#but i do also love like emotionally driven fights between people in love with each other

[loveemagicpeace]

🪽Sunday Thoughts🪽

❤️Mars sign is how you act and mars in house is how you react.

💓Venus sign is how you look at love, what is important to you, how you feel. How you behave in love is house where is venus.

🪼We have two different types of pisces people and that is jupiter and neptune. Pisces who have Jupiter's energy will be more philosophical, have faith in something. Pisces who have Neptune's energy will be more dreamy and spiritual. We have two types of scorpio people and they are mars and pluto. Scorpios with Mars energy will be more impulsive, driven and fearless. Scorpios with Pluto energy will be more deep, mysterious, controlling.

🩵8th house synastry-it can also give you the feeling that you want to keep this person and the relationship you have with them to yourself. It's like you want it to be your secret. Not because you're embarrassed or anything, but you just want the relationship you have with this person to be private. Even when you fight in a relationship, you don't want to talk about it with others. You want to keep this person all to yourself. A lot of times you feel like you have some kind of deeper connection with that person and you can feel protective of them.

🍋Mars in 7th house-these people are many times self-sacrificing for others. You do a lot for other people and at the same time you can forget about yourself. People can quickly drain you of your energy. Because you try to do everything for others.

🩵Water moons have very good intuition and way of caring. They always know what you need, they sense your energy. All of a sudden they will hug you. They feel your energy and I love how deeply they understand you. They will always be here for you and always make sure you feel good. But they can often take things too emotionally.

🩶Earth moons- what I like about them is that they know how to stay calm and somehow process their emotions. You feel emotionally safe because they give you the feeling that they will always be here. But they have a hard time expressing them, so sometimes you can feel like they don't see you or don't give you what you need.

❤️‍🔥Fire moons- know how to look at every situation optimistically. They know how to put you in a good mood. They are not emotionally resentful, so you can feel that will never last long if they are angry. However, their feelings can often be selfish.

🩷Air moons- know how to accept your feelings and look at the other side of them. They will always somehow have a more logical response to them and will always want to talk about them. You always know you'll end up talking to them, no matter what. But they can overthink too much about their feelings. Or sometimes solve everything in some rational way.

🌃Your MC says a lot about how you feel in the audience, for example: birthdays, events. How you look and how others see you. Scorpio MC - you will always look mysterious, calm, intimidating. In reality, you're best off just watching people. You don't like people pointing you out or asking you anything. You don't like being exposed. Libra MC- you will always be the person who talks to everyone. You will always be kind to everyone and want them to feel good. You will act friendly to people.

🌠Taurus + Taurus -are a good combination in love. Both know how to appreciate each other and put a lot into love and making a person feel good. Both can do a lot for each other. They kind of have the same outlook and inspiration. They know how to show the love they have for each other. Both can be stubborn but stable.

🌙Cancer placements always have one person that they are always with on a party. They won't go to a party if they don't know someone will be there to hang out with. They always have favorite people too.

🦋Scorpios are always oscillating between life and death. Because they are also a sign of that. They represent depth and how deep we can go to discover the truth. I have a person in my life who, before she was born, her heart stopped during her mother's birth. She have scoprio sun, mercury& venus. It can be seen that the scorpion is exposed in her life but in a deeper way. But she has 6th house placements wants to help others (people who are helpless) and has a vulnerable feeling towards animals.

🧩Geminis easily approach people with whom they quarrel as if nothing had happened. They have a way of communicating when it's interesting and somehow they know how to use words and they know how to get someone to talk again.

🫧Taurus are persistent. When they want something, they will insist on getting it. They are a sign that rarely gives up because they have calm nerves and are patient. And they will really try when they want something.

☕️Capricorn rising- people become shy whenever they talk to you. Because you emit a power that gives others the feeling that they are somehow reserved with you. You can silence people with your presence.

🧸Your 1st house shows a part of your characteristics and appearance. The planets in this house show themselves in the way others see, notice and hear you. Neptune in 1st house- people will always find something dreamy about you or a part of you will always be in dreamy world. Jupiter in 1st house- your confidence will always be there and also you have natural luck. Pluto in 1st house- the strength you carry inside you is invincible. Never doubt in what you can become. Mercury in 1st house-your words have power and don’t let others silence you. Mars in 1st house- energy is eternal and you always have it with you. Sun in 1st house- your light can be stronger than others. Never doubt how you can shine. U have sun in you. Venus in 1st house- you have a charm that others immediately notice. You know how to love yourself. Moon in 1st house- listen to your intuition. Your emotions can always be there. Uranus in 1st house- you are unique always remember this. U are star in the sky. Saturn in 1st house- u are good enough. Don't be so hard on yourself, Saturn will reward you.

-Rebekah🩵🫧🪽

[imonthemoonitsmadeofcheese]

43 for the fanfic asks, is there a trope or idea that you’d really like to write but haven’t yet? 💙

In the interests of narrowing down the answer to this one, I'm going to answer it as though "haven't yet" means "haven't even made any notes on or started to write at all" because there's many I've got snippets, or starts, or notes, or partial drafts of, and to detail them all would be more than one post anyway. But yes, the answer to your question is yes. And the reason it doesn't have anything concrete started yet is that it's a very nebulous idea and requires a bit of a mindset shift and I am wanting to complete other things first.

Beyond Light happened during the pandemic, and I've been told by people who claim to know people at Bungie that there was supposed to be more Drifter & Eris content in it but that this was impacted by the lockdowns. I was told this when I was engaging in my frequent whining about how at one point in the questline you go to the camp and both Eris and the Drifter are just gone and no longer snarking back and forth over the fire. And we never find out what happens to them. And we never find out where they went or why.

External to the narrative, I now know why, but of course the whole thing with the Dark Vanguard was built up deliciously, and the interactions between them were clearly going somewhere and it just… never happened in-game for out-of-game reasons. Which feels so unfair. I love the shit out of Beyond Light and Europa, but I do mourn the Beyond Light that could have been.

So I do want to write oodles of "Eris & the Drifter have adventures on Europa" but that requires me getting into a mindset of them not-yet-together (which is not clearly stated in canon but in my head they weren't as close, emotionally, when they were on Europa as they are now) and my brain is still overflowing with all the other ideas and stories so I just haven't gotten around to that yet.

There's a couple of ways I might do it (or all of them - writing says I am god when I write and I can rewrite plot points I've already taken one way and send them in another and there's nothing anyone can do to stop me). One is to have the writing set in Beyond Light and do that "straight" (as if anything about those two is "straight" - heh). Another is to have them go there in a more current context and either experience memories or talk about what each one of them was thinking at different spots on Europa (this one is especially appealing to me since then they're the ones telling their own stories to each other, and I love having narratives come from their mouths and perspectives). It's also possible to have more found-object style delivery (recordings from Aunor, letters, log notes, voicemails, etc.) which is something else I really like to do.

Yet another thing I would really like to write and haven't yet, which could be combined with the Beyond Light bits or be its own thing is that in all the Moonrat Radio tagged stories I've written, they're largely recorded by Aunor who, if I start including Ikora in my Drifteris (another one I haven't gotten to yet - I want her to fight along side them and go on adventures with them - I think that'd be great - she's the Skinner to their Mulder & Scully and I want them to go be heroes together) will definitely no longer be wanting Aunor to be recording them on behalf of the Hidden. But Aunor is still likely doing so in spite of being told not to because she has some issues with obsession.

I imagine Aunor as driven, angry, upset, and unable to stop stalking them (and playing recordings of them over and over for 'reasearch' reasons), hating them for using Darkness and for getting to be so damn in love with each other because how it is fair that Darkness wielders should find love, never mind genuinely healthy and healing love? There's a scene in my mind that's only partially formed where both Eris and the Drifter are about to die quite permanently and Aunor shows up and saves them, screams at them how much she hates them, and then leaves sobbing. In my mind, Aunor, despite her extreme obession, is still a good person, just super bigoted and filled with cognitive dissonance as she tries to justify the existence of their love (something she is experiencing vicariously due to spying on them all the time) with her Praxic zealotry that condems anyone for using the Darkness. Something's gotta give and I think, when it comes down to it, Aunor will make the right choice, but it'll be super painful for her.

Ok I'm going to stop now. I could, of course, keep going but I should just write that and post it on Ao3 instead. :)

[woodsrotting]

Every time I think about going back on tumblr, I remember why I don't really want to.

TRIGGER WARNING under the read-more for abuse / s-xual abuse mentions. Not a vent btw, more like, an observation? I'm in a much better place now. But basically I was reminded tonight of my past stuff, and how I would vent a lot. I feel like reflecting on that because I think it's interesting to see it from a more "outside" view now, and because I feel like it's important I archive my feelings. Like a diary, I guess. (I'll still tag as vent for archive purposes.)

On Nov. 9, 2024, it's going to be me and my bf's 5th year anniversary. Yes, I finally got a bf (I'll call him Pinho here) who hasn't treated me like crap at all, we've never fought, and we know each other irl; so I've only ever said good things about him, and while I do miss him when he's gone, I don't feel desperate for physical intimacy.

The contrast between a healthy relationship and a toxic one is STARK. I used to doubt that I was taken advantage of, that maybe I was the one in the wrong all this time, but now, after having thought about it for years, I know for a fact I was s-xually and emotionally abused by three of my exes. They knew about my hypers-xuality, my desperation for someone to love me, my traumas, among many things, and still they made me do things I really didn't want and that I tried to avoid or escape. I hate that the things they said made me feel and look horrible if I didn't stay in the relationship, or if I didn't do what they wanted. It was always really hard to break out of those relationships; only one did I really do the breaking up, but only after being forced to stay in the relationship for way too long. The others, I was practically driven out once they realized I didn't want to force myself to have s-x with them anymore (I know it was only through text or through phone, but I still consider it s-x, because it involved all the...things, just without the touching).

I never experienced any abuse or conflict with Pinho. Well, there were times when we had miscommunications, but it never devolved into fighting or anything. We only broke down around each other because of our individual traumas being unintentionally triggered (we both have cPTSD). We never felt like we were forcing each other to stay in a relationship or to do things we don't want. We just love and trust each other.

Like, I remember specifically that I'd have at least ONE complaint about my exes. But I could never bring myself to complain about Pinho. Even just typing that made me want to bite my tongue hard in frustration.

So now I'm just looking back at my past vents, and while it's sad, it's also kind of interesting seeing how deep the rabbit hole goes. I find it interesting how trapped I felt in these past relationships because of all the abuse. I remember now why I envision myself trapped in a cage in the dark whenever I have an emotional breakdown. It's because that was literally how it felt to be in those relationships, having no freedom at all, feeling like you HAVE to please these people because otherwise, YOU'RE the problem.

I can imagine that, if for some reason my exes were stalking me to this day or decided to check my tumblr, they'd want to reach out and talk to me about it, maybe make amends somehow. Back then, I did forgive them, because I thought that maybe I was partially at fault for everything that went down. But now that I know better, I really don't want to see them at all. I don't want to make amends again either. Because, well. I didn't do anything.

But here's hoping I never see them again, ever. I just want to move on.

[scoobydoominuscoobydoo]

Can you write and example of "good shaphne angst?"

Oh there are so many different categories of angst that could be considered good but this tends to be my default so here you go!

(This was a slow process and I’m super sorry for the wait but writers block was intense the past couple of weeks!)

-

Daphne was no novice when it came to being tied up.

The whole routine of getting constricted by a bunch of rope and tossed into the nearest crypt or sarcophagus had gotten old and the amount of time it took for the gang to find her again was shrinking. It gave her just enough time to assess the damages done to her manicure or wonder how well she did on her chemistry test that Monday. It had all become rather lighthearted to her (at this point she had to get used to it the poor girl practically carried a big neon sign begging criminals in rubber masks to kidnap her).

That is - when she didn’t sense any immediate danger.

Men in masks had the tendency to just toss their hostages (Daphne) somewhere (see previous crypts or sarcophagus) and then forget about them which had worked out in Daph’s favor for the most part.

She’s really trying to separate herself entirely from the situation she’s in now. Being handcuffed to a lead pipe was not the same as being tied up with rope. The rope would start to scratch and burn her skin at this point if she was still struggling to get out of it. She usually wasn’t, just to avoid the aforementioned scratching and burning. The handcuffs however, started digging into her wrists right from the get-go and even if Daphne was perfectly still she could feel how raw the skin was becoming.

She wasn’t stowed away in some abandoned storage shed behind the creepy house at the end of the street that nobody talks about. No - Daph was actually cuffed to a lead pipe and sitting right behind the man who had captured her. That was all she was able to discern about her captor; the broad shoulders and large hands couldn’t belong to a woman. Although she has been surprised before. The space seemed to be some sort of rinky dink office with file cabinets and a big mahogany desk in the center of the room.

The man in the mask was currently sitting at this desk.

It sounded like he was shuffling through papers, Daphne would occasionally hear the scratch of a pencil. She noted that he was very careful not to speak around her - she wondered if she would recognize his voice if he spoke. I wasn’t much of a clue but Daph was doing anything she could to not let the nerves get to her.

‘Amazing that being tied up and alone in a crypt is more relaxing than this.’ Daphne thought, joking about the situation made her feel a little more at ease.

Shaggy was a lot better at it but he wasn’t here and Daph kept being plagued by the terrible thought that him and the rest of the gang had no earthly idea where she was.

If her mouth wasn’t sealed by a strip of duct tape than you would see her lower lip tremble. The image of Fred breaking down the door to this office was becoming more and more akin to a hopeless dream. Daphne was losing hope and she was losing it fast.

She ran scenarios in her head of the worst possible things this man could do to her and shuddered at all of the ones she genuinely feared. Over and over again, on repeat in her mind. Daph had no clue how long she was in that office but by the time her captor had stood from his chair and pressed the foul smelling cloth to her nose - Daphne’s legs had gone numb.

The last thing she remembered before darkness were vibrant green eyes. Eyes she had definitely seen somewhere before.

Daph awoke to a jarring change in scenery.

The cramped office was now what looked to be an abandoned warehouse. Although her vision was semi-blurry and her head was killing her, Daphne knew where she was. They had been here once before while investigating the case but had quickly ruled it as a dead end and crossed it off the map. She then noticed a second thing - it was nighttime.

Daph had first been taken in the late afternoon and thrown in the trunk of an old  blue Mustang. She stayed there for a little bit (she actually fell asleep at one point because this wasn’t her first time being locked in the trunk of a car) and when she was eventually taken out night had already fallen.

‘I’ve been missing for at least two days then...’ She thought as her head began to clear up.

She, once again, had both hands cuffed to a lead pipe (this one was a little bigger though) and was resting on her knees. The concrete floor of the building was a little too cold to be comforting and that was the first time Daphne noticed her shoes were missing.

‘Ugh and I just bought those too!’

The tape was still over her mouth, although Daph didn’t see much point in shouting for help since there wasn’t much of a chance anyone would hear her. It was at that point that Daphne realized she was currently alone.

‘Has that asshole finally decided to ditch me?’

She barely had time to consider it when a loud creaking echoed throughout the area. Her heart leapt for a moment, against all odds somebody had decided to investigate this seemingly inconspicuous location. Then everything in her went cold when she saw the familiar white coat of the man who kidnapped her.

The culprit’s whole shtick was somewhere along the lines of zombie mad scientist. Which - as dumb as it sounds - is surprisingly intimidating. Maybe it’s just how realistic the details of his mask are.

‘Nothing is truly creepier than the uncanny valley. And mullets.’ Daphne could almost picture the eye rolls that comment would earn from the gang. It embarrassed her since humor wasn’t exactly her forte but it never stopped Daph from giving it a shot. Plus, every so often her attempts at jokes would earn a soft laugh from Shaggy. And those laughs sent butterflies storming in her stomach.

Suddenly, the lump is back in her throat.

She misses him. She misses them. And she’s worried that they’re pulling their hair out trying to find her. Daphne hates seeing her friends so distressed.

She almost jumps out of her own skin when she sees that Zombie Albert Einstein is standing directly in front of her, just staring down at her.  

Without missing a beat, Daphne glares up at him and desperately hopes that it doesn’t look like she’s a step away from bursting into tears. Those green eyes seem to crinkle in amusement - evidently her anger wasn’t all that convincing. Daph’s shoulders droop and she tries with all of her might to swallow the lump in her throat.

And most likely with the desire of prolonging her suffering, Albert decides to rip the tape off her mouth.

The sudden sting is just enough to bring tears pooling in her eyes.

“Ouch...” she murmurs with a shaky gasp. Biting down hard on her lip with the hope of pulling it together. When Daphne let herself go hysterical then she went hysterical to the highest degree and then she wasn’t any help to anyone.

But then she hears a chuckle; it’s low and gravelly and so dang familiar that it’s killing her. And it’s telling her one thing:

She’s giving him exactly what he wanted.

All of her efforts to remain calm and collected have failed because he can still see how she really feels. He can see how hopeless Daphne feels.

She sucks in a deep breath through her teeth, trying desperately to hold onto that composure; trying so hard to put a face to that laugh. And it’s just not working - he’s still looking down at her like the game is finished and she never had a fighting chance.

As he turns his back to her and walks away, Daph bows her head and tries her best to cry silently. Not that there’s any point to it, Mr. Einstein already knows that she’s given up. She coughs out a laugh at the nickname she’s christened her kidnapper with in between her sobs - she can still find the humor in the situation and that brings her some comfort.

Shaggy did that all the time without any effort at all, boosting moral without even realizing it.

Daphne wonders how worried he is, if he’s able to keep the mood light so that Fred and Velma can stay focused. God she hoped so.

He was always the one to keep everyone grounded despite not ever being grounded himself. Daph couldn’t help but wish she tried more to be that for him; wish she was brave enough to say all of the things resting on her tongue.

Not just that she loved him (even though that was a biggie) but that he was valuable and mattered so much to not just her but the rest of the gang.

It was hard not to just force him to gain the self-confidence he lacked (since that was her main way of solving problems) but she knew that wasn’t what he needed.

Damn it she wished she knew what he did need.

If she ever made it out of this alive, she was gonna figure it out.

She sobbed softly through the night and eventually woke up to sunlight pouring in from the large windows and skylights above her. Leaving Daph to wonder when exactly she fell asleep and how long she’s been out.

Her decomposing captor was nowhere to be seen which fills her with a small amount of relief.

Judging by the color of the light and the angle that it was shining in on it had to be late afternoon-ish.

‘It’s been three days...’

At that thought, Daphne suddenly realized how hungry and thirsty she was. Her head was pounding her tongue was almost totally dry (which she was sure was really bad). She remained dizzy after waking up even after waiting for around an hour and Daph wondered if Albert had any intention of keeping her alive.

‘Ugh and I had just cried all night too! I just want to waste water and die of dehydration.’

She also noted that her body was still sweating, or at least trying to. This was not good, Daphne knew that she could survive for a while without food but water needed to be going through her constantly.

‘This is gonna make my skin look awful.’ Daph thought, finding it harder to make jokes about the impending doom her body was facing.

She could feel herself trembling and her stomach began to twist in knots as the whole warehouse seemed to start spinning.

Suddenly, she was shaken awake by the sound of one of the huge doors creaking open. Her whole body felt as if it was frozen inside a huge ice cube even though she knew it wasn’t cold. A shaken examination of the area showed that night had already fallen. The fact that she had lost consciousness without recollection was seriously concerning but she didn’t have time to worry about her health. Because Albert was dragging in another body.

The room may have been spinning and noises sounded a little echoey but she didn’t need to be at full strength to recognize that familiar shade of green.

Instantly her body became alert and she leaned forward, being stopped by the damned handcuffs. She’s soon able to process all the muffled noise as Shaggy talking a mile a minute.

“Listen- I-.. I don’t think you understand dude. Like we’re living in the 20th century and kidnapping minors - and probably eating them - is totally not okay! Look I get it... Entering into the workforce as a respected American citizen is hard and seems like a... like a major sacrifice of your time - not to mention your social life - but I promise you - anything is better than eating people!”

He’s being dragged in by his ankles and - despite the fact that he isn’t tied up - he isn’t making any move to escape. Which doesn’t seem on brand for the gang’s own Harry Houdini.

As Shaggy continued to nervously ramble, Albert dragged him to the center of the room beneath the largest skylight where most of the moonlight was pooling in. He was about 20 feet directly in front of her and right when Daphne was about to announce her presence to the highly distracted boy, she choked.

Daph fell into a violent coughing fit as her throat complained about the lack of moisture.

She begins to tear up and bows her head as she tries to calm the whole situation. When she looks up again, lungs on fire, her eyes lock onto Shaggy’s brown ones. He’s seen her.

Instantly his eyes widen and he begins to struggle with Albert for the freedom of his legs, “Daphne! You’re alive!”

Daph finds herself filled with so many conflicting emotions that she isn’t sure if she should laugh, cry, or yell at him for getting captured. Especially since it’s almost impossible to catch him.

Not that it matters anyway, she’s afraid to try and speak again. That fit had caused her head to pound even worse than before and now she could barely hear Shaggy over the drumming.

The fight for the freedom of Shag’s legs is brought to an abrupt end when Albert simply lets go. Shaggy’s heels crash hard into the concrete and Daph can barely make out his face contorting in pain. She pulls against the handcuffs again and this time she is aware of how irate the skin of her wrists is. Ignoring it, Daphne continues to try and lean further toward him only with the hope of seeing him in a clearer focus.

“Sha-...Shaggy...” She just barely rasps out and after a moment she can tell he probably didn’t hear her.

Perhaps because he’s a tad distracted, what with the massive demon in a lab coat pinning him down by pressing a knee right to the center of Shaggy’s chest.

“Alright! Agh- Okay!” He coughs, “You’ve made your point! A-And who...who am I to argue really?! Especially when you outweigh me by like 800 tofu dogs!” He lets out a nervous laugh and Daphne wants to cry again because she can just hear the trembling in that laugh.

She presses her forehead down against the cool warehouse floor; she can’t handle watching one of her best friends get hurt while she remains powerless to do something.

“Like, do you really wanna add assaulting a minor to the list of charges stacking up against you buddy?” Now the shaking in his voice is so clear it’s making Daph’s toes curl, she bites her lip.

A few seconds pass and Daph finds that she doesn’t hear anything, no cries of pain or anything. She has no time to deliberate if this is a good or bad thing because another few seconds go by and suddenly warm hands are gripping her shoulders. She gasps and looks up before shoving herself roughly against the wall in an effort to distance herself from whoever grabbed her. This doesn’t entirely work out in her favor because she forgot that there was a large lead pipe behind her and she had just slammed her lower back into it head-on. A loud clang echos throughout the building.

Daphne lets another shaky gasp, this time in response to the pain running all over her body.

“Jesus Daph... Like are you alright?” The warmth is back on her shoulders and it sends a wave a relief that almost overpowers all of her other senses. Evidently, Albert had been swayed by Shag’s persuasive words.

She nods slowly, “How-” Did you find me? Instead of choking out the rest of that sentence, Daphne rests her forehead on his shoulder.

Not that she even needed to finish the question - Daph knows that he understood. Shaggy just barely whispers out his answer against her ear and my God she is just so happy to hear his voice.

“Well we had gone back to ask the HR guy some more questions when we saw your shoes just chilling under a chair in the waiting room. Professor Freakenstein over there had left a note demanding some things in exchange for your location.” He said with a touch of annoyance at the end.

Daphne nodded against him, “I-... I was wondering where they were...” Whispering is so much easier than talking

“Yeah, like mystery solved.” He deadpans, she smiles in response, “Anyway... I wanted to go to the fucking police but you know how Mr. and Mrs Taking Matters Into Our Own Hands answered.

Her body tensed, “Is that why you’re here?”

There was silence for a moment and Daphne was building up quite the lecture when she saw Fred and Velma again. If she saw Fred and Velma again.

“Like, to be fair we all thought Fred’s trap was gonna work...” He mumbled. He explains that the note had a time and location for a meeting and so Fred and Velms had spent the day setting up a trap in the area. But she isn’t listening.

Daphne groaned, “I thought we agreed that ransom notes were when we actually get qualified adults involved. The vote was unanimous on that movement!”

“I don’t really think they pay attention during our staff meetings.” He replies with a lilt of amusement.

“They’re not staff meetings! They’re discussions on our code of conduct, we need rules Shags! Order!”

He lets out a short laugh before wrapping his arms around her neck and saying, “Shit I was so worried about you...”

Daphne feels her chest go warm and her cheeks heat up - she nuzzles further into the crook of his neck.

‘Shit I am so in love with you...’

She thinks.

And then... blackness.

When she awakes she hears the almost heavenly beeping of a heart monitor.

The second she opens her eyes three teenagers and dog practically jump on top of her. All of their words are overlapping and Scooby is licking at her face ferociously so Daphne doesn’t even bother trying to glean anything. The one thing she does do is reach out and grab onto Shaggy’s hand in a sort of death grip - something she wasn’t able to do with her wrists cuffed.

Fred and Velma both excitedly recount the details of tracking down Shaggy all the way back to the warehouse through tire tracks and corresponding surveillance footage. It truly was a riveting tale that Daphne couldn’t be bothered to listen to, she was way too exhausted. Plus, Shag was looking down at her with those beautiful eyes and how the hell was she supposed to look away.

“And! And - you’re gonna love this Daph - we called the police!” Fred stated proudly, eyes glittering like he was a child who cleaned his room without his mother asking him to.

Daphne’s eyes widened and she smiled, “Wow! I’m really proud of you two!”

Velma rolled her eyes, picking up on the sarcasm, “Whatever the big issue is that asshole got away.”

“Albert Einstein?”

“Professor Freakenstein?”

Daphne and Shag inquired at the same time, they both looked at each other and Shaggy smirked. Daph blushed.

“Riiigghtt... I’m sticking with that asshole.” Velma stated.

Suddenly, Daphne perked up, “Shags... You said that you guys found my shoes at the office building where Mr. Griesling worked right?”

Shaggy nodded and squeezed her hand; she squeezed back.

“Well before he moved me to the warehouse, I was kept in a private office-thingy. And this whole time I swore I had recognized the guy’s eyes before. I mean they were practically glowing green there is no way I would miss them!” She can feel her voice shake as she recalls the way those eyes pushed down on her when she believed she was gonna die.

Shaggy squeezes her hand again.

She takes in a breath and then says, “Well I was thinking about it for a moment and I remember that I saw one of the interns that worked for Mr. Griesling’s department had these gorgeous eyes and I was this close to complimenting him on them!”

Velma and Fred’s eyes widen and Shaggy gasps before saying, “Oh my God that fucking gigantic college sophomore! We’re idiots!”

Velms plants her face in her hands and Fred sighs, “Good thing we had Daphne and her attention to seemingly unimportant details.”

Daph smirks and shrugs, “Just make sure to keep me far away from him.”

“Like we will Daphne.” Shaggy says gently and the tone is enough to soothe all of the dread latched onto her.

[sugarcubetikki]

Also I think another part of the argument about El’s s1 appearance is specifically that she was described to look like Will. They thought she could possibly have been him with shaved hair. So that’s another thing that I’ve seen bylers use to be like hm…. Interesting

Yes! A lot of us do perceive El resembling Will to be interesting byler proof.

However, I don’t really see it in the way you’re referring to.

I don’t think El resembling Will is what contributed to Mike falling in love/projecting his feelings for Will onto El. I think it serves greater narrative meaning than that.

This amazing post talks about El and Will being linked as foils. And it’s something you can see as important according to the larger storyline as well as how it relates to Mike’s relationship and his conflicting feelings for both of them.

In that way I think El seeming to resemble Will is indication of this idea of them being foils. And in reference to their relationship with Mike, he’s constantly switching between the two, he’s with one whilst apart from the other whether it’s physically or emotionally or both. It conveys a conflicting nature in his feelings for both of them.

However, I don’t see El and Will to be on equal footing to Mike romantically. I believe he’s strongly influenced by heteronormative standards and is somewhat projecting his romantic feelings for Will onto El due to the way Margaret Thatcher has been built up.

When he first met El, he was focused on finding Will, the reason why he was in those woods in the first place because he was desperate and snuck out to find his best friend.

When he found El, she was scared and lost (like Will probably was then and you can’t tell me Mike wasn’t stressing over that) so he took her under his wing. All the parallels and comparisons that could be made between Will and her were all to perfect: in terms of appearance, their passive personalities during the time and on a deeper level certain traumatic events they faced in the past.

I’d argue that I think as El has grown and developed as a character she deeply became separate from who she was in S1 but Mike has become very disconnected from who she’s grown into. As most of her character development happened when she was away from Mike (S2 and 4 physically whereas 3 emotionally she grew as a character with Max) and he never got to know who she’s become (they spent most of S3 making out and fighting then when El moved they did send each other letters but El was lying in most of them so I can’t blame Mike for this).

Their relationship in S1 was also greatly driven by Mike relying on El and her powers to find Will (he lashed out on her at the quarry when Will’s “body” was pulled out only to soften later on when she manipulates the radio or walkie talkie audio to Will singing).

It’s also interesting how many characters show strong concern over Mike’s emotional state due to Will going missing: Karen’s conversation with him whilst El is in the closet, Karen to Joyce when Mike misses school, Nancy to Mike later on - the same isn’t done with Lucas or Dustin to this extent. I understand there’s supposed to be a dual meaning here because a lot of Mike’s behaviour was to do with him hiding El but it makes you think…really think…how it’s pointed out in the show that everyone expected Mike to be acting weird because of Will but then it’s supposedly revealed it’s because of El’s presence. I think things aren’t what they necessarily seem here especially because everything relationship with El relates to Will in a way. He found some sort of comfort in El when Will was absent because let’s be frank here if El hadn’t stepped into Mike’s life he’d be worrying over Will every second onscreen.

El entering his life gave him someone to care for in Will’s absence, I’m not saying El was a stand-in for Will but she was if you consider Mike and Will’s dynamic in S2 - it mirrors Mike and El’s S1 dynamic. I know a lot of people love to say that Mike was projecting missing El onto Will but I’m sorry this is their dynamic and their closeness has been implied before the series started by every other character and the “it was a seven” on its own. If anything, it’s the other way around and it makes the most sense. Even now, in S4, Mike uses El to conceal his worries over Will (it just felt like I lost you and maybe I was worrying over El too much/Mike venting his frustrations of Will not speaking to him in the roller rink using him being a douche to El as an excuse).

Taking care of El seemed to be a coping mechanism for Mike in Will’s absence (when both El and Will are not there, may I remind you he tries to jump off a cliff?) and he seemed to be projecting a lot of his worries over Will onto that too. If you consider heteronormativity and the fact that El was a girl, Mike could be with her the way he could never be with Will. He felt like he fell in love with her then but the question is did he really when we get 3 more seasons of the show where their relationship seems to be a mess and the byler coding grows stronger?

His life started in those woods? Because it felt like it ended when he lost Will and finding El and “falling in love with her” got him through that pain.

But El is not the same girl from S1 anymore. Mike has to realise that she’s grown and developed into her own person whereas sort through his own feelings and how he’s been projecting all of his feelings for Will onto El throughout the series and how messy it has become.

Just to make it clear I don’t think Mike actively realises he’s projecting, it seems to be more of a subconscious experience that makes the most sense according to the narrative in my eyes at least. Unlike Will, he definitely hasn’t unpacked his gayness yet.

[shewholovestoread]

Can you please do an analysis comparison of Dani’s growth as a person in her relationship with Gigi compared to how she was in her relationship with Sophie?

Thank you for the ask Anon.

I love dynamic characters, that's mostly what drew me, first to Gigi and then to Dani.

In many ways, Dani is shaped by the relationship she has with her father, Rodolfo. She actively doesn't want to be like him and yet has traits of her father within her. I'm guessing that between her parents, her mother was the more empathetic one and since she lost her at a young age, she also lost her emotional support. Rudolfo threw himself into work and likely never had time for Dani and thought that as long as Dani was provided for, financially, she was fine.

Rudolfo is also a very demanding person and I'm guessing that nothing short of excellence ever satisfied him and this makes sense when you look at Dani's professional life. She's also had to take care of her own emotional well-being especially since her father viewed that as a sign of weakness. Adult Dani is an extremely driven but emotionally closed off person, she's had to be to protect herself from her father.

Her relationship with Sophie was not balanced and I'm gonna put quite a lot of the blame on Sophie here. The show doesn't tell us how long they've been dating but it seems that they've been together a while, judging from Micah comment about when she was gonna propose to Sophie. Once she does propose however, it's all downhill from there. Also, that was one hell of an awkward proposal, I don't think Sophie actually wanted to say yes, hence the long pause.

With Sophie, I don't think Dani ever really put down her walls, not all the way anyway. She never felt safe enough to really tell her how she was truly feeling and she always felt a little insecure about her, I think she was genuinely terrified that Sophie would leave her.

Sophie didn't understand Dani's need for space, that she needed time to process what had happened , this is especially apparent in the car scene after the fight with her father. She keeps speaking and even as the viewer, you sit there thinking she really needs to stop talking. She wants Dani to tell her how she's feeling but without giving her the space to do so. So Dani goes to work and Sophie goes home, and neither have managed to talk about the day's events. After their fights, neither is willing to reach out.

And Dani does turn into a porcupine when she's feeling sad or hurt, it's her way of protecting herself and it's why she lashes out at Sophie in the car. And it's something that Sophie never quite realizes, it's why she leaves after a fight, because she doesn't want to say or do anything that would hurt the other person, in this case Sophie.

The post-wedding-fiasco Dani who meets Gigi has ALL her walls up, she's more guarded than we've seen her. She's used to being on her own and taking care of herself and she's completely disarmed when Gigi offers to take her out. Dani's had a bad few weeks and Gigi's had a bad day and they're both in desperate need of a distraction. And this is where we see Dani happy and having fun in a way we haven't before. She's relaxed and present in the moment. They're both attracted to each other but neither acts on it which can be a fun space to be in. And there's something about Gigi, does put Dani at ease.

I think it helps that Gigi and Dani connect first as friends and then as lovers. I don't think Sophie and Dani were friends before they started dating, they hooked up while Sophie's girlfriend at the time was at the same club.

There are two people in a relationship (or more depending on how you identify) and you can be as open and communicative as you want but if the other person isn't interested or doesn't open up, it's still not going to work out, as we saw with Gigi and Bette. But it turns out that that's exactly what Dani needs.

Gigi makes Dani feel safe enough to open up to her and simply listens to her which is what Dani needs at the time. Every time, they have a disagreement, Dani sees that Gigi doesn't just leave or shut her down, she actively listens, prompting Dani to do the same.

After their two disagreements, she actively apologizes. In the first instance when she stormed out, she actually goes to Gigi's office. You can tell that she reached home, ordered food and then waited for Gigi to come. In the past, i think Dani would have just stayed home, while being angry both at herself and at Gigi. But she chooses to do better. And she goes a step further and actually tells Gigi why she reacted the way that she did.

ln the second instance when she missed Eli's recital, she doesn't continue the lie, she tells Gigi the truth thinking that it's not a big but the moment she realizes that it is, she again immediately apologizes. And what's more is that she means those apologies, she's not just saying it. When Gigi tells her that she's pretty prickly when she's sad, Dani agrees and then tells her what scares her only for Gigi to reassure her.

I think the biggest difference between Dani with Sophie vs Dani with Gigi, is her willingness to open up emotionally and letting Gigi in all the way because of the faith and trust she has in her, something she couldn't do with Sophie. She actively communicates her needs and desires, even to her father.

P.S. - I'm down with a cold so I don't know how coherent this is but I hope you find the answer satisfying.

GiNi endgame!

[kazuwhora]

hello hello, i see your requests are open now and can i request izana, wakasa, chifuyu and kazutora with an akutagawa!s/o? hope you have a great day/noon/night! ✨🤗

hi anon! sure! I will try my best with izana and wakasa since there's not tons to work with personality wise so forgive me if theirs are a little shorter heh. im gonna include a little blurb from the bsd fandom wiki for anyone not familiar with his character! I like these kinds of headcanon requests so if anyone wants to see more please feel free to request!

"Akutagawa has a black and white "survival of the fittest" view of the world, claiming that weak people should die and give way to the stronger ones. He is not afraid of pain and defeat His ruthless, vicious nature makes him one of the Port Mafia's most dangerous members, feared by both ally and foe. As violent as he is, Akutagawa maintains a generally composed and detached approach. Towards subordinates and superiors alike, he acts aloof, distancing himself from social interactions however possible. Nonetheless, his composure is fragile. Akutagawa is quick to lash out, ridiculing him for risking the bounty by acting recklessly. This quick temper often gets in his way, fuelling his actions to the core of his very being."

SUMMARY: izana, wakasa, chifuyu, && kazutora with an akutagawa!so

CW: hints of toxicity and violence, mentions of sex but not really all that nsfw-ish so otherwise not much else!

IZANA

- this is an interesting one because from what we know about izana, he is very similar in personality to akutagawa in terms of ruthlessness that stems from childhood trauma and isolation.

- in the case of a s/o with this personality, I think it would be a troubling relationship. lots of bitter fights fuelled by nothing but an inability to express vulnerability, while leaving both of you torn up inside and begging for someone to nurture the trauma and allow space for emotions.

- that being said, with toxicity and trauma also comes intense passion and desire. this relationship brings a lot of fire both in the bedroom and outside of the bedroom, with simple arguments often spawning into intense desperate (and lengthy might I add) sex. like, intense. it's almost like sex is the only safe outlet of these pent up emotions, providing a sort of comfort and also distraction for both parties.

- however as I said in general, this is definitely a toxic relationship. one where neither can help the other when it comes to growth and improvement on a personal level. it's unhealthy and enabling, but for a short lived fling it is hot as fuck im not even gonna lie. lots of hate sex too.

WAKASA

- so wakasa is another interesting one alongside izana given the lack of information and content we have about his character so please excuse the slight kc fanon version I have in my head of wakasa lol

- wakasa has a "don't fuck with me because I do not fucking care" type of vibe to him. I definitely think he's the type to completely disengage from the type of behaviours an akutagawa-type s/o might display. this leads to sort of a sense of competitiveness in trying to get some kind of reaction from him, and it has the potential (much like izana) to become toxic in nature

- any attempts to get under his skin are failed attempts, and the way he looks at you with that half bored expression is something that only triggers more of a somewhat emotional response from you.

- with that being said, my fanon version of wakasa is someone who while cold and aloof, is also quite a rational person. he's been typed by the fandom as INTJ which is quite a quick thinker, and I think he probably (despite not showing it very well) has a soft spot for you. but your passion and intensity (as well as your easily triggered dynamic) keeps him from completely being able to express this care in any way other than not engaging with your antics

- as much as there are some similarities with the type of toxicity in this relationship with both wakasa and izana, the intense passion isn't quite the same as it is with izana. instead, feelings of passion are more to the point and driven by pure instinct and desire rather than toxic passion. wakasa seeming like a very literal person, is actually quite mysterious deep down and has a lot (I mean a lot) of hidden desires and kinks that begin to emerge with time. it's rarely a conversation, and more often just something that happens that surprises you. you just have to go with the flow here, and let him take the reigns for once. it might actually be a good opportunity to allow for vulnerability to take the spotlight for once, which is something wakasa is surprisingly in tune with and quite to the point about.

CHIFUYU

- this is something much healthier than the last two. chifuyu, being an enfp is someone that's able to handle this level of intensity in a person while still being able to understand what's really going on.

- call him the trauma counsellor king. he values each and every response to a trigger that you might have. he notices patterns, he makes mental notes of things, and he does this all without making it seem like he's analyzing.

- to be honest he actually loves the spunk you bring on a day to day level. even though most of the time it's driven by bitterness or hate (not always towards him just in general) he is still able to see beyond that and appreciate you for what you are.

- with that being said, chifuyu will not stand for any toxic behaviour towards him. no sir he will not. threats and pushes for fights wont be tolerated, and he will either disengage or try to expose your vulnerabilities in an attempt at forced submission. this can be hard to get used to, especially with having a personality characterized by the inability to accept being vulnerable. but with time chifuyu is one to create a safe space for you to allow yourself to feel emotions beyond anger and resentment, and he encourages this.

- because of this very feelings based approach, intimacy with chifuyu is just that: intimate. he's extremely loving and doting, hoping that his sweetness can rub off on you a little bit. however he's also very accepting of your need for power over him (especially during sex) and will absolutely submit to your needs in order to please you.

- he really likes to put you in a place of pleasure though, so however that may come to you chifuyu is the one to deliver it.

KAZUTORA

- oh boy. this one is a doozy. listen. if we're talking about timeskip kazutora (as is the case with all characters i write about but I feel it especially important to remind ppl of here given his history), we're talking about someone who is quite literally walking on eggshells in terms of his trauma and emotional vulnerability.

- he's pretty good at being emotionally aware of his needs and struggles as well as the needs and struggles of those around him, but that doesn't mean that he's entirely healed or capable of managing toxicity or his triggers. he still slips up from time to time especially when things get hard, and sometimes finds himself falling into his old patterns. after all, he's only human. but this is where things could get messy in a relationship.

- for the most part, like I said, he's pretty good. so let's focus on that part first since I want to give him credit where it's due. he is very desperate for love and dedicated to providing something to his partner. in this case, he will seek to tap into his emotional vulnerability to provide some sort of comfort for you. he wants to see you happy, and calm, because he sees so much of his old self in you that it gets to him sometimes. but at the same time, he struggles with your relentlessness and can become emotionally drained when things get tough. he'll beat himself up for not being good enough to help you, and this is when he'll isolate and fall into old patterns.

- however, akutagawa's personality type isn't all bad. with a s/o like akutagawa, comes an immense amount of protection and loyalty for their loved ones no matter how tough things might be. in this case it might be hard to communicate this, but there will be times when it's needed in order for kazutora to restrain from old habits and ways of dealing with hardships. but he wants to share his healing with you, he wants you to be happy, and more than anything he understands the struggle of wanting to be happy and healthy but being afraid of losing the one thing that makes you you: your attitude and relentlessness. nobody understands this better than kazutora, which is why things between you can get frustrating and very personal for him.

- much like chifuyu, sex is driven towards pleasing you and only you. chifuyu leans more into switch territory however, while kazutora is 100% submissive. in this case it works out well, however he has a lot of boundaries and limitations when it comes to the way in which you function. he doesn't like degradation. instead, he thrives from praise and any sign of love and care. this might be tough for you to execute 100% of the time, but when it comes down to it the way his eyes twinkle for you is enough to make the ice around your heart melt just a little more each time.

[lovebecomeshim]

hello! your zutara posting today has finally motivated me to ask this question because I came to atla very late(last year, to be specific) and I Love It Very Much but am 1000% out of the loop as far as why what remains of fandom (at least that I've seen among my friends) is so very strongly zutara. I'm not opposed to it per se I just don't really know what has driven it to apparently be such a popular ship? can you help me understand and maybe convert me a little bit?

Hey!! Your ICON! :D I can try but I’m not sure how coherent I’ll be; however I AM sure someone a lot more competent will be willing to add to this. Either way, I’m glad you asked because my plan was to drag down as many people as possible with me.

*smacks the hood of zutara* this baby can fit so much mutual love and support!

This got so long, I’m so sorry. I don’t know how to put it under a cut on mobile and it already got deleted once so I’m scared to mess with it lol. Moving on.

I’m gonna start this with a disclaimer that im on mobile so formatting is tricky and I’m also really new to atla in that I only completed my first watch through in like 2019??? So some of my info is all just based on what I’ve picked up from Discourse 👀 so anyway the sparknotes version: zutara was wildly popular from the beginning. To the point where the atla crew internally disagreed on which ship should be endgame. (Ex. Bryke [showrunners] asked the writers to rewrite The Southern Raiders to make Zuko seem less ideal for Katara than Aang [which failed, depending on who you ask]; the animation team purposefully created a visual parrallel between Oma and Shu in the Cave of Two Lovers and Zuko and Katara in the catacombs under Ba Sing Se in the Crossroads of Destiny; etc.)

The ship was popular enough that Bryke actually chose to display zk fanart at a con for the sole purpose of mocking the fans, but that’s neither here nor there. The entire episode Ember Island Players, while a love letter to/parody of the whole show, was an opportunity to address zutara’s viability as a canon pairing (while, again, mocking zutaras for romanticizing that catacombs scene). Point is! It’s always been popular but with it not being endgame, there’s got to be something that’s given it staying power.

And that’s honestly got to do with three things: their dynamic, thematic cohesion, and potential.

(You know what... you know what, it’s four things. The fourth is they’re so aesthetically pleasing together and individually. Like, they’re just good looking people [specifically when they’re grown but they’re also cute kids] and that absolutely doesn’t hurt) (but it’s not the Point, it’s just nice to point out sometimes)

The dynamic is hard to get into without also looking at the canon pairings, but I think I can do that without unnecessary bashing. It’s just that part of the magic of zutara is really highlighted by what they give to each other that their other relationships don’t.

First off, it’s classic enemies to (would be) lovers. The absolute truest form of it. It’s not too different from how CS started out: a rogue antagonist with a job to do—but no personal vendetta against the future love interest—who is deeply and emotionally invested in his personal storyline (revenge/redemption) with little regard for how it effects other people after his entire life and genuine good nature are marred by suffering, and a fierce warrior girl with a strong moral compass and her own personal investment in stopping him (protect her family and save the world doing it). Obviously frustration and animosity grew between them by the nature of them being on opposing sides, but that just lends itself to the sweetness of their later reconciliation.

The thing is that while they’re wildly different on the surface (he’s a hot-headed prince of a fascist regime who is trying to capture the Avatar to please his father; she’s a nurturing daughter of the chief who is trying to protect and train the Avatar in order to topple his father’s throne) they find out that they have so much more in common both in their experiences and their personalities.

(What follows is an excessive use of the word “both” and I’m sorry about that)(I can edit it. I can do that. That IS an option............)

They both have an innate sense of justice that they are determined to see done (zuko, at the war meeting, sticking up for the Earth Kingdom kid when the guards torment his family, choosing not to steal from the pregnant couple despite his circumstances, abiding by his word to leave the SWT should Aang come willingly, etc.; katara, literally.... at any point). They both have pretty one-track minds at accomplishing certain goals once they’ve put their mind to it, regardless of a lack of support in that endeavor (it goes without saying I guess, but zuko’s entire hunt; katara’s determination to get the earth benders to fight back, her determination to absolutely destroy Pakku until he agrees to teach her, etc.). They both lost their mothers at young ages. Their worlds are war-torn and traumatizing to them both, if in different ways, but that ultimately forces them to grow up too quickly to be wholly independent individuals. They both have issues with their fathers (for WILDLY different reasons, but). They both hold extreme prejudices that they need to learn to overcome (which ties into thematic cohesion)(bit like Lizzie and Darcy in that way but magnified by a million). They’re both extremely emotional and empathetic—which can and often does result in loud outbursts. Katara’s a bit better adjusted and can temper her anger for longer than S1 Zuko can, but they both feel that anger deeply and have no compunctions expressing it (Katara is, usually, more justified, particularly in S1. Again, S1 Zuko is severely maladjusted but at the point when they could’ve feasibly become a couple, he’s so much better off with the way he carries himself). They both struggle with feelings of inferiority in their bending abilities when confronted with prodigal benders like Aang and Azula, but have the work ethic required to double down and become two of the most powerful benders in the three remaining nations. This is a little more minor but it is a parrallel that appeals to some shippers that they both have these alter egos in the Painted Lady (notably fire nation coded) and the Blue Spirit (water tribe coded) that are pretty different from who they are day-to-day and are useful in accomplishing a purpose that they as themselves cannot.

(I’m.... I just realized that this could potentially get very long. Should I have made a slide show with bullet points??????)

Anyway, similar. I know there’s more but there’s literally so much to love about zutara that I’ll drive myself a little crazy trying to compile all the ways they’re similar. (Just gonna say that at this exact moment I went back to add more similarities.... so okay then)

Once they’ve reconciled, we see how all of these things only lend themselves to a deeper intimacy together than they share with literally anyone else. There’s a steady partnership that positions them as the mom/dad of the gaang, while also providing the support necessary to allow the other to not have to carry so much responsibility. A lot of zutaras will point out how zuko is actually depicted doing the more domestic chores that are normally relegated to Katara once he joins the gaang, since the others in the group are two 12-year-olds and sokka. The one that sticks out the most is how he makes tea for the group and then serves them, while Katara is able to just relax with her friends around the fire. Fanon expands upon this a lot to Zuko helping with the laundry or the cooking or whatever else needs doing since he, as a once-refugee, is used to doing his own domestic tasks. Before Zuko joined, Katara was the one mothering everyone, sewing for them, cooking for them, etc. She’s always tending to the needs of the group, and that includes emotionally. She does the emotional labor for the gaang 99% of the time, but when she’s the one falling apart, she’s usually doing it alone and without the comfort that she normally provides for others. Until Zuko. And that’s before they’re even friends.

Which is WHY people romanticize the catacombs of Ba Sing Se so much. Katara is verbally attacking Zuko out of her own righteous anger but also her own prejudice when Zuko, surprisingly, chooses to be vulnerable with her. He’s been on a journey that’s opened his eyes a bit, but he’s never actively chosen to expose the rawest parts of his past to anyone. But for some reason he chooses to do that with Katara of all people. While she’s yelling at him. He sees her humanity, and for once can look past his prejudice and empathize with her. And this time, when she breaks down, she gets to be comforted. Katara normally talks about her mother when she’s trying to explain to someone else that she sees and understands they’re pain, as a form of comfort to them. Here, Zuko uses the exact same tactic. He sees her and he understands. And for zuko? He’s not being shut down. He’s allowed to articulate his pain regarding his mother without being ignored and made to internalize it, and he’s allowed to process how he feels about his scar out loud without being told that he deserved it. And then he lets her touch his scar, something we’ve seen him actively avoid before. He’s completely open to her and she’s completely open to him and all it took was one five minute conversation. She was about to use the little bit of Spirit water that she had, that she was saving for something Important, to heal the scar that still daily causes him pain just because they had, somehow, connected.

Plus there’s the whole parallel to the star-crossed lovers forbidden from one another, a war divides their people—

And then zuko messes up, he regresses, he gets what he wants and he HATES it. And the sense of justice he had as a child has been restored to him against his will and he can’t think of anything he wants to do more than the Right Thing, so he joins team avatar. Before he does that though, we get to see his relationship with Mai, which is where comparison really comes in. And what we see is Zuko, fresh off of his encounter with Katara in the catacombs, trying to be emotionally honest with Mai... and getting shut down and dismissed. Which is just how Mai is and it’s fine, but not for Zuko. Still, he keeps trying, and he keeps getting ignored or scoffed at or yelled at. Which is really a larger symbol for how he doesn’t fit in his old life anymore, but again that’s about thematic cohesion. He tries to articulate his anxieties about returning home, he tries to make romantic gestures, he tries to explain how morally conflicted he’s feeling—and Mai diverts to some kind of physical affection to shut him up and a parting comment that is pretty much always, in essence, “I don’t wanna talk about this.” So they don’t. On the other hand, once zuko and Katara are friends, we see him again emotionally distraught and caught up in his anxieties about facing Iroh, and it’s Katara who comes to him and listens to him and comforts and encourages him.

Similarly, we have Aang clamming up and getting uncomfortable whenever Katara shows any negative emotion, usually resulting in him making excuses or running away. Or, in the case of the Southern Raiders, lecturing her on how she needs to just let go of her anger about her mother’s murder. People have talked this episode to death and usually better than I ever could, so imma... keep it brief. There’s a serious disconnect between Aang and Katara in his ability to empathize with Katara and her needs that has her tamping down her vulnerability and amping up her anger. He tells her that he was able to forgive his people’s genocide and appa’s kidnapping (petnapping? Theft??), which is blatantly not true but also not an entirely equal parrallel to Katara’s situation, and continues making these little remarks throughout the episode. But it’s Zuko that Katara opens up to. It’s with him that she’s able to talk about the most traumatic day of her life, and it’s with him that she’s able to get the closure she needs, cementing their bond as friends and partners. This disagreement between Aang and Katara is then... never resolved. They just never bring it up and hear what the other is saying.

There’s a fic called The Portraits of Ember Island that has a line that so completely sums up the heart of the matter for why people love their dynamic. For context, zuko has woken up early to help Katara with the cooking and they spend the whole time just letting one another talk, and zuko stops to ask why she always just lets him talk. And so she stops to ask why he’s always helping, and it goes as follows:

There’s just... so much mutual support! Trust! Intimacy!! And it just continues like that from the Southern Raiders on, listening to each other, advising each other, watching each other’s backs! And then! Literally saving each other’s lives!! I will never be over the last Agni kai. Not ever. Zuko may have been willing to jump in front of lightning for anyone, but he actually did it for Katara. And in a show, that’s the thing that really matters. It’s a fulfilled trope usually exclusively applied to romantic pairings, and it ended up applying to Zuko and Katara. And then she ran out into the middle of a fight with tunnel vision just to get to him.

Also!! Also Zuko pushing Katara out of the way of the falling rocks at the Western Air Temple!! And Katara catching him as he fell from the war balloon that he fought Azula on!! Before they’re even getting along, they’re the ones reaching for each other. They come to this place of equal ground, as partners, who watch each other’s backs, call each other out but still listen attentively and understand, and provide the support that the other has been sorely lacking up until they knew each other (whether that be from lack of effort or lack of understanding from others, or an unwillingness to accept it for themselves).

Then, trailing along under the surface of this, we see the themes of the show totally embodied by Zuko and Katara as individuals and in their relationship to one another. There’s a YouTuber, sneezyreviews, who has a, like, 2-hour explanation on why she not only loves zutara but also believes that their endgame would’ve actually elevated the writing of atla to new levels particularly because of thematic cohesion and resolved character arcs. It’s the zutara dissertation I never knew I needed, and it’s funny and eloquent and effective, so I’m just going to sum up her section on thematic cohesion to the best of my abilities and then link it for whenever you have the time. And I HIGHLY recommend it, especially if you want a full understanding of what makes zutara so great and gives it such longevity.

Guru pathik has a line that goes something like this: separation is an illusion; things that seem different are just two parts of the same whole. Iroh also tells Zuko something similar: balance and strength are achieved when the different nations come together and influence one another and celebrate what makes them each unique. And this lesson is a massive central arc that both Zuko and Katara go through, moving past a black-and-white, good guys-vs-bad guys, us-vs-them mentality and into a greyer, more nuanced view of the world. Zuko sees the fire nation from an entirely new perspective and while he still loves and hopes for his nations future, he surrenders his blind loyalty to them in exchange for an unflinching loyalty to peace and love. Katara too had to come to terms with the fact that cruel people exist in the earth kingdom and water tribes, while some fire nation citizens are just regular, kind people who also need and deserve to have someone speak on their behalf. And this is honed in directly on how they view each other. They grow in their individual journeys to be open to the humanity in the other and then, once they’ve found that, they’re able to grow more in compassion for others in a beautiful feedback loop. And this is all matched in the symbolism repeatedly and intentionally associated with them in canon: sun and moon, fire and water, yin and yang, Oma and Shu who found love despite their warring nations. Their individual arcs are completed in each other and complement the themes of atla beautifully.

The canon pairs... just don’t. Which, again, is fine. But the very things that give atla longevity and popularity are anchored in zutara. Kat@ang doesn’t accomplish this. They’re... nice. Sweet. Especially when you erase a good portion of their interactions in S3. It could’ve been just a sweet love story. (Personally, the dynamic between toph and aang accomplish the same thing that zutara does, with complementary personalities that fulfill the theme of opposites blending in harmony) M@iko, on the other hand, is less sweet but I think wasn’t even supposed to last. Zuko’s relationship with Mai seems to represent his relationship with his old life as a whole. He can’t be emotionally vulnerable, he’s goaded into abusing his privileges, his agency and opinions aren’t respected. They just don’t have common ground with which to discuss anything that matters, so they don’t. As far as themes, the relationship doesn’t fit with atla. It’s zuko returning to and sticking with what is (on the surface) like him, what’s expected. Fire nation with fire nation. Fluid water bender with the flexible air bender. Like with like, separated from what is different and challenging and complementary.

And all of these things combined of course lead to the potential for the ship. I don’t know how familiar you are with the post-atla canon but... well, miss “I will never turn my back on people who need me”, miss “I don’t want to heal! I want to fight!” ends up living quietly in the SWT as a designated healer who turns a blind eye to the water tribe civil war happening right outside her front door. Which can be fine! People change! Some people just wanna stay inside. I just wanna stay inside! But the potential future for zutara is so much more satisfying, with Katara becoming the most unconventional Fire Lady the uppity old cads who are stuck on the old ways have ever seen. Fanon has her serving as a voice for the other nations within a kingdom at the point of its biggest political upheaval, as a confidante to Zuko who can actually help him while he’s trying to figure out how to move forward and make reparations. They have the opportunity, together, to accomplish what they both have set on their hearts to fight for: positive change that lends itself to harmony and balance. And the steambabies! A popular headcanon is that their firstborn daughter, the crown princess, is actually a waterbender, which causes such an uproar among the people who are adamantly clinging to the old ways. It’s just a future full of potential to be forces for good together, full of trust, intimacy, joy. The exact era of peace and love and balance that zuko announces that he intends to ring in with the start of his reign as Fire Lord is, again, magnified by the very personal zutara relationship. And we love to see it.

tl;dr zutara isn’t for everyone. Some people just don’t vibe with it. Some are nostalgic. Some love the canon they grew up with. Some have been disappointed for years. Some just see themselves in other characters and want their happiness instead. Whatever the reason, that’s fine. But for me, I love the way these two, from the moment they give each other a fair chance, are able to lower their walls and prejudices to see the other for the kindred spirits they are. They see each other’s humanity, and their response is to pour out love and support and compassion. I love that they’re a power couple in battle. I love the symbolism and, honestly, soulmatism that colors their every interaction. I love that they embody the whole storyline of atla in their relationship and how it develops, which is notably why their seasonal arcs always culminate in each finale with how they relate to one another. I love that zuko adopting a waterbending move is what actually saves his life and then katara’s. I love the chemistry! And I love the future they could’ve had, instead of the ones they were given.

So, in conclusion: I just think they’re neat and I hope you do too, at least a little bit. Even if it’s just respectfully from a disinterested distance cause you do you. And now here is the video I mentioned. I’m sorry this post got so long and then I gave you an even longer homework assignment, but I can’t recommend it enough. She says it all better than I can.

[trampohlena]

Okay, so after last night’s episode I would just like to say that Supercorp IS Endgame. I’d also like to point out the various reasons as to why Kara and Lena are not only soulmates but true twin flames.

For those reading this post who have never heard of the term twin flame: “A twin flame is your own soul, shared across what appears to be two physical beings. It’s one soul, split into two bodies.” -Google’s definition.

For those who are spiritually inclined and have a proclivity for indulging esoteric philosophies; Lena and Kara are ABSOLUTELY twin FUCKING flames 🔥🔥🔥!!

Here are the reasons why:

1. Their drastically different childhoods that resulted in remarkably similar trauma.

Both Kara and Lena have experienced great loss throughout their life. Both mourned the death of their parents, and life as they knew it, at a very early age. Both were shipped off to a foreign land, forced to leave behind everything they knew, in hopes for a brighter/safer future.

Albeit, Lena got the shorter end of the stick in regards to unconditional love, but both were given a second chance and a new start...and yet, they still never fit in, or felt like they truly belonged.

Although they individually have dealt with said trauma in different ways (Lena by pushing away those who try to get too close, and Kara by holding on tightly to those she holds dear) both of their actions are motivated by the same subconscious fear that they HAVE never and WILL never TRULY belong. All while yearning for a sense of “home”.

2. They are opposite reflections of each other; true “mirror souls”, if you will.

Physically, aesthetically, economically, and emotionally—they are complete “mirrors” of one another.

Kara is strong, physically powerful, cut from marble, all hard edges and sharp lines—except for her face. Lena is clearly not as physically powerful, she is soft, all curves, and exudes the grace of the Devine feminine energy—except for her face, which is hard edges and sharp jaw lines. You see what I’m saying?

Aesthetically and economically go hand in hand of course. Lena’s exorbitant wealth is evident in her high-end designer appearance; whereas Kara’s aesthetic is more humble and grounded, and prioritizes comfort over “fashion”. (Let’s admit it. Some of Kara’s fashion choices have been questionable. She clearly rocks the chinos and button-downs better than anything else in that eclectic closet of hers she refuses to come out of 😏)

Emotionally...oh honey. Do I need to say more? I won’t say much but I will say this: Kara is the sun and Lena is the moon. They compliment each other in a way that ensures the world keeps turning.

3. Their individual strengths are the other’s individual weakness and vice versa.

Goes along with the aforementioned “opposite reflection” point above but I’ll expand a bit further in regards to their specific personality traits.

Lena is predominately analytically driven, whereas Kara is emotionally driven. Lena is good in crowds, Kara is not (overwhelmed). Lena is introverted, Kara is extroverted. Lena is detail oriented and has the memory of an elephant, Kara is clumsy and as forgetful as a Pisces (but hey, she has a lot on her plate and barely any free time to balance it). Lena eats like a rabbit-bird-hybrid and Kara eats like a garbage disposal. Kara loves giving and receiving hugs and other forms of physical affection whereas Lena does not (UNLESS it’s from Kara, of course). Etc. Etc. you get the picture.

4. Now this one is the DEAD GIVEAWAY. Undeniable, irrefutable PROOF that Lena and Kara are twin flames.

They are LITERALLY completing what is know as the Twin Flame Journey or the Twin Flame Union.

The stages of Twin Flame Union are roughly as follows:

1. Yearning for “the one”. I think every human being that believes in love experiences this whether it’s throughout their entire life, or only their adult life until they meet this person but yeah. You get it. Kara has always wanted that “Wapow!” moment.

2. Glimpsing/meeting “the one”. Whether it’s only for a short moment, an extended meeting, or perhaps merely locking eyes with them as you pass each other by...you feel immediately connected. There is an instant soul recognition when meeting them, so much so that you could have sworn you’ve met them before or that it’s as if you’ve known each other your whole lives.

Remember when Kara met Lena? And she was gaga-eyed over Lena? Or when Lena felt so comfortable around a new acquaintance that she granted an almost stranger unbridled access to her office? Or how about when Red Daughter flew to America (the country she was taught to hate), with no recollection/memories of Kara’s relationship with Lena (again, the woman she was taught to hate), all because she felt PULLED to do so. And then when she did meet Lena she looked at her and practically drooled over her as if Lena was a double XL cheeseburger with extra special sauce from Big Belly Burger? Like, biiiitch 👀

3. Falling in love. Need I say more? Fine, again, I will. You CANNOT tell me that there is no way in hell that these two morons are anything BUT in love with each other. That’s a lot of double negatives and I appplogize so let me reiterate for clarification: THEY ARE IN LOVE AND YOU CAN’T CHANGE MY MIND!

And at this point is it so freaking BEYOND platonic love, the show cannot explain it away or sweep it under the “just close friends” rug. No. Kara used her Fifth Dimensional Wish (she literally could have wished her entire planet didn’t explode) and she said “make Lena not mad at me, I’m sad 😔” 👀. Mmmkay. Not to mention Lena picking Supergirl over Jack, her former lover. Or the plethora of other times Lena chose Kara/Supergirl over everyone else she knew. Mmkay.

4. The fairytale relationship/friendship. Lena has finally found someone she can depend on, be vulnerable with, support her without judgement, trust with her life etc. and Kara has finally found a true best friend, not her sister, not Kenny who she didn’t realize was her best friend till after he passed? And now he’s not dead?? But her one true best friend that she felt she didn’t need to be neither Supergirl, nor Kara Danvers, but rather Kara Zor-El around (despite Lena not knowing that little tidbit of information).

They were each other’s best friend. Each other’s person. They were happy.

5. Outer Turmoil and Inner Purging—Supergirl and Lena fight. Lena still does not know that Kara is indeed Supergirl and does not pick up on the brewing tension between herself and Kara.

Kara of course is riddled with guilt and her relationship with Lena becomes strained. This outer turmoil creates inner purging by bringing out negative traits in each other. I.E. Lena hiding kryptonite and also Kara asking James to spy on her. Shit gets messy but they still try to make it work.

6. The Runner and the Chaser/Separation Stage—Tensions mount between the two and Lena FINALLY learns about Kara’s secret. And she has a choice to make. So what does she do? She runs. Not physically but emotionally. She completely withdraws from not only Kara and their friends but also withdraws from herself.

She literally experiences cognitive dissonance and becomes someone she is not. Someone other people made her believe she was on the inside, even though Kara knows that it isn’t. And so, Kara chases her.

Lena becomes the runner and Kara becomes the chaser as they navigate this separation stage.

Continuously running and continuously chasing.

7. The Surrender and dissolution stage—they’re fucking done. They’re tired. They’re exhausted physically, mentally, and emotionally after all the bullshit they put each other through as well as all the bullshit Lex and the Phantom Zone put them through.

They come to an impasse in regards to Lex and realize the only way to defeat him is to work together, as a team. (El Mayarah anyone?)

They surrender to their emotions and to each other as their egos dissolve and their souls expand after having learned invaluable life lessons. The major one being: THEY CANNOT LIVE HAPPILY WITHOUT EACH OTHER!

8. The last stage that we have yet to see but we fucking better or else I’m gonna January 6 the CW studio building—“Oneness”.

This time, I’m not gonna say more.

So, in conclusion: Supercorp is Endgame because Lena Luthor and Kara Zor-El Danvers are the literal definition of a twin flame, soulmate connection. They are the same soul, manifested in two physical forms, for the sole purpose of expanding their soul’s consciousness.

They deserve to be happy, they deserve to be together. Not only does their union parallel some of the greatest love stories throughout history, i.e. Romeo and Juliet, Darcy and Bennet, Superman and Lois (duh) it would also break the curse of generational karma and illustrate to anybody who watches the show that the only person who defines who you are is YOU. Not a name, not a legacy, not society’s expectations, YOU. And most importantly of ALL...it would showcase that love truly does conquer all.

I rest my case.

TPTB, make Supercorp Endgame or kick rocks ✌️😘

Sincerely,

An empassioned fan with way too much time on her hands.

[stxleslyds]

LET’S TALK ABOUT BATMAN AND ROBIN #20 (2011).

And the issues that followed that story (Batman and Robin vol.2 #34-37)

DC and the fandom really let Bruce get away with what he did to Jason in that issue. DC because they had Jason go back to Bruce a few issues later to finish their story and the fandom because this moment in comics isn’t talked about enough which has led people to believe that the the concept of “batfamily” as it is in fandom belongs in canon.

This type of moments in stories should make a bigger impact on comic relationships and fandom’s perception of said relationships. From where I am standing Bruce’s actions in that issue are right on the edge of unforgivable and they could have used them as a key moment for Jason to finally move on from all Bat related bullshit without thinking that he had to stay and finish the job (of getting Damian back).

Making Jason move on so easily from that situation really makes it look like if Batman is physically, emotionally, or mentally abusive to his children then it’s not that much of a big deal, it’s just a subplot to a bigger story.

And that is something that happens repeatedly in current comics and it’s disgusting.

Anyway, now that I am done with my rambling, I will start talking about the issues that I mentioned.

Batman and Robin (2011) #20 – Written by Peter Tomasi.

For a little context, this issue is set after Damian’s death and Bruce is looking for ways to resurrect him.

And in this particular issue of this run, Batman recruits Jason Todd between the events of RHatO vol. 1 #18 and #19, that’s why in the cover of the issue the name of the run is changed to ‘Batman and Red Hood’.

A bit more context is that in issue #18 Jason finally recovers from the injuries that he got when the trap that Joker had put on his helmet detonated, and Jason was also having an existential crisis after the Joker convinced him that he was always present in Jason’s life and that he shaped the man that Jason had become (If you want to read more about that and the times' Joker has played with Jason’s mind, I have this post in which I talk all about that).

Good, now I can finally talk about this hellish issue.

Bruce asks for Jason’s help because he wants to take down some marksmen and women that are based in Ethiopia that might or might not have been the same people who took on the job of looking for Damian when his mother had put a bounty on his head.

One would imagine that Bruce calling Jason for this job means that he would let Jason kill some people, bounty-hunters that are money-driven enough to kill children seem to be the kind of people Jason would have in his black list, but Jason is smart and he knows that Batman won’t let him kill so he asks why is Bruce asking him of all people to join him on this mission, Batman replies with “Because I am seeing red”.

If you, like me, don’t understand why Batman would ask the Red Hood to stop him from killing some very shady people then don’t worry, Batman was lying, he didn’t ask Jason to go with him to beat some bounty-hunters, he has ulterior motives.

I will give it to Tomasi, he wrote Jason as the smart cookie that he is because Jason doesn’t stop picking up on the weird technicalities of the mission, and I will go as far as to say that Jason never truly believed that Bruce was being honest about the true nature of their mission. Smart Chonky, I miss you and love you.

Once they get to Ethiopia Bruce starts setting the rules of engagement (don’t shoot to kill, only hands, knees, and elbows), and off they go. Bruce even makes a comment about how it “feels like old times” and Jason is all happy and warm that Bruce invited him to beat some baddies and he also brings up the fact that Bruce stayed by his side while he was recovering from his injuries, very lovely stuff that will soon mean nothing (and that should have meant nothing because Bruce and his lies had resulted in Joker knowing all of their secret identities and messing with all of them in horrible ways, but the Bat can get away with that too).

Here is part of Bruce’s speech about trust and his lies, “You don’t ever need to thank me, Red Hood, for a family always looks out for each other” to which Jason says, “Yeah but a family also needs to earn each other’s trust” and Bruce continues his speech with, “comes a time when having to keep earning someone’s trust stops and you hope the people you’ve put your faith in will always have your back no matter what”.

Batman, everyone, master detective and master manipulator.

As Batman is talking manipulating Jason he beats every bounty hunter almost effortlessly because he had brought some bat-gadgets that were going to make the fight really easy. And as the fight is over in what looks like a minute Batman and Red Hood get on the Batmobile ready to leave Ethiopia… or not.

Jason is very aware that Batman didn’t need him for that so-called mission so he starts to ask more and more firmly about the real reason as to why Batman brought him to this place.

Batman brought Jason back to Ethiopia, but most importantly back to the Magdala Valley because he wants to see if Jason going back to the place where he died will make him remember how he was resurrected.

Yep, talk about having messed-up parents. Bruce is positively the worst at this moment, but it gets worse.

Jason is rightfully pissed off, he says, “You lied to me, this wasn’t about taking down those mercenaries. You wanted to bring me here, to the worst place in the world and here I was starting to believe all your crap about trust and faith...”

To which Bruce says, “I thought bringing you here could jog your memory, maybe retrieve a detail buried deep in your subconscious that could help piece together how you came back to life so I…”

And my man Jason really continues his thought process only to later tell him how much of a piece of shit he truly is (I love this Chonky, go Jason show this man that he ain’t shit).

“…could apply it to getting Damian back. Yeah, I get it. Did it ever occur to you I might like keeping whatever the hell happened to me buried deep? If you cared about me, you wouldn’t want me to dredge up the one thing I’ve been trying to forget. I don’t want to remember the most horrific day of my life all right? You may like wallowing in your tragedies, Bruce, but I’m done looking back!”

Jason, bravo, tell him exactly how you feel! Any sort of good human being would surely accept that they crossed a massive line and that they should ask for forgiveness next, right?... Right?

No. And that’s because Bruce is a horrible human being, I am sorry but it had to be said, this man has zero empathy for Jason and he proves it when he says the following.

“If you cared about me and what I’ve lost, you’d want to dredge this up! Don’t you see, there is a chance you can help me erase one of the worst days of MY life, Jason! You can give me the greatest gift of all and help me figure out how to bring my son back”

Fuck Bruce Wayne. This man has no right whatsoever to talk this way to Jason, no matter how you see this situation, the whole thing is fucked up. Bruce puts his needs above Jason’s feelings and he diminishes Jason’s position as his son because Bruce only refers to Damian as his son. This whole thing is incredibly nasty.

Here we should have had the point of no return for Jason and Bruce’s relationship, although if you are like me, you might think that the point of no return happened way back in Batman (1940) #650 when Bruce decided that saving the Joker by throwing a batarang at Jason’s neck (how did he know that Jason would survive that, I have no idea, maybe Bruce can see the future) was a better option compared to Jason finally killing the clown. Because that’s the thing, Jason was going to kill the clown but Bruce didn’t let him because he didn’t want more blood in Jason’s hands, I laugh until this day about how stupid Bruce’s thinking was there.

Anyway, the point I was trying to make is that Jason should have said bye-bye to Batman and all related Batman crap from this moment on. It would have been perfect but DC can’t help themselves and Lobdell’s self-insert-Jason really wants to be part of this amazing family so, no luck for Jason or us.

If you have read my latest post about Joker getting under Jason’s skin or read issue #18 of RHatO you know the context of what Jason says next.

“Yeah, and how about me? How about the gift of not knowing that the Joker manipulated my entire life, huh? The clown tainted everything, the good, the bad, hell my life’s even been tainted by you!”

Yup, Jason was going through it, and he had talked about these feelings with Bruce previously in issue #17 of RHatO, he had asked Bruce if he thought that Joker had created him and Bruce said, “No Jason, He didn’t make you, I never did either. You made you” and Jason was extremely thankful for that. And now, here we are, these feelings are being brought up again but in a very different situation.

Them arguing becomes a physical fight and after Jason asks Bruce “why are you making me stand in the exact same spot he beat me to death?” He replies this “Because I want to watch Damian grow up damn it! Damian earned that right! And I want to give it to him!”

This conversation only gets worse and Bruce’s most horrible side comes to light, like, I understand that Bruce wants Damian to be alive and all that but he is saying all the wrong stuff to Jason. I feel like as the reader I am being told that Bruce values Damian more than he ever did Jason because he is willing to put Jason through his own personal hell for Damian but refuses to see the reasons as to why Jason doesn’t want to do it. Bruce is being incredibly selfish and he is not caring enough about Jason to notice that he is hurting him. He even doesn’t notice after Jason says, “I was ready to stand by your side and you’ve thrown it all away!”

It is incredibly sad but it's also a bit of a look into what Bruce will do to Dick in Nightwing vol. 3 #30. It has the exact same vibe in both issues, Bruce going completely berserk on his children and telling them that he “trained them to be better”.

This issue ends with Jason punching Bruce several times and Bruce taunting Jason by telling him that he might as well continue because he is “still standing”. The levels of manipulation that Bruce had going on here weren’t as high as the ones in Nightwing #30 but he sure was a little bitch every step of the way.

Jason, being smart, doesn’t take the bait and tells Bruce that he is leaving and he is taking the car.

Wouldn’t this have been an amazing moment for Jason to finally rid himself of all Batman-related events and bullshit? How did DC miss this amazing opportunity to make Jason Todd/Red Hood a character that can stand on his own and with his own rules?

The potential that was wasted when they made Jason go back to Bruce and help him get Damian back in issues 33 to 37 of this same run is immeasurable. And just like Joker being able to get under Jason’s skin, him going back to Bruce and the “family” for plot purposes harmed Jason’s characterization greatly.

Batman and Robin (2011) #34-37 – Written by Peter Tomasi.

Whatever kind of respect I held for Tomasi because of the way he wrote Jason in #20 is now gone. Issues 34 to 37 have Jason fighting alongside Batman and him being all buddy-buddy with him.

Now, let me make something clear, Bruce wanting to bring Damian back to life/from Apokolips is absolutely fine with me, a father fighting for his son’s life can always make a good story, the thing is that at this point in time not only the events of Batman and Robin #20 have happened but so have the events of Nightwing #30.

So, Bruce going through all of this for one of his kids (that keeps being brought up as if he were his only son) after he emotionally manipulated Jason and Dick makes this story very bitter.

But I understand what DC is doing, you know? Here is how they manage to make this story as bitter-sweet as possible. In issue 34 of this run, Dick shows up in his Spyral get-up and offers his help in getting Damian back, because the kid meant a lot to him but Bruce can’t have Dick helping him out along with Barbara and Tim because Bruce has everyone convinced that Dick is dead. So, DC was like “here is this big brain idea, let’s have Jason, Barbara, and Tim helping Bruce get Damian back”. And that’s exactly what they did.

They dragged Jason back to Batman-related crap after he was manipulated, insulted, and punched by the man that is supposed to be his father. And this issue is also happening after Jason had such an immense existential crisis that he decided to have his memory wiped so he could cleanse himself on any doubt that the Joker had manipulated his free will.

How on earth are we supposed to believe that Jason is dumb enough to go back to Batman after all that? Does DC and its writers read their own material? Do they check if the characters that they are planning on using have contradicting narratives?

It’s so messy, the opportunity that DC, Tynion, Tomasi, and Lobdell got to make Jason his own man and his own character was completely wasted, just for a Batman event!

And it isn’t like Jason’s participation in getting Damian back was crucial, it really wasn’t, if I am planning on taking a team of heroes to Apokolips for a rescue mission, Jason, Barbara and Tim wouldn’t be my first options. Jason was put in that book only so they could have someone making snarky comments and for Jason to be like “Bruce we are family, we will always have each other’s backs” I mean, who is Jason supposed to be, Dom Toretto?

Here are some of the moments that seemed the most out of touch for Jason in these issues.

Batman and Robin #34

In issue 34 Bruce gives a long speech about him not wanting to hide things anymore from them (like he did during the events of Death of the Family) and that he wants a new start because they “have been broken long enough” so from that moment forward “good or bad, the truth rules”.

The audacity of this man, my god, how dense can Bruce be? “we’ve been broken long enough”? YOU have broken your relationship with these people time and time again! As you are standing there talking about the truth you are hiding the fact that Dick is alive and well somewhere far away because YOU sent him on a very dangerous mission after he died and you manipulated him.

THE AUDACITY OF THIS PIECE OF SHIT! Am I becoming an anti-Batman blog? I think I am and quite honestly, I am having the time of my life. Fuck this guy.

But back to the issue, after Bruce says that the truth is all that goes now, Barbara basically says that she doesn’t believe him, that all it takes for Bruce to go back to lying is “another situation that justifies you going dark on us in more ways than one” HA! You go, girl! But he is already hiding something from all of you.

Jason being himself supplies a situation like the ones where Batman lies to them in order to get them to work for him, he says, “or bringing me to Magdala Valley on a sightseeing trip to reminisce about the good old days of crowbars and explosions”, ah yes, sure, Bruce did all that back in issue 20 and now it is brought up as an afterthought… how wonderful.

Bruce, of course, lies to their faces when he says “I promise that nothing gets held back. We speak our mind no matter what the cost” to which Jason says “Unconditional truth now and forever, Bruce, otherwise this is all a load of crap”.

AND IT IS! IT IS ALL A LOAD OF CRAP CHONKY! RUN, RUN LIKE THE WIND!

Man, what a mess, poor Dick. He had to wait there and watch his father lie his ass off. And he really wanted to help Bruce get Damian back. Even after Bruce told Dick (as well as Barbara, Tim, and Jason) that he had to go to Apokolips alone Dick still helped Bruce in other ways, Dick really is the MVP, what a man, I love him so much!

(I really needed to show my love for Dick right then and there, sometimes you just have to do it. Dick Grayson is, after all, the greatest comic character to have ever been created).

Batman and Robin #36

First of all, seeing Jason and Barbara wearing the Robin symbol really makes me laugh. It’s just weird to see Barbara wear it, it almost feels like it’s something that shouldn’t have happened and in Jason’s case, well, the last time he wore it he died and it’s kinda funny to see beefy and tall Red Hood wearing a Robin symbol, it’s just funny not a critique.

What I am going to critique from this issue is that after they (Jason, Barbara, and Tim) go to Apokolips and find Bruce they say, “You’re here in this hellish place for your son, Bruce” and Jason continues that with, “And we’re here for you”.

Ah, the irony. Of all people, having Jason say that to Bruce is wild. This man has done nothing for Jason and here Jason is, in Apokolips, of all places, to help a man that does not deserve it. This is proof that Jason is a good man but its also proof that he is an idiot in the New 52, I am sorry but come on, writing Jason this way after what Bruce did to him in issue 20 seems like DC is confirming the fact that even though Batman does the most horrible stuff to his kids, he can still get away with it because his kids still love him all the same.

I understand, loving your parents when they are flawed but Bruce had been written at this time like an abusive father, and he was written like that towards Jason and Dick, so it is not a good look. Bruce saying that he promises that he won’t do it anymore isn’t enough DC, make the man pay for being that way, make his kids stay away from him for a while (or forever).

And here is the other thing, I say that Bruce is Jason and Dick’s father but DC doesn’t, they only acknowledge Damian as Bruce’s son and they do it because the New 52 timeline is non-existent. After all, they deleted a lot of history from these characters, I think it’s fair to assume that Bruce never adopted Dick or Jason and that both of them were Robin for a very short time. What I am trying to say with this is that not only is Bruce getting away with being abusive but he is also getting away with being an abusive father. Because Bruce is their father, at least I see it that way, he isn’t just his friend/mentor/tutor he is their father. He used to be before New 52 and that’s not something that we as the readers are ready or want to let go of.

All in all, Jason didn’t do much in these issues thus confirming (to me, at least) that the only reason he was invited to the party was because they couldn’t use Dick. And that’s an insult to Jason’s character, it would have been better if Jason didn’t appear in this story and he actually had the chance to do something else, like go back to being the proper Red Hood, an anti-hero that does what Batman won’t do for Gotham and its people.

[underworldreaderinserts]

Hope you are doing well this Christmas! And happy holidays!

If you wouldn't mind, could we get some relationship headcanons for Ares, Hermes, and Dionysus? They can be with a gender neutral reader so all can enjoy.

Happy belated Holidays! Thank you so much for your good wishes, dear Anon♡ Of course you can have relationship headcanons. Honestly, I’ve been thirsting for content on the Olympian gods (and I have a number of requests for them that I’m working on in drafts, so there’s more to look out for~), ESPECIALLY these three, omg. So thank you for this gift, love♡ -- Ryan, an actual simp

Ares:

✧ Three words: haughty, territorial, refined. 

✧ Look, he’s kind of boastful. Any chance he gets to flex in front of you, he’d take it. Like a wolf to a bleeding steak.

          ✧ Has a very casual and subtle way of displaying his vanity, but there’s just something in how he woos you, and how you fawn that has him constantly just boasting about himself (or his wars).

          ✧ Ares is also not above bragging about you to his family, knowing that you’ve chosen the superior Olympian (in his words). These are definitely fighting words, and he knows it.

               ✧ He welcomes the opportunity to start a war for you and in your name.

✧ Also him being seemingly emotionally detached, but you’re the only one that can read and understand his subtleties and nuances of speech or body language.

✧ There are certain things that his war-crazed, violence-driven mind makes him very much d e n s e in terms of a relationship, but it’s fun to watch things click and sink in. 

     ✧ He doesn’t traditionally fluster like most people do, he’s too refined for that.

          ✧ Though sometimes you might get a moment where in front of you, and only in front of you, does he allow all inhibitions to fall -- and you might see him blush or stutter a little.

✧ Always, always, always gives you compliments by comparing whatever it is to war, blood, and death and guts. Yet, he somehow makes them sound romantic and flattering.

✧ High end dates. Ares is very much a refined, noble presence, and I don’t see him treating you any less than the treatment he’d expect for himself. 

     ✧ Expect to be pampered, dare I say even spoiled, by Ares

Hermes:

✧ Soft. Cute. Cuddly. F l u f f y.

     ✧ Let’s face it, he’s adorable and s o f t, and I daresay even a little bit playful and mischievous.

✧ For someone so fluid and fast paced, he kinda stutters a bit in a relationship.

     ✧ One of my favorite mental images is catching his attention and causing him to come to a full fledged stop (that has even Zagreus amazed at such a feat).

          ✧ No, seriously, though, it’s so new and such a change of pace from what he’s used to, he’d have all these sorts of hiccups and stutters in both actions and speech when he’s with you.

✧ He acts pretty cocky, but not without discretion.

     ✧ He’s rather confident in himself, but it doesn’t pass the line of vanity, not like Ares would, or even Dionysus to an extent. This sort of confidence gives him the bravery he needs in your relationship.

✧ Putting his speed to good use, he would make the most time he could to come see you.

✧ Hermes is quite the adventurous type, and outdoor activities would be best suited for dates with him.

     ✧ Expect cute park dates, or hiking trips, or camping, or stargazing...

          ✧ Holding hands, cuddling up to each other, enjoying the symphony of nature’s sounds -- rustling leaves, insects chirping, and the fire crackling as you both enjoy a romantic evening together.

Dionysus:

✧ Carefree, entertaining, languid, yet passionate. And on the other hand; partaking in lavish, indulgent, extraordinary parties. 

     ✧ Of course, Dionysus would have feasts thrown for you, in your name or in his love for you. Partaking in parties in general, but being the general focus of the party due namely to Dionysus himself.

          ✧ And these parties scale a spectrum from sophisticated and formal, to wine and dining, to casual gatherings and feasts.

✧ He’s an extremely understanding partner, and I feel deep in my core would have oodles of patience.

     ✧ He’d always have the time to lend an ear to your troubles, and would be a really big comfort and even help you diffuse any kind of tension drama (or absolutely encourage it, who am I kidding). But he’s got ways to help loosen that tension (winks in wine but also w i n k).

✧ He’s soft AND h0rny all in one (if not evidenced by the above statement), but I think that’s because he loves with his heart, mind, and body all at once.

     ✧ He’s always a flirt, especially after you’re both official. That will never stop, ever. But whether it’s smooth or not could be arguable.

✧ But having Dionysus as a partner would be genuinely rewarding.

     ✧ Between the two of you, you’d never experience a boring day. As high-spirited as he is, he’d find some way to turn monotonous daily routines into a game, or something for amusement.

✧ Though I don’t doubt he shares his (half-)brother’s playfulness and love of adventure, Dionysus is very laid-back in comparison to Hermes’s fast-paced nature, and would take his time with you.

     ✧ Days and nights equally spent with Dionysus would be slow-paced and deliberate. It doesn’t matter how long the activity takes to do, or if there’s not even an activity to do, and he’s just spending time with you.

          ✧ Leisurely strolls, party dates, or theater dates are your go-tos outside of your residence. But Dionysus would not be opposed to staying in, having you lean on him -- curled against him, chatting -- with a glass of wine in your hands and a nice fire going. Sharing real, tender moments with you.

✧ Expect a respectable flirt, with a real romantic approach to dates. Someone who would turn anything into a fun time♡

[innocentimouto]

Authors: Write 10 chapters about Jason going through the hurt and justified anger of Bruce replacing him and showcasing just how badly it affects him. Then have a few more chapters showing Bruce and Jason slowly reconciling.

Then for added tension and stretching out the storyline, let’s bring in some opposition or roadblocks, like say maybe Dick Grayson.

Let’s have him argue and fight against Bruce. And the poor parent is just a victim in all this who has to deal with his first ungrateful son throwing tantrums and wanting to be independent. So with all Bruce’s attention on Dick, there’s room for insecurity on Jason’s part and doesn’t that just add to the angst we all love.

Authors: Also completely ignores why Dick is angry in the first place. He has no justifiable reason obviously. Because we can’t have that. We can’t have it being written that Dick’s anger stems from Bruce never telling him he views him as his son, or not adopting him when he adopted another kid very quickly. Or worse, that he took away Robin even though no one made any effort to hide that fact.

Authors: We just spent half our fic writing about Jason’s feelings on losing Robin! His feelings of hurt and betrayal hinge on it being something he never anticipated! So we can’t write that Bruce has done this before, or it will seem really stupid. And that he did it to Favorite Son Golden Boy. It will seem  as if Jason’s every action since returning was driven by emotion which WE CAN’T HAVE. Dick IS THE ONE WITH THE TEMPER RIGHT? DICK IS THE ONE WHO’S BEEN THROUGH THE EMOTIONAL WRINGER WITH BRUCE FOR YEARS AND YET HAS TRIED FORGIVING HIM OVER AND OVER AND HAS MADE A NAME FOR HIMSELF AND HAS POINTEDLY STATED THAT HE DOESN’T LIKE USING BRUCE AS AN EXCUSE FOR HIS MISTAKES.

IF WE BRING THAT CHARACTER IN THAN OUR WHOLE PLOT IS GONE.

If you can’t tell, I’m so done with this.

Why is this so hard for people? The amount of similarities between Jason and Dick is HUGE. Authors have SO MUCH to work with in terms of finding ways for them to get along and connect. Why is there such a need to oppose them?

I can’t expect everyone to enjoy reading what I read. I can definitely say a lot of people hate reading about abusive Bruce while I feel like his abuse needs to be recognized. 

So if you want a character as a conflict, fine. I’m not going to read your fic just to complain about it. You write for whoever you want.

But if you write a character completely OOC, mention that he’s OOC. Or that this is an AU. Make it clear this isn’t the actual character.

Dick Grayson doesn’t have a temper. He gets angry like anyone else or when he’s being mind controlled.

Dick Grayson isn’t stuck up. He had parents before Bruce if you all bother to remember whenever you’re being judgmental about his circus upbringing.

Dick Grayson isn’t emotionally stupid. He didn’t raise Damian by constantly making him uncomfortable, or not backing off when it’s clear that he needs to, or randomly barging into his room when he’s not wanted. (The amount of times Dick does this to Jason in fics is unbelievable. A brick could see that Jason is at his limit and needs space.)

Dick Grayson loves his family. You can’t write him being the family person and emotional support and then try to shove down our throats that he doesn’t care about Jason.  Do you really think he’d look at Jason and be no way I’m accepting this street kid, but look at Damian and think Yes. This assassin baby who treats Alfred like trash and has no problem killing and has very serious racist and sexist beliefs will make a perfect little brother.

Dick Grayson loves Jason. He didn’t break his moral code and kill Joker for kicks, all right? And he didn’t have nightmares about Jason out of misplaced guilt. HE LOVES JASON.

You can easily have all your angst with them loving each other and having issues with their methods of saving people. Or Pit influence. Jason can still be insecure and hate Dick, but sibling hate him. Like he’s so perfect what a jerk oh he’s asking for my help well fine I’ll help and I’m in no way happy about it. It isn’t like you created Robin and were my hero and now you’re asking for my help. I am very INCONVENIENCED BY THIS OKAY?

Jason would still have the premise of being accepted by the family and his feelings on being replaced would still be valid. Joker would be alive.  All your things with Bruce are the same except Jason has a big brother to turn to who understands him. And isn’t that what we want?

Someone to understand and be there for Jason?

And it’s not like that solves the entire family drama. Canonically Tim never looked up to Jason and even if he did, the attempted killing is still a thing. Damian would hate him on principle and constantly anger him with comments about being the outcast or street urchin and just about being everything Jason would hate from rich people.

Cass wouldn’t like his methods. Steph would probably be cool honestly. They would chaotically get along.

Give me a Jason that doesn’t need an entire character to change for his emotions to be valid. Give me a Jason that has actual respect for Robin and for its creator, so that being replaced actually hurts because it meant so much to him. Give me a Jason with all his trauma, and all his emotions, and all his pain, and make him get the love and respect he deserves by growing and being his own hero and not by others’ nonexistent slights against him.

You’ve molded him into a character that depends upon others’ unjustness to him. And you think this makes him more interesting and loveable.

But in doing so you’re inadvertently admitting that without these invented abuses, Jason has no justification for his actions.

[softinkshadows]

Shingeki no Kyojin Astrology: sun-moon-rising combinations

I was looking around tumblr for detailed astrology speculations of my fave anime characters, but there aren't that many! Being q well-versed in astro myself, i thought why not do my own version (very spoiler-free, don’t worry)! I followed the birth dates given by isayama:

Eren Jaeger - Aries sun, Scorpio moon, Cancer rising Aside from the fact that he can be hotheaded and impulsive, Eren's feelings of vengeance run deep and explosive. Remember that time he was chained to the bed after the attack on trost, and his eyes were wild with the need to violently eradicate all titans? He's so tenacious and emotionally stubborn too (a Scorp moon trait) to the point of being closed off from everyone else, especially towards the end where he seems to take the weight of the world's burden on his own shoulders. And all for the sake of protecting his community and ensuring the safety of his friends for the rest of their lives. His comrades and family are his motivation. This is his Cancer rising steering his life.

Mikasa Ackerman - Aries sun, Aquarius moon, Aries rising "Look that moody brat is running off on her own again." Mikasa is similar to Eren in her impulsiveness and determination, but different in two ways- what they aim to protect and their extent of fearlessness. Eren is aware of his own weaknesses and helplessness, but Mikasa's amazing physical prowess makes her act without any hesitation at all. She's hella fierce and driven to keep herself in shape too, doing all those sit-ups and chopping firewood post-injury. I think she deserves a double Aries! An Aries rising means a Libra descendant too, which is reflected her whole-hearted devotion in her close partnerships (Eren and Armin). Her aquarius moon really shines thru with her stoic independence, focus and perseverance.

Armin Arlet - Scorpio sun, Virgo moon, Pisces rising He's the brain of the 104th cadet corps, and is second to Erwin in terms of strategy! An intelligent planner with low self-esteem often found second guessing his own analytical abilities, Armin is a true blue Virgo moon. His emotional self stands out the most from the main three protagonists - Eren & Mikasa mostly express anger and desperation, whereas Armin is usually shrouded in fear and worry. He's a very soft bb, hence the Pisces rising, not to mention he gets so dreamy imagining the sea, the vast plains, and the magical world beyond the walled universe he knows. A spiritually-attuned and curious explorer :")

Levi Ackerman - Capricorn sun, Scorpio moon, Virgo rising Levi is such a complex person, thanks to Isayama's brilliance. Like many Cap suns, Levi is authoritative, cold and incredibly savage. That's not to say he doesn't feel anything either. Levi is an evolved Scorp moon (maybe even moon in 11th house) because his feelings are never for himself, but he hurts so much for others - you can tell every death hits him so hard, but he doesn't show this to anyone else. He also exudes this quietly intimidating aura of natural competence, a common characteristic of this sun-moon combo. He can take things personally as well (re: height issues) but it never snowballs into more than passing irritation. The turbulence of his emotions and habit for violence is balanced out by his earthy Virgo rising, which is emotionally subdued, quite thin and delicate in physique, and super neurotic and nitpicky when it comes to cleanliness and health. Cap, Virgo and Scorp are some of the most guarded signs, and a combi of all 3 are hellish. You can tell this poor beautiful man is always caught between feeling and thinking, between maintaining his humanity and forsaking it.

Erwin Smith - Libra sun, Capricorn moon, Leo rising In another life, Erwin Smith would be the damn CEO of a global conglomerate because he oozes so much charisma. Hell if charisma were energy Erwin Smith would be its prime, eternally renewable source. His stature alone is so commanding, and I find some strong Leonine traits in his thickset physique, strong eyebrows, beautiful hair, and that way he shouted in full glory atop wall Rose in that one episode to the cheering masses below. He might be a Libra sun, diplomatic in political affairs, but his Capricorn moon is what drives his decisions. Cap moon has a rep for being cold and unemotional, but i believe they are way more than that! Cap moons rarely boast about their long list of achievements, instead looking forward to the next goal. They struggle with emotional expression, and are super driven and disciplined. Erwin is capable of making the hardest decisions, putting aside emotions to strive for an abstract ideal, and this is to be expected of the commander who takes on the role of the devil.

Hange Zoe - Virgo sun, Sagittarius moon, Gemini rising All hail our favourite mad scientist!! Hange is such a breath of fresh air in the Survey Corps, balancing out the heaviness of missions with their wacky tales of titan research and experimentation. Their penchant for study and higher knowledge is typical of a Sagittarius moon, who is drawn to advanced academic study and spiritual truths. It's also a lighthearted and optimistic sign, true to Hange's upbeat personality. The Virgo in them contributes to their sheer intelligence and obsessiveness with research subjects. We also know they LOVE to talk, and once Eren asks Hange about experiments, they cannot stop (Gemini governs communication). Virgo, Sag and Gemini are the most intellectual signs, and because they are mutuable Hange tends to follow orders rather than give them, making it difficult to adapt to their new role towards the end of the series. Mutable signs also means rapidly-changing emotional states, and a whole lot of chaos, which suits our beloved squad leader.

Jean Kirstein - Aries sun, Virgo moon, Taurus rising Our third Aries on the list ohmygod. The snk universe is full of feisty hotheads. Jean is always seen clashing with Eren, fuelled by Eren's closeness with Mikasa and his own adorable jealousy. I mean, they had a full on fist fight right after dinner in the mess hall, although everything went downhill after the first few punches. Our first impression of Jean during his cadet days is coloured by his desire to work in the interior, and this favour for material safety and wealth is perhaps common to a Taurus rising. Also, Taurus is ruled by Venus, planet of beauty and harmony, and thus often figures in the charts of artists. If you've seen Jean's drawing skills in that special episode, you'll know that his artistic abilities are the finest we have seen, exceeding even that of isayama himself. Jean's strong principles such as being averse to killing people and oftentimes cynical nature, is also characteristic of the moral and cautious Virgo moon.

Sasha Braus - Leo sun, Gemini moon, Taurus rising Not all Leos are showmans. Sasha is the type of Leo who displays more of the quirky, unabrashed personality suited to her opposite sister sign Aquarius. Authority doesn't exist when food comes into play, as we see when she breaks potato with Shadis and later steals a slab of meat from the officer's warehouse. Unlike the visual artistry that Jean possesses with his Taurus rising, Sasha's Taurus centers around her love for food, and hell she can have fiery determination for it (rmb the wild night she mistook Jean's hand for meat?). I love that both of them were pitted with each other in that cooking special episode. I considered placing her as a Taurus moon, but Taurus moons are usually steadier and classier in emotion, whereas Sasha is often breezy, gets nervous and chaotic, with stellar intuition, making her likely a Gemini moon.

Connie Springer - Taurus sun, Cancer moon, Gemini rising Although not much attention is paid to Connie's growth, his character development reminds me a lot of Aang from ATLA. Cheery and happy-go-lucky at first, before the incident with his mother made him more prone to feelings of anger and vengeance, especially near the later chapters. His strong protective bond with his mother is what compels me to say he is a Cancer moon, which is a moon sign that is very homebody and drawn to family and traditions. His goofy self and him referring to Sasha as "his twin" puts him as the spunky Gemini rising, another sign he shares with her.

Reiner Braun - Leo sun, Pisces moon, Capricorn rising Aside from his natural leader personality (Leonine), Reiner likes to take on the persona of the big brother of the group. His outward stoicism, decisiveness and task-oriented nature is typical of a Cap rising, who is often serious and solemn in appearance. He reminds me of that Cap rising workaholic who does his best in a corporate organization, working 9 to 5 plus overtime as it fulfills his sense of purpose. Beyond his stoic facade reveals a more troubled personality. Like a Pisces moon, Reiner is impressionable, and it's difficult to tell if his emotions and personalities are his own, wavering and absorbing traits from those around him. His internal war with his identity and the ensuing fatigue characterises him during the second half of the series.

Annie Leonhart - Aries sun, Aquarius moon, Virgo rising Annie is the kind of Aries that is so motivated to achieve her goals that everything else is sidelined, including her own emotions. She's quite ruthless in chasing her objectives, and her composure, focus and endurance is highlighted with an Aquarius moon. I'm guessing she has a 4th house influence somewhere because of her motivations to go home to her father and lead a normal life. I find the daintiness and delicateness of her features similar to Levi, who is also a Virgo rising. The Virgo effect also registers as a brutal, unfiltered honesty (also seen in Levi), and Annie doesn't hesitate to speak the truth about her own or her opponent's capabilities.

Other characters which I won't go into much detail about:

Bertholdt Hoover - Capricorn sun, Virgo moon, Pisces rising Bertholdt is quiet with an unobtrusive personality. His lack of supposed iniative and aggression can perhaps be attributed to the mutuability of Virgo and Pisces, which goes with the flow instead of charging forward. He keeps his feelings to himself, but reacts when the people he wants to protect are threatened.

Historia Reiss - Capricorn sun, Libra moon, Cancer rising Historia initially lives for the sake of others (esp Ymir), and is more co-dependent than many of her other squadmates. She also tends to put up a front of pleasantness, afraid of disappointing or offending people. She has a strong tie to family, and a profound sense of duty.

Ymir - Aquarius sun, Pisces moon, Aries rising Ymir is extremely astute when it comes to evaluating human behaviour. The religiosity of her background is also usually found in this sun-moon combination, which tends to attract paths of strong spirituality. She also has a bold and noble sacrificial streak for the sake of her companions.

Zeke Jaeger - Leo sun, Capricorn moon, Scorpio rising A headstrong, intelligent and radical character. In a way similar to Erwin in his ruthlessness, but emotionally darker and much more sinisterly private.

Kenny Ackerman - Aquarius sun, Sagittarius moon

Rod Reiss - Virgo sun, Libra moon

Dot Pixis - Virgo sun, Sagittarius moon

Hannes - Capricorn sun, Taurus moon

[sapphire-knight]

Welcome to a new episode of Sapphire Rambles, today's topic being:

Just as c!Tommy is a simbol of Care, c!Fundy is a simbol of Love.

Let me explain.

(There are going to be 3 principal points to this rant, and each of them is gonna end with a Tl;dr in purple, so it's easier to follow)

If you're a regular in the Fundy tag (or in the Ranboo tag since this argument gets often brought up in relation to C!Ranboo), you might have already seen some rants talking about how C!Fundy is an incredibly loving person, willing to chase after the people he care about if he sees the tiniest hint that mending their relationship is possible, even if they hurted him in the past.

Yeah you are going to see the same argument again here in the first part, but I promise this gets interesting

This became more clear after the Break, when he decided to try and mend his relationship with Philza and Ranboo even if they weren't at all on good terms at the moment, but he thought it was worth it so he tried and will keep on trying anyways, but we have examples of Fundy's really loving and forgiving nature back to the Revolutionary era

Everyone knows about Eret's betrayal I'm sure, but one thing people seem to skim over is how it effected Fundy, because there's the really high possibility that he was the one who was hurted the most by it.

For everyone who has some spotty memory (me too sometimes fam), Eret was the closest person to Fundy at the time, the two being really close friends, so the betrayal must have had a terrible effect on his emotional health, but you know how it went?

It went that Fundy was the first person to reach out to Eret and start to forgive his actions. Fundy always valued his friendships above the side he was in. So even tho he was a L'manburg abitant, he still thought of Eret as a dear friend to him and did his best to not make them feel alone or isolated

There are really few examples of people Fundy actually has an issue with, but even here Hate is a strong and mostly wrong word to apply, for example:

- Wilbur: as we are shown in the interactions with Ghostbur, Fundy didn't hate Wilbut for how he neglected and patronized him, it made him upset (as we saw when Ghostbur called him "his little champion" and he ran away) but he never hated Wilbur for that. The only thing he didn't forgive him was deciding to die, leaving him. And his issue with Ghostbur is not aknowledging or taking responsability. But he doesn't hate Ghostbur, he can talk to him in a civil manner even if the Ghost pretty much upsets him. And about Wilbur? Fundy loved Wilbur, the thing that hurted him was he taking the decision to definitivly leave him.

- Technoblade: even before Doomsday, the correct word of Fundy's feelings towards Techno has never been Hate, but Fear. A lot of people seemed to miss this point about the Butcher Army as a whole, but they weren't move by hate, even if they tried to make it look like they were. They were terrified. On their way to Techno's house, it was more clear than ever that they were TERRIBLY afraid of Techno. The Butcher army was never a movement of hate, but a bad reaction to a traumatic event that scarred them with fear. Also, after the Break? Fundy understands why Techno wanted L'manburg gone, so he doesn't hate him for that.

- Jschlatt: if you followed Fundy's pov, it won't be a surprise me saying that Fundy doesn't hate Jschlatt, but it may be news to other people, since one of the last interaction between the two was... anything but positive. I still shiver at the caravan scene. But even after all he's done, Fundy can't bring himself to completly hate Jschlatt, even if he did a lot of horrible things and was a horrible person, he still doesn't hate him. Fundy took with him Jschlatt's sword, keeping it as a relic and a memory of the man.

There is no one in the server, probably not even Dream Himself, that Fundy full-on hates. No matter how much they hurted him and everyone else, he just. Doesn't hate them. He's able to see the humanity in everyone, even if he wishes he could just hate people that wronged him. He was always forgiving and loving, these two aspects of him becoming even more prominent after his Break.

Tl;dr: Fundy is a character incredibly full of love and almost always willing to forgive and mend relationships with people he cares about at the moment he sees the possibility.

Now that I got the part most talked about out of the way, I'm taking the second tangent. Let's talk about Self-love.

It's not news the fact that there are really few characters, if not actually none of them, who love themselves. Might it be for trauma or for guilt, none of the characters actually love themself and act out of self-love.

Sometimes there are characters that act for themselves, but that is different from acting out of self-love.

Acting for themselves means doing something to achieve an objective that you want, for example: Eret's betrayal.

Eret betrayed L'Manburg becayse he was promised the role of King of the SMP by Dream, she acted out of her wish for power and control. That's an example of acting for yourself.

Acting out of self-love means doing something with the only cardinal reason being that it's good for you, taking care of yourself doing something that makes you feel better and healthier. That is acting out of self-love.

And, if you look at the server, you can easily see that no one has ever done that, expect for one single time.

The closest wrong thing you might be thinking off right now is when Tommy escaped from exile, but that was not an act driven by self-love. Sure, Tommy saved himself and went towards a healthier mindset, but what drove him towards that direction was not a desire to be better and good for himself, but rage towards Dream and a desire to be back to his family and friends.

You know what the only act that could possibly be out os self-love is?

Fundy going away for a years and a half, taking a break from everyone

Think about it for a second. Why did he do that? Let's start putting away the wrong possibilities:

- Doing it for someone: Fundy at the moment was heavily spiraling towards paranoia, wanting to be a villain to make everyone hate him. If that was his mindset at the time, why would he even want to get a break for anyone?

- Having a second cause: what second cause could there be for a choice like getting away from an unhealthy situation to heal? The only second reason a choice like this could have is healing to help someone else heal when you're feeling better, but refer to the last point

- ... that's virtually it

The only reason that could have caused Fundy to decide to take a break from the whole situation because it was unhealthy and heal was because he wanted to heal. For himself. He genuinly wanted himself to feel better for the only reason being, simply, feeling better.

Fundy is the only character for now to have ever taken an important choice for making himself feel better and letting himself heal.

Tl;dr: Fundy taking the year and a half break was the only decision on the entire SMP taken only out of self-love and genuine desire to feel better for the sole reason of feeling better.

Fundy is a representation of love, in any shape or form. He is unapologetically full of love and care, both for himself and for the people around him.

Anyway, the third part is a theory, if younwill kindly follow me:

The above analysis is the exact reason why the Egg causes Fundy an extreme repulsion.

Since both Fundy and Tubbo said that the Egg seems connected to Dreamons, I'm going to roll with that idea in mind.

As we all know, one of the only known weaknesses of a Dreamon is Love and this Dreamon seems to be acting and controlling people out of wishes and desires.

Fundy should be a perfect candidate for the Egg to manipulate, isn't he? One of Fundy's most known characteristic is his research for love, affection and appreciation from people, and we know the egg has no problem using love to manipulate someone, because he is manipulating Bbh using his (platonic?) love for Skeppy against him.

So why the egg would cause a repulsing reaction to Fundy?

Tommy seems immune because he doesn't wish for anything right now, he has everything that he wants

Tubbo also has a repulsive reaction, but is not a hateful reaction but one driven by fear and sadness, the Egg purposefully trying to scare him away, probably to make him unable to fight against him

But why Fundy's reaction would be full-on hate?

I think the egg was trying to do with Fundy the same thing he's doing with Tubbo, scaring him so badly to drive them to the point where they cannot fight back out of complete fear, but it's not working.

It's not working because the Egg fears Fundy, fears how full of pure, unfiltered and unapologetic love his heart is, fears how he's the living representation of the fact that love, of any kind, is the strongest emotion out there. Fundy already was able to defeat a Dreamon because of his own love, and now that he's more emotionally stable and has decided to follow his heart more, mending relationship with people he loves even if they hurt him?

Fundy is an incredibly dangerous threat to the Egg.

So fear is not enough to keep the fox away, he cannot let him anywhere near his plans.

He fears that if he tried the fear treatment on Fundy, Fundy would be able to break out of the web of terror as soon as someone he loved was caught in the crossfire

So he tried pushing him away in a different way, using hate instead of fear, because since Fundy is such a love-driven person all around, the best way to keep him away is to use hate, just like Tubbo is often driven by hope and optimism, so the best way to keep him far fron where he could be a danger is to use sadness and fear.

Tl;dr: The Egg is making Fundy hate him because that's the only emotion that could actually keep Fundy away from him, because he, being a Dreamon, fears how full of love Fundy is.

[flashfuture]

I have a question about Hal, and I'd like your opinion/ view on it. Do you think that Hal is easily emotionally open and vulnerable with people he is close to? Or do you feel like he isn't. Also! Do you feel like he has a problem with being constipated emotionally, not to the level of Bruce but yeah. I haven't read enough comics to really form an opinion of my own, or at least not those kinds of scenes, okay maybe a few, so I'd like your perspective!

alright this was from awhile back. I'm actually truly horrible at this whole tumblr thing and I'm sorry if your ask is just waiting to be answered one day i'll try and get to it lol

Okkay so Hal with emotional vulnerability. One thing to note is first and foremost Hal is protective. He will do whatever he has to do to protect his loved ones. If that means closing himself off or opening up it doesn't matter he'll do it.

But on a day to day I'd say Hal is actually pretty open with his emotions. He is very much in control of his emotions but like it's not hard to tell what he's thinking. I think he may be more stand offish around the League especially after Barry died but like they weren't really his friends. And when Hal and Ollie fight it's usually emotionally driven so yeah.

Hal says he's not into commitment but like you know he's pretty committed to a lot of things. Hal is for sure the more open one between him and Barry. Barry is just shy and Hal has to be the one to make the first emotional step if that makes sense.

With Carol and him they're like a mess a fucking mess. But he's never been unclear about his emotions she's the one who flip flops more I'd say (it's bad writing they don't know how to write Carol)

And with Guy and John Hal was probably at his most dude bro-ish but is now super close friends brothers really with them. He doesn't exactly need to open up they can all read each other like the backs of their hands. Same with Kyle but you literally can't get more emotionally open than Kyle Rayner so yeah.

Nowhere near as closed off as Bruce yeah no way. If Hal is feeling a certain way you're gonna know about it. I just think his whole fear of commitment thing is actually just a lack on interest in marriage. Like he talks about spending his life with friends and Carol and wanting kids and the corps. And vary rarely certain writers who barely understand Hal will bring up a marriage like it's a natural conclusion, I literally just think Hal isn't a marrying person. The same way Dinah and Ollie most certainly aren't but DC can't get out of their own way to stick to characterizations that don't fit a heteronormative lifestyle.

@haljordangreenjedi or @wajjs know Hal way better than I do and might have totally different thoughts on this that i'd love to hear (you know if you want no pressure lol)

[thecaffeinebookwarrior]

The Importance of Antiheroes

By Brooksie C. Fontaine (me) and Sara R. McKearney 

Few tropes are as ubiquitous as that of the hero. He takes the form of Superman, ethically and non-lethally thwarting Lex Luthor. Of Luke Skywalker, gazing wistfully at twin suns and waiting for his adventure to begin. In pre-Eastwood era films, a white Stetson made the law-abiding hero easily distinguishable from his black-hatted antagonists. He is Harry Potter, Jon Snow, T’Challa, Simba. He is of many incarnations, he is virtually inescapable, and he serves a necessary function: he reminds us of what we can achieve, and that regardless of circumstance, we can choose to be good. We need our heroes, and always will.

But equally vital to the life-blood of any culture is his more nebulous and difficult to define counterpart: the antihero. Whereas the hero is defined, more or less, by his morality and exceptionalism, the antihero doesn’t cleanly meet these criteria. Where the hero tends to be confident and self-assured, the antihero may have justifiable insecurities. While the hero has faith in the goodness of humanity, the anthero knows from experience how vile humans can be. While the hero typically respects and adheres to authority figures and social norms, the antihero may rail against them for any number of reasons. While the hero always embraces good and rejects evil, the antihero may do either. And though the hero might always be buff, physically capable, and mentally astute, the antihero may be average or below.  The antihero scoffs at the obligation to be perfect, and our culture's demand for martyrdom. And somehow, he is at least as timeless and enduring as his sparklingly heroic peers. 

Which begs the question: where did the antihero come from, and why do we need him?

The Birth of the Anti-Hero:

It is worth noting that many of the oldest and most enduring heroes would now be considered antiheroes. The Greek Heracles was driven to madness, murdered his family, and upon recovering had to complete a series of tasks to atone for his actions. Theseus, son of Poseidon and slayer of the Minotaur, straight-up abandoned the woman who helped him do it. And we all know what happened to Oedipus, whose life was so messed up he got a complex named after him. 

And this isn’t just limited to Ancient Greece: before he became a god, the Mesoamerican Quetzalcoatl committed suicide after drunkenly sleeping with his sister. The Mesopotamian Gilgamesh – arguably the first hero in literature – began his journey as a slovenly, hedonistic tyrant. Shakespearian heroes were denoted with an equal number of gifts and flaws – the cunning but paranoid Hamlet, the honorable but gullible Othello, the humble but power-hungry MacBeth – which were just as likely to lead to their downfall as to their apotheosis.

There’s probably a definitive cause for our current definition of hero as someone who’s squeaky clean: censorship. With the birth of television and film as we know it, it was, for a time, illegal to depict criminals as protagonists, and law enforcement as antagonists. The perceived morality of mainstream cinema was also strictly monitored, limiting what could be portrayed. Bonnie and Clyde, The Good the Bad and the Ugly, Scarface, The Godfather, Goodfellas, and countless other cinematic staples prove that such policies did not endure, but these censorship laws divorced us, culturally, from the moral complexity of our most resonant heroes. 

Perhaps because of the nature of the medium, literature arguably has never been as infatuated with moral purity as its early cinematic and T.V. counterparts. From the Byronic male love interests of the Bronte sisters, to “Doctor” Frankenstein (that little college dropout never got a PhD), to Dorian Grey, to Anna Karenina, to Scarlett O’Hara, to Holden Caulfield, literature seems to thrive on morally and emotionally complex individuals and situations. Superman punching a villain and saving Lois Lane is compelling television, but doesn’t make for a particularly thought-provoking read. 

It is also worth noting, however, that what we now consider to be universal moral standards were once met with controversy: Superman’s story and real name – Kal El – are distinctly Jewish, in which his doomed parents were forced to send him to an uncertain future in a foreign culture. Captain America punching Nazis now seems like a no-brainer, but at the time it was not a popular opinion, and earned his Jewish creators a great deal of controversy. So in a manner of speaking, some of the most morally upstanding heroes are also antiheroes, in that they defied society’s rules. 

This brings us to our concluding point: that anti-heroes can be morally good. The complex and sometimes tragic heroes of old, and today’s antiheroes, are not necessarily immoral, but must often make difficult choices, compromises, and sacrifices. They are flawed, fallible, and can sometimes lead to their own downfall. But sometimes, they triumph, and we can cheer them for it. This is what makes their stories so powerful, so relatable, and so necessary to the fabric of our culture. So without further ado, let’s have a look at some of pop-culture’s most interesting antiheroes, and what makes them so damn compelling. 

Note:  For the purposes of this essay, we will only be looking at male antiheroes. Because the hero’s journey is traditionally so male-oriented, different standards of subversiveness, morality, and heroism apply to female protagonists, and the antiheroine deserves an article all her own.

Antiheroes show us the negative effects of systematic inequalities (and what they can do to gifted people.) 

As demonstrated by: Tommy Shelby from Peaky Blinders.

Why he could be a hero: He’s incredibly charismatic, intelligent, and courageous. He deeply cares for his loved ones, has a strict code of honor, reacts violently to the mistreatment of innocents, and demonstrates surprisingly high levels of empathy. 

Why he’s an antihero: He also happens to be a ruthless, incredibly violent crime lord who regularly slashes out his enemies’ eyes. 

What he can teach us: From the moment Tommy Shelby makes his entrance, it becomes apparent that Peaky Blinders will not unfold like the archetypical crime drama. Evocative of the outlaw mythos of the Old West, Tommy rides across a smoky, industrialized landscape. He is immaculately dressed, bareback, on a magnificent black horse. A rogue element, his presence carries immediate power, causing pedestrians to hurriedly clear a path. You get the sense that he does not conform to this time or era, nor does he abide by the rules of society.

The ONLY acceptable way to introduce a protagonist.

Set in the decades between World War I and II, Peaky Blinders differentiates itself from its peers, not just because of its distinctive, almost Shakespearian style of storytelling, powerful visual style, and use of contemporary music, but also in the manner in which it shows that society provokes the very criminality it attempts to vanquish. Moreover, it dedicates time to demonstrating why this form of criminality is sometimes the only option for success in an unfair system. When the law wants to keep you relegated to the station in which you were born, success almost inevitably means breaking the rules. Tommy is considered one of the most influential characters of the decade because of the manner in which he embodies this phenomenon, and the reason why antiheroes pervade folklore across the decades.

Peaky Blinders engenders a unique level of empathy within its first episodes, in which we are not just immersed in the glamour of the gangster lifestyle, but we understand the background that provoked it. Tommy, who grew up impoverished and discriminated against due to his “didicoy” Romany background, volunteered to fight for his country, and went to war as a highly intelligent, empathetic young man. He returned with the knowledge that the country he had served had essentially used him and others like him as canon fodder, with no regard for their lives, well-being, or future. Such veterans were often looked down upon or disregarded by a society eager to forget the war. Having served as a tunneler – regarded to be the worst possible position in a war already beset by unprecedented brutality – Tommy’s constant proximity to death not only destroyed his faith in authority, but also his fear of mortality. This absence of fear and deference, coupled with his incredible intelligence, ambition, ruthlessness, and strategic abilities, makes him a dangerous weapon, now pointed at the very society that constructed him to begin with. 

It is also difficult to critique Tommy’s criminality, when we take into account that society would have completely stifled him if he had abided by its rules. As someone of Romany heritage, he was raised in abject poverty, and never would have been admitted into situations of higher social class. Even at his most powerful, we see the disdain his colleagues have at being obligated to treat him as an equal. In one particularly powerful scene, he begins shoveling horse manure, explaining that, “I’m reminding myself of what I’d be if I wasn’t who I am.” If he hadn’t left behind society’s rules, his brilliant mind would be occupied only with cleaning stables.

However, the necessity of criminality isn’t depicted as positive: it is one of the greatest tragedies of the narrative that society does not naturally reward the most intelligent or gifted, but instead rewards those born into positions of unjust privilege, and those who are willing to break the rules with intelligence and ruthlessness. Each year, the trauma of killing, nearly being killed, and losing loved ones makes Tommy’s PTSD increasingly worse, to the point at which he regularly contemplates suicide. Cillian Murphy has remarked that Tommy gets little enjoyment out of his wealth and power, doing what he does only for his family and “because he can.” Steven Knight cites the philosophy of Francis Bacon as a driving force behind Tommy’s psychology: “Since it’s all so meaningless, we might as well be extraordinary.” 

This is further complicated when it becomes apparent that the upper class he’s worked so arduously to join is not only ruthlessly exclusionary, but also more corrupt than he’s ever been. There are no easy answers, no easy to pinpoint sources of societal or personal issues, no easy divisibility of positive and negative. This duality is something embraced by the narrative, and embodied by its protagonist. An intriguingly androgynous figure, Tommy emulated the strength and tenacity of the women in his life, particularly his mother; however, he also internalized her application of violence, even laughing about how she used to beat him with a frying pan. His family is his greatest source of strength and his greatest weakness, often exploited by his enemies who realize they cannot fall back on his fear of mortality. He feels emotions more strongly than the other characters, and ironically must numb himself to the world around him in order to cope with it.

However, all hope is not lost. Creator Steven Knight has stated that his hope is ultimately to redeem Tommy, so by the show’s end he is “a good man doing good things.” There are already whispers of what this may look like: as an MP, Tommy cares for Birmingham and its citizens far more than any “legitimate” politicians, meeting with them personally to ensure their needs are met; as of last season, he attempted a Sinatra-style assassination of a rising fascist simply because it was the right thing to do. “Goodness” is an option in the world of Peaky Blinders; the only question is what form it will take on a landscape plagued by corruption at every turn. 

Regardless of what form his “redemption” might take, it’s negligible that Tommy will ever meet all the criteria of an archetypal hero as we understand it today. He is far more evocative of the heroes of Ancient Greece, of the Old West, of the Golden Age of Piracy, of Feudal Japan – ferocious, magnitudinous figures who move and make the earth turn with them, who navigate the ever-changing landscapes of society and refuse to abide by its rules, simultaneously destructive and life-affirming. And that’s what makes him so damn compelling.

Who needs traditional morality, when you look this damn good?

Other examples: 

Alfie Solomons from Peaky Blinders. Tommy’s friend and sometimes mortal enemy, the two develop an intriguing, almost romantic connection due to their shared experiences of oppression and powerful intellects. Steven Knight has referred to Alfie as “the only person Tommy can really talk to,” possibly because he is Tommy’s only intellectual equal, resulting in a strange form of spiritual matrimony between the two.

Omar Little from The Wire, an oftentimes tender and compassionate man who cares deeply for his loved ones, and does his best to promote morality and idealism in a society which offers him few viable methods of doing so. He may rob drug dealers at gunpoint, but he also refuses to harm innocents, dislikes swearing, and views his actions as a method of decreasing crime in the area. 

Chiron from Moonlight, a sensitive and empathetic young man who became a drug dealer because society had provided him with virtually no other options for self-sustenance. The same could be said for Chiron’s mentor and father figure, Juan, a kind and nurturing man who is also a drug dealer. 

To a lesser extent, Tony from The Sopranos, and other fictional Italian American gangsters. The Sopranos often negotiates the roots of mob culture as a response to  inequalities, while also holding its characters accountable for their actions by pointing out that Tony and his ilk are now rich and privileged and face little systematic discrimination.

Walter White from Breaking Bad – an underpaid, chronically disrespected teacher who has to work two jobs and still can’t afford to pay for medical treatment. More on him on the next page. 

Antiheroes show us how we can be the villains. 

As demonstrated by: Walter White from Breaking Bad. 

Why he could be a hero: He’s a brilliant, underappreciated chemist whose work contributed to the winning of a Nobel Prize. He’s also forging his own path in the face of incredible adversity, and attempting to provide for his family in the event of his death.

Why he’s an antihero: In his pre-meth days, Walt failed to meet the exceptionalism associated with heroes, as a moral but socially passive underachiever living an unremarkable life. At the end of his transformation, he is exceptional at what he does, but has completely lost his moral standards.

What he can teach us: G.K. Chesterton wrote, “Fairy tales do not tell children that the dragons exist. Children already know that dragons exist. Fairy tales tell children the dragons can be killed.” Following this analogy, it is equally important that our stories show us we, ourselves, can be the dragon. Or the villain, to be more specific, because being a dragon sounds strangely awesome.

Walter White of Breaking Bad is a paragon of antiheroism for a reason: he subverts almost every traditional aspect of heroism. From the opening shots of Walt careening along in an RV, clad in tighty whities and a gas mask, we recognize that he is neither physically capable, nor competent in the manner we’ve come to expect from our heroes. He is not especially conventionally attractive, nor are women particularly drawn to him. He does not excel at his career or garner respect. As the series progresses, Walt does develop the competence, confidence, courage, and resilience we expect of heroes, but he is no longer the moral protagonist: he is self-motivated, vindictive, and callous. And somehow, he still remains identifiable, which is integral to his efficacy.

But let us return to the beginning of the series, and talk about how, exactly, Walt subverts our expectations from the get-go. Walt is the epitome of an everyman: he’s fifty years old, middle class, passive, and worried about identifiable problems – his health, his bills, his physically disabled son, and his unborn baby. Whereas Tommy Shelby’s angelic looks, courage, and intellect subvert our preconceptions about what a criminal can be, Walt’s initial unremarkability subverts our preconceptions about who can be a criminal. The hook of the series is the idea that a man so chronically average could make and distribute meth.

Just because an audience is hooked by a concept, however, does not mean that they’ll necessarily continue watching. Breaking Bad could have easily veered into ludicrosity, if it weren’t for another important factor: character. Walt is immediately and intensely relatable, and he somehow retains our empathy for the entirety of the series, even at his least forgivable.

When we first meet Walt, his talents are underappreciated, he’s overqualified for his menial jobs, chronically disrespected by everyone around him, underpaid, and trapped in a joyless, passionless life in which the highlight of his day is a halfhearted handjob from his distracted wife. And to top it all off? He has terminal lung cancer. Happy birthday, Walt.

We root for him for the same reason we root for Dumbo, Rudolph, Harry Potter: he’s an underdog. The odds are stacked against him, and we want to see him triumph. Which is why it’s cathartic, for us and for Walt, when he finally finds a profession in which he can excel – even if that profession is the ability to manufacture incredibly high-quality meth. His former student Jesse Pinkman – a character so interesting that there’s a genuine risk he’ll hijack this essay – appreciates his skill, and this early appreciation is what makes his relationship with Jesse feel so much more genuine than Walt’s relationship with his family, even as their dynamic becomes increasingly unhealthy and Walt uses Jesse to bolster his meth business and his ego. This deeply dysfunctional but heartfelt father-son connection is Walt’s tether to humanity as he becomes increasingly inhumane, while also demonstrating his descent from morality. It has been pointed out that one can gauge how far-gone Walt is from his moral ideals by how much Jesse is suffering.

But to return to the initial point, it is imperative that we first empathize with Walt in order to adequately understand his descent. Aside from the fact that almost all characters are more interesting if the audience can or wants to empathize with them, Walt’s relatability makes it easy to understand our own potential for toxic and destructive behaviors. We are the protagonist of our own story, but we aren’t necessarily its hero.

Similarly, we understand how easily we can justify destructive actions, and how quickly reasonable feelings of anger and injustice swerve into self-indulgent vindication and entitlement. Walt claims to be cooking meth to provide for his family, and this may be partially true; but he also denies financial help from his rich friends out of spite, and admits later to his wife Skylar that he primarily did it for himself because he was good at it and “it made (him) feel alive.”

This also forces us to examine our preconceptions, and essentially do Walt’s introspections for him: whereas Peaky Blinders emphasize the fact that Tommy and his family would never have been able to achieve prosperity by obeying society’s laws, Walt feels jilted out of success he was promised by a meritocratic system that doesn’t currently exist. He has essentially achieved our current understanding of the American dream – a house with a pool, a beautiful wife and family, an honest job – but it left him unable to provide for his wife and children or even pay for his cancer treatment. He’s also unhappy and alienated from his passions and fellow human beings. With this in mind, it’s understandable – if absurd – that the only way he can attain genuine happiness and excel is through becoming a meth cook. In this way, Breaking Bad is both a scathing critique of our current society, and a haunting reminder that there’s not as much standing between ourselves and villainy as we might like to believe.  

So are we all slaves to this system of entitlement and resentment, of shattered and unfulfilling dreams? No, because Breaking Bad provides us with an intriguing and vital counterpoint: Jesse Pinkman. Whereas Walt was bolstered with promises that he was gifted and had a bright future ahead of him, Jesse was assured by every authority figure in his life that he would never amount to anything. However, Jesse proves himself skilled at what he’s passionate about: art, carpentry, and of course, cooking meth. Whereas Walt perpetually rationalizes and shirks responsibility, Jesse compulsively takes responsibility, even for things that weren’t his fault. Whereas Walt found it increasingly acceptable to endanger or harm bystanders, Jesse continuously worked to protect innocents – especially children – from getting hurt. Though Jesse suffered immensely throughout the course of the show – and the subsequent movie, El Camino – the creators say that he successfully made it to Alaska and started a carpentry business. Some theorists have supposed that Jesse might be a Jesus allegory – a carpenter who suffers for the sins of others. Regardless of whether this is true, it is interesting, and amusing to imagine Jesus using the word “bitch” so often. Though he didn’t get the instant gratification of immediate success that Walt got, he was able to carve (no pun intended – carpentry, you know) a place for himself in the world. 

Jesse isn’t a perfect person, but he reminds us that improving ourselves and creating a better life is an option, even if Walt’s rise to power was more initially thrilling. So take heart: there’s a bit of Heisenberg in all of us, but there’s also a bit of Jesse Pinkman. 

The savior we all need, but don’t deserve.

Other examples:

Bojack from Bojack Horseman. Like Walt, the audience can’t help but empathize with Bojack, understand his decision-making, and even see ourselves in him. However, the narrative ruthlessly demonstrates the consequences of his actions, and shows us how negatively his selfishness and self-destructive qualities impact others.   

Again, Tony Soprano. Tony, even at his very worst, is easy to like and empathize with. Despite his position as a mafia Godfather, he’s unfailingly human. Which makes the destruction caused by his actions all the more resonant.

Antiheroes emphasize the absurdity of contemporary culture (and how we must operate in it.)

As demonstrated by: Marty Byrde from Ozark.

Why he could be a hero: He’s a loving father who ultimately just wants to provide for and ensure the safety of his family. He’s also fiercely intelligent, with excellent negotiative, interpersonal, and strategic skills that allows him to talk his way out of almost any situation without the use of violence.

Why he’s an antihero: He launders money for a ruthless drug cartel, and has no issue dipping his toes into various illegal activities.

Why he’s compelling: Marty is an antihero of the modern era. He has a remarkable ability to talk his way into or out of any situation, and he’s also a master of using a pre-constructed system of rules and privileges to his benefit.

In the very first episode, he goes from literally selling the American Dream, to avoiding murder at the hands of a ruthless drug cartel by planning to launder money for them in the titular Ozarks. Despite his long history of dabbling in illegality, Marty has no firearms – a questionable choice for someone on the run from violent drug kingpins, but a testament to his ability to rely on his oratory skills and nothing else. He doesn’t hesitate to engage an apparently violent group of hillbillies to request the return of his stolen cash, because he knows he can talk them into giving it back to him. The only time he engages other characters in physical violence, he immediately gets pummeled, because physical altercation has never been his form of currency. Not that he’s subjected to physical violence particularly often, either: Marty is a master of the corporate landscape, which makes him a master of the criminal landscape. He is brilliant at avoiding the consequences of his actions. 

It’s easy to like and admire Marty for his cleverness, for being able to escape from apparently impermeable situations with words as his only weapon. He’s got a reassuring, dad-ly sort of charisma that immediately endears the viewer, and offers respite from the seemingly endless threats coming from every direction. He unquestionably loves his family, including his adulterous wife. As such, it’s easy to forget that Marty is being exploited by the same system that exploits all of us: crony capitalism. The polar opposite of meritocratic capitalism – in which success is based on hard work, ingenuity, and, hence the name, merit – crony capitalism benefits only the conglomerates that plague the global landscape like cancerous warts, siphoning money off of workers and natural capital, keeping them indentured with basic necessities and the idle promise of success.

Marty isn’t benefiting from his hard work in the Ozarks. Everything he makes goes right back to the drug cartel who continuously threatens the life of him and his family. He is rewarded for his efforts with a picturesque house, a boat, and the appearance of success, but he is not allowed to keep the fruits of his labor. Marty may be an expert at navigating the corporate and criminal landscape, but it still exploits him. In this manner, Marty embodies both the American business, the American worker, and a sort of inversion of the American dream.

In this same manner, Marty, the other characters, and even the Ozarks themselves embody the modern dissonance between appearance and reality. Marty’s family looks like something you’d respect to see on a Christmas card from your DILF-y, successful coworker, but it’s bubbling with dysfunctionality. His wife is cheating on him with a much-older man, and instead of confronting her about it, he first hired a private investigator and then spent weeks rewatching the footage, paralyzed with options and debating what to do. The problem somewhat solves itself when his wife’s lover is unceremoniously murdered by the cartel, and Wendy and Marty are driven into a sort of matrimonial business partnership motivated by the shared interest of protecting their children, but this also further demonstrates how corporate even their family dealings have become. His children, though precocious, are forced to contend with age-inappropriate levels of responsibility and the trauma of sudden relocation, juxtaposed with a childhood of complete privilege up until this point.

Conversely, the shadow of the Byrde family is arguably the Langmores. Precocious teenagers Ruth and Wyatt can initially be shrugged off as local hillbillies and budding con-artists, but much like the Shelby family of the Peaky Blinders, they prove to be extremely intelligent individuals suffering beneath a society that doesn’t care about their stifled potential. Systemic poverty is a bushfire that spreads from one generation to the next, stoked by the prejudices of authority figures and abusive parental figures who refuse to embrace change out of a misguided sense of class-loyalty. 

Almost every other character we meet eventually inverts our expectations of them: from the folksy, salt-of-the-earth farmers who grow poppies for opium and murder more remorselessly than the cartel itself, to the cookie-cutter FBI agent whose behavior becomes increasingly volatile and chaotic, to the heroin-filled Bibles handed out by an unknowing preacher, to the secrets hidden by the lake itself, every detail conveys corruption hidden behind a postcard-pretty picture of tranquility and success.

Marty’s awareness of this illusion, and what lurks behind it, is perhaps the greatest subversion of all. Marty knows that the world of appearance and the world of reality coexist, and he was blessed with a natural talent for navigating within the two. Like Walter White, Marty makes us question our assumptions about who a criminal can be – despite the fact that many successful, attractive, middle-aged family men launder money and juggle criminal activities, it’s still jarring to witness, which tells us something about how image informs our understanding of reality. Socially privileged, white-collar criminals simply have more control over how they’re portrayed than an inner-city gang, or impoverished teenagers. However, unlike Walt, Marty’s criminal activities are not any kind of middle-aged catharsis: they’re a way of life, firmly ingrained in the corporate landscape. They were present long before he arrived on the scene, and he knows it. He just has to navigate them. 

Just like our shining, messianic heroes can teach us about truth, justice, and the American way, so too does each antihero have something to teach us: they teach us that society doesn’t reward those who follow its instructions, nor does it often provide an avenue of morality. Even if you live a life devoid of apparent sin, every privilege is paid for by someone else’s sacrifice. But the best antiheroes are not beacons of nihilism – they show us the beauty that can emerge from even the ugliest of situations. Peaky Blinders is, at its core, a love story between Tommy Shelby and the family he crawled out of his grave for, just as Breaking Bad is ultimately a deeply dysfunctional tale of a father figure and son. Ozark, like its predecessors, is about family – the only authenticity in a society that operates on deception, illusion, and corruption. They teach us that even in the worst times and situations, love can compel us, redeem us, bind us closer together. Only then can we face the dragons of life, and feel just a bit more heroic.

Other examples:

Don Draper from Mad Men. A similarly Shakespearian figure for the modern era, Don is a man who appears to have everything – perfect looks, a beautiful wife and children, a prestigious job. He could have stepped out of an ad for the American Dream. And yet, he feels disconnected from his life, isolated from others by the very societal rules he, as a member of the ad agency, helps to propagate. It helps that he’s literally leading a borrowed life, inherited from the stolen identity of his deceased fellow soldier, and was actually an impoverished, illegitimate farmboy whose childhood abuse permanently damaged his ability to form relationships. The Hopper-esque alienation evoked by the world of Mad Men really deserves an essay all it’s own, and his wife Betty – whose Stepford-level mask of cheerful subservience hides seething unhappiness and unfulfilled potential – is a particularly intriguing figure to explore. Maybe in my next essay, on the importance of the antiheroine.