#but like. character dynamics are driving the story at the ground level

[svtskneecaps]

tbh the mark of some of my favorite things is that they drive me to create and qsmp has that in SPADES. like i love anything that just gets me going so much i want to just CREATE SOMETHING and this is just so!!!! like the characters are so goddamn compelling and emotional and they've got mystery at the core of it (island??? code??? shadow government???) plus the child of the child of god or something but also just.

found family!! it takes a village!! a myriad of diverse family units!!! platonic bonds of every make and model!! do you want "we are debatably canon soul bonded"? do you want "we were so sibling coded we adopted each other"? do you want "my husband is your child rearing partner and i'll protect you with my life"? want "man with deep rooted paranoia becomes so deeply friends with people"? want "we're both unhinged and that's hilarious"? want "i went to med school to get a camera out of your ass"?

there's so much. there's so much. i'm so full of words not a damn one gets written. i am brimming with creative energy. i absolutely understand why they're playing on the server for so long. i'm so happy.

[summerpearlgirl]

Analysis of the Character Traits of Penelope Bridgerton (nee Featherington)

I have already posted about the strengths and challenges of the character traits that Colin and Penelope share.

Here I will discuss Penelope's character traits of bravery, curiosity and comfort. Spoilers throughout.

1. Bravery

Strengths:

Overcoming obstacles: Bravery allows people to face challenges and overcome obstacles. Penelope is brave when she stands before the Ton at the Butterfly Ball to reveal herself as the writer of Lady Whistledown and beg for the Queen's mercy.

Effecting change: Bravery can lead to positive change and inspire others. Penelope is brave asking Colin for a kiss in S3E2. Penelope also uses Lady Whistledown to help people who have less power in society to make change such as when she saved Daphne from marrying Berbrooke S1 and it is how she intends to write going forward.

Challenges:

Recklessness: Penelope puts herself and those closest to her at risk of ruin by continuing to publish Whistledown. The articles she wrote about the royals (especially in Queen Charlotte) are treasonous and punishable by death. Colin is rightfully terrified of Pen being executed and his family having their assets stripped when the Queen arrives at the wedding breakfast to reveal she suspects a Bridgerton is Whistledown.

Emotional toll: Facing fear and danger takes a toll on emotional wellbeing, leading to stress. Pen has a panic attack and faints at the engagement ball in S3E5 at she faces the fear of Colin not wanting to marry her when attempting to tell him she is Whistledown.

Arrogance: Bravery requires a certain level of belief that you know better than others who have tried before. Pen influencing the Ton to direct business away from the new modiste towards Madam Delacroix was arrogant and negligent. Nicola Coughlan commented that she portrayed Penelope as arrogant in S2.

Nicola Coughlan in Teen Vogue: “I always thought of her like a little like a yo-yo in S1, that she'd kind of go out to say something, but then she had to pull it back. She'd try and be crafty and try and do this, but it was like I've gotta bring it in, and then in S2 I wanted her to have a little bit more of an arrogance about her but misplaced maybe a little bit because she's like the most famous person in London. Nobody knows that she is, and she sort of then convinced herself that her and Colin are having this love story, which they're really not in S2. But in S3, I wanna drift to feel more grounded, more like a young woman and more becoming comfortable with herself.”

2. Curiosity

Strengths:

Learning and growth: Curiosity drives individuals to seek knowledge and experience, leading to personal and intellectual growth. I really enjoyed reading a fanfic where Colin has a long inner dialogue about Pen's curiosity being really sexy. I cannot find it, if anyone knows please comment below.

Challenges:

Social ostracism: Curiosity can be interpreted as intrusive, leading to potential social rejection. Penelope's use of the Lady Whistledown pen name is demonstrative of her fear of people judging her.

3. Comfort

Strengths:

Nurturing: Comforting people create a nurturing and supportive environment, promoting emotional wellbeing in those around them. What Pen says to Colin after Francesca's wedding S3E8 is one of the most comforting things I have heard: “It's not what you do for me that makes me love you. It is your kindness, your empathy, how much you care. Just being you is enough, Colin. I do not need you to save me. I just need you to stand by me, to hold me, to kiss me.”

Challenges:

Dependency: Penelope and Colin's dynamic can be codependent at times. I read Polin fics to indulge my codependency loving heart, but I try to be more pragmatic in real life.

Neglect of self: In an effort to comfort others, comforting individuals may neglect to advocate for their own needs. Penelope flip flops on this aspect, sometimes she is selfless and sometimes she is selfish. It resonates with the argument that Alfred Adler and other psychology texts make which is that a strong need for control could be a maladaptive coping mechanism to compensate for feelings of inferiority, neglect or lack of control in other areas of one's life.

Quote of Colin appreciating Penelope's bravery S3E8:

Colin: “I simply cannot believe that a woman with such bravery loves me. How lucky I am to stand by your side and soak up even a little bit of your light. If my only purpose in life is to love a woman as great as you, then I will be a very fulfilled man indeed.” 💛

[pochapal]

32! Do you like HS^2?

i...genuinely do! i think sometimes there's a half-conception that based on the mere premise of my fics that i don't like postcanon all that much (omelette route was misconstrued as an epilogues fix-it fic in certain circles and pickle route is still sometimes seen as a "better version" of hs^2) even though everything i write is in direct conversation with and comes from a place of admiration for hs^2/the epilogues.

with hs^2 in particular i think it had some really electric ideas that we only got to see the very first brushstrokes of (thinking most pertinently here about whatever was going to go down on deltritus that we never saw) that, if they'd been able to get off the ground, probably would have eclipsed the epilogues as the most interesting part of homestuck. from the bits we saw the meat timeline stuff was definitely the weakest. outside of the jade/altcallie possession chapter a lot of that half of the story was fairly unsurprising character-driven extrapolation of the same angst we departed the epilogues with - and i largely agree with @hms-no-fun that some kind of timeskip here would have helped it feel a little less repetitive (although arguably there might have been? three years definitely passed with dirk et al but it was very up in the air as to how long it had been for the pursuit spaceship crew). i get why that never happened - both meat and candy were being told in tandem and candy ended on a buildup to an immediate conflict that needed to be followed in real time versus meat's meandering slingshot towards something more nebulous, so for the sake of structural symmetry that limited things a little.

i think i'm more amenable to a lot of hs^2's storytelling decisions because i wholly and entirely loved the epilogues from the getgo and it was so good to see that theme/tone be carried through to a more "traditional" mspa space, even if i wonder if the comic form damaged the story more than it helped it. i remember a lot of people getting weirdly mad whenever we'd get an extended prose scene instead of visual panels despite hs^2 being a continuation of the text-based epilogues. then again, the mainstream hs fandom as a whole fucking sucked when it came to postcanon and that's even more evident in how they've collectively memoryholed the whole thing so talking about audience reception is maybe not the most useful thing to talk about here lmao. idk i think people forget that homestuck is largely a story about people who suck and then who get better from sucking. it's just that nobody really likes it when that lens is turned inward onto the alphas/betas who outside of a small handful of exceptions in canon never really had any ethical issues that caused problems for them and others so i personally think it was very interesting and refreshing to explore how the kids' complacency wrt their baggage and trauma allowed them and their world to backslide so disastrously! roxy lalonde enabling jane's fascist ascension is fascinating storytelling actually! (side note: read through shadowed eyes)

hs^2's original characterwork is probably where the story shines the most. the fucked up dynamics between the theseus crew was super fun to read because there's honestly nothing more enjoyable than Supremely Divorced people deciding that makes them irredeemably evil now. the egbert gender stuff was really nice! i particularly enjoyed how, even though it came after the june egbert renaissance, it still managed to be its own unique take on egbert's gender arc that i think really encapsulated the originality driving the project. also forever shoutout to the candy kids my beloved candy kids my children who i will die for - for me in particular hs^2 was a fun time because i was developing my own versions of harry/vrissy/tav for pickle route in parallel to hs^2 and it was so enjoyable seeing all the overlaps and divergences with each upd8. also yiffy fucking rules on every level and even though she never got to be more than a promise she sure was one hell of a promise.

that said i do not think it's that surprising that hs^2 ultimately died before its time. the conditions of the story paired with the most demoralising and vicious iteration of the fandom meant the odds were stacked against it in a big way. you can particularly see the strain of that starting to manifest in the final ~6 months worth of upd8s where people were leaving/being pushed out of the project and every part of hs^2 was a completely hostile environment and the quality of the art and storytelling began to get a little shaky - which i can't really blame them for all things considered! it's hard to want to make the best version of a story possible when the overwhelming reception is a bunch of sanctimonious redditbrained weirdos screaming that you're evil and foul for making characters in a piece of fiction do unexpected and surprising things and also being sympathetic to trans women. there were of course issues with the production conditions of hs^2 that would have probably led to some sort of reckoning at some point, but it's very obvious that the traumatic pressure cooker of a fanbase that wanted nothing more than the death of this project and the ruination of everyone that worked on it threw this whole thing off the rails much faster. despite that, you still have to infinitely admire the team for daring to make something challenging and original in a sphere dominated by people who are content to regurgitate the same babybrained 2013 content ad infinitum - for just a brief moment, homestuck was truly allowed to be the literary masterpiece it's been all along. now people just treat it as more fandomslop to consume and that's perhaps the biggest shame of all.

in the end i think hs^2's legacy is best felt in the places haunted by its premature absence. i'm talking about the comic itself of course but also other spaces and people and projects. stuff that really engaged with the meaty thematic frameworks being thrown up in postcanon that now no longer have a mirror to talk back to - stuff like pesterquest and godfeels and the aforementioned through shadowed eyes that all massively are in conversation with the deeper artistic and philosophical principles underpinning this era of homestuck. if anything else hs^2 will continue to serve as a useful prerequisite for getting into some of the best stuff homestuck fans have ever made. we might never see what could have been, but at least the torch is still being carried by people who care.

[hiuythn]

"What do you think are x and y’s greatest personality strengths and weaknesses? Why? What do you love about their dynamic?"

So, just found this kinda ask for various ships, I was thinking to ask you (one of my all time fav fics writer), if you don't mind and have free time, of course.

For your fav ships: Iwaoi, Klance, Kiribaku, Ranwan or Bingqiu (feel free to pick whichever you want to answer). 🌻🌷

I pick them all because Im physically incapable of shutting up:

iwaoi: greatest strengths gotta be their hard work, passion and drive. they're extraordinary in their mundanity, not to say their story is more boring compared to others, it's just more grounded in reality. they're good role models (despite oikawa constantly being voted no.1 anime villain of all time). individually, iwaizumi is just a Dependable Guy and I feel like all his juniors have intense admiration for him. I'm about to wax poetic but I can't seem to find a major weakness for him. if he had some sort of insecurity about not being able to go pro like oikawa (insecurities that are common in friends/rivals like reki/langa or klance), then I'd say that's a weakness, but instead iwaizumi had the sheer manliness to make a whole speech to oikawa on their walk home about how insanely proud he is and how he knows oikawa is gonna make it big. Dude literally is perfect I'm so biased i don't even care. maybe his feet stink or sth, idk.

oikawa on the other hand is so. he's so. he's my favourite little ball of complex emotions, dude feels so much and his desperation is so palpable in everything he does that it makes my molars ache like I'm about to bite down on something. on the surface he's an ikemen flirty guy with an unyielding sense of pride and a competitive streak 50 miles wide. He's the best setter and he knows it—but he also DOESN'T know it. he's so afraid of pausing for one second and getting overtaken by natural geniuses. so he won't stop. he keeps going, keeps eating volleyball up morning midday and night. it's that hunger that makes him such a formidable opponent. like baby you're so hungry I know you want to trample all these players under your feet and i feel like I have an alien infant that I'm panicking and rushing to feed it enough food. like I love him but he scares me a little. but he's also a testament to the indomitable human spirit in the fact that he wasn't gifted the talent that seems so prevalent in the people around him. he's on their level from willpower alone but he's STILL not satisfied. is this a weakness or a strength, is it both, can I even articulate my thoughts about him coherently???

klance: Keith why wasn't the world kinder to you. why did it take your mom and your dad and your brother and why did it trade you all that for your role as a protagonist, when I know you would've been content as a normal kid. Keith was drafted for the spotlight. he's cool, he's red and black, he's scowling and fights with knives and he's resourceful, resilient, he can survive off the land on any planet in any galaxy, he's a (lone) wolf and he's everything you could want in a character who's only concept is "You're strong, you're stronger alone, you're on your own." He's got the adaptability, the tenacity, the mindset, the spit-blood-out-of-my-mouth-and-hit-them-back-harder type thing. he's never relied on anyone to make it another day. isn't he so strong? but how could I laud him for it when it almost led him to self-sacrifice?

thinking back on Lance makes me so irritated. he was such a roiling, lashing tumble of growing pains and teenage insecurities. he has so many things going against him. you could say he was too loud, too joking but I wanted to watch him unravel himself. wanted to see him unspool and knit himself into a bigger tapestry than the show painted him as. isn't he a soldier drafted to a millennia-galaxy-spanning war? why are you telling me his only concern is still girls and romance, when he should be facing death and disappointment every time he gets into his lion and everytime he limps out of it after a battle thinking "am I even suited for this". why didn't I get to see him realize that Keith's strengths aren't his, that they don't NEED to be, that his own disregard for his own skills and constant need to acquire what others have, is what held him back from leaning into what he's good at? he's good at being water he's good at gluing and cooling and directing a blocked stream to find a way past this mountain. he had everything you could want in a right-hand man, had all the pieces laid out right there, but I never got to see it built up to the foundation it could've been.

kiribaku: there is not a single fic I have written about them that isn't obsessed with their flaws and strengths. it's all I think about constantly when it comes to them. how can there be a pairing that clicks together so easily like lock and key? what insightful thing can I saw abt them that I havent already written lyrical about in my fics, they make me so speechless. sometimes I'm afraid to look at kirishima head-on and sometimes I can't help basking in his warmth. he reminds me too much of the terrifying feeling of being left behind, of being mediocre. dont we all remember wanting to make a difference, wanting to stand out? he reminds me of all the things I used to be afraid of, seeing myself in his insecurities and wavering middle school presence, and the way he tries desperately to stuff that past under his bed. and yet, he's so warm. he's such a comfort. it puts me at ease, to see someone so familiar to my own hurts and fears manage to grow past what he used to be, that he could become almost unrecognizable in his brilliance. he's just a kid. he's just a boy, but he grew and cultivated his future self so painstakingly that I can't help but be proud and admire him for it. if you can't be a natural hero, homemade is fine too.

if I were to list all the strengths and weaknesses that bakugou embodies, we'd be stuck here until Luffy finds the One Piece. never have I seen a more baffling character. there's a reason he's been voted no. 1 in every single popularity poll held. he's so complex that sometimes he seems more real than myself. where he used to be callous and derisive, dismissive and self-centered, he's now pensive and self-reflective. he's still ambitious still driven but now he's opened up enough to utilize the connections he's built with others to achieve the best possible outcome, instead of believing that only he is worthy of results. he's lost his blinders, his self-focus, and he's all the better for it. he's not diminished or nicer or sweeter in any way, his sharp tongue and temper are still there, but still you can see that's he's grown so, so much.

ranwan: I want to tear my hair out when I think about chu wanning. surely, I agonize, he's the most pitiful character I know. and then I turn my head and mo ran is right there and then I scream and actually tear my hair out because he's suffered so much too and the thought of both chu wanning and mo ran's combined agony is enough to eclipse the Andromeda Galaxy. chu wanning...do I even need to go into his weaknesses when he already rips himself up for slights only he can perceive? "ugly, old, cold and rigid"??? the only rigid thing are his morals, too upright and sincere for the world he was made into, and nobody likes a nail that can't be hammered down. his sense of duty, his quiet care and attention, his intellect utilized for the common man—am I supposed to take his ascerbic tongue seriously as a weakness when his personal character is so...good? maybe his only fault is that he took every injustice too seriously. that he cared too much too young and when thrown into the world his Shizun didn't prepare him for, he was torn up until he turned cold just to save himself the disappointment. maybe his only fault was being too scared to open his mouth and ask for comfort, to make known his own humanity.

mo ran the world owed you everything and by god you took it. who am I to blame you. let the one without sin cast the first stone and all that. good intentions pave the road to hell and all that. you just wanted save your Shizun from a flower. why did the world take all your sweet consideration for itself, for its rain and its earthworms, and decide to put you in harm's way? you had the mind to thrive, to build a legacy and live well, and it made you turn all those strengths towards scorching the earth anew. you're so strong for trying to protect others, how could I call your mind weak for succumbing to years of induced violence? I can only call you strong for bearing 2 lifetimes of suffering.

bingqiu: Shen Yuan you motherfcker please stop embarrassing yourself stop making jokes when the situation is serious people are going to take you at face value and say you don't care about the people around you. you offer yourself on a platter to your would-be murderer to protect your sect and then die for your murderer to make him happy (???) and you'll call that nothing. you'll put no worth in it while your people cry over your corpse. how are you going to treat them with unrelenting cheer and care, then turn around and assume they'll continue on their predetermined path as novel characters, how could u be so kind and so cruel, to both love them and disregard them like that? how do you manage to not see them at all Shen Yuan do you mean to hurt your loved ones when you don't hold them accountable for their actions, when you don't see their actions as their own but just the will of the system just because they're novel characters because they don't know that they're all scripted Shen Yuan how can you look at these people and their earnest pleading to keep yourself safe and say that they're predetermined cannon fodder Shen Yuan please won't you just look at them for once??

binghe (bing-ge)? well there's nothing wrong with him. don't you know he's the protagonist? don't you know he's unbeatable. he's handsome and strong and smart and merciful and every wrong he commits is just to right a slight made against him. it's only fair. it's only what he was taught. if he can't be given something, he'll just take it. he will take everything he wants. see, if he's kind and sweet, if he sticks to what his mother taught him, if he stays filial and loyal, eager to learn and help—what does that get him? nothing. whether his Shizun whips him or treats him with care, in every world he gets nothing. so he should take it instead, should exchange his steadfast dedication for a relentless pursuit, his painstaking attention to care for a exacting manipulation of every situation. maybe then he'll achieve something worth his suffering. maybe then he'll be able to say that it wasn't him, that the problem wasn't him, that there's nothing wrong with him at all.

[natlacentral]

Dallas Liu & Elizabeth Yu

On Fire Nation siblings reborn: from animation to live-action

A familiar chime resonates, followed by the words, “water, earth, fire, air”—it's the unmistakable precursor to the iconic opening of Nickelodeon's Avatar: The Last Airbender. When the beloved animated series was released, my brother and I, like countless others, eagerly awaited each new episode, immersing ourselves in the epic saga week after week. We witnessed the characters grow up alongside us, and well into our adulthood, we've revisited the series time and time again. Now, with Netflix's highly anticipated live-action adaptation set to premiere on February 22nd, it's a chance to revisit the beloved characters and stories we've cherished for years, brought to life in a new format.

Sitting side by side, Dallas Liu and Elizabeth Yu warmly greet me over Zoom the day after the premiere event in Los Angeles. With anticipation for the live-action adaptation reaching a fever pitch, Liu and Yu sit down with Timid to delve into their roles as the dynamic Fire Nation siblings, Zuko and Azula. Their excitement is palpable as they reflect on the journey of bringing these beloved characters to life and the profound impact the series has had on their lives and careers.

With my curiosity piqued, I inquire about their personal connections to the show. Without hesitation, Liu fondly discusses his childhood introduction to the series, recalling Zuko's training on the boat with Uncle Iroh as the moment he fell in love with the character. "The show has been a big inspiration to me, influencing my decision to pursue martial arts. So, it was a dream come true, getting to incorporate both acting and martial arts into a childhood series that I loved.”

Yu shares a different reflection and responds, “Avatar was my first introduction to this style of animation. So, it was really cool to see faces inspired by our own in an animated style and in a positive way.” Reflecting on their responses, it becomes clear that for both Liu and Yu, as well as countless fans, Avatar: The Last Airbender holds a special place in their hearts, serving as a source of inspiration and connection.

The deep impact of the show has cultivated a dedicated fan base, and as members themselves, Liu and Yu were beyond excited to play Zuko and Azula. Their eyes light up as they recall key moments, such as joining the cast, and express their gratitude for being part of such an iconic series. "Every single cast member, writer, producer, director, and even our transportation and craft teams deeply loved the series," Yu says, emphasizing the collective passion driving the project. Liu expands on this sentiment, saying, “It’s special! The fans will really appreciate that there's a new level to the story, which is really interesting to watch.”

Amidst the excitement, the duo acknowledges the weight of fan expectations and the responsibility of honoring the beloved characters. “I grew up with a lot of friends whose whole personality is this show, because they love it so much. They grew up with it. So, you definitely don't want to mess it up. You want to do it right,” Yu shares. Liu nods in agreement, recognizing the monumental task of filling the shoes of beloved characters like Zuko, voiced by Dante Basco in the animated series. Despite the pressure, Liu and Yu remain committed to capturing the essence of their characters authentically. Liu describes their approach as taking a “grounded route in our performance, rather than trying to impersonate cartoon characters.”

While watching the show, it became increasingly apparent that while the characters' progression retained a comforting familiarity, there were also instances where the actors infused their own unique essence into their performances. Some moments paid homage to the original, but others showcased the actors' individual interpretations, breathing fresh life into the characters.

In the animated series, Zuko emerges as a dynamic and complex character, navigating his identity as Prince of the Fire Nation while grappling with his personal journey towards redemption and self-discovery. When portraying Zuko in the live-action adaptation, Liu aimed to convey the character's depth and inner turmoil. He explains, “I wanted to make this a real-life person that has experienced real-life trauma. Someone that people could relate to.” 

One scene in particular that stood out to me while I was watching the show was when Zuko returned to his boat and was met with an unexpected welcome from his crew. In that scene, upon Zuko’s face, you could see his inner conflict come into play. Now, as I share with Liu that I got emotional during this scene, he, too, said that it was pretty emotional for him as well. Liu reflects, “In that scene, without dialogue, you can see how much it affects Zuko. You can feel it in your heart.”

For Yu, the slight retelling of Azula’s story in the adaptation provided her with the freedom to explore the nuances of her character. Azula, a formidable antagonist with a complex persona, embarks on her own journey of self-discovery. Yu explains, “I'm not even in the first season of the original series, so my whole character arc in the first season is new, which is cool to see because it adds so much more of a grounding point for the character later on.”

As Avatar: The Last Airbender unfolds, Azula’s complex relationship with her father, Lord Ozai, portrayed by Daniel Dae Kim, begins to unravel as she asserts her dominance in the Fire Nation. Yu’s portrayal delves deeper into Azula's psyche, offering viewers an enriched understanding of the character's evolution. Both Yu and Liu note the distinction between the original series, initially intended for a younger audience, and the live adaptation, which delves into the darker aspects of their characters' pasts and the realities of growing up in the Fire Nation. “We get to see the gravity of their situation,” Liu says. “Neither of our characters are truly evil. They experienced trauma that not everyone goes through.” This is especially true as you see both Zuko’s and Azula’s interaction with Lord Ozai.

A turning point arises when Azula confronts her father, showcasing her capability to follow in his footsteps. Yu describes how she prepared for that scene, saying, “As a fan of the show, I was living vicariously through all of it. We were waiting for that switch, when does she turn into Azula that we all know and love? What shifted inside of her. That scene shows that switch, and you also see what makes her different from Zuko.”

Throughout the first season, there are glimpses of the characters' motivations, shedding light on their intricate bond. Yu offers insight into their dynamic, stating, “They want the same thing at the end of the day, but the way they go about it is different because of who they are.” These motivations are evident, particularly in the characters' quest for their father’s approval and love. However, alongside this desire, there exists a palpable sibling rivalry. This dynamic even extends beyond the screen, as Liu jests about Yu, “She did a great job at being the conniving younger sibling, but as the series continues Azula is like, ‘Oh, this is my dumb older brother.’”

This banter continues as I pose a playful question to both of them, asking, “What type of bender would you consider each other as?” Their eyes met, and with a smile, Liu responds, “She wants me to say water, but when you’re talking about her ambition for Azula and their similarities, it’s fire. For example, her approach to Azula was eye opening because she really cared about the performances that we're giving rather than just stick to the original. I gained respect for her as an artist and it was super sick to see.” Yu laughs and chimes in, “I want to be a water bender so bad, but everyone keeps saying fire.”

For Liu, Yu chooses earth bending. “I feel like you’re an earth bender,” she says to an immediate response of “What makes you think I’m an earth bender?” Yu explains her reason, noting Liu's grounded approach to various aspects of life, coupled with his passion and perseverance, akin to the characteristics of an earth bender.

In the realm of storytelling, Avatar: The Last Airbender has captivated audiences around the world. Dedication permeates every aspect of the first season, from the committed production team to the powerful performances. Whether you're a longtime fan or new to the world of bending, the live adaptation offers a fresh perspective while staying true to the essence of the beloved series. "It is fanmade," Yu passionately declares when asked about the message she hopes viewers will glean from the first season.

[athousandbyeol]

i'll get hate comments for this (i know) but there's something about p'jojo's style that i personally have issues with. this is something i noticed in never let me go too.

i think p'jojo struggles with two things: consistency and continuity. what i noticed in never let me go is the inconsistency of nuengdiao's character (especially in the first half of the drama). his actions and dialogues sometimes don't feel like him. it's as if he's having issues to stand his ground and admit his feelings for palm. while i think it's open to interpretation and perhaps, inconsistency and turbulence are real human traits, but it feels off sometimes. bitter at some point too.

in mew's case, i feel like i'm seeing a different mew in every episode. i wonder if mew has an underlying disorder (that we don't know of) because his intention isn't clear and i'm having a hard time trying to understand what and why he did it? because mew in my eyes has always been the smart, level-headed and mature guy who won't let an anomaly (top) take over his rationality (to an extreme extent like now). it feels a bit out of chatacter, in my opinion.

also, p'jojo cutting topmew scenes is really heartbreaking. i think those scenes are so essential and substantial to their characters and dynamic. if we got the top crying scene, it'll clarify many things: 1) top's feelings for mew (he truthfully loves only mew, 2) top's character development and growth, and 3) top's drive to pursue mew again (even if they don't end up together). and the mew drowning boston and punching top bit should also be inserted in order for that little cut scene in episode 10 to make sense.

i think p'jojo (and his team) has/had the power to really sit down and think of these crucial aspects pertaining topmew's character/storyline. because at this point it seems like their story exists as torn patches glued into one. it's honestly quite disappointing.

i hope whatever it is happening in episode 11, it'll make sense. and p'jojo, please, no more cutting off topmew scenes 😔

[keef-a-corn]

Dat’s right, People, it’s time for ‘Keef watches TFP and you just get the notes!’

This is for season 1, episode 17: Crisscross.

I write down the timestamps, but I watch Transformers Prime on Stan (an Australian streaming service) so they may be slightly off.

ALSO! I try my best to note points for every character, but tend to get a little caught up by Bee (although I think I do a pretty good job with the notes regardless) so do be warned.

~~~~Transition~~~~

00:16 - Oh dear.. already quite bored

00:41 - One thing to note is that Silas is a mix of Megatron and Optimus. He’s on the field alongside his workers regardless of why they’re there, but he also does not care who he hurts.

01:07 - Airachnid’s always gotta have a cool reveal. Theoretically. In practice it is not achieved.

~intro~

01:57 - Average day in Australia.

02:37 - OH GAWD. This again??

02:58 - had to take a solid minute to collect myself. They don’t refer to themselves as ‘transformers’ so Airachnid saying that made so much sense, but the actual word sounded so foreign.

03:03 - honestly just hate Airachnid and Arcee’s rivalry so much. There’s no respect in it and it’s not clear (to me at least) how it happened. We get back story for the situation, but it clears up even less. Why is Airachnid specifically going after Arcee?? Why does Arcee take it so personally?.

03:13 - E X C U S E M E

03:28 - let us be clear… rn Jack’s mum is hawt.

03:46 - in Speed Metal this was proven true.

03:58 - Does Jack seriously not have any other friends? The humans are so dependent on the bots it’s frustrating.

04:26 - honestly, June’s a good mum. She’s very clear and firm, but she doesn’t yell.

04:49 - uh.. that’s honestly a weird line and feels really inappropriate.

05:06 - wait, so Arcee stays the night at Jack’s place?? But she works at night too!

05:42 - that car has the same numberplate as Jack’s mum RPI • 437 if it was a background car it wouldn’t matter, but we can see the plate clear as day.

05:55 - WOO! Beeeee

06:00 - the extended part of this scene is a luxury- oh wait… oh.. oh no… it’s a filler. This is a filler episode. That’s why Bee’s there and no one else is. If Ratchet, Optimus and/or Bulkhead don’t talk during this episode, it will confirm it.

06:08 - Hehe, the contrast. Also June listens to elevator music on her drive home.

06:34 - honestly, a little surprised they hadn’t gone with the ‘Doesn’t check the room’ trope.

06:46 - ooooh The light is a ground bridge! Thought they decided to randomly add the idea that when Arcee transforms it’s a Winx like transformation.

06:54 - gaslighting 101.

07:00 - June in denial that her son’s a frickin looser and has no friends.

07:16 - Rest in pieces Jack.

07:56 - JACK NO THAT’S A BAD IDEA.

08:03 - I mean- KiNdA

08:08 - Didn’t June get off work early to cook Jack dinner?

08:40 - kinda vibing with Silas and Arcee’s dynamic rn

08:47 - WTF- seriously tho, wtf?.

09:37 - Mech is a really weird name for a group that doesn’t like transformers.

09:45 - ‘In my bed. I slept with your mother, Jack. Call me… Papa Silas.’ Would’ve made the episode 100x better.

10:10 - Wait… so the communicator scrambles the signal, so Arcee can’t reach the autobots, but as far as they are aware she’s supposed to be at Jack’s house. If her signal randomly went out, wouldn’t they notice and go looking for her?

10:25 - they had this ability the whole time but only NOW choose to use it?? If they had it set up throughout the town, they would be able to find any bot lickity split, especially if it causes them that much pain.

10:40 - Does anyone else despise the ‘they just want me 🥺’ trope?

10:51 - Arcee’s number plate is 396571.

11:26 - Oh my gaaaaawd! When will Arcee learn that she has to maintain level headed when fighting Airachnid otherwise she’s wasting her strength.

11:34 - the way Arcee’s optics tilted backwards and got big in fear, panic and desperation is a sweet choice. But how has she not realised that with Silas standing there, putting both Jack and June’s lives at risk, that he doesn’t care about them??

11:43 - bicthless behaviour.

13:09 - Calling her ‘Spider-bot’ rather than her name is both disrespectful in not using her name, but respectful in recognising who she is.

13:13 - HE SAID THE TITLE.

13:21 - The worker calls Arcee ‘it’ - entirely disrespectful and objectifies Arcee.

13:28 - considering how long it took them to simply open Breakdown’s chest plate and remove his eye, it’s safe to assume Arcee’s got plenty of time.

15:33 - what’d I say?

15:38 - he rhymed.

16:01 - what does that mean?.

16:30 - continuity.

16:35 - Awesome shot, which also captures their power imbalance.

16:40 - significantly higher. Arcee’s strong, yes. But not nearly as strong as Breakdown + Breakdown had assistance from another bot.

17:48 - why wouldn’t they have done the concrete as soon as Airachnid fell? She would’ve been less likely to have woken up.

18:31 - Agent Fowler! Proving to be useful Y E T A G A I N !

18:54 - how did he go so long without noticing that missing??

19:04 - THANK YOU! Responsible man right here!

19:07 - No. that would’ve been a good call because Airachnid’s very dangerous and Arcee cannot handle her on her own.

19:24 - that was very funny. The line was delivered so mildly, but made so much sense as well.

19:46 - They did obtain some information, so I guess Silas got what he wanted.

20:53 - MMM YES. SEXIEST MUSIC.

21:07 - Look at hiiiim

21:11 - Ratchet turns around like an old man.

21:17 - so jealous of June rn.

21:25 - Another cover poster + Optimus looked slightly offended in the moments before the shot I got a photo of.

21:28 - Not a word from Bulkhead, Ratchet and Optimus. I wonder w h y .

———————

So that was Crisscross!

Incase it wasn’t apparent, I’m not a fan of the obvious filler episodes. I’m not a fan of Arcee and Airachnid’s dynamic either, so it made the episode worse.

One thing I will give it credit for is that it addressed the fact that June would’ve started to get suspicious.

Crisscross is better than Predatory, but I don’t like either episode.

[amandi-mga2023mi6021]

Fleshing Out the Narrative: Media Inspiration

Wall-E

Ratatouille

Coco

Up

Soul

The Wild Robot

Lilo and Stitch

Over the Garden Wall

Infinity Train

Adventure Time

-------

I'm finding it incredibly difficult to maintain the intended tone for my piece. No matter which narrative path I explore, the story seems to consistently veer towards being very somber and depressing, leaving far too little room for any sense of enjoyment or lightness. I'm concerned that the overall impact will be overwhelmingly bleak, and I'm struggling to find the right balance to incorporate the moments of levity I envisioned.

My primary inspiration comes from student films like Orbit and Try Hard, which transform everyday mundanities into something engaging, visually striking, and entertaining. They're packed with dynamic scenes and tension. I aim to emulate this blend of lightheartedness and fun while still exploring the more serious themes in my own work. Try Hard particularly resonated with me. It tackles weighty subjects like failure, artistic comparison, and the frustrating reality that hard work doesn't always guarantee success. Despite this potentially depressing core, the animation itself is whimsical, light, and comedic. This is achieved through exaggerated expressions and a departure from realism, reimagining ordinary moments as action-packed sequences.

Shows like Adventure Time masterfully balance lighthearted comedy with more serious, introspective moments. They achieve this by starting playfully, then seamlessly transitioning into more thoughtful scenes. These later scenes are given space to unfold, sometimes relying on dialogue to allow the audience to fully engage with the ideas presented. This tonal shift effectively maintains the show's fun, lighthearted core while still prompting deeper reflection. The More You Moe, The Moe You Know exemplifies this. The episode explores the confusing nature of growing up, skillfully blending childlike visuals and plots with mature themes and metaphors. While much of the episode revolves around wacky antics and comedic storylines, it shifts to a contemplative tone when addressing these deeper concepts. Serene, visually appealing scenes provide the backdrop for BMO's exploration of what it means to grow up.

This is a common tactic I've observed with a lot of children's media that explore heavier themes. Lilo and Stitch, Wall-E, Up, and many more make use of these sudden tone shifts to balance the subject matter with a lighthearted story. Even going back to my initial inspiration, Try Hard, the pivotal scene where the two characters fight is much more grounded in reality in contrast to the rest of the film. The scene is allowed to unfold in a way that feels grounded and authentic. This approach gives both the characters and the audience the necessary space to breathe, to process the emotions of the moment, and to connect with the characters on a deeper level. The absence of distracting elements allows the raw emotion of the conflict to resonate more powerfully.

How do I construct more visually creative scenes? How do I create scenes with elements of exaggeration, surrealism, and magical realism without the tone feeling bleak?

With the way I've constructed my narrative, it appears I've inadvertently tied the exploration of character emotions and central themes to the level of surrealism within the story. As the story becomes more surreal, the protagonist is forced to confront her feelings, thus driving the central themes. This means the rising action is underscored by a growing departure from realism, culminating in a highly surreal pivotal scene. To achieve the desired tone, I may need to restructure the narrative entirely. This would involve grounding the emotionally charged moments in realism, thus creating a contrast with the more exaggerated, non-realistic scenes.

[ghostflowerdreams]

I Stole the Number One Ranker's Soul (랭킹 1위를 영혼까지 털어버림)

Moa Son, an ordinary office worker, wakes up in a dungeon in the middle of the night and awakens as a collecting hunter. After barely making it out alive, she falls into the same dungeon but gets rescued by the first-ranked hunter, Jihan Seo, and becomes bound up with him. Now he’s offering to make her strong on this one condition -- "Promise me you will do your best to kill the bosses of all the dungeons that exist in the world.” Come again?

I stumbled upon this story after asking for recommendations similar to Solo Leveling but with a female main character. I was told to check this out, and I ended up loving it—which surprised me because stories like this usually have something that drives me crazy. Whether it’s pointless love triangles, unnecessary harems, damsel-like female leads, love interests getting fridged, male leads being insufferable jerks, or just bland, tropey characters, there’s always something that ruins the experience for me.

Thankfully, this story avoids all of that.

The story is also completed. What sets it apart is its unique take on dungeon and leveling tropes by focusing on the female lead’s perspective. The characters are far from bland; each one has a distinct personality that makes them feel real. Moa Son, the protagonist, stands out as a genuinely down-to-earth and decent person. She’s relatable, human, and refreshingly normal.

What makes Moa so likable is her approach to every situation after becoming an awakened hunter. She doesn’t start out as incredibly powerful, nor does she need to turn cold or ruthless to prove her strength. Instead, she strives to find solutions that benefit everyone while staying true to herself, which makes her character feel both grounded and authentic. This becomes even more compelling when contrasted with the morally ambiguous and often self-serving behavior of the other characters, such as the top hunters and those in positions of power.

One of my favorite aspects is the relationship between Moa Son and Jihan Seo. Their dynamic is cute, genuine, and emotionally open, which makes it easy to root for them as a couple. Jihan’s respectful and supportive nature is such a welcome change from the countless cold, brooding male leads out there. It’s refreshing to see a love interest who isn’t toxic or overbearing, but instead treats the main character as an equal.

[nsfwmiamiart]

Part 14 - Incoming Text for Vera Farmiga (@verafarmiga) and Keira Knightley (@keiraknightleyofficiall) and Scarlett Johansson (@scarlettjohanssonworld) and Zoe Saldaña (@zoesaldana): “An Idea Worth 500 Million Dollars”

Question:

Could you explain to Vera, Keira, Scarlett, and Zoe that the characters of Tom Hanks and Benicio Del Toro will have all of their daughters born in the 1970s and 1980s, which will logically explain why their daughters are in their late 30s and early 40s during the 2000s?

I trust the screenwriters to decide which decade will be best for the setting of the story—whether it is the 2000s or 2010s. I’ll leave that decision to them, but we need to ensure that the character ages align with the timeline of their birth years.

ChatGPT Answer:

To address the point of character ages and how they fit within the context of the story, let's break it down step by step.

1. Birth Years and Ages

Tom Hanks and Benicio Del Toro's characters have daughters born in the 1970s and 1980s. This establishes the age range for these daughters. If the daughters were born in the late 1970s to early 1980s, they would be in their late 30s or early 40s during the 2000s. For example:

A daughter born in 1975 would be around 25 years old in 2000 and around 35 in 2010.

A daughter born in 1980 would be about 20 years old in 2000 and 30 years old in 2010.

This time-based age progression helps establish a coherent timeline for the characters.

2. Consistency with Storytelling

The characters' ages need to make sense within the narrative structure. By setting the daughters' birth years in the 1970s and 1980s, the audience can easily follow their progression into adulthood during the 2000s or 2010s.

Since the setting could either be the 2000s or 2010s, the screenwriters need to decide which decade best fits the overall tone of the story. For instance, if the story revolves around events that occur in the 2000s, the daughters will be in their 20s to 30s during the story's events. Alternatively, if the timeline extends into the 2010s, the daughters will be in their 30s to 40s. This flexibility allows the writers to craft the story with an understanding of how the timeline impacts the characters’ relationships, responsibilities, and interactions.

3. Role of the Daughters in the Narrative

These characters’ ages have a direct impact on their roles within the story. In the 2000s or 2010s, these daughters are likely to be involved in important aspects of the story, whether in the workplace, family dynamics, or plot-driving events. Their age determines their level of maturity, expertise, and involvement, especially in a narrative where they interact with their fathers (Tom Hanks and Benicio Del Toro), who are established characters.

4. Impact of Decade Choice

The decision between setting the story in the 2000s or 2010s can influence several aspects of the story. For example, in the 2000s, technology, fashion, and societal norms were different from the 2010s. By choosing one decade over the other, the filmmakers can tap into specific cultural and historical references, allowing them to refine the storytelling. Moreover, the choice of decade impacts the daughters' career paths, family dynamics, and possibly their involvement with the "Alien Object" mystery.

By leaving the decision to the screenwriters, the project remains flexible, allowing the writers to choose the best decade based on the thematic and narrative requirements of the story.

5. Overall Structure

The storyline will remain grounded in the natural passage of time, making it easier for the audience to track the progression of the daughters and their fathers' interactions. The clear linkage between the daughters' ages and the timeline (born in the 1970s and 1980s, young adults in the 2000s or 2010s) adds to the film's believability and provides depth to the characters’ backstories.

In conclusion, by grounding the daughters' ages in the 1970s and 1980s, the filmmakers are ensuring that the characters' life stages in the 2000s or 2010s make sense. This time-based progression also enables a natural exploration of their roles and relationships, while offering flexibility in deciding which decade best suits the broader narrative.

[meltingpenguins]

I recommend reading the book. it IS marvellous. It's not perfect and there's bits and bobs that are a product of their time or didn't age well, but none of those diminish the story or characters in any way.

As for the changes.

The overall plot is there, yes, but it's a lot of little things that add up and make things feel odd. Changes to personalities, to the timeframe, the order of events, changes that feel have happened because someone said 'this has to be done to attract a greater audience/make it more appealing to a demographic X/etc or in general 'Hey stop having the main-character (crowley) be a socialist')

Here is an excellent review for s1 I'd recommend reading before.

And to add to the above, things that I noticed and that struck and strike me as off:

The theme changing from being about hope and humanity (humankind and kindness) and how everyone's actions matter, big and small, for better or worse, to yet another 'chosen one' story. Crowley in this is made into yet another (un)holier-than-thou chosen one who can't actually do wrong, no matter how much suffering he's causing/goes through, in the end he's the man(shaped being) with a plan who tells everyone else what to do. It's weird, to say the least.

2. The general change to characters. YMMV but crowley and az had the 'grumpy snarky one (with a good heart) and sunshiny dork who can snark as well' in the book... just that it was a steady flux between the too, with Crowley being much more of a sunshiny dork at time, even if he'd never admit it. He's snarky and cynical, but he's an optimist and he genuinely cares for and likes humanity (a major failing in a demon). This doesn't come across in the show by itself Show Crowley feels more full of disdain and condescension towards humans (and generally everyone else), and looking at the script book, curious ALL scenes that painted him even slightly different than that were left on the cutting room floor. ALL

3. In addition to the theme differing, there's also the tone towards the audience. The book, even as it does have its small flaws, NEVER, and that is part of why it is amazing, It never talks down to the audience. There's never the tone that the authors assumed the audience is dumb. It's always on eye-level. The show... not so much. So many things are spelt out, some several times, as if the show is convinced the audience is too dim to get even the third time round (e.g. explaining the nun's plans, telling the audience how the hellhound works after it was explained twice (?) already at the time, the whole things with the phone-number etc) And that in addition to new scenes that explain noodle-incidents such as 'how did crowley bring down the phone network', 'where did he get holy water from' etc. things that don't need an explanation.

Also, so much exposition speech in general that doesn't really work/isn't necessary in an audio-visual medium.

4. Then there's crowley and az relationship on top of the changes to their personality. In the book they had a great dynamic and chemistry, riling each other up and keeping each other grounded. On the show... az seems demoted down to a naive cheerleader to crowley with no drive of his own. The scene change that shows it best, I think, is the bit on the airfield. Not the handholding, but the bit that follows Beelzebub's 'It is written' when Az inquires if 'The Great Plan' is for certain the same as 'The Ineffable Plan'.

On the show we have Az ask this, the whole thing looking as if crowley's amazingness finally inspired him to grow a spine, and then crowley takes over, saving the whole situation. In the book it's a delightlful doubleact of those two little shits:

“It izz written!” bellowed Beelzebub. “But it might be written differently somewhere else,” said Crowley. “Where you can’t read it.” “In bigger letters,” said Aziraphale. “Underlined,” Crowley added. “Twice,” suggested Aziraphale. “Perhaps this isn’t just a test of the world,” said Crowley. “It might be a test of you people, too. Hmm?” “God does not play games with His loyal servants,” said the Metatron, but in a worried tone of voice. “Whooo-eee,” said Crowley. “Where have you been?”

These two, i swear.

There's a lot of small and big changes that, while overall keeping the general story intact still make it feel... off

Changes that sometimes don't even work, like setting the story from the mid-80s and mid-90s to the late 2010s. It's a change that would require many many more changes than just giving the characters smartphones and tablets. In the book a lot of brilliance stems from how well things make sense because of the timeline. Adam's upbringing, the flow of the story. It even gives little glimpses into who the characters are that aren't directly on page. So, on the show Crowley brings down the mobile network for the entire evening and night, right? affecting a lot of people, and via the script he is gleeful seeing humans in sticky situations not being able to call for help (which, we can fathom, would easily escalate come nightfall). Show crowley often comes across as utterly delighting in human suffering. BOOK crowley bring down the portable phone network for 45 minutes during lunchtime. In the 80s. Meaning that, even though yes, they will take it out on traffic wardens and their secretaries, the group of people he mainly affect are rich businessmen who would otherwise absolutely talked loudly and unpleasantly on their phones while people were just trying to enjoy their lunchbreak. THAT is, by all means the group book crowley seems to love to target: rich people.

It should also be noted that via the script it was planned to show the network going down by having the first person crowley sees outside the building be a businessman with a phone out of the 80s... to then move to show 'nope, we are not in the 80s at all'. why, what was that for? if you are not planning on staying in the time, why pretend to the audience that you are? what? It feels like a screw-you towards the audience again.

There's in general a lot of references to, and bits from the book that don't make much sense anymore due to changes, whether timeframe-wise or others. The ping-pong table with the nuns (who are definitely NOT a chattering order on the show) is a very good example. Or Elvis at the Diner.

It feels all over the place, and one of the worst bits, imho, is crowley rambling about worker's unions when he's getting drunk after the fire.

I have seen people here that try to say that 'oh no it's just crowley being so upset he's fallen and thus can't be with aziraphale'... and no. just no. Not with that wording. That wording was so damn clearly directed and worker's unionising. wth.

This is the general gist of pinprick changes that smell greatly of 'make this more appealing to investors and the market-research', which I doubt is something Mr Gaiman would do unprompted.

There are more, though, like the sheer existence of the other angels and non-book demons on the show and what roll they play narrative-wise. It's another example of thinking the audience dumb.

Also, hold on, Good Omens fandom:

The All-The-Hard-Work-Ruining spoiler came from a thing amzen made for pride month with their shows, right? So someone had to be told where to find stuff for the thing, right? Which means that someone greenlit using that bit. And someone had to approve the trailer.

And we are meant to believe it was 'accidental'?

Y'know, that frame from the last episode of The Owl House THAT was accidental because of youtube's autogeneration for thumbnails picking a spoiler-y frame.

But this?

There is really hardly a chance this was accidental.

[hopper-wheeler]

you know, i've been thinking a lot about mileven and gender roles and mike proclaiming el is superman and he's lois lane has only made me more obsessed with this aspect of their relationship.

they've always been so unlike other relationships in media in so many different ways but i think it's really worth noting just how much they subvert gender stereotypes, in particular the traditional superhero x love interest gender dynamic, and how that might be behind some of the hate they get.

there's something to be said about how el is the superhero here and much like clark kent she has a love interest she's incredibly committed to and in love with. a love interest who represents an ordinary, happy life and brings out the more human, vulnerable side of her. someone whose love and support drives her throughout the story by giving her the strength and will to fight another day. only, unlike clark kent, el faces an infinite amount of criticism for this. her adoration of mike is seen as something that makes her silly and weak; her need for reassurance from someone she loves is seen as an unhealthy dependency she must be cured of. antis constantly say el isn't ready for a relationship, that she can't be in a relationship and grow as a person, that the meaning she gives mike is undeserved and that she won't be empowered until she is single and gets her strength from virtually anywhere else. but el is a complex superhero character whose love interest plays a fundamental role in the story, same as clark kent and so many male characters out there. the difference is that men can be in love and still be seen as empowered and strong, girls can't.

meanwhile, mike's not the superhero, he's the love interest. he's the heart. he's lois lane. his role is to inspire the superhero, to give her hope and get her to fight on. when the superhero leaves or disappears, he waits. however long it takes. when the superhero needs reassurance or a pep talk or to feel happy for a couple of seconds, that's when he comes in. he dedicates a huge chunk of his life to supporting el. now, that's not his sole purpose or quality... he's unbearably kind and smart and the leader of the party. he's also brave and incredibly selfless. but all of this is rarely acknowledged. for all that he is and for all that he gives other characters, especially el as she tends to be his priority, mike receives the same treatment as almost any other female love interest to a superhero. which is, honestly, a lot of unjustified hate. the level of criticism (if you can even call it it that) mike gets from both the st fandom and locals is truly unmatched and it's always on the grounds that he is annoying or somehow not good enough or useless to the plot (even though that's simply not true. objectively). he takes on the traditionally feminine role in the relationship and displays traditionally feminine traits and that's a problem for some people. not even because he's a boy specifically, just because anything traditionally feminine tends to be devalued and hated on.

idk. just a thought.

[writingwithcolor]

Desexualized Mammy & Strong Black Woman, too busy for “frivolous love”

“Alyse” (Anon Submission) asked:

My science fiction story includes a black woman (Talia) who raises two children that aren’t her own and takes on two young adults as apprentices. One of the children she is raises has Arabic background and was taken into her home upon his father’s death (his mother’s whereabouts are unknown). She was a close friend of his father and the closest thing he had to a relative. The second child has mixed French-Latinx background and was taken in after becoming shipwrecked with no means by which to contact her people. Talia was the first non-hostile individual she encountered and one of the few who would so openly embrace a stranger. Since Talia is Master Medic (the highest medical authority in her community) she is training two apprentices (think residency) and eventually mentors the second child as well. She was once married and passionately in love but lost her husband to illness. In this setting, some technology we take for granted is inaccessible and violence against their people is commonplace. Most have experienced sudden loss. This particular loss was the catalyst that drove Talia into medicine- a desire to protect her loved ones and prevent others from experiencing similar tragedy. She is usually kind (though businesslike) but sometimes succumbs to a frigid, furious depression when, despite all her knowledge and determination, she can’t save someone. 

I worry that her maternal association with the two children (one of whom is an outsider) mires her in the mammy trope. On top of that, she hasn’t pursued romance since the death of her husband. I’ve considered giving her a romantic subplot but there are already so many characters to keep track of. Furthermore, I just can’t see her engaging in the frivolous pursuits of new love when she’s dealing with kids, students, and an extremely taxing career. 

In terms of race and culture in this story, practically every character can trace their ancestry back to populations displaced through war. Even Talia’s second child was shipwrecked during a botched evacuation from a military science lab. The people who live here have been isolated for generations and no longer have a real concept of their ancestry. Cultures have blended, new religions have formed, and many of our familiar racial/ethnic issues are forgotten. However, new and different but equally toxic ones have replaced them. In this way, Talia’s blackness doesn’t carry the same associations in her world as it would in ours. However, readers may still make these associations. Do you see any issues with her character that I could amend? 

So! You have:

A highly educated Black-coded woman (the highest medical authority in the community)

She raises two kids alone 

She also looks after two apprentices

She is widowed (not sure the race of the husband, was he Black?)

Having experienced heartbreaking love, Talia's drive to look after, protect and save people through medicine is a great motivation for the way she is. Her experiencing depression and taking losses seriously is also very human and is dynamic characterization. 

However, such characterization with Black women is prone to brush across several tropes. You have a Black woman who gives and protects, but what does she get in return? Who cares for her? 

Prioritize your Black character’s happiness

"I’ve considered giving her a romantic subplot but there are already so many characters to keep track of. Furthermore, I just can’t see her engaging in the frivolous pursuits of new love when she’s dealing with kids, students, and an extremely taxing career." 

Priorities, priorities. Is love a frivolous pursuit in her eyes, or yours? Because I strongly disagree. You probably don't mean to but you, as the author, having an excuse to NOT give the Black woman romance is showing that you do not think she's worth being loved. TV viewers and stans who are uncomfortable when Black women characters have relationships find similar excuses to explain away not wanting BW in relationships.

"She's too strong and independent for a man/relationship" 

"I liked her better alone." 

"It'll take away from her character."

“A romance doesn’t feel right for her”

These sorts of statements above are grounded in racialized misogyny. 

Relationships do not lessen the woman.

Relationships does not lessen Black women. 

Love

Whether that love is romantic, familial, or friendship, it can come in many forms. Give Talia love. Because Black women characters deserve it! Either one or all! 

Let her have a loyal best friend, a cat, and a girlfriend. Because why not? And not to downplay the love of children to parents, but please provide her love beyond what she gets on a maternal level from the children she looks after. 

The stories that Black women are in today severely lack love for us, so why add to the narrative of Black women being all work and no play, and too [insert excuse here] to be loved? 

Of course, you didn't provide all the details from your story, but I'm not seeing much of a balance from the struggle. She is a caretaker, teacher, doctor (or doctor-like figure). 

Her position and background in itself is okay. It's the Strong Black Woman being presented with seemingly no commentary that strikes me. 

Where is her team to help balance the weight of the world? 

Who takes care of her when she's depressed from another loss? 

What does she get in return from taking an emotional and physical toll to heal her community? 

Do those around her recognize all she does for them and offer their friendship? 

When does she get to relax and turn off the need to be everything for everybody?

Fitting love into a book with many characters

There are many books with several characters to keep track of. People tend to manage. Also, I'm sure some of those characters are in and/or out of relationships. Even stories that couldn’t be classified as romances have relationships of some sort. It’s unrealistic to have a ton of characters and none of them be in relationship(s) of some sort. Not when there’s so many forms of it and many sexualities. 

Friends, frenemies, enemies, romance, affairs.. Relationships make stories (and life) interesting. By no means do I think adding these dynamics harm your tale. And what’s one more for a hard-working Black woman who sacrifices a lot and clearly deserves a shoulder to lean on? And, if you use an existing character to be that friend, family, or lover, then you won’t need to pencil in another character.

For romance specifically - I think a misconception when it comes to including romance in stories is that they have to somehow take over the story. Romance does not have to bombard the plot nor be described in lavish detail. Not every story is a romance and those sort of details aren’t everyone’s style or things they’re comfortable with. A sentence or two establishing relationships does not take away from the story.And how those relationships look and affections expressed will vary based on the characters, sexuality, etc.

Not every character needs to have a deep level of detail. 

“Katie and Lisa, a newly engaged couple, walked into the meeting.”

“Jack and Jamie are a married couple in their 40s.” 

“The two met in college. After two months of blissful courtship, they eloped, eager to start their happily ever afters. Twenty years together, they were still blissfully in love and never too far from one another.”

Sentences like the above are enough for some characters. You don’t always need to put in paragraphs worth of relationship-establishing details or plot. 

When it comes to the characters whose love you would like to highlight, at least a bit, you still don’t have to go over the top.

Use subtle details. 

“As soon as Talia’s back was turned, he gave her a longing look before shaking his head and getting back to the patient.”

“He squeezed her hand before taking hold of the stethoscope.”

“She kissed her wife goodbye before racing out the door.”

“You mean the world to me.” he had said, holding her face. Those words stayed with her all day, making her heavy load light as a sack of feathers.

“She soaked his shirt with her tears and he just held her tight, saying nothing, silently holding her together.”

As for Talia specifically…

Talia having the mindset you described, as love being frivolous and not a priority, is understandable knowing her background (I just don't agree with you as the creator using this as a means to keep her alone. Whether she’s romantically alone or without close friendships). She has lost so much, and continues to experience loss with patients. This can be extremely traumatizing. I gave some examples of being subtle, so perhaps that will help with the burden of feeling a thick subplot of romance doesn’t fit in your story. 

And as Talia doesn’t strike me as someone who would go looking for companionship, what if she stumbles upon it without trying? Is there someone on the medical team that can offer her friendship? Someone who admires her and feels the urge to care for her that she feels the same for, or has pushed feelings down for? What happens when she can’t hold those feelings down anymore?

Takeaway

Talia deserves healthy love, even if she doesn’t believe it or feel she has time for it. That love can come in any and many forms, not necessarily romantically required, although it is a plus. A struggle-ridden novel is balanced by love, support and rest for characters that hold the weight of the world. If you do not, evaluate why you want to write Black characters in these struggle roles without at least a social commentary. 

~Mod Colette

[catgirlxox]

Hi,

I hope you are doing well. I read your posts on Ben 10, and could not help but feel that you are right that he does get a lot of unfair blame.

One thing that has confused me regarding Ben's relationship with Julie in Alien Force and Ultimate Alien is why didn't Gwen and Kevin at least try to understand his side, for example in Pet Project, because Julie may see Ship as a pet, but that episode also demonstrated why Ship is dangerous, and Ben would know that, considering what he's been through since he was 10. I feel like either its bad writing or they consider Julie to be on their level, when she's really not. I would like your thoughts on this matter.

Of course! I like how you said that the episode demonstrated how dangerous Ship was. Because it REALLY did. Pet Project went all out to put on display exactly what Ship is capable of when used as a weapon, like Ben said in that exact episode. 

You're also correct to bring up Gwen and Kevin's...lack of support.

And, attempting to put myself in the writers' place, I have a couple guesses as to why that may have been the case. Most of the time I prefer to attempt to understand what they were trying to do but hear me out…I think they struggled to give Ben flaws.

If the characters around him act like he's in the wrong, he must be, right? Well, no, actually. But that's a recurring thing because having a character be as too-good-for-his-own-good as Ben is makes it hard to make him anything less than well, a good guy.

This extends to his relationships. It’s easy to write a “perfect” relationship. The only problem is that that’s not realistic or interesting in a series where there needs to be a conflict driving the story. It doesn’t fit. And because Ben is the titular character, he has to be involved in some kind of conflict for the plot to exist. And because conflict drives the plot, a relationship with no problems (often how Benlie is seen in the early episodes) will inevitably be given problems just by being involved in the conflict driven life of the titular character. 

Even Ben himself finds it out of the ordinary for there to be no conflict in his life. 

“Two weeks. Two whole weeks. Nobody's tried to blow up the Earth, nobody's tried to kill me and take the Omnitrix. Everything is just fine and boring!” (“Something Zombozo This Way Comes” - Omniverse) 

Pet Project is a perfect example. Julie had developed such an emotional attachment to Ship that she almost comes off as caring more about Ship than her boyfriend. She was introduced to Ship literally as soon as Ben’s secret life was revealed to her. Prior to going out with Ben, she had no connection to aliens at all. This alone has had a HUGE impact on her life already. Even if it was only by the events of the next two series that aliens would become more commonly known among regular humans, Ben and Julie could not have had a “normal” relationship. Unless of course, he wasn’t an alien superhero. 

And, as we saw, that creates conflict.

Julie - coming from a regular human upbringing - cares about what she has accepted as her new “pet.” Her response is empathetic.

Ben - coming from a family with alien ties and having been taught the dangers of alien technology - displays exactly that in his stance. His response is practical.

Julie isn’t necessarily wrong to want to protect what she cares about. Ben does the same thing. However, Ben is still objectively more correct. Acting like he's somehow in the wrong doesn't make him wrong. He isn't. And ultimately, the problem is not that they have different responses, but that they don’t find common ground when they could.

While it is also reasonable for partners to also come to the conclusion that the relationship dynamic is not something they’re willing to accept (and instead move on, as Julie did eventually), romantic partners need to be able to deal with or work through conflict, not have their entire relationship be threatened by it. If that’s the case, you’ve got a weak relationship foundation. Which, yeah, you could consider as “bad writing.”

But it isn’t even that it couldn’t work. It’s that they didn’t want to make it work. Conflict is unavoidable. Cooperation is not.

[rrasado]

Hello! Its me hearts-chan! Hope your having a wonderful day rras ❤❤

May i request a headcannon for the first years with an mc who is pretty much a grim reaper (like ones in black butler if you have watched it) and make it platonic 😊

Again have a great day! 💘💝💖💗💓💞💕❣❤🧡💛💚💙💜💟

Met at Scythe point

I’ve only ever watched book of circus from Black butler so I’m gonna rely on my research for the accuracy of these headcanons kddkn. BE PREPARED-

When you’re a reaper

The guy was probably on another routine for the sake of the rules of the queen of hearts. The gardens of Heartslabyul needed tending to and it just so happened he saw the tool he needed- well goddamit it ace you should know by now that there is more to what meets the eye-

Suffice it to say, the way you just seemingly come out of nowhere to snatch back your precious weapon made him realize a lot of things on the spot. One of them being how you’ve always been faster than most.

Whether you tell him yourself or not, Ace is gonna figure out on his own how you’re not...purely human. But hey- If you do tell him yourself- he’s gonna ask you one thing and one thing in particular-

“Oi...who’s gonna die soon-“

and then you hit him. It’s not like you’re actually there specifically for someone heck you just winded up here after a mistake in the dispatching process. But overall ace would go from care free to careful.

He’ll try to goof around less and use that energy to just- observe you as much as he can, because admit it or not yknow he himself has more than meets the eye. Friend or foe which one are you to eachother I wonder...

Deuce well...oddly enough he’s already noticed something from you from the start.

Call it solidarity or whatever- but he’s sensed that air of subdued superiority on you since day one, that’s coming from someone who’s surrounded himself with a diverse bunch of people in his ruffian days.

But he never dared question your hyphened abilities, maybe you were just like him or the others who are born athletic? No there’s really something irking him whenever you jump...as if defying gravity itself.

“Trey senpai said there was a mower in need of fixing...ah-“

...wrong mower deuce- no even better the way you just swung the mower out of his reach over your head like it’s nothing is just- please explain before the bb gets even more confused about the laws of life, he doesn't trust himself about anything anymore after the egg incident-

Hm...you broke him. No but on a serious note- he’s gonna have a hard time wrapping his head around the concept of...his friend being a supervisor of death. But hey, you’re both learning in the process right? He’ll try too maintain the prior dynamic you already had but...god remind him to be cautious around gardening tools-

It was fine he was fine we were all fine- great seven did you just leap off the school building- wait you’re fine? You were just reviewing something? WHAT IN GREAT SEVEN’S NAME DO YOU NEED TO REVIEW ON THE CASTLE SPIRAL-

Jack takes it the hardest in terms of accepting it. By that I meant- you...keep tabs on the cycle of life and death... he does not hear he does not hear-

The first year savanaclaw student takes a good few days to process the news. In that duration he wonders whether his view on who is good and who is bad kinda...topples. But when he talks to you again and continues your already established friendship, he’ll learn that one’s character doesn’t always align with what they do.

“Hey...do you enjoy your duty.?”

It was an innocent question one he meant well in, he just wanted to confirm many things but the way you became reluctant just...told him that it’s not a good conversation topic in broad daylight.

Overall, he’s gonna put his faith in you as he continues to stay by your side, you are after all still his friend...despite being probably able to surmise the lives of those near their end but- that's Not something he should be worrying right now.

Epel...took it the wrong way- No dear, as much as it seems cool it’s not...all power and glory.

The initial admiration quickly turns into abstract fear when it finally sinks into him how you’re not...a glorified guide to the afterlife with a cool oversized blade. The stories painted your kind wrong in this world huh?

In short- be prepared for having to catch him before he stumbles to the ground- fully denying his terror when you ask him if he’s alright while shaking a bit in your arms. You’ll have to explain it very slowly and lightly to him how no you’re also not the type of reaper that forcefully reaps out souls from bodies in a spur of crimson

“E-eh-...you’re still our friend right?”

Assurance is key with him, so treat him slowly but surely whilst not hiding every single fact from him. It’s a fickle balance but it’s definitely something that’ll pay off once he comes into terms with the fact.

And when he does...you can bet he’ll use your status as a cool threat to others. Not everybody has a Grim Reaper as a buddy right? Take that you cunts-

I pray for this boy’s soul, literally- the moment you accidentally reveal your true status he just- instantly feels the need to channel all his faith into his one and only waka sama.

Like Epel, sebek would take it the wrong way...thinking of your revelation as a pathetic attempt at a prank, he's seen how most students at school do such childish ministrations. How would you be any different?

By all means you are on every level different, the diasominan resident's denial diminishes when he slowly recounts every instance with you. You weren't his everyday ruffian were you...there's certainty in every action you execute, and when you act on your goals your drive is unstoppable.

"Huma- n-no...you..."

The way he attempts to keep up his boisterous personality with you is both amusing and pitiful. Honestly...his perception of those with power and those beneath become blurry. Heck he wonders where you truly stand compared to the young master.

You're gonna have to assure him that despite your inhumane nature you aren't some omnipotent being like he thinks... Omnipotence born from tragedy is not a blessing of authority, at least.. that's what you thinks anyways.

[theadventurousdork]

Dani Clayton and Jamie Taylor: A scene by scene study on the dynamism of a queer romance

by theadventurousdork

Well, here we are! An unnecessarily long essay breaking down Dani and Jamie’s scenes together that I decided to write purely for the fact that they have taken a hold of my queer little heart and haven’t given it back yet. Grab some awful tea or coffee and take a read, if you’d like! 

Episode One

In this episode, we see Dani and Jamie meet for the very first time. This is the beginning of them and their story. It all starts in the kitchen of Bly Manor where a dirt covered Jamie walks in just in time for the residents of Bly to gather for an afternoon lunch.

“The gardener didn’t even introduce herself to the new au pair. She barely acknowledged her at all. Simply treated her as if she’d always been there. The others in the room just assumed they’d already met, which, if she were honest, was how the au pair felt when she first saw the young woman.”

Jamie walks in without even batting an eye to the new guest meanwhile, we see a soft eyed Dani looking over at the gardener with a gaze that gives the audience the first look to the gravitational pull that seems to be set between them. With Dani explaining her belief that she has seen someone on the parapet of the old wing, Jamie’s reaction is cold. She looks down at the table with a hardened look. She looks almost hurt. We learn later on that Jamie was the first adult resident of Bly to find the dead body of Rebecca Jessel floating in the lake of the manor which has probably resulted in trauma for Jamie as she remembers her late friend. With Owen and Hannah also finding the possibility of someone being on the balcony to be slim, the residents carry on with their meal. As the introduction to Jamie’s character, we are able to see her cold and guarded exterior. However, we also see her wit and humor as she comfortably pokes fun at Miles and Flora. The space she takes when she walks into a room isn’t empty for she fills it with her bold personality and Dani immediately takes notice of this yet she doesn’t show any hint of openly acknowledging it. 

Episode Two

Episode two sheds a different light on the pairing. This episode gives us the first look at Dani’s trauma and the weight that she’s feeling on her conscience. But first, we see her changing the tide at Bly as she puts Miles and Flora to work in the garden as punishment for locking her in a closet. As Dani and the children pull weeds, a relaxed Hannah and Jamie watch from a distance just as Owen offers them drinks. As the trio sip on their gin and tea, they discuss Dani and how her presence is a nice addition to the grounds of Bly. This is where something I call “testing of the waters: part one” occurs. Jamie asks Owen if he thinks that Dani’s pretty before continuing to poke fun at his inability to answer. Now this seems rude, especially considering Hannah’s negative reaction to it even going as far as to remind her that romances don’t fare well at Bly. However, I feel like Jamie does this purposefully to see if Owen would provide any reaction that would indicate that he would have any intent of pursuing Dani, which he quickly shuts down as he states that he only has eyes for Hannah. Jamie’s choice to do this can boil down to a simple poking of fun or maybe something more in terms of her trying to understand, and maybe even deny, the gravitational pull that she’s feeling towards Dani by deflecting it to Owen. 

This episode also offers the first glimpse into Jamie’s humanity and her deeply empathetic nature. As a distressed Dani storms outside in tears after being triggered from seeing her dead ex-fiancé’s glasses, our favorite gardener comes to the rescue with buckets in hand. Now this is probably the first time that Dani has physically seen Edmund’s glasses since she packed them away before leaving Bly which can explain her intense reaction to finding Flora wearing them. The part to highlight about this interaction between Jamie and Dani isn’t the fact that Jamie tries to console her but is the way that she does so. First and foremost, the gardener tries to make au pair laugh. She makes multiple attempts in her dialogue to make Dani crack the slightest smile. Jamie’s dialogue saying, “there we are,” after Dani finally gives into the attempted jokes shows how laughter was Jamie’s initial goal. 

“How else do you think I keep all these fucking plants watered? With my endless well of deep inconsolable tears. That’s how. It’s what got me the job in the first place.” 

After she accomplishes this, she goes on to relate to Dani by telling her that she cries several times a day in an effort to make Dani feel normal and not alone in her vulnerable state. To see someone as cold and guarded as Jamie admit to something like this quickly humanizes her and puts her in the position of becoming a dynamic character. Finally, Jamie tells the au pair that she’s doing a great job and leaves a smiling Dani to watch her as she leaves. This offers insight to how Jamie doesn’t like seeing people in distress. She radiates a grounding energy and puts it upon herself to ensure that no one feels like they’re in over their head. 

Dani is able to return the favor as she finds an angry Jamie kneeled over a massacre of her rose bushes. Jamie’s hotheaded attitude is shown as she wastes no time getting up to confront Miles for cutting her roses before they were ready. The point to highlight in this moment is that Dani hears her out. Dani listens to Jamie’s grievances and not once tells her that she’s overreacting. Dani hasn’t known Jamie for long but she knows the importance of plants to the gardener and she doesn’t give Miles a pass at ruining something that matters so much to her. Having two separate scenes showing that each half of the pair have the power to talk each other down regardless of having known each other long, serves as a taste as what’s to come for their journey together. 

Episode Three

Here we see “testing of the waters: part two” as the keepers of Bly watch over a sleeping Miles and Flora by a crackling fireplace. A tired Hannah rests her head on Owen’s shoulder as Dani and Jamie watch from across the room. Jamie goes onto ask Dani if she wishes she were leaning on Owen instead of Hannah and explains how every woman in town fawns over Owen without him even knowing it. This key moment goes hand in hand with Jamie’s testing of the waters in episode 2 when she tests Owen’s potential attraction to Dani to now testing to see if Dani would be interested in Owen. Jamie’s subtle comments allow her to see the odds of Dani liking Owen without risking any awkward interaction that would potentially be too invasive. With Owen being the only man in the house, it’s understandable for Jamie to want to see if Dani would pursue him which in turn would signal that Dani may not be interested in someone like her.

What comes next is what I like to believe is the moment that Jamie begins to fall for Dani and I mean really fall for her. The conversation about love and possession is beautifully done and sets the distinction that will go onto separate Peter and Rebecca from Dani and Jamie. After a vindictive history lesson on the toxicity of Peter and Rebecca’s relationship, Jamie mentions the idea of loving someone versus possessing someone to which Dani replies that she doesn’t believe should be possible. The effect of this is seen on Jamie’s face as she looks at Dani. It’s a face that says that she’s staring at someone who understands. Understands the fragility of love and the thin lines that separate healthy versions of love from toxic ones. It happens in the span of a second but we can see a switch click in Jamie’s mind just before she breaks her gaze. From what we collect of Jamie’s past a few episodes later, we come to understand that she has always been owned. Stemming from a broken home and growing up in the foster care system, Jamie has always been someone else’s possession to claim ownership of but never was truly loved and nurtured. To hear someone finally understand that there’s a distinction between loving someone versus feeling like they have the right of possessing them, must feel like a moment of overdue comfort. 

After a restless night due to seeing Edmund’s ghost again, Dani wakes up the following morning to see Jamie asleep on the couch. This scene lasts merely thirty seconds so why make the choice to keep it in? What significance does it really hold? Is there any significance at all? For me, the significance is comfort. I feel like there’s a level of comfort that Dani feels when she realizes that Jamie was just down the stairs as she laid awake the night prior feeling as if she were alone in the depths of her own shadows. 

The new day ends in the tragic news that Owen’s mom has passed away. After a sympathetic Hannah sends Owen off and leaves to light a candle for the deceased, the gardener and au pair are left to give their own goodbyes to each other. As Dani voices that she’s glad that Jamie stayed on the grounds throughout the day and the night prior, Jamie agrees and the two share an uninterrupted gaze at one another. Here is where we see Dani’s first advance as she takes hold of Jamie’s hand. Ever so slightly does Jamie latch back before Dani quickly pulls away. 

“Who the hell knew?”

Those words leave Jamie’s mouth as a mixture of relief and shock paint her face as she gets into her car. Dani watches her drive away with an expression that reads “did I really do what I think I just did?” This moment is cut short as she turns around to see Edmund’s ghost staring blankly from behind her. Fear overcomes Dani and a scream is let out as Edmund gets sucked backwards by an invisible force. Up until this point, Edmund’s ghost has remained stagnant, either appearing in a reflection or in parts. This extreme motion of getting pulled backward into the manor can be read as a way to reflect the intensity of the emotions that Dani is feeling in that exact moment. The amount of tension that Dani must have felt to muster up the courage to reach for Jamie’s hand must have been extremely intense which in turn would evoke an intense manifestation of Edmund’s ghost. 

Episode Four 

Episode four is what I call the episode of guilt. In this hour, we delve deeper into Dani’s past and the darkness that she’s been holding in her heart. Dani’s life just before Bly is revealed and we see snippets of her life with Edmund. From childhood best friends to teenage lovers to getting engaged, Dani and Edmund almost seemed like the perfect set up to an 80s romcom. Almost is the key word here as it’s revealed that Dani breaks up with Edmund just before he storms out of their car into the path of an oncoming truck, killing him right in front of her thus revealing why Edmund is haunting her. Flashforward to Bly, Dani has begun to see Edmund’s ghost more and more. His first appearance in the episode is in Dani’s bedroom mirror just as Jamie helps unzip her dress. If it weren’t apparent in the episodes prior, Dani holds an immense amount of guilt. This guilt doesn’t only stem from being the reason why Edmund was killed but also lies in who she is. Edmund’s presence is symbolic for the guilt that Dani feels whenever she is just on the brink of exploring her sexuality. We see that every interaction that Dani has with Edmund’s ghost occurs just after she shares a moment with Jamie. With Jamie being a tangible representation of what Dani desires, her visions of Edmund become more intense and more frequent as her guilt increases. 

The episode continues to show Dani experiencing Edmund’s haunting again when Jamie arrives back to the manor after attending Owen’s mom’s funeral. Here we see Dani catching herself staring at Jamie from across the table. When Jamie catches her gaze, Dani retreats to the sink where we see a mixture of nervousness and excitement across Dani’s face as she looks over her shoulder to take one more look. This moment filled with butterflies and yearning is cut short as Edmund’s hands slide across Dani’s hips as she sees him in a reflection which causes her to panic. Edmund’s presence is growing closer and stronger as Dani has begun to navigate her feelings for Jamie.

In a flashback, we get a glimpse into possibly one of the first times that Dani’s internal conflict of her sexuality crosses her mind. As Dani gets a dress fitted, the female tailor makes flirtatious passes at her. We see Dani acknowledge these advances and isn’t opposed to them occurring. The scene switches to a guilt stricken Dani, her eyebrows furrowed above saddened eyes that wander upward to Jamie who’s helping prep the table for dinner. This quick glance up to Jamie holds so much. The internal turmoil that Dani is feeling in this moment is palpable. To think that all of her moments of repression have led up to this. This feeling of wanting. This feeling of yearning. To live openly and authentically as the person she’s always been.

Later that night, the keepers of Bly hold a bonfire to honor those that they’ve lost. A weight can be felt on the four as they remember their late loved ones by the warmth of the fire. The concept of found family lies in the heart of those who find a home at Bly and can be seen through Hannah and Jamie’s odes to the late Rebecca, Dominic, and Charlotte. 

“Because from here on in, the shadows get deeper… the nights get longer. We’re heading into the dark and we have to hang onto each other. So, we can only carry so much.”

As they commemorate who they’ve lost, Jamie mentions Dani and how she believes that Dani is the key to getting Miles and Flora back to themselves. A moment of pain rushes across Dani’s face as Jamie states how she believes that Dani is stronger than she thinks. To be in the midst of an internal conflict yet hear how someone believes in your strength can be something so painful to hear as you struggle to believe it yourself. We see Dani in a battle with herself as she fights to live authentically regardless of the guilt she’s carrying. 

Eventually, the gardener and the au pair break away from Owen and Hannah to go to the greenhouse. A pivotal moment in the growth of Dani and Jamie’s relationship occurs here when Dani makes the decision to lay everything out on the table for Jamie and finally explain her history with Edmund as well as sometimes seeing his ghost. 

“I’ve never told anybody that.”

These words that leave Dani’s mouth are so intimate and so vulnerable. Jamie takes what she’s being dealt and handles it with such a level of care that ensures that Dani knows that she’s being heard and respected. As we’ve seen Jamie talk Dani down from a breakdown in episode 2, we see a parallel here where Jamie takes it upon herself to make Dani laugh in an effort to console her. This moment is cut short as Dani musters the courage to ask the heartbreaking question that allows Jamie to make the decision whether to take or leave Dani and all of her baggage.

“Think I’m crazy?”

The pain in Dani’s face as she asks this shows just how scared she is to be rejected by the one person she wants the most. Without even a hint of hesitation, Jamie reassures her that nothing has changed in her view of Dani’s strength. A wave of relief comes over Dani as she’s hit her tipping point of acting upon the feelings she’s been suppressing all this time. She kisses Jamie and a moment of vulnerability is shown on Jamie’s face as she gets the confirmation that Dani is sure in her decision to do this. This moment is short lived by Edmund’s ghost appearing just behind Jamie, causing Dani to retreat in a panic. This is probably the worst cockblock in the history of cockblocks. Dani quickly retreats as Jamie mirrors her actions and immediately puts her walls back up as embarrassment sinks into them both in different directions. As the pair make it back to Hannah and Owen, Dani is visibly disappointed with how things ended up. Jamie’s comment of “it’s all good” as she guides Owen away from the bonfire shows how she would prefer to move on right away instead of confronting the confusing messages she’s just received from Dani. 

The final scene of the episode is what I like to call Dani’s last straw. Dani’s guilt has turned to anger as she makes the decision to confront her own shadows by throwing Edmund’s glasses into the bonfire. Flashbacks of kissing Jamie intercut the scene to really solidify Dani’s desires to move on and be able to freely love her without the burden of her past. 

“It’s just you and me then.”

Dani is tired. She’s waited for this moment. She’s finally accepted this part of her and she stares straight into Edmund’s ghost without any more fear. She’s found the strength to move on. 

Episode Six

The sponsor of this episode is cement as Dani and Jamie cement their relationship in this hour. The episode begins with Dani’s attempt at reconciliation after the unfortunate cockblock of a certain dead ex-fiancé in episode four. Dani wakes up at the crack of dawn to visit Jamie in her greenhouse. Dani’s entire existence in this moment is ridden with nervousness as she puts on her best “everything is normal” face. Jamie is quick to notice how out of character waking up this early is for Dani to which Dani dismisses. We see that Jamie’s cold and guarded exterior is back and for good reason considering the unfortunate events at the end of her and Dani’s last interaction.  Dani’s eagerness to patch things up puts her through several attempts at getting a reaction out of Jamie, each of which ends up being shut down. First is the gesture of giving Jamie coffee which results in her gently spitting it back into the cup. Next is Dani’s attempt at voicing how lonely she’s been.

“No Owen. No you.”

Dani’s voice drags on a little longer here to emphasize how Jamie’s absence the last few days have created a noticeable emptiness at the manor. Jamie responds with a simple “sometimes people wanna be alone” which seems like her own personal choice. However, Dani finally gets a reaction through Jamie’s icy exterior when she makes her laugh after a terrible attempt at a British accent. This mirrors the other instances prior where Jamie has made the effort to make Dani laugh in order to ease any emotional tension. After the ice has been broken, we see Dani’s first wind of confidence as she asks Jamie out to a boring ol’ date at a boring ol’ pub. We can see relief and a sense of pride strewn across Dani’s face when Jamie catches her drift. This marks the beginning of a fresh start for the two. 

The next time we see the pair is in the kitchen as Jamie surprises Dani by coming back to the manor after initially leaving.

“Made it halfway home and I thought ‘rough day, maybe Poppins might fancy a little boredom.’”

Dani’s shocked excitement quickly turns into awkward nervousness as Hannah and Owen wave them away to spend time together. Jamie gently takes Dani’s hand and guides her out of the room. This presents the reaffirmation that Jamie still cares enough to try again with Dani.  

The gardener leads the au pair somewhere off on the grounds of Bly to a secret area where moonflowers have bloomed. She explains how difficult they are to grow in England and how fragile their lifespan is. 

“That’s a lot of work for a flower that only blooms once.”

“That’s what people feel like to me. Exhaustive effort, very little to show for it.”

“All of them?”

“All of them. Even you. Even me… especially me.”

Jamie’s emphasis on herself shows her insecurity of not being enough after anyone makes the effort to break down her walls and gets to know who she really is. What follows is a tear-jerking speech that gives insight on Jamie’s past and her painful upbringing. From the details of her childhood like growing up in a broken home, being forced into foster care, and serving time in jail, we begin to understand why she puts such a strong, guarded front. The absence of a family unit in her youth and young adulthood has resulted in her feeling like she may be unlovable. Like she might not be worth the effort of loving. Just as Dani did in episode four, this is Jamie laying everything out on the table for Dani to decide whether or not she will take or leave Jamie and all of her baggage. After Jamie finishes her monologue, Dani gets up and doesn’t say a word. She takes hold of Jamie and kisses her. No words can alleviate the pain that Jamie’s endured but the effort of loving her can be a start. Dani pulls away for a brief moment to reveal a relieved Jamie smiling back at her after she has realized that Dani has chosen to accept her for everything that she is. 

The next scene they have together is the morning after Dani finally gets her first restful night’s sleep. 

“The au pair could not remember that last time she’d slept this well. And she thought perhaps she never had.”

The moment to highlight in this short scene is Dani stopping to look at herself in the mirror. She is finally able to see her truest self without being haunted of guilt. She smiles as she looks at her reflection and to a sleeping Jamie in the bed next to her. She’s finally made peace with herself. 

The final Dani and Jamie scene of the episode occurs at the end of the day just as Dani puts Flora to bed. Here we see the purity in the relationship that the two are creating. We see Dani unapologetically long for Jamie as she says she’s going to leave for the night. The au pair’s subtle look at the gardener’s lips as she speaks and the inching closer and closer to her shows just how high Dani’s confidence levels have risen to after being able to finally love freely. To see Dani in such a smitten state of mind is a breath of fresh air for not only herself but for us, the viewers, who have seen her in such a trapped state of mind when it comes to loving someone. The innocence of longing, in tandem of making the promise of spending other nights together, show how much care and caution they are taking in order to ensure that they’re building their relationship in a healthy manner. What they are both experiencing shows a trade off of what they each have to give to the other. Dani has accepted her sexuality, which is something that seems like Jamie has already done long ago. Meanwhile, Jamie is being loved and wanted, potentially for the first time which is something that Dani has already experienced in her past. Each half of the pairing offers support and guidance to the other as they begin their journey as a couple. 

Episode Nine

This final episode of the season was an absolute doozy in terms of Dani and Jamie’s relationship. I’ve watched all of these scenes a solid million times over and I bawl my eyes out every. damn. time. But I mopped up my tear-soaked notebook and carried on for the purpose of this essay. The episode picks up action as Flora sacrifices herself to save Dani from being dragged and choked to death by Viola, the Lady of the Lake. As Jamie and Owen arrive back at the manor after both having awful dreams, they briefly see Hannah as she says that they’re needed at the lake. Jamie bolts the second she hears Dani yelling. She knows Dani’s in trouble and wastes absolutely zero time trying to find her. Jamie yells Dani’s name and you can feel that her sense of urgency has one goal in mind: save Dani. 

“It’s you. It’s me. It’s Us.”

Viola has accepted the au pair’s offer. Besides Flora, Jamie is the only witness to see Dani’s last moment of belonging to only herself. From this point on, the darkness begins to fester deep within Dani’s soul and Jamie must live knowing that there was nothing that she could do as she watched Dani let part of herself go to let Viola in. Jamie runs into the lake as Dani’s trauma starts almost immediately. Her breathing is quickened, and she can’t stop repeating those final words that she felt deep in her bones. The gardener holds the au pair and takes one look at her as she already notices the effects of trauma. Dani’s darting eyes are panicked as she struggles to register that Jamie is there with her. Her breathing finally slows as Jamie holds her close in her attempts to calm her down. Jamie is Dani’s grounding force in this moment. Dani has finally freed the ghosts of Bly but at the cost of her own self. Her own life for the souls of the others. 

The following scene highlights the days following the incident at the lake, immediately starting with Jamie and Owen looking into the well to find Hannah’s dead body. I wanted to highlight this moment just for the sake of Jamie for she has been there to witness all the deaths of her loved ones firsthand. She was the first adult to find Rebecca in the lake, one of the first to find Hannah in the well, and the first to see Dani die in more ways than one. She just can’t seem to catch a break but after all… death is beautiful, it’s natural.

Jamie finds Dani as she packs away her things however, Dani’s mind appears to be somewhere else. Darkness has begun to burrow itself into Dani’s soul. She’s shaking. She’s terrified. She’s mourning the loss of herself. 

“I feel her. In here. It’s so quiet, it’s so quiet, but she’s in here. And this part of her that’s in here, it isn’t… peaceful.”

Dani explains how Viola’s presence feels like a beast waiting for her in a thick jungle. She feels hopeless again but this time feels heavier than all the rest. She has something to lose here now. She has a relationship with Jamie to lose, she has an entire life to lose. It isn’t as simple as feeling the guilt of losing someone or the guilt of loving someone. This feeling isn’t human, this feeling of dread goes beyond what the stages of grief entails. Where is she to go if she can’t go within herself to find peace? 

“She’s gonna take me.”

A tear falls down Jamie’s face as these heavy words fall out of Dani’s mouth. This is the first hint of Jamie losing Dani. The fear of the inevitable fills the room with such a weight that no words can alleviate Dani’s pain. Yet Jamie tries. She tries her damn best. She offers her company with the seal of a pinky promise. She gives all that she can offer: herself and her love. Dani’s feeling of darkness doesn’t have to be lonely this time. 

After a final goodbye to Henry, Miles, and Flora, the gardener and the au pair set off to start their lives together as the image of Bly fades away into the distance. Their life together starts at a diner as Jamie plans their course of action, hoping to end up in Vermont to see snow by Christmas. Here we see Dani looking at her own reflection in the tableside jukebox before stopping Jamie as she worries that they’re planning too far ahead. Dani’s cautious. She doesn’t want to get either of their hopes up. 

“One day at a time is fine by me. As long as those days are with you, Poppins. One day at a time is what we’ve got.”

There’s a brightness in these words which in turn reflect onto them. There’s a light in this moment that shows that they haven’t lost their footing yet. And thus begins the final climb to their highest point before the tragedy that lies ahead occurs. We flashforward to a year later to The Leafling, the flower shop that the pair have opened up together. Dani is still Dani and Jamie is still Jamie but more in love this time than the last time and the time before that. 

“You see, I’m not sick of you. At all. I’m actually pretty in love with you, it turns out.”

Here we see the reintroduction of the moonflower. The symbol of Jamie and Dani’s love. The last time we saw the moonflower was back when the pair finally made the choice to accept one another and start their relationship. This time, we see the moonflower one last time as Jamie chooses to solidify their love by finally breaking the big L word. 

A montage ensues of the gardener and the au pair’s life together. Years have passed and peace was just finally in their grasp. Or so it seemed. This feeling of fluttering innocence is put to a halt as Dani sees Viola’s reflection in the door of the flower shop. Dani stops in her tracks as she stares at the reflection, her face is still as she stands in a quiet shock. That is until she sees Jamie through the door, smiling at her with such a playful gaze. This instance shows yet again that Jamie is Dani’s grounding force even after all this time and Dani’s own reflection returns not even a second later. This is a moment for the audience to take a peek into Jamie’s importance in Dani’s life, especially at a point that something so vengeful is making its way to the surface. To see Jamie’s smiling face cut through the image of the beast in the jungle, we can’t help but feel the same pain yet also the sense of relief that Dani must feel in this moment. Although Dani returns to herself, we can’t help but feel Viola’s presence looming. 

The scene that follows is another significant milestone in Dani and Jamie’s journey together as Dani comes back home with a dying plant that’s concealing an engagement ring. Above the surface, Dani has put the ring in a dying plant because she knew that Jamie would waste no time investigating how to save it. But this can also be interpreted in relation to Jamie’s moonflower speech where she says “every living thing grows out of every dying thing” to show how their relationship is taking the next step of growth as she pulls the ring out of a dying plant. The ring itself is a traditional Irish Claddagh ring, which shows how Dani did her research and chose a ring specific to Jamie’s northern heritage. The hands that make the band of the ring represents friendship, while the heart representing love, and the crown representing loyalty. These representations are fitting for the relationship that the pairing has created and for Dani’s proposal speech. 

“Here’s the thing - you’re my best friend and the love of my life. And I don’t know how much time we have left but however much it is, I wanna spend it with you.”

The thing to highlight about Dani and Jamie’s relationship is that it runs on Dani’s timeline which is something that is so important to showcase, especially considering how Edmund had made almost all the choices for her in her previous engagement. Jamie understands this and has always insured that Dani felt comfortable before progressing further into their relationship together. In this moment, Jamie finally has a promise of love while Dani has security in the person she loves the most. As Jamie accepts her proposal and the two share a moment of celebration, Dani’s face of worry as she hugs Jamie shows that she feels an inability to be fully happy. She’s unable to fully give herself to Jamie in this moment which in turn shows how Viola’s presence is getting closer and getting darker. 

We jump slightly forward in time to the pair visiting Owen’s aptly named restaurant, A Batter Place. After a moment of remembrance for Hannah, Dani looks into the reflection of a metal water pitcher to see Viola’s reflection yet again. Dani’s face is surprised by this sight, but she keeps it quietly to herself as to not ruin the moment of reunion. If we compare this instance to the first time Dani looked at her reflection at the tableside jukebox at the diner years prior, we can see that this moment is filled with much more darkness. The light that used to be inside of her is dimming. Although Jamie is holding her and is physically next to her in this moment, she doesn’t cut through the darkness anymore. Jamie’s power as a grounding force is dimming as well. 

“So, they’re all happy?”

The inflection in Dani’s voice here is so subtle that only Jamie takes notice of it. Jamie looks at Dani and senses that something has gone off in her. Owen continues to explain how Miles and Flora have no recollection of the events that took place at Bly. No recollection of the sacrifice that Dani made to save them. 

“So, if they don’t remember Hannah…they don’t remember…”

Dani’s voice trails off here. She looks down and is caught in the bitter realization that her sacrifice has been forgotten. This feeling of a looming darkness, this feeling of living a life that’s ticking down to her own demise… was it worth it? Jamie can feel Dani’s pain immediately as her eyes stayed glued on Dani who’s trying to see if there would be any way to remind Miles and Flora about what she did.  The gardener stares at au pair without breaking away and in this instant, we can see that, along with Dani, Jamie is breaking too. Breaking under the burden of knowing that she can’t take Dani’s pain away.

The scene that follows shows Dani washing dishes where she sees Viola again in the water. She panics and finally admits to Jamie that she’s been seeing her more and more. The tension that was present between them moments earlier immediately fades away as Jamie wastes no time in trying to console Dani. Jamie’s blind optimism here has a slight tinge of desperation as she refuses to let Dani slip away into the abyss that’s growing stronger and stronger. Dani’s interaction with Viola’s reflection in this moment sets off an alarm bell within her, unlike the other times where she sat quietly and dealt with it on her own. This is Dani’s tipping point. The highest level of fear is felt as the reality is beginning to sink in that the beast is coming for her. Another thing to note here is that even after all these years, Jamie still makes the conscious effort to make Dani laugh. 

“I’ll do the washing up from now on, yeah? You’re shit at it anyway.”

Dani can’t help but give the smallest laugh, but it’s more than enough for Jamie. Through Jamie’s optimism, we have begun to see that she’s not only consoling Dani but also herself as she tries to convince both of them that they can have so much more time together. The episode continues on with the train of heartbreak as Jamie comes home after receiving civil union paperwork for her and Dani. What comes next is what I feel like is the most heartbreaking Dani moment in the entire series. Dani stares deep into an overflowing bathtub where an ominous Viola stares back at her. Jamie is quick to bring Dani back to reality but Dani has lost her footing. Her hold on Viola has flipped to Viola having a hold on her. 

“It’s like every day I feel myself fading away, but I’m still here, and… I don’t really understand how that is.” 

The fear has withered away into emptiness as Dani struggles to stay afloat. We see Jamie so pained as she watches the light fade into a grey nothingness as she listens to Dani talk about how she is beginning to lose herself to the beast. 

“I’m not even scared of her anymore. I just stare at her, and it’s getting harder and harder to see me.” 

To listen to the love of her life slip away through her fingers has Jamie in a phase of denial as she continuously refuses to let Dani break apart. We see the gardener’s optimism wavering as she tries her best to help the au pair hold onto herself. Dani’s voice as she says Jamie’s name is filled with nothing but pure hopelessness and despair as she dips further and further into uncertainty. Yet Jamie doesn’t lose hope. Jamie would never give up on Dani as she repeats the words she told Dani in the diner all those years ago. 

“One day at a time.”

However, Jamie has run out of answers. She can only offer comfort now. 

Next we see Dani hit her lowest low as she is taken over by Viola and awakes to see that she almost strangled Jamie to death in their sleep. Dani is shocked and broken as she sits in the disbelief of what she almost did. The time has come. The beast has arrived. Viola has waited years until Dani was so broken down and so vulnerable, that she would finally be able to take her. However, we can’t help but believe that Dani fought off Viola this long thanks to the love her and Jamie shared.

The gardener wakes up the following morning to find an empty space next to her. She reaches to the empty space in the bed and then for the note left on the bedside table. It can only mean one thing: her biggest fear has come to light. With her strong will and determination, Jamie gives one final push and flies back across the pond to Bly to face what she’s been in fear of all this time. The amount of immense grief that is felt in this moment, to be at the same place that the love of her life began to be taken away from her all those years ago, must be incredibly damaging. The manor holds so much of Jamie’s life. She found her family there. She created a beautiful garden on those grounds. Her and Dani’s love blossomed on the same grounds that she first began to lose her that night at the lake. Jamie storms off to the edge of the water. Her face is so tired. She already knows what she’s going to find and yet she still doesn’t lose the hope that maybe, just maybe, it wouldn’t be true. 

“The gardener said the words she’d heard those years ago; she willed it with everything she had. You, me, us. Us. ‘Take me with you,’ she cried in her heart. ‘Take me. Drag me down like you did the others.’ But the lady in the lake was different now – the lady in the lake was also Dani. And Dani wouldn’t. Dani would never.” 

The agony and desperation that we see Jamie endure in the moments that we see her find Dani laying at the very bottom of the lake is a type of pain that is unmatched from any other moment of pain that we’ve seen this season. Her muffled screams as she takes a hold of her heart, only to let her arms go in despair under the water is something so haunting yet so unbelievably moving to see her love so much considering how far she’s come from the cold and guarded gardener we saw all the way back in episode one. She would’ve given up everything. Absolutely everything to take Dani’s place. Given up everything to join Dani at the bottom of the lake. Unlike Peter with Rebecca, Dani could never take Jamie down to the depths. Dani could never harm a single soul, let alone the one person that mattered the most to her. By letting Jamie go and taking Viola’s place as the lady of the lake, Dani has broken the cycle of violence that’s haunted the grounds of Bly for centuries. As Jamie was the hero of Dani’s story, Dani will always be the hero to Jamie’s. 

The final act of the season ends with an older Jamie finishing her story to the wedding guests. 

“She would know nothing of the gardener, nothing of their life together. The details, the specific moments would all fade away. More time will pass, and the water will wash away the delicate features of her; of her beautiful, perfect face. But she won’t be hollow, nor empty. And she won’t pull others to her fate. She will merely walk the grounds of Bly, harmless as a dove, for all of her days. Leaving the only trace of who she once was in the memory of the woman who loved her most.”

We see an older Jamie comfort a teary-eyed Flora who is afraid of the time when she would also lose the love of her life. Jamie comforts her with advice that we can only ever assume she learned in her time with Dani. The final scene shows the gardener’s nightly routine as she stares into reflections, hoping to catch one last glimpse of the au pair. As she drifts away into sleep, a hand wearing a golden wedding ring rests gently on her shoulder. Our haunting love story has come to an end. And the rest? Well the rest… is confetti.