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butterflies-dragons · 3 years ago

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I don't think antis know about meaning of 'willowy'. When Jon said that Val is a warrior princess not a willowy creature brushing her hair, willowy is not an insult. It means tall, slender and graceful. And Sansa qualifies as willowy brushing her and like knights. It seems like Jon throwing shade on Sansa, but why? Considering he liked her brushing Lady hair and he himself wanted to be knight. Why he subtly remember Sansa while differentiating her with Val?

This is what I wrote about Val and the willowy creature line a while ago:

Val

Repeat after me: Val is not a warrior woman. Again: Val is not a warrior woman. One more time: Val is not a warrior woman. If you don’t believe me, then read this:

However, in my own defense, I should note that Dalla was not a “warrior woman” per se. She was from a warrior culture, yes; one that gave women the right, but not the obligation, to be fighters. Ygritte was a warrior woman, as was (most conspicuously) the fearsome Harma Dogshead. Dalla and Val were not.

[Source]

But you may say, ¿What about the “the warrior princess and the willowy creature that only brushes her hair” quote?

Well, as GRRM has stated many times, all his POVS are “Unreliable Narrators”. Being from a “warrior culture” doesn’t make you automatically a “warrior woman”. But here is Jon Snow “deciding” that Val was a “warrior princess”. Once again, the contrast, the dichotomy in one single person: ¿A warrior like Arya, a princess like Sansa? Not that Arya has ever fought in a war, but you get my point. And Sansa was created following the princess archetype.

I will show you one of my favorite Jon’s passages that will serve us to read “the warrior princess and the willowy creature that only brushes her hair” line with a better and more revealing light:

I call this passage the “Jon -It’s nothing special- Snow”. Or as we say in Spanish when we can’t get what we really want: “Al cabo que ni quería”, that can be translated as “I didn’t even want it anyway”. Let’s see:

"Oh, I learn things everywhere I go.” The little man gestured up at the Wall with a gnarled black walking stick. “As I was saying … why is it that when one man builds a wall, the next man immediately needs to know what’s on the other side?” He cocked his head and looked at Jon with his curious mismatched eyes. “You do want to know what’s on the other side, don’t you?”

“It’s nothing special,” Jon said. He wanted to ride with Benjen Stark on his rangings, deep into the mysteries of the haunted forest, wanted to fight Mance Rayder’s wildlings and ward the realm against the Others, but it was better not to speak of the things you wanted. “The rangers say it’s just woods and mountains and frozen lakes, with lots of snow and ice.”

—A Game of Thrones - Jon III

I mean… COME ON! This is one of the most telling passages to know, to really know Jon’s true nature, and it’s very, very similar to the quote about “the warrior princess and the willowy creature that only brushes her hair”:

They are all convinced she is a princess. Val looked the part and rode as if she had been born on horseback. A warrior princess, he decided, not some willowy creature who sits up in a tower, brushing her hair and waiting for some knight to rescue her.

—A Dance with Dragons - Jon XI

“Some willowy creature who sits up in a tower, brushing her hair and waiting for some knight to rescue her.” Nah, it’s nothing special, I didn’t even want it anyway, not for me, no.

Do I have to say more???

Actually, yes, I have.

Jon Snow does really want a lady. Jon Snow does really want to be a knight and rescue a maiden. Jon Snow does really want a lady to love and be loved back by her. Here some evidence:

Jon Snow wished that his mother were a highborn lady: “Not my mother, Jon thought stubbornly. He knew nothing of his mother; Eddard Stark would not talk of her. Yet he dreamed of her at times, so often that he could almost see her face. In his dreams, she was beautiful, and highborn, and her eyes were kind.”

Jon Snow wanted to be a hero like the Prince Aemon Dragonknight. The same Prince Aemon that jousted in a tourney, won it, and crowned his sister and lady love “Queen of Love and Beauty”, something that is straight out from the courtly love book: “The Dragonknight once won a tourney as the Knight of Tears, so he could name his sister the queen of love and beauty in place of the king’s mistress”.

Jon Snow tried to comfort Gilly with courtesy: “Gilly, he called me. For the gillyflower.” “That’s pretty.” He remembered Sansa telling him once that he should say that whenever a lady told him her name. He could not help the girl, but perhaps the courtesy would please her”.

Jon Snow put Ghost between Ygritte and him and remembers that knights put their swords between their ladies and themselves, something that is straight out from the courtly love book: “After that he had taken to using Ghost to keep her away. Old Nan used to tell stories about knights and their ladies who would sleep in a single bed with a blade between them for honor’s sake, but he thought this must be the first time where a direwolf took the place of the sword”.

Jon Snow imagined romancing Ygritte as if she were a lady: “If I could show her Winterfell … give her a flower from the glass gardens, feast her in the Great Hall, and show her the stone kings on their thrones. We could bathe in the hot pools, and love beneath the heart tree while the old gods watched over us”.

Jon Snow wished for a domestic life in Winterfell, with his wife and children: I would need to steal her if I wanted her love, but she might give me children. I might someday hold a son of my own blood in my arms. […] I could name him Robb. Val would want to keep her sister’s son, but we could foster him at Winterfell, and Gilly’s boy as well. […] Mance’s son and Craster’s would grow up brothers, as I once did with Robb. He wanted it, Jon knew then. He wanted it as much as he had ever wanted anything. I have always wanted it, he thought, guiltily”.

Jon is a romantic that called his mare “sweet lady”.

Jon Snow closer friends in the Night’s Watch are Samwell Tarly and satin, they are literally male!Sansas.

Jon remembers fondly Sansa’s more feminine and ladylike traits: her romantic nature, her courtesies, her singing.

It’s also worth to mention that, despite Val’s beauty and physical attractiveness, Jon Snow, once again, appreciates her being maternal and singing to Gilly’s son, but was turned off by Val saying she would kill Princess Shireen:

“I have heard you singing to him.”

“I was singing to myself. Am I to blame if he listens?” A faint smile brushed her lips. “It makes him laugh. Oh, very well. He is a sweet little monster.”

“Monster?”

—A Dance with Dragons - Jon VIII

Once outside and well away from the queen’s men, Val gave vent to her wroth. “You lied about her beard. That one has more hair on her chin than I have between my legs. And the daughter … her face …”

“Greyscale.”

“The grey death is what we call it.”

“It is not always mortal in children.”

“North of the Wall it is. Hemlock is a sure cure, but a pillow or a blade will work as well. If I had given birth to that poor child, I would have given her the gift of mercy long ago.”

This was a Val that Jon had never seen before. “Princess Shireen is the queen’s only child.”

“I pity both of them. The child is not clean.”

—A Dance with Dragons - Jon XI

Wait a minute! Val was “singing to herself” like Jon’s memory of Sansa “singing to herself” while brushing out Lady’s coat???

Where did Jon get this idea of “some willowy creature that only brushes her hair” from??? It could be from his half sister Sansa, a literal princess, now trapped in a tower, that always brushed her hair and even brushed out her direwolf’s fur???

“She had brushed out her long auburn hair until it shone” —Sansa

“Her thick auburn hair had been brushed until it shone.” —Eddard

I often sent away her maid so I could brush her hair myself. —Catelyn

He thought […] Of Sansa, brushing out Lady’s coat and singing to herself. —Jon

And I also suspect that when Jon said this about Val:

Then Ghost emerged from between two trees, with Val beside him.

They look as though they belong together. Val was clad all in white; white woolen breeches tucked into high boots of bleached white leather, white bearskin cloak pinned at the shoulder with a carved weirwood face, white tunic with bone fastenings. Her breath was white as well … but her eyes were blue, her long braid the color of dark honey, her cheeks flushed red from the cold. It had been a long while since Jon Snow had seen a sight so lovely.

—A Dance with Dragons - Jon XI

He was remembering another pretty girl, princess like, next to a direwolf, looking as though they belong together.

A young beautiful girl, that everyone considers a princess, next to a direwolf???

Val is a beautiful young woman, Sansa is a beautiful young maiden.

Val has long blonde hair the color of dark honey which she wears in a braid. Val actually take care of her hair, enough to braid it, like Sansa that always brushes it. And if you google “dark honey” hair color you will find a variety of reddish brown (auburn) and reddish blonde hair colors.

Val has high sharp cheekbones, like Sansa.

Val’s eyes are pale grey or blue. Again the grey/blue eyes pattern…

Val is slender with a full bosom, like Sansa.

So?

Then Ghost emerged from between two trees, with Val beside him. […] It had been a long while since Jon Snow had seen a sight so lovely.

Of Sansa, brushing out Lady’s coat and singing to herself.

Think about it!

* * *

For anyone interested, this is an excerpt from this post.

#anon asks #jonsa

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why-this-kolaveri-machi · 3 years ago

Text

the wolf should’ve been afraid of me.

Titans 3.04

just under the wire! ... i hope.

like with the previous review, i’m typing this up as i see the episode. here we go!

spoilers ahead.

1. ... well. that was an interesting cold open.

1.25. i don’t know whether to admire this show’s restraint when it comes to gotham and its excesses, particularly arkham asylum. it’d be easy to go hammer and tongs, like suicide squad (2016) did, or any number of bat media did, at a tropey, colourful~~insanity~~ that can be quite damaging, casting mental illness in strangeness and criminality. it definitely shows gotham as... separate from the rest of the country, its own ecosystem of heroes and villains, a sort of rogue state.

but that ecosystem is still human, with its heroes needing to clip parts of themselves away just to survive, growing old and needing to be recycled, its villains languishing in the same kinds of systems that fail everybody else who needs to be helped. it’s a quieter, tenser sort of wrongness: not strange enough that you can dissociate, but not close enough that you can completely empathise. gotham is its own creature.

1.5. i know that the reasoning behind this is more doylist than anything, but i’m so glad that joker was killed off with little fanfare right at the start of the season. he is the one man in the batverse that’s transcended its confines as this sort of ethereal boogeyman/eternal edgelord and to justify his presence in the series would mean giving him this tired, overblown importance and too much of a stab at colourful, tropey “madness” in this otherwise-subdued series. i wish all batmedia would follow suit and get rid of this fucker.

1.75. so jason is bucking scarecrow’s control! or reminding him of who exactly holds all the cards right now. circling back to what i talked about in the last review, it’s remarkable just how little time it’s been since jason’s “death” and he’s already got ‘minions’ and elaborately set up plans to track, break and kill the titans. just how long has he been planning this? when did he first look at WE weapons prototypes and think that’s something i can use to blow somebody up? and the most unsettling question: did he plan his own death at the hands of the joker just so that he could break batman?

at this point it’s obvious that the scarecrow at least started jason down this path, but it’s frightening just how far he’s travelled already.

1.8. aaagh, less than one minute in! i’ll shut up.

2. conner washing his hands at the sink reminds me that he was directly in the line of explosion when hank got blown up and he’s probably got atomised hank-bits all over his skin that he’s desperately trying to wash off.

... you’re welcome.

2.25. conner, don’t you speak to gar fucking logan like that, sir, no!

2.3. if anything it’s the lex part of him that gave him the knowhow to recognise the weapon and build a de-activator for it.

anyway, for that ‘half-breed’ and ‘talking tiger’ comment?

(i wish, tho, that we actually see conner more interested in the superman part of his legacy, like maybe listening to stories from gar, or even better, dick, so we get a better idea of the pressure he’s feeling to live up to that part of him and not the part that’s lex.)

((i talked about conner’s stages of moral development in his introductory episode last season, but i wonder if the next stage of his self-actualisation would be to further integrate the parts of himself and realise that they are only parts and he, conner, is an entirely different person unto himself that can make decisions on how to use what he has and what he knows. his superman abilities can be used to destroy. his lex knowledge can be used to save.))

3. oh dawn :((

3.25. is this the last we see of dawn and hank? i mean, we know donna is coming back; would it be a stretch to think they’ll try to have a go at resurrecting hank as well?

3.5. “deathstroke didn’t make us into killers.” good, because deathstroke didn’t make jason a killer either. there’s a missing step there you need to be looking for, dick.

3.75. dick did try to break the cycle, step away from gotham, run from the possibility that he could turn into batman. it didn’t help; he couldn’t fully withdraw from his vigilante persona the same time he loathed it, and batman literally haunted him both asleep and awake. but maybe gotham doesn’t have to turn anybody into anything. maybe gotham has nothing to do with it at all. it’s about taking responsibility, realising some sacrifices are pure bullshit, and building an actual family instead of merely a team.

anyway: hugs!

(oh, also? mr “i hate flying”? i mean, there’s perfectly valid reasons to hate flying that’s not related to childhood trauma, but then again, this guy was literally a ‘flying grayson’ once. also also, remember that he also gets sea-sick. must’ve a lot of fun stories to tell.)

4. ooh that gar/kory confrontation was brief but cool!

listen, i have never seen a psychiatrist with that extravagant an office and SIR I WOULD LIKE TO KNOW HOW--

4.5. kory’s so unused to reaching out for help and it’s breaking my heart that HPG likely is some kind of impostor that’s maybe causing her symptoms in the first place.

kory and dick have mostly been apart this season but it’s remarkable how their journeys have paralleled each other; kory processes her grief, isolation and existential dread into a determination to take care of this new family she has, no matter what it takes; dick does much the same, forging ahead with plans and solutions until he has no fuel left in him and spirals into a massive breakdown.

4.25. listen titans this really is a TERRIBLE continuity error. we aren’t goldfish; we can clearly remember that two minutes ago it was gar’s upper arm that was burned, not his forearm. COME ON.

“sensory deprivation tank” *SNORT*

anyway, gar is the BEST

4.5. i wonder where these visions of experimentation took place. was it on tamaran, or on earth, after she came to hunt down rachel/trigon and before she lost all her memories? is HPG a part of the scientist group that experimented on her? ... god, i hope not. i mean, i think he is, but it would be cool to have some positive therapist representation in media.

5. you’d think the van transporting a dangerous supervillain that only batman could catch would be more secure but... i’m also not entirely surprised.

5.15. i love dick gives ZERO shits about hiding himself or even ensuring scarecrow is adequately contained. just turns away after kidnapping him in BROAD DAYLIGHT and says ‘let’s go’. I LOVE THIS DUMBASS

6. lmao gar is having a really really shitty day SOMEONE GIVE THIS MAN A BREAK or just a goddamn story arc of his own

6.5. i’m really confused about the timeline here. so... sometime ago, kory came down to earth to hunt down trigon, yeah? at some further point down the line she and her sister were kidnapped and experimented on. THEN she somehow escapes but... loses her memory? a few months pass and then we see blackfire alive and well and free; she kills faddei, can impersonate other people, and is clearly seeking out kory. but now she’s still in the experiment facility...? what’s going on?

i’m not entirely surprised about the facility being mostly deserted. either the biggest investors in this project gave up on it and it was left to the most fanatic to carry on, or they were deliberately trying to lure kory and get her to free blackfire--expand the environs of the experiment, so to speak.

7. hopefully barbara is going to get something to do other than listen to various men give her Attitude

8. how do you terrorise a terrorist? well:

i love when dick is a scary-competent motherfucker.

8.25. ooooh, the attack on crane at arkham a ploy to get crane to blackgate? nice one dick, i didn’t even think of that. but why though? to protect crane from the titans? to intercept the van to blackgate and “rescue” him? seems likely--red hood was there, except dick got to crane quicker.

9. still reeeallly unclear about the komand’r situation. was komand’r captured after s2? is this all A TRAP?? if so, why are you stepping into the only thing that can contain you, kory????

9.25. so... definite parallels between dick/jason and kory/kom here. i’m just. i’m still. really confused. i’ll shut up now.

10. this may be my favourite dick look yet:

woodsman!dick in a beanie.

10.5. i unironically love how titans has made this bizarrely-devoted-to-his-moniker, toxin-spewing supervillain into a tamer version of hannibal, psychoanalysing his victims into submission. it’s of a piece with how inward looking titans is, the way all of its villains are obsessed with how our protagonists’ minds work, to the point where they would actually spend time inside of them.

there are no big plots to end the world. no apocalypses or endgames here. these villains collect the titans’ insecurities like infinity stones. the way the titans defeat them is by achieving character growth--literally winning by the power of love. literally “the real superpower is the friends we made along the way”!

10.7. anyway, i’m betting dick is used to this bullshit from crane and is humouring him in the service of getting more information. the story about the wolf? an implicit threat, not to mention dick getting to control what crane knows about him and what methods he would use to manipulate him.

am i giving dick too much credit here? i don’t think so. he’s really impressed me so far this season.

10.75. like. there’s a real unreliable narrator vibe coming off with every person that talks about bruce (much like how the various members of the titans talked about jason’s motivations) and to buy into crane’s talk about bruce being a psychopath is to fall for the same manipulation that jason fell for. dick is the only person who hasn’t really psychoanalysed bruce this season, and i think some part of his detective brain is piecing things together into a bigger picture.

11. i’m glad kory rescued kom but did she have to kill the scientist?

(i mean, yeah, probably - the less people know that kom escaped the less likely they’re going to have the fucking govt on their doorstep, but still.)

11.5. dick’s gonna come back to wayne manor, stare straight at komand’r and go, well which room would you like? because the team might as well adopt ANOTHER person, yeah?

12. oh MAN that red hood/nightwing fight was AMAZING! and he did the thing! the boomerang escrima thing! i’m so delighted!

12.5. the anger and disbelief in dick’s voice when he says you told crane EVERYTHING?! tells me that he knew exactly what he was telling crane himself.

12.75. “everything you are is because of him” - oh that reminds me of halluci!bruce from last season. i hope we see halluci!bruce again--he is so vicious but so entertaining... so much more effective at tearing dick down than crane or jason combined. goes to show that dick’s biggest enemy is own fucking head.

12.8. oh no! dick’s shot! crane is in the wind with red hood! blackfire is now with the titans! i love it!

honestly this season’s pacing is such a big step up from the last couple. gold star, show.

#titans #titans spoilers #meta #dick grayson #koriand'r #garfield logan #komand'r #conner kent #dawn granger #jason todd #jonathan crane #a byronic cupcake #badass strawberry truffle #manic pixie pop tart #a tragic jalebi

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unforth · 4 years ago

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Could you elaborate on the parallels between the Scorpion and his dad and WKX and Purple Danger? I find that thought really interesting! <3

Oh my god you're asking me for meta? No one asks me for meta!!! Getting this made me so happy, thank you! And yes, I'd be delighted to!

Lemme preface this by saying: I have not read the book, and I've only seen episodes 1 through 27, and while I do know some spoilers for past what I've seen, I don't know everything, and I obviously can't speak to changes in dynamics that may happen past what I've watched.

So, I noted in this post that I felt like I'd just gotten slapped in the face by the parallels between Zhao Jing, and his relationship with Xie-er, and Wen Kexing, and his relationship and Gu Xiang. Specifically, the lines in episode 26 that caught me were these:

And the contrasts and similarities that they drew to these scene from Episode 24, which I watched yesterday:

(all screen caps are by me - I won’t have more screen caps just cause I really don’t have time to hunt them all down, I’m sorry, but the first two were easy to grab, and the second two I’d already taken cause that scene really got to me yesterday).

These lines, coming only two episodes apart, seemed like a really stark and deliberate effort to show a connection in the attitudes of Zhao Jing and Wen Kexing. They've also got some similarities in the childhood/history that got them to this point: Zhao Jing's family was fallen from grace, as was Wen Kexing's. Both are noted as seeming different from the "regular" people around them - Wen Kexing, it's explicit; with Zhao Jing, it's more how others seem to behave around him. It's harder to get a sense of Zhao Jing, since his own self-report is so dubious and the flashbacks we get to the Rong Xuan era are all given from the perspective of different unreliable narrators, whereas Wen Kexing's memories seem fairly intact (well, water of forgetfulness aside) and match the other remembrances we get of the same scenes.

With those similar, dubious foundations, they both resolve from a young age to take revenge for the perceived slights committed against them - and both have decided that regardless of who the specific instigators are for their suffering, they have no compunction about involving innocents as a whole. Zhao Jing wants the power he feels has been denied to him, and sets about conspiring to get that power. To achieve that, he sets about on a course that involves lying and using literally everyone who can help him. Likewise, while I'm still definitely missing some damn important of Wen Kexing's backstory (starting with, who protected the dog for him, and how he went from "kid getting regularly beaten by the previous ghost king" to "adult who is said to have literally eaten the previous ghost king"), he also clearly sets out to gain power through whatever means he can, and to survive, though from the get-go, his goal is essentially the inverse of Zhao Jing's: Zhao Jing wants to lift himself up, and sees nothing but virtue in doing so; Wen Kexing wants to bring everyone else down, and knows he's damned through-and-through for it.

(They're parallels, not matches, just to be clear! It's not that I'm saying everything is the same - on the contrary, it's the differences that makes it so intriguing).

Now, then, at some point relatively early in this entire process, each of these young men found a child. Given that Xie’er and Wen Kexing and Zhou Zishou are of the same generation, presumably they’re all around the same age - 27 or so - and also presumably, the previous generation were all in their late teens to early twenties when they had their own disastrous round of adventuring. So, if Xie’er is, say, 25, and Zhao Jing was probably around 20 (since he was one of the younger folks in the flashbacks), and 20 years have passed, and Xie’er was probably around the same age as child Wen Kexing when he was found? (I don’t know, and I don’t know if that’s ever established, sorry) So around 7? Then we’ve Xie’er being adopted by Zhao Jing and Wen Kexing being adopted by the Ghost King, each almost exactly 20 years ago. Presumably, also, Zhao Jing marries...drat, I can’t remember her name...was it Li Yao or something???...right around the same time - hence why Xie’er would think of her as a mother. Anyway, sorry, I’m really tired and I just lost the thread slightly, but the point is: a 20-or-so-year-old Zhao Jing finds a young Xie’er; and a few years later, a likely-early-teens-aged Wen Kexing finds a toddler Gu Xiang (because Wen Kexing is 27 now, and Gu Xiang is I’m guessing around 18, and she’s likely 3ish when Wen Kexing finds her, so that’d make her 3 or 4, and him 12 or 13).

And here’s where the parallels really show the essential differences between these men, despite the areas of commonality in the hate they hold toward the world and their desire to see the world brought low.

Because, given a small child, Wen Kexing’s immediate, clear thought is: I will never let this child experience what I have been through. Now, he’s busted, and he’s crazy, so from that point of view, he still does her harm: she thinks of murder as nothing (as does Xie’er) for example. But even in that, the motivations are different. Gu Xiang says it herself after she kills the beggar and Cao Weining confronts her about it: if a person is out to harm her, if a person even might harm her, isn’t she justified in killing him? If that isn’t the quintessential Wen Kexing lesson right there, I don’t know what is: “Gu Xiang, you don’t kill because I tell you to, and you don’t kill for fun, and you don’t kill for no reason - but the moment, the very instant, you have a reason? Don’t hesitate, because if you do, you’ll be the corpse, not them.” Everything Wen Kexing teachers Gu Xiang is with the aim of helping her survive in the cruelest environment in the world, one that has flayed him and raked him over the coals over and over and over again. Further, despite the hints I’ve seen so far that he has early allies at Mount Qingya (Tragicomic Ghost has been shown to at minimum pity him, and find him an odd curiosity), Wen Kexing entrusts no one else with the most vulnerable creature who has ever come into his life (well, aside from that adorable puppy, which I have the bad feeling is going to be shown to be horribly murdered before his eyes, possibly by his own hand to prove a point...that would be thematically appropriate...). He gives Gu Xiang the tools to survive and fight for herself, even against him, and when she even begins to suggest she might prefer to be somewhere else - when he sees evidence of her finding happiness - he does everything he can to encourage her joy, support her happy ending, and free her. Wen Kexing is Gu Xiang’s father, in every useful interpretation of the term - she may call him master, and others might call her his maid, but their relationship is tender, encouraging, mutually supportive, and loving. Wen Kexing wants what is best for Gu Xiang, even at the expense of his own comfort and happiness, because he cares for her that essentially and deeply - and she likewise goes out of her way to protect him more than once.

MEANWHILE.

Given a small child, though I haven’t yet seen any flashbacks to when Xie’er was little and I don’t even know if there are any, it’s really obvious that Zhao Jing instantly goes, “how can I best use this to my advantage?” Instead of setting about to build this child up to be a functional adult who can stand up to the challenges that threatened to crush Zhao Jing’s life, Zhao Jing deliberately sabotages Xie’er’s ability to function as an independent unit. He teachers Xie’er to kill, not to protect himself, but on command - to kill because Zhao Jing says so, who Zhao Jing says, on even the merest whim, and is so successful at doing so that Xie’er has even less respect for life than Zhao Jing does (which was never much to begin with). Further, while we know that Wen Kexing will kill to protect Gu Xiang, Zhao Jing never so much as lifts a finger to do his own dirty work, and has zero compunction about throwing Xie’er under the bus when he suits his ends. In 27, he flat out says - “if you keep acting like this, and kill the Gentle Wind Sect, you’ll ruin me - which means I can never let you stand next to me in public.” He says this when he knows that Xie’er craves his approval and that one of Xie’er’s most cherished objects in all he’s done is to reach a point where he can stand at Zhao Jing’s shoulder as an acknowledged heir and successor and proudly say, “yes, I did all those things to help my father, because I’m a good son.” Further, Zhao Jing is constantly abusive and manipulative. When Xie’er does what Zhao Jing has trained him to do, on command (like a dog? more parallels??), Zhao Jing praises him, touches him kindly (and when else do you think Xie’er is ever getting touched kindly? Nothing like the casual and appropriate physical intimacy with which Wen Kexing and Gu Xiang shoulder bump and interact) and tells him how precious he is. The instant Xie’er steps a toe out of line, Zhao Jing denigrates him, threatens to take away that which Xie’er most wants (acknowledgement), scolds him, calls him a fool, says he doesn’t understand. Zhao Jing calls Xie’er his son, and insists that Xie’er call him yifu, and the world may even see that way - though they hardly can, since Zhao Jing refuses to be publicly associated with Xie’er - but they couldn’t be less related when compared to Wen Kexing, who allows all to see him call Gu Xiang his servant even as he flagrantly, publicly, repeatedly treats her as his child - culminating in the speech he gives Cao Weining when he gives permission for them to wed.

Everything Wen Kexing does, as fucked up as some of it is, is done with the aim of building Gu Xiang up into a strong, independent, functional adult who is less stained than himself and capable of pursuing happiness in the world.

And everything Zhao Jing does, all of which is equally if not more fucked up than what Wen Kexing does, is done with the aim of tearing Xie’er down, making him a powerful tool - a trained dog, if you will - and a dependent person who can be deployed on an enemy and must be kept permanently off-balance so that he never ever is an independent, functional adult - and, to help ensure that, he deliberately orders Xie’er to commit depraved acts that guarantee that Xie’er is more stained than himself, and therefore incapable of finding happiness in the world.

Anyway, I could probably go on, but I gotta leave to drive my kid to school and run a couple errands, but, in conclusion: when Zhao Jing said, “the world has failed me, and I shall do the same to the world,” and it became clear to me that he and Wen Kexing essentially share (or at least shared) the same core goal, I was struck by a lightning bolt about the parallels and contrasts between them as people, and them as father’s, and here you go.

Hope this is coherent, I’m really sleepy and in a rush. :D And I hope it answers your question!

(Also dear everyone: if you reply to this or add to it in reblogs I ask that you please respect that I’ve only seen to episode 27, and not rip me apart for things I haven’t seen yet, and try to avoid giving me spoilers? I know a few - or at least I think I do - like I know all the Major Character Death stuff - but I’m sure if you’ve seen the whole series you can spot places where you, dear reader, know things I don’t, and I’d ask that you not ruin those places for me, because I’m watching as fast as I can - about one episode a day - and I’d rather find out for myself. Thank you!)

#unforth rambles #unforth metas #meta #word of honor #word of honor spoilers #word of honor meta

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gingersnapwolves · 4 years ago

Text

The Untamed, a brief summary [part 6/6]

Part One: Sword Wizard School

Part Two: The Search for the Yin Iron and the World’s Worst Summer Camp

Part Three: The Fall of Lotus Pier and the Sunshot Campaign

Part Four: The Downward Spiral

Part Five: Mo Manor, Hungry Sabers, and Yi City

Part Six: The Hidden Room, Burial Mounds Redux, and Guanyin Temple

Ext, Koi Tower [Lanling]

Wei Wuxian, Lan Wangji, and Lan Xichen roll up to Koi Tower. Jiang Cheng is already there and decides to make it awkward for everyone by asking the Lans to introduce the masked Wei Wuxian, even though a) he knows or is at least pretty damn sure it’s Wei Wuxian, b) he knows that they know it’s Wei Wuxian, and c) he doesn’t know if they know that he knows. Thanks for making me type that sentence, Jiang Cheng.

ENTER A WOMAN WHO SHOULD HAVE GOTTEN A BETTER PRE-NUP

Jin Guangyao comes out. He still has a great smile and he and Lan Xichen are still cute together. But it gets really awkward because, if you’ll remember (and I don’t blame you if you don’t), Wei Wuxian is pretending to be Mo Xuanyu, who is Jin Guangyao’s half-brother who got thrown out of Koi Tower for bad behavior. How bad? Well, apparently Mo Xuanyu had a habit of harassing Jin Guangyao’s wife, Qin Su. Whoops.

Of course, it’s difficult to say whether or not Mo Xuanyu actually did this, since all we have to go on is what people say about him, and ‘maybe don’t believe every rumor you hear’ is like the main thesis of this show.

Int, Koi Tower [Lanling]

Nie Huaisang shows up too, and throws himself at Jin Guangyao and Lan Xichen because “the old problems are solved, but new problems have arrived!” He is a drunk mess and it’s a little embarrassing for everyone.

Ext, Koi Tower [Lanling]

Jin Ling is being bullied. Wei Wuxian tells him that he should beat the bullies up, because once you’re an adult you can’t just beat people up anymore and it sucks. He teaches Jin Ling some moves and they have some nice nephew-uncle bonding time, even if Wei Wuxian is pretending to be a different uncle from the one he actually is.

Int, Koi Tower [Lanling]

Wei Wuxian uses a little paper man talisman spell to sneak into Jin Guangyao’s rooms. His wife is there and she’s upset about a letter she got. Jin Guangyao comes in and they argue about it. She keeps asking if what’s in it is true, and what happened to their son. He keeps asking her who wrote the letter and saying whoever it was only trying to upset her. When she won’t back down or answer his question, he burns the letter and then puts some sort of trance spell on her. Then he takes her into a hidden room behind a mirror.

The room is full of all sorts of treasure, including Wei Wuxian’s old sword, and more important, Nie Mingjue’s head. Yeah, just his head, with blinders over its eyes and everything. It’s weird. Wei Wuxian does a spell called Empathy to communicate with the dead guy.

Int, Nie Mingjue’s mind [currently Lanling]

We see flashbacks to him first meeting and promoting Meng Yao, who was getting bullied by the other soldiers, then to the day he exiled Meng Yao (with slight differences from the way it was presented earlier because unreliable narration is fun). We see them argue a few times over the years, then see Jin Guangyao playing music for Nie Mingjue (ostensibly to keep him from qi deviation). They get into a big fight, Nie Mingjue throws Jin Guangyao down the steps of Koi Tower, but then his brain basically explodes. Jin Guangyao looks pretty satisfied with how things are turning out but then Nie Huaisang runs up, shouting for his brother, and Jin Guangyao switches to looking super worried instead. He keeps Nie Huaisang from running to his brother, saying he won’t recognize him. Then Nie Mingjue is held down in the treasure room we’re currently in, still alive and fighting qi deviation, and Jin Guangyao tells Xue Yang to kill him (with Baxia, which Xue Yang is holding), which he does.

Int, the hidden room [Lanling]

Wei Wuxian separates his mind from Nie Mingjue’s and says ‘well that was fucked up’.

Jin Guangyao notices the little paper man and starts trying to catch it, or stab it. Wei Wuxian manages to use the paper man to manipulate his own former sword, which is very cool, and get away.

Jin Guangyao is like ‘gee, who could that have been, using Wei Wuxian’s paper man talisman to wield Wei Wuxian’s sword?’

Int, Koi Tower [Lanling]

Wei Wuxian tells Lan Wangji about all the fucked up stuff he just witnessed. They go to force their way into the hidden chamber. Lan Xichen catches up with them on the way. A bunch of Jin disciples try to stop them, including Jin Ling. Lan Xichen asks Jin Guangyao to let them in if he has nothing to hide. Jin Guangyao tries to demur, but Lan Xichen insists. With so many witnesses, he’s left with no choice.

Int, the hidden room [Lanling]

Nie Mingjue’s head is gone, but Qin Su is still there. Wei Wuxian goes over to try to talk to her, and Su She (remember this guy? Betrayed the Lan sect way back when, made friends with Jin Guangyao afterwards) says that ‘Mo Xuanyu’ just wanted to harass Qin Su some more. While Jin Guangyao is showing off a knife that’s part of his treasure, Qin Su grabs it and uses it to kill herself.

Everyone is super fucked up about this. (Don’t forget, Jin Ling is there! This 16 year old is having a Time of it.) Lan Xichen is like ‘holy shit my best friend’s wife just killed herself in front of me’ and Wei Wuxian basically blue-screens trying to figure out if she did that to herself because of whatever was in the letter, or if Jin Guangyao somehow coerced her to do it with the trance spell. (Unclear! Draw what conclusions you will.)

Jin Guangyao, who is either really upset or the world’s best actor (or both) asks them why they demanded to come into the treasure hall and what the fuck is going on. People outside, who have heard the commotion, come running in, including Nie Huaisang and Jiang Cheng (who looks at Wei Wuxian like ‘I leave you alone for five fucking minutes and now there’s a dead woman’).

Lan Xichen explains about the sword spirit and the body in Yi City and how they were looking for Nie Mingjue’s head. Jin Guangyao asks ‘did you really think I had our sworn brother’s head in my treasure room?’ Lan Xichen looks at his best friend cradling his dead wife that yes, he was in fact about to accuse of such a thing, and looks like he’s going to be physically ill. (Lan Wangji, however, is staring Jin Guangyao down like ‘listen up you lying asshole’ and Wei Wuxian is just impressed he’s found someone who’s even more shameless about crime than he is.)

Jin Guangyao takes the opportunity to blame ‘Mo Xuanyu’ for everything. He pulls his sword on Wei Wuxian, and Lan Wangji steps between them. Wei Wuxian tries to de-escalate things but it doesn’t work for shit because Su She attacks him, and he grabs his old sword off the display to protect himself. This is a Big Deal because the sword sealed itself when he died, so nobody except Wei Wuxian would be able to draw it. Oops. (Wei Wuxian has a sad moment with his sword for being so loyal, even though he was unable to use it for years before his death, since he had no golden core.) Then they run outside because fuck this shit.

Ext, Koi Tower [Lanling]

Jin Guangyao reassures Jin Ling that it’s not his fault he got tricked by Wei Wuxian, because Wei Wuxian is so evil and everything. Wei Wuxian and Lan Wangji try to get away but get surrounded. Jin Guangyao again calls Wei Wuxian out on being Wei Wuxian, so he takes off his mask. Everyone acts shocked even though 90% of the characters already knew this.

The Jin cultivators surround him. Wei Wuxian pushes Lan Wangji away and says to tell them that he didn’t know who Wei Wuxian was and that he was tricked by him. Lan Wangji refuses, immediately telling everyone he knew damn well that Wei Wuxian was Wei Wuxian and what the fuck are they gonna do about it? Wei Wuxian still tries to get him to leave, and Lan Wangji runs up to the line of what the Chinese censors will allow in terms of declarations of devotion between two men and plays gay chicken with it. He and Wei Wuxian smile at each other. Jin Guangyao has a ‘really? Right in front of my salad?’ look on his face.

Wei Wuxian and Lan Wangji fight off the Jin guys but then Jin Ling stabs Wei Wuxian in the stomach. It sucks for everybody. Lan Wangji grabs him and they run away.

Int, Cloud Recesses [Gusu]

Lan Wangji has taken Wei Wuxian back here to heal. Lan Xichen is there, too, and says that it was with his permission. But he’s clearly pretty upset about what happened at Koi Tower, since he’s the one who forced Jin Guangyao to open the treasure room on Wei Wuxian’s word, and now he kind of looks like an asshole. He and Lan Wangji come as close to a fight as they’re capable of getting in. Lan Wangji thinks Lan Xichen should believe Wei Wuxian. Lan Xichen points out that he’s known Jin Guangyao for nearly 20 years at this point and he trusts him. Since neither of them saw Nie Mingjue’s head with their own eyes, they cannot know which of the two (Wei Wuxian or Jin Guangyao) is lying. It’s frustrating, but Lan Xichen has good reason to be wary, considering that witch hunts are what led to everything that happened to Wei Wuxian in the first place. In fact, Wei Wuxian is much less upset about it than Lan Wangji.

He tells Lan Xichen what he saw while using Empathy, and plays the Song of Clarity (the qi-deviation prevention music that Jin Guangyao was playing in the memories). Lan Xichen said he played it wrong and Wei Wuxian said he played it exactly as he heard it in the memory. They realize Jin Guangyao altered the song to cause qi deviation instead of prevent it. Lan Xichen still finds this pretty hard to believe, but he says he’ll test the version Wei Wuxian heard on himself and see what happens.

Lan Xichen walks Wei Wuxian back to where he’s been stashed, and Wei Wuxian takes the opportunity to ask him why Lan Wangji has so many whip scars. Lan Xichen explains that after Wei Wuxian died, Lan Wangji flipped his shit a bit and prevented all the other sects from sacking Wei Wuxian’s cave of neat stuff. It’s a bit vague but you get the impression he might have beaten up some important people. So Lan Qiren punished him with a whipping and three years of seclusion in the back hills of Cloud Recesses. Then they show him being beaten because sometimes this show’s continuity is not great.

(Lan Xichen is like ‘hey, you know my brother’s in love with you, right? I mean, only an idiot could not know that. But you really seem to be an idiot. Let me tell you a story about how our mother killed a guy and our father insisted on protecting her anyway. Please use your lone brain cell to connect the dots.’)

Lan Wangji comes back with booze for Wei Wuxian. They talk a bit about Lan Xichen, and Lan Wangji asks if they should tell him about the second flute. He talked to Wen Ning, who told him that he heard two flutes playing at Qiongqi Way. Wei Wuxian says he wanted to know at first, but now he’s not sure it matters. No matter what, people will always say he’s evil, but at least Lan Wangji still believes in him. He says to Lan Wangji ‘I’m sorry, and thank you’.

Int, Cloud Recesses [Gusu]

Jin Guangyao has turned up, and says he definitely believes Lan Xichen that Wei Wuxian isn’t there, but maybe they could take a look anyway, to reassure the other clans? Lan Xichen doesn’t even dignify it. Then Jin Guangyao says that they’re all going to band together and do a siege on the Burial Mounds because strange things have been happening there, fierce corpses are roaming, and obviously Wei Wuxian is there and up to no good. Obviously Lan Xichen knows that this is not true since Wei Wuxian has been convalescing at Cloud Recesses. He is fucked up by the fact that Jin Guangyao is lying straight to his face and he really can’t deny it. Jin Guangyao leaves, and Lan Xichen says he’s going to go to Koi Tower, while Lan Wangji and Wei Wuxian plan to go to the Burial Mounds.

Ext, some random cabin [somewhere]

They meet up with Mianmian. She’s got a husband and a daughter and is a badass rogue cultivator. There’s really no point to this scene but it’s nice to see that at least one female character got a happy ending.

Then they meet up with Wen Ning, who’s been trying to scare people away from the area so they don’t encounter the fierce corpses that Jin Guangyao has raised with the yin iron (to make people think Wei Wuxian was doing it). They head to the Burial Mounds together.

Ext, the Burial Mounds [Yiling]

Wei Wuxian and company find all the juniors tied up in the cave, and they say they were abducted but they’re not sure who was behind it. Then an absolute fuckton of cultivators show up, including Jiang Cheng, Lan Qiren, Su She, and Nie Huaisang (who says he’s just there to make up the numbers). They’re all shouting about how they want Wei Wuxian dead for all the crime he committed last time around. Jin Guangyao’s not there because ‘someone tried to assassinate him’ that morning, and Lan Xichen is tending to his injuries. Wei Wuxian looks extremely skeptical.

Then they get attacked by fierce corpses. The gathered cultivators realize that they’ve all had their spiritual power leached away by ill-gotten means. Ruh-roh! They all end up hiding in the cave.

Int, the Burial Mounds [Yiling]

Wei Wuxian sits everyone down for an Agatha Christie reveal. He deduces that Su She is the one who took away their spiritual power, by playing malicious music on their way up the mountain. Su She denies it but Wei Wuxian tricks him into revealing that his own power is still intact.

Su She ruins the protection seal and then uses the teleportation talisman and bounces. Wen Ning tries to fight off the horde with some help from the juniors, who still have their spiritual power, but there are too many. Wei Wuxian paints a lure flag on himself and uses himself as bait, with Lan Wangji killing the fierce corpses, so the others can escape. When he catches up, he half-collapses into Lan Sizhui’s arms and Lan Sizhui is really worried about him. It’s cute. Wen Ning looks at Lan Sizhui and realizes he’s actually Wen Yuan.

Ext, some docks [Yunmeng]

They’re heading back to Lotus Pier to figure out what to do. Wen Ning comes over to talk to Lan Sizhui. The juniors are scared of him but decide he seems harmless enough, and he did just help them fight the horde, after all. He tells Lan Sizhui that he looks like a cousin of his.

The parents tell their kids to stop associating with evil, and the kids tell their parents to get a grip, and it’s beautiful.

Ext, Lotus Pier [Yunmeng]

Jiang Cheng won’t allow Wei Wuxian in, so he and Lan Wangji hang out on the steps. Wen Ning tells Lan Sizhui stories about the little boy that Wei Wuxian used to plant in the dirt.

Int, Lotus Pier [Yunmeng]

Some mysterious ladies show up. Jiang Cheng talks to them for a while and then gathers everybody together (although he still makes Wei Wuxian basically stand in the doorway).

Mysterious lady A is a prostitute who was there when Jin Guangshan died. Basically Jin Guangyao had his father fucked to death. It’s gross, although to be fair, couldn’t have happened to a nicer guy. Then all the prostitutes except her were murdered. (Why she was spared is actually never explained in the show. It’s because she was friends with Jin Guangyao’s mother and was nice to him when he was a kid.)

Mysterious lady B is a maid who worked for Qin Su’s mother. She tells everyone that she wrote the letter to Qin Su, telling her that her mother had a secret. Qin Su is not the daughter of the man she always thought, but was actually conceived during an act of rape by Jin Guangshan. She and Jin Guangyao were half-siblings. It’s strongly implied (although never outright stated if I recall correctly) that their son had some developmental delays because of this and Jin Guangyao had him killed so nobody would find out. He then blamed his son’s death on a sect that was opposing him on some political stuff and wiped them out.

Everyone is Big Time Shook over all this news. They immediately begin calling for Jin Guangyao’s head.

Wei Wuxian is frankly disgusted. Because sure, he thinks Jin Guangyao’s evil and everything, but it’s sickening to him how quickly everyone turns against him, just based on a few rumors – so much like what happened to him. He wants to know where the ladies came from, and why they came forward after so much time has gone by. But in the end he acknowledges that the gathered cultivators being against Jin Guangyao helps him, and he can’t convince them of anything anyway, so whatever.

They go to the ancestral shrine so he can pay his respects to his parents. Jiang Cheng finds him there and picks a big fight. It’s really painful for everyone. After the first couple minutes, Wei Wuxian tries to leave but Jiang Cheng won’t let him go. Wei Wuxian ends up passing out. Lan Wangji tries to leave with him but Jiang Cheng is using the lightning whip to try to stop them.

Wen Ning shows up and he’s pissed. He tells Jiang Cheng the truth about his golden core, in basically the meanest way possible, directly targeting his insecurities with dead accuracy. It’s fucking brutal. Was Jiang Cheng being a dick? Yes. Did he deserve everything that Wen Ning said to him in this scene? Not really, given that it wasn’t his fault he didn’t know. (Does Wen Ning have a right to be pissed at Jiang Cheng on general principle because Jiang Cheng didn’t help him and his family back then? Now we’re getting into the reams of meta that are written about this show.)

Anyway, in telling Jiang Cheng, Lan Wangji finally finds out, too. He’s clearly horrified to find out that Wei Wuxian went through something so awful and he didn’t even know. He picks Wei Wuxian up and they leave.

Ext, a boat [Yunmeng]

Wen Ning gives Lan Wangji the details about the golden core swap. Lan Wangji looks like he wants to cry for an hour. I feel you, Lan Wangji.

Wei Wuxian wakes up and tells Lan Wangji not to be mad at Jiang Cheng, he’s just a jerk sometimes. He wants to pick lotus seeds but Lan Wangji reminds him that the lake they’re on belongs to someone and so the lotus seeds are private property. Then he picks some and gives them to Wei Wuxian anyway. It’s super romantic. Wen Ning pretends he’s not the world’s thirdest wheel.

Ext, Yunping City [Yunmeng]

So while Wei Wuxian was in the hidden room, he saw a deed for a temple in this city. They figure it has to be important since it was in Jin Guangyao’s safe, so they go to check it out. It has a weird vibe.

Ext, Guanyin Temple [Yunmeng]

Literally so much happens in this scene you guys. It’s almost 4 entire episodes long. Let me try to sum up as quickly as possible.

First of all, the show never actually bothers to explain why Jin Guangyao is even here. It’s actually because this is where his mother is buried (and he had the temple built just for that). He’s planning to go on the run because the jig is obviously up, and wants to bring her remains with him. He also wants to get one last date with Lan Xichen in, possibly apologize for ruining everything, et c. Lan Xichen was with him in Koi Tower, and Jin Guangyao tricked him and sealed his spiritual power, then carted him off to the temple. Romance!

Anyway Jin Guangyao doesn’t get that date because literally everybody in the damn story shows up. First Wei Wuxian and Lan Wangji, for obvious reasons. He has Lan Xichen as a hostage so it’s pretty easy to catch them. Then Jin Ling shows up. Then Su She shows up, which is less problematic since he’s a henchman, but he brought Nie Huaisang with him because he found him passed out in a gutter or something. Jin Guangyao can’t just kill Jin Ling and Nie Huaisang because he still has feelings I guess.

Then Jiang Cheng shows up! He makes a grand entrance and then promptly gets his ass kicked. This is partly because Jin Guangyao tells Wei Wuxian that Jiang Cheng found out about the golden core thing, which upsets him. Lan Xichen tells everybody not to let Jin Guangyao talk because he’ll manipulate you and get the better of you. Everyone proceeds to let Jin Guangyao talk for the next forty-five minutes.

At some point during all this they confirm that yes, Jin Guangyao sent Jin Zixuan to Qiongqi Way to get him killed, and that Su She was his accomplice playing the evil music. Su She is also the one who cursed Jin Zixun. Jin Guangyao’s basically like “whatever, I said what I said”.

They finally get the coffin dug up, but instead of Jin Guangyao’s mother, Nie Mingjue’s body, complete with head, is inside. Jin Guangyao has no idea how he got there and he freaks out, which seems reasonable.

Wei Wuxian points out that while Jin Guangyao has been so impressed with himself and neatly manipulated everyone around him, someone has been pulling his strings as well. He points out the letter sent to Qin Su, the emergence of the mysterious ladies at Lotus Pier, the release of the sword spirit at Mo Manor, even his own resurrection. Jin Guangyao freaks out more.

At this point they’ve dicked around long enough for Lan Xichen’s spiritual power to come back. He puts his sword at Jin Guangyao’s throat. Jin Guangyao makes sad ‘you don’t like me anymore?’ eyes at Lan Xichen. Lan Xichen responds ‘dude, you killed, like, everybody’. Jin Guangyao admits that this is a fair rebuttal, but begs his forgiveness and pity anyway. Lan Xichen seems to forget that he literally just told everyone not to let Jin Guangyao talk because he’ll manipulate you.

Then Wen Ning shows up, and he’s been possessed by the sword spirit. He chops Jin Guangyao’s arm off. Ouch. Then he attacks Jin Ling, because the sword is just pissed off about everything, which seems fair. Wen Ning manages to fight off the possession and not kill Jin Ling, so good for him. Wei Wuxian gets the sword suppressed using his awesome mojo.

Lan Sizhui shows up at some point. I really don’t remember why the hell he’s there. Late night field trip?

Nie Huaisang screams that Su She attacked him, and his leg is bleeding. The sword springs right back to angry spiritude and murders Su She. Wei Wuxian is like “wtf I just put you to bed” and has to do it again.

Lan Xichen patches Nie Huaisang up. Everyone else sits around thinking about how truly fucked up the last 2 hours have been, especially Jin Ling, who is really having trouble with realizing one of his uncles was evil and not the one he thought. He is going through it. Meanwhile Jin Guangyao is kind of slumped against a pillar behind Lan Xichen because somehow he is not dead after losing an arm, which seems kind of whack when you consider what killed some of our other characters.

Then Nie Huaisang shouts, “behind you!” and Lan Xichen, assuming that Jin Guangyao is about to attack him, whips around and stabs him through the chest. Double ouch. Jin Guangyao is, understandably, upset at being run through. Nie Huaisang says he had a knife but Jin Guangyao calls bullshit (yes, while being run through, I don’t even know), saying even though he’s done tons of terrible things, he never once hurt Lan Xichen. Meanwhile Lan Xichen is having a complete mental breakdown, standing there with his sword in Jin Guangyao’s chest. Jin Guangyao realizes that Nie Huaisang is the one who orchestrated all this, in revenge after Jin Guangyao killed his brother. Also the angry spirits are back. A lot is happening. The temple starts to collapse. Jin Guangyao asks Lan Xichen to die with him, and it looks like Lan Xichen is going to do so, but then Jin Guangyao pushes him clear at the last second. Lan Wangji grabs him and gets him out of the temple before it collapses.

Ext, Guanyin Temple [Yunmeng]

Everyone is injured and in various states of shell shock. A ton of people show up and start fussing. Wei Wuxian reveals that the last curse mark from Mo Xuanyu is gone, indicating that Jin Guangyao was the last person Mo Xuanyu was holding a grudge against. (Presumably for throwing him out of the Jin sect and back to his abusive family, which Jin Guangyao presumably did because Mo Xuanyu found out about Qin Su’s parentage, which presumably Nie Huaisang told him. I know, it’s a lot of presuming. I’m trying not to be biased and pass judgment lol.)

Lan Xichen asks Nie Huaisang if Jin Guangyao really had a knife. Nie Huaisang prevaricates rather than answering.

Wei Wuxian and Lan Wangji are leaving. Jin Ling asks Jiang Cheng if he doesn’t want to talk to Wei Wuxian before he leaves. Jiang Cheng says everyone is going back to where they belong. He flashes back to just after his parents were killed, when he vanished from the inn, and we see him realize Wei Wuxian was about to get caught and lure the soldiers away. All this time we thought he just wandered off and got captured like an asshole, but no, he was saving Wei Wuxian and never told anybody. In the present, he says ‘take care’ to himself as Wei Wuxian leaves. Five thousand ‘Yunmeng bros reconciliation’ fics spring into existence.

Ext, the forest [presumably still Yunmeng]

Lan Sizhui approaches Wei Wuxian and tells him what little he’s remembered about his childhood, and that he’s realized his family name used to be Wen. Wei Wuxian realizes that he’s Wen Yuan, and that Lan Wangji saved him back then. It’s super touching and I happy cried, like, so much.

Ext, Cloud Recesses [Gusu]

Wei Wuxian and Lan Wangji are standing around by the waterfall acting married. Lan Wangji is chief cultivator now. Wei Wuxian has finally figured out how Lan Wangji recognized him even though he was wearing a mask when they first met up again – it’s because the song he was playing is the same song that Lan Wangji sang to him in the cave of the murder turtle. Lan Wangji actually wrote that song just for him and has never played it for anybody else.

Nie Huaisang comes for a visit. Wei Wuxian asks him if he wants to be chief cultivator. Nie Huaisang tells them that no, he was really only in it for the revenge. It’s awkward, especially given all the morally questionable choices Nie Huaisang made while on his revenge quest and the fact that Lan Xichen is super fucked up about everything, but we all hope that they’ll eventually work it out. Or at least I hope that. Your mileage may vary.

Ext, a mountain [the world]

Wei Wuxian goes off to wander for a little while. The show really makes us think that it’ll end with the two of them splitting up, but then at the very last second they meet again. We all collapse into sobbing, emotional heaps.

~end of part 6~

Characters/naming notes, as promised

I use the Mandarin for names and titles in fanfiction because it just reads better. Some of these don’t have an exact translation, so, the original is better, here are the basic terms you need to know:

Zongzhu = sect leader

Gongzi = young master

Furen = madam

Guniang = maiden/miss

Ge = older brother

Jie = older sister

Xiong = kind of like “bro” in a friendly sort of way

Da, Er, San = first, second, third – these are used in conjunction with the above, so “da-ge” is “oldest brother”, “Lan-er-gongzi” is “second young master Lan”

A- = an affectionate diminutive

Wei Wuxian (courtesy name)

Birth name: Wei Ying (only Lan Wangji calls him this)

Title: Yiling-laozu (used mostly in the second half of the show)

Also called: Wei-gongzi (by Lan Xichen, Wen Ning, and assorted others), Wei-xiong (by Nie Huaisang), A-Xian (by Jiang Yanli)

Lan Wangji (courtesy name)

Birth name: Lan Zhan (only Wei Wuxian calls him this)

Title: Hanguang-Jun (by the juniors and various others)

Also called: Lan-er-gongzi (by various characters)

Jiang Cheng (birth name)

Courtesy name: Jiang Wanyin (Lan Wangji calls him this)

Also called: Jiang-gongzi before he’s sect leader, Jiang-zongzhu afterwards, A-Cheng (by Jiang Yanli)

Jiang Yanli (only name given, not specific if birth or courtesy)

Also called: a-jie (by Jiang Cheng), shijie (by Wei Wuxian), Jiang-guniang (by pretty much everyone else)

Lan Xichen (courtesy name)

Birth name: Lan Huan, but nobody uses this

Title: Zewu-Jun (most people use this)

Also called: Lan-zongzhu (I think a few people use this instead of his title), xiongzhang (by Lan Wangji, this is a formal word for older brother), er-ge (by Jin Guangyao)

Wen Qing (only name given, birth)

Also called: Wen-guniang (by Jiang Cheng), jiejie or just jie (by Wen Ning)

Wen Ning (birth name)

Courtesy name: Wen Qionglin (used very rarely)

Title: Ghost General (never used to his face, I don’t think)

Also called: A-Ning (by Wen Qing)

Nie Huaisang (only name given, courtesy)

Also called: Nie-xiong (by Wei Wuxian), Nie-gongzi (by assorted others)

Nie Mingjue (only name given, courtesy)

Title: Chifeng-Zun (called this by many people)

Also called: Nie-zongzhu (by Meng Yao and others), Mingjue-xiong (by Lan Xichen), da-ge (by Nie Huaisang, then later by Lan Xichen and Meng Yao)

Jin Zixuan (only name given, courtesy)

Also called: Jin-gongzi (by most people)

Meng Yao (birth name)

Later in series, courtesy name: Jin Guangyao (used commonly)

Title: Lianfang-Zun (used occasionally)

Also called: A-Yao (by Lan Xichen), Xiandu (after he becomes Chief Cultivator), Jin-zongzhu at some point probably

Hoo boy all. That was a lot, huh? “I’ll write a brief summary,” she said. 20 thousand words later ... but this was as condensed as I could make it without it reading too disjointedly! So I hope you’ve all enjoyed and that this will help those of you who want to plunge into the fandom but didn’t have the time or the spoons for the show itself.

If you have any questions about something that wasn’t clear or a part of the story you want more detail on, feel free to ask me anything!

Love y’all!

#liveblog #the untamed

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fontofmercy-archived2 · 5 years ago

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The Sansa/Arya Rivalry: A Defense of Sansa Stark

1.) Arya is an unreliable narrator

“It wasn't fair. Sansa had everything. Sansa was two years older; maybe by the time Arya had been born, there had been nothing left. Often it felt that way. Sansa could sew and dance and sing. She wrote poetry. She knew how to dress. She played the high harp and the bells. Worse, she was beautiful. Sansa had gotten their mother's fine high cheekbones and the thick auburn hair of the Tullys. Arya took after their lord father. Her hair was a lusterless brown, and her face was long and solemn.” A Game of Thrones, Arya I

“Sansa had the grace to blush. She blushed prettily. She did everything prettily, Arya thought with dull resentment.” - A Game of Thrones, Arya I

Arya is projecting her insecurities onto Sansa here. There is only one instance when Sansa calls Arya ugly and it’s in the same childish outburst where she calls her “hairy” and I doubt that Arya has some hormonal issue that’s not mentioned so clearly Sansa didn’t mean either of those and that one little outburst is not a basis for Arya’s consistent insecurities about her appearance and overall masculinity.

“Sansa sighed as she stitched. “Poor Jon,” she said. “He gets jealous because he’s a bastard.” - A Game of Thrones, Arya I

“He’s our brother,” Arya said, much too loudly. Her voice cut through the afternoon quiet of the tower room.” - A Game of Thrones, Arya I

Arya jumps to Jon's defense even though Sansa didn't say anything to really warrant that. She didn’t say that Jon’s not their brother. All Sansa said was that Jon gets jealous (which is an accurate observation, Jon was jealous of Joffrey) but Arya assumes something negative from it and gets upset which is partially because she was already on edge about the Septa targeting her but again, she projects this anger at Sansa.

Arya also blames Sansa when the Septa comes over to embarrass her even though it explicitly says that Arya yelling was what attracted her attention:

“(Arya’s) voice cut through the afternoon quiet of the tower room.” - A Game of Thrones, Arya I

...5 seconds later...

“It was just like Sansa to go and attract the septa's attention. "Here," she said, surrendering up her work.” - A Game of Thrones, Arya I

The point I’m getting at is that Arya (and Sansa) are unreliable narrators because they’re children. Arya is an emotional 9-year-old child, not a noble heroine who always knows what’s right and wrong. Arya assumes a lot of negatives about Sansa that simply aren’t true and this comes into play later as well, Arya says:

“...Jeyne used to call her Arya Horseface, and neigh whenever she came near.” - A Game of Thrones, Arya I

“At Winterfell they had called her "Arya Horseface" and she'd thought nothing could be worse.” - A Clash of Kings, Arya I

“She bit her lip, groping for another name. Lommy had called her Lumpyhead, Sansa used Horseface, and her father's men once dubbed her Arya Underfoot, but she did not think any of those were the sort of name he wanted.” - A Clash of Kings, Arya IX

The top quote is from AGoT, when Arya is still living with Sansa and Jeyne. That is when her memory is most reliable, and that quote is taken from a paragraph that is all about Sansa except this one line where Arya specifies that only Jeyne calls her that. If Sansa called her Horseface, Arya would have thought of it here when she was in Winterfell thinking about all the things she doesn’t like about Sansa but she doesn’t. She specifically says only Jeyne calls her that.

The second quote is from (the start of) ACoK and the last is from (the end of) ACoK. Notice the way Arya’s memory goes from, when it’s most reliable, being that Jeyne calls her Horseface to being a vague they called her Horseface to Arya thinking, in a moment of stress, that Sansa called her that.

Arya is not thinking about Jeyne, the girl she hardly knew, by the time she’s reached that point in the story and is that stressed. Arya’s thoughts are so focused on survival and getting back to her family, it makes sense that she wouldn’t think of Jeyne and would instead pin that memory on her sister who she always pinned her insecurities on.

It’s clear that Arya thinking Sansa called her Horseface is unreliable and inaccurate. Jeyne was the one who called Arya Horseface.

2.) The real source of Arya’s insecurities

The Septa. A grown adult who is a secondary mother figure. The Septa is constantly pitting Arya against Sansa (often for her looks):

"Sansa's work is as pretty as she is," Septa Mordane told their lady mother once. "She has such fine, delicate hands." When Lady Catelyn had asked about Arya, the septa had sniffed. "Arya has the hands of a blacksmith."

"You're a good girl, Sansa, but I do vow, when it comes to that creature you're as willful as your sister Arya." She scowled.”

I mentioned in 1 that Sansa vaguely calling Arya ugly one time is not enough to cause these specific insecurities that Arya has about being too masculine but the things The Septa says are. The comment about “blacksmith’s hands” does linger in Arya’s mind and is mentioned again but Sansa calling her “ugly and hairy like Hodor” doesn’t:

"(after thinking Catelyn wouldn’t want her back because she’s dirty) I ruined that gown that Lady Smallwood gave me, and I don't sew so good." She chewed her lip. "I don't sew very well, I mean. Septa Mordane used to say I had a blacksmith's hands." - A Storm of Swords, Arya VII

Sansa has also been drip-fed the idea that Arya makes everything worse, that Arya is a terrible person to be like, by the Septa. Sansa didn’t come up with that herself. When one child is scapegoated and the other is put on a pedestal, both children are being abused and the relationship between them is going to be affected.

The Septa makes Arya feel anxious and insecure because of the constant risk of being embarrassed:

“Arya glanced furtively across the room, worried that Septa Mordane might have read her thoughts, but the septa was paying her no attention today.”

“The septa examined the fabric. "Arya, Arya, Arya," she said. "This will not do. This will not do at all." Everyone was looking at her. It was too much.”

Ned and Catelyn are also to blame for doing nothing to stop this. Septa Mordane says Arya has “Blacksmith’s hands” to Catelyn and she doesn’t say anything about it. Sansa, on the other hand, is not to blame because she was a child and did very little to perpetuate that insecurity.

3.) Sansa’s perfectionism

Sansa is assumed to be a perfectly happy and content child both by readers and other characters simply because she’s able to conform and adequately conceal her emotions “Curtesy is a woman’s armor.” but we see several times that Sansa is just as affected by this toxic environment as Arya is.

There are several times when Sansa, like Arya, worries about being embarrassed and shamed:

“Alone and humiliated, Sansa took the long way back to the inn, where she knew Septa Mordane would be waiting. Lady padded quietly by her side. She was almost in tears. All she wanted was for things to be nice and pretty, the way they were in the songs. Why couldn't Arya be sweet and delicate and kind, like Princess Myrcella? She would have liked a sister like that.” - A Game of Thrones, Sansa I

Sansa experiences the same stress and pressure Arya does, every toe out of line is scolded, just because Sansa copes through conformity and Arya through rebellion doesn’t make the trauma any more or less. Sansa is a perfectionist, she genuinely gets anxious and upset when things aren’t as they “should” be. It’s not as simple as Sansa being catty or judgmental, it’s her response to the same pressure Arya has experienced.

Now, that last part is often taken out of context to make Sansa sound awful (like no kid has ever wanted different siblings, come on) but this is after Arya refuses to go see the Queen which is quite immature and forces Sansa to return alone to face all the shame of Arya’s rudeness towards to Queen of all people.

It’s not that Sansa hates Arya, she wants to be close to Arya but feels like she can’t be:

"It is not," Arya said stubbornly. "If you came with us sometimes, you'd see."

"I hate riding," Sansa said fervently. "All it does is get you soiled and dusty and sore."

Arya shrugged.” - A Game of Thrones, Sansa I

Arya does invite Sansa to play with her and Sansa tries to convince Arya to get dressed up and hang out with her, they both want a relationship with their sister but at the expense of what the other enjoys (Sansa wants Arya to be like Myrcella, Arya wants Sansa to be like Mycah) and neither of them are willing to compromise and do what the other wants to do.

Why is Sansa not liking to get dirty seen as some grave sin but Arya refusing the invitation of one of the most important people in the world because she’d rather go play a heroic virtue? I’m not saying Arya is terrible, I’m saying they are both just normal children who lack the awareness and self-discipline to compromise on their wants or communicate effectively. There is no difference there. There is nothing inherently more virtuous about Arya’s preferences as opposed to Sansa’s especially considering point 4.

4.) Ned’s Favoritism

“...her hair all tangled and her clothes covered in mud, clutching a raggedy bunch of purple and green flowers for Father. Sansa kept hoping he would tell Arya to behave herself and act like the highborn lady she was supposed to be, but he never did, he only hugged her and thanked her for the flowers. That just made her worse.” - A Game of Thrones, Sansa I

This moment for example, many people interpret this as Sansa being just a big meanie who wants her sister to be miserable but that’s not true, Sansa specifically has an issue with the fact that their father is rewarding Arya for not doing what both the girls are told they are “supposed to be” doing. And of course that would upset Sansa who tries so hard to do what she’s “supposed to do” and is still constantly lacking meaningful attention.

This also ties into how Sansa doesn’t understand why Arya likes Mycah more than here, Arya “should” like Sansa because Sansa is doing everything to be likable but it’s not enough. Sansa wants to be close to Arya and Ned but doesn’t know how because Ned never makes significant effort to include her, or even learn what Sansa is interested in.

“Just the sight of him was enough to make Sansa feel sick, but Arya seemed to prefer his company to hers.” - A Game of Thrones, Sansa I

Sansa doesn’t understand why even though she does everything that everyone around her is telling her to do, it’s still people that are doing what she’s scolded for that are rewarded. Sansa barely has the ability to correct the Septa about her direwolf, and when she does she gets scolded and shamed excessively, but Arya gets to run around the woods and do whatever she wants while still being the favorite? That’s not entirely accurate, just like Arya’s perceptive isn’t, but it is Sansa’s perspective.

Sidenote: Is sansa being classist to Mycah? Yeah, a little, but I’m not holding a sheltered 11 y/o accountable for her ignorance. That is all Ned and Catelyn’s responsibility. And to be honest, this is a time when baths were a luxury so I’m sure the smell of someone who worked with raw meat and rarely bathed would be quite overwhelming to someone who has never been around people who couldn’t bathe regularly. Sansa doesn’t have the awareness to understand that Mycah doesn’t have the same luxuries she does so of course to her she’s going to just think “oh, he’s gross” because she’s just a kid who doesn’t understand.

Back to Ned’s favoritism though, so much of the fandom acts like Arya is just inherently a better person than Sansa because she talks to Smallfolk and doesn’t trust the Lannisters etc. but Arya didn’t just start doing those things on her own. Her father sat Arya down and explained these things to her, but Ned never bothered to do that with Sansa. A child can hardly be blamed for not knowing things that her own parents never bothered to teach her.

Sidenote: Before you say it, no, Sansa is NOT Catelyn’s favorite. Bran is Catelyn’s favorite as she explicitly states followed by the rest of her sons. Catelyn has a very superficial relationship with Sansa that is not at all equivalent to Ned and Arya’s. And even if Sansa were Catelyn’s favorite, Ned should still have given Sansa the same tools and lessons he gave Arya. Ned and Catelyn chose to leave Sansa unprepared and sheltered, that’s not Sansa’s fault.

4.) Defending Joffrey

"Stop it!" Arya screamed. She grabbed up her fallen stick.

Sansa was afraid. "Arya, you stay out of this." - A Game of Thrones, Sansa I

The idea that Sansa liked, or was even okay with, what Joffrey was doing to Mycah is pure fanon. Sansa told Arya to not get involved because she was afraid and in Sansa’s experience, being passive and not angering those with power is what works. She isn’t saying “Arya don’t interrupt, I’m enjoying the show” NO, she’s saying “Arya, I’m scared, please don’t escalate the situation.”

And, frankly...Sansa was right. The situation was made worse by Arya attacking Joffrey. I absolutely do NOT blame Arya for that, I completely understand why she did and, just like Sansa, Arya was a child who was not prepared to deal with the situation and did what she thought was right. But the situation was made worse by fighting the authority (the Lannisters) so of course it makes sense that Sansa would choose to submit to them later on and lie about what she saw.

Not only was Sansa a child (one who is particularly anxious about authority figures and has been taught all her life to be submissive) who was being dogpiled by the most powerful adults in the world and had no right option, Sansa actually made the least-wrong choice by lying about Arya.

If Sansa had told the truth, do you really think Cersei f*cking Lannister, The Queen of Reasonable, would have been like “Oh, okay then, I guess it was Joffrey’s fault.” OF COURSE NOT! Sansa lying or not made no difference because Cersei is a vengeful crazy person who will always Joffrey as the victim. In fact, Cersei had already sent The Hound to kill Mycah before Sansa said anything because if she hadn’t then Sandor wouldn’t have already been there with the body by the time Ned went outside to kill Lady.

Mycah and a direwolf were going to die for what had already happened to Joffrey regardless of what Sansa said, she could never have saved them. There is no universe in which Cersei would have given up her vengeance (the thing she basically lives and breathes for) for the word of a kid she hates. What Sansa did stopped Cersei from taking further revenge. If Sansa has told the truth, it only would have put her and her family in more danger.

So, clearly Sansa was right to lie there but what about later on when Sansa defends Joffrey? What a lot of people don’t understand is that Sansa was being abused before Joffrey ever ordered his guards to beat her and before Ned’s death. Joffrey was already using love bombing on Sansa, he already had her trapped in King’s Landing where the Lannisters have even more power than they did at Winterfell, and the two of them were already in a cycle of abuse:

“And Joffrey was the soul of courtesy. He talked to Sansa all night, showering her with compliments, making her laugh, sharing little bits of court gossip, explaining Moon Boy's japes. Sansa was so captivated that she quite forgot all her courtesies and ignored Septa Mordane, seated to her left...”

...5 seconds later...

“Sansa started as Joffrey laid his hand on her arm. "It grows late," the prince said. He had a queer look on his face, as if he were not seeing her at all.” - A Game of Thrones, Sansa II

Joffrey spends the whole meal showering Sansa in affection and attention, which is something she has been lacking the rest of the book, and then suddenly acts like he doesn’t see her and sends her off with The Hound (who proceeds to manhandle her, belittle her, and threaten her life bc that’s what he does).

This is just one of many examples of how Sansa is already trapped in this abusive cycle. There are numerous adults who fall for the manipulation that Joffrey is already using on Sansa, who have defended their abuser because they are afraid to admit what’s really happening and therefore have to face the monumentally terrifying task of leaving. It’s hardly a fair argument to blame a literal child, who couldn’t up and walk away from the Lannisters if she wanted to, for finding a way to rationalize her abuser’s actions.

If Sansa admits what Joffrey is, that means that now she is stuck with someone who doesn’t care about her at all and is only a threat to her. Sansa couldn’t survive that. She has to compartmentalize, it has to be The Hound who killed Mycah not Joffrey and, later on, Sansa continues to compartmentalize abusers’ good moments from their abuse to survive. Because it she doesn’t have a Prince in Joffrey, a protector in The Hound, a friend in Littlefinger...then she has nothing and she’s alone and that is too terrifying for her to handle.

So, yes, Sansa continues to defend Joffrey even to Arya and I completely understand why that is so hard for Arya but it’s the only thing Sansa can do to survive.

5.) Sansa and Arya are important to each other

Regardless of whether or not you agree with my analysis of the Sansa/Arya rivalry, there’s no denying that Sansa and Arya love each other. Their relationship was not all rivalry and disagreements:

Sansa covers for Arya to Septa Mordane:

“"She wasn't hungry," Sansa said, knowing full well that her sister had probably stolen down to the kitchen hours ago and wheedled a breakfast out of some cook's boy.” - A Game of Thrones, Sansa I

Arya and Sansa played in the snow (and Arya checked to make sure Sansa was okay when she fell down):

“(Arya and Bran) each had a dozen snowballs to hand, and (Sansa) had none. Bran had been perched on the roof of the covered bridge, out of reach, but Sansa had chased Arya through the stables and around the kitchen until both of them were breathless. She might even have caught her, but she'd slipped on some ice. Her sister came back to see if she was hurt. When she said she wasn't, Arya hit her in the face with another snowball, but Sansa grabbed her leg and pulled her down and was rubbing snow in her hair when Jory came along and pulled them apart, laughing.” - A Storm of Swords, Sansa VII

Arya stops wishing for King’s Landing to wash away because even right after Ned’s death, she can’t stand the thought of Sansa dying:

“She wished the Rush would rise and wash the whole city away, Flea Bottom and the Red Keep and the Great Sept and everything, and everyone too, especially Prince Joffrey and his mother. But she knew it wouldn't, and anyhow Sansa was still in the city and would wash away too. When she remembered that, Arya decided to wish for Winterfell instead.” - A Clash of Kings, Arya I

Sansa wants a kid like Arya (showing she’s moved past the biases Septa and others put in here):

“If I give him sons, he may come to love me. She would name them Eddard and Brandon and Rickon, and raise them all to be as valiant as Ser Loras. And to hate Lannisters, too. In Sansa's dreams, her children looked just like the brothers she had lost. Sometimes there was even a girl who looked like Arya.” - A Storm of Swords, Sansa II

And there’s literally so many examples of both of them wanting to go home to their family (including each other) that I don’t even need to include that. Their mutual arcs are all about wanting to bring the pack together and as Ned said:

"Let me tell you something about wolves, child. When the snows fall and the white winds blow, the lone wolf dies, but the pack survives. Summer is the time for squabbles. In winter, we must protect one another, keep each other warm, share our strengths...Sansa is your sister. You may be as different as the sun and the moon, but the same blood flows through both your hearts. You need her, as she needs you...and I need both of you, Gods help me.”

#my meta #ch: sansa stark #ch: arya stark #dyn: stark family #asoiaf meta #house stark #sansa defense squad

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valentinewheeler · 6 years ago

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2018 Book Recap!

If you follow me on twitter you saw this already, but here’s my favorites I read this year.

They weren’t all 2018 releases, but they’re what hit my kindle/bookshelf and stood out! In reverse order, basically, of when I read them. Check out the list below - it’s a little eclectic.

The Good Neighbor: The Life and Works of Fred Rogers (Maxwell King) - My toddler is ALL ABOUT Mr. Rogers. Turns out he was just as wonderful in life as he was on TV. If you’ve got a small person in your life who loves him (or you were one), I recommend this deep dive into his life and legacy.

Blackfish City (Sam J. Miller) - This sat on my kindle for months before I opened it, but once I passed the first few chapters and got into the world, I blew through 90% in a day. Beautifully woven storytelling, deep worldbuilding. Infrastructure, plague, and culture clash: three things that win me instantly. PLUS a nonbinary POV character!!

A Conspiracy of Truths (Alex Rowland) - I hate unreliable narrators, and yet, here I am, in love with this book. I finished the audiobook (which is BEAUTIFULLY narrated!!) and actually yelled out loud when there wasn’t any more. WHAT A WORLD. Economics, legal drama, and grumpy characters: three more things I can’t resist in a novel.

A Duke by Default/A Princess in Theory (Alyssa Cole) - I hadn’t read much romance until this year, and I don’t know why because turns out I love it. Or at least, I love Alyssa Cole’s work. Both of these had great heroines and super fun supporting casts. I loved both of them equally. I want the next one immediately.

Witchmark (C.L. Polk) - Everyone said I’d love this. EVERYONE WAS RIGHT. Magic! Bikes! Social class based on a false meritocracy! MURDER! MAGIC-SCIENCE BLEND! REALLY FREAKY PAYOFF! Read it. You’re missing out if you don’t.

Spinning Silver (Naomi Novik) - Now, I’ve loved Naomi Novik’s work for about fifteen years. I knew I’d like this one. What I didn’t expect was to have to lie down for a few hours to contemplate it after reading it in one go. I love a main character who ISN’T traditionally sympathetic but you love anyway. Beautifully woven folklore and feeling.

Legend (and sequels) (Marie Lu) - I love YA dystopias with all my heart. This was such a great one. I loved the characters, I loved the setting, I loved seeing the broader world than is usually seen in a post-apocalyptic setting (how DO other governments handle the end of the old way??) Just a delightful read.

Fuzzy Nation (John Scalzi) - I tried to minimize my white men on my reading list this year, but Scalzi is always an exception. I LOVE the original work, and this is a beautiful update. But then, legal battles in space will always win me over. Love it just as much as HBP’s, which is a pretty high bar to cross.

Forest of a Thousand Lanterns (Julie C Dao) - This took me a while to get through, because it was so, I don’t know, filled with impending doom? This little book had such a dark, blood-soaked voice, and I love a fairytale retelling that DOESN’T go how you expect. Absolutely worth reading. Lush setting, high body count.

The Poet X (Elizabeth Acevedo) - If I had known this was all in verse, I wouldn’t have picked it up. So I’m really glad I didn’t know that. If that turns you off, listen to the audiobook. A phenomenal performance. What an immersive experience this book was. It’s stuck with me for months after reading.

The Book of the Unnamed Midwife (Meg Elison) - I love post-apocalyptic stories. This was a brutal one. Explores how different communities deal in the face of disaster, and not for the weak of stomach. But one of my favorite PA books of the year for sure. Bought the sequel and finished both in one day.

An Extraordinary Union/A Hope Divided (Alyssa Cole) - The other set of her books I devoured this year. The first slavery-era US romance I’ve read that didn’t leave a sour taste in my mouth. The way she builds her characters and their bonds is just SO #goals.

Orientalism (Edward Said) - I’ve been meaning to read this for a while, and I finally made it through this year. A little dated, maybe, but a dense brick of really interesting thinking and history. A classic for a reason!! The audiobook is GREAT.

Americanah (Chimamanda Ngozi Adichie) - I love a character who is lying to herself! And I love a book where the backstory is meted out in drips and dabs. A dive into communities I know very little about, some of which are right around the corner from me. Ifemelu is a completely solid character, one that feels ABSOLUTELY real.

Trail of Lightning (Rebecca Roanhorse) - If you’ve read her short fiction, you know she’s a master. This lived up to it. Post-apocalyptic Navajo monsterhunters? Exactly as awesome as promised. The mythology and worldbuilding are perfection.

The Calculating Stars/The Fated Sky (Mary Robinette Kowal) - THESE BOOKS! I love alternate history, I love space, I love characters who confront prejudice within themselves and without! Every character makes SENSE, even when they’re awful! All the science feels absolutely real! I WANT TO GO TO SPACE

The Book of M (Peng Shepherd) - My goodness, I read a lot of post apocalyptic novels this year? This one has one of my personal fears - memory loss that can’t be stopped. Another great blend of science and maybe-magic and spirituality (?) and how humans cope with weird, horrifying, tragic things.

Alexander Hamilton (Ron Chernow) - I figured before seeing Hamilton I needed to read the book, and I’m really glad I did. Super engaging, with just the right blend of anecdote and data. After reading this I definitely annoyed my mother and my spouse during the whole musical by whispering trivia at them.

War Against All Puerto Ricans (Nelson Denis) - I’m ashamed to say I knew very little about the history of Puerto Rico. After reading this book, that really pisses me off. The US really did PR wrong, and continues to do so. A vital read for anyone interested in US history.

Cinder/Scarlet/Winter/Cress (Marissa Meyer) - Apparently people have been into these for years and I’m just hitting them now. Fun YA, a genre I’ve missed (I like all this hard-hitting, serious YA, but sometimes over the top silly is absolutely necessary!). Spouse and I enjoyed pointing out all the absurd fairy tale tropes.

Station Eleven (Emily St. John Mandel) - !!! I’m ALL ABOUT books that weave together multiple stories that you KNOW how to intersect somehow but you don’t know HOW IT WILL HAPPEN! Post apocalyptic, weaving stories over fifteen years, all connecting to the life of one guy as the apocalypse hits. GREAT.

All God’s Children Need Travelling Shoes (Maya Angelou) - Yes, I’m well past missing the boat here. But I’m catching up. My goodness, she’s a beautiful writer. And the period covered in the book is spellbinding and brutal and painful and gorgeous.

Cooking is Terrible (Misha Fletcher) - Okay, do you have like twelve minutes and four dollars to cook dinner every night? THIS BOOK IS FOR YOU. Easy recipes in non-threatening form, with going off-script absolutely encouraged. I read this start to finish and have been referring back FREQUENTLY as I cook.

Front Desk (Kelly Yang) - THE MIDDLE GRADE BOOK I NEVER KNEW I NEEDED. Oh, this was wonderful. I want to give this to every ten year old I know (which is actually none?). Mysteries! Racism! Badass middle schoolers! Intra-community problems! Three-dimensional characters! YES!

Edge of Nowhere (Felicia Davin) - SPACE ROMANCE! Teleportation! Cafe-owning lesbians! Sweet big stoic guy/small angry disaster guy romance (my FAVORITE KIND)! SPACE SPORTS! Space HEIST!!!! Alternate dimensions! YES.

Everything I Never Told You (Celeste Ng) - This one hurt. What real, beautiful, flawed, horrible characters. All their choices made sense in context, all their pain felt real, and I didn’t want to leave them when the book ended. Content warnings for child death. The 1970s have never felt so close.

Little Fires Everywhere (Celeste Ng) - I usually hate books that start at the end, but this one earned it. Disaster rich people are kind of my jam, especially when they have consequences. And again the characters were the stars. I felt like I knew everyone, and I loved them even when they were awful.

Into the Drowning Deep (Mira Grant) - I’m never going in the ocean again. Mermaids have been ruined forever. Terrifying. Great characters, some of whom die horribly. Scary scary unending horrorshow. But oh, what a way to go. Gory fun filled with great representation.

Uprooted (Naomi Novik) - I was so delighted by Spinning Silver I almost forgot that I loved this one NEARLY as much! Scary forest, plenty of fantasy/fairytale tropes turned on their heads. Disaster love interest. Competent, frustrated main character. A+.

The Beauty that Remains - There were a lot of dead friends books this year, and this was my favorite in the not-police-related category of those. Strangers whose lives weave together around the deaths of three people close to them all, and the band that brought them all closer. Gorgeous.

An Indigenous People’s History of the US (Roxanne Dunbar-Ortiz) - Another one that’s absolutely vital in filling gaps in the history I’ve learned of this country. Engaging writing and strong voice. Didn’t give me any warm patriotic fuzzies, that is for sure.

Company Town (Madeline Ashby) - Floating future town! Unions! Murder! Loved it.

The Underground Railroad (Colson Whitehead) - I know the boat on this was a couple years ago, but what a chilling, brutal, beautiful book. The slight speculative element was just the perfect touch to give it a flavor of myth, if that makes sense. Steel yourself before reading.

River of Teeth (Sarah Gailey) - HIPPOS! IN THE MISSISSIPPI! This was a DELIGHT from start to finish. Leverage on HIPPOS in the Wild West?! YES PLEASE.

The Wanderers (Meg Howrey) - Astronauts on a simulated mission to Mars basically all break down, as does everyone around them. I adored this book. I loved the thousand POVs because each one was its own distinct voice. I loved the different ways everybody fell apart!

Infomocracy (Malka Older) - WORLDBUILDING!!!!!! Future elections, future political system, future tech, all brilliantly built. I need to read the sequels, but I haven’t managed to work up the brainpower I know they deserve!!! READ THIS if you like scifi political minutiae (I DO)

The Poppy War (RF Kuang) - The first half is Tamora Pierce, the second half is George RR Martin, but better. This was nothing like what I expected. Absolutely staggeringly, brutally beautiful. What a bold novel. Will buy anything else she ever writes sight unseen.

Warcross (Marie Lu) - This is what I wanted Ready Player One to be. Virtual reality gaming with real life consequences. References and fantastic characters. The sequel is just as good.

Zeroboxer (Fonda Lee) - BOXING IN SPACE! Secret science!! MYSTERIES!! All things I love.

Dread Nation (Justina Ireland) - GREAT. Zombies during the Civil War. A heroine who takes no shit and instead takes zombie heads off. COMBAT SCHOOLS. SUPER GREAT.

An Ember in the Ashes (Sabaa Tahir) - I didn’t expect to love this the way I did, but I devoured it, and the two sequels, each in about a day. This felt like all the best parts of old-school fantasy novels, the thick kind you shoved in your backpack in seventh grade, but BETTER. And I love a good Evil Roman!

Space Opera (Catherynne Valente) - Queen meets Hitchhiker’s Guide! This was a JOURNEY from start to finish, a glorious, absurd, delightful meditation on fame and Eurovision and what it means to be worthwhile and human and a person. YES.

The Broken Earth (NK Jemisin) - More like the BROKEN ME after reading these. Periapocalyptic fiction, absolutely 100% deserving every award and more. Content warning for very small child death brutally described, and more horrors. NK Jemisin goes HARD.

American Islamophobia (Khaled A Beydoun) - Could not put this down. I learned an astonishing amount, especially about the historical place of Islam, Muslims, and Islamophobia in the US. A hard read, but worth the work.

All the Birds in the Sky (Charlie Jane Anders) - Okay, I have to admit it, I have no idea what was going on in this book. But that didn’t stop me from loving it!! Witches and technology and animals and weird apocalyptic nonsense! DELIGHTFUL

Anger is a Gift (Mark Oshiro) - Another YA book that pulled no punches. What a phenomenal look into the way kids and communities of color move through the world, and how the world moves against them.

History is All You Left Me (Adam Silvera) - SO MANY DEAD FRIEND BOOKS THIS YEAR. A great use of the start at the middle, work both directions format, it covers both the time before the death of the MC’s ex and the fallout. I wept through most of it.

White Tears (Hari Kunzru) - Horror, and the villain is essentially appropriation. Very satisfying! The author’s love of music comes through. A nerdy, scary, millennial read.

Love, Hate and Other Filters (Samira Ahmed) - Loved this. Melded teen interpersonal drama, family expectations vs. dreams, and confronting the world and the way they see you all at once, woven together in a beautiful way.

A People’s History of the US (Howard Zinn) - Obviously this is great. I listened to the audiobook, narrated by his son. Sobbed through the child labor chapters. Cheered at the union chapters. Loved it.

Thornfruit/Nightvine/Shadebloom (Felicia Davin) - I LOVE WORLDBUILDING. This is a fantasy on a world that doesn’t turn, so night and day are DIRECTIONS, not times. SO COOL. And I adore the main character. Small Angry/Large Shy is the BEST ROMANCE TROPE. The magic and language is beautifully developed.

Tempests and Slaughter (Tamora Pierce) - Look. I’ll read a gonorrhea brochure if Tamora Pierce writes it. So you knew this would be on the list. But it earned its spot! I love Numair in the Daine series, and he’s a tiny ball of feelings in this. I need more.

Unfamiliar Fishes (Sara Vowell) - I’ve always been interested in Hawaiian history, and though this was a little light and memoir-y for my taste, it contained a shocking amount of information that went down easy in her light, friendly style. Absolutely worth the couple hours it’ll take you.

The Only Harmless Great Thing (Brooke Bolander) - Elephants! Memory! What it means to have value! What we owe other beings! Radium! Sharp and dark and deeper than it has any right to be.

#book recs

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cupidford · 7 years ago

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Here’s everything I read and loved last month!

Gimme Shelter by SinceWhenDoYouCallMe_John

John wants to go pro in the newly formed world of professional surfing and leave the dark memories of his past behind him. That's all he wants, that is, until the hot young phenom taking the Hawaiian shores by storm steps up next to him in the sand in the second round of the 1976 International Surf Competition. Surfers John and Sherlock. Amazing AU. 159k

John’s Alibi (another Lost Special) by fellshish

“John Watson is no longer updating his blog.” Until suddenly, he is. One day, the true story may be told. This is the day. This fic explores the theory that the show is now the blog (a lie, a half-truth). Basically, the season 4 events as seen on screen, were told by an unreliable narrator. 25k

His last muse by Supernova12

Sherlock works as a figure drawing teacher to support himself financially as he gets on his feet as a professional artist. John, recently invalided from Afghanistan, is working as a figure drawing model for Art classes when he ends up in Sherlock's class... 5k

What If They Could? by Alixy02

Sherlock Holmes was six years old when he met John Watson. He was only six years old when he started believing in soulmates. He was six when he started wondering if soulmates could fall in love. So, what if they could? 13k

Happiness by unreconstructedfangirl

Established relationship - John and Sherlock are retired, living in Sussex, and very much in love. Suddenly, Sherlock is diagnosed with Parkinson’s. Sad, but not a sad story or ending. 19k

Rosethorne by suitesamba

John, WWII army doctor, is injured in the line of duty. Sherlock, Britain's best code-breaker, is side-lined by his own devastating injury. In a work inspired by "The Secret Garden," the two men must find meaning and purpose in a world which seems to have taken away all they hold most dear. 99k

Two Sides of the Same Coin by Goddess_of_the_Night

One of John’s old army buddies wants to get the gang back together. Sherlock offers to go along for moral support/possible escape route. The night takes a turn neither could have anticipated. 6k

An Obvious Fact by apliddell

There are some things needing clearing up between Sherlock and John. Irene helps. She's friendly like that. 4k

Ghosting by johnwatso

Sherlock notices that John has a new(ish) tattoo and will go to any lengths to figure out what it means. 23k

You Don’t Need Wings to Fly by Laiquilasse

It's A Wonderful Life AU. Angel!John is sent to help a desperate Sherlock by showing him what life would have been like if he had never existed. 11k

Allhallows' Affair by MindYourOwnBismuth

An All Hallows' Eve Party. Unilock. 22k

in need of repair by mywatsn

John is a repairman at 221B, and Sherlock is infatuated. 18k

Oh, Holy Night by sussexbound (SamanthaLenore)

‘Home is Not a Place’ series. Established relationship, Xmas fluff/smut. 5k

Little Contributions; Chapter 14: Flight by DiscordantWords

A different ending to the plane scene in HLV with a slightly different storyline surrounding it. 4k

Worlds Apart by JezebelGoldstone

In the midst of the American Old West, all John and Sherlock want is to stay together. Switchlock, hopeful ending. 7k

Balance by Laur

Each stuck in a universe where the other does not exist, a distortion of space allows Sherlock and John to meet through touch alone. 14k

Lozenges by Zingiber

Sherlock and John can both be careless with their health. Five times John tended to an ill Sherlock, and one time Sherlock tended to John. 9k

everything unknown appears magnificent by kormantic

Sherlock and John infiltrate a eugenics cult. 9k

this is how galaxies collide by mywatsn

Alien!Sherlock crash-lands in the middle of the rainforest and is discovered by John, resident caretaker of a research base out there. 19k

#fic rec #fic recs

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sagarbiswas · 4 years ago

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#MAR #MAKAUT #lockdownactivities #MandatoryAdditionalRequirements Name of Activity: Review a Movie Name of the Movie: Interstellar

My Review: To infinity and beyond goes “Interstellar,” an exhilarating slalom through the wormholes of Christopher Nolan’s vast imagination that is at once a science-geek fever dream and a formidable consideration of what makes us human. As visually and conceptually audacious as anything Nolan has yet done, the director’s ninth feature also proves more emotionally accessible than his coolly cerebral thrillers and Batman movies, touching on such eternal themes as the sacrifices parents make for their children (and vice versa) and the world we will leave for the next generation to inherit. An enormous undertaking that, like all the director’s best work, manages to feel handcrafted and intensely personal, “Interstellar” reaffirms Nolan as the premier big-canvas storyteller of his generation, more than earning its place alongside “The Wizard of Oz,” “2001,” “Close Encounters of the Third Kind” and “Gravity” in the canon of Hollywood’s visionary sci-fi head trips. Global box office returns should prove suitably rocket-powered.

We begin somewhere in the American farm belt, which Nolan evokes for its full mythic grandeur — blazing sunlight, towering corn stalks, whirring combines. But it soon becomes clear that this would-be field of dreams is something closer to a nightmare. The date is an unspecified point shortly, close enough to look and feel like tomorrow, yet far enough for several radical changes to have taken hold in society. A decade on from a period of widespread famine, the world’s armies have been disbanded and the cutting-edge technocracies of the early 21st century have regressed into more utilitarian, farm-based economies.

“We’re a caretaker generation,” notes one such homesteader (John Lithgow) to his widower son-in-law, Cooper (Matthew McConaughey), a former NASA test pilot who hasn’t stopped dreaming of flight, for himself and for his children: 15-year-old son Tom (Timothee Chalamet) and 10-year-old daughter Murphy (Mackenzie Foy), the latter a precocious tot was first seen getting suspended from school for daring to suggest that the Apollo space missions actually happened. “We used to look up in the sky and wonder about our place in the stars,” Cooper muses. “Now we just look down and wonder about our place in the dirt.”

And oh, what dirt! As “Interstellar” opens, the world — or at least Cooper’s Steinbeckian corner of it — sits on the cusp of a second Dust Bowl, ravaged by an epidemic of crop blight, a silt-like haze hanging permanently in the air. (Some of this scene-setting is accomplished via pseudo-documentary interviews with the elderly residents of some more distant future reflecting on their hardscrabble childhoods, which Nolan films like the “witness” segments from Warren Beatty’s “Reds.”) And as the crops die, so the Earth’s atmosphere becomes richer in nitrogen and poorer in oxygen, until the time when global starvation will give way to global asphyxiation.

But all hope is not lost. NASA (whose massive real-life budget cuts lend the movie added immediacy) still exists in this agrarian dystopia, but it’s gone off the grid, far from the microscope of public opinion. There, the brilliant physicist Professor Brand (Michael Caine, forever the face of avuncular wisdom in Nolan’s films) and his dedicated team have devised two scenarios for saving mankind. Both plans involve abandoning Earth and starting over on a new, life-sustaining planet, but only one includes taking Earth’s current 6-billion-plus population along for the ride. Doing the latter, it seems, depends on Brand’s ability to solve an epic math problem that would explain how such a large-capacity vessel could surmount Earth’s gravitational forces. (Never discussed in this egalitarian society: a scenario in which only the privileged few could escape, a la the decadent bourgeoisie of Neill Blomkamp’s “Elysium.”)

Many years earlier, Brand informs, a mysterious space-time rift (or wormhole) appeared in the vicinity of Saturn, seemingly placed there, like the monoliths of “2001,” by some higher intelligence. On the other side: another galaxy containing a dozen planets that might be fit for human habitation. In the wake of the food wars, a team of intrepid NASA scientists traveled there in search of solutions. Now, a decade later (in Earth years, that is), Brand has organized another mission to check up on the three planets that seem the most promising for human settlement. And to pilot the ship, he needs Cooper, an instinctive flight jockey in the Chuck Yeager mode, much as McConaughey’s laconic, effortlessly self-assured performance recalls Sam Shepards as Yeager in “The Right Stuff” (another obvious “Interstellar” touchstone).

Already by this point — and we have not yet left the Earth’s surface — “Interstellar” (which Nolan co-wrote with his brother and frequent collaborator, Jonathan) has hurled a fair amount of theoretical physics at the audience, including discussions of black holes, gravitational singularities and the possibility of extra-dimensional space. And, as with the twisty chronologies and unreliable narrators of his earlier films, Nolan trusts in the audience’s ability to get the gist and follow along, even if it doesn’t glean every last nuance on first viewing. It’s hard to think of a mainstream Hollywood film that has so successfully translated complex mathematical and scientific ideas to a lay audience (though Shane Carruth’s ingenious 2004 Sundance winner “Primer” — another movie concerned with overcoming the problem of gravity — tried something similar on a micro-budget indie scale), or done so in more vivid, immediate human terms. (Some credit for this is doubtless owed to the veteran CalTech physicist Kip Thorne, who consulted with the Nolans on the script and receives an executive producer credit.)

The mission itself is a relatively intimate affair, comprised of Cooper, Brand’s own scientist daughter (Anne Hathaway), two other researchers (Wes Bentley and the excellent David Gyasi), and a chatty, sarcastic, ex-military security robot called TARS (brilliantly voiced by Bill Irwin in a sly nod to Douglas Rain’s iconic HAL 9000), which looks like a walking easel but proves surprisingly agile when the going gets tough. And from there, “Interstellar” has so many wonderful surprises in store — from casting choices to narrative twists and reversals — that the less said about it the better. (Indeed, if you really don’t want to know anything more, read no further.)

It gives nothing away, however, to say that Nolan maps his infinite celestial landscape as majestically as he did the continent-hopping earthbound ones of “The Prestige” and “Batman Begins,” or the multi-tiered memory maze of “Inception.” The imagery, modeled by Nolan and cinematographer Hoyte Van Hoytema on Imax documentaries like “Space Station” and “Hubble 3D,” suggests a boundless inky blackness punctuated by ravishing bursts of light, the tiny spaceship Endurance gleaming like a diamond against Saturn’s great, gaseous rings, then ricocheting like a pinball through the wormhole’s shimmering plasmic vortex.

With each stop the Endurance makes, Nolan envisions yet another new world: one planet a watery expanse with waves that make Waimea Bay look like a giant bathtub; another an ice climber’s playground of frozen tundra and sheer-faced descents. Moreover, outer space allows Nolan to bend and twist his favorite subject — time — into remarkable new permutations. Where most prior Nolan protagonists were forever grasping at an irretrievable past, the crew of the Endurance races against a ticking clock that happens to tick differently depending on your particular vantage. New worlds mean new gravitational forces, so that for every hour spent on a given planet’s surface, years or even entire decades may be passing back on Earth. (Time as a flat circle, indeed.)

This leads to an extraordinary mid-film emotional climax in which Cooper and Brand return from one such expedition to discover that 23 earth years have passed in the blink of an eye, represented by two decades’ worth of stockpiled video messages from loved ones, including the now-adult Tom (a bearded, brooding Casey Affleck) and Murphy (Jessica Chastain in dogged, persistent “Zero Dark Thirty” mode). It’s a scene Nolan stages mostly in closeup on McConaughey, and the actor plays it beautifully, his face a quicksilver mask of joy, regret, and unbearable grief.

That moment signals a shift in “Interstellar” itself from the relatively euphoric, adventurous tone of the first half toward darker, more ambiguous terrain — the human shadow areas, if you will, that are as difficult to fully glimpse as the inside of a black hole. Nolan, who has always excelled at the slow reveal, catches even the attentive viewer off guard more than once here, but never in a way that feels cheap or compromises the complex motivations of the characters.

On the one hand, the movie marvels at the brave men and women throughout history who have dedicated themselves, often at great peril, to the greater good of mankind. On the other, because Nolan is a psychological realist, he’s acutely aware of the toil such lives may take on those who choose to lead them, and that even “the best of us” (as one character is repeatedly described) might not be immune from cowardice and moral compromise. Some people lie to themselves and to their closest confidants in “Interstellar,” and Nolan understands that everyone has his reasons. Others compensate by making the most selfless of sacrifices. Perhaps the only thing trickier than quantum physics, the movie argues, is the nature of human emotion.

Nolan stages one thrilling set piece after another, including several hairsbreadth escapes and a dazzling space-docking sequence in which the entire theater seems to become one large centrifuge; the nearly three-hour running time passes unnoticed. Even more thrilling is the movie’s ultimate vision of a universe in which the face of extraterrestrial life bears a surprisingly familiar countenance. “Do not go gentle into that good night/Rage, rage against the dying of the light,” harks the good Professor Brand at the start of the Endurance’s journey, quoting the melancholic Welshman Dylan Thomas. And yet “Interstellar” is finally a film suffused with light and boundless possibilities — those of the universe itself, of the wonder in a child’s twinkling eyes, and of movies to translate all that into spectacular picture shows like this one.

It’s hardly surprising that “Interstellar” reps the very best big-budget Hollywood craftsmanship at every level, from veteran Nolan collaborators like production designer Nathan Crowley (who built the film’s lyrical vision of the big-sky American heartland on location in Alberta) and sound designer/editor Richard King, who makes wonderfully dissonant contrasts between the movie’s interior spaces and the airless silence of space itself. VFX supervisor Paul Franklin (an Oscar winner for his work on “Inception”) again brings a vivid tactility to all of the film’s effects, especially the robotic TARS, who seamlessly inhabits the same physical spaces as the human actors. Hans Zimmer contributes one of his most richly imagined and inventive scores, which ranges from a gentle electronic keyboard melody to brassy, Strauss-ian crescendos. Shot and post-produced by Nolan entirely on celluloid (in a mix of 35mm and 70mm stocks), “Interstellar” begs to be seen on the large-format Imax screen, where its dense, inimitably filmic textures and multiple aspect ratios can be experienced to their fullest effect.

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everythingbutthecat · 7 years ago

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The Suicidal Elephant in the Parlour or Anne of Green Gables and Depression, Loss, & Suicide

by Adrianna Prosser

It’s no secret I’m a redhead, and it’s likely no surprise that when I was young I pretended I was Anne of Green Gables. In fact, my first best friend from junior kindergarten was a raven haired girl that I nicknamed Diana (hi Erin!) and she in turn called me Anne. When I was 14 I played Anne in my regional community theatre show in the musical (see community newspaper photo below) and it caused quite a stir: the theatre sweetheart who was supposed to play Anne with her beau as Gilbert was thwarted by me, an awkward untrained teenager who already knew the libretto by heart and I owned a straw hat. That show defined my love for theatre and my love of Anne transformed into a love of performing and storytelling. Anne was my life. Anne was me. From her temper to her bombastic nature, her hyperbolic narratives and of course her wild imagination, and let us not forget her competitive nature at school was all playing out pretty much the exact same way only in 1980s Canada in Barrie, instead of PEI in the 1880s.

^1998 newspaper article photo with me and my “schoolmates” in Avonlea school for South Simcoe’s Anne of Green Gables musical production in Cookstown, Ontario.

Naturally I watched the Megan Follows series of Anne until the VHS tapes wilted and wouldn’t play in my VCR. I used the musical version as my audition songs to get into theatre school and plays. I even grew up to be a schoolhouse teacher in a 1910 museum where I involuntarily (ok ok I did it on purpose) looked like Anne in Anne of Avonlea when she gives up her scholarship to stay with Marilla and teaches at the nearby school. I made time in my curriculum to read aloud from Anne of Green Gables the infamous chapter “Tempest in the School Teapot” to my grade 3’s and did voices for Diana, Anne, Gilbert and Mr Andrews; the crack on the head was always the best part played by the schoolhouse strap and a quick thwack to an antique desk. The kids would jump and laugh and want me to read more - what happened to Anne with an e?

Anne has been a big part of my life since I was 5 years old.

Then the CBC casts RH Thompson as Matthew and all of a sudden I’m back in Avonlea with earnest dread: what are they doing to Anne? I hear mixed reviews, I can’t seem to make myself watch it. It has been years since I have shed tears for the reveal of LM Montgomery’s secret: her granddaughter went public to say that Lucy had died by suicide. There was a note in her journal that seemed to indicate as much. I haven’t grieve the author of my youth, but now with this new rendition coming to TV I was going to have to face much more than childhood memories.

The CBC version called Anne The Series is wonderful: the vistas, the costumes, the character work… but there is something hard and dark around the edges. Gone are the warm hues, the bright scenery, the soft focus - this version has the contrast up, the grit and clarity filter showing weathering and wrinkles, and blues and greys highlight most every scene. I am intrigued to see some scenes play out exactly as I remember, and then others make me weep.

I enjoy adaptations, I am an actor and playwright and have read and performed several Shakespearean renditions of the same title over and over again in different ways throughout my career. I get it. Why do the exact same thing when it’s been done before? My thoughts and feelings are that of someone who GETS IT. I liked that in 2017 when this version premiered, we have such days celebrating mental health and focusing on mental illness like #MentalHealthWeek or #BellLetsTalk or suicide prevention day is September 10th and we as a collective here in Canada are getting better at being mental health advocates and de-stigmatizing depression, therapy, suicide and mental illnesses to the point that we are able to talk about it in pop culture (ie. 13 Reasons Why, The Virgin Suicides, The Perks of Being a Wallflower, etc…) and we are left to unpack it at our own pace and level of understanding as an audience member. So when this Anne adaptation starts to inject Lucy Maud Montgomery’s narrative into Anne’s I feel two things:

OF COURSE now we can talk about this! Now we can interpret the reasons why Anne was talking to her reflection in a glass window and named her mirrored self Katie and talked to herself like as if she was two people - THAT isn’t normal. They could be dissociative disorder and throughout the show we see ways in which Anne has dealt with trauma, loss, and the loss of her innocence (though I don’t think rape was implied she has heard and or seen sex and possibly witnessed rape in this adaptation,) at such a young age that of course she needs imaginary friends to help her deal with her situation, or even just the profound loneliness she lives. OF COURSE there would be residual PTSD moments that leave Anne riddled with inaction and mental scarring hearing from every person that she is not a person but a tool to keep the household running and forced to care for three sets of triplets; being told all the while that she is not a family member and reminded of it constantly. OF COURSE we should raise awareness of the things that were happening in Canada around this time like the beginnings of the Suffragettes and women’s rights activism, and of course we should inject that history into a retelling where we as a viewing audience can accept that lens showing us a bit beyond the warm fuzzy historical narrative we are used to.

BUT. And it’s a but I am still struggling with… When the show paints a portrait outside of what’s in the book and rewrites the scope of its characters ambitions and actions - I get mad. And I don’t know why. The specific scene I’m talking about is when Matthew, brilliantly portrayed by RH Thompson (of Road to Avonlea fame,) Here is the show and the book version:

Having re-read all of Anne of Green Gables to see where the artistic liberties by Walley-Beckett for the CBC version (she wrote on Breaking Bad and I joke that this is Breaking Anne,) are and where the book informs the adaptation. (I wanted to know if Marilla and Matthew had been given made-up backstories or if they were indeed in book *fun fact Marilla WAS courted by John Blythe, but the Jeanie button story, though adorable, never happens for Matthew as we are constantly reminded in the book of how shy he is to women, Anne being the only exception.) And of course the suicide scene was never in my recollection but I had to be sure that as a child I wasn’t just misunderstanding LM Montgomery’s intentions.

This is where my very biased opinion takes the milk crate:

Matthew Cuthbert from the novel never exhibited depression, suicidal attempts, nor “invitations”. When I say invitations I mean the signs that one may perceive as invitations to recognize inner thoughts and feelings to be that of a suicidal nature. And the show version of Matthew also does not exhibit these invitations. But that is not to say that impulsive suicides don’t exist, just that they are very very rare. Also, in Christian Victorian society they are DOUBLY rare. So to, speaking to his character (in both book and show version) do I question Walley-Beckett and her exploitative use of suicide in this narrative - it seems wildly out of character and ridiculous.

It seemed the choice was made for ratings and getting fangirls like me bawk at this rendition and give buzz to the show rather than playing into the original story’s nuance - like how I applaud her use of mental illness in Anne and that is why she is the “gypsy witch” that everyone calls her in the book: it is why she isn’t like everyone else on the island because everyone else on the island hasn’t been abused like Anne has. The stigma of being an orphan is explored and highlighted with the picnic scene in the show that doesn’t happen in the book. Anne has to triumph over her snobby neighbours not once like in the book (she saves Diana’s sister from croup) but defies a RAGING HOUSE FIRE in the show at the Gillis homestead to save a child and help put out the fire (a nod to her reading everything under the sun even a fire fighting manual at the train station, a call back to the first episode).

Sure. I like the in-between the lines bits like that. In fact upon re-reading it a lot of the action doesn’t take place on the page, it is usually recounted to us by our grand storyteller Anne herself, so the events are wide open to interpretation because often LM Montgomery says ‘and the concert happened’ or ‘and the school year passed’ and that’s it. My friend JM Frey writes how "Anne is an unreliable narrator.” and I agree.

But, what I can’t handle is imposing trendy topics into a show that is near and dear to many a Canadian heart for the sake of ratings. I thought it a bit odd how blunt the feminist sewing circle was. Not in the book by the way but huzzah for modern narratives and exploring what that gossip and chit-chat would be at Mrs. Lynde’s sewing bees (in the book it’s her gatherings). And clearly what spurned this whole blog-novel is the suicidal elephant in the parlour...

Then the other side of my heart believes this is a good thing, this new Matthew who is depressed because he is getting older and can’t “spare himself a mite” and then his reluctance to listen to his sister leads to them losing all their money. He has the same symptoms of the men who jumped from the ledge of their workplace in the Great Depression. Guilt. Blame. Loss of hope. Burden. And being the sole provider, or being told that one is by culture and society, he is overwhelmed and not only that he is weak in body so he can’t fight as hard as he used to… is suicide so unheard of for our dear Matthew? Many a Christian soul has taken their own lives. Many a Victorian had too, so too our dear writer LM Montgomery is believed to have taken her own life just outside of Toronto proper at the house she nicknamed “Journey’s End.”

While I cannot deny my anger and resentment and frustration with this new rendition of Anne of Green Gables I am reminded that the original still lays intact on my bookshelf and I can re-read it anytime. That maybe this new Anne is taking characters we have invested our love and time with for over a century and that perhaps this unsettling feeling that Matthew would try to take his life is the exact hurt we need to feel to address the suicidal elephant in our own lives.

When my brother died by suicide I was, am, beside myself with questions, guilt, blame, and looking for reasons. This scene made me react in a similar visceral way, to be sure because I am suicide bereaved, but also I had a pre-existing connection with Matthew since I was 5 years old! Matthew is a fictional character and I am not equating him with my real life brother, but I can’t deny that the way this rendition of the story being told rattled me to the core, and I don’t think it would have elicited the same response with a new tv show about a teenage girl with a distraught father figure who attempts suicide after a huge money loss. My love and time wouldn’t be as invested, and so using a beloved cultural phenomenon like Anne to share these themes, and with a main character no less, seems…. bold. And perfectly infuriating for the right reasons.

So while I digest all these feelings I am resolved to let them stay in this area of grey. The show isn’t wrong and the book isn’t right, or vice versa. What I can take away with certainty that I am glad LM Montgomery’s work is being appreciated all over again, along with her new Heritage Minute

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^which not only focuses on her talented writing, but that she wrote such an epic while struggling with depression. That message that you can still create and create great things while depressed is a message we need to hear and celebrate. We also need to own that some people are suicidal and we all need to step up our efforts to help our loved ones around us know that they can talk about it, seek help without judgement, and lean on us. There is no need to read between the lines like we are here with Anne, and we can ask our friends and family directly for help when we too have thoughts and feelings that make us want to end our lives.

“It was the last night before sorrow touched her life, and no life is ever quite the same again once that cold, sanctifying touch has been laid upon it.” -LM Montgomery, Anne of Green Gables, Chapter 36 “The Glory and the Dream”

Thank you Anne for once again growing up with me and helping me understand my thoughts and feelings a bit better.

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it-is-bugs · 7 years ago

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TDBM Thinkie Thoughts: 5.8

Finally to 5.8. Where did this season go? And I've nattered so much that I've got to put it under a cut!

Continuing the unfortunate trend from 5.7, we get 10 pounds of flour stuffed into a five pound sack. Way too much plot than is necessary. It just finalized my thought with 5.7 that the end of the season would have been better served by doing a 2 parter of a single over-arcing plot line.

We know Ned is doomed because he got more lines in the first 5 minutes than he's had in the previous five seasons including dramatically confronting Munro: "You bothering my girlfriend?" Ah, the glorious days when women were men's property who had to be protected from other men.

Ned got in over his head with his girlfriend. Don't hook up with the ex of some two-bit hood even if he doesn't murder you. Poor Ned. We all adored you!

JT and CM's excellent faceacting as they rush in is just spot perfect--both are heartbreaking but different from each other. The touch of Lucien's hand on Matthew's back briefly as he supports his friend without making him look weak in front of the lads. How Matthew removes his hat and puts it over his heart before giving orders. Lucien closes Ned's eyes, straightens his broken neck, and later how he strokes Ned's hair once they're in the morgue.

Matthew's really strong this episode. How he reins in Lucien, after a season of telling Charlie to get him have his head. He's not going to let Lucien just cruise along as usual and it takes a few times of Matthew saying it for it to sink in for Lucien.

The girlfriend is just a whiny mess for most of the episode--Sorry Dead!Ned, she wasn't good enough for you.

After spotting the newspaper, dramatic run by Rose--surely SOMEONE would have called her if Charlie was really dead. Calm down, honey. Their completely flat chemistry continues as he comforts her.

"William!" Lucien chases Munro out of the station. Munro will only respond when he calls him "Munro." Doesn't Lucien remember that Munro doesn't like to be called William?

Munro rants that Lucien has no respect for rules and authority. Uh...says the corrupt cop? That's what's meant by unreliable narrator. "God help him (Ned) if you're on the case." OH, you mean the guy who solved all the crimes when you were running this place?

What I mean by way too much plot: Munro returned to Melbourne in disgrace, under the cloud of corruption...so he continues to accept bribes, this time from Walter? Whose girlfriend Ned manages to steal while he's stationed in Melbourne on secondment? Then Ned returns to Ballarat, the girlfriend joins him, Walter follows them, and Munro follows him? *clutching head*

I did grab onto one thing; what was Munro going to do with this gun? Did he wanted to solve the case and look like a hero?

Like that Patrick quite likes Jean but still hates Lucien. Let's not soften him too much.

Bill and Charlie bust in on Way!Overacting!Walter in bed: "You're worried I'm holding a loaded weapon?" Covers up under his chin, hands at waist, and he's obviously naked. Ack!

We finally get a naked ass on this show and it's NOT the one we want!

Really great scene with Matthew firing Lucien. JT can go a bit far in the seething direction, but I really liked his choices here. Then Lucien has to do the walk of shame from his desk.

Who was it that named it Pet Rock Christopher? I understand why the show went with the Pet Rock, but it was jarring to me. Christopher's name would have been on the Ballarat war memorial seen in 1.2. Or perhaps a plaque inside the church. Jean had said in the past that Christopher doesn't have a grave (Not even in the war cemetery in Papua New Guinea?), so had she requested that a rock be installed right by the church front door?

I loved seeing Jean proudly shedding her old role--"I worked for Dr Blake" and putting on her new one, "We're engaged." And then Munro peed in her cornflakes and he was dead to me before he was dead. Again, he's the other side of Lucien's coin alright. Didn't we hear that your wife left you? I guess her marriage gave her a lot of pain.

I liked the touch of Lucien giving Cec his annual Christmas tip. Cec check's the size as Lucien walks away. Hee.

Lucien refuses to believe that Munro has just come to watch him fall from grace. "I was only ever doing my job."

It's helpful to get the details of what a police surgeon is actually supposed to do: "Your job is to inspect crime scenes, perform autopsies, fill out death certificates."

"You do what you do because you have to." > True dat. That's it, that's the show.

"We're two sides of the same coin." Yes, if one is black and one is white.

"Because I've become expendable. It offends my sense of justice." I don't even know where to start with that. Justice, like helping Genevieve's killer cover up his crime? Like that every crime seemed to be him settling on the first obvious suspect and trying to railroad that person, instead of letting Lucien do his job and find the real killer?

So I assume that he came to kill Walter and without any true expectation of coming out alive?

So he ends up taking a bullet, but ironically for Lucien. Lucien gets to say that classic cliche line: "You're going to be fine!" Er...

Unlike Munro, Lucien isn't a petty person. He has to give credit where credit is due: "You saved my life."

With Munro's line, "It's my job," you can see that he wants to be a hero, to fit in, to be liked. He knows what a policeman is supposed to be, he just hasn't done it very often.

Speaking of coppers doing their job, wow, this wasn't a good episode for Ballarat's finest. One constable dead, Walter knocks down Bill right there in the station and escapes, then Charlie's thumped on the head in the morgue.

It must have been a difficult episode to film with both bodies on the slab being actors well known to the principles. Did they have to fight laughing or crying?

It's torture to just watch the autopsy for Lucien. Matthew knows how to punish him. Alice "Gotch'you," as she pulls out the bullet gives me life. I also appreciate how she says that she didn't like Munro and that's it. Take down that note. When you're dead to Alice, you're literally dead to her.

Lucien gets his mojo back by stealing evidence.

Billie the Madam has a nice turn. Calls Lawson Matthew. Hee! She loaned Ned the money for the ring, then was shaking him down for repayment... WAY TOO MUCH PLOT. I had wondered how Ned afforded that ring, but was this necessary? Do we really believe Billie sneaked into the station and snapped Ned's neck?

When she's all over Charlie, I'm left wondering if Rose/Charlie is public knowledge? I'd thought so by this point but perhaps not?

Yet oddly with all this over-plotting, other parts are left out. Did Baker go back for the notebook or was he looking for Lucien to kill at the morgue? How would Baker have known about the notebook? Did we see him having access to the radio transmissions? Did he lead Lucien to the pub so he could lie in wait for him there?

Delightful, Jean's trying to say goodbye to her church in peace and here's Fr Emery.

When he compliments the flowers, she responds: "So glad you've noticed." A nice dig. "I always do." And from her expression, we know that he never says anything. There's that lesson on how to retain parishors, Em.

The church is her home. That's what the loss will be. It was an important thing when Lucien's gave her one sort of home, but this one has been with her longer and must be closer to her heart. It was always hers, not given to her by Thomas and Lucien.

When Bill is kicking the shit out of Over!Acting!Walter, I see that he learned alot from almost losing his job over beating up a suspect.

Really nice touch of Baker using the morgue table's head prop as a weapon to bash in Charlie's head.

After running through the streets with tear-filled eyes, Rose doesn't seem to care that Charlie's been assaulted.

Perhaps this is why Pet Rock Christopher is right by the door? So Norm can find Jean easily?

I really love Gary Sweet's performance. It's rather terrifying with his maniac manner. It's hilarious that he had stood over a dying Lucien and then gets ticked the Lucien didn't in fact die.

But then he makes the fatal error of pushing Jean's button; self-pity; she can't stand that. She's just made this massive, life-changing decision and doesn't have time for Norm's pity party.

"For God's sake, Jean," wails Lucien when she charges the killer. She'd made her decision and she couldn't go back. If Lucien is gone, she's not just going to go back to the church. She's had a fundamental sea change in her way of thinking. And she's just really really pissed that this whinger may take this New Jean away from her. That and she keeps catching a heel in the turf, it's hot as hell, and she probably left the Christmas roast cooking. She needs to get home, like now.

Nice touch that Matthew needs Lucien to escort Norman across the uneven turf. The way that things have been going, Norm could have run off and the Ballarat force would have suffered their final humiliation for the episode.

I love that Alice and Bill are overdressed compared to the others at the Christmas party. They must feel the most outsiders to begin with, and now this. Alice's gown is lovely and Bill looks like his mum washed his neck, so it's all good. Bill leads the toast to Ned, but no one will toast Munro but Lucien. Gosh, didn't you back Munro, Bill? Hmmm....lots of revised memories in this episode.

It makes me the whinger now, but what was Jean's other present/s for Lucien? A new set of pajamas? A new dressing gown?

"You know I snore."

"For better or worse, Lucien."

To be the voice of doom, but it's not snoring that Jean needs to worry about from sleeping with Lucien, but let's save that for S6, shall we?

#doctor blake mysteries #deep thinkie thoughts #is it saturday night yet?

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butterflies-dragons · 4 years ago

Note

Just passed on my tl that post about Sam/satin/Sansa and that that anti reblogged your post to add that quote about willowy creatures 😭 and I have to remind myself that this is the same fandom who reads jon saying that only a monster would give a child to the flames something like that, followed by a daniela chapter where her dragon BURNS A CHILD and says “if they are monsters so am I” and still manages to believe jon will love this girl. But a willowy creature? Never.

Hello Anon,

This post? The ‘willowy creature’ quote was added to the original post (@istumpysk), they missed my addition I think...

They always use that quote to claim “Jon loves warrior women and ‘consequently’ he hates ladies.” That’s their "clever logic"... LOL

I wrote about the ‘willowy creature’ issue in this post:

Val

Repeat after me: Val is not a warrior woman. Again: Val is not a warrior woman. One more time: Val is not a warrior woman. If you don’t believe me, then read this:

[Source]

But you may say, ¿What about the “the warrior princess and the willowy creature that only brushes her hair” quote?

—A Game of Thrones - Jon III

—A Dance with Dragons - Jon XI

“Some willowy creature who sits up in a tower, brushing her hair and waiting for some knight to rescue her.” Nah, it’s nothing special, I didn’t even want it anyway, not for me, no.

Do I have to say more???

Actually, yes, I have.

Jon Snow does really want a lady. Jon Snow does really want to be a knight and rescue a maiden. Jon Snow does really want a lady to love and be loved back by her. Here some evidence:

Jon is a romantic that called his mare “sweet lady”.

Jon Snow closer friends in the Night’s Watch are Samwell Tarly and satin, they are literally male!Sansas.

Jon remembers fondly Sansa’s more feminine and ladylike traits: her romantic nature, her courtesies, her singing.

“I have heard you singing to him.”

“I was singing to myself. Am I to blame if he listens?” A faint smile brushed her lips. “It makes him laugh. Oh, very well. He is a sweet little monster.”

“Monster?”

—A Dance with Dragons - Jon VIII

“Greyscale.”

“The grey death is what we call it.”

“It is not always mortal in children.”

“North of the Wall it is. Hemlock is a sure cure, but a pillow or a blade will work as well. If I had given birth to that poor child, I would have given her the gift of mercy long ago.”

This was a Val that Jon had never seen before. “Princess Shireen is the queen’s only child.”

“I pity both of them. The child is not clean.”

—A Dance with Dragons - Jon XI

Wait a minute! Val was “singing to herself” like Jon’s memory of Sansa “singing to herself” while brushing out Lady’s coat???

“She had brushed out her long auburn hair until it shone” —Sansa

“Her thick auburn hair had been brushed until it shone.” —Eddard

I often sent away her maid so I could brush her hair myself. —Catelyn

He thought […] Of Sansa, brushing out Lady’s coat and singing to herself. —Jon

And I also suspect that when Jon said this about Val:

Then Ghost emerged from between two trees, with Val beside him.

—A Dance with Dragons - Jon XI

He was remembering another pretty girl, princess like, next to a direwolf, looking as though they belong together.

A young beautiful girl, that everyone considers a princess, next to a direwolf???

Val is a beautiful young woman, Sansa is a beautiful young maiden.

Val has high sharp cheekbones, like Sansa.

Val’s eyes are pale grey or blue. Again the grey/blue eyes pattern…

Val is slender with a full bosom, like Sansa.

So?

Then Ghost emerged from between two trees, with Val beside him. […] It had been a long while since Jon Snow had seen a sight so lovely.

Of Sansa, brushing out Lady’s coat and singing to herself.

Think about it!

***

Thanks for your message ♡

#jonsa #anon asks

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runawaymarbles · 7 years ago

Text

Black Sails Fic Rec

Silver/Flint

shaking at the sight by vowelinthug | 1k | T |

two pirate kings, united vs. an entire island's naval forces.

the island didn't stand a chance.

look for something left in this world by vowelinthug | 2k | M |

it’s a nice day for a white wedding

too bad they aren’t having one

yer mother darns socks in hell by youatemytailor | 4k | M |

Christ, Flint thinks. He fucking hates Freetown.

el cuentacuento by straddling_the_atmosphere | 4k | NR | +Silver/Madi

At the end of the day, John Silver is an unreliable narrator.

Or: a storyteller’s story.

show me the way to go home by vowelinthug | 8k | NC-17 |

set during 2x4, in which Silver and Flint take a much-deserved time out and enjoy a drink or seven

and they both learn a valuable lesson about each other

namely that neither one has ever had any chill whatsoever in their entire goddamn life

let us possess one world by vowelinthug | 8k | NC-17 |

They return to Nassau after their defeat of the British Navy, only to be met by Agitator Billy and his propaganda machine. This is why Captain Flint tries not to let other people decide things.

In which: Flint wears a disguise, Silver tells a terrible story, one bathes the other, and only one man died the whole night which is, like, definitely a record for them.

What's in a Name? by Craftnarook | 9k | NC-17 |

Some conversations in the dark between Flint and Silver, set during episode 3x09. They have a moment alone in the Maroon camp, after Mr Scott's death, and what begins as curiosity and sharing develops into rather a lot more.

you are the queen and i am the wolf by vowelinthug | 10k | NC-17 |

They call him John the Giant.

Flint calls himself James the Early Risk for Heart Failure.

Don’t Fear the Ships (Fear the Black) by farasha | 11k | NC-17 |

“You can’t read sea charts.”

“Can’t is a strong word.”

Flint teaches Silver how to sail. As with everything they do, there’s a lot more going on unspoken.

Or, Silver tries to convince Flint that it would be a bad thing if he died.

ya filthy animals by vowelinthug | 12k | NC-17 |

Flint and Silver could be rulers of an illegal organization, major mob bosses, kingpins, criminal masterminds, etc.

But then they could also be petty shoplifters who like to drink during the day and fool around on their houseboat.

With Nothing On My Tongue by RosieTwiggs | 14k | NC-17 | +Silver/Madi

“Silver thinks: Maybe God likes it when I fight with him.

He wonders now, whether he’s been playing into God’s plan all along. Because no matter how angry he gets, how defensive, how many “fuck you”s he flings to the heaven, isn’t it all just proof that he still believes God is there, despite it all?

Silver doesn’t know how to counter that.

Maybe he doesn’t want to anymore.

Blue all in a rush by twofrontteethstillcrooked | 16k | NC-17 |

There were dozens of questions Flint wanted to ask. He chose, "Did it not occur to you I would find out you were here almost immediately?"

st. augustine is that way by vowelinthug | 18k | NC-17 |

James Flint had yet to meet a conversation he couldn’t avoid.

John Silver had yet to meet a routine he couldn’t disrupt.

(post-show domesticity, with oranges)

we must unlearn the constellations to see the stars by lacecat | 19k | M | + Flint/Thomas, Silver/Madi

Silver wakes up each time to a different day in his past.

He thinks that if this is his purgatory, he can’t say he doesn’t deserve it.

Sail These Roads and Back Again by neverfaraway | 20k | M

James has fled the New World for the Old, shed his name and found quietude in his solitary existence. That is, until his favourite worst memory appears on the farm track, collapses upon his sopha, and refuses to be shaken loose. While Corsica smoulders and war becomes ever more likely, Flint and Silver enter a war of their own: to reclaim their past and forge an uncertain future.

gonna need a bigger boat by lacecat | 20k | Not Rated

“You really want to say that, when you’re sitting across from a man who lost his leg to a shark?” Flint scoffs. "There is no way a shark took your leg!" "Of course not," Silver says, smirking. After he draws the silence out, for what feels appropriately dramatic enough period of time, he adds, "It was two sharks."

Tell me we're dead and I'll love you even more by Craftnarook | 22k | M |

In the year 1725, or thereabouts, John Silver finds himself driven by a storm into an inconsequential little port town, barely a speck on any civilised map. Returned to the life of a drifter, tired and rough around the edges, he is resigned to waiting for the weather to pass before he can sail on again to the next town, and the next, and the next. That is until he overhears a conversation in the inn about a local fisherman, one Captain Barlow, and his tall tales of tempests and becalmings, devils and sharks, and Silver finds a new future opening up to him, haunted by the spectres of his past.

John Silver Can’t Get There From Here by Apetslife | 33k | Series, G-E | + Silver/Madi, Anne/Jack

Or: Fuck Treasure Island, And Also Actual History, And Probably Season Four Canon, Too

“He is so terribly in love with you,” Madi murmurs to him from out of nowhere, sitting easy in the curve of his arm in the shade of their small porch.

Fifteen Men in September by ballantine | NR | 34k |

Fifteen men on the dead man’s chest Yo-ho-ho, and a bottle of rum! Drink and the devil had done for the rest Yo-ho-ho, and a bottle of rum!

A Black Sails origin story for the song.

turning saints into the sea by lacecat | 86k | NC-17 | + Flint/Thomas, Silver/Madi, Miranda/Flint

They say she arrived in Nassau during a hurricane. They say that she brought with her a priest she had kidnapped to father her children, whom she then turned into storms to guide the direction of her ship. They say she has sworn to kill as many men on this Earth as she could, that she bathes in the blood of young children ripped from their mother’s breasts to attain immortality, doomed to serve the seas forever in return.

In reality, Silver has seen Flint conjure exactly zero storm-like offspring, but she does know how she speaks with the sort of conviction that if she were a man, they would write books about her. There’s a stiffness to her posture that speaks of someone who might better be found in a London parlor rather than a dusty brothel in the Bahamas, and yet she has a fierce temper that rivals any man’s on the island, a dangerous look about her like the air rippling over fire.

Silver/Flint/Hamilton(+)

The Isle of Hope by ElDiablito_SF | 16k | M |

When a heartbroken John Silver arrives in Georgia ten years after the events on Skeleton Island, he doesn't quite have it in him to face Flint. Instead, he concocts a scheme to befriend Thomas, and gets more than he bargained for in exchange

The Tether Series by stele3 | 58k | M |

“So you did find him,” the man says faintly. When Thomas looks up he finds himself caught in perhaps the strangest regard one person has ever given another, a gaze that absolutely does not dissuade Thomas from the notion that a feral, scavenging animal has broken into their home.

Smallpox Verse by vowelinthug | 70k | T-NC17 | + Madi

post-finale, where everyone learns a valuable lesson about communication and smallpox. (no one actually gets smallpox.)

The Canterbury Tales by Wind_Ryder | 133k | NC-17 | +Madi

Pirates. Attacking Georgia. A part of Thomas wants to believe that there’s nothing at all relating the events outside to the events in his personal life.

But when he turns around and sees John Silver slipping in through the backdoor, he very much doubts that’s the case. “Tea?” Thomas asks blandly, throwing the latch and shutting his blinds like a good Puritan man.

Flint/Hamilton(s)

the stars and she who runs with them by alovelylight | 1k | G |

When she declared Peter Ashe a traitor, her heart beating fury into the expanse of her body, she knew this was what James felt like. The constructed castles of civilization falling to the ground, dragons from the dark breathing out and destroying all the lies they hold dear. This was what she wanted; this would be her peace.

Time Covers All Things by lilithi|ien | 12k | T | +Silver/Flint

She imagines it will be liberating to take a new name, to adopt a new life. The next day, as she steps off the gangway onto the island sand, she tries to leave who she was behind like a snake shedding its skin. She can almost get away with it. How Lady Hamilton becomes Mrs Barlow.

The Witch Queen of Nassau by shirogiku | 12k | NC-17 |

After James is captured by the Navy, it falls to Miranda to organise the rescue. Nothing goes according to the plan.

Revenant by BethWinter | 18k | T |

After Charlestown burns, Abigail Ashe meets a man who says he was a friend of her father’s. He gives her a choice.

The Far Waste of the Waters by more_night | M | 22.5k | + Silver/Flint, Silver/Madi

James McGraw removes Skeleton Island from his mind.

Somewhere in Boston by redwhale | T | 29k | + Laura Moon/Shadow Moon

Mr. Wednesday tries to recruit the dread pirate Captain Flint for his war against the New Gods, and runs afoul of Thomas Hamilton in the attempt. Meanwhile, Shadow just wants a new goddamn book to read, is that so much to ask?

Soon after, on the trail of Wednesday and Shadow, Laura and Mad Sweeney find themselves in a charming bookstore in Boston...

Unaccommodated Man by kvikindi | T | 27k |

It is at this point that, for the first time, Thomas Hamilton begins to consider that he has gone mad.

The Sundering Sea by x_art | 137k | NR | Flint/Thomas

Stepping into the foamy surf, gasping at the force of it, the surprise of it—it had been breathtaking. Thomas had been that for him, his boundless sea, and he wasn’t ashamed.

Max/Anne (+)

you'll always paint my sky by mapped | 2k | T |

She still loves Max, and it gets harder and harder to deny it to herself.

(Anne through the second half of S4.)

histoire à tiroirs by straddling_the_atmosphere | 3k | T | +Max/Eleanor, Max/Idelle

histoire (n): a story, a fictional tale, a narrative account, a lie

Or: Max and shifting sands

Bounteous by willowbilly | 4k | M | Anne/Max/Mary/Jack

It’s a queer hurt, almost like the relief of peeling off an old scab, to feel her heart pulling in three separate directions and to feel it expanding to encompass the whole damn rest of the compass rose rather than be so fragile as to rip itself asunder. Anne never would have thought, before, that she’d be this fucking caring. That she’d had such a deep well of love waiting untapped within her, way down.

kintsugi by princejake | 6k | T |

Anne nestles into his shoulder, her hair brushing against his cheek, and suddenly Jack can breathe properly for the first time in weeks. Here they are, together, in balance as they’ve been from the beginning. Complete again.

When he opens his eyes Max is watching them from across the street. Her posture is carefully neutral, but her eyes are… solemn. Stoic. Filled with a kind of barren peace. She always could convey so much with just a look.

Something twinges uncomfortably behind Jack’s breastbone. /Oh./ Perhaps not so in balance after all.

Other/Misc/Gen

no man’s land by rhllors | 2.5k | T | Jack/Anne/Mary

The man on the deck looks back at them, considering. He’s handsome but he oozes violence; armed, scarred, tall, hair slung round a bandana, the same colour of a recently opened wound. “I’ve heard of you,” he says, with an infliction she’s not familiar with: somewhere from the continent, not French. Perhaps Holland. “The name’s Read.” he continues, eyes tracing the rim of her hat. “Mark Read.”

armed with the past and the will by whimsicalimages | 3k | T | Silver/Madi

The language of winning and losing, this language that men favor – Madi can speak this language, though she disagrees with its precepts. Success takes different forms, and failing once does not mean failing forever. It does not even mean failing the next time.

Gone to Port Royal by Apetslife | 3k | G | All the pairings

Definition of Valhalla 1: the great hall in Norse mythology where heroes slain in battle are received 2 : a place of honor, glory, or happiness : heaven

same bottle, same gun: two shots by AstronautSquid | 5k | T | minor Flint/Thomas, Max/Eleanor

„I will walk,“ Flint interrupted her objections. „You have just maneuvered yourself into a position of considerable power on this island, and now you have gone and cast aside a man the island admires and fears. It won’t do for you to be seen sharing a horse with me like a wounded young girl.“ Eleanor stared up at him; a wounded young girl full of curses, with a rifle resting like a sleeping babe in her arm.

[Nassau, 1708. Eleanor Guthrie remembers a moment in the life of Lieutenant McGraw. Captain Flint doesn’t.]

what’s a king but a heavy name by thatsarockfact55 | 51k | T | Mr. Scott/Maroon Queen, Madi/Silver, background Flint/Silver

In the quiet night, one stranger tells another what he has always known: “I have been so many names, Long John Silver, and if not for love I would be no one at all.”

One story of a spirit, a slave, a father, and a pirate king, told in seven parts.

Winds of Change and Chance by PanBoleyn | 60k | T | (eventual Silver/Flint, Miranda/Thomas, Flint/Hamiltons, Flint/Silver/Miranda)

In which a thief and his daemon make their way onto a pirate ship, and vastly underestimate how hard it will be to get off again.

Well, the thief does. His daemon had a feeling this might happen.

#black sails #black sails fic rec #silverflint #flinthamilton #silverflinthamilton #flinthamiltons #maxanne #maxanor #op #rec list #fic rec

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