards at the exits and White. “Aren’t we supposed to be observing the room?”

“I am observing.” He argued, and you narrowed your eyes at him, stepping with him in time to the musician’s beats, your legs brushing against his sensually.

“Observing White, not me.”

“He’s not nearly my type.” He joked, his smile beaming as he looked at you. You went out for a spin again, but when you came in this time, you brought your leg up, hitching it to his waist with ease, thanks to the slit. Instinctively, Harrison’s hand grabbed under your thigh, his calloused fingers running over your smooth skin. His other hand splayed across your bare back, holding you up as he dipped you down quickly.

“White’s on the move.” You whispered to him when you were brought back up, your leg still clinging to him tightly.

“I’m watching him.” Harrison mumbled back to you, before dipping you again. This time, he dipped with you, drinking you in with his nose tickling your collarbone and trailing up your neck until his eyes were level with his. It wasn’t until then, under his electrifying stare, that you realized just how fast your own heart was racing. Still holding you tightly in the dipped position, Harrison darted his eyes down to your lips, and, for a split moment, you weren’t even sure if you’d mind if he kissed you right then.

“Harrison?” A voice asked from in front of him. His head darted up to see the stranger that somehow knew him.

“Madeleine?” He brought you back up to a standing position. His hands immediately dropped from your side, and you stepped away from him to see the stranger. You felt yourself stand a bit taller seeing the other woman before you. This Madeleine was by all means a standard model looking woman- tall, thin, fragile features, and a beautifully simple periwinkle silk dress.

“I wasn’t expecting to see you here. How are you?” She asked with a genuine smile, and you quickly picked up on a slight French accent when she spoke with a hint of an Austrian accent. 

“I’m good, yeah. And you?” Harrison replied, almost nervously. You glanced between him and Madeleine, confused by the exchange occurring, and that’s when you saw it. The small spark in Harrison’s eyes as he looked at her, a spark that was once reserved for you. You felt an unfamiliar feeling begin to twist in your gut.

“Never been better.” She smiled, and even her smile was perfect. She looked over at you, laughing a little. “I’m so sorry, I should introduce myself. I’m Madeleine Swann. I met Harrison back in Austria.”

“Y/N.” You answered, shaking her hand gracefully, despite that feeling growing inside you. Austria. Of course it had to be that mission.

“What are you doing here? In Spain?” Harrison asked her with a smile.

“This is my father’s party.” Madeleine explained and you bit back your surprise. “We haven’t talked in years, though, so I’m not quite sure why he invited me tonight.”

Before the conversation could carry on further, Harry’s voice came through the ear piece that you almost forgot was in, “I’m coming back out. I checked every bit of his system and Tom’s not here.”

“I’ll let you two catch up. I really should be going.” You told Madeleine and Harrison, who sent you a quick nod.

“It was lovely to meet you.” Madeleine called after you before you could fully walk away. You gave her one last fake smile and turned to go find Harry in the crowd. Just as you saw the familiar head of curls through the sea of people, you heard a sharp scream from the other side of the room, sending the civilians into a frenzy as they tried to run away. Through the commotion, Harry managed to reach you.

“What happened?” You asked him, and Harrison ran up to the two of you with a distressed Madeleine behind him.

“White’s dead.” Harrison stated. “We need to leave.” You glanced over at Madeleine, and he reached to grab her hand, “We can trust her. She comes with us.”

“We don’t have time to debate it.” Harry said, pointing towards the armed security as they drew their weapons. Quickly, the four of you ran with the crowd of terrified guests back to your cars.

“I’ll go with Madeleine to get her car. Rendezvous at the hotel.” Harrison announced, not giving you or Harry time to react before the two of them disappeared into the crowd.

You and Harry ran back to the DB5 as fast you could. He slipped into the driver’s seat, and you took one last glance back at the chaos leaving the party. You felt your breath catch in your throat as you saw the one person you thought you’d never see alive again.

“Y/N, come on!” Harry urged, pulling you from your thoughts. Shaking your head, you got into the car.

No. There was no way you just saw him.

~~~

General Tag List: @viagracex​​​ @theamazingtomholland​ @Hellomoveonby @heyitsshrez @harrisonosterfieldhazmyheart​ @joyleenl​ @t-o-m-holland​ @lonikje​ @sleepybesson​ @sunkisseddreamer​ @hollandsamor @in-a-lot-of-fandoms-tbh​ @gorillaglue23 @petersoftboyparker @musicalkeys

Harrison Tag List: @Calhtlland @tomkindholland​ @where-art-thau-romeo​

Original Series Tag List: @quinjetboi @baby-haz @kickingn-ames @rougese7en @hollandsosterfield @nj01​ @it-is-rebel-owl-ma-dudes @spencerreidxoxo @duskholland

[thepeakyfckingblinders]

White Lies || Thomas Shelby x reader

⤠ MASTERLIST⤟

Anon requested: “ Can you do 10&13 with tommy please? I obsessed with your writing” (Thank you honey, hope this won’t let you down ♡ )

Summary: n.10 & 13 from prompt list: “I swear to God, I’ll blind you” + “Don’t leave” Warnings: swearing, May Carleton insert, basically jealous reader, Tommy being the absolute cocky bastard he always is, me loving him even more

Author’s notes:

Behind each one of these works there are sleepless nights and something really close to multiple mental breakdowns, so, please, take a minute to send me a message about it, I need actual feedbacks to understand how to improve my skills and grow ♡

So, May appears in this piece too, even if she’s never been his lover.   Is Tommy Shelby going to generate a mass murder with his cock? Maybe.

I’m sorry for being this late, but I’ve been really busy in the past days and writing is never just easy, it demands concentration and effort, plus I don’t want you to be disappointed, so I’m always extra accurate while working. I hope this is worth the wait!

If you want to be added to my tag list, please, directly message me

I’m Italian, English isn’t my first language, so I apologize for every possible mistake I made. Also, please, help me improve my writing by telling me if there’s something wrong

ENJOY!

Your sugar paper dress in lace and tulle gracefully fluttered in the wind, as you walked towards the Garrison, head up, a kind smile on your face and your right arm firmly placed on John’s left one.  That same morning, Tommy’s new horse had won his third race in a row, for which reason the Shelbys had decided to have a little party at their pub, so that they could celebrate those amazing successes with their friends and closest fellows from Birmingham, seizing, at the same time, the opportunity to show to the whole town how the family was getting more and more powerful. Therefore, Finn, Michael and John were now escorting you and Polly to the tavern, where the rest of the Peaky Blinders had already got the festivities started. “If you ever get tired of Tommy, keep in mind that I’m here waiting for you, darling” The middle brother playfully whispered those flirty words into your ear, even though he was truly enchanted by the way you looked that night; you immediately glimpsed in his direction, seeing him keep an alluring smirk on his wonderful face and a toothpick held between his rose lips, just like always. A genuine chuckle spilled from your mouth because of his joke, a slight blush instantly covering your sweet face, while your lips promptly left a noisy kiss on his cheek. “Don’t worry about him, Johnny, we can keep it as our little secret” You blinked at him, still giggling out loud, as you entered the Garrison arm in arm, finding a whole crowd of half-drunk people joyfully cheering for the increasing greatness and fortune of the Shelby Brothers Limited. “And that’s Thomas’s definition of small refreshment?” Polly’s usual sarcastic tone prickly referred to the massive amount of guests your fiancé had apparently invited; she lit a cigarette, carelessly throwing the used match on the floor, before her free forearm fondly stretched out to Michael, in a silent invitation to accompany her towards the table where Arthur had already made himself comfortable. Finn, on the other hand, immediately spotted Isaiah amidst the throng, for it took him a scant moment to literally run in his direction, eager as he was to finally spend a night out with his best mate, forgetting about work for a while. “Would you mind helping me find your perennially busy brother, mh?” You asked John, since you were now alone, standing at the entrance like two complete idiots, withouth a clue about what to do next. “Why don’t you come home with me instead?” His eyebrows quickly raised and lowered several times, in an intentionally droll attempt to make that indecent proposal sound tempting, his usual cocky smile never leaving his face. “Oh, shut up now!” you heartily laughed, jokingly punching his shoulder in the process “Let’s just find him, and then you’ll look for a pretty girl to dance with”

“No need to look for girls, love, they throw themselves at me” Your almost-brother-in-law defiantly stated that, while adjusting his houndstooth suit in one swift move, his large shoulders lifted along with his lower lip, giving life to an expression of pure smugness, which esponentially boosted when he found his way to the middle of the pub, performing his usual, cheeky, extremely bold walk. John’s lean and solid body shielded yours as you passed through that enormous amount of people, until you eventually reached for the cluttered counter; your watchful eye immediately caught Tommy’s figure standing with his back turned, a loving grin inadvertently springing upon your red lips, for he had left early that morning without waking you up, and, although it may seem corny, you had shamelessly missed him. Nevertheless, your jaw nearly dropped when, taking a few more steps in his direction, a beautiful woman entered your line of sight: she was talking to him, her clearly infatuated stare burning with desire, one of her palms randily caressing his bony cheek, but the worst part was that Thomas didn’t make a single move to stop her, he just stood there, listening to what she was saying, letting her pet his face. “Oh, fucking hell” John muttered, foreseeing a catastrophic epilogue to that risky situation, indeed, he was perfectly aware that you had no idea of who May was, moreover he could plainly tell she was without a doubt attracted to his brother, which meant no good, considering that you were in the same country as her. Still, before he had the chance to stop you from doing anything, you had already covered the gap between you and them, approaching your fiancé and heavily tapping on his shoulder covered by an elegant black jacket.

Tom’s icy eyes imperceptibly widened as he turned to you and realized how misunderstandable that scene could look; however, within a fraction of a second, he composed himself and regained all of his customary confidence, curving his mouth into an impertinent smirk and placing a hand behind your back, so to guide you in front of the mysterious lady. “Oh, you must be y/n, Tommy’s told me a lot about you! I’m May, May Carleton” Her falsely excited voice brusted out, preceding both of you, and that alone could’ve been enough to set you off, you were aching to ruthlessly punch her in the face, right there and then, yet your strong common sense led you to simply send her a long, eloquent death glare. “Well, he didn’t tell me anything about you, not a word” Perceptible hostility towards that woman infected your tone, still, while you spat that rancorous reply, your killer attention was utterly focused on Thomas, who, for his part, kept looking at you with amusement, blatantly revelling in your jealous little scene. “I didn’t have a chance to” His husky voice nonchalantly spilled from his full lips, whereon he was unchastely sliding a cigarette filter, his piercing black pupils continued to defiantly nail yours as he aimed to provoke you with that silly, senseless remark. Teeth sinking into the warm flesh of your inner cheek, while you tried your best to avoid a beastly outburst in front of everyone; sadly, hardly any moment later, May unwisely decided to throw more salt on your already stinging wounds. “How funny, I’ve been training your horses for three months now” a galling laugh of mockery eurpted from her throat and, once she was sure she had your attention, you noticed raw mischief twinkling in her brown irises “With excellent results, I might add”

She raised the glass of champagne she was holding, along with a hint of her head in Tommy’s direction, inviting him to make a toast to their incredible series of victories; a shrill tinkle filled your ears when his crystal cup joined hers, almost making your skin crawl, you watched speechless and powerless as a seductive expression deliberately contaminated his stunning features. “Obviously. Nothing but the best for my horses”

You just couldn’t believe your eyes, nor your ears; an alarming amount of emotions assaulting your defenseless mind, as you eventually figured out how many lies he had been feeding you during those past months. Soon after he had brought his first mare at the auction, Tommy specifically talked to you about how many expectations and resources he had placed on that brand new project, to the point of actually enlisting an expensive horse trainer, one of their comrades from France, a man they could trust, he did say. Your brain franticly reviewed all of the episodes in which he had called you to inform that he would’ve been late, for he had to stop by the stables in order to check on his beasts; a grievous boulder growing inside your chest, brutally crushing your heart, at the very thought of what could’ve effectively happened in those evenings, your breathing sharply stopped for endless instants, until you regained control of your body, blinking a few times to stop the world from spinning around you. Not a single world escaped your mouth, you only looked at them for one last time, before you hastened to turn tail and run away from that obnoxious situation. Only then, Thomas factually realized he’d gone too far with you, his vigilant stare followed your silhouette quickly moving amidst that mob of drunken yokels, while he briefly took leave of May, without even glimpsing at her once. Pushing and kicking his way through the crowd, he reached for you when you were practically one step away from the main door.

“C’mon, y/n, wait! Hey, don’t leave” Tom delicately grabbed your forearm in an attempt to hold you back, but, as soon as you saw him touching you, a calamitous rage exploded in your belly, leading you to violently yank your arm away. “Take your hands off me, or I swear to God, I’ll bind you with your own fucking cap!” Eyelids squeezing with autentic ire as you snarled in his face, fiercely smacking his hand several times and managing to get out of his grasp; yet, when you tried to leave the pub afresh, his imposing frame promptly interposed between you and the exit, his left palm firmly leaning against the jamb, so to cover the whole open space and preclude you every possibility to find your way out. “Get out of the fucking way, I said!” Frustration filled your yells, you had recourse to all your strength in a restless effort to shove him off, continuing to insult him and punch his chest, still your blows felt like nothing more than tickling to him. Thomas rolled his orbs and, at the same time, raised both his eyebrows, in a plan expression of his nuisance. “I think you’re being a bit overdramatic, love” Thomas was perfectly aware that he was being a total asshole, afterall, he had never even thought of May in such a way, but, for some strange reason, he wanted to tease you that night, he wanted to see you detonate. His imperturbable tone, together with his absurd words, totally made you lose your temper, you sensed your knuckles itching to crash with his perfect jaw, again and again and again. “Overdramatic?!” your voice raising of a couple octaves “You bloody bastard! You lied to me, God only knows what the hell’s been going on between you and that bitch. What’s more, you let her fucking flirt with you, in front of me!” Hot tears were now forming in your eyes while you kept shouting till you felt your throat hurt, Tommy simply kept watching you, not daring to pronounce a single syllable, but never changing his stoic countenance, nor moving from the doorway. “You were flirting back, letting her touch you that way, you fucking humiliated me, Thomas! In my place, you would’ve killed any man, without even thinking ‘bout it!” Tom’s look somehow softened as he observed your features contract with anger and sorrow, he knew he had unnecessarily and foolishly hurt you, he only was too proud to say it out loud; so, he kept his mouth shut and just came closer to you, carefully attempting to stroke your shoulders with tenderness. Nevertheless, you were too full of wrath and delusion to let him make it up to you that easily: actually, you desperately needed to cry, your cheeks were flushing with resentment, blind choler streaming in your veins. And, suddenly, a dull smack resounded in your and his ears. You slapped him so hard, that his head automatically tilted in the opposite direction, leaving both you and him speechless for a full minute; Thomas remained in that forced position, frozen, without going back to face you, consequently giving you the opportunity to finally pull him aside. “You don’t fuck with me, Mr. Shelby” That was all that you hissed, then leaving the Garrison and not looking back.

tag list:  @spidey-pal, @shadow-of-wonder, @mclfoybaby, @peachlle, @livvtheangel, @myjbphase, @namelesslosers, @crazyonesarethebest