#atla live action concerns

[jatersade]

this too is yuri

[keithle]

this might've been said already, but one of my main concerns with the atla live action is that most of the shit zuko did in the original, like burning kyoshi island, etc, isn't... his doing anymore...

like zuko IS a flawed character who understands his mistakes and apologizes. he learns to become better and be the best version of himself. this is what makes him so powerful in my opinion. his redemption arc is beautifully written and executed. and without his faults, and huge mistakes, he doesn't even need to be redeemed.

[buckybarnesss]

i've seen too many posts online talking about physical appearance of the actresses. especially elizabeth yu.

it's like fandom as a culture has learned nothing from how star wars fandom treated ahmed best and jake lloyd or from how the olsen twins or emma watson or natalie portman or amandla stenberg were treated and commented on.

just stop talking about people's bodies and bullying children.

[b-else-writes]

also as an addendum to my post, I do think it’s hilarious though how Kataangers are sooo worried about the live action now that images have dropped when there is ZERO proof Zutara is going to be canon in the live action beyond speculation. All that has happened is that Zuko and Katara’s actors are good looking and have stood next to each other/taken photos together. Just that. Because what it boils down to is that while you can pretend in animation, when you look at this:

Bryke’s entire deal of the kid falling in love with the babysitter sounds DERANGED. We all know Katara was really saying thank you Mr Gyatso Aang was really sweet tonight, it’ll be 50 yuan as always, don’t worry my boyfriend is picking me up I won’t walk home alone in Ba Sing Se :)

Meanwhile Zuko is standing awkwardly on the porch outside trying to get Aang to think he’s cool.

Like I don’t believe right now Zutara is becoming canon in the live action and I suspect Bryke left because they felt 8 episodes wasn’t enough to tell Book 1 the way they wanted without significant adaptational changes rather than because Netflix decided a 18 year old non-canon ship was gonna be the dealbreaker (but if it was, it is so funny to me like truly nobody liked Kataang except Bryke), but the fact that people are scared of a POSSIBILITY. In their hearts they know the babysitter had a boyfriend her age whom she could talk to like an equal.

[metalandmagi]

Of all the egregious mischaracterizations in the live action ATLA series, the worst and most offensive one that no one has mentioned is how dirty they did Hakoda. Over my dead body would Hakoda say anything about Sokka not being a proper warrior. Like hell would he talk shit about his son behind his back while pretending to be proud of him to his face. At first I thought the vision Sokka was having wasn't real (since in the cartoon, he never had his boat trial and did it later in the Bato episode), but he confirmed it was a memory when talking to Yue later. How dare they disparage our water tribe dad like this.

[likeabxrdinflight]

so I have seen the new trailer for the live action ATLA adaptation and I think I'm actually feeling more optimistic about it. Generally when an animated product is adapted to live action, I want to see something new in the production and storytelling that justifies why this story benefits from being re-created in a live action format, while still maintaining the overall heart and spirit of the animated original. Most of the disney live action remakes, for example, have failed to meet this bar.

Where I'm feeling a little more optimistic with the ATLA remake is because the format almost necessitates some pretty significant structural changes to the story. You can't take something like season one of ATLA, which was incredibly episodic and designed for Nickelodeon syndication in 30 minute blocks, and stitch it into eight hour-long episodes on a serialized, binge-watching style platform like Netflix without making changes. You just can't.

What I'm hoping they do with these changes is that instead of trying to frankenstein the story together, they pick and choose which elements matter and which do not. And then I want to see the storylines they keep get greater focus and more elevation than they received in the original. One of the benefits of a remake is that you already have the finished project to build off- you know what matters, you know what doesn't, and you can work with that to craft a tighter story while giving appropriate expansion and depth to elements of it that might have been overlooked in the original. The way Suki and the Kyoshi warriors have been billed and marketed gives me a lot of hope for this- when Bryke were first creating ATLA, they had no plans for Suki to be anything more than a one-off character, but she ended up Sokka's endgame love interest. The new show has the benefit of already knowing this.

Same thing applies to characters like Azula, Mai, and Ty Lee. We already know where their storylines end up, so they have the opportunity to expand and deepen all three of them without worrying about making things up as they go or maintaining any sense of mystery. And they have a lot of opportunity to play with Ozai's character too, given they don't have to keep him in the shadows for two whole seasons anymore- we already know he's a hot older version of Zuko, that reveal happened in 2007. Since they don't need to hide his face, they can actually show a lot more of him a lot earlier in the story. Again, I'm hopeful for this given that the trailers seem to be showing a lot of extra scenes with the Fire Nation characters and Azula and Ozai are both featured on the promotional poster.

Now, will I like the changes they make? That's an unknown. I might. I might hate them. We'll see- but at least it seems like there will be changes that, hopefully, will serve to justify why this remake deserves to exist. I do not want to see a shot-for-shot recreation of the animated series. I can already watch the cartoon.

That said, I still want to see the spirit of the original preserved. So far I like what I'm seeing from Netflix- the world looks pretty good, the animals, while obviously CGI, look faithfully rendered, the costumes are miles better than what we saw in the 2010 movie (though I have my reservations about the saturation of the blue in the water tribe coats), and the characters all look pretty accurate to their animated counterparts. The lighting is dark because lighting is dark in every show these days, and I'm not 100% on the color palette. But I was glad to see some of the humor has been retained in the trailer- we see Aang running into the statue like in the opening of the cartoon, Sokka has a few one-liners, and the shot with Momo was cute. I'm a little worried Iroh's humor won't translate well into live action, but we'll see what they do with that (I imagine they'll have to cut back on some of the slapstick, Saturday-morning-cartoon antics anyways).

I like most of the casting too, from what I've seen so far. Dallas Liu looks like he's gonna be a great Zuko, Kiawentiio I already knew from Anne with an E and I think she'll be a perfect Katara, and I think Ian Ousley will grow on me as Sokka. His line reads sounded good in the trailer. I'm a little concerned about Gordon Cormier, he looks the part perfectly but he is so young and I felt like his delivery in the trailer was just...lacking a bit. But I need to see more of him to really judge. And I love the casting of Elizabeth Yu for Azula, I love that she looks like a tiny baby. No one will mistake her for the older sibling in this version. And of course the adult cast I'm not worried about at all.

(bully any of these children online btw and die by my sword)

Will this show be good? I don't know. But I hope it will at least justify its existence to me as more than just a nostalgic cash grab. That's what I'm looking for first and foremost.

[flameunquenched]

okay so i've decided i have some concerns regarding netflix's adaption of avatar: the last airbender (which for the sake of my poor fingers, i'm shortening to natla). i will admit that i may have been taken in by the beautiful trailers and i can further admit that the actual cinematics do look fantastic. i love the costuming, the cgi of the elements themselves, and the animals. but...the more i hear about the overall storyline of natla, the more concerned i become.

first, the removal of sokka's sexism shows that the showrunners simply fail to understand his characterization and the innate flaws that make him a character to root for as he grows and changes. sokka grew up the only real man in his tribe because his father and the other men left to fight in the war against the fire nation. not only that, but we can see based on the northern water tribe that there is a sort of innate sexism therein entirely with women being relegated to healing duties when they could bend and men as warriors. and honestly, when you really view it through the correct lens, it makes sense.

but removing that deprives sokka of a great piece of his character arc. not only does his sexism eventually become broken by his sister, but he learns from the kyoshi warriors new ways to fight and comes to respect them not only as 'girls' but also as seasoned, accomplished warriors. my concern is that the removal of his innate sexism is not only going to do a disservice to the character but also to the viewer themselves by sanitizing a story that, frankly, can get quite dark when you think about it.

second, what really worries me is the change to avatar aang. i read an article where they decided to remove the random stops here and there and instead basically have the gaang go immediately to the north pole to begin learning waterbending which...that's not really staying true to aang's character, in my opinion. the article i read basically says that aang learns about the fire nation, goes 'well, let's get to the north pole asap' and off they go. but that does a disservice to aang's character as well. a key point of aang's entire arc is that he does not want to be the avatar. he never wanted to be. it was a title forced onto his shoulders and a mantle he never desired to wear.

by removing those random stops throughout the earth kingdom - and eventually, i assume, the fire nation given that they REMOVED THE FUCKING COMET WHAT THE ACTUAL FU--okay, no, ran, breathe. stay on topic. woosah. - then they are also taking away the chance of the audience to see how severe the war, colonization, and oppression has become throughout the world thanks to the fire nation. not only does this offer the potential sanitization of the fire nation's hundred-year-long war for total conquest and dominion, but it also takes away key parts of the storyline, depending on how much of the early plot lines they scrub.

it is key for aang to see those things. he needs to see the forest that the fire nation burned and help to soothe the angered spirit (which i will say i think we are getting, thankfully). he needs to see the fact that the fire nation is in so many towns and cities throughout the earth kingdom. there may be no war in ba sing se but the rest of the earth kingdom has been feeling the effects of the war with the fire nation for a century now.

i'm not touching the removal of sozin's comet in this post. like. nope. not doing it.

basically, i am concerned. i am beginning to see why the original creators decided to leave over differences and i am really worried that netflix does not understand how to adapt atla and the importance it has with so many of us, myself included, who grew up with it and adore it so. i rewatch atla at least twice a year, often far more than that, and while i desperately want to see a live action version, the "it's a remix, not a cover" line concerns me. and sure, it doesn't need to be a word-for-word, shot-for-shot cover, but i feel like the scrubbing of the two above issues has already broken the heart of the storyline and the hearts of its fans.

i dunno. maybe i'm wrong and need to trust the process and wait. but i've been badly burned by a live action atla before and i don't wanna go through that again.

[agnisleftpec]

im just reserving judgment on the live action atla at this point, like jesus fuck

it's obviously not gonna be a one to one adaption. frankly i'd be mad if it was. but they're also changing details in the character arcs, which, despite fandom outrage, isn't a BAD thing provided they keep consistent with their own changes and create a good internal narrative. these are gonna be different characters, which is fine. maybe a little disappointing, but literally what did we expect? mostly im just hoping that the narrative they present is solid and the character arcs they devise are well written

the changes that they've made feel strange, but it isnt fuckin doomsday. there's no one right way to write any story. atla has its own problems, and you know there are drafts that got tossed that would've been completely serviceable directions for the original show to take, they just didn't. atla la taking a different route doesn't mean it'll be a bad narrative, just that it'll bother our need for nostalgic accuracy. and even if it's a bad adaption (changes too much, alters the impact or feel of the story), it could still be a good narrative.

GRANTED this all doesn't mean netflix is gonna make a good show. they are hit or miss, and adaptions are tricky. honestly ive kind of resigned myself to being disappointed at this point. and even if it is good, that doesn't mean that everyone has to like it. it's an entirely different medium, and that's reason enough to avoid it

[flickerintwilights]

Sorry sorry I just had to pause for a second like. lmfao. “Believe it or not, there may come a day when you wish you’d spent more time with your teachers” I WONDER

[omegansamurai]

I Just Realized Something...

First of all, has anyone ever heard anything from Mike, the half of Bryke? I have heard nothing from the guy. It's now just Bryan talking about new Avatar stuff. Like, is he in hiding or something? Maybe he's scared to come out because of the whole drama with Netflix that went on with him and Bryan and their unmentioned toxic behavior around the set. That would probably be one of the good reasons he's in hiding and staying out of news outlets right now. XD

I'm just joking, but you never know...unless someone tells me otherwise that he's been out and about lately. XP

Secondly...actually, has anyone heard of any news about Avatar Studios lately? Like the stuff that's supposedly coming from them? Like, I heard the Netflix live-action of ATLA is coming out supposedly in February next year, and that seems likely, but...is there anything recent from Avatar Studios that they revealed? Like I know that Azula comic is coming out, and...I ain't reading it(the comics will always leave a bad taste in my mouth), but other than that, has anyone heard of the older Gaang movie? That new Avatar series with a new Avatar that's after Korra that they're making?

Has ANYONE played that new game that was badly advertised?

Really, I feel like they're not even trying at this point. And I feel like Nickelodeon just wants to move on from Avatar...or they would rather preferably move on from the 'creators', I would think...

I don't know, I feel like this franchise is going down the drain here because of bad direction in advertising and whatnot...it could all be a tax write-off for Nick for all I know when the movie (maybe) comes out...I mean...there are no reruns on it on the channel. It's just...yeah, Spongebob, Loud House, and...some other random cartoons? Who knows? I just hope the live-action of Netflix's Avatar will be great.

I mean, can anyone see what I'm saying here? ^^;

Either way, sorry for the rant. I was just thinking about this stuff. XP

(Really, what are your thoughts on all of this?)

[justthoughts1310]

Sokka may not be a misogynist, but the Netflix live action ATLA is:

There really is no cartoon/anime for female empowerment like the OG ATLA and LOK cartoons.

The creators of ATLA wrote the manifesto on how to create a masterful series on female empowerment and equality that is not cheesy or hocky.

In this show, women and girls are not a monolith but immensely diverse. There's no correct way to be a powerful, talented and bold woman or girl within the avatar universe.

You can be hyper-feminine like Ty Lee and Asami.

You can embody more traditionally masculine qualities like Korra and Toph.

Or you could just be a typical woman or girl falling more in between like Azula, Mai, or Suki.

You see the exact same thing for the male characters. There's no right way to be a man. There's many ways to be a man, and this idea flies in the face of patriarchy.

I say that the Netflix version is misogynist, because it's not enough to be a powerful woman. One must be allowed to be unapologetically, unabashedly and boldy powerful.

Which is what happens in the OG ATLA. Sokka's misogyny was actually a part of his character arc, because every time he was misogynist his misogyny was met with the answer that women and girls are phenomenal, that women and girls are living their lives and largely unconcerned with the opinions of men.

If you read the Kiyoshi novels, you learn that surprisingly enough, the least patriarchal amd misogynist nation in all of Avatar is the fire nation, and the misogynistic nation in all of Avatar is the northern water tribe.

The reason I say that the women in these shows are unabashedly powerful is because aside from Sokka and the master from the Northern Water tribe, no one ever questions why or how they are powerful. They expect it.

Zuko is Ozai's first born son, yet Azula is his pride. When Ozai imagines the future, he imagines it with Azula as the fire lord. He names her after his father. He trusts her to go find the avatar once he knows the avatar has returned.

Sokka and Katara effectively lost both of their parents, but Katara the youngest steps up as the mother and becomes the glue of the group. She's the one who becomes both an immensely powerful bender and healer.

Suki loves Sokka, but when we are introduced to her. She is unconcerned with him. Her and the other Kiyoshi warriors are the protectors of the village who go out into the world to do good into the world.

We see the revseral of all of these tenants in the Netflix show.

Ozai has hope for Zuko at the expense of Azula who he sees as a nuisance. She is no longer am obvious prodigy.

Katara is seen as a child who will not grow up by her brother who is now behaving as a father figure.

Suki is infatuated with Sokka and she follows him around Kiyoshi island when he arrives.

These woman are powerful but restrained and undermined in this power. Suki becomes concerned with the opinions of a man, and a random man at that.

What the OG ATLA taught to all women, girls, boys and men is that you never have to apologize for being powerful, intelligent, kind empathetic.

This is a very critical point that cuts to the heart of the OG ATLA that Netflix has missed.

[wileycap]

The Stupidest Things In Netflix's Avatar The Last Airbender: A List

a.k.a.

a whiny rant from someone who has dedicated far too many of their already limited number of braincells to atla i know it's just a tv show but come on this is what tumblr is for let me whine

For your consideration, with many spoilers:

5. Katara Being Smug After Kicking Jet's Ass

In the original, Katara is betrayed by Jet. You can feel the raw emotion in the words "I trusted you! You're sick, and I trusted you!" immediately followed by her concern for the innocent people Jet has seemingly murdered. It's not a triumph, it's a wound, and the next time she sees Jet, her first reaction is "kill on sight".

This is great. It's heartwrenching, it's humanizing, and Katara using violence against Jet isn't a victory for her. It's just pain.

In the live action, Katara very mildly chastises Jet for trying to kill innocent people, which is... an interesting characterization for her, to say the least. Jet then tries to grab her, immediately followed by Katara throwing him and freezing him. She then just tells him goodbye. Her tone is placid, almost unaffected.

And then Jet says "Look at the power you have. That's because of me!"

Katara: "That wasn't you. That was me."

And then she strides off with a small smile, and that's the end of that. Sokka and Aang are not present. It's an incredibly hokey moment that's meant to emulate the style of feminine empowerment, but it has none of the substance. It glosses over any human feelings of hurt and betrayal. All that the it ends up doing is removing a story beat for Katara.

4. The Badgermoles

"They're blind! They sense feelings and react to them! Anger, fear... but mostly love."

Katara and Sokka hold hands in a cave and it makes the badgermole stop attacking them.

The blind badgermoles. Navigate by... love.

Yeah.

Do I need to say anything? Can we all see (pun intended) how stupid that is?

3. Bumi Makes Aang Choose Between Killing Him Or Letting Himself Die To Make The Dumbest Point Imaginable

Remember Bumi? Aang's old friend, a fun, kooky king? Well, here he's an actual fucking psychopath.

He collapses part of the roof onto Aang, and Aang holds it up with airbending. Another part of the roof collapses on Bumi, and Bumi just... shrugs his shoulders, fully intending to die. Aang holds that one up as well, and Bumi, instead of helping, makes the dumbest fucking point I've ever heard about "making tough choices", and urges Aang to let the boulder crush him.

Again. Bumi, the fun, wise king, wants Aang to kill him.

The situation is defused by Katara freezing a little strip on the floor so that Sokka can very slowly slide on it and tackle Bumi to safety. I can not emphasize how slow his slide is. Running would have been faster. Bumi has time to look at him and say "Huh?" as Sokka slowly slides across the floor. Oh, yeah, they were led onto the scene by the love-sensing badgermoles.

Then it's Aang's turn to be dumb. He says "you CAN rely on your friends" and hands Bumi a friendship rock. Bumi is pacified for now, but there is no telling when his next Saw trap will activate.

This made me actually feel bad. I just. I kept expecting for it to turn into a secret lesson, like Bumi in the original show, but it never did. Bumi's just a spiteful psychopath who is easily swayed by the gifting of rocks.

2. Koh The Face-Stealer Has A Backstory Now

Why? Mother of Faces? What? No.

No.

Iroh Is Intimidated By Zhao, And Then He Kills Zhao

Ah, Live Action Iroh. The most ineffectual man on the planet.

So, Zhao has the Moon Koi in a bag, and is ready to stab it with his special stabbing implement. Iroh is standing right behind him. RIGHT BEHIND HIM. Iroh has been there the whole time. Iroh does not want Zhao to kill the fish.

Iroh says: "Whatever you do to that spirit, I'll unleash on you tenfold!"

Remember how in the original, where that was like a big, shocking moment that he got angry? And how Zhao immediately let go of the fish, only to then have his anger get the best of him? How Zhao attacked the spirit by surprise?

Well, here it's a little different. For one, like I already said, Iroh doesn't come in suddenly, he sort of gets bullied into looking for the spirit by Zhao. Then he looks for the spirit, and after Zhao finds it, then he decides that he really has a problem with killing the spirit. He did protest before, but then he kind of just caved and helped anyways.

He threatens Zhao, and Zhao just... brushes him off. "Spare me your empty threats." Then the firebenders next to Iroh sort of... glower at him menacingly, and Iroh looks worried.

Zhao offers Iroh a place at his side once he becomes Fire Lord, which, uh? Okay. Fine. I actually don't have a problem with Zhao wanting to be Fire Lord, that seems to be entirely on brand for him, but everything he does to get to that goal is just stupid.

Aang arrives, they talk, Aang says "I don't matter", and then Iroh, who has sidled past the Glowering Firebenders Who Do Nothing Else, shoots the fish out of Zhao's hands. And then, as Zhao is on the ground, reaching for the fish with his special stabbing implement, Iroh forgets that he can shoot fire out of his hands, and lets Zhao stab the fish.

AND THEN Iroh, who literally stood by two different times and let Zhao kill the fish, decides to kick everyone's ass. And the Glowering Firebenders do nothing. One of them just stands in the background. Iroh doesn't even attack that guy.

In the original, Iroh immediately leaps into action after Zhao kills the spirit by means of surprise attack, takes out Zhao's guards in about a second, and Zhao escapes.

Here, he doesn't do anything at first except help Zhao find the spirit he doesn't want to see killed, then back down, then do something, then back down again, then do something again, then forget that he can do anything, and then he does something again.

It's just... so dumb. (So dumb it's brilliant!) No! It's just dumb!

And then, fifteen minutes later, after Zuko has dueled Zhao, Iroh kills him. Iroh just barbecues him by striking him from behind. Gee, Iroh, if you were willing to do that, why not just do it when Zhao was holding the fish?

Dishonorable mentions:

The fact that all of the actors fit their characters so well and have some great moments, but the show just doesn't support their performances at all. I feel so bad for all of them, being robbed of a chance to shine by some truly awful writing, editing and direction

The Ocean Spirit making Godzilla noises

June flirting with Iroh (didn't they say that they wanted to remove iffy stuff from the original? Well, that whole thing was iffy in the original. Why didn't you cut it entirely?)

Zuko doing the jazz hands to charge an attack

All the clunky and unnecessary exposition (for example: after Aang turns into the Ocean Spirit, Yue immediately turns to Sokka and narrates that Aang has turned into the Ocean Spirit, for almost 30 seconds)

The fact that Aang can only communicate with each Avatar at their shrines

The Ice Moon

The Cabbage Man literally turning to shout his line to the heavens while fire rages around him

The Secret Tunnel song being shoehorned in for no reason

Iroh's entire backstory being shoehorned in for no reason

Ozai being a caring dad actually

Zuko being shocked that Ozai prefers Azula

Gran Gran's speech

The fact that they showed Gyatso being killed by Sozin (literally nobody needed a big action scene, because that's what it was, predicated entirely on the genocide of the Air Nomads)

And finally, the fact that Sokka and Yue's reason for going to the Spirit Oasis is that Momo was fatally injured.

[sirenalpha]

I'm seeing so much commentary on people reacting to the live action atla toning down Sokka's misogyny

and I'm over here like this is a total non-issue because in my own rewrite of the show I already did that exact thing, it makes complete sense to do it and they should do it because it's a weaker aspect of the original show

Sokka's early misogyny is utterly cartoonish in comparison to the set up of the rest of the SWT, it doesn't feel realistic for the only teenaged boy in a dying culture surrounded by adult women with a grandmother who left a more out and out misogynist society to act the way he does

how Sokka "resolves" his misogyny is equally cartoonish, I never liked how in The Warriors of Kyoshi literally episode 4 of the show makes a teen girl compromise her own culture with a female only fighting tradition teach a boy who is supremely rude and disrespectful to her and then still be attracted to him afterwards, it's more misogyny to fix misogyny and is very obviously men writing about how to fix misogyny especially as they have Aang make a joke about Sokka wearing a dress after going through how meaningful the fighting costume is and how a lot of Asian clothing with hanfu influences like atla borrows from would have men in what to western eyes would be dresses, Aang has already seen multiple male authority figures in robes, the joke makes no sense

I also wouldn't consider Sokka's misogyny genuinely resolved after this, consider how the show deals with his romantic relationships with both Yue and Suki and how both can be seen as extensions of how Kataang is treated in the show, rewards for the hero, especially with how Sokka interacts aggressively with Hahn instead of respecting Yue's wishes whatever her reasons for them, I think an argument can be made that Yue's death is a fridging for Sokka's storyline rather than or in combination with being a consequence of Aang's failure as an avatar or the culmination of her own storyline where she fulfills her duties as a leader to protect her own people

Beyond his romantic relationships, while Sokka drops a lot of his more misogynistic language with Katara, he doesn't support her when she faces off with the NWT leaders to learn waterbending, and he still leaves the caretaking and food preparation and grocery shopping to her which is more common than him going out to hunt or gather in order to provide for the group while he takes a leadership role like determining their travel schedule and routes, it is not an even division of labor and falls along traditional sex stereotypes

In addition to his typical duties to the group, Sokka also remains invested in the trappings of masculinity after ep4, he's concerned about what's manly and how he compares to Jet for example, there's no investigation or interrogation in his interest in meat and hunting and how they relate to masculinity and his misogyny, in the episode with Piando, his insecurity as a non-bender is resolved by giving him a new male mentor and a new martial skill, sword fighting, which is masculine in both western and Asian cultures rather than assuaging his self esteem issues in any less stereotypically masculine ways, I also think it was done so he could compare more favorably to Zuko, another male character, and even his interest in engineering and mechanics comes with a male mentor and is a traditionally masculine pursuit

the show's poor handling of misogyny also extends beyond Sokka, with the NWT, the show acts as if Pakku is the only reason the tribe is misogynistic and the only consequences to that misogyny is that women can't waterbend and there are arranged marriages, and that both the NWT and Pakku's misogyny is resolved by allowing only Katara to learn to waterbend which she doesn't even earn on her own merits, she gets the opportunity because Pakku likes her grandmother

none of this is realistic, misogyny is not because of one bad apple, Pakku doesn't make Yue's arranged marriage, Chief Arnook does, he picked Hahn for her, and the show acts as if Arnook has no authority to compel Pakku to teach Katara or any ability to persuade him in order to reduce his culpability in the NWT's misogyny as its leader to make him a more respectable character so it's not uncomfortable when Aang and Sokka follow his orders in the battle later on, but women not being able to bend and forced into arranged marriages is still status quo when the gaang leaves, Yue's just dead

I'm not even convinced the show runners understand what's wrong with arranged marriage, the issue is not Yue can't be with Sokka who she likes and at most has a slight crush on cuz she's only known him for like two days, it's that she's being treated as male property, a broodmare, and a vehicle to ensure Hahn receives the throne because her father has no male heir and picked some guy to succeed him instead, like it's not explicit in the show but that is the implication based on the historical reality of princesses in arranged marriages, and the show has her get out of it only through death idc that she ascends to being a spirit, it's still a teen girl that dies

There's also no discussion by the show of the Earth Kingdom's misogyny when it has the exact same shit going on, Toph is the only female earthbender in the show not including avatars, there might have been a female earthbender in the background when Katara broke them out of prison, but I'm not really counting that, the entire army and Dai Li are all made up of men, the EK might even be worse because the show doesn't demonstrate that women and girls even have the capacity to earthbend aside from Toph and avatars and Toph doesn't even learn from a human, she has to learn from animals, the show treats this as commentary on her disability but the show has no compelling reason why it can't also be commentary on her sex, Toph was also originally supposed to be a boy so this could have ended up so much worse there literally would have been no female earthbenders aside from avatars at all, I'm not counting Oma as she might just be a mythological figure not a real person that once lived

The Fire Nation kinda barely avoids the same issue, Azula is the only named female firebender aside from avatars in the show but she has two female sidekicks who despite being non-benders show martial skill and there are clearly female soldiers and guards in the FN military so there are much stronger implications of female firebenders existing and being completely allowed to train their abilities and that Azula isn't exceptional in that respect like Toph is, only for being a prodigy with blue fire

Azula was also originally supposed to have an arranged marriage in s3 and they dropped it in favor of showing that royal and noble girls could casually date in the FN which has wild implications for women's empowerment in the country more so than but especially in combination with the fact women can train and join the military (which is why I say the FN is not fascist it's literally the least misogynistic country aside from Kyoshi and by like a country mile so it's literally not misogynistic enough) not that the show does anything more than minor teen drama with it

again, the vast majority of this misogyny is completely unremarked upon by the show especially after s1 when they leave the NWT, it is clearly a fictional world made by men with no true understanding of misogyny just a vague awareness that misogyny is bad and what the really obvious and outdated examples of it are, this is a narrative inconsistency in the show to have the examples and commentary on misogyny be so cartoonish in the beginning and then disappear after s1

your options to resolve this inconsistency is to either go all in with more realistic misogyny and provide commentary on all of it but this takes effort and will be divisive, or take the easier route and ease off the cartoonish-ness of it and comment less on it to avoid drawing attention to all instances of misogyny in the show

obviously Netflix was gonna do the latter

(not me tho, I'm making it less cartoony and dealing with it in my rewrite)

[prying-pandora666]

On Outrage Marketing and How To Stop It (ATLA Live Action)

I’m sure we have all noticed an uptick of aggression and frustration against fellow fans on this and other social media sites.

Depending on your perspective, you may think that other fans are being overly critical and hysterical or complaining just to complain.

Alternatively, you may believe that other fans have descended into toxic positivity and are dead set on silencing all discussion and dissent, even if it’s the slightest bit critical or questioning.

The reality is: both are true and false.

This is outrage marketing.

As much as we can dunk on Netflix for their past decisions, they’re not idiots. This isn’t a case of the actors and director not knowing when to shut their mouths. These media outlets are not doing hard journalism and bringing us the facts: this is sponsored content. The studio is PAYING to put these stories out there.

Why? And why so close to release?

Exactly for the reasons you’re seeing: to make us fight publicly on social media.

Look at it this way. How long did it take for the trailer hype to die down and for it to stop trending everywhere? A week?

Meanwhile, how much longer can outrage carry hype and word of mouth? For months or even YEARS. All the outrage clickbait we have seen in the past with Disney products especially (Star Wars, Marvel) is intentional outrage marketing. It keeps people talking, which keeps the content trending, which keeps spreading the word and building hype in a time where content is myriad and every IP needs to compete to keep your attention.

Basically it works like this:

Group of fans #1 are fed these interviews by the algorithm and make criticisms or express concerns.

Group of fans #2 are fed the most exaggerated or hyperventilating takes from the first group to create the illusion of irrationality.

Group #2 decries the “hysterical” fans and lump every bit of criticism into this, silencing dissent.

Group #1 feels censored and attacked which makes them even more aggressive in their criticisms.

Rinse and repeat. Bots can also be used to help foster this hostile environment. Reddit and Twitter are known to be infested with fake bot accounted for this reason.

Meanwhile, the much larger group of audience members just sees ATLA is trending and there’s a lot of buzz and tons of pictures that are aesthetically interesting so they are interested in the show.

So how do we stop it?

By no longer making the repeated posts complaining about other fan reactions, and ignoring them when you do see them.

Instead, engage civilly with your fellow fans. Be curious. Try to understand their actual perspective before you attack. You can disagree without making a caricature of the opposition and interpreting them in the most uncharitable way possible.

This will produce more nuanced discussions and allow people to vent their concerns as well as share their excitement in a way less hostile or censored environment.

Thank you to all who took the time to read this. I love ATLA and I love this fandom.

[sad-endings-suck]

“We need more reception arcs like Zuko’s!”

Baby girl, you couldn’t even handle Taigen.

A huge reason why Zuko has been immortalized so fervently is because ATLA came out in the mid 2000s, nearing two decades ago. With the state of basic reading comprehension, much less media literacy, social awareness, and chronically online behaviour that exists nowadays in a way it did not exist fifteen years ago, I would be surprised if the live action ATLA tv adaptation didn’t make Zuko a bit more likeable right off the bat. I’m not saying I agree with it, but if the show-runners are concerned about audiences reactions to Sokka’s (wrong, but relatively mild) sexism that exists in only the first few episodes of the show, then the idea of redeeming Zuko has got to be terrifying them. Tbh I don’t entirely blame them, even though I’m not certain it’s a good idea for the story as an adaptation.

[zutarasbuff]

I watched the Netflix adaptation of ATLA today and being a hardcore fan of the OG series who knows every nook and cranny of the ATLA world, here’s my unbiased and truly honest review (It contains both the negatives and positives of the series, so dear reader please enter to read at your own risk).

Firstly, let’s talk about the wonderful additions to the already magical world of ATLA.

1. The depth of the genocide

Well, I always wanted to know how the air nomads were suddenly wiped out and how it would have been for them? Why didn’t they resist? I got my answers in the first episode where we explore how the unhinged power of the comet was “actually” used to create a genocide on a massive level. Before that, I had only heard about it in the OG series. Those few scenes were so powerful that they had left me sobbing uncontrollably and Gyatso’s concern regarding Aang had me bawling.

2. Suki’s Characterization

In the OG series, we do find our Suki the fiercest warrior, but here in the live action, she’s an absolute goddess. She is perfect in every sense. She understands the responsibilities she has being a non-bender and is fearless. Her character is what I believe to be was the strongest one of all.

3. Graphics & Music

We never talk about a film by M.Night (that didn’t happen), but this one is really a visual treat for you can readily set yourself up for some mind-blowing bending scenes, plus the fight scenes are quite impressive. It seems that the VFX team had really done their homework this time. Plus, both Momo and Appa are so freaking cute. I loved the fluffy Appa. Good work over there. The revival of the OG theme is also a highlight plus the sun warriors’ chanting in the end is given a new but intriguing twist. The background music especially in scenes where Aang unravels his Avatar powers is mystical in every aspect.

4. Life in motion

I don’t know about others, but I have always been a sucker for animation as well as live-action where characters are operating even in the direst of the circumstances. Life is there and even after they know what happened a hundred years ago, they are still trying to believe and regain their past confidence. This is beautifully portrayed and I was very much impressed by the way people are continuing their day-to-day activities even in the middle of a crisis.

Overall, the series serves the purpose of an adaptation carrying its unique colors (at least better than the previous live-action disaster that didn’t happen).

Now let’s move to the bad side, and when I say it’s honestly what I felt, you need to take my word on it being a hardcore Atla fan.

1. Weak writing & lots of exposition

ATLA remains at a 9.2 IMDB rating even after years because of its writing, strong plot, and very few plot holes. This time, the writers are the real amateur ones. Despite adding more to the already flourishing universe of ATLA, sadly, they killed the quest of the viewer to find answers. There is too much exposition. It seems that every character just wants to see the end of the war and keeps on revealing things after things. Plus, some of the OG moments that were the soul of the series are not even included. The way Aang finds Momo and then decides to keep it with him as a last remnant of their bygone air nomad civilization is nowhere to be found. In fact, the replacement of Roku with Kyoshi is the biggest disappointment. I love Kyoshi like no one else but that was unnecessary as per the cycle.

2. Bland acting

Even the worst writing shots can be digested only if the acting appears real good. Sadly, this is another issue that I found with the NETFLIXED version. No doubt the characters must have done a lot of hard work for this, yet, they lack the expressive power. Gordon as Aang is super cute but the goofiness is not even there. Katara seems a nerd who doesn’t like to talk much even when it’s necessary and Sokka’s jokes are forced. Meanwhile, Dallas seems to save the day at one point, but again his over-the-top angry young man attitude ruins it for me. Maybe the actors will learn from the criticism in the upcoming season (if Netflix plans to go with it).

3. Major changes

Yes, it’s okay to change the narrative while you are working on an adaptation, but targeting the loyal viewers who are OG fans of ATLA means that you have to be very careful when you are trying to implement your changes in scenes that are the real soul of the OG. You can’t change the Omashu myth as if it’s nothing when we actually see even the cute animated version of the folklore. You cannot portray Roku more as a perpetrator of the genocide and Bumi as the evil king when in truth he’s the mad king who’s known for his genius ways of teaching. I hated that. Plus, reducing Zhao’s authority and taking Uncle Iroh’s sarcastic attitude is just meh. Mai again doesn’t even seem perfect as a cast. Jet is good as far as the aesthetics are concerned but Jet being in Omashu doesn’t even sit right with me. The amalgamation of multiple storylines creates so much confusion and this persists till the end.

4. Bending at convenience

We all know how Katara’s bending progressed throughout the first season and it’s little effort each day. However, in series, one day she’s unable to bend even a droplet of water and the next day she is capable of producing ice crystals. This was unacceptable for me because I was anticipating her learning strategies. Besides, Aang doesn’t learn much water bending throughout this season and in the end, it’s him being the savior in Avatar state. Thoughtless bending sucks despite the great VFX and that’s one thing at which you can’t convince me otherwise.

5. Forced friendships

We all know how it took some time for Sokka to embrace Aang as a chum. However, here Sokka keeps on calling him “the kid” and remains mostly alienated from Aang. Talking to Katara, then she also seems more interested in helping Avatar fulfill his goal than being with a friend. I hated the scene where Aang comes into the Avatar state and instead of hugging him just like in the OG series, Katara runs along Sokka and keeps on calling his name. How is that going to build any organic friendship? I think the first mistake began right from the very moment when Aang was taken back to Wolf Cove on a boat in his unconscious state. Upon opening his eyes, the first person he finds near him is neither Katara nor Sokka but a tribesman who’s playing guessing games. Writers were really high when they wrote that.

6. Lack of the four nations’ biodiversity

Maybe in live action, it’s difficult to create all the marvels of the four nations when we talk about their natural biodiversity. In the OG series, it is indicated by Aang that even after 112 years, he has still not forgotten the animals that define different regions in the four kingdoms and that’s exactly why he wants to finish those “important tasks” alongside saving the world. His important tasks included keeping a check on the natural biodiversity of the lands and exploring whether the Hundred Years’ War had not damaged the majestic animals. Actually, his first dialogue right after regaining consciousness is to go for an otter penguin’s ride with Katara. When I thought about that I felt that somewhere in Aang’s mind he was always connected to nature and that’s why he wanted to regain that connection by being an avatar. Sadly we never see much of the biodiversity but I hoped that maybe they will.

Also, how come Aang had that silent whistle for one hundred years when in the series he only discovers that accidentally? I missed the OG Yip Yip for our Appa. There are lots and lots of problems with the Netflix version, and no I am not being a nitpicker. I appreciate how the current creators credited the original ones, but now I know why Bryan and Michael bade farewell to this project. On a scale of 10, it’s a 4 for me or 4.5 if I am being too generous.

If I am asked to review the live action in a single line, I would only say this:

“The Netflixed ATLA makes you go back to the OG series and you end up watching the animation to give your mind a much-needed respite from a carefully crafted artistic disaster aimed at the sensationalized generation.”