#and then that even through the god later it's ultimately him and his estrange personality that will have a say

[7times70]

The Story of Jacob and Esau: Lessons on Redemption and Reconciliation

Introduction:

The story of Jacob and Esau found in Genesis 25:19-34 and Genesis 27-33, is a timeless narrative that delves into the complexities of sibling rivalry, deception, redemption, and the power of forgiveness. Through the lives of these two brothers, we learn profound lessons about the consequences of our actions, the transformational nature of repentance, and the importance of reconciliation in healing fractured relationships. This post explores the key themes and lessons embedded within this compelling biblical tale.

The Dynamics of Sibling Rivalry:

The story of Jacob and Esau begins with their tumultuous relationship even before birth. While in their mother Rebekah's womb, the twins struggled, foreshadowing the conflict that would later define their lives. Esau, the elder brother, is described as a skillful hunter and the favorite of their father, Isaac. On the other hand, Jacob is portrayed as a quiet and cunning person who receives preferential treatment from his mother.

This sibling rivalry is a poignant reminder of how family dynamics can impact individual behavior and decisions. Favoritism can breed jealousy and resentment, leading to hurtful actions with long-lasting consequences. The story encourages us to reflect on the significance of treating each family member with love, fairness, and respect.

Deception and its Consequences:

One of the most significant events in the narrative is Jacob's deception of his blind and elderly father, Isaac, to secure Esau's blessing. Disguising himself as his brother, Jacob receives the blessing meant for Esau, perpetrating a grave act of dishonesty and betrayal. This act sets off a chain reaction of events that result in Esau's intense anger and the brothers' estrangement.

The story illustrates the destructive nature of deception and the profound impact it can have on relationships. It reminds us of the importance of honesty and transparency in our interactions with others. Deception may provide temporary gains, but ultimately it erodes trust and leads to broken bonds.

The Journey of Redemption and Transformation:

After Jacob secures the blessing, he flees to escape Esau's wrath. During his time away, he experiences a transformation as he encounters God in a series of significant events. One notable moment is his encounter with the angel, where he wrestles all night. This wrestling symbolizes Jacob's internal struggle and his willingness to confront his past actions.

This journey of redemption portrays the possibility of change and personal growth through self-reflection and facing the consequences of one's actions. It highlights the transformative power of sincere repentance and the willingness to make amends.

"The gospel of Jesus Christ is a gospel of repentance. This is the key to happiness. It is the quest for perfection...The invitation to repent is an expression of God’s infinite love and mercy. It is not an invitation to be perfect. It is an invitation to come back to God." - Elder Dieter F. Uchtdorf

The Power of Forgiveness:

After many years of separation, Jacob prepares to reunite with Esau. Fearful of his brother's reaction, Jacob prays earnestly for protection. However, when the brothers finally meet, Esau surprises Jacob by embracing him with genuine affection and forgiveness. Despite the hurt and betrayal he suffered, Esau chooses to let go of the past and welcomes his brother back with open arms.

The act of forgiveness demonstrated by Esau is a powerful testament to the healing potential of reconciliation. It teaches us that forgiveness is not a sign of weakness but a display of strength and maturity. By letting go of resentment and choosing to forgive, we free ourselves from the burden of anger and open the door to restored relationships.

"As we forgive others, we can find forgiveness. The Lord has given us a way to live that will bring joy and happiness. The more we incorporate that pattern in our lives, the happier we will be." - President James E. Faust

Conclusion:

The story of Jacob and Esau offers a treasure trove of valuable life lessons. It delves into the complexities of sibling relationships, the consequences of deceit, the potential for redemption, and the transformative power of forgiveness. Through their struggles, we learn the importance of treating each family member with love and respect, the destructive nature of deception, and the hope that lies in redemption and reconciliation.

As we reflect on this narrative, we are reminded of the significance of humility, self-reflection, and the capacity for change. The story ultimately leaves us with a message of hope, encouraging us to seek forgiveness, offer grace, and work towards healing broken relationships in our own lives. In doing so, we honor the timeless wisdom imparted by the tale of Jacob and Esau and draw closer to the divine call for love and unity among all humanity.

[nationalharryleague]

Work of Art

Pairing: Harry Styles x Reader

Genre: AU, Artist!Harry, fluff, angst if you squint

Word count: 4K

A/N: Hi everyone! This is my entry for @hsogolden​ ’s AU writing challenge! Check out their blog they are incredibly talented!!! ALSO, a MASSIVE thank you and shoutout to the lovely Miss Lu, @harrysgucciloafers​!!! I could have never done it without her!! Thank you so much for reading and remember, feedback is so so so appreciated!!! You can also send requests to my ask anytime!! I hope you enjoy :) More of my writing can be found in my masterlist :) 

***

Sleep was fleeting and you remained staring at your popcorn ceiling in your shitty apartment for longer than you would have liked. It was later than you would have liked when your phone buzzed and lit up the ceiling of your bedroom. Knowing sleep was still far off, you rolled over and examined the text from an unknown number, the bright screen blinding you in the process.

Hi, I was thinking of you today. I thought I would show you this piece that I made of you. Hope you’re doing well. Hx, attached was a slightly blurry photo of a beautiful painting of a woman.

The woman in the painting was made up of beautiful bright colors, her skin a mix of green, blue, and purple tones. Her eyes were a bright and captivating cerulean, standing out behind wide framed glasses, and she wore an intriguing and knowing smirk on her lips. Her hair fell down in blunt bangs over her forehead and framed her heart shaped face. She was young, looking to be only a little bit older than you.

The painting was captivating. It was crafted with such bright tones, using color blocking that blended the abstract with some elements of realism. It felt like someone poured all of their emotion and adoration or hurt (you couldn’t decide which) into it. You couldn’t decide if the artist loved or hated this figure staring back at you. One thing you knew was that whoever texted you was incredibly talented and had obviously dedicated so much time to this piece. You felt awful that it hadn’t reached its intended destination.

Um… Wrong number, you typed out, feeling a pang of sympathy for whoever ‘H’ was.

Oh… okay. Sorry to bother you., your phone screen lit up again.

Your art is beautiful, you quickly sent back, attempting to offer some sort of consolation to the mystery artist. Sorry I’m not who you wanted to talk to.

Don’t worry about it. Just looking for someone from a lifetime ago.

That last part kept you up for most of the night. You couldn’t stop thinking about what that could mean. Old friend? Estranged relative? Another artist? You let your mind dream up Oscar-worthy scenarios until you finally fell asleep.

***

“Please come to Scott’s art show with me,” Grace whined from across the table at your favorite coffee shop. Grace was your best friend from college and hadn’t figured out to get rid of you yet.

“You know how I feel about your shitty boyfriend and his shitty art,” you fired back. Scott was a pretentious “artist” who made “ironic” misogynistic sculptures and frequently “forgot” to pay Grace back for his share of rent. You hated his guts.

“I promise I’m going to break up with him soon. I just need to get to the end of the month so I get my money’s worth for rent,” she assured you. “By the way, I’m going to need some help moving out at the end of the month,” she mentioned nonchalantly. You let out a chuckle at her and playfully rolled your eyes.

“I will go to the show with you on one condition.”

“Anything.”

“You’ll hold my hand.”

A few hours later you walked into the modern and cold art show space, holding onto Grace’s hand for dear life, feeling unwelcome in this environment. Grace blended in easily, her bright blue hair and arms of tattoos suiting her well.  The edgiest thing you had ever done was getting your nose pierced… until your grandma threw a fit and your mom made you take it out. You were not an artist and you did not feel welcome in the art community, or at least the type of artists that hang out with Scott. You worked in an office, you dressed plainly and simply, and you didn’t think there was anything special about yourself. You were strikingly ordinary, a sharp contrast from most other people in the gallery. You felt like an outsider because you were one.

Walking around the gallery, you hung onto Grace while examining and appreciating the artwork. You took careful steps, as if to not take attention away from the paintings on the walls and spent time examining each piece as you moved through the room. As you moved from wall to wall, your eyes fell on a strikingly familiar painting. The same girl with the bright blue eyes and the bangs stared back at you, the devilish smirk still playing upon her lips like she knew you had met before.

Releasing Grace’s hand, you all but ran up to the painting in question, trying to take in all the details that didn’t translate over the slightly grainy photo on your phone. The painting took on a life of its own up close. The paint itself was layered thick and thin across the canvas creating a rough texture that made the girl come alive. You were half waiting for her to make eye contact with her captivating baby blues and start staring back at you. You felt like you could reach inside the canvas and hold the beautiful woman’s face in your hands.

“Do you like it?” a deep British voice asked after clearing their throat behind you.

“Oh, it’s so beautiful,” you murmured, still staring at the green and purple woman. It took you a moment to rip yourself away from her piercing eyes and look towards the voice, only to turn around and find an even more captivating set.

They were bright green and belonged to a tall, dark haired man that was breathtaking. He had chocolate brown curls that seemed to be sticking in every direction, like a purposefully perfect bedhead, and stubble that moved up his jaw and down his neck. He had plushy pink lips framing his bright smile and his two front teeth came down the tiniest bit too far. He was wearing a white tshirt that was painted to his fit body as it was a size too small for him, showing off his arms of tattoos, and a pair of orange corduroy flares. His ensemble was topped off with a pearl necklace. He arched a brow when your mouth hung open slightly, trying to take all of him in.

“The painting is gorgeous,” you eventually were able to spit out. “I feel like I know her.”

“I’m glad that I was able to create something so captivating,” he smiled at you. So he was the one that painted it, meaning he was the one who had texted it to you. After getting over the initial shock, you gave yourself an internal high five for having this guy’s number. “Harry,” he introduced himself, reaching out a perfectly manicured hand to shake yours. “Nice to meet you.”

“I’m Y/N,” you smiled back, debating if you should tell him that you had kind of met before. It felt creepy to tell him, like you were some sort of voyer on an intimate part of his life. “I love her. Can you tell me a little bit more about it?” you asked. You had to figure out if it was worth being creepy about.

“So did I,” he said with a light chuckle. “She’s someone that I used to know,” he elaborated looking over your shoulder, surely making eye contact with the woman. Maybe you were reading into it too closely, but you thought a flash of hurt passed across his features.

“Do you always paint mysterious people from your past?” you teased, wanting to break the slightly awkward silence and also willing to do anything to talk to him further.

“Actually, I’m mainly a landscape painter,” he smiled at the ground, hands shoved deep in his pockets. Looking back at Harry’s wall of paintings you realized that the girl was the only person on the wall, flanked by beautiful landscape paintings depicting all different areas of the world. You quickly picked your favorite, a monochromatic green scene of the Eiffel tower.

After you asked if he traveled a lot to paint, the conversation began to flow. You strolled around the mainly empty studio space, footsteps falling in sync, him teaching you about his paintings and you asking questions, desperate to learn anything you could from him and just wanting to hear that beautiful accent. You learned he grew up in Cheshire and moved to New York for school and never left, but he travelled to Europe often to see his family and to paint. He told you about how his ultimate goals in life were to have one of his pieces in the Museum of Modern Art and to find his soulmate. He was a hopeless yet hopeful romantic. He also had two cats, Evie and Stevie (the latter was obviously named after Stevie Nicks).

He was so beautiful. He had this magical twinkle in his eye that you just couldn’t get over. He looked like he was one of the sculptors’ in the room’s life work. He was just as much of a piece of art as anything on display in the studio.

When the crowd started to thin, Grace came and found you, still rolling her eyes from something stupid Scott had said, him trailing not far behind. “Hi my love,” she greeted you, kissing your cheek casually as always. “We were getting ready to head out but I can see you’ve made a friend.”

“Harry is the artist behind all these amazing paintings,” gesturing to the long wall displaying his artwork. “This is my best friend Grace,” you said, turning back to him. “And that’s her soon to be ex-boyfriend, Scott,” you laughed and pointed to him staring at a blank white canvas in the corner that was obviously not part of the exhibition.

“Wait,” he began, shaking his head and laughing, pointing accusingly between the two of you. “You two aren’t together?”

“What? No!”

“It’s just that you were holding hands for a while when you came in and then she called you ‘love,’ and then kissed your cheek,” he continued laughing, his cheeks a bright red. It was adorable. You felt your cheeks heat up just as bright red as his.

“Oh my god, no.” You broke out into a fit of giggles of your own.

“Well, in that case, would you like to grab a drink or something sometime?”

***

You decided to order a martini when you got to the bar the next night. You thought it would make you look fancy and you hoped it would impress your worldly date. You had put on your favorite red dress (the one that hugged you in all the right spots and hid the wrong ones), praying he would dress up like you did, and slid carefully onto the barstool. Bouncing your knee nervously, you sipped your drink slowly until you saw his well dressed figure enter the bar, making your heart skip a beat.

He was dressed in high-waisted wide-legged tan pants and a bright red cardigan printed with small white hearts that was held together in the front by a single button, leaving his chest and signature pearl necklace on display. His chest tattoos were now slightly visible, the faces of two swallows looking back at you, as well as what you thought might be some sort of antennae peeking up from his stomach. He also wore an award winning smile and shot you a wink when he spotted you from the entrance of the bar. Once again, he took your breath away.

“Hello darling,” he greeted you as he made his way over. You began to panic when he started leaning into you, relieved when his lips found their way to your cheek and quickly moved to the other. When he kissed your cheeks, it sent sparks through your body. Oh my god, he is so British, you squealed inside your head, unable to suppress your American excitement. “I like your color choice,” he smirked looking between your outfits of almost the exact same red. You could only hope your cheeks didn’t match as well.

“Great minds dress alike,” you remarked, earning a laugh from the gorgeous man in front of you. Turns out, your joke was enough to break the ice. Soon the conversation began to flow freely, without anxiety or trepidation, like you were a pair of souls reunited after lifetimes apart. You were two martinis in when you decided to break the news that the art gallery was not the first time you had spoken.

“I think I have to break something to you,” you giggled, everything seeming a little funny after a few drinks, “the art show was not the first time we met.” His eyebrows knit together in slight confusion so you decided to elaborate. “The night before the show you sent a picture of that painting to a wrong number, and that wrong number was me. I promise it was all a coincidence and I am not stalking you.” You held your breath while you waited a moment with bated breath for a reaction from him, but released the stress that had found its way into your shoulders when his smile returned to his lips.

“I knew you had more interest in Amelia than most people,” he chuckled. Amelia, you repeated to yourself, now having a name for the face of your mystery woman.

“When Grace dragged me to that studio and I saw her again, I just had to know more. But then I met you and got a little distracted,” you flirted, “accidentally” nudging his leg with the point of your stiletto.

“I’m glad I’m just a distraction to you,” he feigned offense, clutching his pearl necklace with the hand that wasn’t hanging onto his neat tequila.

“Meeting you tonight was actually just an elaborate ruse to learn more about your Amelia,” you sarcastically confessed, sending him back one of the winks he had been shooting you all night. Your wink wasn’t met with his typical laugh, but a slightly pained smile that didn’t reach his eyes. You worried you had hit a nerve.

“She’s not my Amelia anymore. Actually, I don’t think she ever was,” he spoke gently, taking a sip of his drink and breaking eye contact for what felt like the first time tonight. Oh no oh no oh no, you began to panic in your head. What did this woman do to him?  

“I once had an ex tell me they had cancer so I wouldn’t break up with them,” you offered, forcing a laugh and praying you could brighten up his mood again. Thankfully, it worked, bringing back the crinkles by his eyes that appeared whenever he smiled or laughed.

You breathed a sigh of relief when the rest of the night went smoothly. It was better than smooth actually, it felt easy and exciting. Harry made your heart sing and your stomach flutter. He was a perfect gentleman, walking you all the way home (even when he lived on the other side of the city) and even up to your apartment, insisting he needed to make sure you made it inside safe.

The pair of you were standing in front of your front door when he leaned in and pressed his blushed lips to yours. He tasted like the lime that sat on the rim of his drunk and smelled like shampoo and vanilla. Every hair on your body stood up on point and everywhere he touched you felt like your skin lit on fire; you never wanted this moment to end. He gently held your face and you could feel his lips turn into a smile as he pulled away, his beautiful green eyes meeting yours once again.

“I had a really good time tonight,” he breathed, unable to wipe the smile off his face.

“I think we should do this again,” you said, still catching the breath that he took away.

“I promise you’ll be hearing from me soon. I already have your number,” he chuckled, still beaming. You watched as he walked down the hallway away from you, winking and blowing you a kiss before turning the corner. As soon as you entered the apartment, you slid down your front door, dizzy from the haze he had created in your head. You couldn’t wait to see him again.

***

After that night, you couldn’t believe someone like him kept coming back to someone like you. You insisted you were too boring for someone who had such an incredible personality and background. Yet three months later, he was yours and you were his.

You spent almost all your nights together, crammed into one of your small New York City apartments, wrapped in each other’s arms and hypothetically solving the world’s problems. You had learned in this time that Harry was incredibly intelligent and well spoken, no matter how long it took him to get his words out due to his slow cadence. In your conversations, you had come to the agreement that most of the world’s problems could be solved with a little empathy and that green was definitely the best color.

Tonight you laid naked in his bed, your head resting just above your favorite butterfly, and played with his fingers as you listened to him speak about postmodernism and how it rocked the art world. You didn’t understand a thing he was going on about but you loved to hear him speak, his voice vibrating through his chest and how he pulled on his bottom lip when he was thinking. You scanned the studio apartment from his bed, trying to pay attention but losing that battle. The floor was littered with finished and unfinished paintings leaning up against the walls and you noticed one familiar face you had grown fond of was missing.

“Where did your painting of Amelia go?” you asked when he took a second to breathe during his diatribe.

“I sold it,” he said curtly.  You hadn’t talked much more about Amelia after that first night, the woman obviously being a sore spot, but you couldn’t help but wonder what happened.

“Oh, okay. I liked that painting a lot,” you spoke cautiously, trying not to hit whatever nerve you had previously.

“It was nice, but I think she should haunt someone else now,” he said with a sigh. Haunt?, you thought to yourself.

“H,” you began, rolling yourself off him to look him in the eye, “can I ask what happened with her?” You held your breath, afraid you might lose him to the heartbreak again.

“Don’t worry about her, she’s long gone.”

“Harry,” you lightly scolded him by using his full name which you rarely did, thinking back to when you agreed not to keep anything for each other. With a sigh, he began to speak.

“I was with her for a couple months last year and when I look back at it, it was really messy. We fought all the time and kept a lot from each other. But I had my rose colored glasses on and I would go as far as saying I was probably in love with her. I was even looking for engagement rings.” You felt a pang of jealousy within you at the idea of Harry loving anyone else. “That was until I found out that she already had a husband.”

Your heart broke for him after your initial shock, resting your hand on his warm cheek in an attempt to soothe him. He didn’t seem sad recounting the story or at the mention of her like he was before; he was now dealing with the remaining hurt of rejection.

“I painted her while I was still really mad,” he continued. “My original plan was to send it to her husband and tell him what had happened. But I decided that three lives didn’t need to be ruined instead of one. And then I was just kinda stuck with the painting. I thought selling it was a good way to get her out of my life and it’s more productive than lighting it on fire,” he finally said with a light chuckle.

A lot made sense all of a sudden. You now understood why Harry always got a little jealous when he saw other guys looking at you. He would loop an arm around your waist and press a kiss to your cheek while he stared them down. He thought you didn’t notice but you always did. You also understood why he was so open with you about how much he cared about you. It was a good thing you were equally as obsessed with him.

“I’m sorry, H. You didn’t deserve to go through all of that,” you said softly after a moment, unsure of what else you could offer.

“It’s okay. We grow from our past,” he shrugged. “And if I hadn’t painted her, I wouldn’t have found you,” he smiled sweetly, pulling you back into him and pressing his lips onto yours.

***

“Oh my goodness, what are you doing?” you giggled when Harry asked you to close your eyes.

“I have something to show you. Please close your eyes,” he asked again.

“What if I don’t want to close my eyes?” you teased, poking the dimple in his cheek caused by his cheeky grin. He rolled his eyes and began his plea again.

“Close your eyes, please. Do it.”

You gave in this time, closing your eyes and letting your heart flutter in anticipation. Harry knew you loved surprises and often took advantage of that fact. You felt him gently rest his cupped hands over your eyes, obviously not trusting you to not peak (he probably shouldn’t). He pressed himself to your back, urging you to make your way further into his apartment.

“Styles, if you let me walk into something, I swear to god,” you continued your giggling, overcome with excitement. Harry mumbled an ‘Oh, hush,’ in your ear before he stopped you both and lifted his hands away.

Your breath caught in your throat as you took it in. The painting was in Harry’s signature style, layered bright colors and varied textures across the canvas. Staring back was your own face, painted in a bright red monochrome with the exception of the color of your eyes that remained the same. You were posed with a bright smile that crinkled the skin by your eyes and you were wearing the red dress that you had worn that first night at the bar.

“Harry, oh my god. It’s so beautiful,” you managed to get out, still in shock.

“I know you don’t think you are, but are the most extraordinary person I’ve ever met. I wouldn’t want anyone else in the world to be my muse.” You felt as if you could explode or melt with the amount of love you had for this man. You held him up on such a pedestal, and now you knew he did the same for you. “From the moment I saw you, I thought you were a work of art. So, I thought I’d actually make you into one.”

Your cheeks burned from the smile you couldn’t shake if you wanted to and you felt yourself get a little teary eyed. You felt as if you had spent the majority of your life thinking you were nothing special and just another person walking down the street. Harry made you feel like you were the center of the universe. You wanted to love yourself like Harry loved you; like you loved him.

“I love you,” you blurted, small tears rolling down your face, wiped away by Harry’s talented hands.

“I love you too,” he murmured softly, pulling your body to his. “I’ll always have your face hung up high in my gallery.”

There she is!! I hope you enjoyed it!! You can let me know what you think here!! :) 

[n1kolaiz]

THE GREAT FITZGERALD

thank u @dazaistabletop for getting me so interested in Fitzgerald's character. ur my favourite Fitz kinnie ok mwah( ˘ ³˘)♥

Francis Scott Key Fitzgerald's novel— The Great Gatsby— was a love story that involved Jay Gatsby, whose mannerisms and characteristics appear to be quite similar to Fitzgerald in the Bungou Stray Dogs adaptation. I just finished reading The Great Gatsby so I thought I'd just make a comparison between the main protagonist of the novel and the main antagonist in BSD's Guild Arc.

Other than the fact that both Jay and Fitzgerald share similar character traits (ambitious, arrogant, and optimistic) the relationships Jay had with the other characters of the novel and the interactions that Fitzgerald had with the other characters of BSD are quite similar, too. I'll focus on three specific associations that both Fitzgerald and Jay experienced in a parallel manner:

Zelda Fitzgerald and Daisy Buchanan

Tom Buchanan

Louisa May Alcott and Nick Carraway

SPOILERS FOR THE GREAT GATSBY!

in case anyone hasn't read it but wants to :)

To avoid confusion, every time I mention Fitzgerald from here on out, I mean the character from BSD; I will specify my references if it comes to the author.

The Great Gatsby had its plot set around the time of the Roaring Twenties: the aftermath of World War I, the peak of socialite culture, and the growth of a prosperous economy and general wealth altogether.

The Roaring Twenties was also a time of luxurious pleasure and liquor, where people indulged themselves and got addicted to hedonism— the pursuit of gratification.

The Great Gatsby was actually written on the basis to prove how corrupt this age was, and the existence of such corruption was vaguely hinted by various factors, one of which included Jay Gatsby's actual source of income: being involved in the affairs of the black market. This proves that illegal activities were not uncommon around that time, as people did anything they could to achieve materialistic gains.

This isn't a history lesson, I promise.

Both Jay Gatsby and Fitzgerald had grown up in poverty and disliked the concept of being anything short of wealthy. They both worked extremely hard to attain financial abundance.

I presume that not everything they did was actually legal when it came to gaining money. As mentioned before, Jay was involved in criminal activities which founded the basis of his wealth, while Fitz once mentioned that in order to own a gun, he had to kill 4 people. He goes on to tell us that he ended up owning that specific gun's manufacturer eventually.

Daisy Buchanan and Zelda Fitzgerald.

The Great Gatsby is actually centered around Jay Gatsby's rather obsessive infatuation with Daisy.

Daisy was a beautiful lady with a incredibly charming nature— she didn't have much trouble with attracting many men back then before she got married to Tom Buchanan, the antagonist of the story and the rival of Jay Gatsby.

"Her voice was full of money," he said suddenly.

That was it. I'd never understood before. It was full of money— that was the inexhaustible chair that rose and fell in it, the jingle of it. the cymbals' song of it... High in a white palace the King's daughter, the golden girl...

Daisy and Jay Gatsby fell in love right before he was sent off to war and a few years before she met Tom. Before they were separated, Jay's dream of gaining wealth and status was primarily flamed by his intention of reaching Daisy's social ranking in order to be worthy of her love.

Initially, because of how passionate he was about his love for her, Jay lied to Daisy about his wealth. It was only after the War did he actually gain the riches he aimed for. By the time he did achieve his monetary goals, Daisy had married Tom already. Consequently, Jay hosted a bunch of lavish parties in order to gain her attention, prove himself and his love for her, and ultimately, win her back.

Jay perceived Daisy as a literal angel, void of any flaw whatsoever. He even tells Nick, the main character, that the fact that numerous men got romantically involved with such a lady just increased her value altogether.

But what gave it an air of breathless intensity was that Daisy lived there— it was as casual a thing to her as his tent out at camp was to him. There was a ripe mystery about it, a hint of bedrooms, of gay and radiant activities taking place through its corridors, and of romances that were not musty and laid away already in lavender but fresh and breathing and redolent of this year's shining motor cars and of dances whose flowers were scarcely withered. It excited him too that many men had already loved Daisy— it increased her value in his eyes. He felt their presence all about the house, pervading the air with the shades and echoes of still vibrant emotions.

As the story unfolded, Daisy's character was torn apart for a proper, more brutally realistic perspective of her true character, revealing a shallow, selfish lady who solely placed her interest in money and luxury, the things which she often took refuge in when things went wrong. As the plot developed itself, the actuality that Jay fell in love with the idea of Daisy, instead of Daisy herself, was much more evident. And it took quite some time for him to discover and acknowledge the truth.

Fitzgerald's love for Zelda was very apparent, too, except that it seemed more genuine and pragmatic. Not much is speculated about Fitz and Zelda's relationship in the Guild Arc, but his love for her was very deep, as everything he did was for her and their deceased daughter.

Side note: Fitzgerald (the author) based Daisy's character partially on Zelda, as both women were brought up in wealthy families and took a general liking to lifestyles revolving around money and ease.

Fitzgerald was in love with Zelda, a woman plagued by a debilitating illness. In The Great Gatsby, Jay was in love with a woman who was plagued by the deceptive addiction of self-satisfaction gained by pleasure and whatnot. Zelda was impaired by an mental illness, while Daisy was intoxicated by the security of money and prestige. This is an abstract suggestion though. Personally, that's how I interpreted this correlation when it came to examining these dynamics in their respective universes.

Tom Buchanan

As mentioned before, Thomas Buchanan was Daisy's husband and Jay's rival who had similar characteristics in matters of personality. The Toms in both book and anime were arrogant and cunning, which pretty much vouches for their selfishness.

In the book, Tom is supposedly the love of Daisy's life, except that she just married him for his money instead of waiting for Gatsby. Then again, Tom was involved in a love affair outside his marriage with a lady named Myrtle Wilson. Tom cheated on Daisy by getting involved with Myrtle. On the other hand, Daisy was unfaithful to Tom by keeping her love and relationship with Jay a secret from him.

The climax of the story partly revolves around Myrtle dying in a hit-and-run car accident. The grand twist was that Daisy was the one driving the car, and the car actually belonged to Gatsby. Because the car belonged to Gatsby, George Wilson, the husband of Myrtle, was bent on revenge and tracked down the car. He ended up killing Jay Gatsby, and soon after that, he killed himself.

It was quite a scandal, but Daisy estranged herself from such a tedious matter. In fact, when Jay died, she did not even attend his funeral. Tom was under the impression that Gatsby was the one who killed his mistress, not Daisy, his wife. Either ways, Nick described them in a way that sums up what became of them after Jay's death:

They were careless people, Tom and Daisy— they smashed up things and creatures and then retreated back into their money or their vast carelessness or whatever it was that kept them together, and let other people clean up the mess they had made...

It's interesting to note that in chapter 45 of the BSD manga, Tom appears as the antagonist who was later found guilty of murdering his employee, but the blame was originally put on T.J Eckleburg, the inventor of the Eyes of God.

Side note: T.J. Eckleburg was actually an optician who appeared on a billboard advertisement in the novel. This billboard was used as a personification by Nick Carraway, which was meant to embody the representation of a displeased overseer who observed the events that unfolded before him. The Eyes of God has a similar concept: scrutinising everything with an accuracy of 97%. It's a personal speculation, but the Eyes of God was proven to be of utmost importance in the Cannibalism Arc when it came to capturing Fyodor Dostoevsky. Likewise, T.J. Eckleburg's eyes showed how corruption and misconduct never escaped his judgmental visage.

sorry about the quality of the manga panels ;-;

In the manga, Fitzgerald manages to triumph over Tom by betraying his trust altogether in order to obtain the ownership of the Eyes of God and Tom's company. This stands in contrast to what became of Jay in the novel, but the protagonist got what he wanted in this universe.

Keep in mind that Fitzgerald didn't act according to fulfil what justice required; it was purely business. Just like Jay Gatsby put on the facade of a plain, rich man who was really just bootlegging his way to opulence, Fitzgerald wasn't afraid to betray someone's trust to get what he wanted.

Nick Carraway and Louisa May Alcott

If I were to pick a character that represented Louisa May Alcott in BSD from the book, I'd pick the narrator himself: Nick Carraway. Again, this is my personal interpretation, so the association between these two characters is just my personal opinion.

Nick Carraway was known as the more reserved, cynical protagonist compared to Jay. The both of them developed a cordial friendship as the story progressed.

Nick initially took a liking to Gatsby, who was his neighbour. The enigmatic aura Gatsby emitted called for Nick's attention, and in the same way, Gatsby reciprocated his interest in Nick by making the effort to acquaint himself with him.

He had one of those rare smiles with a quality of eternal reassurance in it, that you may come across four or five times in life. It faced, or seemed to face, the whole external world for an instant and then concentrated on you with an irresistible prejudice in your favor. It understood you just as far as you wanted to be understood, believed in you as you would like to believe in yourself.

There were a few times which suggests that Nick didn't like the way Gatsby acted or spoke. Nevertheless, Nick was the only one who stuck with Gatsby until the end.

"They're a rotten crowd," I shouted across the lawn. "You're worth the whole damn bunch put together.

(This was the last thing Nick said to Jay before he died.)

At first, Nick was intrigued by Jay's mystical nature and peculiar idiosyncrasies, but found that Gatsby was a very strange, but 'morally bad' man. However, over time, Nick became one of the few who managed to recognise Gatsby's idealistic ambitions; he saw through all the fame and wealth and found a mere human being capable of being entrapped by love's snares. Basically, he understood Gatsby, despite disagreeing with his actions and even his behaviour at times.

As for Louisa, well, it is a known fact that she was loyal to Fitzgerald because of how much she respected and trusted him.

Both Nick and Louisa were intelligent, witty people with generally nice, honest, and reserved dispositions. Their self-contained demeanours make it very easy to get along with the more exurbent/dominant personas of Gatsby and Fitzgerald. So in the event where each pair was isolated from the rest of the world, they had each other to depend on.

Next morning I sent the butler to New York with a letter to Wolfsheim, which asked for information and urged him to come out on the next train. That request seemed superfluous when I wrote it. I was sure he’d start when he saw the newspapers, just as I was sure a there’d be a wire from Daisy before noon – but neither a wire nor Mr. Wolfsheim arrived; no one arrived except more police and photographers and newspaper men. When the butler brought back Wolfsheim’s answer I began to have a feeling of defiance, of scornful solidarity between Gatsby and me against them all.

Such a dynamic created a close bond of trust. Just as Nick was not hesitant to stick by Gatsby's side, Louisa went to great extents just to return Fitzgerald back to his former leading position and work together with him.

Side note: Nick Carraway is suggested to have the INTP personality type, while Louisa is most likely an INFP. Both these personalities are strikingly similar in many ways. They are individualistic in thinking and described as 'seekers' of their place in the world. If you're interested in a more detailed comparison, check this post out

Alright, that's about it for my speculations; I hope they weren't too messy. Thank you so much for reading!

“So we beat on, boats against the current, borne back ceaselessly into the past.”

- Nick Carraway, The Great Gatsby

[vickyvicarious]

what do you make of Eliot's pre-show reputation for working alone? it makes sense for Parker and Hardison, who've always worked that way, but Eliot has a history of working as part of a team in various contexts

Yeah, it's definitely interesting! Really, Sophie never gets that label of 'always working alone' (and in fact later we see her bringing in Tara, which supports that she has friendly contacts still). It's just Parker, Hardison, and Eliot. And like you said, it makes complete sense for Parker, and even Hardison's hacking is just typically more suited to be done alone even if he is a social guy on a personal level. Eliot is different, given his history.

One thing I noticed a while ago, which is also interesting, is that Eliot's job by its very nature depends on other people. Sophie, Parker, and Hardison all steal what they want - as retrieval specialist, Eliot had to be hired. That's not to say he never just took something he wanted, necessarily, but his role majorly depended on people a) knowing of him in the first place, b) trusting his reputation enough to hire him, and c) being able to get in touch with him to hire him. I highly doubt he was handing out business cards left and right, so he had to have a network of contacts to at the very least pass his name along as an 'I know just the guy for the job' kind of thing. In fact, we see him bring in a friend on a con early in S1, and he is in contact with/does jobs for old military contacts throughout the show. (Once again, in the first episode Parker and Hardison were successfully recruited for someone else’s job, so it's not like that never happened for the others. But the general trend was that they picked their own heists; Eliot was hired on by other people.)

So we have a guy here who has a history of working on teams, a reputation as a loner, and yet still actively works for people who he has to keep on good enough terms to keep hiring him. How did that happen? In my opinion, it all comes back to Damien Moreau.

Eliot's timeline goes through some distinct phases:

Rural teen with a relatively poor family, I think they mention he played football; very all-American.

Joined the army with "a flag on his shoulder and God in his heart" or however that quote went.

Highly trained military operative involved in very classified operations.

Working for Damien Moreau.

Working solo as a retrieval specialist.

Leverage.

It's easy to track him through 1-3. He was recruited into the army with promises of heroism and glory, excelled at what he did, was eventually disillusioned. Getting from there to Moreau is a bit more of a jump, and likely didn't happen immediately. Given how protective Eliot gets over people he's working with, and how vigorously he hates betrayals of trust from his team, I think it's not unreasonable to assume that part of the reason he left the army had to do with whatever unit he was in getting very hurt. Likely in a way that made him feel he failed to protect them; maybe he was the only one who made it out of one specific situation. Maybe just a bunch of people he worked with got whittled down, or maybe it wasn't anything so deadly but he saw how little their lives mattered in the grand scheme of those in charge, saw how amoral the missions he was given were, and it was more of a gradual slide into illegality. There's also the detail that as he got into more and more classified work, he might be less and less likely to have a large group of people he could talk to/be a regular team with. Either way, I think Moreau didn't completely hire him straight out of the army, but there probably wasn't a tremendously long time between him leaving that group and joining up with Moreau.

*I originally thought Eliot didn't meet Toby until after he left Moreau, but a helpful anon corrected me on that! 'In the French Connection Job he says to Nate "I was out of the service and working for my 2nd PMC", doing wetwork.' He 'should've' killed Toby but instead stayed with him for months, 'learning how to cook and how to feel'. It certainly seems like he had gone some degree of numb after his experiences in the army and even since leaving it. His second private military contract/company... still implies he was working for organizations of some sort, though I get the impression he wasn't sticking around for terribly long times. Still, even if he then works solo retrieval type gigs for a while, I don't think he was nearly as insistent on working alone/had such a clear reputation about it, not yet.

Eliot no longer believed that he was doing good. He'd lost his naive patriotism and seems to have lost his religion for the most part as well. He didn't trust the system, but for the most part he still seemed to have faith in individuals. He still kept in touch with some old colleagues, he'd learned from Toby; he still wanted to be a part of something, even if that something couldn't be the US Army. He's a self-motivated criminal now but he still isn't averse to working with others.

Then comes Damien Moreau. Whether you read their relationship as romantic or not, it was undeniably important and personal. They knew one another well. Damien even still liked Eliot years after he'd left. There's good evidence for them having an emotionally abusive relationship where Moreau took advantage of Eliot's tendency to do things for those he cares about (I reblogged a great meta on this a little while ago). But essentially what we see here is that in all his time working for Moreau, no one else made such a strong impression on Eliot. Moreau definitely seems the type to play favorites and emotionally distance Eliot from other goons - Eliot isn't just another goon after all, he's the best. He's worthy of Damien's time and attention and specific assignments that only Eliot can be trusted to get done right. Whatever process of estrangement Eliot's superior skills may have begun, Moreau quickened until there was only one person who was the most important to him. Eliot didn't just work for him as a part of some vast criminal network by the end - no, he worked directly for and with Moreau himself. He was part of a team of two for all intents and purposes, regardless of how often he may have cooperated with others on specific jobs (though I suspect that got less frequent over time as well).

And when Eliot realized how deep he'd gotten, how terrible he'd become? He left, and left Damien Moreau specifically behind. Maybe he took a break for a while, went underground... it certainly doesn't seem like he had a conversation with Moreau and resigned so much as he just ran. And when he returned it was as a solo act. What this tells me is that not only did his time with Moreau break Eliot's trust in himself, it broke his ability to trust others. Not everyone necessarily, but in a working capacity. It probably was not the first time he'd experienced betrayal (in some form or another, his time in the army definitely qualified) but it was the most personal. Eliot trusted and liked Moreau - and he did the worst things in his entire life for him.

He couldn't repeat that. He couldn't leave himself open to getting sucked in like that again. And what's more, at this point he really didn't need to. His skills were such that he could get the job done himself (and had perhaps even honed those more solo skills while working for Moreau), and doing so meant that he never had to leave himself vulnerable to someone else like that again. He didn't have to be responsible for someone else getting hurt, and he didn't have to accept that he'd put someone else in charge of who he hurt. Eliot starts being more careful not to permanently injure or kill people, starts getting more selective with his jobs, and makes it a requirement that he works them alone. He still has to accept jobs from others, yeah, but he has ultimate control over what jobs he does accept, and if he operates purely on a freelance basis without getting too involved with any one client, then he can avoid the emotional entanglement that lead to such horrific loss of judgement in the past. It's hard, because he is naturally drawn to other people... but Eliot thinks that letting no one in is by far the safer option for everyone involved. He still builds relationships with others in order to get his name out, and may do repeat work for certain people, but no one is going to own him anymore. He is good enough that he can afford to set the terms like that; when he keeps getting the job done the word will spread that even alone he is worth the money. Eliot relies only on himself and any relationships he has are necessarily shallow. Professional, brief. This extends even to friendships (that seem to involve infrequent contact for the most part) and romantic relationships (he has plenty of sex but doesn't get emotionally close to anyone, does not fall in love). He is alone - in fact he is emphatically and outspokenly alone, because he doesn't want anyone to get their hooks in him like that ever again.

(*Doing jobs like this also limits the likelihood, especially in the beginning, that he's going to end up working for Moreau again in any real capacity. As time passes and Moreau doesn't attempt to bring him back too hard, that may become less of an issue in his mind, but it could certainly be a perk at least as the start.)

Then of course we eventually come to Leverage. It's been a while since Moreau. Eliot has built a solid reputation for himself - and he is being offered a LOT of money for a job that promises to be fairly quick. At this point, he probably feels like maybe he can trust himself as part of a team again without getting too sucked in - he will just keep it to one job and go his own way afterwards. It'll be fine.

...And then he immediately gets sucked in, bonds right away and wants so badly to stay. But even then, it's because of Nate. Eliot knows Nate, trusts him to be the 'honest man', is certain enough of Nate's moral compass that it's okay to get drawn in if Nate is the one making the plans. If it weren't for him, Eliot would have walked right away. Eliot was never going to allow himself to be ruled by others again... but Nate isn't like any of those people, he is a good man. Eliot can trust him not to lead him into anything too morally wrong, and in fact the work with Leverage is a way to bring some good back into the world. Not redeem himself, that won't ever happen, but under Nate's leadership Eliot can do something good for once. He doesn't want to stop.

By the time he moves past trusting Nate's judgement so much, he already trusts and loves the whole team. Parker and Hardison especially, so now he has to stay to keep them safe... even from Nate's plans sometimes, when he gets drunk and reckless. Eliot is secure in his role as part of a team again - and he probably was very lonely without one for all that time. It's not really in his nature to work alone long-term. And a key difference this time is that everyone else gets just as invested as he, and there's a good balance of power and respect unlike all of the more hierarchical teams he was in before (army, Moreau, they would have clear command structures - hell, even high-school football has a captain and a coach). Nate is nominally in charge but they talk back to him and lead where they have the most expertise. They dedicate themselves to him as much as he to them, they change together. And they change for the better, together.

[thisselflovecamebacktome]

Dancing With The Devil Parts One and Two Thoughts/Moments That Stuck Out

(I’m going to put this under a read more before it’s long, but be aware there’s going to be talk about death, sexual violence, eating disorders and drug use)

General thoughts:

So I’ve made it pretty clear that I was definitely nervous about this coming out. Any long term Demi fan knows that making these documentaries have not turned out well for Demi in the past. Likewise, I have other concerns surrounding it. In saying that, I am also not egotistical to think that I know for sure this will be different or even if it’s not, that I can change things. I also feel a little better knowing that most of what was said so far has already been spoken about in interviews rather than it all coming out at once. Either way, as always, I wish Demi nothing but the best and hope that she is currently as okay as the documentary makes it seem.

The Scrapped Documentary:

One thing that really stuck out to me as soon as it was said was the implication that her friends lied their way through the documentary that never got released. On one hand it feels like a very friend thing to do, like we’ve all been there and done it with good intentions even if it was the wrong call to make. But I definitely think that when considering that the person who called 911 felt like they had to sneak away to make the call and everyone talking about how controlled they felt by having to be careful about food and substances around Demi, there seemed to be a major push to save face and save Demi’s celebrity persona over Demi. And I mean there’s no shock about that, we all assumed Phil wasn’t just in it for Demi’s health. 

But what I do find interesting is how Demi’s friend still believes that her old team meant well but was just unequip for dealing with mental issues. Once upon a time, I felt the same. Again, obviously they wanted her well for their own sake because they were making money from her, but I believed they at least wanted her well. But the melon cake revelation changed that for me. Like at that point I went from “The label clearly favoured Nick Jonas and didn’t handle things well but maybe he genuinely thought Demi couldn’t handle it” to “Demi’s team did not give the slightest fuck about her”. So I find it interesting that it didn’t for her friend and makes me wonder just how much of this saving face came from Demi herself (or what she thought she wanted) compared to her team. This is especially the case given the focus, and particularly Dallas’ words, on how she didn’t choose to be a role model but felt she had to be for her fans.

The Death Of Demi’s Father:

A little confession for you all, I almost quit watching this documentary 6 1/2 minutes into the first part. While I feel like almost everything else said in this documentary was at very least alluded to if not flat out said in interviews, this hit me over the head. I am someone who is estranged from their own father and knows that his epilepsy could cause his death at any time should a fit get that bad and that he doesn’t really have anyone who would be consistently checking in on him. So the fear of him decomposing in his flat all alone is one that is all too relatable to me. It is also relatable in terms of my mother, but at least she has my brother who wants to stay at home forever and I would call her even if I moved out, so it’s less likely. So yeah, the way Demi said it and knowing that Father’s Day passed in that time and she probably spends every Father’s Day regretting she didn’t call stings a lot and will almost definitely stay with me for a long time. 

I also related to her talking about her guilt of not helping him the way she feels she’s helped other with her advocacy more than I’d like. While not drug related, I’ve spoken a few times on my blog about how I reached a point with my mother’s bipolar and need for remedies to the legal issues that worsened her health where I gave up despite still advocating for others. And she’s pointed that out. But ultimately Demi and her loved ones are right; a person needs to want help to give it to them and trying to force help doesn’t work. It didn’t for Demi’s father and it didn’t for her until she was ready.

Demi’s Drug Use:

I didn’t actually realise Sirah was Demi’s sober companion and while I didn’t really know anything about her beforehand, I think her parts were among my favourites so far. She was honest, emotional, informative and really contextualised what she was saying not only in terms of Demi but addicts as a whole.

Unfortunately one of the most relatable parts of this documentary so far was when everyone spoke about how Demi seemed normal in the weeks before her overdose. To this day, a lot of my then loved ones, whether it be family or friends, still don’t know I went to rehab in my teens. A lot of the people who do know now didn’t find out about it until years later when I was ready to talk about it. Looking back, the only really clear sign I showed that something was “wrong” is that I went from being a teacher’s pet to skipping a lot of classes and heading home for lunches instead of hanging with friends. But given a lot of my friends knew I had gone through trauma and a separate death in the year before, they didn’t think anything of it. Like from memory, I think at “worse” there was a joke made about I had become one of them and cared about school less. Granted there is always the case that they realised but never said anything, but yeah, at least from where I’m standing, they never knew. And that’s why I will never judge loved ones of someone who does anything negative off the bat, because it, and especially addiction, can be so easy to hide.

I also find it really interesting and relatable that Demi linked her drinking with drugs like that. I spoke about this the other day in an ask, but the two have always been super linked to me. But what I find most interesting is that she spoke about it in connection to negative emotions. Because while yes, I have always connected both with negative emotions, for me, being in a negative mood has somewhat made it easier to not relapse over the years because I could justify it with “well I’m feeling bad, of course I want something to pick me up. That doesn’t make it what I need though”. Meanwhile, I found out last year that I still feel that need to use when drinking in a good mood and that freaked me out to the point I don’t drink at all anymore. Either way though, like I said, it was an interesting point to bring up the connection and definitely relatable.

This isn’t really about the documentary itself, but it really hit me how far I have personally come when she spoke about and started playing Sober. Like at the time Sober was released, I was so close to relapsing myself that I couldn’t bring myself to listen to it straight off and yet now I am really starting to feel like I reached a place where the future looks so bright.

The Sexual Assault:

I don’t really have much to say here past “god I wish this wasn’t so relatable”. During my time using, and even the early days of trying to get clean, I had someone in my life that would constantly try to start something sexual with me and when they realised I wouldn’t do it, they drugged me and did it anyway. And while that is clearly sexual violence, there still very much was that stigma of ‘well I was getting high with them anyway” and feeling like that made it consensual and realising down the track that no, it really didn’t. And while not part of the documentary itself (yet), Demi talking in an interview about how she invited the drug dealer back to her house to “make things right” afterwards really hurt my heart knowing how long I spent with the same delusion that this person would make amends too.

Other/Final Thoughts:

I find it interesting that Demi noted that this pandemic is pretty much what made her stop and fully comprehend all of her past trauma. In many ways, it reminds me of sentiments that Taylor has said in regard to Folklore and Evermore, so it’ll be interesting to see just how much of that makes it onto Dancing With The Devil: The Art Of Starting Over. I also find it interesting that according to wikipedia, the last part is meant to come out after the album which could be an implication that the album finishes at a point of Demi’s life before the documentary finishes.

All up, this documentary gives me a similar vibe to Taylor’s documentary Miss Americana where it somewhat feels like it’s more for the casual/non-fans because anyone who pays attention to Demi’s recent interviews will have heard/at least been alluded to nearly all of this information already. That in no way makes it a bad (half of a) documentary, it’s just an observation. In many ways, I also feel like that’s what made the content about her father hit harder too because it was new or things she has not spoken about in a while. It will be interesting to see where the next two parts go from here in terms of being more positive and/or the nitty gritty of picking yourself back up. Either way, I guess we’ll just have to wait and see.

[itsybitsylemonsqueezy]

Hi! I happened to stumble across your analyses on both Majima and Saejima and boy am I blown away by them! You captured their personalities so well it’s awespiring. Is there a chance you’ll write a post about Kiryu as well? It’s just that originally I’ve had a hard time liking him as a character because of the numerous mistakes he has made across the series (and the fact that others don’t really address them for some reason). Despite that I’m a huge fan of kazumaji and that’s why I feel conflicted sometimes. Anyway, I would really like to hear your thoughts about it!

Awww, you’re very kind ^^; Thanks for asking for more c: So, the reason why I haven’t yet made a post about Kiryu is NOT due to my lack of feelings about him, it’s quite the opposite. I have essays worth of feelings about Kiryu and just... have not found the time to really give those feelings credit ^^; But, since you ask and you’re having a hard time with his character, let me at least start. 

As a preamble, let me first say that there’s a difference between a character making a mistake and the writing making a mistake. This is not to say Kiryu never makes mistakes, far from it. I have a lot of feelings about Kiryu’s mistakes, they’re one of the reasons I love him, but a lot of the more egregious fuck ups are the writers making weak or poorly thought out choices. For example, like you point out, Kiryu makes mistakes and no one ever calls him out for it... that’s a writing flaw, not a problem with Kiryu. 

(Please note that to give my best reading of Kiryu, I’m going to reference as many games as I have seen, which is through game 6. If you do not wish to be spoiled through at least game 5 (I never reference game 6 if I can help it), do not read further.)

Continuing with that example... I cannot tell you how simultaneously OVERJOYED and FURIOUS I am about game 3 when Mine, MINE YOSHITAKA, a character who was introduced that game and then never appears again, is the only person who criticizes Kiryu’s decisions when he has DEMONSTRABLY made bad ones! Like, Mine’s criticisms are ENTIRELY valid, but because they come out of his mouth it’s hard to say if the audience is meant to sympathize or not. Especially since Mine is sort of the antagonist of that game and he’s not really pitched as a sympathetic character. You have to really be willing to be critical of Kiryu to hear what Mine’s saying there and agree with him. The way the scene is played, you’re sort of supposed to still identify with Kiryu and insist that he’s never done anything wrong ever, even though he’s put all of his friends in a vulnerable position and IS arguably to blame for the state Daigo’s in now, as Mine points out. 

And the writing is on some level aware that it is Kiryu’s fault or they wouldn’t have brought it up. They wouldn’t have had Mine say that if they didn’t see that problem. But the problem is they’re afraid of letting Kiryu be flawed. They’re afraid that if Kiryu’s wrong, even once, he won’t be The Good Guy anymore and the audience won’t like him anymore. This is weak and cowardly writing. Characters aren’t compelling because they’re never wrong, characters are compelling from what they do when they’re wrong. Any character who’s never wrong is unrealistic and, ultimately, boring. We all fuck up, we’re all only human. You ultimately will not identify with an infallible god because they would make choices you wouldn’t. I’m sure we can all think of characters who were pitched to us as infallible that, sooner or later, we ended up hating because of this very trait. So trying to pitch Kiryu as infallible is a ginormous mistake. But an understandable one, especially in a franchise that depends on the likability of its main character. But this means that they don’t trust their own writing, they don’t trust Kiryu’s inherent appeal and they fuck up the story around refusing to take risks. It’s one of the most heartbreaking writing decisions for me that those words come out of Mine’s mouth and not one of Kiryu’s friends. 

Because it’s Kiryu’s friends who deserve to get to say that. It’s Kiryu’s friends, the people who are directly affected by his actions and the people who CARE about Kiryu, who have the right to criticize him. Not some fucking young blood with a chip on his shoulder. Having Mine say it makes the criticism look biased an illegitimate when it isn’t. I understand the writing impulse to not let us criticize Kiryu, but think how much more compelling it would be to show that Kiryu’s relationships are strong enough to handle criticism. That the trust and love is there for a friend to come to Kiryu with this and to force Kiryu to confront himself and listen rather than ignore the problems and insist that he’s never done anything wrong. But to make that call, to let us doubt Kiryu, you, as the writer, have to trust your story, you have to trust your character, and, worst of all, you have to trust your audience. Many many writers of popular media do not trust their audiences. They don’t trust that if they let you doubt, you’ll come with them and see where the story leads. They’re afraid you’ll lose interest and turn away. Many writers feel that they cannot take the risk of trusting their writing for fear of losing their base and therefore their income.

And, again, part of the issue is the aims of the story. At the end of the day, RGG is here to produce a fighting video game, that’s it. Wrapping that up in a compelling story makes it more sellable, but their primary focus isn’t the story itself. It’s getting you to buy a fighting video game. If the mechanics aren’t up to par, if they fights aren’t cool and interesting, the rest doesn’t matter. RGG came up with a story to link the games together and invested in making an interesting protag, but it was to sell the games. If the point of this story was the story, I think we’d be seeing different writing decisions and maybe some of these flaws could have been avoided. And I don’t actually mean to point this out as a criticism and say why aren’t they creating art for art’s sake? I mean it really as a grain of salt that I personally use to try not to hold the writing here up to the standard that I would a novel or something. That may not be useful perspective for anyone else, but it’s a thing I like to keep in mind. 

So, part of what we see in Kiryu is that the writing fucking sucks. And it’s fair not to want to redeem Kiryu’s character or dig deeper into him when the writing hasn’t provided you with much. So no one feel bad if you’re not persuaded by my assessment, I’m not here to shame or convince anyone, I’m just offering my two cents. 

And now alllll of that said... Let’s talk about my boy, Kiryu Kazuma. 

I said earlier that characters are compelling based on how they react to mistakes, how they deal with them. Let me tell you, Kiryu is aware that he’s made mistakes. And he has regrets. 

What I find compelling about Kiryu is that he tries so fucking hard to do the right thing, all the fucking time. What I find compelling about Kiryu is that he wants so much to make people happy, to make people proud of him. He is scared all the time of doing wrong by people and making himself untrustworthy, making himself scary. He has lost so much, he has lost everything and he still gets up every goddamn day and tries. 

Does he fuck up? YES. ABSOLUTELY. ALL THE FUCKING TIME. But he gets up. Every. Fucking. Day. And tries. And you can’t buy that. You can’t ask for that. That’s just who he is, a guy who tries. 

I don’t... have time to explain the depths of my love for Kiryu, but let’s take my favorite Kiryu, what I think the best characterization of Kiryu is in the entire fucking series: game 5. Game 5 Kiryu is my favorite fucking Kiryu, including 1, including Zero, bar fucking none. I fucking love game 5 Kiryu. 

And Game 5 begins with a colossal mistake. 

Before the game starts, Kiryu is convinced, either earnestly or nefariously, to leave his little family and specifically abandon AHEM release his daughter Haruka to someone else. This is the stupidest fucking thing Kiryu’s done since giving up the chairmanship. But he does it because he is told that he is a greater threat to his family WITH them than abandoning them. I want you to think about that. Kiryu loves his family so much he would sooner leave them than do them harm. I need to remind you that Kiryu has already destroyed and rebuilt his own life once already. He has repeatedly given up everything for his dream of having a family and for all his beautiful kids more than once. And he just loves his little Okinawa home so much, he can’t stand the idea that he would bring it harm, so he fucks off. This is categorically the wrong decision and any other reasonable adult would know this. I’m sure you yourself understand intuitively why a parent, no matter how dubious, can’t just leave a brood of underage children to fend for themselves in the world.

But here’s the thing: Kiryu’s made a number of dumbass decisions that have led him to this point in his life. He doesn’t have any adult, peer friends to counsel him about this. He’s deliberately estranged himself from Majima, from Date, from all the people who could have helped him out here and told him not to. And deep down Kiryu’s always been worried that he was unworthy of this. He’s always been afraid that he didn’t really deserve to be happy, deserve his little family of innocents. And the plot SURE AS FUCK has confirmed that for him, repeatedly putting the kids in danger and reminding him that you can never actually leave the yakuza. Kiryu knows he’s fucked up. He knows adopting his family was a mistake, but it was too late, what was he gonna do now? But here comes this little insidious voice confirming his worst fears, telling him he needs to go, and Kiryu listens. He has no one else to listen to and he’s been so beaten down by the plot by this point, he’s lost so fucking much now, that he doesn’t have the strength to believe in himself anymore. So he goes. Believing that he is doing the right thing.

And then, as it always does, the plot comes for him, telling Kiryu he needs to come help, telling Kiryu only he can fix it. And Kiryu, for the first time in his life, puts his foot down. He’s so fucking tired, he won’t fucking do it, not one more time. Because every time he gets his ass up to help, what happens? Someone else dies. Someone else dies and it’s Kiryu’s fault all over again, and it’s Nishiki all over again, and Kiryu can barely fucking live with himself for all the guilt that he feels. He starts to help and he just loses. Every fucking time. So this time, no, this time he won’t do it. He can’t do it anymore. He just wants... everyone to be okay. And he’s so sure that everyone would be better off without him. 

If that’s a huge screaming red flag for anyone else IT SHOULD BE. Kiryu is in a depression spiral. He’s suicidal. He’s cut himself off from all his meaningful relationships, he’s not participating in his favorite hobbies, he’s alone and isolated in a new city where he doesn’t know anyone. He’s Not Doing Good. Game 5 is about finally, FINALLY confronting Kiryu’s demons, all the pent up unresolved guilt and turmoil that we never fucking addressed for 5 games running. (And if you’re hearing Bitter Resentment in the way the games have handled Kiryu’s emotional reactions OH BOY YOU BETCHA but that’s for another post.)

So Kiryu finally says no. He won’t fucking do it. But the plot comes for the fucking carotid. It’s Majima. It’s Majima. The only person Kiryu really, truly trusts. The person Kiryu was relying on to still be there, to be strong, to do the things Kiryu couldn’t. It’s Majima this time. And Kiryu loses his goddamn mind. That was the one thing you had left to take from him, his belief in Majima, and you took it. Kiryu nearly has a psychotic break at the news and decides, fine. Fine. I’ll go fix this, and then I can die. Then it’s over. Because there ain’t nothing left for him now. 

And he does. Kiryu gets his ass down there, he solves the fucking problem, and then he does his level best to die there. Because it’s what he feels he deserves. He’s let down everyone. All those losses, all those people... they’re his fault. If he was really the hero, he could have saved them. If he was really a good person, these tragedies wouldn’t keep happening. It must be his fault. Fuck, even Majima died, even Majima... and he wasn’t even there, he couldn’t even have helped him, he just... He abandoned him. And Kiryu feels intensely that guilt and grief for his mistakes and his missed opportunities. And all he can think to do with that feeling... is die. It’s what Nishiki did before him. It’s what Kazama did before that. That’s what you do when you’ve fucked up and you don’t know how to fix it. You die. Then no one has to deal with you anymore.

But Haruka. His daughter. The best thing he ever did. She’s up there on stage and she loves him. She still loves him and wants him to be her dad. She’s been with him the whole time, she knows all about it. And she’s not scared. And she doesn’t think he’s bad. Maybe... maybe he can stay alive then. Maybe it’s okay if Haruka is still his daughter. And against all belief, he finds his way back to Haruka. He stays alive for her. He won’t repeat the mistakes of the past. And maybe... he can learn to do something different this time.

Kiryu... makes mistakes all the time. But he knows. And he feels so guilty. The writing doesn’t always do a great job of showing it. We don’t process Nishiki the way we should. We kill Rikiya for no reason. We forget that game 3 should have been TRIGGERING AS SHIT. And we awkwardly no homo out of Kiryu’s most important relationship while still insisting that it is Kiryu’s most important relationship. The writing is spotty and flawed and sometimes you can barely piece together a coherent narrative out of it. 

But at its white burning core is a guy who just keeps trying. Who gets up the next day and tries again. Because he’s lost so much. Because he loves so much. Because he believes there is value in being nice to people and being a good person. And I love that.

[lavenderek]

Why do you hate Ian?? When i was a kid I LOVED What A Girl Wants. I had such a crush on Ian :(

i am happy to go off thank you for this opportunity, long post under the cut

in case somebody wants to read this but doesn’t know what “what a girl wants” is, it’s a movie from the early 2000′s starring amanda bynes as Daphne. 

she grew up in new york with a single mom, Libby. she has an estranged father played by colin firth, Henry, who doesn’t know daphne exists. libby is a singer who works weddings a lot. 

libby and henry were star-crossed lovers, basically. henry is an english aristocrat with political aspirations, and his family believed marrying libby, who is living her stevie nicks fantasy, would damage his career; so they got her alone and convinced her henry changed his mind and didn’t want her. libby left, not yet knowing she was pregnant, and then spent 17 years pining for him. 

daphne has spent her whole life romanticizing the idea of her father coming to get her, so after she graduates high school she chooses to fly out to england and surprise him. when she gets there she is disappointed to find that he is engaged to a woman who has a daughter about daphne’s age, but tries to make it work anyway. 

daphne is clumsy and very casual, so hijinks ensue. henry’s fiancee and future stepdaughter are evil and conniving. 

daphne is rejected and bullied by the fiancee and stepdaughter and she struggles trying to fit in with aristocratic society, so ultimately she leaves. henry is upset about this because he learned to love her, and subsequently he discovers she was being mistreated. he breaks up with the fiancee and flies out to america to surprise daphne. daphne gets into oxford u somehow and they all live happily ever after. 

the first person daphne meets and gets to know in the movie is a local musician named Ian, who tells her she was born to stand out. he has minimal effect on the plot, like, i could write him out in two minutes, but god forbid we have a teen movie without a romance in it. they’re immediately attracted to each other and he proceeds to be a very bad boyfriend that the audience is supposed to find morally upstanding and charming. 

this post is about how it did not work and i don’t like him. 

The Superficial Shit: I’m Not About It

i’m immune to motorcycle boys. motorcycles are impractical and loud. get a muffler. i think if you buy a motorcycle you have to sign a contract promising to idle on your motorcycle for ten minutes every morning at 6:30 so that everyone in the neighborhood knows you have a motorcycle. so i don’t care that ian is A Bad Boy. 

i’m also immune to english accents. it’s just like, an accent. it’s fine. i’m supposed to find everything he does inherently charming because he has an accent and he sings, but i don’t, so, try a little harder.

like, i’m also not impressed by sporty types, but i still accepted “a cinderella story” because austin had a character progression and i could see why sam found him attractive. 

ian has no character progression. he starts out confident and independent and he ends up confident and independent. he remains happily working class with a more or less successful band the entire movie. nothing daphne does affects him negatively except that one time she fucks up and blows off a concert he wanted to go to. 

so as a result i’m not invested in anything he does. the only interesting thing he does is first building up daphne’s confidence and then getting mad and tearing it back down when she’s doing something he doesn’t personally find important, which is the next thing. 

The Worst Boyfriend: Why Am I Not The Center Of Your Universe?

here are the first three pieces of information ian learns about daphne:

her mom is a musician 

she is american 

she is here to find and get to know her politician father, Lord Dashwood

he’s very supportive of this endeavor, right up until it gets difficult. he’s like, “you came all this way, he’s your dad, you should definitely meet him.” 

she publicly fucks up a couple major society events and then is like, “hey, i’m putting my dad’s career in jeopardy, so in order to stay and get to know him this summer i’m gonna prioritize these events a little more.”

and ian is immediately like, “you’ve changed,” and dumps her lmfao

her lifelong drive to find and get to know her dad is one of the first things he learns about her. why does he think it’s so stupid? why am i supposed to care about his opinion? 

daphne, probably: this thing is important to me. ian, probably: ok, that’s fine.  daphne, probably: woof, in order to keep up with this thing i have to try a little harder.  ian, probably: hm. actually, this is unimportant.  daphne, probably: i’m going to do it anyway.  ian, probably: what? didn’t you hear me? i just said it was unimportant. why aren’t you quitting immediately? my opinion should be your primary concern. you know what? i’m done.

i had the same problem with nate from “the devil wears prada.” i will never understand the idea of seeing someone you apparently care deeply about very stressed out trying to accomplish a goal, and being mad that they’re not super fun and interesting right then. sometimes a person you care about is going through something. let her vent and buy her some ice cream. 

if your partner stops being supportive and understanding the second your life gets stressful or complicated, that’s kind of a red flag. the real test of a relationship is when you have to support each other and maintain your bond even when you’re trying to get something done, or even when you’re having a rough time and you’re in a bad mood. 

ian fails this test because he’s weirdly judgmental about it all.

Attitude Stinks

before the change ian hates, daphne is late to things, she dresses casually for formal events, she gets into a screaming physical altercation with someone at a party, and because she was acting out a lot at a ball she’s blamed for the destruction of a prized, historical piece of architecture. all of these cause scandals that embarrass henry and make him look bad in tabloids. he is in the middle of a campaign for a political position, so this is bad. 

after the change, daphne reaches out to her debutante grandmother for guidance and starts wearing socially acceptable clothing, goes to events where she is expected, and is quiet and respectful at an event where she’s supposed to meet the queen of england. this is all very successful for henry. people go up to him and tell him daphne’s great, and she somehow ends up in a tabloid that talks about how great she is lmfao. 

all of this takes a lot of effort from daphne, though. she’s stressed out. while this works out for henry, it isn’t working for daphne. she’s doing all this so that she can be accepted by her father’s family, but the fiancee and stepdaughter don’t want her around, and henry is passive throughout all this. he doesn’t know she’s actively being bullied, but he’s also letting his fiancee direct him away from daphne. so daphne ultimately leaves. 

here’s where ian comes in. ian tells her a story toward the beginning of the movie about how his mother was also an aristocrat. he tells her she was rejected by society because of classism towards ian’s father. this is framed as a demonstration of ian’s values. the fact that his mother rejected being a debutante is a source of pride for ian. 

but the problem is that this is just because ian likes the choice she made. he’s not proud that his mother took control of her life and made her own decision. he’s proud that his mother rebelled. you know this because he sums up the story with this line -

daphne: what happened to your parents?  ian: they’re as poor as church mice and the happiest people i know. 

- and because his entire conflict in the movie is that daphne makes a different decision. 

ian’s mom chose her husband over her parents and the life they wanted for her. daphne is choosing the family she’s been wanting her whole life over a guy she’s known for like, a month. ian is the biggest whiner about it. he storms out on her. she runs into him at an event and asks to talk to him, and he tells her no. he only forgives her when she quits and goes back to america. 

there are a lot of dudes like this out there. he loves a strong, unique woman, as long as she fits seamlessly into his life and makes decisions he tells her to. yawn. 

Makes No Sense: Why Are You Here?

ian is somehow ubiquitous in debutante society. he and his little band are hired to play at every ball daphne goes to. why??

a huge plot point is a moment where daphne attends a terribly boring coming out ball for a pair of very meek, shy twins. daphne delights the twins by going out of her way to liven up the party. she convinces ian to play loud rock music and encourages everyone at the ball to dance. the bass is too loud, though, and somehow causes an antique chandelier to fall. this is a big scandal. 

the whole thing that’s emphasized during this scene is that daphne is shaking up the scene and that this music is unorthodox and unwanted at these high society type functions. 

which all begs the question of why these people keep hiring a local rock band for these events. he’s playing at at least one other ball later on in the movie. the music they play doesn’t really fit in with the tone of the events, which are the kind of affairs you’d wear a tiara to. these are very formal events. why are we hiring ian and his band, and where did you guys even find him?? 

in the scene where daphne gets into a fight with somebody, she’s at a fancy outdoor event, the kind of place you’d wear a tea length dress and a big hat. ian is also there, working in the parking lot as a parking lot guy. 

daphne’s thrilled, but she does ask why he’s there. he’s basically like, “i have lots of jobs.” for somebody who hates deb society so much, he does take a lot of jobs at deb events. why don’t you work in a restaurant or something? does that offend your punk rock whiner sensibilities? 

also, he’s boring and i think daphne should go for somebody who makes her laugh. 

Has Spiked Hair

lots of gel, no other info needed. wash your hair. very sculpted hair makes people seem less down to earth. it’s not relatable. 

I Will Fix It

so ian doesn’t help with the plot at all. the only time he helps daphne is in the chandelier scene. the rest of the time he’s just there to date her and talk to her a lot about how cool it is to stand out and not fit in. 

his role in the movie is to cause more tension and place more pressure on daphne. he behaves like she’s making a moral choice, when really she’s making a behavioral choice. 

i think using him to vocalize her conflict is a mistake because it’s framed as Stand Out vs. Assimilate, when that has nothing to do with daphne’s motivation. 

daphne’s Want is to be with her dad, and her Need is to be accepted and wanted. as a result, ian rejecting her because he doesn’t like the choices she’s making comes across as entitled and cruel lmao. it’s directly antithetical to daphne’s journey. she never once says anything about loving standing out. 

here are the ways i think this could be fixed: 

if you want it to be a moral thing, make it a moral thing. 

give ian a best friend who is gay, and after daphne decides to fit in with society, she won’t be seen with the gay friend anymore. or after daphne decides to fit in, have her be super judgmental of people who aren’t succeeding as much as she is. then when she decides she’s fed up, have her stand up for them. 

that would make ian being mad about her “changing” make sense. and we, the audience, would be like, “yeah, this is misguided and goes against what daphne believes.” 

not breaking things or yelling at a royal event isn’t a moral stance. why are you so pressed. get a hobby 

if you want her thing to be standing out, make it standing out. 

standing out isn’t a conflict in the whole movie. henry’s flaw is being passive. daphne’s flaw is being embarrassing at parties because she’s clumsy and she likes to meet new people and dance and stuff. libby has no flaw except that she was a victim of classism. 

the twins at the party are dowdy and shy, and daphne gives them a makeover off screen lmao. ian is single, and daphne dates him. 

so make standing out the recurring issue. make daphne super obsessed with fitting in. in the very beginning, she runs into a girl she knows at a wedding. the girl is kind of privileged and successful, and daphne reveals that she’s a free spirit who doesn’t know what she wants to do with her life. instead, make her hedge and hem and haw and try to make herself seem more successful to the girl. make her Want to be fancy and part of her dad’s high society life, but her Need to “be herself.” 

maybe the twins are secretly super weird and quirky, and they’re depressed trying to fit in; and their big moment revealing being cool now at the garden party is them wearing loud patterns and dancing when the music starts playing. maybe ian is super funny and goofy and the parties suck until he and daphne trick the singer into leaving the stage, and ian jumps onstage and plays a fun song. 

make libby have been rejected because she always started talking politics at henry’s parties and she’s kind of radical. 

maybe daphne: hey, i’m sorry, but you can’t come with me to the party next week anymore. maybe ian: what? how come, i rented a tux for this. maybe daphne: sorry. i’m trying to behave.  maybe ian: haha what does that mean? you’re not trying to fit in with all those stuffy losers, are you?  maybe daphne: no, i’m trying not to ruin things for my dad. it was a big deal when you were super messy at the garden party.  maybe ian: wow. i seem to recall you being “messy” right along with me. sorry for embarrassing you.  maybe daphne: ian, don’t take it personally. we can still hang out sometimes, i just can’t go places with you.  maybe ian: no, thanks. 

i don’t prefer this, because i’m an introvert and people who think someone they don’t personally find interesting are fundamentally worse, are boring and annoying. i wouldn’t find this story relatable or compelling at all. i’m 9000 years old and i’m like, “what if you guys respected each other and participated in society, though?” i wouldn’t enjoy this story. but at least it would make sense why ian’s bothered by daphne not “standing out.”

i think the entire reason this movie was made is that trailer moment from the boat scene where ian’s like, “i don’t understand why you want to fit in, when you were born to stand out!” so that’s how you can keep that dumbass line. 

make ian have an arc himself. 

in the movie, ian is initially helpful and gives some backstory, and then partway through the movie he gets mad at her and breaks up with her. he forgives her at the same time as henry realizes daphne’s unhappy, right at the end. 

instead, make ian become helpful as the movie progresses. 

so first of all, take the scene toward the beginning where he’s in the boat allegedly showing her how to practice being poised, and he tells her about his mom being a disowned deb. move this scene to the beginning of the third act. 

next, make it so that ian was rejected by his grandparents. maybe ian at some point also defied his mom to seek out estranged family; but where daphne’s dad let her stay, ian’s grandparents insulted him and told him they didn’t want him around. they called him illegitimate and a mistake. so when daphne chooses to try to conform, ian is reacting to those feelings rather than projecting his own feelings of personal superiority. 

and finally, make daphne try to fit in much sooner, but make her super bad at it. my roommates and i watched this movie the other night and one of them made the very good point that daphne’s grandmother and father sit her down and are like, “there is a certain way you’re supposed to behave,” but they don’t tell her how to do that. 

so let’s actually keep that part. maybe daphne overcorrects. she knows she’s fucking up, so she believes she shouldn’t be doing anything fun or interesting or making conversation with anyone. this isn’t great. her charm is in how friendly, fun-loving, and proactive she is. she does what she wants and people find it refreshing. make people start to be like, “wow, lord dashwood’s daughter is kind of weird and stiff. it’s clear she isn’t used to places like this, what a rube.” 

now we get to the third act, and the boat scene. in the boat, ian tells her about his family, and apologizes and offers to try and help her, if this is what she wants. now ian is playing more of an active role, and he’s contributing to her life in a positive way. 

because as it is, he does nothing that i couldn’t get rid of very easily. so...

get rid of ian. 

here are the effects ian currently has on the plot: 

daphne riding away on the back of a motorcycle makes henry worry about her, and he realizes he’s developing paternal feelings toward her. he calls libby and libby affirms and empathizes with those feelings. 

ian is in the band at the party where the chandelier is destroyed. 

ian talks a lot about how daphne’s supposed to stand out. 

ian stresses daphne out, which sort of artificially raises the stakes. 

ian shows up right at the end to reward daphne for existing. 

especially because ian’s criticisms are so disconnected from daphne’s motivations, nothing he does is particularly helpful to the plot in a way that he couldn’t be replaced. 

daphne has a tattoo in the movie, and when henry sees it, he’s sort of like, wow, she’s kind of a wild child, she reminds me of me when i was young. instead of a motorcycle boyfriend, make daphne get the tattoo in london. henry calls libby like, “she just got a tattoo!” and libby is like, “i remember you holding my hand while i got my first tattoo.” 

maybe the live band takes a break, and daphne sneaks up and hooks up the speakers to her ipod or something, and she plays super loud music herself. 

i already talked about how pointless this is. also, we don’t need a greek chorus telling us what’s going on. show, don’t tell. 

daphne is already stressed. those motivations can come from inside daphne.

why would henry seek out daphne’s ex-boyfriend and fly him out to new york to impose on daphne and her mom? this is so weird. go home. 

ian is replaceable. to the left, to the left. 

[reachexceedinggrasp]

Fated to Love You here reaffirming my long held conviction that no pure romance drama should be 20+ episodes.

This show is... really something. It is, in the fullest possible sense, A Lot. It starts out as an all-out screwball comedy wrapped around a troperiffic romance fluff plot. Wall to wall clichés, but not in a bad way; in a meta, self-aware, peak performance, finest Velveeta way. And if you’re not familiar with screwball comedy, think ‘light-hearted crack fic with slapstick and farce’. There is nothing believable or grounded about any aspect of it, it starts at Bonkers Level: Platinum and it only climbs higher as it goes on.

(On a side note, this results in the leading man being possibly the most memorable love interest in romcom history. His introduction scene is nothing short of batshit insane and you can't reliably predict how he will respond to anything. I have never seen a main character like this, he is all over the shop and utterly singular. Your first reaction to him is ‘wtf?’, your second and third reactions are ‘really?! this guy??’, your fourth reaction is ‘okay he do be mad hot tho’, your fifth and final reaction is ‘I cannot believe this performance exists, I have no idea what he is doing, but it is amazing.’

Appropriately(?) the actor who plays him is an uncanny Korean doppelgänger of Johnny Depp and- between the resemblance, the mannerisms, and the fearless total commitment to a bold as fuck acting choice with the very serious chops to back it up- I’m not convinced they aren’t half brothers separated at birth.

They do sabotage my happiness several times by starting to randomly style his (long, beautiful) hair very weird, fixing it right when the plot is rapidly circling the drain so he looks his hottest just as the show becomes briefly unwatchable, and then ruining him for the entire second half of the series by shearing it all off. WHY, my anguished cry goes up. Why do you do this?! Why does he have like seven hairstyles over the course of the show? Much later they even briefly give him that ubiquitous Kdrama Second Lead haircut with weirdly forward combed fringe in a solid straight line across the brow all the way back from the crown. It looks terrible on everyone and I hate it so much. This version was less bad than most but it is still bad. Anyway.)

So it’s an incredibly fun time to start but there are some problems with the tone and plot even in the first 9 episodes, including when the lovers start getting along really well right away and they’re both thoroughly decent people so there’s nothing keeping them from having a lovely time together making the best of the circumstances (forced/fake marriage). And, instead of introducing new conflict or advancing one of the dozen conflicts previously established and actually moving forward, there is a painfully contrived rehash of something they already dealt with which is then just never resolved. They make the hero leap to a conclusion his wife is nefarious after he’d already decided once that she isn’t (though it was completely reasonable for him to think she was- the fact that he decided to trust her so quickly just speaks to what kind of person he is), never try to find out more or talk to anyone about it, start pushing her away because of it, and have all this come to absolutely nothing. It only exists so he’ll stop being so incredibly nice to her and they won’t fall in love too fast.

You’d think they would have to eventually clear the air before the romance advances right? No. It wasn’t a real plot point, it was just a reset button to get them estranged and hostile again after they connect over their kindred spirits and we’ve spent a bunch of time showing how profoundly supportive and honourable our hero is. He’s being beautifully mature and selfless because he’s a really good dude (unusual for a romcom drama, right? for the main guy to be nice and considerate? to accept responsibility even if he doesn’t have to? Gun’s weird but he’s wonderful), but the writers need him to be cold and standoffish, so they just make him act like an unreasonable idiot for a while. He’s been thus far hugely proactive and direct and honest about everything, it’s one of his most prominent character traits, but suddenly he’s going to avoid confrontation in favour of being super passive aggressive?? Then the writers never solve it. Never! It just goes away. He got over it, I guess? He decided he doesn’t care if she’s a gold digger who deliberately trapped him? God forbid we have motivations that make sense and organic character drama, right? It's not like he didn't have totally valid reasons to be suspicious that could have led to legitimate conflict our heroine would struggle to vindicate herself from.

But anyway, apart from that kind of lazy bullshit, it’s a fine romance plot with extremely endearing characters who have great chemistry. They are fun and well-rounded and incredibly human despite all the silliness and OTT antics. Their relationship is hugely, hugely engaging and the dynamic is perfect, they really complement each other as characters and organically drive each other's arcs. There's the genuine depth and warmth and quiet pathos so often lacking from this kind of show. Things progress at a semi-reasonable pace. They work up to confessing their mutual feelings and get into some cute shenanigans before making out. It happens soon enough that you are not frustrated, but there's still plenty of build-up. Then- uh oh! We’re only 9 eps in and we have another 11 hours to fill with this fluffy plot!

Time for a bunch of absolute fucking nonsense. Time for our show, which has been so goofy and removed from reality it occasionally resembles a Monty Python skit, which has been so light it asks you to ignore the frankly incredibly fucked up implications of its premise for the sake of comedy (they were both drugged and proxy raped resulting in a pregnancy- the FL was a virgin prior to this and Gun had a girlfriend he wanted to propose to- and it was the FL’s family who did this to them: SUPER FUCKED UP), so farcical that it makes Some Like it Hot look like a gritty crime drama, that show to cover a bunch of serious heavy shit.

First, the rankest of melodrama. The families and the world all turn on our couple, but their love is true and will conquer all- UNTIL, he randomly collapses and gets convenient Soap Opera Amnesia. He’s forgotten their entire relationship and a series of coincidental pieces of misconstrued evidence, the machinations of his scheming ex girlfriend, the Soap Opera Doctor’s advice, and his closest confidants all going along with this conspire to make him believe (AGAIN) that his wife just wants his money.

This whole terrible episode is mercifully brief, but it just gets worse after his memory returns. This is where we get into the Noble Idiocy. The ‘pretend you don’t love them to “save them” from getting hurt by hurting them and making their important life decisions for them as if they don’t have a basic fucking right to decide that themselves’ kind. Which goes on for three FUCK years in the show. He wastes three years of their lives they could have spent together because he’s worried he might die young (in a terrible way) and doesn’t want to put her through that. And, of course, they inevitably get together later, so all he did was make it infinitely worse for her either way. To say nothing of how he thus couldn’t be there for her through the loss of their child. Possibly my most hated fucking trope of all time when done this way.

And, yep, you read that right. This show that has the single most batshit bonkers over the top slapstick I have ever seen in a kdrama, this show has a storyline where the fluffy romcom trope accidental pregnancy ends in massive trauma. Because she was standing around in the street after realising he does remember her (he continued to pretend he had amnesia after his memories came back, it’s all part of the stupid noble idiocy so I glossed over it) and gets hit by a car in the middle of their angst staring.

It is nearly Meet Joe Black levels of hilariously abrupt and incongruous.

so, blah blah, they lose their baby (there’s a very stupid whole thing about her telling everyone to save the baby instead of her- the baby is not far enough along for this to have been remotely viable. She is like 3 months pregnant. They all act like there’s a choice to be made between them and she’s mad at her husband for choosing to save her, but there was NO CHOICE. Either she lives or they both die! ffs I’m so irritated about this) and then he dumps her ~for her own good~~ because he loves her too much to make her go through losing him? So she loses him sooner?? right after their baby died???

Why do people in these stories always think being betrayed and abandoned for no reason and being incredibly angry at someone you love while also not getting to be with them is somehow less painful than making the best of your life together and then losing them against their will? ‘I will make her hate me and then she won’t be sad we broke up/I died!!!!’ is such a fucking galaxy brain take and I despise it with the heat of ten thousand suns. Fuck you, Spider-Man. You aren’t protecting anyone, the villains still know you love MJ and will still use her against you, you clod. Emotionally torturing the person you love is not going to make them not a target because the villains are not as fucking stupid as you two. Anyway.

Amnesia was right where I started fast-forwarding and skipping around (because I couldn’t bear it), but it only goes downhill from there. Maybe I would have toughed out more of the wretched middle part plot twist if they hadn’t cut all the hot guy’s hair off. If I’m going to watch total nonsense tedious melodrama, I need it to at least be pretty. I understand it was a Symbolic Haircut but damnit! Let me have this!

And it ultimately does the thing that kdramas seem obsessed with and which makes me want to claw out my own eyeballs with frustration. There’s a giant time skip, the female lead gets a personality transplant, all narrative momentum is lost, and the characters who eventually (at ENORMOUS length) get together permanently are essentially completely different characters with a completely different dynamic than the couple you were shipping for 90% of the story. It is so FUCKING unsatisfying and it is EVERYWHERE.

Not so much with this one because this one still had a lot of very romantic scenes late in the game, but most that do this, it’s also like all the romance is sucked out of the post-time skip episodes and the ending is a consolation prize instead of a triumphant culmination. Inevitably, the heroine abruptly cools off and is suddenly wary of the hero and wants this Important New Career she never mentioned until the penultimate episode but is now her one true life’s dream. What the apparently irresistible appeal is of these contrived separations and demure conclusions is I CANNOT FATHOM. I’m here for the fucking romance guys, you have not made Citizen Kane, please just indulge me with a big schmoopy finale.

And if not that, it’s frequently that there’s been so many random mood swings and so much shitty behaviour by the end that the relationship doesn’t make sense and you don’t know why they even bother to get back together.

I’m not inherently against all misunderstandings (they are the bread and butter of low stakes romance let’s be real) or attempts at noble idiocy from misguided characters, but the duration and seriousness of the drama these generate needs to be in proportion to how ridiculous they are. If your entire plot can be solved by a thirty second conversation there is NO REASON not to have and the continuation of the misunderstanding is a result of someone just NOT SPEAKING UP when any functional human being would have spoken up seven times by now IT’S BAD.

Do little cliff-hangers, whatever, but don’t draaaaagg out silly misconceptions into Shakespearean tragedy, it’s just wearying. It makes me hate the characters for acting like emotionally constipated toddlers with terminal stupidity. If there is so little trust, so little understanding, and so little basic patience between these people, they probably shouldn’t be dating, so try fucking harder, writers. And noble idiocy that is more than an impulse they fairly quickly see the error of is just insulting. You are not helping the other person, you are being domineering and selfish. I have a whole complex about wasting time and seeing endless parades of characters flushing years down the toilet for literally no reason gives me hives. Especially when the whole issue is about time!

(And, btw, so much of the plot is about how desperately the family needs an heir and everyone still wanting them to have kids the second time they get together- while the ~dilemma used to keep them apart is a GENETIC DISEASE which could STRIKE AT ANY TIME. Do you SEE THE PROBLEM WITH THIS WRITERS????? NO, I KNOW YOU DON’T. ommmmmmmmggggg that’s awful! So they’re just dooming more kids to Soap Opera Brain Disease? And maybe growing up without a father just as Gun did? And no one even considers suggesting adoption??? He never considers that he shouldn’t have biological children despite thinking he shouldn’t have a wife?)

ANYWAY. Please do watch the first nine episodes and the last three, it’s bananas. They are cute as fuck, Gun is The Best, and the tropey romance scenes are top quality. You don't get those things executed so well, it doesn't happen, so you need this in your life. The acting is of a calibre you never usually see in modern romcoms; these are people at the top of their game committing utterly and taking these characters completely seriously. In that way it is pure wish fulfilment for me as someone who loves romance and is almost always disappointed by popular romance media, and thus the show is incalculably special. But skip the middle. Just skip it. It's not worth the suffering. I find the tone whiplash honestly just this side of crass.

I’ve been thinking about it for over a week and I truly love the main characters so it did plenty right, but I just cannot with wedding the two things this show is trying to be together, especially when it goes so hard in two mutually exclusive directions. but also the Meet Joe Black sudden car accident device is not redeemable under any circumstances. Can we never do that again, please.

[midzelink]

The Fate of Zant

The Usurper King’s is a story with which we are all intimately familiar; angry at the injustice of his people’s banishment and estranged by those who refused his rule, he flees the Palace of Twilight in a fit of anger one day, where he looks to the sky and finds his salvation in the form of Ganondorf, whom he believes to be a god.  With his newfound power, he banishes the true ruler of the Twili and usurps her throne, transforming his own people into dark and malformed Shadow Beasts - and with them at his side he invades the World of Light, storming Hyrule Castle and scattering the land’s Light Spirits in all but one fell swoop.  He commits countless atrocities, reducing Kakariko Village to a mere village of three, murdering the Zora Queen as a sheer display of power, and possibly even killing the King of Hyrule himself - but when all is said and done, he meets his demise at the hands of Hyrule’s hero and the very princess he had cursed, exploding in an agonizing but powerful display of the Fused Shadow’s might.

However, there is one scene in particular that always struck me as out-of-place in this overall narrative.  It comes when Ganondorf finally meets his own demise at the hands of Link, and he stands alone on a hill, Master Sword struck center in the scar he received over a century ago.  He gives us his last words - “The history of light and shadow will be written in blood!” he spits menacingly - but before he perishes, we cut to another scene, and are greeted with this:

It’s Zant, another evil man who recently perished himself, and he ostensibly looks down upon Ganondorf, before cracking his neck in a very morose, very fatal way.  We cut back to Ganondorf, and only then do his eyes go white, and the wind blows over the field, signalling that finally, it’s over.

For a long time, I had assumed that this scene was meant to be symbolic: that Ganondorf, having had such a strong connection with Zant, was only able to perish because Zant, too, was already dead.  But now - an incredible thirteen years later - I have come to believe that this isn’t the case, or, at the very least, there’s a chance it might not be, and I’d like to take a moment to talk about that here.

(Credit for this one 100% goes out to @therealflurrin​​, who also gave me permission to make this write-up.  Their conversations are always an excellent source of primo TP content.)

Something that is important to understand about the relationship between Zant and Ganondorf is that it is one of co-dependence; Zant, angry but utterly powerless to do what he thinks needs to be done, is found by the bearer of the Triforce of Power in a moment of outrage and weakness.  Ganondorf, reduced to mere a giant mass of malice and darkness in the Twilight Realm, tells Zant: “I shall house my power in you… If there is anything you desire, then I shall desire it, too.”  From Zant’s perspective, it’s not hard to believe why he believed this to a blessing from a god; in a great moment of need, a powerful entity appeared before him, offering him seemingly unlimited power.  But we know that Ganondorf is no god; that he only approaches Zant for reasons that are entirely self-serving, as a twisted and misshapen light dweller trapped in the realm of shadows.  He allows Zant to house him and his power with the ultimate goal of being “reborn” and returning to Hyrule, tricks the Twili into believing him to be a “god” so that he will carry out his will unquestioningly - but ultimately, Ganondorf needed Zant just as much (if not far more) than Zant ever needed him.

We know from the very scene where Ganondorf’s death unfolds just how deep this co-dependency runs.  It is my belief that the two formed a sort of “soul bond” following their initial encounter, intertwining their fates so that neither could perish while the other still lived; although Zant is not entirely aware of Ganondorf’s true nature, he is at least somewhat aware of this bond:

 “As long as my master, Ganon, survives, he will resurrect me without cease!”

These are his very last words before Midna strikes him down, in a move that ultimately seems to be very final, indeed.  But now we must return to the death of his supposed “master,” and the implications Zant’s appearance has in that moment.  Ganondorf is on death’s doorstep for the second time; the first, at the hands of the Great Sages, it was the Triforce of Power that saved him - and now, here, he sees Zant in his final breaths, a beacon of hope in a great moment of need.  But the scene plays out how we expect: Zant is already dead, and with nothing yet tethering him to life, Ganondorf meets his end, this time, for good.

Except there’s one teensy, tiny problem here, and I’m sure you can see where I’m going with this: Zant and Ganondorf’s relationship is one of co-dependency, as you’ll remember, their souls bound to one another in a fashion not entirely dissimilar to Zelda and Midna’s after the former gave up her own light in order to save the latter.  If this were untrue, then we would not see Zant in the moments leading up to Ganondorf’s death; furthermore, if Zant were somehow already dead despite this co-dependency, then Ganondorf would simply keel over sometime shortly thereafter following Link’s decisive blow with the Master Sword.

Instead, there is a pivotal moment where Ganondorf’s fate is evidently sealed, and it’s the moment where we see Zant snap his neck - a display, which, frankly, was probably far too gruesome for a 10-year-old me playing through the game for the first time.  It is immediately following this scene where Ganondorf reels back, releasing one final, raspy grunt as his life leaves his eyes, and Hyrule again knows peace.  If Zant had died X amount of time before this ultimate battle, it seems very peculiar that Ganondorf would have such a sudden and visceral reaction to it, as if it had happened elsewhere, simultaneously.

So, let’s scrutinize this scene under the lens of their co-dependency; let’s say that, despite the destruction of his body, Zant was able to survive his final blow in some way, as his master still lived on.  Following this, and going back to the initial scene, we can arrive at two simple conclusions:

That Zant was alive up until the very moment that Ganondorf perished, and

in that final, critical moment, he chose to sever their bond.

The question, then, is…why?  Why would the Usurper King, who had once thought the Gerudo King his god, choose to sever the only thing keeping him alive?  It’s true that Zant was undoubtedly a deeply troubled and hateful man; he was angry at the world of light and its inhabitants, whom he saw as oppressors, perhaps even rightly so - and he was angry at the Twilight Realm’s own “useless, do-nothing royal family that had resigned itself to [a] miserable half-existence.”  But Ganondorf’s spirit is one of pure malice, and it had invaded the world on the other side of the mirror long, long before the story of Twilight Princess begins.  One cannot help but wonder exactly what kind of effect such evil might have had on the realm and its denizens, though it is not hard to imagine the harborer of Demise’s Curse slowly and carefully plotting from the shadows, decades spent as whispers in the ears of the unknowing Twili until, finally, one suitable enough to become his vessel appeared - one who was vulnerable and angry enough to listen to those whispers, and would submit to anyone and anything if it meant obtaining the power to do what they thought was right.

Perhaps, then, Zant’s story is not one of an evil, bloodthirsty tyrant who met his rightful end at the hands of Link and Midna; perhaps his is a tragedy, the story of a man who fell victim to the malice residing within Ganondorf, only worsened the moment he became the Gerudo King’s vessel.  Perhaps - lost in fugue state in the Twilight Realm, formless and lost, but still otherwise alive - it took the apparent death of a particular someone at the hands of his “god” in order to finally snap him back to his senses.

(Zant could have simply killed Midna when he usurped her throne, yet he didn’t.  I personally think the two are related, but I can talk more about that in a different at a different time, as it is far more headcanon than analysis.)

Ultimately, nothing Zant could do could ever wash his hands of the blood that stained them, no matter how much Ganondorf might have in part been responsible - but in this one, critical moment, Zant, who had done such wrong and hurt so many, chose to do the right thing, even though that meant saving Hyrule, a world which he had so despised.  Maybe he, too, perished when he severed his bond with Ganondorf - one final, noble act - or maybe he didn’t.  Maybe, just maybe, on the other side of the mirror, there is yet another story waiting to unfold, one of a man who had done such wrong and hurt so many, willing to do anything and everything necessary to prove that he, too, is capable of change…

[filmmakersvision]

Kumbalangi Nights - Character Analysis

Disclaimer: This article contains SPOILERS.

July 7, 2019

by Inakshi Chandra-Mohanty

Kumbalangi Nights, is a Malayalam film, released in 2019, about four brothers who share a complex relationship with each other, due to the absence of their parents, and how the presence of three women in their lives change them. Below is a detailed character analysis of each main character in the film.

Saji – Soubin Shahir

As the eldest brother in the family, Saji is expected to take care of his three younger brothers after his father passes away and his mother leaves to become a nun. However, when the film opens, we see a broken family. He is constantly fighting with Bobby, he is estranged from Bonny, and Franky is detached from him. His inability to take care of his brothers, makes him mentally disturbed, and he reaches his breaking point when out of rage he slaps Franky, and in response Bonny beats him up. Even though Bonny id not a blood relative of his as Bonny’s mother and Shammi’s father married after those two were already born, he and Bonny became inseparable within a few days of their parents’ marriage. So when Bonny beat him, Saji was completely broken.

Saji was a complete antithesis to Shammi. While Shammi was the representative of what it traditionally meant to be a man, Saji broke the norms, by showing that men have emotions and can express it as openly as women do. Despite being the eldest in the family, he wasn’t afraid in asking his youngest brother to take him to a psychiatrist, when he was feeling low. Normally, an elder brother would be like a parent, and would have to mask his emotions and hide his vulnerabilities from those that he was taking care of. But Saji opened up and that was what allowed Franky to connect with him.

Shammi – Fahadh Faasil

We know there is something wrong about Shammi, when he is first introduced. While in the bathroom shaping his “masculine” moustache, he notices a bindi stuck on the mirror and scrapes it off, washing it away in the sink. He then proceeds to look at himself in the mirror and repeat a dialogue from an advertisement in a deep, “manly”, voice. His character reeks of toxic masculinity from the first frame, as he is unable to bear even a small blemish of femininity on his idea of the perfect man. He has this need to control everything around him. Despite living as a “ghar jamai”, in his wife’s home, since he is the only man in the household, consisting of his wife, his mother-in-law, and his sister-in-law, he sees himself as the patriarch of the family. This is apparent in the scene where he sits down to have dinner with the whole family. He and his mother-in-law sit beside each other at the table, but before he begins eating, he makes an excuse that there isn’t enough light where he is sitting. He then goes on to slyly move his chair to the head of the table, establishing himself as the head of the family.

In the shocking climax, we finally see this toxic masculinity and need for control extend beyond just simple actions and turn into fully psychotic behavior. He is vehemently against his sister-in-law, Baby’s, relationship with Bobby makes it clear to her that they do not have a future together. However, when she refuses to break the relation, he becomes rude and controlling with her, leading to his wife, Simi, standing up for her sister. At this point, Shammi realizes that he has lost control over his wife and that puts him over the edge making him violent. As he is fighting with Bonny and Saji, after imprisoning his wife and her family, he consistently yells phrases like “I am the man” and makes it clear to the two brothers that they are fighting what he considers a “real man”. Finally, when he is captured, it marks the downfall of “toxic masculinity.”

Baby – Anna Ben

Baby is a strong independent woman, trying to live her life on her own terms. She guides her relationship with Bobby. Having had a crush on him in school, she is the one to initiate the relationship and take it forward. She even rebukes him for trying to come close to her, despite her repeated refusal. Her personality and her values are strong, which is why she is never afraid of saying what she feels, whether it is to Bobby or to Shammi, her brother-in-law. Unlike most girls, she doesn’t expect her boyfriend to be her savior and instead fights for herself against her family. She openly challenges her brother-in-law that she will elope with courage that very few characters in this film have.

She earns money through showing tourists around the village and also giving up her family guest house for rent to these tourists. Unlike her mother and sister, she isn’t fearful of her brother-in-law, Shammi, and in many instances stands up to him. For example, when Shammi throws out Nylah for allowing Bonny to stay with her overnight in the guest house, Baby questions him, despite her mother instructing her not to say a word. Even at the end, when Shammi tries to manipulate her into giving up on Bobby, she stands up to him and refuses to end her relationship with Bobby, even threatening to elope.

Bobby – Shane Nigam

Bobby is the most frustrated of the four brothers. He constantly fights with Saji and is angry at Bonny for abandoning them, leading him to seek refuge outside in Baby. Living in a house in an absence of any female figure, he initially doesn’t know how to behave with women. Early on in their relationship, he misbehaves with Baby, and tries to get intimate with her to which she refuses multiple times ultimately slapping him out of frustration. Unable to bear the humiliation, before leaving he says to her that he is the man. Surrounded by only men in his life, he has only learnt how to behave with women by watching movies, and clearly, Arjun Reddy, the film they are watching at the time of this incident, has an impact on his psyche. But eventually, after spending more time with Baby, and spending more time with women in general after the women enter his home, he begins to understand a different way of interacting with women and tries to identify with their perspective as well.  

Franky – Mathew Thomas

The youngest of the four brothers and the first to be introduced in the narrative, Franky is mostly the silent observer as his brothers go through many tumultuous emotions. Seeing his brother’s constantly arguing with one another, and at the same time missing the presence of his mother, his home has now become a matter of shame for him. This leads him to lie to his friends that his family is ill, in order to prevent them from visiting his house. Out of his three brothers his only proper bonding is with Bonny, but Bonny spends most of his time away from home, so most of the time Franky is alone.  Without a mother figure in his life, he feels lost and lonely. Therefore, when a female presence enters the house, he is rejuvenated.

Due to him being the youngest, his older brothers always keep him out of important matters. He is always seen as the “child” in the family. For example, when Bobby wants to speak to his brothers about keeping two women in the house, he refuses to speak in front of Franky and takes Bonny and Saji to another room to have a conversation. Soon, Franky begins to experience FOMO (Fear of Missing Out), and in the climax of the film follows his brothers as they go to check on Baby. Eventually his presence is what leads to Shammi being caught and defeated by the brothers.

Bonny – Sreenath Bhasi

Bonny represents an elder version of Franky. He is ashamed of his home and of his brothers, barring Franky, and rarely returns home, choosing to spend most of his time with a new gang of friends. Witnessing Bobby and Saji fight on a daily basis bothers him, and rather than trying to serve as a mediator, he instead decides to live in denial and avoid them whenever possible. With Franky, however, he has a very strong bonding. He serves as a guiding force for Franky, unlike the other two brothers who are too busy fighting with one another. The fact that he is unable to speak, doesn’t hinder him from opposing his brothers, and from later finding love in Nylah. Nylah, and his love for her, are what ultimately lead him back home. Having a female presence in the house makes the brothers cautious and gives Bonny the opportunity to reconnect with Saji and Bobby.

Sathi - Sheela Rajkumar

Sathi is the mother figure who comes into the lives of these four brothers as an angel. Despite Saji indirectly being the reason for her husband’s death, she doesn’t have any hard feelings against him, as she know how much her husband cared for him. She even goes along with him to his house as she needs help after giving birth to a baby. The scene where she and Saji arrive at his home on a boat is one of the most beautifully shot scenes in the film. Sathi, with her head wrapped in a scarf holding the baby in her arms, looks like a mother figure. Nylah is a female presence that these boys desparately need, but Sathi is representative of the guidance they need. Having a baby and two women, a mother and a foreigner, in the house, turns these four aimless boys into mature men.

Simi - Grace Antony

Married to a controlling man, Simi is expected to be the perfect caring wife, who quietly listens to her husband. She never objects to this position as she believes that it is her duty to be the submissive force in the relationship. Her husband is her god as he came as a savior to their family taking over the role of the patriarch of the family. She doesn’t dare to say a word against him and her mother also makes sure her two daughters don’t oppose her son-in-law. However, when the time comes need, Simi does raise her voice. When Shammi expresses his disapproval of Baby’s affair Simi doesn’t disagree and even lets him speak to Baby as an elder brother. But, when Baby refuses to listen, Shammi gets angry and begins to speak rudely to Baby, finally making Simi reach a breaking point. For the first time, she stands up to her husband, quietly but firmly. And this moment of feminine power is what ultimately leads to Shammi’s outburst of psychotic and violent behavior.

[you-are-my-neverland]

Book Recommendations (1)

Lost in the Sun by Lisa Graff

Summary:  “ Everyone says that middle school is awful, but Trent knows nothing could be worse than the year he had in fifth grade, when a freak accident on Cedar Lake left one kid dead, and Trent with a brain full of terrible thoughts he can't get rid of. Trent wants middle school to be a fresh start, if only he could make that happen. It isn’t until Trent gets caught up in the whirlwind that is Fallon Little—the girl with the mysterious scar across her face—that things begin to change. Because fresh starts aren’t always easy. Even in baseball, when a fly ball gets lost in the sun, you have to remember to shift your position to find it.”

Personal thoughts: It’s definitely a book geared to more younger audiences, but I think it’s a good read for all ages. I actually haven’t read it in a while, but Trent is a character I think lots of people can relate to. He struggles with anger and rage; emotions he has no idea what to do with. Fallon is a quirky character that you can never quite get a hold of, and she makes for a spectacular story. 

Starfish by Akemi Dawn Bowman

Summary:  “ A half-Japanese teen grapples with social anxiety and her narcissist mother in the wake of a crushing rejection from art school in this debut novel. Kiko has always struggled with saying what she’s thinking, and an overbearing mother makes things even harder. Her one hope and dream is Prism, a fancy art school. But then Kiko doesn’t get into Prism, at the same time her abusive uncle moves back in with her family. So when she receives an invitation from her childhood friend to leave her small town and tour art schools on the west coast, Kiko jumps at the opportunity in spite of the anxieties and fears that attempt to hold her back. And now that she is finally free to be her own person outside the constricting walls of her home life, Kiko learns life-changing truths about herself, her past, and how to be brave.”

Personal thoughts: ‘Starfish’ is a book that touches on a lot of sensitive issues, such as emotional and verbal abuse, presumed sexual assault (my memory isn’t that clear on what exactly happened so djkadhf), and Kiko herself is a very complex character. She’s a survivor who has to face every survivor’s worst fear; the abuser returning. Art is her only escape, but when that too fails, she feels like she’s spiraling. On many levels, she’s a character so many people can connect to, and the story really shows the reality of life. 

Turtles All the Way Down by John Greene

Summary:  “ Sixteen-year-old Aza never intended to pursue the mystery of fugitive billionaire Russell Pickett, but there’s a hundred-thousand-dollar reward at stake and her Best and Most Fearless Friend, Daisy, is eager to investigate. So together, they navigate the short distance and broad divides that separate them from Russell Pickett’s son, Davis. Aza is trying. She is trying to be a good daughter, a good friend, a good student, and maybe even a good detective, while also living within the ever-tightening spiral of her own thoughts.”

Personal thoughts: You’ve probably either read or heard of this book, but if you haven’t yet, this is a definite book you should read. Aza is really an intriguing character, and one of the things I like about her is that she doesn’t really get a happy ending. The book is her trying (and sometimes succeeding, sometimes failing) to find a way to cope with her disorder. It’s a really deep book (lots and lots of good quality quotes). It’s not supposed to be a positive or negative book; it shows the real struggles of dealing with mental illnesses and trying to balance your normal life along with it.

Six of Crows by Leigh Bardugo

Summary:  “Ketterdam: a bustling hub of international trade where anything can be had for the right price–and no one knows that better than criminal prodigy Kaz Brekker. Kaz is offered a chance at a deadly heist that could make him rich beyond his wildest dreams. But he can’t pull it off alone…A convict with a thirst for revenge. A sharpshooter who can’t walk away from a wager. A runaway with a privileged past. A spy known as the Wraith. A Heartrender using her magic to survive the slums. A thief with a gift for unlikely escapes. Six dangerous outcasts. One impossible heist. Kaz’s crew is the only thing that might stand between the world and destruction—if they don’t kill each other first.”

Personal thoughts: This book is genius. It’s part of a duo-logy, and is set in the same universe as the author’s Grisha trilogy. In my opinion, you don’t have to read the Grisha trilogy (I didn’t), though it would probably be helpful. You’re able to figure things out pretty quickly though. I’m serious about this book being spectacular though; it’s one of those books where the main character is so clever that you wonder how the author possibly wrote them. Kaz is a trickster and a conman, and makes the book filled with twists and turns that leave you shocked. The other five main characters will grab your heart just as much though; wily and clever and heart wrenching with every page and every new thing you learn. It leaves you holding your breath-but don’t hold it for too long, because there is a sequel, Crooked Kingdom (I...sobbed).

The Cruel Prince by Holly Black

Summary:   “Jude was seven when her parents were murdered and she and her two sisters were stolen away to live in the treacherous High Court of Faerie. Ten years later, Jude wants nothing more than to belong there, despite her mortality. But many of the fey despise humans. Especially Prince Cardan, the youngest and wickedest son of the High King. To win a place at the Court, she must defy him–and face the consequences. As Jude becomes more deeply embroiled in palace intrigues and deceptions, she discovers her own capacity for trickery and bloodshed. But as betrayal threatens to drown the Courts of Faerie in violence, Jude will need to risk her life in a dangerous alliance to save her sisters, and Faerie itself.”

Personal thoughts: For once, we meet a main character as twisted and cutthroat as the ‘villain’-who also happens to be the love interest, if you can call them that. Jude is vicious and bitter after surviving for years as a human in Faerie. The Fey are cruel, tricky, deceptive, especially towards her. This whole book was just awesome, really, but in a dark way. Jude goes past just trying to save herself; and in turn endangers so many people.

The Raven Boys by Maggie Stiefvator

Summary:   “An unlikely group stumbles across ancient magic in Virginia: Blue, the daughter of the town psychic in Henrietta, Virginia, who has been told for as long as she can remember that if she ever kisses her true love, he will die. Gansey, who seeks the Welsh magic he believes saved his life. Adam, who searches for a way out of the circumstances he was born into. Ronan, who seeks to recover the magic of his childhood.”

Personal thoughts: Another series I give my heart too. The first book in The Raven Cycle series, this book is rich with mythology set in a realistic world. Rich boys with backstories, headstrong girl with physic abilities, ley lines-what could go wrong? It’s a story about youth, mystery, romance, friendship, fantasy-a little bit of everything thrown in between. Each character is unique, from your perfect rich boy Gansey to scholarly Adam, cold Ronan and spunky Blue. Even if the book doesn’t sound exciting, I can guarantee that you’ll probably be completely absorbed in one way or another. 

Conviction by Kelly Loy Gilbert

Summary:   “Ten years ago, God gave Braden a sign, a promise that his family wouldn’t fall apart the way he feared. But Braden got it wrong: his older brother, Trey, has been estranged from the family for almost as long, and his father, the only parent Braden has ever known, has been accused of murder. The arrest of Braden’s father, a well-known Christian radio host, has sparked national media attention. His fate lies in his son’s hands; Braden is the key witness in the upcoming trial. Braden has always measured himself through baseball. Now the rules of the sport that has always been Braden’s saving grace are blurred in ways he never realized, and the prospect of playing against Alex Reyes, the nephew of the police officer his father is accused of killing, is haunting his every pitch. Braden faces an impossible choice, one that will define him for the rest of his life, in this brutally honest debut novel about family, faith, and the ultimate test of conviction.”

Personal thoughts: Honestly, this is a book I can reread over and over again. Maybe because it’s a book that focuses on Braden’s faith and his struggle as one of the main topics, but it really pulled me in. I practically devoured this whole book in one day. Braden really struggles internally on what is the right thing to do, as well as externally when his brother, Trey, returns to be his guardian. It focuses a lot on their brotherly relationship-in which of them have two very different perspectives of what their lives have been like-some romance, but mostly it’s a book about Braden himself. When the line between right and wrong is blurred, what path do you choose?

[mermaidsirennikita]

Book Roundup April/May 2019

This spring has been exceptionally difficult and busy for me on both a personal and professional level.  I really haven’t had the time to read as I’d like--so I’m combining April and May.  With that being said, there were some good books within the past couple of months--Wicked Saints by Emily A. Duncan was DEFINITELY a huge highlight.

Call Me Evie by J.P. Pomare.  2/5.  Kate is held in a remote cabin by Ben--who holds her captive while claiming to protect her from the fallout of something terrible that she did.  The trouble is that Kate can’t remember the night that terrible thing happened.  As she struggles to piece together her memories, what Bill tells her isn’t matching up--and she must reconcile who she is with what she did.  I’m sure that lots of people would love this book, but the pacing was thrown off for me by all of the flashbacks.  It’s not you, it’s me.

Wicked Saints by Emily A. Duncan.  5/5.  Nadya is a Kalyazi cleric, and as such she can commune with--and draw supernatural power from--a pantheon of gods.  She’s spent her life in a monastery; however, a looming threat finally materializes in the form of Tranavian invaders, heretics that send Nadya on the run.  Falling in with Malachiasz, a Tranavian defector, she sets out to end the war she only way she knows how: by killing the Tranavian king.  Meanwhile, Serefin, the heir to the throne, is summoned home from the front--only to discover that he’s in more danger at home than abroad.  This is a wonderfully atmospheric and delightful novel.  Emily never holds back--you get monsters, you get royal politics, you get alcoholic princes and questions of theology.  And there is a romance that I’m absolutely obsessed with, which is always major for me.  I loved this book to death, and there is one bit at the very end that just got at my soul.  I can’t wait for the next installment!

Where the Crawdads Sing by Delia Owens.  3/5.  Kya is a young child when her mother walks out on the family; it isn’t long before her brother and father follow suit, leaving Kya as the borderline-feral Marsh Girl.  At first, she’s dependent on the kindness of strangers.  But gradually--with the help of friends and Tate, a boy who will become her first love--she becomes independent, if never truly accepted by the nearby townspeople.  Her way of life is shattered when a young man shows up dead--and she is accused of murder.  On the plus side, this book was very engaging, and some the descriptions were at times beautiful.  If you’re from the South, some things will indeed ring true.  It’s not perfect, but it is engaging, and a fun if predictable read... until the last third or so, when everything kind of collapses and the book’s flaws are emphasized in a big way.  I really, really disliked how much Owens went in on the “untouched wild beauty” thing with Kya.  It felt very fetishistic.  She’s this beautiful poor white girl living feral in the marsh... learning everything she knows from black people, by the way.  And all the men love her and want to have sex with her.  I’m honestly just torn about this one; I feel like I would have given it a lower rating if not for how much I did enjoy the first chunk.

The Bride Test by Helen Hoang.  4/5.  Khai is accomplished and handsome; however, he’s never had a girlfriend.  On the autism spectrum, he’s convinced himself that he’s incapable of love.  His mother has other ideas--and while visiting her homeland in Vietnam, she meets Esme.  She offers the single mother a golden opportunity: visit America for the summer and convince Khai to marry her.  If he refuses, she can go home, no strings attached.  It’s too much for Esme to possibly turn down--but making Khai fall in love with her is a much more difficult task than she first imagined.  This wasn’t quite up to par with Hoang’s debut (the delightful Kiss Quotient) but I did really, really like it.  Her trademark humor is there, as is her sensitivity and knack for sweet romance.  Khai and Esme’s story is just kind of lovely.  (And sexy.)  I did feel like the ending was a bit rushed--I wanted more.  But I’d recommend it any day, and can’t wait for Hoang’s next book.

Little Darlings by Melanie Golding.  2/5.  Following the birth of her twins, Morgan and Riley, young mother Lauren is exhausted.  Therefore, few believe her when she says that she saw a woman slip into her hospital room and attempt to replace her babies with strange creatures.  A month later, the boys briefly go missing in the park--and when they’re found, Lauren insists that the things that have been returned to her are not her children.  This may have been a bad fit for me--I love magical realism and changelings, but the overwhelming depressing darkness of this book was just... not even vaguely enjoyable.  And it did help put me off of having children for a looong time, if ever.  I couldn’t focus on the writing quality; it was just so dour.

From Scratch by Tembi Locke.  5/5.  This memoir tracks the first few years following the death of Tembi’s husband, Saro, following a long battle with cancer.  As she visits his Sicilian family each summer with their daughter, she flashes back to the early days of their courtship and marriage--as well as her in-law’s initial struggles over the fact that their Italian chef son married an African-American actress.  “From Scratch” is LOVINGLY written and painfully beautiful.  It made me want to be more open to falling in love, as cheesy as that sounds--what Tembi and Saro shared was clearly worth all of the pain she’d feel after seeing him slowly deteriorate and ultimately losing him... which is saying something.  Locke also has a talent for writing in general, but especially about food.  I appreciated her human examination of the prejudice she faced; it’s really obviously on her to decide whether or not to reconcile with people who treated her with clear racism, but...  She also clearly loves and is loved by her mother-in-law now.  The honest complexity in that relationship is refreshing.  I don’t usually love memoirs, but this one was fantastic.

The Unlikely Adventures of the Chergill Sisters by Balli Kaur Jaswal.  4/5.  Rajni, Jezmeen, and Shirina aren’t estranged, exactly, but they don’t have much in common either.  But after their mother’s death, it’s revealed that she charged them with a journey through their ancestral homeland of India.  With each sister carrying secret struggles, they unite in an attempt to fulfill their mother’s wishes--and come to terms with their relationships with not only her, but each other.  Balli Kaur Jaswal is so good.  And even if I didn’t love this quite as much as Erotic Stories for Punjabi Widows, it’s still quite good.  She’s a rare author who can blend genuinely funny moments with high drama (that is often socially aware).  There is one subplot that I didn’t super love due to its implications, but otherwise I really enjoyed the book and the sisters.

Pride, Prejudice, and Other Flavors by Sonali Dev.  3/5.  Trisha Raje is a successful surgeon--who is nonetheless alienated by her blue-blooded family due to her history.  When she meets DJ Caine, a high-profile chef in the running to cook for the prestigious fundraisers supporting her brother’s political campaign, it’s dislike at first sight.  He can’t stand her snobbish bossiness; she finds his assumptions about her frustrating and demeaning.  But even if DJ didn’t need the job, they can’t avoid each other--because Trisha is the only person who can save DJ’s terminally ill sister.  So: Dev says that this is very loosely inspired by Pride and Prejudice, but as the title suggests it’s VERY inspired by Pride and Prejudice.  Points for the genders being swapped here--though DJ does stand in part for Darcy, he’s the Lizzie of this story--and Dev does a great job of bringing cultural backgrounds and social issues into the forefront without beating us over the head with it.  But for whatever reason, I never really clicked with Trisha and DJ’s romance, and the Wickham side of this was... not great.  Still, it’s a fun read and it made me very hungry.  Not bad for a day by the pool!

[howwelldoyouknowyourmoon]

Introduction to The Tragedy of the Six Marys book by Pak Chung-hwa

This is the Korean Edition

▲ The Tragedy of the Six Marys – Korean edition 1996 newspaper ad for “An Unofficial History of the Unification Church.” which is the name the book was given in Korea. 野錄 統一敎會史  (세계기독교 통일신령협회사) 박 정 화 외2인 지음  (前 통일교창립위원)

_____________________________________

Introduction by Pak Chung-hwa (from pages 279-282 of the Japanese edition)

I started to write this book in 1985. I decided the title of the book should be The Unofficial History of the Unification Church. If I express the title in Japanese it would be called A Documentary on the History of the Unification Church.

The purpose of this book is to make a record of my experiences with Sun Myung Moon during the 13 years I spent with him, so people may know what is behind the facade or illusion [of the Unification Church].

For the years before and after the founding of the Unification Church [in 1954], I was in a position to get to know the despicable misconduct of Sun Myung Moon, who did not behave as a religious person, but nevertheless proclaimed himself to be the Second Advent of Christ.

Under the pretext of the “restoration principle”, he had sex with anyone he could lay his hands on whether they were married women or students. He made one girl pregnant and forced her to illegally stow-away to Japan where she gave birth [to Hee-jin Moon]. Such actions carried out by a human being cannot be forgiven.

However, at the time I was a disciple of Sun Myung Moon and consequently I was hoping that it would ultimately lead to their happiness. I could only watch over them, since I believed in the teachings of the principle.

I knew too much about the misdeeds of Sun Myung Moon. In 1962, he betrayed me in an underhanded way and so I cut off all ties with him.

Almost twenty years later I was asked to visit the headquarters church by former colleagues and subordinates (who had now become senior leaders) and I decided to accept.

The expectation from the church was to use me as a valuable living witness to the early days. However, they wanted to get me to speak in front of the believers only within certain parameters (such as the difficult time when Sun Myung Moon travelled south from the [Heungnam] prison). But I also had a secret reason to agree. I wanted to know the fate of a large number of believers after I had left – the ones who had shared joys and sorrows in the Unification Church with me. What I discovered were the tragedies which I have described in this book.

Those women who followed Moon, believing that they would be happy if they believed in the principle and Moon, later became very poor and had to worry about where their next meal would be coming from – they existed like the living dead. They became like pathetic dying plants because of Moon.

That was my motivation to undertake this book – and these women urged me to publish it as soon as possible. As far as I know, when they were young, all of them were wealthy.

That is why Sun Myung Moon latched on to them. They lost their virtue, their property and their families, and they became estranged from their children. Now in old age they live lonely lives.

As I knew the process of their demise [to being virtual prisoners], I was keenly aware of an obligation and responsibility to publicize the facts.

However, on the other hand I also felt anxiety and concern. At that time the political situation of Korea was that it was under a military government. Some in powerful positions, or with authority, in the army were in communication with the church behind the scenes. There was no way they would permit such a publication.

Mr. Tahk Myeong-hwan who wrote the “recommendation” for this book is an example. Mr. Tahk, who has continued his criticism of the Unification Church, was one day kidnapped by the KCIA and was beaten on his back. This left a big scar that will never go away in his life. Even after this, Mr. Tahk has persevered.

In my case the problem is different. I do not fear repression through power and violence. I am now 81 years old and I am not well. I am recuperating from cerebral infarction. With my difficulties I fight as best I can. As this is equivalent to my last message – which I will write with every drop of life left in me, I no longer fear for my life, but my purpose cannot be fulfilled if I am killed before I achieve the publication of this book.

I wrote the manuscript bit by bit, and waited for the right time.

In due course, President Kim Yong-sam, who is popular as a serious Christian elder, was born. Due to his brave decisions, the purification of Korea in political circles and other fields is taking place at breakneck speed.

With that background, I came to meet the President Shigeto Saito of Constant Friend Publishing who visited my humble far away home in Incheon, and committed to the publication of this book that I believe in from the bottom of my heart. The desire I had for many years is coming to pass. I am truly delighted.

The hard work of organizing, categorizing, translating, writing and editing the 6,000 pages of Korean-language manuscripts for publication progressed more quickly than I expected. I was grateful for that.

At this opportunity I would like to give my sincere thanks to Constant Friend Publishing of Korea and Japan, to Mr. Kim Ki-son from Busan for translations, Mr. Chi-yong from Busan who is studying at university in Japan, and Kinoshita san and other publishing staff at Constant Friend Publishing.

I am going to donate the royalties of this book for the relief of those who were sacrificed by Sun Myung Moon and are now suffering in their old age.

Finally, I want to offer a sincere prayer to the spirits of “the victims of Sun Myung Moon and Unification Church” who have died without finding real happiness.

October 1993

Pak Chung-hwa

Link to an English translation of the book (work in progress)

https://tragedyofthesixmarys.com/

______________________________________________

Remarks from Constant Friend Publishing • Editorial Department

Mr Pak Chung-hwa’s manuscript consisted of about 6,000 pages, each with 200 characters. He wrote down his conversations with Mr Sun Myung Moon, and the contents of their meals. It is a valuable record for understanding the early period of the Unification Church. However, the text was drastically cut down for the Japanese and Korean books that were published.

______________________________________________

cover band from the Japanese book:

The Unification Church was a sex cult! Sun Myung Moon’s wrongdoings included robbing married women of their property and causing virgins to give birth. The author, who was a former close aide and one of the founders of the Unification Church, said he wanted “to reveal everything before I die” perhaps as his last will (or testament) before death! “A testimony in the last chapter is a confession of one of the six Marys who practised the sex relay.”

Sayings of Sun Myung Moon – from women [followers] “It is the restoration of women that Jesus failed to achieve when he was alive in the world. First of all, it is necessary to wrest back the woman who fell through having sex with the Archangel Lucifer. This is done by the same method through depriving six husbands of their wives – these are the six Marys.” “After restoring the Six Marys, the second coming Messiah then chooses a virgin who has no experience of sex. She is established as Eve in the [marriage] ceremony of the Lamb.” “Satan is the ruler of this world, but all the possessions in this world originally came from God – so all the things Satan uses, such as the husband’s money and the property in the house, must be donated to me even if they are stolen. Although we might break the laws of the world, God will forgive us.”

Kouyu Shuppan publications (Constant Friend Publishing) Non-Fiction Books

_________________________________

LINK to the full KOREAN book (with photos) HERE

LINK to the full JAPANESE book (with photos) HERE

_________________________________

Introduction to the Tragedy of the Six Marys website

The Tragedy of the Six Marys book:

About the book

Table of Contents

Six Marys Chapter 1

Six Marys Chapter 2

Six Marys Chapter 3

Six Marys Chapter 4

Six Marys Chapter 5

Six Marys Chapter 6

Six Marys Chapter 7 (complete translation)

–  Eu Hyo-min (36 couple)

–  Eu Shin-hee (joined in 1953)

–  Kim Deok-jin (wrote many ‘Holy Songs’)

–  Postscript by Pak Chung-hwa (moved to be the Introduction to the book)

–  Appendices

[saints-row-2]

film watch day 12: Apostle

Apostle dropped today and i was pretty excited about seeing it but man it missed the mark for me by a few miles. looking at reviews im apparently the only person who thought this so maybe im just fucking stupid but i got as much right to run my fuckin mouth as anyone else on the internet so lets break this shit down. spoilers ahead sorry!

Apostle is about Thomas Richardson, who is called by his estranged father to travel to a distant island where a cult is holding Thomas’ sister to ransom. Thomas travels undercover to the island to try and rescue his sister, only to become embroiled in the problems of the cult.

ok so straight up the first goddamn issue with this movie is that i couldnt fucking follow it. i found it wildly unclear who particular characters were meant to be or why they were important, and struggled hard to follow the action. it doesnt help that multiple scenes are so dark its hard to actually see whats going on. the pacing felt so haphazard at times; things very suddenly started breaking bad halfway through the movie and i wasnt entirely clear on why everything had to go to shit so rapidly.

theres an extended subplot in the film about a young man and woman on the island who are in love. the woman is pregnant. their love is forbidden, but its never explained why. it later becomes apparent her father hates him, but thats not explained why either. i would have been willing to wave this away if thered been like, two lines of dialogue about her father hating him for A Reason, but the film doesnt afford us even that. this subplot adds nothing to the major plot, themes, or development of the main character. you could remove it from the film entirely and it would affect more or less nothing. it would reduce the number of scenes the main villain has, but it wouldnt affect his motivation or his actions later in the movie. it takes up maybe an hour of screen time and is of no consequence at all.

the time spent on that plot would have been much better spent on developing... anything. i obviously dont expect or particularly want detailed explanations of the magical shit, but the film brings up so many themes and does nothing with them. is Thomas the new saviour of the cult? is he tied to the goddess? is he going to fall for the charms of the leader? is he going to overcome his opium addiction? is he going to deal with his hatred of god? 

an extended moment is given to Thomas talking to the daughter of the leader of the cult about her difficult relationship with her father after the death of her mother. shes a pretty important character in the movie, and so is the leader of the cult. is this relationship ever brought up again? Nope! they have, to my recollection, one scene together. Thomas talks to her extensively about coming to terms with the bad things her father has done. does this ever get resolved? no, and in fact, her father is ultimately portrayed as a noble character and a hero. does she have a response to that? no.

the characterisation in this film is incredibly scattershot. characters do shit because the plot dictates. i could not possibly explain what the main villain’s motivation is. information and exposition get dolled out at random. i couldnt even tell you what Thomas’ personality is, because it all gets dropped abruptly halfway through the film. 

not even the imagery of the cult is consistent. are they a christian sect? a pagan cult worshipping nature? are they politically motivated anti-royalists? are they communists trying to forge a more equal society? all of these get brought up and nnnnnnone of it gets expanded on. not even the fucking nature theme, something that for a fucking folk horror movie should be at the heart of the film, is only draped on in particular areas. 

i found the film overall confusing, inconsistent, and often stupid in very ridiculous ways. theres a scene where a character shoots a gun at a wall, causing a chunk in the wall to be blown out and fire from outside to shoot through the hole. this fire affects nothing despite the attention paid to it. a character ten seconds later shoots the same gun at the same wall and it does nothing. sure, i guess. 

[aion-rsa]

Lucifer Season 6 Ending Explained

https://ift.tt/eA8V8J

This article contains Lucifer Season 6 spoilers.

No Netflix resurrections this time, as Lucifer has departed this mortal realm after six terrific seasons. The show’s fans managed to rescue it from cancellation once, and the streaming service stepped up to keep the party going at Lux several times, but we’ve had to say goodbye to Lucifer, Chloe and the rest of our faves for good now.

There was a lot going on in the final season, as you might have expected before you even hit play on the first installment. There were certainly plenty of loose ends to tie up from Season 5, and a big new season arc to deal with after Lucifer’s estranged daughter from the future arrived on the scene with very bad tidings: Lucifer was set to suddenly vanish, leaving soon-to-be mom Chloe on Earth alone, and Rory without a dad.

Lucifer Season 6 was a huge improvement on Season 5, and the writers seemed to have a clear course mapped out from the very first episode all the way through to the series finale. Everyone got their happy ending eventually, even if some of them were a little bittersweet.

Let’s take a closer look at how everything wrapped up for Lucifer and the gang…

Lucifer

After diabolical French mercenary Vincent Le Mec kidnapped Rory and took her to the place where she told Lucifer he would soon disappear and never be seen again (according to her knowledge of past events) Lucifer and Chloe decided to ambush Vincent and his thugs at the scene, even if it meant Chloe got hurt or Lucifer died.

Chloe did get hurt quite badly, but she and Lucifer made short work of Le Mec’s henchmen, and Lucifer tried to get through to him about his ongoing guilt and terrible life choices. Though Rory eventually managed to get free of her chains, her instinct was to try and kill Le Mec for what he’d done to her.

Lucifer feared that killing her torturer would only lead to more guilt and pain, so Rory let Le Mec go. Unfortunately, he tried to attack them again, and Chloe shot him. He became impaled on Rory’s feathers and died, going straight to Hell – which he absolutely deserved – but everyone was a bit shaken by the fact that both Rory and Lucifer made it through their expected temporal crisis, and Rory realized that their continuing presence on Earth meant that Lucifer would still abandon them. But why?

The answer came to Chloe and Rory later, when they heard that Lucifer had helped Dan get to Heaven. Chloe remembered he’d previously helped a former criminal break his Hell loop and get to Heaven, too. Lucifer seemed to have learned a lot in his therapy sessions with Dr. Linda!

Rory convinced Lucifer that instead of ruling Hell with an iron fist, he should return there and help as many other souls trapped in Hell loops as he could. Lucifer was reticent to do so, but knew that if he did leave Chloe and go to Hell she would go on to give birth to Rory without him and Rory could return to the future where she belonged.

After Rory traveled forward in time, Lucifer and Chloe shared an emotional last night at Lux, and Lucifer indeed left to become a therapist to the troubled denizens of Hell so that he didn’t alter Rory’s future. They had slowly bonded and he had grown to love his daughter so much in the short time he knew her.

We later saw that Vincent Le Mec was a patient on Lucifer’s couch in Hell, but sadly didn’t seem to be making much progress under Lucifer’s care!

Rory

Rory arrived back in the future as Chloe was dying. It seemed that everything she’d told Chloe about their wonderful lives together was true, and Chloe acknowledged the events of their shared past with Lucifer when she and Rory had a last heart-to-heart at Chloe’s deathbed. They agreed to meet “on the other side” as Chloe passed away, but Rory’s future beyond that remained unclear.

Chloe

Chloe returned to work for the LAPD, and became a Lieutenant. She was often visited by Amenadiel, who was pleased to see that the work he’d done during his brief time at the department had paid dividends before he started his rather important new job.

Rory was born right on schedule, and everyone (minus Lucifer of course) was there to welcome Chloe’s new baby girl home.

In the future, Chloe passed away and went to Heaven. Amenadiel was there to meet her, but instead of taking Chloe to Heaven he took her to Hell and into the arms of her devilish beloved, where they kissed and then got to spend the rest of eternity together. Well, as far as we know!

Linda and Charlie

Linda carried on being the best, most patient therapist in LA, and raised her growing son Charlie, who turned out to be a sweet little angel – a real one, with wings! Even though she said she wouldn’t publish her tell-all book about helping Lucifer over the years, we like to think she changed her mind and did it anyway.

Amenadiel

Amenadiel rose to the challenge of being God, taking his seat on the throne in the Silver City and becoming the kind of God who didn’t feel comfortable being bowed down to. He welcomed the angels of Heaven to his side, and seemed content with his new path as the universe’s ultimate benevolent deity.

Amenadiel was busy in Heaven, but didn’t ever really leave his family on Earth behind, and took an active role in their lives. He was even there to see Charlie unexpectedly get his wings on his second birthday!

Dan

Dan (Kevin Alejandro) managed to get into Heaven after first idling in Hell for years (thanks to Lucifer) and then becoming a frustrated ghost on Earth (thanks to Rory), but he was finally able to move on to the afterlife after he saw Trixie one last time and made peace with leaving his daughter behind, knowing that she was a strong, smart young woman who had nothing but good memories of him and the time they spent together.

We saw that Dan reunited with Charlotte (Tricia Helfer) in Heaven, and the two seemed very much in love. Dan was naturally extremely delighted to find that he still got to eat his favorite dessert in the afterlife: chocolate pudding cups!

Ella

Despite the shock of learning the extent of Lucifer’s secret earlier in the season, Ella managed to process all the weirdness that had taken place around her at the LAPD over the years.

Her new relationship with Dan’s official replacement, Carol Corbett (Scott Porter), seemed to be healthy and honest, with both dealing with some personal problems that they were open to discussing. Carol talked in depth to Ella about his alcoholism, and Ella opened up to Carol about her ongoing trauma from dealing with her last boyfriend Pete, who turned out to be a horrific serial killer.

When we left Ella and Carol, they were welcoming a fresh batch of recruits to Ella’s new STEM program, the Miss Lopez STEM Initiative.

Mazikeen and Eve

Maze got cold feet about tying the knot with Eve earlier in the season, and the two learned to accept that not everything in their relationship would be smooth sailing. But after marrying in a very sweet ceremony that involved another well-deserved kick in the emotional nuts for Adam, they partnered up to lay the smackdown on criminals as part of their dream bounty hunter business, and lived life to the max.

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Lucifer Season 6 is now streaming on Netflix.

The post Lucifer Season 6 Ending Explained appeared first on Den of Geek.

from Den of Geek https://ift.tt/3lds2I8

[sweetzombigirl-blog]

Through A Glass Darkly

Through A Glass Darkly (Såsom i en spegel) 1961- Ingrid Bergman

For now, we see through a glass, darkly; but then face to face: now I know in part; but then shall I know even as also I am known. - Apostle Paul

It wouldn’t be a Bergman film without a powerful challenge to religion, and it is no different from Bergman’s 1961 film Through A Glass Darkly. The title in English comes from the Bible itself while the Swedish translation is In A Mirror which echoes the film’s resounding themes as well, but in this case, I prefer the English translation.

The story takes place on a family island in Sweden. Karin (Harriet Andersson) returns home after a stay in a mental hospital where she hopes to recover from her Schizophrenia. On the island she is joined by her younger sexually frustrated brother, Minus who is played by Lars Passgård, her husband the ever talented Max von Sydow (one of my top 10 favorite male actors) who plays Martin, a loyal but cautious doctor whose perceptions of reality fall the closest to earth, and Karin’s estranged father David (Gunnar Björnstrand) who returns home after completing a novel and a near death experience. 

I am very opposed to romanticizing mental illness and dismissing it as a connection to spirituality or on the other hand, witchcraft. Women have often been portrayed as conduits for something other than our reality and this can either be angelic or demonic depending almost entirely on our perspective or the perspective of the narrative. However, I wanted to suspend my opinions in order to engage with what Bergman is trying to tell me. 

One could argue that the main storyline is Karin’s since she has the most on-screen time but I actually find the main drama to be focused on the father figure, Martin. We are told in the film that he has abandoned his children after the death of his wife who also shares the same schizophrenic condition as Karin. After the wife’s death, Martin quickly became successful with his novel which may or may not have been written from his experience with his wife. When he returns home he makes it clear that he will be leaving after a month despite a forgotten promise to his children who are dismayed. 

If schizophrenia is genetic then the family talent for storytelling is as well. When Martin enters the house at dinner to have a very well acted cathartic cry which I immediately could resonate with as reality. Minus has created a play in order to show his father his own standing as a creative individual. The play within a play has been done by Bergman before and is most well known for its symbolic representation in Hamlet. David is clearly aware of this and takes the short play as a personal affront. 

Minus tells the story of an artist who feels that his own life is his work of art and creating representations of his life cheapens the meaning. The Artist is taken by the feminine beauty of a princess who died early in childbirth and is forced to witness her husband she left behind slowly forget her and move on to other pleasures. She acknowledges the artist who can penetrate a mystic veil in order to talk to her despite her being dead and unseen to those who are not sensitive enough. The ghost invites him to join her in death and share eternity with her, the Artist agrees to do as she wishes and thus solidifying his life as a work of art. At the time of importance the Artist second guesses himself. A series of questions he asks seem realistic to those who consider suicide as an option. What awaits me apart from the cold embrace of eternity? What is there to do but exist, surely it is better to have something to do than nothing, and what if there is nothing? The princess waits and then closes the door, oblivion and whatever promises it has is closed to him forever.  The Artist feels no remorse and instead decides to make a tribute to the princess but decides to give himself a more heroic ending, thus displaying himself as the ultimate hypocrite.

Minus knows this either instinctively or consciously and it perfectly sums up the internal dilemma of David. He laments that he has sacrificed his family for his own success and admits to Martin that he did want to document the descent into madness of Karin for his own profit. He asks Martin if he ever wishes that Karin was dead and explains that Martin’s suffering is pointless. Martin is repulsed by David’s honesty and directness and argues that his principles as a husband and father are missing. If Martin regrets marrying Karin he does not admit it to anyone other than himself but admits that he knows that his job as Karin’s only anchor to the world and the seriousness of how his actions will affect his wife. A crushing weight to bear, and we are curious to hear how he will respond to David’s question. We do not feel that he is being as emotionally open as he could be, but his company is perhaps not the place to be so open. We see that things are not easy for David, along with his wife’s sudden and dramatic shifts in the mood she has also lost her sexual drive and David is severely frustrated. We see the love that is there for Karin in these moments and the rejection from Karin is painful to the audience to see. 

Martin has recently experienced a near-death event on his way to commit suicide. He said he felt empty with no expectations on his way to meet his own end but a chance meeting with death through a car accident left him with a new found love for his family. I like this story and I like that it comes after Minus’ play. It hints that Martin has already met with the woman in the castle and decided to live because what his experience imparted was not a chance to profit but instead a chance to love those who love him. I like that it wraps up that story and validates Martin who later laments in a real connecting moment with Karin that he is forced to live in reality, but it is the most alive and human we have seen him through the whole film.

Karin’s story is separate from her fathers. With Karen and her illness, she is drawn between two realities. Karin knows she cannot live in both and feels compelled to choose between the two. From the beginning, we see that she is leaning toward the unknown because of its perceived connection to God. I wondered originally how Bergman would portray her madness and was relieved to see that he makes it painfully clear that Karin is mad and not to romanticize the illness as a storytelling device which was my biggest problem with Dryer’s Ordet. 

However, I want to believe that Bergman is capable of telling a bigger story here without sacrificing the illness and its negative effects on the members of the family. I am a supporter of the divine in every day and like Agent Mulder, I always want to believe that there is something greater than us at play, but for most of the movie I had a hard time convincing myself that there was a legitimate spiritual connection. Karin’s character is playful but gentle and has no vices except for her illness which begins showing a more menacing turn when voices which lead to the eventual seduction of her younger brother.

After she submits to her illness and decides to return to the hospital but the illness is not done with her yet. She hears voices telling her that the moment she has been waiting for is almost at hand. God is approaching and she must be ready to join him through the wallpaper. I wondered how much influence Bergman had taken from The Yellow Wallpaper by Charlotte Perkins Gilman because Through a Glass Darkly has visual similarities that I thought would be great to be captured while I was reading Gilman’s short story. A shot of light dancing on the repeated motif wallpaper was a powerful artistic portrayal of Karin’s own mind. 

At the pinnacle of Karin’s story, we have two separate things happening. In the attic, we hear an overpowering noise of the ambulance helicopter approaching. The wind knocks the windows and the blinds open and a small hidden door that is covered in wallpaper to make it undetectable. The camera stays on Karin’s face and we watch her make her decision to which reality she wants to live in. She approaches the door but then is frozen in horror. After catching herself she begins to scream in terror and becomes like a wild animal. It takes both her father and her husband to restrain her until she is given a sedative. Harriet Andersson displays powerful acting during this scene where she had to drop her social inhibitions. 

When she is calm she tells us why she did what she did. She says that when the door opened she looked for God to come through but instead of what she imagined to be God, a black spider emerged toward her. The spider came towards her and tried to enter inside of her. She recoiled in terror and the spider god turned away from her and left. I was a little disappointed that Bergman chose to use the Spider to represent something awful and horrifying since in many other cultures, including the Native Americans, have a much healthier approach to the mythos of the Spider from one of fear to another of building dreams and wisdom, but that’s just me. 

In either case, it seems to prove the point of the title. We see through a glass darkly every day of our lives. What we see of each other is distorted by our own lives, ideas, thoughts, and beliefs. We can only see part of the vision, and we elaborate on our own to what that might mean. David distorted his love of his family for love of writing about his family, a slightly different reality than the one around him. Karin’s test was if she could love the divine if it did not conform to her own understanding of what God was, and she could not. I think this answered for me the problem that I was having earlier with her divinity versus madness. In a way, Karin’s inability to transcend herself was the reason why her character was caught in her own madness and why other feminine characters with the same controversial situation have had different outcomes. I was grateful again for Bergman’s “reality” of the character’s dilemma and making Karin have an ending that was understandable even if it was not the happy ending that he was toying with.