#and like thematically I think keeping her parents alive is the best way to not let Shar win

[moghedien]

Shadowheart cottage ending is wild because her parents went from experiencing torture at the hands of their (brainwashed) daughter for decades to living on a farm with that same daughter who now acts like a goddamn Disney princess with wild animals just following her home

[generallypo]

in all sincerity, kim dokja makes me happy and he deserves to be so too :^(

incoherent yelling and sobbing under the cut. these fEELINGS will not be contained aaauuunnghhh. 

------

anyway i binge-read all 500+ chapters of ORV this week and i honest to god feel bad for this -- completely! fictional! aghhhh -- guy. in case you haven’t figured it out, the following is some spoilerly shit

i went in expecting a fun, brainless power trip fantasy for dudes with an isekai addiction. instead, it turns out ORV is actually a gigantic, self-deprecating prank on the entire genre itself. kdj plays more into the sad -- if high-functioning-- clown trope than the sexy, edgy, chuuni bastard type i was prepared to laugh at. there were -- gasp! -- female characters with personalities! parents (aka ADULTS who act like ADULTS) who actually survive and feature prominently! adorable children! a real sexy, edgy bastard! a power trio with amazing fashion! sexual tension and bickering! friendship! life and death bonding! 

*breathes in deeply* fouND FAMILYYYYYYY.

like, yeah, the plot around the first few arcs seems a little aimless, but the buildup is worth. the world-building is pretty decent. there’s discernible effort put into the fight scenes, and i can appreciate that. but -- but! what i stayed for were the characters -- namely, the fantastic OT3 of KDJ, HSY, and YJH -- who come together despite their initial rivalries and end up saving each other’s asses, like, every other day. granted, the other characters don’t get as much focus, and they do fall into certain character tropes.. 

but a trope done well is nothing i would gripe about. every significant character in ORV has a coherent, and more importantly, respectful take on their respective trope. maybe it’s because sing-shong is actually a married couple, but all the interactions between even minor characters are a convincing blend of awkward rambling, suggestive humor, sharp remarks, and casual banter. in other words, this cast of mostly working adults (plus a teen and two kids) talks like working adults. the relationships built throughout the story are, frankly, some of most realistic of its genre. sing-shong has managed to craft a dynamic that undoubtedly brims with fluffy fondness all around, but also drips with sarcastic tension, with unspoken urgency, with a wariness that softens into sincerity over the course of many, many chapters. it’s the kind of progression that makes even stock characters read like more than just the 2-bit villain or comrade or love interest. here, we have relationships both straightforward and not, strained or otherwise, romantically-oriented as well as decidedly the opposite -- and then numerous others scattered along the spectrum with the freedom to shift either way. 

it’s also an interesting point of note that our MC kdj actually does not end up with a stated romantic partner, much less a conventional heteroromantic harem. he gets teased about that fact from time to time, but it’s with less of the sleazy shonen locker room humor one would expect and more of the good-natured ribbing you’d find among friends or that one especially nosy auntie at the yearly family reunion. kdj is a grown ass man. in the background, i applaud his maturity, and he handles all the prodding like a champ. 

so instead of finding and fulfilling his horny, he builds himself a wealth of loving family. yeah, there are beautiful men and women around him. yeah, they unequivocally adore him. but they’re also adults, and they have priorities, too -- which are not so much finding a way to bang kdj’s brains out and more so simply keeping the damn guy alive. this is truly not ‘oblivious mc with his thirsty, sex kitten harem’. it just so happens that a guy proves himself to be unflinchingly gentle and capable in an apocalyptic setting despite his broken self-esteem, and lots of people find that attractive, romantically and platonically. 

it.. kinda makes sense? he’s a hard worker, thoughtful, and good with kids. kdj is the kind of guy you know would make a reliable partner, and anybody with eyes can plainly see and appreciate that. 

and it’s not that our MC’s a total brick wall. in fact, it’s likely the opposite, and he’s just too darned repressed to admit it. from what has been implied, kdj does indeed recognize and accept love, or at least a primitive concept of it. i like to imagine that the kind of love that he ends up seeking out simply manifests itself more easily as acceptance and safety, as warmth and a home of people to return to every day. even better, the people who surround him know this, and they give him exactly that. it’s refreshing, and honestly, really sweet.

(as a side note, i really, really do appreciate the cosmic bi energy radiating off of kdj, who canonically earns the title of being loved by all and is all but in name married to yjh and hsy. he also respects women and small children and honestly anyone who isn’t total scum to him or his family. i respect that.)

but the happy stuff aside, you know it it just ain’t ORV without the generous screaming dollop of angst. admittedly, there’s self-sacrifice, injury, lonesome wandering, more sacrifice, some epic fighting, reunion and confrontation. all of it is a lot to digest, sure, but never does it feel entirely hopeless, or truly, truly heart-clenching. ORV, up until the final act, is a mostly light read. you relax in your chair, thinking that nothing beyond this point can disturb you. 

yeah fucking right.

------

and then the beginning of the end arrives. when the squad finally break through to their ‘ending’, the scene that kind of breaks me is the reveal of the Most Ancient Dream. it ties so much thematically into the little tidbits that we get of kdj’s past, and it though it feels like almost a joke that the source of the goddamn apocalypse is a kid with bruises smeared across his skinny ass body -- it’s such a pathetic picture that it’s kinda poetic, actually. you’re left mystified but somewhat convinced, like a math problem explained halfway through. this.. child.. is a villain somehow, isn’t he?

and then 999th turn uriel speaks up, and she. just. hugs him. 

[[You are this universe’s most powerless existence, aren’t you.]] 

that. that gets me. kdj’s reaction immediately upon this revelation? absolute murder. seeing him essentially self-destruct upon realizing that all these people he’s surrounded himself with -- some who continuously proclaim their loyalty and affection for him throughout their journey, some who suffered eons of war and loss and trauma because of his existence -- not only forgive his younger self but smother him with unconditional acceptance and love is stifling, is too vulnerable and exposed and he simply can’t cope -- it’s so telling of his true mentality, of his crippling insecurity and crumpled sense of self-worth. kim dokja is a liar, through and through, so much that he fails, or perhaps refuses, to comprehend the veracity of others’ kindness and love towards himself. 

by some miracle, the events at the end of the world somehow resolve.. or so it seems. there is a departing train, a liberated team of ex-gods, and a child rousing from his slumber. in the aftermath, i am left shaking. somehow, despite the ending having been (happily?) reached, there’s still another chapter ahead. what is this witchcraft?

------

and then ah, yes -- the epilogue arc. i teetered on the edge of being critical for a little bit there -- is that display of deus ex machina, of sad, self-sacrificing nobility a bit too egregious to be acceptable? is this some wild last let-me-yank-this-outta-my-ass plot twist to drag out the chapter count? i sincerely thought that the arc before it would have been the finale. i was wrong. thank god.

anyways, as an answer to the above: no, and no. i stake my firm claim on the belief that the epilogue arc was meticulously planned out well in advance of its release, confusing and time-warpy as it is. i liked it. tremendously. even if it entirely invalidates all of kdj’s supposed development (���haha lol yeah sure i won’t sacrifice myself or anything anymore guys don’t worry about me” -- KDJ, at some point because he’s a lying rat bastard). actually, our beloved MC disappears for a large chunk of this arc, and i think it’s great. in his absence, the other characters not only go absolutely fucking nuts, but they have to figure out this new problem on their own, even if the lure of peaceful complacency in the newly saved Korea might convince them otherwise. 

and then the whole time paradox thing comes around. yjh goes to space, hsy saves the only life she can, and kdj grows up. the crew waits, holding onto their hope even if it bleeds them dry. sing-shong does a damn good job of illustrating their fraying calm, their lurking madness, the unseen but pervasive depression that seeps in from kdj’s absence. the kids lose their father, lhs and jhw lose their reliable leader figure, ysa loses a best friend and confidant, lsk -- as distant as she pretends to be from her son -- loses her only child. and then there’s hsy and yjh , who are essentially bereft of the other half of their existences. their pain is palpable, is grounded in the hopeless, gnawing frustration of an utterly meaningless victory. emotionally, ORV hits all the right -- if agonizing -- beats.

however, a story can’t sustain itself just through its pathos. i’m happy to say that ORV doesn’t drop the ball after the first milestone, and after all the hurt, the characters do leap straight back into action. even better, the plot holes actually do get patches, and the poetic cycle of writer, protagonist, and reader comes full circle by making use of all those supposedly throwaway characters from the myriad world lines. 

at the end of the road, there is a distinct sense of unity, of a delicate but undeniable cohesion to the world lines and their origins. sing-shong lets us guess a little here at the finish, but there’s just enough information to feel hopeful. maybe there never had been a definite start -- or finish -- to the story of kdj company, and... that’s okay. everybody ends up where they were meant to be, where they fought and struggled to reach. it’s.. almost like a happily ever after, if we’re allowed to dream of that.

------

now, i realize, this was all an orchestrated maneuver.

i’ll take it.

to me, all of this work sounds like someone put some serious thought into this behemoth of a plot. it cements the entire original premise of the story. it suggests -- but never explicitly confirms! -- the possibility that breaking free of the cycle is possible through the exact same system that sustains it. it’s terribly interesting -- and inspirational! with all the dramatic revelations and life-threatening scenarios  and the cast’s resigned acceptance of them that essentially make up ORV’s entire mood, there’s still that last hint of rebellious and righteous anger that lights up the whole damn nebula. it’s like the kdj company blasting away at the heavens just to yell into the nether: we’re not looking for the happy end, but the free one. stay alive.

it’s subtle, and yet it’s such an emotional gut punch. i came away with the most ruinous, frustrating, bittersweet sense of longing in ages. i pined. for these fictional darlings. god, i am weak.

so. yeah. ORV is pretty good. flawed, but ambitious and impressively thought out.  i’m stoked that the webtoon is making pretty good progress, even if it’ll take an eternity and a half to meet that monstrous chapter count. i’m still gonna follow it. hell yeah. 

------

(by the way the idea that secretive plotter and co are literally gonna take care of and raise baby kdj and spoil him and be the best friggin family a kid could ever want does things to me. protect him. he’s suffered too much. let at least one worldline’s version of him know happiness. and actually, aLL OF THEM DESERVE DOMESTIC BLISS TOGETHER IN A BIG OL MANSION WITH SUN AND FRESH AIR AND TENDER FAMILY MOMENTS UGH)

------

and there you have it, folks. you made it to the end. in the far, far distance, i’m cheering you on and crying my eyes out in gratitude. thanks for tuning in!

[leonicscorpio]

Why I’m Cautiously Optimistic for Batman: Urban Legends

So this is a spoiler review of Batman: Urban Legends and the story between Jason Todd and Bruce Wayne that was introduced to us yesterday. 

For those who don’t know, I like Jason Todd and The Red Hood. A lot. However being a Red Hood fan has been frustrating to say the least. He’s one of the most inconsistently written characters in the DCU. Prior to the New 52 and Rebirth. Red Hood was pretty much a straight-up villain. However under Scott Lobdell (for better or for worse) we got Red Hood and the Outlaws. Which transformed Jason from villain to Anti-Hero with varying shades of tropes from Sociopathic Hero at worst to Knight in Sour Armor at best. 

I am in no way trying to say that Jason is a bad character. I’d say he truly is my favorite DC Comics character. However a large portion of it comes from Lobdell’s portrayal of a bitter anti-hero trained by the deadliest assassins in the world coming off of a failed revenge attempt against his former parental guardian. To learning to mellow out a bit and still be a hero, but keep his deadly tactics. 

It’s hypocritical to say that I dislike the fact that Jason kills people.  Quite graphically and brutally mind you. Call it disturbing but that’s what a lot of people like about him. However what has caused a large rift between the DC Fans and Jason Todd is the fact that a lot of the time his foot is halfway in the anti-hero door, halfway trying to warm up to Bruce and the Batman. The problem with the later being Lobdell’s obsession with making Jason teeter between wanting to be on Bruce’s good side, reverting back to what he does best, which is kill, harm, and maim, and Bruce proceeding to hunt him down and beat Jason to within an inch of his life. 

It’s just as infuriating for us the readers as it is for the character. What I think fans would appreciate is if Jason were to just leave Batman, stay with the Outlaws, and be his own team. Helping Bruce out occasionally but letting Jason do his own thing. Or to have Bruce fully accept Jason as he is. Which, while is something that sounds nice, but thematically makes little to no sense considering the fact that Jason has done horrific things. Including but not limited to.. 

- Having been confirmed to have killed EIGHTY THREE PEOPLE (83). And this was at the beginning of OUTLAWS. That number has most certainly gone up. 

- Tortured a drug dealer to death by injecting them with bleach. 

- In Under the Red Hood, he decapitated the middle ranking members of the highest crime bosses in Gotham. (And from the shocked looks on their faces, it seems as though Jason started the decapitation process when they were alive) 

- Regularly attempted to harm/if not kill Dick Grayson, Tim Drake, and Damian Wayne in some earlier comics. 

- Tormented Mia Darden (Speedy) in Seeing Red about her past about being a sex worker and being homeless in her youth in a way to try to get her to join him. When she refuses Jason proceeds to blow up her school. Yikes. 

- In Last Crusade he killed a mook by Crushing their head in with a car door. Oh and he did that AS ROBIN. 

I’m fully aware a lot of those deeds were erased by the Rebirth/New 52. However it’s clear to see why Bruce, while probably does still care and support Jason. He absolutely cannot let Jason run around unchecked in his eyes.  That’s why I think it’s unlikely given the events of how Under the Red Hood transpired, Jason in his current state would ever truly and fully be welcomed back into the Bat Family. 

Okay LeonicScorpio, this is great and all, but this is supposed to be a post about Batman Urban Legends, you tell me. Well, my dear reader, I shall now get to it. I was setting up the fact that Jason, while he is heroic and has done heroic things, he also is someone who once reveled in violence, causing pain and suffering, and still has a core philosophy in believing killing people based on certain crimes is allowable. (SPOILERS FOR BATMAN: URBAN LEGENDS BELOW) 

Chip Zdarsky has done a fantastic job in introducing Jason in this side story. A new drug is sweeping across Gotham. Jason encounters a situation far too similar to his own upbringing. An overdosed mother and a sad crying boy confused. Jason takes the boy named Tyler and promises to protect him. 

While I’m on the fence about Eddy Barrows’s take on Jason style wise. You cannot understate the symbolism of his art in this shot. Jason Todd, the same one who came back from the dead and decapitated men when they were alive and reveled in causing pain, comforting a child when they were afraid in a genuine way is something a lot of the fanon has wanted for a long time. However Barrow’s art style gives a sense of uneasiness to the heroic-ness of Jason. Almost as if Jason is unsure of himself. It’s twisted in that it’s both dark but heroic. 

Things come to a head when Jason realizes Tyler’s father is probably a drug pusher in Gotham. And when he does finally catch up to the boy’s father. He does take a non-violent approach to trying to get Tyler’s father to turn around (Rubber bullets to the leg. Jason is trying.) However upon trying to reason with Tyler’s father Jason learns that his father was giving the drug to his mother and his son as a means of keeping them controlled. And that Tyler’s father doesn’t give a damn about his family. 

Now what do we know about Jason? He kills those who gives drugs to children and parents of children. So what comes next is very on-brand of Jason. Hell I wasn’t even shocked by Jason’s reaction to this at all. 

What happens after is what I’ve wanted to write for the longest time. Jason realizes that he’s just killed Tyler’s father. Even if his father didn’t care and was outright abusive towards him. He still killed his father. And Jason stops and drops to his knees because he realizes what he’s done. When I read that my reaction was literally the Jeff Goldblum “You did it, you crazy son of a bitch you did it.” I love Jason but I’ve wanted a story where Jason has to face the consequences of his philosophy and actions. Jason does want to be good and make a difference. But by killing Jason has dug himself into a hole he cant easily bury himself out of. 

So long story short Batman Urban Legends should have all of your attentions. 

[your-dar-ling]

G:L Season 2 Episode 2 Re(Cap/View)

Better than the premiere. Not gonna waste time:

Dri and Roberta

I loved their plot but the slap was a bit much. Dri is great in this episode, and she's pointing out the obvious flaws in her mother's philosophy. Lines like "He's fighting them" just hold so much weight to me. I'm not exactly sure why.

Roberta has a very believable quality to her faith, they all do. She embodies a very common (and annoying) parenting sentiment: The "I'm the parent so my beliefs are ultimately most important" Clause, and its corollary "Fine. You don't have to believe me but here's a ridiculous ultimatum that will either force you under my heel or irreparably alienate us to one another." I think alot of religions play into such a binary system, and I think the Union is most fun when it is finding the commonalities between how religions present higher powers.

Brother Tate

OMG thank God he actually believes in what he's saying. I don't think I could take it if "The Flow" had no merit to it at all. I'm sick of stories that present the "religious option" as just crazy people. Now is it a death cult? Yea, kinda. But there's no self-serving motives. Unlike the Polity, who is legit just making things up, the Union actually thinks they are humanity's salvation. The truth in that is....well it's unclear. And I appreciate that the show doesn't jump directly to the villainization of the Omnifaith.

Chase

Thematically Chase being the cornerstone of the Union is SO good. Julius Caesar, Jesus, I mean Brother Tate's speech at the end perfectly summed it up. Chase's idea of heroism is filtered through his suffering, and the horrifying revelation is that without death, there is always more of himself to lose. The truest of horrors of war stories.

However Chase lacked the emotional depth he needed in this episode. MBJ does a phenomenal job voice acting him for the most part, he shows a remarkable amount of emotion. But the way the show implements it feels uncanny somehow. I can't exactly describe it but the editing is off.

Yaz

I find it very gripping how the Union converts her through breaking her. It's honestly kinda sucky that the nature of the Union -- and many (especially Abrahamic) religions, too -- presents itself as the one and only option. It's such a morbid and cynical servitude. No one is actually concerned about convincing her, they just keep guilting her until submission. And when she finally gives up? The flow keeps her alive? I don't quite know. But yea this recontextualizes alot of her behavior in Season 1 in a positive way (narratively speaking of course. I don't feel good about it).

I don't think the show is in a place to explore this, but I appreciate the irony in the "you have no proof of the afterlife" line from a person of (presumably) Muslim faith. It may have been an oversight, but it's one I feel is thematically appropriate.

(I think it would have been more interesting if she did believe in the Omnifaith itself, but not as literally as the suicide pact demanded by it's organized religion. But I digress.)

Polity

Nice save on Marin, there guys lol. It's too late, I already think she's a bad guy.

I think one thing that makes this show so viscerally unsettling sometimes is its sheer willingness to connect itself to modern day Earth. When I heard that the Polity was a rebranded (and equally useless) UN I legitimately buffered for a moment. How horrifying. How likely. It's almost as if G:L the show itself is prophetic of what is to come. Speculative fiction at this point is just a reality that hasn't happened yet. And from that standpoint, I'm with Chase. I'm scared.

TLDR: The Union is some AMAZING world building. This G:L crew is truly making the best of this mess of a production that they can, and I appreciate that.

Final Score: 7/10

P.S.: IM PUTTING WARNER IN THE DEATH NOTE for messing with reaction videos. RT (the company) is also pretty damn close to filling the blank space. Like are you serious???

[incoherentbabblings]

Why TimSteph is nice

Because I honest to goodness think they are. Prompted by @tsukiakari1203 who needed cheering up but also just because it’s that kind of evening you know?

I also have a TimSteph meta tag if you want to go through four years of me moaning about them. I am going to be repeating myself from some of those posts. Sorry. These are just little things which I love to infer more meaning out of then what was (probably) intended. 

This is long. As always.

Pre-New 52 there are a lot parallels with each other. Their Batgirl and Red Robin runs copy each other thematically. Their characters over their thirty years of publication flip on the cynicism and idealism scale. Tim is initially good at making and keeping friends. Steph is initially not. Tim comes from a relatively stable home, albeit it with distant at best or neglectful at worst parents. Steph comes from an unstable home, with neglectful at best and abusive at worst parents. Tim pushes his way into the inner circle of the batfam and is successful at doing so on like his second or third try. Stephanie pushes her way into the inner circle of the batfam, but it takes approximately 20 tries plus (nearly) dying to get people to take her heroics seriously. Both form close familial relationships with the originator of the mantle they hold.

Tim starts helping because he believes no-one else can step up to the plate and help Bruce, and he continues to help people because it is simply the right thing to do. After multiple tragedies he loses any desire to exist as his genuine self outside his superhero mask, and the reader is left with the idea that there isn’t really a Tim Drake left at the end of his solo run anymore, only different factors of Red Robin. Stephanie starts helping because she believes no-one else is capable of stepping up to the plate and stopping her father, and over time her spite and anger turns to genuine altruism and compassion, which makes it impossible for her to willingly hang up her costume. After multiple tragedies, the line between her Stephanie self and Batgirl self is practically non-existent. She is never not genuinely herself, and is on the path to get her degree, repair her relationship with her mother, work alongside the new friends she has made and pursue everything that may have been denied to her when she was fourteen years old.

One of Tim’s first major missions as Robin had him face Scarecrow. One of Stephanie’s first missions as Batgirl was to face Scarecrow. As @our-happygirl500-fan once pointed out - Stephanie’s super heroics started with her trying to kill her father. Tim’s super heroics ended with him trying to kill his father’s killer. Stephanie gains Bruce’s unequivocal trust, Tim loses it. The future Tim sees for himself ten years down the line is lonely, dead or in a position he does not want to take (Batman). The future Stephanie sees for herself ten years down the line is being a parent, mentoring younger heroes, living in a nice house, and running around in a beloved mantle (Nightwing).

Both of their biggest fears are simply not being good enough at what they need and want to be.

Onto fluffier things below the cut...

Absolute favourite thing is how they are often drawn holding each other’s cheeks. Hands are a big them for them (for me) so look out for their interactions. Even when they aren’t a couple, their hands are resting on the other or reaching out for the other. It’s not uncommon for Tim to put his right arm around Steph when they are sitting together and press her into his chest.

Tim’s the only person to call Stephanie Stephie aside from her father and Dean, and therefore is the only one to mean it as a genuine endearment. He is also the only person aside from her parents to call her sweetie, though again, unlike her father but like her mother, Tim means it as a genuine endearment. 

One of the side purposes of Stephanie’s pregnancy arc was to give Tim and Steph a reason to get to know each other outside of the costume. Early on, even before they got together, Stephanie pushed against there being a distinction between the mask and the person wearing it. She continually both pre and post new 52 decries Tim claiming there is any kind of separation. Stephanie had a crush on Robin, but she fell in love with the boy who kissed her in the cinema, took her to the highest point in Gotham because he thought the views were romantic, and took her to birthing classes with a fake beard on. She loved Tim. There is no distinction. For about a year in universe she was the only person who had a reason to exist in both Tim and Robin’s lives. Giving up one would not necessitate giving up Steph. Though she would insist on dragging Tim back to the surface. Therefore, I think, if the Pre-New 52 universe had been allowed to continue, Steph would have been important in getting Tim back to the surface over Red Robin. Look what she managed to do in their crossover. The mere threat that she doesn’t recognize Tim anymore helps get him back on track. It’s also a thing in Rebirth. Tim is Tim is Robin is Red Robin is Drake is Tim. No difference.

I cannot find exact proof of this right now but there’s a panel where Tim’s on a date with Ari, and he can’t focus on her, as he’s too worried about a case. Tim can’t flipping focus ever with Zo because at that point his mind is just too full of trauma by then. 

Steph takes him to the cinema, he relaxes. Steph makes out with him; his mind goes blank. I dunno where I’m going with this. Steph makes Tim feel safe, I guess. He lets his guard down bad with her. 

When they’re younger they’re both kind of jealous over the other. Tim (playfully) threatens to shoot a guy who has a crush on Steph, and she does the very logical thing when seeing Tim being kissed and decides to make a Robin costume and force her way into the Batcave. Love was conditional for the both of them growing up, so the concept that they love each other for realsies doesn’t really compute. The other will leave. Eventually. Tim has better prospects and Steph will get bored of Mr Goody-Two-Shoes. Spoiler: They don’t. 

Steph trusts Tim with the stories of her assault. She says her favourite things about him are his gentle nature, the fact that he’s not afraid to show her he’s frightened, and his empathy. Tim loves how warm Stephanie is and he loves how consistent her affection for him is. He knows that she only has his best interests at heart, even when she listens to the wrong people for what that is (coughBrucecough). They often can be found bolstering and comforting the other against Bruce’s actions as much as they can be seen supporting him, which makes for some juicy conflict.

In Rebirth Tim only sets the drones to target himself when Steph calls him thinking she’s going to die. In Rebirth the last person Tim chooses to speak to is Steph. In Rebirth the thought of Steph is one of the things that keeps his will to go home alive and his sanity after spending months alone intact. In Rebirth his renewed relationship with Steph was partially unravelling Dr Manhattan’s reboot of the earth (the power of adolescence crushes). In Rebirth Stephanie wins over the bad guys by assuring her boyfriend that a) he is a good person who b) she trusts to do the right thing. She saves the day with the Power of Love. In the bad Batman of Tomorrow future, Tim is looking for Steph, implied that he still has feelings for her even though she says he is essentially dead to her, he goes to see young Stephanie and begs forgiveness from her, then uses her - referring to her as something to possess in one interpretation - to throw young Tim off in a fight. Again, in Young Justice, the thought of Stephanie is one of Tim’s biggest motivators to go home. She is his home. He is her cornerstone.

And that is why I think they are a neat couple.

[thewebcomicsreview]

Normally I open up the Homestuck 2 liveblog with a tongue-in-cheek comment about how reading HS2 is pain, but I just watched the debate and HS2 looks incredible by comparison, so let’s see if this good mood carries over. Looks like we’re on Candyland, too, Candy updates tend to be better (or at least bad in a funny way) than the oft-boring Meat updates, and personally, I think “The Omega Kids fuck around” is the best part of HS2 by yards.

Man, that lamp is almost perfectly positioned to draw a line through the image separating the two scenes (the dialogue for which is on two separate columns), but it’s just the tiniest bit off-center. I wonder if that was intentional and mobile-responsiveness is just a cruel mistress. It’s a cute touch, if so. I suppose the door (and the photos, which are the same height as the door) also serves the same purpose of having the two scenes be sectioned off. I don’t really know a lot about “scene composition” so maybe I should stay in my wheelhouse, but I think it’s divided very nicely

HARRY: and some of us aren't gods and shit. JOHN: i'm detecting a hint of judgement in your voice, there, harry anderson JOHN: don't you enjoy being a part of all this? finally getting to be in the thick of it all?

John, always dense, has not picked up on Harry Anderson’s demotion to Harry. He’s also inserting a lot of his own desires onto Harry, here, too. Vrissy is the one who wanted to be in the thick of it all (thematic idea to stick a pin into to see if it plays out: John should be mentoring Vrissy and Vriska should be mentoring Harry. Some evidence that HS2 is building this idea, but not a lot yet)

HARRY: now YOU look like you're hiding some extra commentary. JOHN: oh, i don't need to burden you with all the bureaucratic stuff, it's boring.

You gotta subscribe to John’s $20/mo Patreon tier for that, Harry.

JOHN: because here i am, sitting in the dugout, same as you. HARRY: in the dugout? JOHN: oh, or, uh... JOHN: what's a metaphor you might like better... HARRY: no, JOHN: i'm like the uhh...understudy. HARRY: dad. no, jesus, you don't have to do this. JOHN: or i got cast in as babysitter number 2 when i had auditioned for, i dunno, HARRY: yeah, please, i got the baseball metaphor. HARRY: i'm not a complete fucking nerd.

John doesn’t really “get” theater kids, I get. It makes me think a little of how John’s dad thought John was massively into clowns. Also, this is a cute.

JOHN: it's been really nice to get to spend so much time with you. HARRY: um. yeah, it's not so bad. HARRY: anyway, before you ruffle my hair or anything, it looks like things are getting a bit heated between the vriskas over there. HARRY: maybe we should offer them a snack to bring the mood back down? JOHN: me, mess up your hair when you’ve worked so hard on that look? i do know you at least that well, harry anderson HARRY: thank god.

This is also cute. Harry maybe the only person in the entire cast of Homestuck or Homestuck 2 to have a semi-normal relationship with his parents.

Speaking of semi-symmetry, the line where Harry says how happy he is to stay home almost lines up perfectly with Vriska being furious that she has to stay home. I wonder again if that’s a coincidence of if someone had a really clever idea that didn’t make it fully intact through editing (or was considered not worth the effort). 

VRISKA: How are you so calm right now? Your lusii were training you, right? And you’re a troll, you’re definitely five times stronger than a human! And if you’re my clone, you are way more 8adass than little miss Fussy Fangs.

Vriska is making several false assumptions here, but the most interesting one is that Vrissy is Vriska’s clone. She’s not. She’s descended from Vriska, and takes after Vriska very strongly, but it’s not a one-to-one thing.

VRISSY: 8ut I guess this Situation is Kind of Serious? VRISSY: There’s a whole Plan and Stuff Like that. VRISKA: Clearly not a good plan, 8ecause then I would 8e part of it!

Vriska.jpg

VRISKA: That’s just even more indication that they don’t know what they’re doing! Lalonde and Maryam have had however many sweeps to get older and stupider, 8ut from where I’m standing, it was literally only a few days ago that I was their commander! I am primed for the 8attlefield!

Okay, this line is across from John saying he’s in the dugout. There is absolutely an intentional, if not one-to-one strict, mirroring of these two conversations that’s actually really neat. I should go back to the other times HS2 has had conversations formatted like this to see if this mirroring has been happening all along. It’s a really good use of the format! I like this a lot! 

JOHN: so anyway, as you can see, this would have worked just fine! HARRY: no i think karkat’s right. this looks like shit, dad. JOHN: you know, me letting your earlier use of the word "fuck" slide wasn't a blanket approval for all cursing in front of me. HARRY: sorry. HARRY: try not to make such a shit plan, and i won't call it that. JOHN: haha wow.

The other thing I like is the John/Harry dynamic. 

HARRY: it's not like i think i'm any better! HARRY: i mean, i still can't believe i told vrissy and them to bring a dead celebrity to school. HARRY: what was i THINKING. JOHN: you were thinking it sounded hilarious! JOHN: but yeah, in hindsight, maybe not the best call. JOHN: maybe it’s genetic? HARRY: yeah. HARRY: i kinda can’t believe we’re all still alive, actually. HARRY: and how did YOU make it this far, being so bad at this? JOHN: i had my friends with me, i guess.

John your friends repeatedly tried to kill you and succeeded at least twice. 

He’d spent so long seeing mostly the best parts of Roxy in Harry Anderson. He forgot, he guesses, to look for himself in there, too. And if what they have in common right now is a lack of strategic foresight, hey, he’ll take it.

I’m slowly developing a theory that John is subconsciously the narrator of Candy, given how everything suddenly started going John’s way after Calliope left (and how the narrator seemed to really hate Gamzee last chapter). Remember, John has spoken in narration before in HS1, but never seemed to realize he was doing it. I probably need to essay this theory out at some point, but not now.

Oh, hey! Jane does have goons! And they’ve slightly change the way they draw Rose’s hair, so her head isn’t a perfect circle with lines on it. This looks much better. 

JANE: I haven't given a political speech in years, Ms. Lalonde. I don't know what you're referring to. I'm just a simple business woman. JADE: right with her own talk show JADE: and multi billion dollar merchant company and lobbying groups! JANE: That's what a business woman is, Jade, dear.

I know that this is supposed to be Capitalism Bad, but “You claim to be a businesswoman when you own a merchant company!”. Jade. Come on. This reads less as Jane going “Of course I’m evil, I’m a CEO” and more that Jade literally doesn’t know what a business woman is. 

JANE: You are on my territory, in the presence of my secret police, laying your hand on my investment.

Jane you don’t own “territory” do you not know what a businesswoman is either?

JANE: Your ship is in contested airspace. You will land, whereby it will be confiscated by the Royal Human Guard. After that you will be taken into custody. 

CONTESTED BY WHOM, JANE? WHO THE FUCK IS THE WAR BETWEEN?!

JADE: shut the fuck up for a minute and look up!

There’s a BIG-ASS spaceship like ten feet in front of you! Did you not notice until Jade pointed it out?

Also why does the Rebellion ship have the Crockercorp prongs on it?

JANE: Or have you forgotten who has been paying for her schooling and taking charge of her introduction into society? JADE: i never asked you to do that! JADE: you offered! JADE: so stop calling me ungrateful for not sucking your dick over things i never asked for!

Sorry again, Jade, are you implying that you wouldn’t have given your daughter an education had Jane not offered? “Rose and Jade entrusted their daughter to Jane, who they were at war with” is an enigma of a plot point.

The world is watching her be dressed down by a couple blood traitor rebels, one of which has very prominent dog ears. Jane wonders if either of them are even recognizable to the assembled as two of the old gods. One of her PR managers had recommended that she keep her look as static as possible, so that people can always recognize her as Jane Crocker, Captain of Industry, Creator of Earth C, Maintainer of Peace and Plenty.

Jade has always had dog ears what the fuck? I guess this is supposed to be Jane’s warped thinking.

So, anyway, Kanaya fake-holds Tavvy hostage, Jane buys the threat as real and they build up like Jane is going to sacrifice her own son for PR points but she ultimately stands down and lets everyone go. It’s left intentionally vague whether or not she was always going to do this, or if she didn’t want to do it in front of Jake, or if the presence of Jake stirred something in her that made her change her mind. I like the ambiguity. 

This was a very “Homestuck 2″ update. The plot of kind of nonsense, but it’s carried by the character interactions and a bit of cleverness.

[pynkhues]

fortheloveoftagalog replied to your post “I just read the new TV Insider interview with Bans and Krebs and I...”

@pynkhues thanks for this post...what strikes me and I think a big part of the Fandom is the work taken to redeem Dean when we still have very little POV for Rio. Its sad that the fans have to be using snippets of Brio to try to understand the underlying meaning of the actions when there are so many creative things the writers could do...you guys do it all the time in your writing and these are professionals. While their aim may not be to do what the fans want the success of the show rests with fans. I know as a shipper from a previous show that got canceled because of poor writing and development. This season was very poorly done and I believe Bans and Kerbs( i may have gotten his name wrong) will need to go back to the drawing board. The whole issue of marketing Brio is also terribly deceptive on their part because I do believe the plan was to make fans side with Beth and the girls with trying to kill Rio because he ordered the hit on Lucy not realizing that him doing this inspite of her innocence was the best thing to do for the business that ultimately involves the girls we are all cheering for. Fans love Rio because of how Manny plays him which is not one dimensional...he plays him like how thugs really are...human just probably mostly bad but capable of good and love and in his case respect and a code. Why redeem Dean and not give Rio a POV?

You’re welcome, and thanks for commenting! :-)

SO. There are a few things to unpack in your reply. 

I’ll start with the simplest - the writers don’t have any say in the marketing of the show. It is frustrating that the promos feature Brio so heavily when the story itself doesn’t, but that’s an NBC thing, and it’s based on what the network knows picks up traction, not a Good Girls creative team thing. So you can’t blame them for the way the show is promoted (hell, never forget that the NBC marketing team called Annie Amy in a press release! I will never not be furious at the disrespect, haha). If there’s anyone to blame for Brio-focused promos, it’s all of us, for being so obsessed, haha.

I also strongly disagree that this season was very poorly done. It’s cool if you didn’t like it, and there are definitely things I didn’t like about it too, and places I felt the scripts needed further development, and sure, places where I personally would’ve made different creative decisions, but on the whole, I actually found the overall writing strong, the angle compelling (albeit sometimes frustrating), and most of the payoffs pretty satisfying. 

I also....hmmm. I don’t really know how to articulate this, haha. But look, as somebody who writes professionally and works for a successful, internationally-touring theatre company? I can guarantee you whose side the audience is on is very rarely at the forefront of any writer’s’ mind. 

Stories aren’t about sides or teams. 

They’re stories. 

And stories are usually designed to pose questions, to explore moral lapses, to better understand psyches. Stories – in my experience – like to splay people out and dissect them, not champion them or cheerlead. 

This show has never been a superficial, ra-ra-sisterhood story that tells us Beth, Annie and Ruby are perfect gals just doing what they have to. In fact, it’s the opposite. It’s positioned them, since the very first episode, as three deeply flawed women who are broken by their respective circumstances who want to survive and thrive for their children. We’re not supposed to agree with all their choices, but we should understand them (and the spaces where we don’t are reflective of the flaw in the writing, not the character making the choice in the first place). 

As for Rio, yeah. I get it. I agree in a lot of ways. I do think Rio’s role should’ve been fleshed out more in s3 (not heaps or anything, but a bit, yes), and I think the show teased opportunities for it – particularly through Turner and Rhea, and then pivoted away at the last minute whether through cold feet or narrative confusion or thematic frustration or wanting to keep the mystery alive, I’m not sure! But the last minute dip-out definitely happened! 

I do actually understand the hesitation of pulling attention too far away from the girls though. The thing is, Rio has functioned as a narrative island which I talked a lot about in this post, and the reality is that building out his world would require a drastic narrative expansion, a deep financial investment in terms of the production itself (something we can get away with in fic because, y’know, we’re creating for free), and a pull away from the story that the show is trying to tell.

I know, I know, we’ve seen storyworld expansions with both Dean and Stan this season, but both those expansions fed directly back into the girls’ stories – from Stan and Ruby’s push-pull to the heist, to Dean almost (definitely) cheating and Beth buying Four Star Pools and Spas, but I mean... 

Haven’t we seen storyworld expansion with Rio this season too? It might not have been what everyone wanted, but we got to know his bar really well, got to meet his ex, got to know his boy better, and his tastes and habits a little more. 

That’s actually pretty massive for a show that introduces minimal details about it’s main characters (I mean - - I dare you - - try to tell me five three things each about Beth and Annie, and Ruby’s respective parents).This show thrives as a plot and pace driven show, not a character study, and the result is we don’t know as much as we want about the characters unfortunately. Which is a bit of a shame! Because man! This show has some wonderful characters. 

[vaguely-concerned]

even MORE mandalorian ep 3 observations

this episode is so dense there’s just so much stuff in it!

- every single moment of baby yoda looking around in wonder and trepidation and trying to get mando’s attention is a fresh dagger in my heart. dishonorable mention to when he sees the small-ish alien in the spacesuit in the market and makes a quizzical noise and looks up at mando because it so perfectly matches up to how babies go ‘???’ at their parents to get explanations and reassurance. also the baby totally gets bad vibes off the storm troopers immediately and glances up unsettled but all full of trust like ‘dad why are we here?’ aUGH this short walk is probably going to haunt me and mando both for the rest of our lives

his little mouth falling open when he sees the doorbell eyestalk thing haha he’s doing the shocked pikachu face!

- when dr pershing is scanning the baby and it looks uncomfortable you can see mando moving forward just a little bit. dad instincts clearly screaming and kicking to get to the surface there lol

with the reveal in episode 7 that the empire dude is kind of an unironic mandalorian fanboy... boy this whole thing feels real weird 

- if my eyes do not deceive me I think mando’s hands are actually shaking when he reaches out for the beskar. you’re welcome I didn’t want to be alone in knowing this

- you might find yourself wondering how many bars of beskar the reward consists of and who would be enough of a loser to pause the show just to count them out. I can inform you that it seems to be 20 altogether, 10 per stack. (i’d really thought they’d go for 30, just to twist that fucking salt-encrusted knife in the wound)

- “My armor has lost its integrity; I may need to begin again” fhsakdlfhds  OH MY GOD he was not kidding; on the first watch I was just thinking about the breast plate but if you look closely half of his armor is just loosely tied on with rags fskdjfhask everyone else probably realized this before but what can I say I’m slow and easily amused

like yeah okay that’s a line with great thematic resonance and importance -- yes, he is going to have to change and essentially start over -- but also... poor mando had to clean his muddy armor post-mudhorn and then after bending the pieces back into shape as best he could he resorted to TYING THEM BACK ON that is one of the funniest and most endearing things I’ve ever seen, this is the way motherfuckers (Actual Engineer Kuiil watching him and shaking his head like ‘well that looks like so much scrap metal to me at this point but you do you kid’)

- just like in episode 1: while the armorer is preparing to work the camera occasionally cuts back to mando and every time there’s the sound of people screaming in the background fklhdsalkfhsda it’s just so UPSETTING

they keep zooming in on the melting Empire symbol in this one -- it’s definitely meant to underscore the general unease of the situation both because of the baby and the y’know empire part, but is it also hinting that mando might be flashing back to something to do with the purge too in a less direct way? :Ia

- relatedly: the armorer remains so fucking cool. I love how her design tells you that she’s clearly a part of the group but also something more, between the gold and the fur and the more refined/owl-like helmet shape. she looks so sturdy, like you might as well try to move a mountain. she also looks timeless compared to the others, you can absolutely believe she’s the personification of their traditions. (traditionally mandalorian armor has just looked. really really silly to me so huge kudos to the design team of this show making me go HELL YEAH whenever I look at mando or the armorer)    

- cha boy pulling up to the club with a fresh new colour scheme lol it was nice of the tribe to give him a new cape and... idk what you’d call that fabric stuff he wears under the metal armor but it’s all in a unified Look now. ‘this would be appropriate for your station’ huh, so is he pretty high up their ranks? is this a seniority thing? some of the mandos in the background look very basic compared to mando, paz vizla and the armorer -- is it possible that a lot of the older mandos died in the purge and they fought to save the younger ones? this group does seem very focused on protecting the children (the foundlings are the future)

- hahaha mando has his hands tightly curled into fists the entire time he sits during the talk with greef karga -- his whole body is going ‘actually. this. is FINE I can’t believe how fine it is I can totally keep going like this’ through gritted teeth. so much good hand acting in this ep! and I love how in this new armor he’s coming out of his indifference and apathy -- what are the empire remnants doing here in the first place, actually? what the hell do they want with a baby? he comes alive a bit and it’s incredibly satisfying 

- it really takes him all of twenty seconds after noticing the missing metal ball to make up his mind to do this completely buckwild thing. I love him

- credit to dr pershing for trying to shield the baby with his own body even though he’s a bespectacled noodly scientist with no weapons up against a dude in full armor and the wrath of gods in his bearing right then. 

- the baby opens his eyes and realizes who’s carrying him while they’re inside the base and he leans his little head against mando’s chest 😭😭😭😭😭😭😭 too bad this happens when mando is too preoccupied literally roasting a stormtrooper to notice but I saw it and I cried 

- that little uh jump almost? when mando opens fire when he’s surrounded by the bounty hunters? YES WONDERFUL. and he’s still so gentle when he puts the baby down ;___;

- you know mando’s grappling line is in many ways the polar opposite of his flame thrower. reliable. sturdy. incredibly versatile. unflashy but gets the job done. look at how well your brother is doing, flame thrower, why can’t you be more like him 

also he does seem to sort of like greef karga even though he doesn’t trust him very much (and rightly so haha), and karga’s regret that mando broke the code doesn’t seem entirely rooted in losing his best man either. like they clearly don’t understand each other (or at least karga VERY Does Not Understand how mando actually works under the surface, when he’s not just going through the motions) but there’s a sense of mutual respect there anyway. I wonder just how long they’ve been working together (this being star wars... how much do you bet we’re getting tie-in novels explaining just that lol)

[silenthillmutual]

Danganronpa 1 & 2 characters as High School “recommended reading” books I actually read

Makoto Naegi

To Kill a Mockingbird by Harper Lee when i read it: 5th grade for fun, 10th grade for English class did i like it? well enough yeah content warnings: thematic & period-typical racism, ableism, and sexism about: Recounts a summer in which Scout and her brother, Jem, watch their lawyer father defend a black man accused of raping a white woman in the south while balancing raising them alone. Other stuff happens, but that’s the most important plot thread.

Sayaka Maizono

Medea by Euripides when i read it: i don’t remember, maybe 9th for drama, 12th for English? did i like it? yep! content warnings: child murder, infidelity, some pretty brutal other character deaths, sexism about: Medea, who has sacrificed everything to be with her husband - even committed treason - has been left by the man so he can move on to woo and wed a princess. And she loses her shit.

Leon Kuwata

The Adventures of Huckelberry Finn by Mark Twain when i read it: 11th grade did i like it? yeah! content warnings: thematic & period-typical racism (use of the n-word), domestic abuse, classism iirc? about: After his abusive dad comes back and demands money under the threat of death, Huck Finn runs away with a fugitive slave down the Mississippi River. Being Mark Twain, it’s a comedy, although Huck’s father is genuinely kind of frightening and his friendship with Jim is kind of heartwarming.

Chihiro Fujisaki

Frankenstein by Mary Wollstonecraft Shelley when i read it: 10th grade for fun, 12th grade & freshman year of college for class did i like it? I’ve got mixed feelings; i love the book, hate most peoples’ interpretations of it. content warnings: character death, incest (depending on the version of the novel you read), unethical doctors, neglectful parents about: Thinking he knows better than literally anyone else he’s ever met, Victor Frankenstein decides it’s his birthright to play god. He robs graves to build the perfect body, and then, once he’s successful, flips his shit and refuses to acknowledge any part he played in the creation, wrecking the lives of like everyone he knows.

Mondo Oowada

The Outsiders by S.E. Hinton when i read it: like 6th or 7th grade, for fun did i like it? i loved it! content warnings: abuse, thematic classism, character death about: Honestly the most obvious choice to make for Mondo. Ponyboy Curits, a greaser, recounts the last few months of his life in which, after being repeatedly harassed and then nearly killed by gang of rich kids, his friend Johnny stabs one to death. In order to keep Johnny out of prison and Ponyboy out of a boys’ home, the two run away. Considering Ponyboy is also being raised by an older brother, this totally fits Mondo.

Kiyotaka Ishimaru

King Lear by William Shakespeare when i read it: twice in college (discliamer: as an english major i had to taken an entire course on shakespeare, so he shows up a lot here between that and having done theatre) did i like it? no content warnings: a surprising amount of gore for a stage play, including a guy getting his eyes gouged out and someone getting beheaded iirc about: The king’s getting up in years, so he’s hoping he can drop the workload off onto his three daughters while remaining the figurehead. His youngest, Cordelia, who he loves best, refuses to kiss his ass by saying that he’ll still have power over her once she’s married, and this pisses him off so he disinherits her. Then her sisters, annoyed with their father and his favoritism, decide that with Cordelia out of the way they can now do basically whatever they want and determine to make his life hell. Since he named them Goneril and Regan, I don’t blame them.

Hifumi Yamada

The Canterbury Tales by Geoffrey Chaucer when i read it: college, but i wanna say i read some of the stories in it for English classes in high school? did i like it? some of the stories i did yeah content warnings: varies from story to story, but i remember unsanitary, drunkenness, and infidelity about: The overarching “plot” as such is that a group of people are making a pilgrimage to Canterbury, and decide that to pass the time they will tell two stories each. Each story is told in-character, and whoever tells the best story has to...buy everybody dinner, or something? I don’t really recall. It’s a comedy, but it’s also unfinished because Chaucer bit off way more than he could chew.

Celes Ludenberg

“The Cask of Amontillado” by Edgar Allan Poe when i read it: 11th grade did i like it? probably, i’m a fan of Poe content warnings: drunkenness, murder about: This one got memetic on tumblr for a while, but essentially this guy decides to get revenge on an old friend of his for some kind of sleight by getting him drunk during Carnival, leading him into the basement, and burying him alive. Poe isn’t one to go soft.

Sakura Oogami

“A Very Old Man With Enormous Wings” by Gabriel Garcia Marquez when i read it: 10th grade did i like it? no content warnings: objectification, something akin to torture about: A family finds an old man with wings lying face-down on the ground and decide to keep him like a pet. People see him and assume he is an animal, and the family decides to start charging admission like their own private sideshow, while onlookers abuse him. One of those extra depressing stories that makes you wonder why the hell you had to read it for class.

Mukuro Ikusaba

The Crucible by Arthur Miller when i read it: the first time, probably in 6th or 7th grade, and then several more times after that for a variety of other classes. it’s a theatre and English class staple.  did i like it? when taken in context, yes. but i’m also fucking sick of reading it. content warnings: infidelity, paranoia bait, period-typical racism & sexism (takes place during the Salem Witch Trials) about: The plot is a witch hunt, in which a girl who had an affair with a married man claims to have been taken over by the spirit of the devil and that all her friends and a variety of other townsfolk have too. It follows the trials as they try to determine who is and is not guilty, who will repent for their sins, and thematically is about puritanical hysteria. It’s about the Red Scare of the 50s, surveillance, the Hollywood Blacklist, propaganda, and tyrannical government. Naturally, teachers fail to provide any context for the play that actually makes it relevant or interesting. Compare to modern day callout/cancel culture. 

Kyouko Kirigiri

12 Angry Men by Reginald Rose when i read it: 10th grade (although i’d already seen the movie) did i like it? yes content warnings: thematic classism & xenophobia about: The jury of a case in which a teenager is accused of murder convene to determine their verdict. All but one man believe him to be guilty. The rest of the play covers his attempts to sway his other jurors into at least casting aside their prejudices to view the case impartially.

Byakuya Togami

The Federalist Papers when i read it: summer before 12th grade for AP Gov. yikes. did i like it? oh god no. i had to have my lawyer dad explain it to me. content warnings: legalese and it’s boring as fuck about: i mean it’s just a bunch of essays to promote ratifying the the constitution. I don’t even remember if we read all of them. that’s how bad my retention of the subject is.

Toko Fukawa

The Metamorphosis by Franz Kafka when i read it: 10th grade did i like it? kind of? content warnings: bugs, emotional abuse, depression about: A man awakens one day to find he has transformed into a giant cockroach. It’s a metaphor for his depression and what a burden he feels like to his family. If you read anything about Kafka’s life, you’ll understand why he was depressed.

Aoi Asahina

Hamlet by William Shakespeare when i read it: i’ve forgotten when my first time was because i’ve had to read it so constantly. if i had to wager a guess, i’d say middle school, though i’ve read it for fun, for drama class, and for English class. did i like it? yes content warnings: character death, suicidal ideation, incest vibes (depending on your interpretation) about: Hamlet, not over the early death of his father, is enraged that his mother has married his uncle. He’s really bringing everyone else down about it, and then he starts to see his father’s ghost on top of it all. No one’s sure if he’s just mad with grief or if the ghost is for real, but he starts making life for everyone else difficult when he decides to try and expose his uncle as his father’s murderer.

Yasuhiro Hagakure

Death of a Salesman by Arthur Miller when i read it: 10th grade i think? did i like it? if i believed in book-burning, this would’ve been the first turned to ash in my trashcan content warnings: infidelity, mediocre white men with narcissism, suicide, not sure what else about: An aging father who thinks he was robbed of success by circumstances refuses to face facts that he is a loser by projecting his failures onto a son that now hates him and thinking real big of himself for a wash-out.

Junko Enoshima

Othello by William Shakespeare when i read it: college did i like it? it’s my favorite Shakepseare play, actually! content warnings: thematic racism/xenophobia/Islamophobia, domestic abuse, character death about: A tragedy centering around the planned downfall of Othello, Moor of Venice. He’s relatively well-respected for his heroics and generally being a pretty cool guy, but for whatever reason, Iago wants to see him suffer. And when I say “for whatever reason” - it’s because Iago never gives a consistent one, but at the end he admits the entire thing has been his orchestration and he’s had no issue exploiting peoples’ bigotry as a means to an end. One popular and pretty text-evident theory is that Iago is in love with Othello. But - causing a ruckus, bringing society to its knees, and torturing a man just for shits n giggles? Getting it all done by sheer power of charisma? That’s all Junko ever does.

Monokuma

1984 by George Orwell when i read it: 10th grade for fun, 12th grade for class did i like it? yes but i don’t recommend it. i like tedious shit. content warnings: paranoia bait, sexual themes, torture, probably other stuff i’m forgetting about: Classic dystopia lit in which the government controls the flow of information to the degree of creating its own language (”newspeak”) to explain the technology used to survey its citizens and distill history-changing propaganda. Especially relevant in an era of “fake news.” Where Big Brother Is Watching comes from. Extremely difficult to get into.

Hajime Hinata

Of Mice and Men by John Steinbeck  when i read it: 10th grade did i like it? yeah content warnings: ableism, implied domestic abuse, character death, animal death, era-typical sexism (1930s) about: Very desolate and depressing novella about the futility of the American Dream to “make something of yourself”. Two farmhands, Lennie and George, arrive at a California farm seeking employment. They just want to earn enough money to open up a farm of their own - a rabbit farm - and things are all downhill from there. Well-written and one of Steinbeck’s shorter works.

Twogami

The Great Gatsby by F. Scott Fitzgerald when i read it: 11th grade did i like it? yes! i loved it. but in the way that you love sleazy tabloid rag stories. content warnings: infidelity, car accidents, character death about: Stupidly rich people in New York in the 1920s being fake as hell. It’s about excess and decadence and the idea of having a rags-to-riches story, and it’s very homoerotic.

Teruteru Hanamura

Brave New World by Aldous Huxley when i read it: 10th grade did i like it? one of my top faves tbh content warnings: alcoholism & drug usage, thematic classism & racism (ie that’s the point), sexual themes, violence, non-graphic suicide (like literally the last sentence), character deaths about: You know how 1984 is a very pessimistic dystopia about government surveillance? Brave New World is like “what if everything was a utopia because of government interference?” It’s easier to get into than 1984. It’s about a man from the upper echelon of society discovering the dirty secret of how society is able to able to function the way it does, an outsider into his world to shake things up.

Mahiru Koizumi

Pride and Prejudice by Jane Austen when i read it: i dunno, summer between 9th and 10th grade maybe? did i like it? yes! i loved it. content warnings: there are a couple of guys who are sort of gross but there’s nothing that bad in it about: An upper-middle class family - more the mother than the father - trying to marry off the eldest of their five daughters. It’s largely character-driven and most of the plot focuses on Jane’s relationship with Bingley, Elizabeth’s relationship with Darcy, and the problems witch judging people based on first impressions.

Peko Pekoyama

Call of the Wild by Jack London when i read it: 9th grade did i like it? fuck no content warnings: graphic animal violence. if there’s other stuff i forgot because i fucking hated this book. about: I think it’s something like a dog getting lost in Alaska and has to learn to be a wolf in order to survive? It’s incredibly brutal and is one of those media where just reading it makes you feel cold. 

Hiyoko Saionji

The Glass Menagerie by Tennessee Williams when i read it: 10th grade did i like it? not really content warnings: man i don’t know, but it’s by Tennessee Williams so there’s probably alcoholism, daddy issues, and homophobia about: An overbearing mother embarrasses her son and disabled daughter when an old school friend comes to visit...I’m not sure if there’s more of a plot to it than that. Like most Williams works, it’s largely character-driven.

Ibuki Mioda

If On a Winter’s Night a Traveler by Italo Calvino when i read it: college did i like it? this is one of those rare exceptions in books where i read it, because i remember having a visceral reaction to it, but i can not for the life of me remember a single damn thing about it other than how stupidly difficult it was to read.  content warnings: it’s metaficiton. about: You are the protagonist. I genuinely can’t explain anymore than that.

Mikan Tsumiki

A Streetcar Named Desire by Tennessee Williams when i read it: 9th grade did i like it? not really, but i’d be willing to reread it content warnings: domestic abuse, rape about: Unstable Blanche DuBois goes to visit her sister, Stella, and meets her appalling husband Stanley. All Tennessee Williams plays seem to have a theme of family tragedy in them, with this being probably the most bleak example. 

Nekomaru Nidai

The Odyssey by Homer when i read it: 9th grade, then again in college for a classics class did i like it? yeah content warnings: your usual classical Greek-variety nonsense, including character death, infidelity, and partying. about: Odysseus attempts to make his way back home after the Trojan War, and has a time of it. Having pissed off Poseidon he’s gotten off-course and gotten lost another ten years, and had a whole slew of other adventures trying to make it back home and save his wife from the harassment she’s been getting since his disappearance.

Gundham Tanaka

The Tempest by William Shakespeare when i read it: 10th grade did i like it? not especially content warnings: thematic colonialism & racism...not sure what else but it’s hard as fuck to read. try reading it out loud & acting along to it. about: I didn’t totally get it but there’s something about a wizard having been banished and now people are coming back to find him for some reason? the people who exiled him & his brother & daughter have crash-landed on his island and now he might get his revenge. Thanks, TVTropes! All I remember is discussing in one class about how The Tempest managed to predict the “finding” of America and how the English would treat the native peoples. It’s a “romance”, which in that day and age meant it was about magic. Influenced some science fiction works like Brave New World (the title of which comes from a line spoken by Miranda). I should probably reread it.

Nagito Komaeda

The Catcher in the Rye by JD Salinger when i read it: 8th grade for fun did i like it? yeah content warnings: implied pedophilia. i’m sure there’s other stuff but i don’t remember it well enough. about: Perennial troublemaker Holden Caulfield is kicked out of boarding school, and takes a hell of a long time getting home from the place as he complains about his declining mental state, hypocrisy, and loss of innocence. It’s one of those books you either really love or really hate, and has been repeatedly challenged because Holden swears too much and might be bisexual.

Chiaki Nanami

Pygmalion by George Bernard Shaw when i read it: 12th grade, i think did i like it? yes content warnings: classism about: A linguistics professor makes a bet with a friend that he can take any lower-class citizen and teach them to speak formal English, well enough to pass them off as aristocracy to other rich people. It’s the plot upon which the musical My Fair Lady is based, although it was intended as a deconstruction of the kind of plot whose trope it now codifies.

Sonia Nevermind

“Lamb to the Slaughter” by Roald Dahl when i read it: 10th grade did i like it? yeah! content warnings: infidelity, character death about: A guy comes home and tells his heavily pregnant wife that he’s been having an affair, and he’s leaving her. She doesn’t take it well. I won’t spoil the rest of it, as it’s a short story, but it’s fun to keep in mind that it’s be the same guy who wrote classics such as Matilda and Charlie and the Chocolate Factory.

Kazuichi Souda

A Midsummer Night’s Dream by William Shakespeare when i read it: 8th grade for a book report and then again in....i don’t know. i’ve had to read it a lot. did i like it? sure, it’s got some pretty great insults content warnings: men being douchebags including stalker-y behavior, and a woman falls in love with a man who has a donkey’s head (it doesn’t last) about: Hermia & Lysander are planning to run away to get married because Hermia’s father doesn’t approve of Lysander, and she’s trying to dodge the affections of Demetrius - the man to whom she has been betrothed, because he’s an ass who, among other things, slept with her friend Helena and then ditched her. Which Helena is still hung up on, even though he’s a gross creep. At the same time, a group of actors are trying to get together a play for an upcoming royal wedding, and the King of the Faeries is trying to win back his wife. This all connects because a faerie decides to fuck around.

Fuyuhiko Kuzuryu

The Chocolate War by Robert Cormier when i read it: college, for an independent study did i like it? yeah content warnings: graphic violence, i think some homophobia? about: Kids and staff at a private school take a candy sale way too damn seriously. There’s basically a mafia at the school and some sort of weird popularity contest and hazing going on. 

Akane Owari

“The Most Dangerous Game” by Richard Connell when i read it: 9th grade did i like it? i guess so content warnings: human hunting about: A man finds himself shipwrecked on an island, and is then hunted for sport. No, really.

Monomi

East of Eden by John Steinbeck when i read it: technically i’m in the middle of it right now, but that counts, right? did i like it? so far, i guess i do, but it’s mainly i care character who comes up later. couldn’t give less of a shit about adam trask, full offense content warnings: period-typical sexism & racism (set around the turn of the 20th century and published in 1952), implied pedophilia (that gets incredibly glossed over), ableism about: A combination of heavy-handed religious allegory (Steinbeck really just can’t cool it with the Cain and Abel theme naming) and family tree history. Follows the Trask family through Adam’s childhood, tumultuous relationship with his brother, even worse relationship with his wife, and horrible parenting of his children. The end (which is what the film adaptation covers) is more centered on his son Cal Trask grappling with the idea that he might be evil because of his genetics, or something. I think that’s an argument you could make of Monomi, being related to Monokuma (or at least, how i’m sure she’d feel).

[aotopmha]

Attack On Titan Chapter 106, 107 and 108 Thoughts

Turns out I only missed three chapter posts during my inactivity.

Which is neat. But now I'm back and as rockin' as ever.

I think the simplest way to start is to address the biggest elephant in the room: the reveal at the end of chapter 107.

Historia is pregnant.

I'd make a soap opera joke, but that's too easy.

The first can of worms this opens is that she is a girl who likes girls and it is really common to not only kill one of the sides in a lesbian relationship, but also "turn them straight". The good part here is that the story does everything to disconnect it from that element. Chapter 107 shows the pregnancy is a necessity forced onto Historia because Eldia needs to survive until they develop good enough technology to defend themselves.

It goes back to one of the story's biggest thematic threads about survival and combines it with Armin's statement "If you can't sacrifice anything, you can't achieve anything."

I think it's equally possible that the pregnancy is as fake as it is real. So I'm going to look at both possibilities and what I think they have as a basis.

I think the tidbits that support the pregnancy being real are Hange's talk with Eren in the beginning of chapter 107, which shows him being angry at Historia being sacrificed and the concern the man at the end of the same chapter shows for Historia. The second one is a pretty easy one: it's just an act. The first one is trickier.

For Eren it would obviously be that he doesn't know because he's not in on the plan or he's talking about Historia being turned into a Titan.

Chapter 108 says that Eren and Zeke have talked. We don't know when, but if a fake pregnancy is planned, Zeke either didn't tell Eren, doesn't know himself, which would be odd considering it's stated to be there to extend his lifespan and Yelena is said to have come up with that plan, which I think is a reliable piece of information for now; that or Yelena is just acting independently to save Zeke because they can't interact due to being restricted by the Garrisson. The rest of the SL also seem to just take it as it is. If it's not real, not many people show hints of knowing it's not real.

It might just be a plan devised by only Yelena and Historia that nobody else knows about because Historia would not put anyone through the same fate of being forced into a situation of not their choosing. Not the child or the father. Only when she's probably forced to, which was implied in chapter 107, but 108 does give her ability to choose, which is another element that makes me suspect it's not real.

In addition to that, Historia only agreed to inherit the Titan. That was her chosen sacrifice. The pregnancy actually takes away most of her remaining freedom, something the characters have been fighting for to get back. Historia's choice in the cave meant taking back her freedom and choosing for herself. So it seems at odds with the themes so far. Giving your life, sure, but your personal freedom, too? Nah.

If the pregnancy is real, I think it's at least not chosen by people pleaser Historia. Her statement to take the power on seems to be genuine and out of the desire to genuinely help her friends and her people to survive, so I think the pregnancy would be a similar choice for her. We only have a few panels, but I think her character hasn't regressed.

(Chapter 107)

The story and where it could be going is an absolute headache to speculate about to me because there are so many pieces and variables to consider.

How much interaction did Eren have with Historia or anyone about the plans after Kiyomi's suggestion to have her have babies to keep the royal bloodline alive? There is a whole lot of questioning to find a better solution, as well. The past few chapters have each at least had one scene of someone looking for a better way.

Hizuru itself is suspect because they are greedy for Paradis' resources, too. Hange questions whether all really will be over in 50 years. The pregnancy is stated to be dangerous by itself, so the risk is still there. For Zeke's remaining year, it would make no difference whether the pragnancy is real or fake.

(Chapter 107)

Zeke's reason for giving away his parents is curious, too. Wouldn't *he* want to stay alive to make things right in his own way considering he thought he could do the job better than his parents? Talk about restoring the Eldian Empire is bad, but he at least seems to want to get this done by his own hand and in a much more smarter way. Regardless of his personal intentions, he would be a very useful weapon in the upcoming battle compared to Historia who would have no experience whatsoever.

My picture for now is that Historia's pregnancy is fake and they are betting on the upcoming battle to collapse Marley, which could happen with or without the rest of the world's support in that battle. If that happens, they could potentially get some sort of peace going. It's a massive gamble, which is something the SL is really familiar with at this point, but if they get Marley off their back, that's a step to potentially keep other nations away, especially if they try their best to show what's actually up to the world and stop the propaganda Marley is spreading.

In addition to that, while it would still aid the cycle, what has stopped Zeke from having a child himself with a woman that wants to? The hole of whether Marley knew he is royal blood was addressed by confirming Zeke has managed to hide it. Nobody on the wall with Dina survived so it didn't get out that way, either. That's another variable to add to the mix.

As with this whole story, it's meant to be a mystery, so I can wait for answers, but it's still at least a little frustrating. It's also exciting because this is the most unsure of any of my guesses about the story's direction I've been as long as I've followed it.

Speaking of uncertainty, trust and who to trust seems to be this arc's theme. It's not just the plot beats that are a mystery, but also the main players' intentions.

I consider Eren, Zeke and Historia the main players. We have not seen any details in their character perspective at all.

This aids everyone questioning them. One thing I appreciate in these chapters is that the characters have good reason to distrust Eren and Zeke. Eren went ahead and abused the SL's trust. Zeke turned an entire village to Titans and is responsible for many deaths on the Paradis side. It's not just drama for the sake of drama, it's testing the characters' bonds, something new the characters haven't been put through. This was the center of chapter 106 through Armin and was built to this moment:

(Chapter 108)

I already went into what Historia and Zeke might be thinking, but I have the most confident guess for Eren.

Of course he still cares. I think his concern for Historia is solid proof. The flashbacks are some time back so they are questionable, but that's in the present. His laugh at Sasha is something he does when in a high tension situation like that. He was tearing up in addition to that. The reason he went ahead so recklessly is to end this whole thing quickly and remove the need to pass the power because he doesn't want to pass it to anyone. In addition to that, he's the one who controls the power, so he's at least have some agreement and unity with Zeke. I feel like he would not agree with very crazy requirements.

But I think being suspicious is completely understandable and again, we don't really know for sure.

Finally, there are a few more minor developments I think that are noteworthy.

-Mikasa is a member of Hizuru's royal family. I like her being more plot important. Once again, Hizuru is suspicious, though. I think Historia might be in danger equally to Mikasa because of the importance they have as royal descendants, so that's something to note. I also really liked Mikasa sitting by Sasha's grave in chapter 107. Mikasa has had some quality scenes separate from Eren and together with Eren here. It's the most focus she's gotten in a while, which I think she really needs.

-I really look forward to the potential character arc with Gabi. It's been obvious since her introduction because of her similarity to Eren and his character arc, but the encounter with the girl Sasha saved seems to be a good way to kickstart it. It's potentially a very rewarding arc, as we saw it with Eren, I just wondered how it could have any sort of believable setup to it and here we go.

-I also like Marley's competency in chapter 108. They are not a forced threat which sometimes also happens, all conclusions they make seem pretty logical. Only Reiner's decision could screw them over, which he wants to probably make because those kids that went to Paradis kinda fuel his will to live. It's believable character behaviour all around.

These were excellent chapters in terms of setup, something I think AoT usually struggles with, but this managed to make me curious about pretty much all elements. I have my hesitations in terms of some of the elements (Historia's pregnancy in particular), but I really want to know more - I almost feel like I didn’t even go over half the possibilities where the story could go in this post.

Good stuff.

[skyplayer37]

Worm Liveblog: End.

   So thats how Worm ends.... where do I begin?

   I haven't done a serious liveblog for the second half because I just wanted to take it all in, but I guess I'm at the point now where the taking it in is over and I need to vomit out some words. The fact that I'm writing this one in a word processor instead of the Tumblr text editor means I'm already subconsciously knowing that this is going to be pretty long, so buckle up.

   In short? It was awesome. Everything in the story came together perfectly. At the beginning I just couldn't concieve an ending that would involve Cauldron, Scion, Endbringers, Passengers, and all the various capes in a way that was satisfying. But it was pulled off pretty damn well.

   Let's take a look at some of my predictions and use those as launch points for some discussion:

   - Arc 1: "Taylor remains adamant about being good even after enjoying the company of the villains. Her descent to evil will be a slow corruption, but the story will justify it by making the superheroes look bad."

   She did indeed descend into madness as Khepri, with a large focus on self-justification. Taylor always thinks she's doing the right thing, which is a staple of any good villain. Except she wasn't truly a villain and did save the day in the end. Except she accept her villainy and wanted to die in the end. Except the heroes decided to keep her alive. So the morals are all over the place. In the end, Taylor gets a happy ending. With  (kinda) both her parents, and a self that isn't defined by her powers.  Skitter and Weaver were personas shaped by her Passenger, and for all intents and purposes were actually killed in the end. But Taylor, the little girl from the beginning of the story, gets the happy ending.

   - Arc 3: "the Birdcage sounds like an interesting location. And no story ever says “No one has ever escaped that prison!” without the protag later escaping that prison (or the big bad to show how big and bad they are)."

   Nope. The  Birdcage was made rather pointless by Doormaker, despite the set-up that teleportation tricks wouldn't work. Even Kehpri, without much practice with Doorman's power, was able to break in and out easily. There wasn't the all out war in the Birdcage that I expected, but I expect a similar prison to be used in Ward, perhaps the same Birdcage but upgraded. At the very least it made Panacea much more tolerable and brought in Marquis, one of the coolest parahumans. But it also introduced Teacher, one of the more boring ones. Assuming Ward is a true direct sequel, I expect Teacher to go down in the first few arcs as the intro-villain before being surpassed by someone a thousand times more evil.

   - Arc 5: " It’s too obvious that Grue’s little sister will get powers".. " Regent’s gonna die real soon. He’s expendable."... "Taylor is going to get a good boost to her power soon"

   Correct on all accounts. Imp is one of the best characters left alive by the end. Regent had to go because Taylor just ends up with a better version of his power. It's left pretty vague when she had her second trigger event thought. I'd guess sometime during Leviathan? It was after that, when she took over her  territory, that her multi-tasking powers really ramped up.

- Arc 10: "Everything happening went right over my head until they arrived at the Wards after being “caught”, which is to say I didn’t realize we were being introduced to Regent’s actual power of body possession. A power eerily similar to what I guessed Taylor’s endgame powers would be, just a bit more limited and requiring conscious movement on Regent’s part for every motion and not how Taylor just taps into natural instincts."

   So let's talk about Khepri. Taylor finally thinks she has the power-limitation thing figured out, so she goes to Panacea who just... kinda gets it instantly? A bit odd that the ability for Taylor to go crazy like that was so easily reached and out of nowhere. But I guess Panacea had gotten to the point where she barely needed to second-guess messing with someone's head. So Taylor comes up with a crazy idea and 5 minutes later has powers worthy of instantly jumping to Class-S, taking control of every parahuman in existence with some quick synergy, combining Doormaker and his clairvoyent bf and ballooning in power like a good Binding of Isaac build. Thematically though, it works beautifully. She's become the Queen of her swarm, with all of humankind nothing but insects in comparison to a mighty godlike entity. Scion treated humans like we would ants, toying with them as one would burn ants with a magnifying glass. But as Taylor proved with her insects against humans, enough humans working together through a hivemind can overcome an entity thousands of times their scale. She killed the impenetrable Alexandria by commanding bugs, and now the immortal Scion by commanding humans. Wow you can really look back at the first few arcs where the teenage girl is learning about the heroes and say "yeah she fucking kills all of them eventually, weird huh?"

- Epilogue

   Where does the story go now? Assuming again, that Ward is a standard sequel. Which it heavily implied by Bitch's epilogue, with trigger events now going haywire without Scion and being a very cool way to get his POV on the last few moments of his life. Teacher is doing his thing but again, I assume that wouldn't last for long into a sequel besides getting a new hero protag set-up with someone easy to fight. Dragon and Defiant had a very touching epilogue, and I'm excited that at least they might be around for a whole other 2 million word story. Unsarcastically: these characters are good enough to warrant ~44 YA novels worth of story.  I'd hope that Taylor doesn't make much more than a cameo though, her story is over. But if this story grew to be so epic in scale, its hard to imagine a sequel that wouldn't involve Earth Aleph getting fucked up. Imp is set-up to get a pretty good protag role, I'd wager one of the Heartbreaker kids as the most likely to get the main POV. Someone with the birthright of a villain proving themselves to be a Hero, in contrast to Taylor being a hero trapped as a villain and succoming to the role. Although I've figured out myself that Dragon already fills the role as her foil, being coded and trapped into being a Hero against her will, with the pun of being a "Wyrm". Which might have made for a cool sequel name, albiet a very confusing one when talked about out-loud.

   Is a sequel to a nearly 2 million word story needed? I'd say.... yeah. There's still plenty left unanswered. The Endbringers for instance. It's implied that Eidolon made them, outside the knowledge of anyone else, but only really implied. They go silent after Scion goes down for some reason. How much did The Simurgh know of the future? She was responsible for setting up Panacea's stay in the Birdcage (fitting name here) and of the Yang-Ban Emperor being one that was critical for Taylor to have control over after Panacea fucked up her head. So did she know about Khepri? She was, after all, responsible for setting up Echidna, the only other Human-Turned-Endbringer. And what of Scion's partner? How did Cauldron kill something like that? Granted it was the more passive of the cherubic-twins. (Aranea's talk about Cherubs was before the Interlude about the Entity right? Let's check... Aranea's was in March 2013, 26.X Interlude was in August 2013.... pretty crazy to both have the idea of invincible serpents flying through the multiverse, reproducing by tearing their scales off, with one more aggressive and one more focused on passively studying humans, granted I’m taking some liberties but you get the idea) (Chuckles the Clown raised Scion calling it now).  But I guess the same odds as Vriska/Marceline being introduced the same summer with the defining traits of "grey skin, gay, and loves wearing red-colored boots".

   This would be the part where I talk about how emotionally wrecked I am from this journey being over. Of investing in these characters and seeing them grow up. From clueless children to powerful pseudo-gods with the power to kill unfathomable monstrosities. Of the good times and the bad, of the nostalgia of the simple bank heist scenes, of taking a moment to remember those that didn't make it. Regent, Emma, Clockblocker, Grue, Taylor's virginity. Damn, Clockblocker dieing actually hurt me the most. Maybe I should say a few words about how Worm has changed me as a person and become one of those major pillars supporting my future that I'll someday look back on with "that specifically effected the way I Create" as Homestuck once did.

   But no, I don't get to say that quite yet. Because even after 6 months. Of reading almost nightly since I started on the plane-ride home from spending a weekend across the country with my boyfriend, knowing it would be this long and still not see him again and deciding to start on this  journey to take my mind off being in such an emotional ride home. Thousand of feet in the air and reading about some girl trapped in a bathroom stall having juice poured on her head... Half a year dedicated to Worm, around 5 times longer than it took me to read Homestuck. Nearly 2 million words, an estimated 22 regular novels in length, longer than the entire Percy Jackson series I was obsessed with as a teenager (probably not anymore, theres way too many of those) and now, having read that much, what can I say now?

   There's still more I haven't read.

   Guess this liveblog is gonna keep going into Ward

[oscar-isaacs-number-one-bitch]

“The Hate U Give” Movie Review

“I was nine years old the first time I got the talk.” One might think this is about the usual talk on sexuality parents give to their kids at the onset of puberty, but one would be wrong; this isn’t that kind of talk. This talk is of a different, far harsher sort; a father is teaching his kids how to behave when a cop pulls them over so that they don’t get arrested, or worse, shot and killed. This is life for Starr Carter.

So begins The Hate U Give, a young adult drama directed by George Tillman, Jr., most well-known for  producing the Barbershop franchise (and directing some episodes of Luke Cage and This Is Us). It stars Amandla Stenberg, Russell Hornsby, Regina Hall, Anthony Mackie, Common, Issa Rae, and K.J. Apa. Adapted for the screen by Audrey Wells (who sadly passed away from cancer just a couple of weeks ago) from the best-selling novel of the same name by Angie Thomas, the story concerns main character black high school student Starr’s struggle against a racist and corrupted system that put her and her family in harm’s way after she sees her childhood friend Khalil get shot by a white police officer for no reason.

Starr is from Garden Heights, a predominantly black community her father grew up in where she knows just about everybody’s name. But not every day is beautiful in this neighborhood, and when an officer pulls Khalil over for no reason, he is shot and killed after reaching for his hairbrush. Being the only witness to the murder, Starr is called on to testify in front of a grand jury – but she isn’t sure she can. If she testifies, certain people that seek to maintain the status quo she could disrupt will know it was her who spoke up, or “snitched,” and could come after her and her family. But if she doesn’t, is she really being a true friend to Khalil? Does she have an inherent duty to further the cause of justice or is ultimately staying alive and keeping her family safe more important than taking that chance?

Truth be told, until I had seen the trailer in theaters for the first time back in early August, I had no idea this movie was even coming, much less how impactful it could be. Watching that trailer for the first time blew me away as I had no idea that the story was going there in the opening seconds. Not having read the book either, I wasn’t sure just what to expect when it came to how deeply this movie would delve into racism, police brutality, gentrification, drug funneling, etc. And while there certainly are spots in which the film could have been improved or delved deeper into certain socio-political issues concerning black communities surrounded by the white and privileged, this movie still covers an impressive amount of ground concerning all of those topics, buoyed by fantastic performances by all involved to create one of the best films of the year.

This film is bound to impact all who see it in one way or another, but one of the primary ways in which the movie’s voice finds the audience is by forcing them to view the atrocities presented therein through the eyes of children. It’s easy enough to look away when things like racism and police brutality affect the average adult who believes that the world is far more complicated than we would like it to be, but to force the audience to see these situations through the eyes of children places a fresh perspective on these things that too rarely gets brought up even by those that seek to further the cause of justice; as Starr puts it to her uncle (Common) at one point in the film, “it doesn’t seem that complicated.” And the truth is, it’s really not, certainly not when view through the eyes of the young people who are affected by this every single day. No parent should ever have to have that talk with their child, and yet, many parent of color give that talk to their children, just as they were given it by their parents.

One of the many methods by which George Tillman, Jr shows the audience how uncomplicated it is that what happened was not only wrong, but inherently racist, by a conversation that happens between Starr and her uncle. I won’t spoil the contents of the conversation here, but suffice it to say, if you are a person of color, you may have had or may have to have this conversation with one or more of your white friends or colleagues at some point. It’s an immensely powerful conversation that shuts down an age-old argument against the racism in shooting an unarmed black person because the officer “thought they were holding a weapon.” What’s more, she has other conversations with the white people around her about the importance of seeing color and the heinousness of co-opting a social justice movement like Black Lives Matter for personal gain. And this isn’t the only ground this movie covers. In addition to these more socio-political topics, The Hate U Give also addresses things most young adult stories do, like searching for your sense of self and finding your identity.

In order to have these points come across in the best possible way, you need an ensemble of insanely talented actors, and The Hate U Give has one fully prepared to embrace its story, particularly in the cases of star Amandla Stenberg and supporting actor Russell Hornsby. Stenberg crushes it as Starr, a fully realized character with a wide range of emotions that Stenberg uses to their full effect, forcing the audience to experience horror, joy, pain, relief, fear, and abhorrence through her eyes. It’s a sincerely star-making turn (no, there’s no pun here), and I am very much looking forward to whatever she does next. But perhaps the greatest performance in the movie belongs to none other than Russell Hornsby. Without doubt, his character is the most nuanced and masterfully acted character in the entire movie. There’s a speech he gives his children approximately 3/4ths of the way through the second act as they’re standing outside their house on the grass that literally left me in chills; that’s definitely the speech they would use for his Oscar reel, and you’ll know it when you see it. But these two also aren’t the only great performances in the film. Common and Regina Hall are also reliably great as always, Anthony Mackie reminds everyone he’s a legitimate force of nature outside of his Falcon costume, and it’s nice to see that there’s more to K.J. Apa than just dark Archie Andrews.

I do have a couple minor issues with the film though. Even though it certainly covers a lot of ground in terms of the struggle against a racist and thus unjust system, there are so many moving parts to that system that don’t get the time devoted to them that they probably should. It’s sort of a catch 22: if you don’t spend enough time on just one or two issues, you don’t get to really explore all the nuances that go into those issues, but there’s a lot more ground to cover that needs to be addressed as well, which is hard to do in just over 2 hours. But while this is a notable detriment to the more analytical viewers like myself, it does little (if anything) to diminish the power the film retains despite it, thus rendering it relatively inconsequential.

My only real “problem” with the movie is its ending; while I’m certainly no cheerleader for every movie involving racism or the black struggle to have an unhappy or complicated ending rather than a happy one, the ending to this one felt a little tidy. This isn’t to say that the ending doesn’t fit narratively, but it does seem to lay some of the blame for the racism that affects black communities on the communities themselves for not “stepping up” and “doing their duty” against each other. I won’t spoil how this comes about, but I will say it’s fairly late into Starr’s narration regarding the film’s title. It’s almost as though the thematics changed as if to say that the real issues present in these communities are only present because of some form of in-fighting or false loyalties to each other, which I won’t say doesn’t happen, but ignores that police brutality and racism frequently occurs in black communities that have none of these problems as well. Again, I haven’t read the book personally, and as an average white man I am far from the leading authority on matters like this (in fact if you’re a person of color who’s seen this film, I’d be more than happy to hear your perspective on it), but that’s just how I saw it personally.

In the end, The Hate U Give is an immensely powerful, poignant, and inspiring film about the struggles of black communities, police brutality and racism, gentrification, the strength to find yourself and your voice, the whole nine yards. It’s chock full of great performances, especially from star Amandla Stenberg and Russell Hornsby, and is bound to impact all who see it some way. This is a film that should be taught in schools across the country. This is a film that should be seen by everyone, if only to start a cultural conversation sorely needed today. And it just so happens to be one of the best films of the year.

I’m giving “The Hate U Give” a 9.6/10

[bibliophileiz]

The Spear Rewatch Notes

So I missed the season finale of Supernatural because I was out of the country, but now I’m back and have had some time to watch it and my thoughts are thus:

- First scene -- Garth is a dad and Michael’s new vessel is perfection.

- The cereal scene is really cute. - Thematically, I actually find Cas and Jack’s relationship really boring -- I know that’s an unpopular opinion, but Jack’s relationship with Sam is more interesting than his dynamic with Cas and Cas’ parental feelings toward Jack are fascinating primarily in that they’re at least partially rooted in Cas’ loyalty to Kelly, which I don’t think the show explores enough. And I feel like the pair-offs this season have been Cas + Jack (and once Dean + Jack, which was great) and Sam + Dean instead of the more interesting pairings of Jack + Sam and Dean + Cas, which is what we got this episode. But I do like this cereal scene for a number of reasons. - This is the scene where Jack realizes that Cas not only gave up his soul for him, he also gave up his happiness. Both Cas’ deal and his refusal to tell Sam and Dean about it mean he’s going to be in this state of perpetual loneliness. I do think Cas thinks his death is a long way off -- he probably is expecting Sam and Dean to die first, the logic being that the Empty wants Cas miserable and being without Sam and Dean will make Cas miserable. Unlike Jack, Cas has a frame of reference for just how long an angel can live compared to humans -- which is going to come up later in this episode in Jack’s scene with Michael, which is also amazing. - (This isn’t to say that I don’t think Cas’ deal will come back to bite him in the course of the show, because I do think that. I just don’t think Cas thinks that.) - “Did you take the decoder ring out of the box?” “Maybe.”

- Another thing I find fascinating about this episode is the subtle but persistent opposition of Sam’s sense of caution and Dean’s borderline manic optimism. The first scene with Sam, he’s worrying about Garth and Dean’s just like, “He’ll be fine” -- even though Garth will absolutely NOT be fine if he thinks he’s going to outsmart Michael with a trick that didn’t even work on his mom. And Dean’s just like, ‘no biggie, we’ll get him’ which is an attitude he carries all episode, even when Jack gets kidnapped and Michael melts the egg. 

- Also I will give you a hundred dollars if you can give me a good reason why Ketch is still in this show.

- Who is the backwards cap teen werewolf, and why is Robert Berens so obsessed with awkward teen intern monsters? (There’s an intern demon in the episode where the guys rescue Linda Tran from Crowley’s prison, an episode which I’m pretty sure Berens also wrote. It makes me think Berens likes this kind of character.)

- So Michael obviously doesn’t bother sending monsters to get Kaia’s spear because he knows Dean’s going to get it. I did it.

-”When was the last time we had a big, no-strings-attached win like that?” Cas, don’t you feel BAD? - He just doesn’t want to tell Dean about his deal with the Empty because the last time Cas pissed off an all-powerful cosmic being in a way that would get him killed in the near future, Dean didn’t speak to him for a week. - I actually don’t like this scene that much though. Dean’s monologue about wanting to kill Michael needs more weight and more room to breathe-- some pauses, some dramatic music, a little more time which we could have had if you cut the Ketch scene that was drawn out for no reason. - Oh, well, at least Dean and Cas are getting their date finally this season.

- Likewise, the scene between Michael and Sam needed to be heavier, more drawn out. I want Michael to actually be worried about Sam, about how successfully Sam has coordinated and trained the apocalypse hunters from Michael’s world. I want there to be some sense of long-expected meeting, instead of it just looking like Michael bumped into Sam in the post office parking lot and decided to throw him into a van. - Seriously, do you have any idea how long I’ve been WAITING for their one-on-one? (I mean, since the end of Season 13, but still.) - I super want Sam to be the one to kill Michael. Dean killed Lucifer, Sam should get to kill Michael. Also, I like the idea of the brothers killing each other’s tormentors.

- Scene with Kaia is excellent and not just because I’m obsessed with the character. - Her introduction is great -- I’m such a sucker for the girl appearing out of nowhere and threatening a dude with a weapon. (Chalk it up to Arwen in The Lord of the Rings or Jane Barnet in Swashbuckler.) - DarkKaia music theme!! - Dean’s acting like he has a bit more respect for her than he has the last two times he meets her, but he still lies to her face. I’m a Dean girl and all, but I am going to enjoy watching Kaia kick Dean’s ass when she finds out Jack can’t get her back to the Bad Place. - Also you can tell Cas thinks lying to Kaia is a bad idea but he doesn’t want to say anything while Kaia’s got a spear pointed at Dean. Instead he tries to manage the damage on the front end by pointing out Kaia’s withholding things from them. He’s got a lot more emotional intelligence than he used to. - Maybe DarkKaia has a DarkClaire she needs to protect in the Bad Place. - She doesn’t, if she did she wouldn’t have tried to kill original flavorClaire.

- Cas: Sam, don’t you go in there alone.  Sam: I know. *immediately goes in there alone*

- The scene between Michael and Jack is amazing. (TBH, the second half of this episode is better than the first half, which is also kind of typical of Robert Berens. It’s like he just kills time before the high-stakes climax, and said climax is so good it makes you forget the rest of the episode may have only been meh.) - WHO IS PLAYING MICHAEL, SHE’S SO GOOD. According to IMDb, her name is Felisha Terrell and she doesn’t appear to be in the next episode. Fuck you, Supernatural, you’re going to bring Mark Pellegrino back and not this goddess? - Seriously though, she’s really good, I don’t understand how she doesn’t have more credits on IMDb. Maybe she’s more of a stage actress? - She manages to deliver her lines in this scene with a mixture of casualness and gravitas that really nails the topic of the passage of time and how it changes family and loyalties. - If the cereal scene is Jack understanding what Cas lost by making the deal to bring Jack back, then this scene is Jack understanding what HE lost by coming back. As an all-powerful being with archangel grace in his veins, he was bound to be all but immortal anyway, and now he’s using Enochian magic to keep his body functioning -- magic that kept someone who was constantly using it and burning up her soul to do different spells alive for more than 100 years. Imagine how long it’s going to keep Jack alive when he’s not using it for any spells other than keeping his body working and when he’s eventually not even going to need it for that because his grave will naturally regenerate. - Jack told Dean that he wanted to live his life spending more time with his family and then die when that life was over -- now he’s realizing that time will be long after the rest of his family (including Castiel if Michael has his way, it sounds like) is already dead. Long enough that Kelly, Sam and Dean will become just a tiny percentage of his life.  - Of course what Cas knows and Michael DOESN’T know is that longevity doesn’t equal loyalty, or Cas wouldn’t have chosen Dean even after Naomi’s constant reprogramming. - Anyway, Felisha Terrell may be my favorite thing about this episode.

- Love the return of Hair Werewolf and Overly Zealous Intern Werewolf. - Also love the return of Sam Motherfucking Winchester, who takes out even the werewolf who had advance notice he was coming, because he’s Sam Motherfucking Winchester. (Something else Berens does great.) - Can Sam rescue Jack all the time? That really is my favorite of Jack’s relationships.

- Did anyone else think the scene spent a weird amount of time emphasizing Jack’s injury by Garth and Cas’ healing of it? Is Cas’ grace used to heal Jack going to make Jack able to use some of his powers next episode? - Seriously, there was so much time spent on that that I was afraid Jack was about to turn into a werewolf. (Which would have been so dumb, I’m glad they didn’t do that.)

- Fidgety Michael is something I find fascinating. I don’t think we’ve ever seen an angel fidget before. - Michael is so obsessed with these guys knowing his plan/seeing it all play out. He’s the biggest drama queen in this show. (Sorry Crowley.) -  I don’t really understand what Michael says to Cas in the scene where he’s beating him up though. -”You got it.” “I sure did.” He was counting on you getting it, stupid. - I love, love, love how Sam sliding the spear across the floor to Dean is a parallel to Sam throwing the archangel blade to him during his battle with Lucifer in Season 13 (about the only good part of that battle, tbh).

- I guess no one was surprised Michael possessed Dean again. - When Kaia finds out Michael broke her spear, she’s going to kick his ass too. - Also, can we appreciate Michael’s level of drama? He starts his Scotch in one vessel and then finishes it in another. That’s some Extra shit right there. Somewhere in the Empty Crowley’s wishing he’d thought of that.

Overall thoughts: Not the best episode but not the worst either. Ringing endorsement, I know. I just felt it had a lot of potential that it didn’t tap into because it was too busy giving Ketch an unnecessary scene (What would have been wrong with Sam grumbling, “Ketch put the egg in the mail” like in every other episode this season?) and spending a lot of time on Intern Werewolf and other, more boring werewolves when it should have been building the tension in scenes like the one between Michael and Sam, which felt a little rushed and flat.

That said, I loved the new Michael and pretty much all Jack’s scenes were good. And since it looks like there’s going to be some trapping of Michael and some invading of Dean’s head, maybe the high-stakes emotional character stuff is all going to come next episode. I want Michael taunting Cas and Sam about how they’ve failed Dean, Jack doing some rescuing of his own, and Dean being pissed off that Michael changed his clothes again. I also want Mary and Sister Jo to save Kansas City and for Garth to puke up the angel grace and be totally fine and home in time to spend Christmas with his daughter.  

[lightsandlostbells]

Druck episode 9-10 reaction

If they don’t renew this show I’m going to boycott Germany. 

a huge thank you to everyone who translated Druck and made the clips accessible to the international viewers! I know it was a lot of work and the geoblock was a pain. I really appreciate the continued effort.

Episode 9

Clip 1 - Hanna comes for Matteo

Jonas is really closed-off in their conversation; he’s not that warm to Hanna, which is kind of interesting since I’d say the other Jonases were a little less frosty in this scene. Especially because German Jonas and Hanna have such strong chemistry. But I get why he’d still be upset, I think less time has passed since he and Hanna had the talk about him not understanding her? He hasn’t had much time to work through it so he still seems really wounded.

Clip 2 - Hanna and Jule

Hanna appropriately has a “stronger together” shirt for a scene in which girls commiserate over how boys are such dicks.

Jule and Hanna’s conversation didn’t really have the meat to it from their previous interaction to set up how friendly Jule is here, I would’ve preferred a little more hesitation and maybe an apology from Jule. A little initial awkwardness just to acknowledge that they didn’t leave off on a cozy note.

I do love the initiative Hanna is taking and that she’s the one to extend the invitation/olive branch to Jule. It’s a nice mark of maturity. We’ve seen some scenes of her gradually gaining confidence and being proactive so we can chart how her character is slowly but surely moving forward.

Clip 3 - Fight on the stairs

I dig this artsy paint-splattered stairwell. I felt like it also made the scene a little more tense and awkward (in a tonally appropriate way) - instead of them running into each other in a warmly lit stairwell or hallways with lots of light shining through the windows, they’re in a closed space (very awkward) with cool coloring and no sunlight. There really is no way to avoid this conversation once they run into each other, and there’s still ice between them, unlike with Eva and Jonas where you could tell they did enjoy seeing each other despite the awkwardness.

Nice details are added to Matteo’s family story, that the dad wanted him to come along but Matteo chose to stay behind and take care of his mom. Oh baby :(

Jonas got rougher with Samuel than I expected, like he seems dead inside talking to Hanna but he came alive to slam Samuel up against that bar.

To be fair, Samuel was kinda asking for trouble with that comment, which was unprompted and meant to provoke. You guys are also in a tight enclosed space, you can’t really avoid each other. 

And Jonas doesn’t tear away from her grip, he firmly removes her hands. He is not happy with her at all.

Lmao, these random students staring at Hanna. She was just a bystander to that male aggression, yo.

Clip 4 - Drink your way out of obligations

Is it just me or did Sam’s hair get even bluer? Or is she just that radiant?

Nice that Mia acknowledged that Kiki behaved poorly even while expressing that they should include her. Because yeah, I feel bad for all the Vildes/Kikis knowing what they’re going through, but they also were nasty to their friends.

L O L Sam’s brilliant plan to get out of supervising the party - get drunk, get fired, go to the party. That’s kind of amazing. And they’re all like sure, we’ll roll with it.

Good that Amira mentions that Leonie and Sara called Kiki a slut previously and there’s a bit of a challenge between her and Kiki. Not a great look that Kiki wanted to disregard that incident at least in front of Amira, her defender.

You know, Kiki is one of the bigger jerks of the Vildes, but … I still kinda like her, I’m sorry! It’s not that she’s a great person, it’s that the way she’s acted and written feels very realistic. She feels like a clear social climber/popularity seeker but is messy enough to alienate people. Compared to the way that say, Kelsey is portrayed in Skam Austin, she’s also a jerk, but the depiction often veers into something cartoonish and broad - like a definite TV character. Kiki feels like a ton of people I’ve known in real life.

Sam is drawing an alien in her notebook to illustrate how her pal Kiki has gone to space. She also appears to have doodled a flower and a unicorn.

Clip 5 - Karaoke emotions

Okay, now THIS karaoke scene is exactly what I wanted from karaoke in S4 of OG Skam. Lovable scamps wailing their hearts out to beloved pop tunes.

Sam doing Wannabe by the Spice Girls!!! I'm not imagining that she dressed and styled her hair like Scary Spice, right?

YES AMIRA “DA QUEEN” IS NEXT! Dedicating it to her favorite Germans! Everyone cheering Amira :D :D :D Amira doing Rolling in the Deep!!!! We are blessed.

Are they all wearing pussy hats? Also love Hanna and Mia’s blatantly feminist shirts. Truly a ladies’ night.

It’s hilarious that Carlo and the other dude (do we know him?) are wearing matching pussy hats. Honestly from what I remember of him way back in the Dark Ages of March/April, he didn’t seem like a terrible dude. A bit obnoxious, but not rude or bad on Elias levels.

The Hanna and Matteo confrontation? My soul will never be ready.

Oh man, Matteo openly acknowledges his mom is going insane. There’s no feigned attempt to keep an optimistic attitude about his parental situation like with Isak. And he’s not putting in any effort to seem cheered up, except for having a drink.

Hanna doesn’t even toy with her food before eating it, she just lays it out for Matteo and confronts him directly about telling Jule.

And he looks so sad and depressed when she asks the reason. Worth noting that he doesn’t directly confirm her hypothesis that he has a crush on her, he just looks downcast and awkward.

He looks honestly near tears when he asks her how she couldn’t get it. Because as we know, he’s not really talking about him liking Hanna, he wants to know how she couldn’t understand his BLATANTLY OBVIOUS crush on Jonas. 

A drunk Kiki appears! Does she have a tattoo on her arm??

And she gives Matteo a hug … have they met before? Lmao.

Kiki staggering in just in time to steal Amira’s spotlight, scream a thematically appropriate song about how she and Alexander could have had it all, and then collapse is the most Kiki-ish thing I can think of. Yeah, that’s exactly how it would go.

Also I thought “we could have had it alllll” could apply to Amira and Kiki’s relationship , heh. Especially because it ends up getting downgraded a lot from Sana and Vilde’s relationship? It was so important that Sana was the one carrying Vilde and sticking her fingers down her throat and letting her puke down her front, and that their relationship in particular was affirmed. 

They just dragged Kiki to the nearest toilet and had her puke on some dude’s shoes (that’s Matteo’s friend, right?) which I will admit, more practical than carrying her like a romance novel heroine as a divine hymn plays.

Wow, so it’s just Mia tending to Kiki and we don’t get the girls all lying in bed together. On the one hand that’s a little disappointing; it’s one of the most iconic scenes of S1 and probably the whole show, and it’s a moment that really solidified the girl squad as a ride or die group of friends. But I also like them to try new things and not just redo big successful moments from the original show. I did like seeing Mia go through all these little steps of tending to Kiki, getting her dressed, sending a text to her mom. 

Pretty big difference that it’s Mia and not Amira taking care of her, though; as mentioned above, the Amira-Kiki relationship is downplayed. Not super keen on that because Kiki was quite nasty to Amira and visibly hurt her feelings on several occasions, such as the bus stop incident and the disastrous group meeting. Sana was better at adopting a harder attitude and not letting the hurt show. But then again, Kiki is the one who really needs to grovel, not Amira.

Also ...HUGE break in POV since Hanna isn’t there but lol I’ve accepted it’s a losing battle even if I’m still not super fond of it. You win, less-than-tight third person POV. I surrender.

Mia has a text from Alexander, because what is truly desirable in a man you have rejected is him texting you about changing your mind close to midnight while you take care of your friend who he fucked and then ghosted passed out beside you in bed.

JONAS PLAYING THE GUITAR AND SINGING FOR MATTEO WOW WOW

while wearing a pussy hat lmao, BEST REMAKE JONAS

I’m sure Matteo loved Jonas playing and singing a song dedicated to him, only for Jonas to slow down and get more serious once Hanna entered. Not to mention shifting that eye contact from him to Hanna.

Lovely scene of Hanna and Jonas, I’m a broken record but they have SUCH good chemistry. They just seem so into each other, and overall I would say they felt so much that they liked each other.

NOOOOOO don’t break up! Please!

Episode 10

Clip 1 - Honas and Janna

Honas and Janna fucking ADORABLE.Them snuggling… you’re hurting me, Druck.

He took her nose! Goddamn!!!

I love all this backstory and delving into the beginning of their relationship. This honest conversation that takes its time and really lets them talk ... what Skam does at its best, man.

Jonas looks so heartbroken in this flash forward where he’s holding onto Hanna.

And that painfully raw moment where he asks if she regrets choosing him and the answer is an unspoken yes, owwww

All this emotional soul-baring, such as Hanna talking about how once she got with Jonas, she was only happy when she was with him, and dependent on him for happiness. And that she became paranoid Jonas would cheat on her and thought she deserved to get hurt. And that she changed her personality so he would like her and wouldn’t have a reason to leave her. Really happy how plainly Hanna stated the truths, even the raw and uncomfortable ones.

I know they just laid out all the reasons Hanna should be on her own and they should break up, but I don't want them tooooooooo

The way they hold each other and cry and draw it out for so long because they don’t want it to end!

“I still got your nose.” “You can keep it.” FUCK YOU, DRUCK!!!!!

You realize that we need this show to run for many more seasons and eventually Jonas will casually mention to Hanna that he’s still got her nose and she says, “I hope you’re taking care of it.”

And then one day he gives her a fake nose like on one of those Groucho Marx masks and she puts it on and IDK, this is all a buildup to them kissing again.

Hanna as an independent woman, wearing her Femme Future shirt. Nice.

They’re honestly up there with original Eva and Jonas for me. Round of applause for the director and actors for making this couple as likable and believable as they are.

Clip 2 - Mia and Kiki in the mooooorning

Oh jeez, this is a TOTAL break from the POV, I wonder what the logic behind it was?

I guess they're setting up S2. Or who knows, maybe there were scheduling conflicts with the actors and they couldn’t have everyone together.

Seriously, what’s Kiki’s tattoo? I’m sure it’s just because the actress happens to have one.

Kiki saying she wants to die, oh no. She looks miserable.

Although how dare you show Mia’s flat but not her roommates.

Clip 3 - Doctor visit

So only Mia went with Kiki? They’ve really downplayed her relationship with Amira, and the other girls as well. I mean in a way, it’s nice it’s just the two of them, and I presume Mia will keep this incident a secret. I hope this will affect their S2 dynamic a little.

I got so hyped for this scene, though. I adore this doctor.

Did she tell her she was pregnant at first just to mess with her??? Omg. 

I doubt that’s the most professional approach but who cares, my love

Mia saying that the pregnancy was “Unplanned of course, she’s 17” and the doc mentioning the 5-year-olds in Peru or Chile who gave birth … I mean, 5-year-olds who get pregnant are the victims of rape, so hardly planned.

“An apple a day keeps the doctor away” but I want to see more of you! Can the whole cast just get like incredibly sick and have a reason to stop by?

Not only did she have an apple, she gave Mia a banana too, lmao! She just keeps fruit in her office for wayward teenagers not getting the proper nutrition.

We need this show to get to S3 so I can see this doc talking to Matteo.

Clip 4 - Mia giving Kiki the talk

I guess Hanna told Mia about hearing Kiki puke at school.

This is pretty direct referencing to Kiki’s ED when I think it’s been more or less implied before, in other versions. I mean it’s pretty obvious, it’s just not spelled out quite this much.

There’s also a more direct reference to Mia also having an eating disorder … “I know exactly how you feel.” That’s very pointed. Noora having an eating disorder was understated and mostly subtext in a lot of ways.

Again, a shame that Kiki and Amira’s relationship was downplayed, but hopefully the focus on Mia and Kiki in these scenes will add more to S2.

Clip 5 - Hero party

This was just a heartwarming clip so don’t expect commentary other than 😍😍😍.

Hanna and Mia and Amira just hanging out!!!!

Amira eating during Ramadan, though... the remakes are really bad at remembering this. (I’m not Muslim so if I’ve made a mistake in understanding when she can/can’t eat, let me know. And I do know that she can eat during her period, it’s more like in the absence of other acknowledgment of Ramadan, I tend to think it was an oversight.)

Amira giving Hanna a hug and telling her she’s strong … GOSH. Although she calls Hanna out on the similarities between what she did with Leonie and what Matteo did to Hanna, which I mean ... fair.

Amira encouraging Hanna to talk to Matteo .... I know this is for Hanna’s benefit, not Matteo’s, but man, I can’t wait for Amira and Matteo friendship. They’re both vulnerable kids with lots of buried feelings.

Oh my God, them putting on their security uniforms and being ADORABLE, ahhhhh! We get another slow motion power walk on the way to the party, Druck gets the essence of Skam.

Of course the power walk was just to lead up to them standing/sitting outside awkwardly.

Are they for real going to get drunk to avoid their responsibilities? Maybe not the best life choice, but in this situation, sure, why not.

Amira getting “high on Allah” was precious. GIVE ME S4 ALREADY.

Mia is drinking, which is quite a character divergence from Noora. 

Was that a peace offering of beer from Leonie? Love it. 

OH GOD JONAS AND MATTEO AND THAT OTHER DUDE ROLLING UP IN A CART

Sam is so magnificent. Her hair is a beautiful blue tower!! 

And she and her brother are too cute! She brought him and his Bass Bus to liven up the night!

SHE TOLD HIM TO DRIVE INSIDE. THE BEEEEST

Matteo and Hanna <3333 She said she realized she’d done as wrong to her friends, and she asks if they can stay friends. It seems like a really genuine moment, guys. I wouldn’t blame her for keeping him on her shit list for a time but it feels like they might not drift quite as much as Eva and Isak did, since there’s maybe a bit more comfort between them here.

Mia says she’s worried that Kiki is drinking too much again and that’s why she’s not there, suggesting that she hasn’t told Alexander to apologize to her and that’s not the reason she wants to call her.

OH GOD THIS AMAZING ADAPTATION OF THE “FUCK, YOU’RE BEAUTIFUL” MOMENT

Mia tells Alex he’s creepy for that whole “no means I want you more” thing. She tells him it was blackmail to pressure her for just one date and then he’ll leave her alone. He tries the “fuck, you’re beautful line on her” and she turns around to make out with Hanna. Then she calls him a massive asshole and tells him she’s not her type, wink wink. She and Hanna walk away laughing.

This is the best remake, guys.

ALSO LET’S TALK ABOUT THAT HANNA AND MIA SMOOCH, A REMAKE FINALLY GAVE ME NOOREVA

On a more serious note, there’s absolutely reason to be concerned this is just queerbaiting. I doubt Hanna and Mia are going to be a couple, Mia and Alex are almost certainly going to have a romance arc, and the whole “two girls kissing in a bar so a boy can witness” is definitely enough to give off “barsexuality” vibes and make it seem like just a gimmick.

However, the production team has confirmed that Mia is bi, so hopefully that will be acknowledged in the show itself (other than “I don’t like labels” which is not actually an admission of bisexuality, and tbh which suggests that she won’t call herself bi on the show). But even if she doesn’t want to label herself, there are ways to address her interest in women and incorporate it into the story. And I hope to God they don’t make Alexander all “girls kissing is hot” or trying to pursue Mia even though she’s indicated she’s a lesbian (even if she’s really bi, her comment to him suggests she’s a lesbian), because that character does NOT need another reason to make me dislike him.

For real, Alexander better leave her alone after this, because Mia has told him she is not only not him, but not into dudes, and whether that’s true or not, he needs to accept it as truth. If they get together Mia has to make the first step in pursuing him.

Damn, this this makes me want to go back and rewatch S1 through shipper-tinted goggles. So was Mia really trying to hit on Hanna at the bar? I don’t know if that’s what they meant but I’m declaring it canon in my mind.

Plot twist: Toilet Sam pats Alexander on the shoulder here as foreshadowing for their upcoming love affair, Mia will be free to get together with a nice girl in S2.

Another plot twist: That awkward yet smoldering Jonas/Toilet Sam eye contact.

You know, if Alexander apologized to Kiki without any incentive - if Mia’s like “I’m gay” and then Alexander apologizes to Kiki anyway - then that makes me approve of him more, since he doesn’t think Mia is an option now. Unless he’s thinking, “Well, time to convert the lesbian!” But otherwise - a MAJOR step in improving Winterberg.

Kiki got a little sarcastic with Alexander, too. ”Wow, you know my name?: GOOD FOR HER. 

Group hug! I still feel that the girl squad is a little disjointed, mainly on the Kiki angle, but that’s to be expected.

Mia giving Kiki a slice of pizza … very nice to work that in, nice. And Alexander apologized so that may have something to do with it, that her image-related insecurities stemming from his comment have been soothed.

Also, props to Mia for waiting until the other girls left to bring up Matteo’s gay porn to Hanna.

L M A O it only took Hanna 10 episodes to realize Matteo’s deeply gay looks and feelings for Jonas. That’s impressive because of all the m/m Isak/Jonas pairs, Matteo was by farrrrr the most transparent about his 😍😍😍😍😍 

Speaking of, excellent smitten look Matteo gives Jonas there. Some of the remakes have been toning down the 😍😍😍😍😍 but no, Matteo is bringing it.

Awww, the cast dancing during the credits <3 <3 <3 Was this from their audition tapes or something?

General Comments:

This is my favorite remake. My ass will be so bitter if Druck out of all of them doesn’t get renewed. It’s the one that most captures the spirit of the original, has an age-appropriate and charming cast for the most part, great chemistry between the characters, and did a decent job of adapting the storyline while giving the story its own personality.

Moreover, Druck really captures the vulnerability of the characters, which is essential to Skam’s storytelling. A Matteo or Amira season really excites me because those actors have already displayed capacity for fragility in this season, and I think they could do decent jobs in their own seasons. 

Plus, Jonas would be SO amazing in a Matteo season! If I already loved him in S1, when he’s at his worst, imagine how awesome he’ll be supporting Matteo during his coming out process! 

Give me that Amira and Matteo friendship. Or Amira falling in love, jeeeeeeez. Matteo falling for a boy who can match him in longing stares.

I’ve had some reservations about Mia’s acting but she has honestly grown a lot on me as a character, I like how she’s written, and so frankly? Even S2 kinda has me excited. My personal feelings about the central relationship aside, Druck deserves a chance to have its S2 as much as any of the others.

IDK, it’s kinda frustrating that the geoblock and random production issues seem to have cut off a lot of the potential fanbase, so I hope the show gets another chance, and that they fix whatever lingering issues. 

They definitely could do better with social media output and overall keeping the interest in the show flowing between clips.

Anyway, for the most part, I actually enjoyed Druck S1 quite a bit, and I truly hope I get to see more of these characters. 

I don’t speak German, so if I missed some context, feel free to correct me.

If you got this far, thank you for reading! 

[austennerdita2533]

Day 6: Canon-ish

A/N: This is the first part of an intended 4-shot. Basically, my idea is to craft some kind of Klaroline kiss/moment for each season of the year while also showing the two of them at various points (and emotional states) in their relationship. I started thinking about how Winter, Spring, Summer, and Fall all have a different look or feel about them, and I thought it would be fun to play with that thematically/symbolically. Plus, it’d give me an excuse to play with seasonal imagery.

Anyway, this part is Winter. It’s canon until Liz’s death and Caroline’s grappling with the loss. I’ve also ignored all things Stefan and Caroline. (Loss. Angst. Hurt and Comfort.) 

This gave me loads of trouble, so if it’s terrible I apologize but I couldn’t bear to edit it any longer haha. Enjoy. :)

(FF.net)

xx Ashlee Bree

A Kiss For All Seasons

Part 1: Fold Into Me, Shivering

Winter’s kiss wisps across her forehead at a time of shivering delirium and despair.

She’s gone.

It’s not a dream because each breath in tastes metallic and rough, because each breath out rattles and hisses like a dented whiffle ball which has sunk beneath sediment and drowned in the shallowest of streams. It’s real life. It’s real loss, too. And real loss throbs.

It breaks—tearing, cracking, pulling, shattering, rupturing, wrenching a person into angles so painful or contradictory, that life itself feels distorted. It plunges emotions into a vise that’s so unbearable and inescapable at times, it almost feels impossible to still be alive let alone be expected to stand.

Or talk.

Or move.

Or think.

Or cry without wiping at eyes and waiting to find blood puddled on fingertips instead of tears.

At times, grief even makes it difficult to exist.

After someone dies, especially if you loved that person, the world begins to clutter in a way it never did before: it pinches in at the sides so all the noise can spill in unheard, unseen, clouding your mind and chest with smog that refuses to lift so you can breathe easy again. Everything becomes drenched in the blacks and purples and blues of a bruise, too, until there’s nothing left for us to do but crash to our knees. Until all we can do is shrink inside our gloomy new reality and burn our lung’s raw with missing.

In Caroline’s case, icicles splinter across her chest whenever she blinks against the harsh whites of morning to relive the tragedy all over again.

Mommy.

Mommy.

Mommy.

Instead of Liz’s death providing her with comfort or relief now that she’s no longer suffering, the unfair and untimely permanence of loss hollows her out until she’s raw—numb—freezing. The air around her tastes as toxic and as gritty lead. The din of life, which was once so variable and mellifluous and exhilarating to her ears, rings like television static in her head now. Blurring one minute of monotonous agony into the next without end. More than that, the rising sun in the distance (the same one that used to stream vivid, happy yellows through her window every morning), is far too weak or indirect to do anything besides snake across her moistened cheeks with it pale rays before it leaves her cold and dejected again.

Caroline’s parentless now. Alone. She’s still loved by a few friends, of course, but she feels so incredibly, unbelievably, disconnected from them all.

She’s more or less invisible. A ghost.

None of them see me. None of them know what I need.

She’s a ghost girl stuck in this endless life on her own: more hollow than haunted, more sorry and solitary than surviving. She’s an undead warrior on the outside, perhaps, but she’s all but a living, feeling woman shriveling into pieces of nothing within.

“Please don’t leave me,” her body trembles, the words scraping and shrieking inside her own mind as pain paralyzes them in place so they can’t slip down, so they can’t vault out from her throat. “I need you, Mommy, I still need you…”

But Liz is no longer there to answer. She has taken her last breath, has spoken her last goodbye.

There’s no one here who cares for Caroline unconditionally now…no one else who listens. There’s no one around to hold her hand, to kiss away her nightmares, to kill her insecurities so she can fulfill her dreams. There’s no one left who loves her in ‘alls’ instead of ‘somes’—no one.

How could leave me like this, Mommy? How?

Eyes dark-circled with sorrow and exhaustion, Caroline lies curled on one side of her mother’s bed with her knees hugged to her middle. She never stirs; she never sleeps. She stares out the paned window at a February sunrise obscured by indigo snowflakes that drip from the clouds like sleeted tears that the winter needs to cry. Fresh powder bleaches the ground and builds mounds so high they touch the trees, bending branches until they snap like broken rubber bands, burying all sounds of life beneath it except for the squawk of a nearby crow.

In places where the sky meets the horizon, bleak plums, grays, navies, and ivories scratch the edges of Caroline’s vision and almost make her long for blindness. The world outside as stark and as bone-chilling as the nightmare gnawing her apart on the inside:

Mom died, Mom’s DEAD.

But she can’t be gone, she…no! Mom? Mommy, where are you?

Mommy I—please stay. I need you to stay, okay? I’m not ready to live in a world without you. I—not yet.

It’s too soon, it’s too soon!

Mom?

MOMMY!!!?

Shadows scuttle along the walls. The floors. The furniture. Speckling her room like pox of rotting melancholy, they seem to grow larger and more formidable with each tick of the clock on the wall, their black edges curving into sharp spindly fingers that slice at entering streaks of light like a sword; their trunks expanding to root into corners as if they refuse to timber away.

Caroline, however, makes neither a move to halt their proliferation in her room nor to purge them from the space. Instead, she watches with blinking apathy as one detaches from the doorjamb at the far end of the room like a silky talon and crawls closer. It almost glides across the floor.  

How will the shadow consume her, she wonders? With a bite? With a few nibbles? Or will it gulp her down whole and damn her to its full belly of despair, plummeting her into a pit of darkness with no end?

She watches as the shadow drifts forward with a slow yet assured grace. Its movements are cautious. Soundless except for the stray floorboard which creaks when it edges along the foot of the bed and crosses into streaks of daylight, exchanging shadow for skin, swapping an  ‘it’ for a ‘him,’ as a man stoops to kneel beside her head.  

This isn’t just any man, though.

Oh, no.

But one with eyes that are rimmed in lightning yellow. One who smells of cedar and cognac and cologne. Tastes of oranges dipped in rust. Touches with hands made of calloused buttercups. And snaps necks for sport.

He’s someone who charms a crowd with dimples and drawled threats before he strikes swiftly, and completely. He’s a wolf who’s determined to paint away his personal miseries with other’s blood. This is a man who often stars in Caroline’s dreams, and his face is one she not only recognizes, but knows—

Intimately.

“Kl-Klaus? Is that…is that really you?” she croaks uncertainly.

“It is.”

Dizzy, disbelieving, greens and blonds and brown leathers all swirl together in front of her, so she rubs at her puffy eyes then squints harder at the blurred shape of him. Her next words come out more froggy and weak than questioning.

“You came back. You’re—here,” Caroline says with a puff of breath. “You’re back in…back in Mystic Falls?”

“I am.”

“But I didn’t call or—no…no texts were sent?” He nods in confirmation of this, which puzzles her further. “You couldn’t have known that she—and the funeral? No way could you have been there because I, because I never…”

“Wait a minute,” her brows pinch, heavy lids lifting slowly to his face, “did you…did you break into the house?”

Klaus compresses his lips together, shrugs at her sheepishly. Caroline responds to this by smashing her face into her pillow with a groan and an agitated ‘un-freaking-believable.’ Then, in one swift movement, she throws the blankets over top of her and rolls over flat. Onto her back.

“Don’t be angry with me, love.”

She snorts. Pulls the covers higher.

“I realize my relationship with my family is dysfunctional at best,” he tries cautiously, his voice dipping low, “but I do have experience in parental loss. I know what it’s like. How it feels. The way it cuts you and—” she crosses her arms, holds her breath “—burns.”

Caroline cringes and squeezes her arms tight like she’s holding herself together.

“I only worried on your behalf because I know how deeply you cared for the sheriff, so I trailed you home…lingering outside in case you bolted with no reference to your humanity because I didn’t want you to do anything rash you’d regret later. I just, I wanted to keep you safe and protected. To…help you avoid any extra pain.”

"It wasn’t until you screamed that I couldn’t—it didn’t seem right to—not when you sounded so—how could I not look in?”

He pauses for a moment. Clears his throat, cracks his knuckles.

“Anyway, I thought you might be in want a friend,” he offers placatingly, pressing his palms flat against the sheets so he can lean forward a bit and hover above her. “Someone to be a shoulder. A punching bag. A hand for you to squeeze. Whatever…” his voice wobbles uncomfortably, “whatever it is you need.”

“And what if what I need is for you to, you know,” she swallows hard, “get the hell out?”

“Then I’ll go, Caroline.”

She tuts but it lacks bite. “Go where? Back outside to hide behind more snow until I snap?”

Resigned, almost as if he’d expected this kind of reaction, he draws back with a small hiss like he’s been stung, “No,” he answers cooly, his words heavy and flat, “I’ll do as you bid and head home. To Louisiana.”

The air between them becomes stagnant. Oppressive all of a sudden.

“You mean you’ll leave me here?”

“Yes.”

“Alone?” she asks.

“If that’s what you wish,” he sighs, “then yes.”

“Oh.”

Time seems to slow here, silence stretching and growing like a beanstalk weed between their two bodies. Klaus plucks at a mattress spring with his thumb, its notes sharp and discordant underneath her back as he stands to pivot on his heels, readying himself to glide back into the shadows from whence he came. Leaving her alone in Mystic Falls again, setting her free like he promised two years ago.

Caroline hears him shrug his arms into his jacket with a grunt. Or maybe it’s a growl? A humph? Regardless of the noise he makes, there seems to be a sluggish dereliction to his movements. A hesitancy to proceed. And it’s probably because he’s preparing himself for the long trek through miles upon miles of snow that’ll weigh him down like ice before he reaches New Orleans. All of that slush waiting to seep in, hoping to blacken his toes…

He’s more than likely dreading the sound of orange embers crunching into snowy ashes beneath his feet as he retreats from her warm hearth and stomps out through the door again. He probably loathes the idea of submerging himself into a frigid morning all because she’s almost commanded him to go. Leave.

To go off on his own and freeze like me.

At the thought, a fresh chill kisses the back of Caroline’s neck. It momentarily anesthetizes her lungs and she cannot breathe; she cannot think. She cannot feel anything except the frostbite which pricks down low, too low, and buries itself somewhere below skin deep.

The whole world shifts inside her own head again as arctic wind gusts across a few remaining fragments of coziness: of old memories tinged pink with brandy smiles or marshmallow’d cheeks, of scarved hopes for the future knitted in bright, pretty patterns, of rich caroled dreams hummed sweetly into ears with full-bodied meaning, of soft painter’s hands which curled over top of stupid fears or desires like mittens to ease her shuddering, warming her to the bone. All of them slipping away on a sled she’s about to let crash straight through the North Pole so they may never resurface again.

Except how could she bear it? How could she survive the barrenness without them, all the cruelty? How could she find the strength to keep breathing after she lets one final sliver of warmth slip away because she’s bitter and hurting and broken? Where would her optimistic flames entomb themselves? In permafrost? In tundra? In icebergs crowding the sea?

Deep-down, Caroline knows that one biting word from her would silence Klaus for good. One more dismissive statement is all it would take to send him back to New Orleans where he belongs, thereby freeing her up to mope in this room forever. There’d be no more judgment to combat from him, no more concern. But to what end?

So her mouth can match the blue which has settled in around her heart since her mom passed away? So she can shudder harder at the falling flakes of grey and white which accumulate outside her window and aim to bury her beneath centuries of unrelenting snow? So life’s color can leak and harshen until it’s nothing more than a dead block of ice for her to kick?

As if winter isn’t teeth-chattering enough already!

Licking her lips, Caroline exhales before she slides the blanket down the bridge of nose enough to peek up at him. She rakes over his consternated expression. She watches when his body stiffens and squares in preparation of her next words. It’s as if he’s waiting for a dismissal to scythe through the air and lash him up.

“Okay, and what if—” she gulps, her voice dry and a little muffled. “What if I say I don’t want to be alone in this room right now? What then?”

Klaus’ eyes widen, hope spilling into their depths. But only for a second. A scratch of his chin followed by one, two, blinks and it sinks back into his pupils like an illusion. Like it was never there.

“I’ll make sure you aren’t. You won’t be, if that’s what you desire,” he says simply.

“And if I cry?”

He shrugs. “Then you cry.”

“I think I’m out of tissues.”

“You can use my clean sleeve then. I’m sure it’ll do just fine,” he offers drily.

She quirks an eyebrow. Shoots him a dubious look.

“What? I’m not allergic to tears, Caroline, for Christ’s sake.” He rolls his eyes. Wanders closer again. “Not immune to them either, unfortunately, if that’s what troubles you,” he adds under his breath.

Dragging a desk chair behind him, he erects it near her bedside table with a flick of his wrist. And sits.

“But you’re allergic to me, is that it?”

When he opens his mouth to respond only to slam it shut, puzzled, she gestures nonchalantly and says, “You can sit next to me on the bed, Klaus. There’s more than enough room for two, you know. It’s not like I think you have cooties or anything.”

Scooting over and up, she pats the open area with her hand. He doesn’t move.

“Well, come on then!” she tries again, less sarcastically this time. “Take off your shoes so you can climb in here. It’s drafty.”

After a few more seconds of gawking silence, Caroline, feeling both tired and fed up, rolls her eyes before she launches herself onto her knees to grab him by the hand, forcibly tugging him down onto the sheets beside her—shoes be damned!

They crash back against the pillows intertwined: Klaus’ arm braced ‘round her shoulders to cushion the fall; her nose scraping the lapels of his jacket. Her chin bangs against his clavicle and they tumble into the headboard cuddling. It’s an accident, of course, but one that feels comfortable. Oddly natural, too. And instead of shrugging him off or pushing him back so she can erect an elaborate pillow fort between them like she ordinarily would, she veers from expectation and tradition by throwing the blanket over his legs.

Next, she curls into the crook of his neck. Rests a hand in the center of his chest. Exhales. And thaws against his side as she listens to the rush of his ancient heartbeat, feeling it thrum through her own bones like this lullaby:  

‘Hold me close; hold me tight; and everything else will be alright,’  

Klaus initially tenses at the intimate contact. Afraid to move a muscle in case she changes her mind or wants to pull away, probably.

When she doesn’t, he relaxes. One hand drops atop the one of hers already on his chest while the other fingers silky tresses near her ear, plucking them strand by strand so they fall back against her sweatshirt with a sweet tap tap. His mouth also teases the crown of her head. It hovers close enough for her to feel each tickle of his breath against her skin, but remains far enough away that she misses the softness of his lips.

Sliding down lower onto the mattress, he kicks his shoes off onto the floor, lets a foot hook around her ankle, then folds her tighter into the furnace of his arms.

“I must say,” he murmurs against her hair, “a literal pillow is the last thing I expected to be for you today.”

“It’s only because I’m cold. February sucks and I miss my mom, okay? Don’t read too much into it.”

“Whatever you say, love.”

“Oh, shut up, will you? I can hear your smirk from here,” Caroline huffs into his shirt.

“Ah, sweet, sweet proximity.” Klaus sighs contentedly. “It’s half the battle, truth be told.”

“Ugh! You’re so exhausting.”

“I don’t see why,” he answers wryly, “it’s not as if I’m complaining.”

“No, but I know what you’re thinking.”

“Perhaps you do,” he hums in that assured, taunting way of his, “but you can’t fault me for being more than willing to comfort you given the chance.” His fingers draw soothing circles on her back. “So, if body heat is what you need from me right now, then fine—take every last ounce of mine and zip yourself up in it. Wrap it around you like a duvet, because it’s all yours.”

“Suuure,” Caroline drawls sleepily. She yawns. “Until I accidentally elbow you in the nose once I fall asleep, you mean.”

“No. I’m here and I won’t leave you. Not even if you make me bleed,” Klaus says, all pretense gone.

“Oh, you and your ridiculous promises. I swear!”

He responds to this with a low chuckle. It soon flattens into something more weighted and measured when he draws her in to deposit a sweet, earnest kiss across her forehead.

“Ridiculous or not, sweetheart, the promises I make to you I do and will keep. You can count on that,” he adds in a whisper. “You can count on me.”

Emotion clogs her throat at this; stings the corners of her eyes.

It’s right at that moment, with Klaus’ firm and unshakable finality, and his body spooned around her, that Caroline feels a ring of fire spring to life around her heart, thawing her all the way through with hope and waking her up to one devastatingly beautiful enormity: he’s the one person left who’s always wanted to be there for her. And he isn’t going anywhere. Not today. Not tomorrow. Not in a hundred more lifetimes.

“I guess we’ll have to wait and see about that, won’t we?” she shivers, cuddling closer and melding into his warmth.

“Don’t worry, love. Time is on our side.” She feels Klaus’ lips tug upward in smile. They sweep across her forehead again in kiss, but this time, they deliver promise as well as comfort, “We will.”

Thanks for reading. xx

[joannalannister]

I just wanted to write down some of my Jon/Dany thoughts before I go to sleep. This isn’t in tracked tags, and I’m sorry I can’t help it about search. I don’t wanna argue with people about this, ok?

(this is about the books, this is about ships I like, (this is about tywin), this is about asoiaf themes, please do not talk to me about that show)

ASOIAF, to me, is a celebration of humanity. It’s about “our great glory, and our great tragedy”. When Maester Aemon says to Jon, “We are only human, and the gods have fashioned us for love,” that seems to me to be one of the great themes of ASOIAF: love. What better way to celebrate humanity than love? Love is the greatest celebration of the human condition. 

So much of ASOIAF is about love. As @poorquentyn pointed out earlier today, even many of “ASOIAF’s top-tier villains [typically care deeply about someone else in their lives]; Tywin loved Joanna, Ramsay feels protective of his mother, Joff wanted Robert’s attention and respect, etc.” The importance of love is in Sansa’s “If I am ever queen, I’ll make them love me,” and it’s in Ned’s approach to ruling by developing a close personal relationship with the people he rules, and it’s in Cat’s heartwrenching “Ned loves my hair” and it’s the driving force behind so many vengeance/justice narratives, and it’s in Tyrion, my poor baby, longing for love in spite of a society that tells him that no one could ever love him (because ableism). 

I’m not ultra invested in either Jon or Dany individually, but I’m super invested in ASOIAF on a thematic level. So it’s important to me that Jon/Dany fall in love. In my opinion, Jon and Dany falling in love is the biggest FUCK YOU they could ever give to the Others, the best way they could ever say not today, motherfuckers to the eldritch slavers trying to destroy humanity. I can already hear some people laughing at me, but it’s like ... Jon and Dany being in love, taking their love to the Other realm beyond the curtain of light ... it’s the best way for Jon and Dany to declare defiantly, “We’re human, we’re still alive, we’re “still breathing” as show!Jon says, and whatever you do, whether we live or die, we chose this love, we chose each other, and you can’t take this away from us.” 

GRRM weaves a lot of poetry into his writing, and when he wrote for BATB, he referenced Dylan Thomas:

Though lovers be lost love shall not; And death shall have no dominion.

Like, ok, some big shit’s going to go down beyond the curtain of light, some big OMFG shit that I have no idea about, shit that nobody but GRRM knows -- can the Others tap into Jon’s mind post death? what are the rules of the Other realm? can a person ever come back once they go there? -- but Jon/Dany being in love is like humanity’s ~secret weapon~ in the War for the Dawn, a love that can outlast death itself. So truly -- TRULY -- I think Jon and Dany need to be in love to fight the Others. The True Knights going behind enemy lines in the War for the Dawn need to be the ... the most vital**, the most ... the most human we can possibly send, people with a heart full to bursting with love, and a love of humanity so great they would willingly sacrifice themselves for it. 

**the irony of describing post-resurrection Jon “Technically A Zombie” Snow as “vital” is not lost on me, but GRRM likes irony. Black brothers as true knights, white-cloaked kingsguard as corrupt, etc, you get the picture. 

In AGOT, Benjen says,

"You are a boy of fourteen," Benjen said. "Not a man, not yet. Until you have known a woman, you cannot understand what you would be giving up." "I don't care about that!" Jon said hotly. "You might, if you knew what it meant," Benjen said. "If you knew what the oath would cost you, you might be less eager to pay the price, son." Jon felt anger rise inside him. "I'm not your son!" Benjen Stark stood up. "More's the pity." He put a hand on Jon's shoulder.  "Come back to me after you've fathered a few bastards of your own, and we'll see how you feel."

and this idea of Benjen’s that life is worth living is kind of summed up to Jon when Ygritte says, “And if we die, we die. All men must die, Jon Snow. But first we'll live." 

Because Jon was so in love with Ygritte. He loved her, and that’s why GRRM made it hurt when she died. (And I like my ASOIAF to really hurt, so I like to imagine Ygritte was pregnant with Jon’s child when she died.) 

And the thing about “But first we’ll live” is that you have to keep living. That’s why it’s sooooo so important to me about Jon/Dany on a thematic level. More on that in a sec.

*~*~*

And I’m sorry but I can’t write an ASOIAF post without bringing in Tywin, because I love him. I love him, because he’s the perfect obverse of all of GRRM’s themes that I love. Tywin’s like a black hole among the stars, like negative space in the narrative. When studied, he increases my understanding of all the rest. (GRRM works a lot with negative space in the narrative imo.) 

With Tywin, it’s like he died. It’s like he lived and loved Joanna and then he died with her long ago,. But he keeps walking, like one of the Others’ reanimated wights, raised up to continue their agenda to dehumanize every person in Westeros. (I’ve said it before, I’ll say it again, Tywin unwittingly works on behalf of the Enemy.) (Also, please nobody try to twist my words on me, Tywin was obviously a terrible person long before Joanna died, but he was exceptionally monstrous, even to his own children, after she died.)

People ask me relatively regularly, like, who do you think Tywin would marry in an AU after Joanna dies, and I’m always like 1. I don’t like AUs and 2. he wouldn’t. He wouldn’t remarry, and he definitely wouldn’t fall in love again, because that’s the Point of his character. He’s the negative space. Tywin’s the anti-celebration of humanity, he’s humanity’s sad, lonely, rainy funeral that no one attends. He doesn’t love, he doesn’t smile, he doesn’t eat much (read the descriptions in the books), he takes no joy in meat nor mead (oh gosh could I talk about GRRM’s Tuf Voyaging here), he doesn’t live in a book series that celebrates life. 

Tywin doesn’t even celebrate the life that he loved, Joanna’s life. There’s this moment in ASOS where Tyrion thinks about how his father p much never talks about his mother. Think about that. 

There was something I was reading recently, I can’t remember where, but it was about the parents of a child who had died, and it said something along the lines of, the worst thing you could do to them was to avoid talking about their child, to pretend as if the child had never existed. Because talking about their child, remembering their child, was how they kept him alive, how they kept loving him. 

But Tywin never wants to talk about his wife who was the great love of his life. Tywin never even says Joanna’s name in the books, never says her name in a book series that places so much importance on names and naming.*** He doesn’t want to breathe life into her memory, doesn’t want to love. If not for Tyrion’s presence as a constant reminder of everything he lost, I think Tywin would be content to pretend that Joanna hadn’t existed at all. (Ouch.) 

*** @nobodysuspectsthebutterfly, I really liked your theory (do we still call it a theory?) about how in the books Jon will be the first person to call Dany “Dany” out loud since Viserys. Just, ugh, the naming of people, and the intimacy, the connection created by saying a name, or the distance created by not saying one, ugh

*~*~*

OK anyways, that was more than a sec, sorry, I got carried away, but BACK TO JON SNOW. With Jon, to me, the narrative demands that he keep living, keep loving, keep finding love. A living love in Daenerys.

There’s this short story GRRM wrote a long time ago in Dreamsongs about a guy who has his heart broken, but he gets back up and loves again, only to have his heart broken again, and so on, until he gives up and concludes that love is a lie, and he decides never to look for love again, and he closes his heart, and that’s it, that’s the end. It’s a horror story.

And with Jon -- Jon isn’t that horror story, he’s not that guy who has One Love, and when that One Love dies, that’s it, that’s the end. Being human is to keep loving, and to keep looking for love even after your heart is broken. (And let me tell you, Jon is looking in ADWD; “lonely and lovely and lethal”. He’s searching, but not yet finding.) 

And I know that people call this cliche, but to me, GRRM plays with archetypes, so here he’s playing with the hero and heroine falling in love, and putting his own spin on it. (Fire wight romance!!! Think back to 1993 and ask yourself how many fire wight romances there were when ASOIAF was conceived!!! Cliche. heh.)

And I’m just ... my mouth is watering in anticipation of GRRM’s Jon/Dany romance in the books, because it’s like!! Technically a dead guy!! Technically a zombie!!! A dead guy resurrected by fire!! To fall in love with the bride of fire!!! A technically dead guy is gonna be representing GRRM’s greatest celebration of life!! This is almost as good as the psychedelic BATB spider falling in love in Dreamsongs!!! God!!! GOD!!!! PLEASE GEORGE, FINISH TWOW, I’M SO EXCITED FOR THIS