#but to his audience and their connection with his work by refusing to accept the importance of it

[teenagefeeling]

.......

[apoloadonisandnarcissus]

What was the point of Sauron and Galadriel’s scene in 2x08?

1. Halbrand = Sauron

Sauron wants to prove to Galadriel that he and Halbrand are the same (“I have many names” and "Halbrand is Sauron" have been two themes this season, in both Sauron and Galadriel's character arcs), and the connection they felt before the reveal was true and not a deception on his part; 

“Were are not the same. We never were. It was just another of your illusions.”  “Not all of it.”   And Sauron proceeds to explain what he means by this through illusions:  “Fighting at your side, I felt, if I could just hold onto that feeling.” (Halbrand = "I've felt it, too" = the connection was real)  “They could no longer distinguish me from the evil I was fighting.” (Dark!Galadriel = Sauron sees the darkness in Galadriel)  “Aren’t these the seeds you planted?” (Celebrimbor on Galadriel’s vision, meaning Sauron has some sort of influence over Nenya)��

This explains why Sauron didn’t stay in his Halbrand form, when it was the easiest way to manipulate her. He’s attempting to prove that the connection Galadriel felt was, in fact, with him, Sauron himself.

2. Bind Yourself to Me

“The door is still open”  

Sauron is set on binding himself to Galadriel this time around, and against her will if he has to. She won't reject him again. He wants her to bind herself to him, freely. But she refuses until the end (“the door is shut”), and, so, he forces them to bind together (using Morgoth’s crown). This was his way of saying: “you are mine, now and forever”. 

“I would’ve placed a crown upon your head, I would never have rested until all of Middle-earth had been brought to its knees to worship the light of its Queen.”  

This was Sauron revealing that his proposal to Galadriel back in 1x08 was real, and that he truly meant it.

"I would make you a queen, fair as the sea and the Sun, stronger than the foundations of the earth." "And you, my Kind. The Dark Lord." "No, not dark. Not with you at my side." You bind me to the light, and I bind you to power"

However, that boat has sail (hence the "past tense"). And he, as Morgoth’s official successor ("shadow of Morgoth") and the new Dark Lord has no interest for Galadriel’s light, anymore. He wants to bring her into the darkness with him, now. And if he can’t have Galadriel in the Seen world (reality), he’ll have her on the Unseen world (“shadow realm”), that he now masters.  

What went wrong?  

Many fellow fans have already discussed this (myself included), but this scene was so badly-executed and produced it failed to bring all of these points across to the audience in a clear way. Which is a shame because everything seems to work on paper. 

This scene, truly, is a mess, and all over the place. There’s no way around it. The producers valued spectacle over storytelling and it damaged the scene, by not allowing it time to breathe and make these emotions shine through. Even the actors (Morfydd and Charlie) had to be more preoccupied with the fighting choreography than in delivering emotional weight, because there’s so much they can do when they are moving around like maniacs.  

I think the “Marvelization” effect is to blame here: the extensive and unnecessary fighting and the cringeworthy dialogue (action hero “one-liners”). Galadriel in love with Halbrand, refusing to accept he and Sauron are the same being; Sauron obsessing over her and wanting her at his side, at any cost. The weight of them being doomship. This scene should be overflowing with emotions, drama and tragedy, and yet, all of that was sterilized to prioritize the fighting sequence no one asked for.

Sauron and Galadriel could have fought for a while, but there was no need to drag it on and on until the end, because that was not the point of the scene, and by doing this, the show confused its audience. “Wait, Sauron killed Galadriel?” Because, come on, that’s what all of us thought when we first saw this scene. We are analyzing it now and finding the true meaning behind it, but no one would have guessed Sauron’s true intention on their first watch. 

Another problem is the failure of “show, not tell”. I don’t know if this scene was the show writers’ original plan or if they changed it later (multiple endings, reshoots, etc.). We are told that Sauron and Galadriel know each others’ minds, but the show doesn’t actually reveal any of it to us. Everything is so subtle and ambiguous, folks get confused.  

We are now told by Director and executive producer Charlotte Brändström, that Galadriel really loved Halbrand, and that Sauron changes into Halbrand because he fell and doesn’t want to look powerless in front of Galadriel. But he knows Galadriel’s mind and can see her love for him in that moment, and that's the reason for his “puppy eyes”. But in that sequence, nothing of this comes through, and it looks like Sauron is just manipulating her to stop the fight and get the Nine. The audience can't understand this, because the scene is showing us Marvel action-hero fight instead of actual raw emotion (like we got on Season 1 finale).

[milehighmegs]

The Window Theory

This is kind of a two-parter, and a bit long and circular, but it all connects, so just bear with me 😁

So, I just finished my 42598302621827732263435th re-watch of S2E6. When Beez says, "I just found something more important than taking sides," and she & Gabe join hands, Zira touches Crowley's arm. Ya know, this touch:

Look at Zira's face. I think, maybe- just MAYBE- Zira finally realizes that this is what Crowley's been talking about every time he's said, "our side." He reaches out to Crowley, but because he can't actually speak at that moment, it's his way of saying, "Oh my god. I get it now. I completely understand." And if you watch a bit longer, when Crowley walks away to take Nina & Maggie out of the shop, he keeps reaching for Crowley (couldn't find a GIF of it, but it's there). Almost like he's saying, "oh, oh yes, we are going to have a VERY good talk when this is all wrapped up."

There's also an element of "we're not the only ones," and "maybe, if the Supreme Archangel of Heaven can fall for the Grand Duke of Hell, this isn't as bad as I've been telling myself it is." If Gabelzebub haven't been- smote? smited? smitten- by God or devoured by Satan for falling in love (and not being coy or secretive about it), maybe Zira is FINALLY ready to actually be with Crowley, in the open, and without fear.

But we all know what happened after that.

Yes, Metatron is a bastard. But (and this is just a bit of a theory here) in telling Zira that he (Metatron) knew about the "de facto partnership" with Crowley, and then later about the Second Coming, he gave the whole game away**. Zira thought that Heaven wasn't watching all that closely. And maybe they weren't, right up until the two of them thwarted the Nopocalypse, but looked into the records and found out what they'd been up to for millennia. What Zira knows now is that not only are they aware of it, they are fully prepared to use it as a threat against him, but more so against Crowley. At that moment, however, that's all he knows. Metatron didn't mention the plans for the Second Coming until after The Kiss™. So after accepting Metatron's offer and desperately trying to convince Crowley to come with him and failing, but before the Jesus 2.0 bomb, Zira is visibly shaken (I mean, I would be too if I had just accepted that I COULD be with the love of my life, then got kissed like THAT by them, only to be broken up with right after they told me that they felt we'd been together all along). He didn't have a plan to protect Crowley. He didn’t think he needed one because he was so sure that his offer to go to Heaven would be accepted. He figured it was a given, knowing & understanding now that Crowley wanted to be with him, and part of the reinstatement of Crowley as an angel would facilitate that.

Now that Crowley has refused, Zira doesn't know what to do. He didn't have a backup plan. And he still, at that point, doesn't really know what Metatron needs him for. It's why he hesitates to leave at first. For the first time since The Arrangement, he doesn’t have a partner. He's alone, trying to figure things out, trying to find some way, ANY way, to make this work. He keeps looking out the window, ostensibly at Crowley, but... did you notice that we're never actually shown WHAT he's looking at? I have a feeling we'll find out in S3 what it is, but for now, he's flustered, anxious, and of course still reeling from what had just happened. He looks out the window a second time, and just, like... suddenly snaps out of it. We can tell, as the audience, that there's a lot of game face happening here, because we know Zira: we know his mannerisms, his moods, his reactions to certain things. And we also know he's smart. But I digress.

Something occurs to him (or he sees something out the window), which is why he suddenly feigns detachment and goes with Metatron. The wheels start to churn, but only insofar as it has to do with protecting Crowley. When the Second Coming plans for Supreme Archangel Aziraphale are dropped, everything changes. EVERYTHING. He suddenly realizes that the whole purpose of the offer, and the chance to take Crowley with him, was a trap. Metatron knew Crowley would refuse, and having made the threat, he knew Zira wouldn’t refuse. Zira understands the offer’s true purpose was to separate them so that they couldn't prevent another apocalypse. So now, not only is Crowley's life at risk, but Earth is once again under the threat of annihilation, and he doesn't have the one person he's always been able to rely on to help him prevent it. He goes with Metatron because he knows it's the only thing he can do to protect Earth AND his beloved.

That one last look at Crowley... I don't know, maybe something had passed between them through the window that we don't yet know about. Maybe Zira just had a sudden realization that had nothing to do with what he was looking at (perhaps the bullet catch mentioned below**?). Whatever the case, hearing about Armagedd-it's-back-on was a seismic shift in his attitude. You can see it in his demeanor: he’s no longer flustered, no longer searching for answers, no longer anxious about what happens next. In short, SHIT JUST GOT REAL. Because of this, Zira has to once again think fast, but keep Crowley in the dark, and get to work. That ride up in the elevator was spent hatching the most clever, most ingenious, dare I say the most devilish plan the Universe has ever seen. He is really and truly on OUR side now, the side that he & Crowley had been on for millennia, the side he was no longer pretending to NOT be on, the side that he finally stepped into with perfect love and perfect trust. With no way to tell Crowley about the Second Coming and therefore what he was planning, it seems like he chose Heaven over love. But he didn't. He did choose Crowley, but he also chose Earth, and in reality, he chose "us." It's just going to have to wait.

**If you wanna go really deep with this, the whole reason for the bullet catch episode was to mirror Furfur’s threat with the Metatron’s, and Furfur also revealed the plan too soon (I think there’s also another reason for this episode, details below). Like a bad Bond villain, they were too cocky. In 1941, Zira was able to think fast, palm the photo, and protect him & Crowley. But note that he didn’t tell Crowley what he was doing (there was neither time nor opportunity); Crowley only found out after the fact, when they were having dinner later. Zira protected "us" even then because only hours before, he realized that he loved Crowley and (I'm pretty sure) that Crowley loved him back. At the time, however, he didn't think anything could come of it. But that touch in the bookshop... that's when he knew. So when Metatron made the offer, there was no need to protect anything because he thought Crowley would come back to Heaven. Since that went down like a lead balloon, Zira is left helpless & scrambling. Then that look out the window... I think Zira remembered the bullet catch. That silent "trust me." The “aim for my mouth then shoot past my ear.” The diversion tactic. Again, until the Second Coming plans are revealed, Zira only plans to find a way to protect Crowley in secret. When the stakes rise, Zira ups his game. THAT’S the reason for the changing looks on his face on the elevator ride. THAT’s what the smile is about. He’s doing the calculations, setting up the illusion, perfecting the con. And just like the magic act he & Crowley pulled when they saved Job’s children, just like when Crowley seemed to be the random volunteer to pull the trigger, Zira knows his partner will be there to help him pull it off one more time. Even if it means leaving him, leaving him in the dark once again.

[klonnieshippersclub]

Caught in the Act

Today is the last official day of Klonnie Weekend! Feel free to submit any works late. I've loved everything I've seen so far. This entry focuses on Klonnie in season 3 with the prompt, "Public Displays of Affection." Their audience isn't a fan, but Klonnie doesn't care!

When Damon received the invitation from Klaus to plot how to defeat Esther, he didn't expect Bonnie to be there. Elena accompanied him because she refused to be left behind. He didn't want her to be involved in this because of her questionable decision making. He dragged Caroline along under the belief that Klaus wouldn't be as hostile with her there. He never anticipated walking in on Bonnie practically sitting on the Original’s lap with how close they were. 

“Bonnie, are you holding hands with Klaus?” asked Elena, staring at the powerful duo. The doppelganger was pale at the sight of her best friend being so close to her greatest enemy. 

Bonnie quickly pulled her hand away from Klaus’ as she turned to face her friends. “Why would you think that?” Bonnie evaded answering the question. She would hate to lie to her friends, but she wasn't ready to tell everyone about her relationship with Klaus. 

“Actually-” Klaus attempted to interject. Unlike Bonnie, he thought there was no point in waiting to tell people of their relationship. He was always impatient but Bonnie wanted the timing to be right. In his mind, now would be the best time since they were temporarily allies. 

Elena's wide eyes traveled back and forth between the Original Hybrid and the Bennett Witch. She knew what she saw and they were being far too affectionate for those plotting to kill each other. The Gilbert girl exclaimed, “He was just kissing your neck!” 

“I think you're confused,” denied Bonnie.

“It was more of a nibble than a kiss,” grinned Klaus with a devilish look in his eyes. If he and Bonnie had more private time, then he would have convinced Bonnie to let him have a little taste of her blood. She was the sweetest thing and he loves to drink from the source. 

Bonnie shushed her lover and slapped his arm, hoping that he would quiet down. 

Damon grabbed Bonnie’s arm and pulled her away from Klaus. Bonnie just began accepting all of them. It was impossible she was sleeping with Klaus. “She’s been drugged!”

“She wasn’t drugged leaving my place this morning,” argued Klaus. 

“I wouldn’t have spent the night if you weren’t so clingy!” teased Bonnie, shoving Damon away. She cursed herself for revealing their relationship status. 

“You didn’t want to leave. You keep making space in my closets,” Klaus said, pulling Bonnie back near him. 

“I thought you liked me making space?” Bonnie questioned. 

“I never wanted you to leave, my love.” Klaus corrected himself, noticing Bonnie was offended this time. 

Caroline gasped, “Oh my God, she's been brainwashed.” That was the only explanation that made sense to her. She never expected her best friend to be so comfortable with the touch of a vampire. If Bonnie had any romantic feelings for Klaus, she should have confided in her best friends. Then maybe she wouldn't have fallen into the Originals’ arms. Caroline blamed herself for not checking in on Bonnie. Maybe she would have noticed Bonnie softening towards Klaus and convinced her to stay away from him. 

“I can't be compelled and I'm not being brainwashed,” declared Bonnie with her hands on her hips, a bit offended by the insinuation. She liked spending time with Klaus and hated that her friends were being blindsided. This was not how she wanted them to find out.

Rolling his eyes, Damon snarked, “I expected you to be smarter than falling for Klaus' tricks.”

That couldn't have been further from the truth. This was the most genuine Klaus had ever been in a relationship. He had no need for tricks when it came to Bonnie. It was easy for her to connect with Klaus over their parents’ abandonment and neglect. She opened her heart to the enemy for he understood what her friends couldn't.

“Bonnie's intellect is far superior to all of you,” praised Klaus as he stepped behind Bonnie to wrap his arms around her waist. “You either accept we are together or die.”

Bonnie turned to face her lover and stare him down. “Klaus, you can't kill my friends.”

“Can I torture them?” he suggested, 

thinking of all the ways he could bring them pain for the inevitable hurt they would cause Bonnie. 

“NO.”

“What will you give me if I behave?”

Bonnie softly smiled and looked up at him through her long lashes. She flirted, “If you're on your best behavior, then-”

“Ugh, let's leave Judgy here to make googly eyes at this monster,” Damon interrupted with a scowl. He headed towards the exit, disgusted at the sight of the happy couple. “She'll come to her senses eventually.”

“If you don’t want me leaving things over I can take them home,” Bonnie offered, “Couples having space isn’t a bad thing.” 

Klaus pulled Bonnie closer to him and kissed her lips. Space to him was a bad thing, it should never exist in a relationship as serious as theirs! Bonnie got lost in the kiss, loving the feeling of her boyfriend’s mouth on her own. Her best friends quietly left away confused about Bonnie's secret love life.

[ssruis]

At some point I really do need to talk about tsukasa + rui wrt to rui - who has had so many people leave him because his ideas were scary/dangerous even when he did everything to ensure people wouldn’t actually get hurt - going “I’m going to be too weird and he’s going to leave me so I should just get it over with now by being as insane as possible. Ok he’s still here what if I’m more insane. Ok he’s still here but surely he’ll leave if I’m even crazier. Ok he’s still here but THIS time (rinse and repeat).” I feel like a lot of why rui acted Like That in the beginning was because he was like “this guy is a liar there’s no way he’ll actually stick around *nobody* is ok with my stunts.” If everyone says you’re weird and your ideas are insane and will hurt people you might as well lean into that being your reputation so that nobody else will attempt to be your friend and then leave when you + your ideas are too much. Obviously a lot of this is unconscious but I think in the beginning it was at least a little deliberate.

He was 100% lying when he was like “if you touch this you’ll die” in the main story but I feel like that was his way of being like “see recruiting me was a bad idea. Oh well this is what I expected”. Which is also why he immediately is like “bye then ✌🏻” when tsukasa is like “I don’t want to die.” & then he’s shocked when tsukasa is like “ok fine let’s do that” -> he suggests a flame thrower and launching tsukasa 10 meters into the air -> tsukasa is still like “😰… but it will wow the audience so as a future star I must do it”

which is 100% the first time anyone has been insane enough to agree to what rui throws at them & he’s very obviously super cheesed by this

The reason I’m singling out tsukasa (besides the fact that I’m a ruikasa enjoyer) is that, unlike with emu/nene, 1) tsukasa promised to match his freak during their first interaction 2) when rui attempted to call his bluff tsukasa continued to be insane and agree to his ideas.

& then when rui “shows and theatre are my entire life and also the only way I know how to connect to people (even though that never works)” kamishiro leaves and refuses to return, Tsukasa elects to convey his true feelings/rediscovery of his original goal through a show based around their argument. Which is an absolutely unhinged thing to do, but it works because rui is also unhinged and shows are the language he speaks best.

I think after the main story rui’s continued attempts to find the point where he’d finally become Too Much for tsukasa were unconscious. The brain likes patterns and it’s natural to attempt to make any exceptions to a rule fit with what you’re used to.

Wonder Halloween is absolutely rui’s worst nightmare coming true, in that he constantly goes to such great lengths to ensure that what he does is safe and people still leave anyways - and now he’s finally found someone just as crazy as he is, a place he can be accepted, and Tsukasa gets hurt because one of rui’s inventions malfunctions. If people left rui when it *was* safe, why on earth would someone stay when they actually got hurt because of him? & then tsukasa doesn’t leave, but rui pulls back because there’s no way he’s getting a second chance if someone else gets hurt. I think tsukasa being mad at *himself* for getting hurt and only getting mad at rui for pulling back was Huge because rui is so used to being too much, and now tsukasa is going “I won’t accept anything less than your authentic self.” Also huge because it showcases that tsukasa is a fucking freak.

The constant roping tsukasa into antics at school is (imo) another part of that - ok so tsukasa is fine with all of this on the stage, but what about in front of all of his peers? Getting in trouble and being labeled as weird will be the deal breaker right? Even nene doesn’t want to be seen around him. Nope! Tsukasa actually is going to act like they’re glued at the hip at school. Tsukasa cares about his reputation, in that he doesn’t want to be labeled as a trouble maker, but he’s already known as a weirdo and doesn’t really care. He’ll huff and puff about Rui being irresponsible and tarnishing his reputation but he’s still not leaving. Rui will purposefully annoy him & tsukasa will react dramatically but continue to associate with him.

Pandemonium is essentially an event about their relationship, & I’m not going to go pull a bunch of quotes (I am keeping this post solidly under control. I am not going to go insane with the evidence. I am normal and in charge of my own destiny.) but since I have this quote on hand:

Rui: I had always thought that I could never properly understand everyone around me.

Rui: as I started doing shows at Wonder Stage with everyone, my way of thinking and feelings began to change.

Rui: now, I am able to understand and connect with someone without relying on shows, and I’ve come to value the beauty of laughing alongside others

Rui: that’s why — tsukasa-kun. Thank you for giving me the chance to change.

The reason why pandemonium is the turning point for their relationship is because they’re connecting outside of shows. The reason why rui specifically cites tsukasa as the reason he changed is because tsukasa brought him to wxs, repeatedly emphasized that he would not accept rui holding back, and stuck with him when any sane and reasonable person would have been like “I value not getting detention on the daily and not dying on stage.” I say that with love. Pandemonium shows that rui *can* connect to people and form relationships without playfully threatening bodily harm several times a day, but the rui + tsukasa relationship is special in that they’re both insane Together.

One specific thing I want to point out is in the card story where tsukasa joins the disciplinary committee (I’m not transcribing that/pulling quotes watch it yourself) because he’s tired of having a reputation as a trouble maker. The easiest way to clear his name would be to stop associating with Rui at school, but tsukasa instead goes “I’m going to be taking responsibility for him and watching him carefully”. ??? Ok? Freak. (Tsukasa Tenma voice) you are NOT getting rid of me.

Last thing to mention is that saki, upon first meeting rui, is like “He must keep my brother in check I’m glad he found someone to do shows with 🥰” (funniest possible first impression of the ruikasa dynamic). This post is rui focused (consequence of spending the past 24 hours rotating him in my mind) but I think that because rui is so crazy people often forget that tsukasa is also insane. Even saki, who he’s objectively more normal around, thinks he’s a freak.

They’re both show maniacs. Matching each others freak. Absolutely misery inducing to be around if you haven’t built up a tolerance. I think they’re neat. I hope they both explode. You understand.

[gottawritesomething]

A God's Folly (2/2)

Their connection deepens.

(Link to Part 1 of God!Gale)

Huge thank you to @ceasesanity for their GodGale Gif

And thank you to the people who left comments or messaged me about this work, you really helped to inspire me!

____________________________________

The God of Ambition ran his fingers carefully over the edges of the viewing pool. The scene shifting between various practitioners, lingering on those of particular acclaim or interest to the God. Every few visions, the images would return to Tav's diplomacy excursion. She’d been needlessly reckless, entering the battlefield between the two groups, only narrowly missed by a deluge of spells. He’d told her innumerous times to accept a boon from him or avoid such needless peril. He’d bordered on barring her from such journeys until she’d refuted him. Highlighting how it served to bolster his reputation when his Chosen could foray into battle unaided by her God, such was her talent and by extension, his selection of her. He had not been entirely convinced until the arrival of new recruits to his temples, citing his Chosen as the cause after one of her more dangerous stints. He’d wondered aloud if she’d conscripted them herself to prove her point; she’d always been clever in such ways.

His attention returned to her present; talks between factions had gone well, it seemed. A legion of thankful civilians and ideologues alike charged her to offer their thanks. These were the accolades he’d promised her. His time with Mystra had served to instruct him on the many ways Chosens went unlauded. He leaned nearer to the pool, waiting to glimpse her grateful features as they showered her in their munificence. Only to be rewarded with a polite smile and gifts refused. The God dismissed the scene with an irritable flourish, reverting his gaze to his more appropriately appreciative followers. He listened listlessly to the prayers of a few unimpressive social climbers only to feel an unplaceable pull to return to her image. The crowds had thinned to a few choice individuals, one in particular, Tav was engaged in ardent conversation with. The God paid little heed to her conversational partner, instead carefully observing her newly emboldened features. She smiled brightly, gesticulations punctuating her statements. She was doing this to infuriate him, he was certain. 

“You do love your little games, so,” he quietly muttered, absent-mindedly gripping the chain that spilled from his chest as though it could physically pull her to his side. Tav seemed to falter in both speech and smile like she’d been made aware of his gaze somehow. He hastily released the cord as Tav ran a hand over her chest. She glanced about as though expecting to see him materialize in front of her.

“A pity. Though it is quite a potent tonic…a love so steeped in tragedy." 

The God of Ambition had been so singularly focused on the scene before him he’d been unaware of the manifestation of another deity. 

“Sune. The summons to discuss the combination of our temples in Candlekeep was not to be treated as an open invitation.”

The Goddess of Beauty, Love, and its many consequences brushed her impossibly long hair back from her face. Her features changed frequently, capitalizing on what was most attractive to the most souls at that very moment, her hair flaming red hair remaining her only constant. 

With a musical laugh, Sune affixed her eyes to the God of Ambition.

“And yet you call upon my doctrine regularly enough to entrap and inculate your followers. Seems that alone should earn me a place at your side or your audience, at least.” She strolled to the edge of the pool, running a finger down the face of Tav’s reflection. The God of Ambition followed her with his eyes. “It will unravel her, of course. True links to godhood are not meant for mortals.” 

A hint of agitation flowed through the features of the God. 

“I think you’ll find I’ve achieved Godhood solely through mortal efforts.”

“Spare me the sermon, your Lordship. I aim only to highlight what you’ve done with it. Allegiances to your mortal ties that threaten the very grasp you hold on your province are a poor use of your machinations.” She gave him a pitying look.

“Shall I put it less artfully? Your Godhood will burn her from the inside out. And while she lives, your lady love, quite ironically, remains my domain. For even the greatest devastation in the name of love is still a love. But worry not; I spurn not what form a love so strong takes. After all, to witness its power to break someone upon the wheel is breathtaking. I've witnessed wars waged and more lives ended than you've seen born at my discipline’s hand. But to have a mortal so utterly undone by love… I've truly surpassed myself.” 

The Gods regarded each other, their eyes meeting. Two otherworldly beings reflecting the same infinite, tranquil, unperturbed mirrors, endlessly. The God of Ambition knew better than to truly clash with such a widely adored and ancient deity. While her followers preached a highly sanitized doctrine, he knew the true reach of her powers. As was with his own dominion, there was a balance to be struck; where there was love, there was obsession and consumption. He did not doubt that she, like he, could wield and guide these more unseemly aspects in mortals to great effect. For a moment, he wondered if his hold on Tav could be used to flaunt the instability of Sune’s power. If it could be used to humble her into conceding that Tav’s mortal love for him was so great, it eclipsed Sune’s possession of her.

“If I weren’t otherwise aware, I’d say you seek to claim involvement in my ascension, a boast that few can claim. While it is certain I was aided by love, it was not accomplished by it. Only I had the aptitude to see it done. Karsus crumbled under the weight of his doubt, where the God of Ambition soared.”

Sune tossed her hair over her shoulder and considered him once more. A perfect smile imbedding itself in her features. 

“Well then, for all future matters, I will avail you of my services. Whether that privilege involves a call to your bedside or perhaps a dissolvent of your pet’s leash remains to be seen.” With an ethereal sigh and a blooming column of flowers, the Goddess made her exit, leaving the God of Ambition once again alone. He stood like a statue in the empty halls of a temple to himself, natural emotion once as readily attainable as the power now in his command, burned away like so much else. To rage was a gift bestowed by the shackles of mortality. 

By the time Tav arrived back in the God of Ambition’s realm, he’d returned to his throne. The sense of his awaiting judgment enveloped the hall. The God had no doubt that Tav recognized the perturbed air about him and the lingering scent of chocolate accompanied by the tumble of sparse petals across the temple floor. If it pained her, her face showed no indication, further sending a jolt of exasperation through him. Tav bowed deeply, the God noted a slight sway in her posturing. 

“Did you enjoy your jaunt, my dear? You seem unwell; let me attend to you.”

“That is not necessary, my Lord.” Obstinate as ever, he could not assist her if she barred herself from him. He gathered the fibers of his Weave around himself. Combing through them for her essence, seeking to unlock that which she would not share. As he searched, Tav had begun to sway in earnest, suddenly dropping to her knees, her face turning to a pallid complexion.

The God of Ambition rose in time to prevent her full collapse. Providing her a soft landing, matching her in size to better assess her. A shudder ran through her, the pain clear across her features. In tandem, the God felt a surge of power course through him. As she stilled, the wave of agony seemingly over, he, too, felt the power ebb away from his grasp. With its absence swelled a wave of what another might have mistaken for shame, he shut his illuminated eyes tightly for a moment. Only to open them to Tav’s full attention, she seemed to be contemplating their closeness. Her body still filled with the tell-tale warmth his now lacked. She’d seemed unfazed by the discomfort of the moments before, practiced even…The God of Ambition spiraled further. 

“How long have you been withholding this?” Tav only looked up into his face with a silent resignation. Words rose like bile in the God's throat, forcing their way out without his consent. 

“Why do you do this to yourself, why do you seek to break your own heart? I could provide anything you desire with the snap of my fingers. You need only ask and anything you wish will be yours. The man you loved could give you nothing but himself. My perfection now mirrors yours and still you refuse to see reason.  I could give you life eternal, if not in longevity then in renown. You cannot expect me to withstand your constant denial. You must understand no one knows you as I do. No one can love you as I love you.”

“Is that what this is?” There was no accusation in her tone, only a slow, matter-of-fact question.

The God warred with himself. Half of him desperate to reel back in the parts of himself he'd allowed to run rampant and the other previously silenced part, driven by a need for her to understand, for her to see…

“How could you say that?” The light in the God of Ambition's eyes burned like it would reduce Tav to ash. He stretched to his full height once again, towering over her. “If this is your attempt to suggest reclaiming mortality, you have sorely failed. You’ve only served to make me despise him further; he was nothing, and yet he keeps you from me. He did not deserve you. His only means of protecting you required his death.”

Tears gathered in the corners of Tav’s eyes, glimmering in the light of the God of Ambition’s divinity. The God quieted his voice like the weight of his words would shatter them both.

“I know you love me, but just for a moment… prove it.”

“Where you go, I go, my lord, as ever, driven by my heart which you occupy. What else could you want from me, what would you have me do? I needn't prove it. You already know.”

“Then why can't I feel it?”

The silence that followed echoed through the columns of the temple like they, too, sought an answer. An age seemed to pass before the God of Ambition mastered himself again. With a swipe of his hand, a soft, glittering fog enveloped his Chosen. The vast, unending hurt and confusion that pooled in her eyes began to flow from her face. Her face took on a soft, hazy-like quality as she smiled softly like she was recalling a pleasant memory. The mist dissipated as quickly as it had arrived, leaving his Chosen swaying gently in the middle of the floor. Her eyes soon refocused as she looked up into her God’s face.

“Did you enjoy your jaunt, my dear?”

“Of course, my lord, the diplomatic efforts were a success. Repairs on the temple have already begun with talks of another wing in the works.”

“As ever, you’ve represented the faith with the utmost grace, as I knew you would. You must have tired from your journey. Rest, and I will call on you again.” He watched as she stepped back into the newly summoned portal. For a moment, she gleamed in the light of his Weave, and then she was gone.

He examined the space she’d occupied only seconds ago, once again twirling the fated chain between his fingers. He clenched his fist and placed it carefully on the floor of the temple. From his opened hand, an illusionary Tav rose from the floor. She dusted her road-worn robe off and looked up at him curiously, a smile dancing at the corner of her mouth like they were sharing a joke. She walked towards him, arms outstretched. Her stride lightened by the absence of any chain and emanating a warmth she’d had for a man who wasn’t a God.

“Gale.” She whispered.

____________________________________

[a-forest-in-her-bones]

On Vax’ildan and the Raven Queen

I’ve seen some takes on the Raven Queen lately and I wanted to add my 2 cents, specifically when it comes to Vax and his situation. A lot of people have talked about how Vax being the Raven Queen’s Champion is unfair. Let’s unpack that. (This ended up way longer than I expected, oops! Hopefully it’s coherent)

(SPOILERS for those who haven’t finished Campaign 1 or have only watched TLOVM)

Vex dies in the Sunken Tomb. There was a trap, Percy accidentally triggered it, Vex died. Kashaw starts the ritual to bring her back, and when it’s Vax’s turn to make an appeal or an offering, he angrily tells the Raven Queen to take him instead. I think that Vax expected to die in this moment, if it meant Vex would live, he’s willing to pay that price. Matt has Liam roll a persuasion check for this part of the ritual, and he doesn’t roll very high, maybe an 11 if I remember right. But it seems to be enough. The ritual succeeds, Vex is alive, and so is Vax. The Raven Queen does not take his life in trade for his sister’s. 

Later, when Vax has decided to wear the armor (at the insistence of his friends, he had initially told Vex that she could wear it), we see him start to learn more about the Raven Queen and her principles. He had already shown interest in divinity before this, learning about Saranrae from Pike and even choosing to wear an emblem of the Everlight when Vox Machina fought the Briarwoods in Whitestone. Those interests seem to find a focus after the Sunken Tomb. We see him take it upon himself to honor the dead in Westruun, unprompted. When he bursts out of Umbrasyl’s side, Liam says that Vax emerges as a Paladin of the Raven Queen. As he falls he prays, “if you have any wings to lend me, now is the time” and that prayer is answered in the form of Grog polymorphed as a giant eagle. 

As Vax continues on this path, and even speaks to the Raven Queen in her temple, we see her ask if he is willing to accept the position of Champion, and he says yes. He continues to serve her, and spends time in the temple built in Whitestone. In game terms he takes more levels in Paladin, uncoerced. We as the audience learn more about her, how she is a representation of the natural order of life and death. She is not evil, she is not kindly, but, as she says in The Legend of Vox Machina, “we must safeguard that beautiful moment when the soul transitions to a new purpose.” Death is scary, of course it is, and so is the Raven Queen, but she is not vindictive or greedy, she does not speed along the deaths of mortals. She stands at the gate, and ensures that souls pass through safely. We see she is sad, lonely, and perhaps a bit selfish in her wish for Vax to be her companion. She is an oddity among the gods, having once been mortal, and what is more symptomatic of mortality than loneliness, than longing for connection? She is imperfect, and complex.

When Vax dies during the fight with the Kraken, she does not cling to him or prevent him from returning when his friends bring him back. The magic used is benevolent, born of love, and there is a body for Vax to return to, and perhaps she sees that his work is not yet done on Exandria. Vax lives, and the Raven Queen does not take his sister’s life as trade.

But then there is the first confrontation with Vecna. Both Vex and Vax die in this fight, but Vex has a body to return to, and she is quickly revived. But Vax’s physical body has been turned to ash. Vax is dead, and his friends can’t bring him back this time. He is in the Raven Queen’s hands, and she has every right to keep him. She tells him that he has earned his eternal rest. But he refuses. He wants to help his friends face this evil, he tells the Raven Queen what they’re facing, a lich who seeks to become a god, a defiance against the Raven Queen. She sees that he is determined to protect the ones he loves, endlessly dedicated, and she approaches him without her mask. Vax sees her loneliness, she expresses her desire for company. Terms are set, and she allows him to return to see this through. Vax still does not have a mortal body. When he returns he is not alive, he is a revenant, cold to the touch, heartbeat very slow. When he is “killed” in this state his form once again crumbles to ash, but the Raven Queen allows him to return until his task is finished. He knows that his time is limited. He knows that if he and his friends, his chosen family, defeat Vecna, he has to leave. Vax knows this, and he continues anyway. He comforts Vex and Keyleth, he seems to have accepted the fate laid out before him, even if they haven’t. He is already dead, and that’s Vecna’s fault. Now he has more time to say goodbye, and that’s the Raven Queen’s gift. 

When Vecna is sealed and his family is safe, the Raven Queen arrives to take him away. He says his goodbyes, gives Vox Machina a smile, and leaves this life with the Raven Queen, to serve as her Champion. It feels unfair. In many ways it is. Having experienced this myself I know that it feels painful and terrifying to be left behind when someone you love dies. But that does not make death itself evil, or selfish, or cruel, it just is. 

Vax is now divine as the Raven Queen’s Champion. He has Become a being that will last forever. He shepherds souls to the eternal rest he rejected. He sends ravens to Keyleth, to remind her he loves her, and that’s just as forever as he is. 

He appears on Exandria to save her life, and is captured by Ludinus Daleth. Used, tortured, though I doubt he regrets his decision. Vax has shown time and time again in his life and death that he is always willing to sacrifice for the people he loves. The Raven Queen mourns behind the Divine Gate, unable to help her beloved, selfless, beautiful Champion in this time of great pain. Every temple to the Raven Queen in all her worldwide iterations mourns with her. She does what she can. She sends a vision to people who could help him. Shows her Champion’s suffering, her own wordless plea for help, for someone to come to his aid. And perhaps they will. She hopes they will.

I hope they will too! Vax is having a bad time right now. Bell’s Hells, save my raven boy! I guess what I’m trying to say is that I don’t think that Vax resents the Raven Queen for how things turned out. I’m sure Vex and Keyleth and others of Vox Machina do, but they are the living left behind, it’s to be expected. Vax made the choices that led him to his role as the Raven Queen’s Champion. Obviously along the way, some of his choices were limited, or he felt that they were, but that was ultimately the hand Fate had dealt him. And I’m sure Vax wanted to live, to grow old and be there to see his family grow. But that was taken from him when Vecna killed him. Not when he chose to be the Raven Queen’s Champion.   

[justanotherthrowaway1950]

Sometimes I think the fandom forgets that Azula being an imperialist and Azula being a questionable sister are not really the same thing, even though they're connected a bit.

Azula can try her best to be a good sister, and she does try in Book 3, but she's imperialist who doesn't really get why Zuko is conflicted on the fire nation. She doesn't get why it isn't a good thing for Zuko to be back home or why Zuko being separated from Iroh is bad (look, I don't like Iroh, but he's still the best adult in Zuko's life by a mile).

Meanwhile, Azula not being an imperialist doesn't necessarily mean she'll be a good sister. Plus, there is a good possibility she'd end up fighting against Zuko anyway as an anti-imperialist (it completely ruins the point of Azula being the villain but it would make a good AU I think).

Agreed. Azula being a toxic/abusive sister and her being a genocidal imperialist and colonizer are related, but not the same. If she wasn't a genocidal imperialist and colonizer, she would still be a toxic sibling at best due to her superiority and inferiority complexes. Sticking with the franchise, Lin Beifong and Suyin Beifong are a good example of good people with a terrible sibling relationship. And if she was a relatively well-adjusted person when it came to her personal relationships and socialization, she would essentially be a female pre-redemption Iroh: a "kind" monster.

As to why people conflate Azula being a toxic/abusive sister and her being a genocidal imperialist and colonizer, I think it is because the show/franchise has a mostly Western audience, and so they tend to focus on and empathize more with Zuko's struggles to overcome his indoctrination and abusive family than the rest of the Gaang dealing with the consequences of imperialism, colonization, and genocide.

Other people have discussed this phenomena at length, but a lot of fan works and discourse has Zuko-based morality where if you are kind to him or help him, you have always been a good person or been redeemed and have completely worked through your indoctrination, even if that is not true or never really seen on screen or on panel (ex. Show!Ursa, pre-redemption Iroh, Mai, and Ty Lee.).

Though to be fair, the franchise encourages this type of thinking considering the Yang comics focus more on Zuko's personal drama than his regime's most important task, de-Sozinification, and Azula's solo comic makes so that her biggest issue is her refusal to accept and take accountability for hurting her loved ones due to her ego and pride instead of being a die-hard Sozinist.

[manawari]

Popstar!Hae-in × Rockstar!Jin-woo

Hae-in wearing those colorful/bright outfits while Jin-woo is— well. . . Black.

Both have been in the industry for a long time. Jin-woo writes his own songs and Hae-in does as well, though she occasionally lets her closest friends help, especially when it comes to songs that have a romantic touch on them.

When her manager, Woo Jin-chul, suggests that she should put a "different vibe" on her songs, adding that it will attract new audience. Hae-in spends half of the day contemplating on how to make use of her manager's suggestion. That is until a particular song blares in the tv; it captures Hae-in's attention and she turns to see a music video, performed by none other than Sung Jin-woo. A rockstar with an alluring rhythm and eloquent lyrics. Shock fills Hae-in's eyes, finding herself connected to the music like a magnetic force.

She sends a message to the rockstar. However, it took a few days as Jin-woo is on tour, and when he opens his socials, he sees a message from Cha Hae-in, the country's popstar sweetheart.

The popstar has spoken nice things about him and his songs. Jin-woo feels like he's reading an essay. Then, the message concluded with an invitation to meet up together.

He does meet up with her at the building where Hae-in is doing a photoshoot for her album. Jin-woo thinks he wouldn't be surrounded by any of his fans until several people go up and ask him for a picture. It takes a couple of minutes once Jin-woo is now free after Hae-in called his name. Although, she is embarrassed since she has kept him waiting, which Jin-woo dismisses and that he got a bit pressured as he had to interact with different people after his concerts.

Turns out, Hae-in wishes that he could teach her or introduce his ways to her. She also explains what her manager had suggested which is why she had chosen to reach out to him.

Jin-woo goes "yeah, sure, why not?" — after all, he's on a break anyway and won't mind showing a thing or two to the popstar. However, he does have doubts if Hae-in can succeed in trying some of his styles.

Hae-in tries. Other times she fails because her tone is unable to fit in the rhythm, so Jin-woo will have to adjust to fix it. Her voice isn't suitable for lowering and Jin-woo advices her to not force it and go with what she's most comfortable and just work on the emotions.

Her manager is the only person whom Hae-in tells about Jin-woo. Jin-chul is surprised, knowing how serious and reserved Jin-woo is; either way, he sends payment to the rockstar. Jin-woo returns the money to him right away since what he does isn't a work.

Fans are impressed with the new releases. As said, the songs manage to garner new fans as well. Hae-in is happy, yet doesn't reveal her "secrets" as to protect Jin-woo's privacy.

Jin-woo congratulates her with the success and Hae-in wants to treat him for a meal.

Basically, they support each other despite their major differences. Jin-woo listens to Hae-in's songs secretly even though it's not his cup of tea, but enjoys it, especially with the new ones.

While Hae-in is shown in numerous clothing and accessories, Jin-woo refuses to even let the stylists do his hair. The only styles he allows the stylists will do are parting his hair from right, left, or to the middle; sometimes he accepts having either side of his hair swept back.

Jin-woo likes it when Hae-in sends him her covers of his songs. He tries doing the same and Hae-in turns into a blushing mess.

Jin-woo having a small tattoo of Hae-in's name, tainted in her favorite colors instead of black, on the spot near his collarbone. His first plan was to put it on his inner wrist, but then he knows the public will notice it anyway.

Whenever Hae-in winks at the camera, Jin-woo blushes as he watches through his phone.

Hae-in takes Jin-woo shopping sometimes. The former doesn't even complain and it makes his manager, Yoo Jin-ho, "give full respect" to Hae-in.

Hae-in putting eyeliner on Jin-woo before his performance on stage ajegsugwhdge

[rachthepoet]

Matilda Analysis

A poignant narrative delving into themes of self-liberation, healing from past traumas, and a journey toward healthy love for the sake of oneself and nobody else. It's a testament to the resilience of the human spirit, delivered in an intimate and comforting atmosphere soundtracked by gentle instrumentation. This eloquent reminder to whoever needs to hear that it's never too late to seek the love you deserve and cultivate a life filled with joy and acceptance. Even if one must do so independently and abundantly.

The listener may not know the character of Matilda personally, but they know of her intuitively, anybody who can spare a few minutes to listen is invited in miraculously, as the song's configuration allows. And, what waits inside for those who venture? Harry sitting with his guitar, a concerned friend right as you need someone to be.

Here's a deep dive into Harry Styles' Matilda, from a poet.

Roald Dahl's 'Matilda' + Harry's Take

Roald Dahl (1916-1990) was a British novelist, short-story writer, poet, and screenwriter. He has composed many children's books, and has been bestowed the title of "one of the greatest storytellers for children of the 20th century". His knack was for writing children's books interlaced with rather dark, adult themes — like 'Matilda'.

If you didn't grow up with the book and/or haven't had the chance to read it, here is a summary for a bit more familiarity, which will lead to a more engaged discussion here! But, also, if you're familiar with the 1996 film, as many are, you should be just fine! As mentioned before, much of Dahl's works covered much darker themes. The children's book 'Matilda' speaks clearly of the following: emotional and physical abuse, tyranny, misogyny, scamming, attachment theory, and, the most obvious, child abuse and neglect.

In short, attachment theory believes that every child needs to form a relationship with at least one primary caregiver to develop, healthily, emotionally and socially. In 'Matilda', our main character lacks that primary caregiver until she meets Miss Honey. The impact of Miss Honey's warmth, care, and understanding on Matilda is so grand that trust is built (she reveals her telekinesis power to Miss Honey) and leads to a happy ending, as Matilda's attachment to Miss Honey wins over the weaker attachment of her parents — and Matilda moves in with Miss Honey, finding a loving and caring home/family at last.

Now it's time to circle it back to Harry's Matilda. I believe that Harry has taken on the role of Miss Honey as a complementary to the subject to whom he's disguised as quote-en-quote "Matilda" — a stylistic choice I have no doubt was heavily influenced by Dahl's tale. Not only is Harry a friend giving advice and refuge, but also a welcoming sense of care and a second home, which further ties into the third album's theme as a whole — debates of a house versus a home, and what home means to a person.

In the song Matilda, Harry alludes to similar situations, with direct connections to attachment theory and child abuse/neglect. As the audience solely, we don't know the specifics of the problem, but these are the main issues I grasp from the lyrics alone. Roald Dahl's Matilda, as told in the book, has much intellectual prowess — she's too smart, almost an adult in a child's body, most likely an effect of her circumstances' cause. Yet, set aside the knowledge of her adventurous nature and wits, there's no clear yes or no to answer if Matilda needs comfort. For she never cries, adamantly refusing to do so, and never seems to show weakness. She's too smart for that, after all. The single time she outright exhibits sadness about not feeling the love from her parents is when she's four and confiding in the librarian. I'm going somewhere, by the way, I promise you.

With Harry's Matilda in Matilda, lots of the same traits resurface. An adventurous spirit and a bright mind, but also the tendency to keep sucking it up and not letting one fall to tenderness, because it's been perceived in the brain as a weakness. None of what happened seemed wrong to her until a certain point. This is, apparently, no big deal, or so she says. Harry's Matilda speaks of her experiences like it's nothing at all, but it's everything. She's mighty like her fictional character namesake, so bright and lively that she can light up even the darkest days.

Upon a delicate, sadly playful melody of strings, Harry takes on the role of a friend but also a caregiver to show love to his character of Matilda. The Miss Honey, as alluded to before. In Matilda, Harry makes it a point to show Matilda the love she never received from those who should've given it freely. He expresses that, while none of this is his business, he's been thinking about it in concern. He tells her that she can start a family that will love her, will care for her, and there's nothing to be sorry for. With a wide, bright smile and a sharp mind, Matilda, you can let it go, and you don't have to be sorry for doing so. Let us show you what healthy love feels like.

Lyric Pull Apart

[VERSE 1] You were riding your bike to the sound of "It's No Big Deal" And you're trying to lift off the ground on those old two wheels Nothing 'bout the way you were treated ever seemed especially alarming till now So you tie up your hair and you smile like it's no big deal

You were riding your bike to the sound of "It's No Big Deal" / And you're trying to lift off the ground on those old two wheels: Here a little scene is set, and provides the listener with so much context and information. It's an idyllic childhood moment to picture, riding a bike, but there are cracks already. Cracks in a carefree childhood, cracks in what should've been. The line to the sound of "It's No Big Deal" had people frantically searching for a song to connect, but, from the language used, I never thought of it that way. Rather, it's the soundtrack of dismissiveness, instigated by those Matilda is surrounded with. There isn't a soundtrack of laughter or encouragement, but rather a shrug. It's in the frame of something heard, not something spoken, or, extending, something felt. To the details, the image of the bike is given as those old two wheels — tired, worn, maybe even inadequate. Strong symbolism there.

Then, trying to lift off the ground gives many implications and layered feelings. There's the literal, with a kid trying to play about and do cool tricks, alone on their old bike, maybe dangerous tricks, leaning into the absent parental presence, and maybe seeking attention. There's the symbolic, the imaginative, the evoking of childhood nostalgia and yearning. There's the metaphorical, to fly, rising above where they are stuck, an ache to escape.

Nothing 'bout the way you were treated ever seemed especially alarming till now / So you tie up your hair and you smile like it's no big deal: Those who've experienced trauma may feel or are told that their mistreatment is normal, and/or they shouldn't be the ones to complain because others have it worse. Therefore, they won't speak out because their minds have been conditioned that their issues are nothing to speak of. An internalization. But, as distance and time are gained away from the situation, realization becomes stronger than internalization.

Then, So you tie up your hair and you smile like it's no big deal curates a heartbreaking image of Matilda, self-sufficient and positive because she had to be, tying up her hair with a smile because she never saw the way she was treated as anything but status quo. It's a tragic echoing of the first line of the verse and also parallels Dahl's Matilda with the ribbon in her hair. It relates to the idea of putting on a mask, covering something up by pretending like everything is fine. Matilda, maybe, doesn't want to burden him with her problems and repeats rehearsed mantras in place of it. But, he sees straight through this, and the speaker assures Matilda that she doesn't have to hide, for he's there to listen and care.

And then we get another heartbreaking image, of Matilda as self-sufficient and positive, tying up her hair with a smile because she never saw the way she was treated as anything but normal, and a tragic echo of the first line, where she smiles “like it’s no big deal” - because it’s all she’s heard, the sound of her parents saying it’s no big deal, and she believes them.

[CHORUS] You can let it go You can throw a party full of everyone you know And not invite your family 'cause they never showed you love You don't have to be sorry for leavin' and growin' up, mmm

But the chorus is telling Matilda directly: you can let it go. It's so comforting and beautiful. He is reassuring the character of Matilda that she can drop the smile and acknowledge the inevitable pain caused (see verse 2), and then let it go and let herself grow. It's a gentle, validating way of saying that she didn't deserve the pain back then and doesn't deserve to hold onto it now. The speaker suggests that Matilda, and by extension the listener, has the power to create a new life for herself — one filled with people who have genuine care for her and those who provide the love that has been missing. Attachment theory.

You can throw a party full of everyone you know and not invite your family 'cause they never showed you symbolizes a break from the past and the forging of a new path defined by one's autonomy. Her family, the site of all of this complication and guilt and hurt, whom she now acknowledges caused her pain and never showed her the love she deserved. But now she can go out and seek that love. A reminder to Matilda that she can seek happiness elsewhere and build a chosen family based on love and respect.

Then, the ending line, You don't have to be sorry for leavin' and growin' up, is so important. When trying to extract oneself from an abusive environment, the blame will be twisted and put on the victim. They might try and make Matilda a stranger as a repercussion for her spreading her wings and thriving in the absence of their negative influence. And, here, the speaker is reassuring Matilda that you don't have to feel sorry for leaving and growing up. And, the language choice is interesting, for saying growing up akins it automatically to something natural, something that's bound to happen. Something you shouldn't feel guilty over. He says to Matilda that she should never feel apologetic for her growth.

[VERSE 2] Matilda, you talk of the pain like it's all alright But I know that you feel like a piece of you's dead inside You showed me a power that is strong enough to bring sun to the darkest days It's none of my business, but it's just been on my mind

Matilda, you talk of the pain like it's all alright / But I know you feel like a piece of you's dead inside: This is the only time within the song that there's a direct address to Matilda, although there's an underlying assumption that the song is being spoken to her throughout. This direct address serves a purpose though, as I believe it amplifies the words that follow it, you talk of the pain like it's all alright. While verse 1 framed Matilda as a child, this verse (verse 2) frames Matilda as an adult. She is doing the same thing, the same coping mechanisms, that were instilled in her when she was a child — "it's no big deal" and "it's all alright".

Closely followed by but I know that you feel like a piece of you's dead inside is where the speaker, in one of the few lines in the song to reference an "I", acknowledges Matilda's pain for her. He makes it known that he can see the pain that she's in, even as she tries to dismiss it. It also acknowledges a major recognition of the loss of self due to this past trauma and pain.

You showed me a power that is strong enough to bring sun to the darkest days: This line is just so gorgeous. I have such love in my heart for it. And I feel like many overlook the intention with the word choice, which lends to its touching nature. Choosing the words you showed me a power versus you are the sunshine in the darkest days (or something along those lines) changes the meaning, and makes more of a splash. The meaning shifts from you are sunshine, you are goodness, you deserve to be loved — which is not without its own lovely connotation, of course — to being around you, you radiate this energy and you can teach other people how to love.

In companionship to what's been told about Matilda, to imply that she has this power to bring the sun to the darkest days, to teach someone how to find the sun in their darkest days when she has experienced dark days... it's beautiful. And it's so important to notice that detailed difference and reiterates the notion that as sad of a song as Matilda is, it's also incredibly empowering.

It's none of my business, but it's just been on my mind: And then, the speaker takes a step back. It's not about his experience, and he acknowledges that separation, but does not withdraw his care or concern. It's none of my business is a delicate way to respect Matilda's boundaries regarding her past and the choice of what her relationships look like. He doesn't want to tell Matilda what to do and deny her agency, for then he would become just another one of the people who mistreat her. But it's just been on my mind illustrates the care of the speaker once more, a complement to what precedes it and to the song entirely.

"It's a weird one, because with something like this, it's like, 'I want to give you something, I want to support you in some way, but it's not necessarily my place to make it about me because it's not my experience.' Sometimes it's just about listening. I hope that's what I did here. If nothing else, it just says, 'I was listening to you'." — Harry Styles

[CHORUS ADD ON VARIATION 1] You can let it go You can throw a party full of everyone you know And not invite your family 'cause they never showed you love You don't have to be sorry for leavin' and growin' up You can see the world, following the seasons Anywhere you go, you don't need a reason 'Cause they never showed you love You don't have to be sorry for doin' it on your own

This is the first variation on and second iteration of the chorus, and it hits on the same themes as the first iteration. The first new line is You can see the world, following the seasons. Matilda can leave, not just her family but where she's from, and she still doesn't owe her family justification or reasons. The latter comes from the following anywhere you go, you don't need a reason. The sentiment is continued by the line you don't have to be sorry for doin' it on your own which is the repeated parallel to the previous you don't have to be sorry for leavin' and growin' up. It's so good. In one sense, it applies to the lines immediately preceding it — you don't have to be sorry for traveling and seeing the world on your own. Yet, because of the repetition, there's this parallel created that also refers to growing up. Matilda doesn't have to be sorry for growing up on her own. A grand acknowledgment that Matilda raised herself, and that comes with both sorrow and pride. The sorrow that she had to raise herself alone, but the pride that she is who she is as an adult because of herself.

[BRIDGE] You're just in time, make your tea and your toast You framed all your posters and dyed your clothes, ooh You don't have to go You don't have to go home Oh, there's a long way to go I don't believe time will change your mind In other words, I know they won't hurt you anymore As long as you can let them go

This whole ballad is truly a tour de force, but the bridge is the one to knock me off my feet every time. Much like Harry has done for the listeners with 'Harry's House', the speaker invites Matilda into his home. In the song's case, both literally and metaphorically.

You're just in time, make your tea and your toast: Tea and toast is such a cozy and homey image, and indicates this welcoming, specificity in welcoming into routines, like a fresh pot of tea and a nice piece of toast in the middle of the afternoon. There's no push or rush, as indicated with the you're just in time, as it was and will always be based upon Matilda's timeline. It's a sense of found family and a safe place to land after she's previously seen the world, followed the seasons, and all that. Welcome home, welcome to the party, welcome to the place where you can be you without begging for the allowance to do so.

You framed all your posters and dyed your clothes: I think this is a beautiful way to signify that somebody grew, focusing on the smaller details. But, additionally, there's a full circle moment, calling back to childhood — experiencing the small joys she never had the chance to, as her childhood was spent in a survival state. You framed all your posters and made this new house a home with favorite things from your childhood, now with an added sense of sophistication that was missing previously. You dyed your clothes, changing them to better fit a new stage of life. Parts of Matilda's childhood can be brought into adulthood with her, and reinvented to be rid of the negative connotations that may still be attached. You can let it go.

You don't have to go / You don't have to go home: The speaker reintroduces himself in the song to speak and bring more reassurance to Matilda, with nurturing and welcoming at the forefront. You don't have to go away from where we've invited you, Matilda, with your favorite teas and the way you like your toast, you don't have to go away from this place of people who love you for you. You don't have to go home reminds Matilda that she doesn't have to go back to the people and place she cut ties with, and that's okay. the use of the word home has intrigued me for quite a while, but I think it indicates that Matilda is still presently on the journey to let go of her past.

Oh, there's a long way to go / I don't believe time will change your mind / In other words, I know they won't hurt you anymore / As long as you can let them go: These last lines of the bridge importantly acknowledge the journey — not just of life, and not just the growing up and traveling and exploring — of healing. It's a bittersweet moment here, gently saying there's a long way to go. It isn't solved, it isn't over — for nothing ever is packaged up that neatly in reality. I don't believe time will change your mind, to me, is him saying that it won't be as simple as letting time fall between her and what happened. A lot of blood and tears is going to have to be shed to truly get to the point where it's not a constant background ache. Leading into, I know they won't hurt you anymore as long as you can let them go. Matilda, you need to give yourself permission to let this all go, both the situation and the facade you've been putting on. Let yourself feel, then let it go.

[CHORUS ADD ON VARIATION 2] You can let it go You can throw a party full of everyone you know You can start a family who will always show you love You don't have to be sorry for doin' it on your own You can let it go You can throw a party full of everyone you know You can start a family who will always show you love You don't have to be sorry, no

The shift in the final chorus can be undetectable if the listener isn't paying attention. But, once it's caught, it's impossible to miss again. This is a second variation of the chorus, on its third iteration. In the earlier verse of the chorus, the third line was And not invite your family 'cause they never showed you love. But, after Matilda has worked to let them go, it evolves to You can start a family who will always show you love — highlighting the beauty of found family, a family of choice. And with this evolution in the chorus, the meaning of doin' it on your own has changed, because rather than a reference to growing up or leaving and traveling, but starting a family, one who will love you, and Matilda has done it with her own autonomy. It's the next step on the road to healing, and there's always this reassurance that Matilda can do this on her own. He gives the power back to her and puts it in her palms, for she is strong and she is resilient.

Therefore, the whole message, the thesis statement of the song, lies in the final line: you don't have to be sorry. The song of Matilda is a conversation between her and the speaker, and in response to her unspoken guilt. In the various forms and layers, the repeated lyrics and parallels, context stacked on context, the listener — us, the spectators — is enveloped in the depth of Matilda and her journey. But, in that final line, all specificities and complexities are stripped, to simply conclude it all: you don't have to be sorry, let go of the guilt, and you can be happy.

Matilda left me reeling in a puddle of tears on the first listen, and my emotions are instigated with each listen after. Pieces that send me into a wave of emotions set off a green light, they'll always be my favorite. In a way, Harry has become our Ms. Honey in times we've felt like Matilda, gifted us a chosen family with those who bond over his music. Much like this song, beautiful and evocative it is.

A grand indicator of a great writer is the ability to write so deeply about experiences not necessarily connected to them and their own experience. The times where Harry is the 'outside looking in, narrator of other people's experiences' songwriter has always been something I admire, and the songs I find the most intriguing to study. There's a full narrative, and we are brought into the same emotions Matilda was experiencing at the moment, therefore fully enveloping us in the story. I don't know, you just feel it. And I love that you just feel it.

And he takes such care and consideration with this delicate story. He doesn't have to name them specifically or be overbearing with identifying details, but cleverly uses well-known themes of the Dahl children's book to explore feelings and show understanding. It's a warm song full of strength and bursting with love. A seldom promise to always be there and understanding to a friend who's felt alone and misunderstood in a time when they should've been heard. Making sure they know their power and the power of care and nurturing. And Harry, in Harry's House, will always show you love.

dedicated to this anon <3

Thank you for reading, you’re absolutely incredible! If there are any songs you’d like me to make an analysis of, please send your request to my inbox! along with any questions or insights you might have yourself!

[writtenbynath]

Can a hypnotist make you do things you don't want?

It's a complicated question and everyone always wants to ask it. In order to answer, you have to understand what hypnosis is and isn't.

It's not mind control. The hypnotized person doesn't accept everything the hypnotist says without question, and will not simply do whatever the hypnotist tells them. Following hypnotic suggestions is a skill that can be learned, and not everyone is good at it, which is why stage hypnotists spend so much time weeding and finding the talented people in the audience.

Hypnosis is a way to learn and quickly connect ideas together. You can learn to feel disgusted when you smell a cigarette. You can learn to connect happy thoughts to healthy food. You can learn to disconnect panic and anxiety from the things you fear.

An ethical hypnotist will tell you that you can always unlearn the things a hypnotist has taught you, and you can always refuse a suggestion. This is a skill that might require some practice, with the hypnotist or by yourself.

However, if a hypnotist plans on making you do something you don't really want to do, they may omit telling that you can refuse, or they may even tell you that you cannot refuse. Which is an idea you can connect in your head: hypnotist -> can't refuse.

Another thing an unethical hypnotist could do, is to make you forget things, or make you believe things that aren't true. He could try to make you believe he is your husband, and attempt to make love to you, for example. Or he could make you not feel anything, and then fondle you, and ask you to forget. He could make a trained soldier believe he is back on the battlefield and hand him a gun.

A really skeevy hypnotist I know would tell his subjects "I'm always right" which sounds ridiculous the first time you hear it, but if repeated enough times it becomes exceedingly difficult to disagree.

Whether these things actually work, depends on the skill of the hypnotist and the amount of trust and authority the subject believes the hypnotist has. Meeting a man on the street who hypnotizes you, is unlikely to be able to create the effects I describe above. But making several appointments with a trusted hypnotherapist might.

Fact is, too many people don't know that hypnosis is just a tool to quickly learn things. Too many people believe that hypnosis is some kind of mind control. And that belief strenghtens the hypnotists who might want to take advantage of others in their position.

Of course hypnokink can be consensual; it's a lot like rope in many respects. Once the scene has started, the bottom's ability to consent or revoke consent is impaired, so the top should stick very strictly to what was negotiated.

So, can a hypnotist make you do things you don't want? The truth is many people can make you do things you don't want. Your mother or your primary partner can probably make you do things you don't want. There are many social situations where people assume or coerce consent. Luckily, in most of those situations, the damage caused by ignoring consent is not very great. If someone in public touches your shoulder without your consent, the damage is minimal. The reason why we insist on clear, uncoerced consent in kink, is because we take risks that could cause far more damage than in vanilla life.

The risks when doing kink, can range from physical injuries to psychological trauma, including rape and death, because we don't just play with dangerous tools, but also with power dynamics, heplessness, humiliation and sex. No matter how many safety precautions we take, only you can judge whether you can still take more, and there are moments when that judgement is impaired, and we have to trust on our partner(s) or spotter(s) to make sure we'll be ok. When we are that vulnerable, that's when clear uncoerced consent really matters.

Clear consent means that your partner explicitly says that they want to do this with you. Talking about what you want to do together and how you want to do this, makes sure that there is clear consent. Sure, maybe, kinda, and ok are not clear enough, enthusiasm is much easier to understand than half-hearted responses. But uncoerced consent, that's where things become complicated.

We live in a society where saying No is difficult because it's so often considered rude, especially if there are power dynamics at play. So, clearly making it known that you do not consent to this, is sometimes considered rude. Then, there is also persuasion, being friendly and charming in the hopes of getting consent, social pressure from friends or spectators who expect you to consent, and the fuzzy head we can get during a scene. All of that can lead to coerced consent.

So, can a hypnotist make you do things you don't want? Yes. And so can a rope top. And so can your friends when they're trying to encourage you. The trick with kink is to be risk aware. To be aware when consent may be slightly coerced, or slightly unclear, and to check in. To give your partner the safety and the space needed to revoke consent, and to end the risky shit as soon as possible when consent is revoked.

The trick is to be constantly aware that your partner can end whatever you're doing together, to immediately comply with that when it happens, in order to minimise any damage, and to understand that is for the best.

[the-broken-truth]

I love ❤️ the letter that Bruce sent to Dakota. It makes me think of what kind of letter Damien would write to her? Maybe to reaffirm his belief that Marissa kept Dakota out of spite and that her Uncle Tobias isn’t her father. And maybe a brief mention of the Hunter of Artemis stopping him from eliminating him. As Damian would say, to get rid of a few pests.

Broken Truth (Sitting on a boulder with arms folded): A Letter from Damian Wayne to Dakota Blake? I should have known you would be the one who requested this time - you did make a comment about it. Considering Damian's Relationship with Dakota, more like lack thereof... Very well, I can weave these words. Let's get started.

Annoyed was not fit enough word to describe how Dakota Blake felt as a result of dealing with the Wayne Family for the past few weeks; she was completely exhausted and she just wanted to take one of her arrows and shoot both Bruce and his scion in the knees. Damn, she was starting to sound like a Whiterun Guard when the Dragonborn passes him. For the past few weeks, Dakota has been attempting to go about her life ever since she received that letter from Bruce telling her about all the plans he was putting into place to make her take his name and live under his room - sure, he was rich and she did share DNA with him, however she didn't need him before and she didn't need him now that her life was together; hell, she didn't even want him to interfere with her life - this was getting out of hand and she didn't know what to do.

About one week after receiving the letter from Bruce, Dakota was going to work when an unknown man jogged up to her, pulled out a microphone, and started asking her personal questions: How does it feel to be related to Bruce Wayne? Why won't you accept Bruce as her only father figure? Why was she refusing to take up the Wayne Name as her surname? Dakota was confused as to how this strange man knew so much about her when she got a call from her best friend who informed her that the day Bruce first appeared before Dakota, someone from the Gotham Globe followed him and took a picture of them and someone called Bruce and asked about his relationship to Dakota - instead of refusing to tell them anything, Bruce offered an interview where all questions would be answered. Dakota then opened the link her friend had sent her regarding the interview and her blood boiled once again.

Bruce sat across from the interviewer who repersented the Gotham Globe and introduced Bruce to the audience and listeners before thanking Bruce for doing this interview before asking the first question: Who is the girl in the photo and what connection did she have to Bruce? Bruce inhaled and exhaled before he presented his answer: "That girl is Dakota Blake & she happens to be my daughter, my only biological daughter and she happens to be older than my son, Damian Wayne.". Dakota's blood began boiling over as she continued to watch the interview - Bruce was working everything that made her mother and family look like they were villains; acussing them of keeping Dakota away from him on purpose and telling them that Dakota refused to acknowledge him as her father. Dakota couldn't watch anymore and turned off the interview before going to work. Everything was weird there too because it would have seemed that everyone knew who she really was now and they were trying to kiss up to her in order to get closer to the father she never wanted. She needed a break.

During her break, Dakota went to the break room when she noticed she forgot to charge her phone that night - she was far too tired after dealing with her other job to remember to put it on its charger; good thing she remembered she brought her power bank with it and it was in her satchel which was in her locker. She opened her locker and looked wide eyed at the sight of a letter placed neatly on her satchel - where the hell did that letter come from? Who wrote it and how did they get into her locker in the first place to put it there? Dakota placed her phone in her pocket and picked up the letter and opened it before reading it - the first word gave the identity of the responsible party instantly. She sneered.

Sister,

You are too stubborn for your own good, but then again, you are the Eldest of the Wayne Heirs and we are indeed a rather stubborn collection, therefore, I suppose it's just how we are made; I cannot blame you for acting upon your genetic code. However, you are beings tubborn for all the wrong reasons and you know this well, Sister. You're defending the family that kept you away from your real father and kept you from experiencing a life of wealth and happiness. The family you dare to defend made you call your Eldest Uncle 'Dada' when that was meant to be Father's Right; they had not right to take that away from him.

Your mother, your aunts, and your uncles are doing nothing to defend you - they are hindering your progress by refusing to hand you over to your father, where you truly belong, and you are making it no better by standing with them. Just as you did in the court case. I don't know what that judge was thinking allowing you to speak when have clearly been indoctrinated to believe your family knows what is best for you - if they truly did, you would have been here already. Not to mention, they deal with criminals.

You thought we wouldn't find out about that? About the Hunters of Artemis - those thugs that are apparently sworn to protect your family for some reason. Gotham belongs to the Bat Family and this is commonly knowledge, just why do those imposters think they are standing against them? I tried to get rid of your Uncle's Influence on you and I was stopped by one of the Hunters - the pest got away from me but that won't stop me, Dakota. You are going to come home to us if it's the last thing I do.

You need to release a few things, Dakota: You are a Wayne Heir - those with that fate usually reside at Wane Manor. Tobias Blake is not your father, he is merely a man who took that mantle for himself after keeping you away from our father. You are not supposed to defend them - come to your sense and awaken from the dream you find yourself in or I shall be the alarm clock to awaken you myself. The next court case is coming up and I am going to be there - you will renouce your ties to the Blake Family and come home with us. Should you continue to be stubborn... well... you shall see the side of my I inherited from my mother.

Make the right choice, Elder Sister. Until next time we meet.

~Signed, Damian Wayne - Your Younger Sibling

[boundbysand]

never so much blood pooled through my veins (scarian)

i'm getting very excited about my overly convoluted and long scarian au so i decided to post a blurb of a part that i wrote! reblogs and any other support are always welcomed <3 fic below the cut!

Grian has had a front row seat to illusions of others' deaths for years. He's grown used to it, come to accept how fleeting his connections with people are due to it, and is relieved to simply still be alive. His world begins to shift when he meets Scar, and subsequently starts realizing the extent of his visions.

cw for violence/light gore (not present here) & derealization (somewhat present here) <;- subject to change/additions

The scarred man is in the store again.

Grian thinks he should be used to it by now, but he isn't. He doesn't know when or if he ever will be.

The man, with a tilted grin and fluffy hair, his skin littered in scars of varying sizes, has been coming into Grian's bookstore multiple times a week for about a month now. He always checks out a different book, oftentimes sitting in the shop to read even though he already paid to take it home. Grian's beginning to wonder how long it'll take him to breeze through the entirety of his inventory.

When Grian first saw him, he could only think that he was annoyingly pretty. He observed the man as he skimmed through titles, lightly running a finger across the spines until he found the one he wanted. He watched the man open the book and flip through the pages until the sight before him changed.

It was quick, ten seconds at most, but Grian watched the man die. He fell into a hole, deep and dark and seemingly unending, and when Grian leaned over the hole to see what happened, he was met with the undeniable view of the void. The man fell to his death into the vacuum of space.

Grian felt his wing twitch, and he was back in the store. The walls lined with books and plush sofas and chairs scattered around were the same as usual. The only difference was the man standing by one of the shelves, but he was there before. He was still alive.

A single shaky inhalation followed by a smooth breath out brought Grian from his daze. It was easy to shake off the visions nowadays. They still stung, and some of them still clung to him during bad nights or in his dreams, but they were commonplace enough for Grian to be able to brush them aside in the moment.

That had been weeks ago. Every time the man has come into the store, Grian has seen him die. It's different every time, never the exact same cause of death, but they all end the same way.

What's odd about this man in particular is that Grian is always somehow involved in his deaths. He sees the man die, and is always moving to stop it before it even happens. His lips form the shape of a name he has yet to be able to remember, his hands reach out in a feeble attempt to help, he feels like he's actually there when he dies.

Grian had long ago become accustomed to feeling like a constant audience to death, but being a participant seems to be exclusive to this man. It's unnerving, quite frankly, and the main reason Grian has yet to make conversation with his most frequent customer.

That, and Grian refuses to make a fool out of himself.

So he decides that he is content just observing, or at least that he has to be content this way. Visions this frequent and abnormal, however slightly, surely can’t mean anything good. Grian has gotten far enough in his life not challenging the rule of his existence or making it worse, and he’d be damned if some random guy with interesting scars changes that.

Unfortunately, Grian has always been a glutton for punishment.

-

thank you for reading!! i hope you enjoyed and im very grateful if you made it this far :) this is just the very beginning bit of a (seemingly very) lengthy au fic im working on rn in nonlinear order. i give no promises as to when im posting the actual fic, all i can say right now is eventually,,

[valkyrie1366669]

"I'd be willing to tell more, but not in front of an audience. I have a proposal for you, pet.”

“And that is what?” Gwynn’s tone was blunt but her sharpened gaze kept warning him to keep his distance. Little did she know the man was faced with the same gaze from two others.

“A simple one, I will tell you anything you wish to hear to the best of my knowledge. That way you can make a firm decision in your trust to me. Because, unlike Orin, you are calculating and patient. Someone I can trust, and an influential ally at your disposal." He continues talking with his hands to appear more welcoming.

"Keh, spoken like a true politician. And in return?" Gwynn's scoffs within her emotionless mask. She refused to let this weasel ingrate rile her up and have her react.

"A simple talk between old friends, for old's time's sake is the return. I simply ask for a dance. It is your birthday tonight after all. I bet your rattled brain doesn’t even remember it. 228 years young, pet. Regardless, our talk in private would be nothing more and nothing less. Unless you want it to be." His grin was like a charming cambion.

“Soldier you better fucking not take it.” Karlach sneers as Wyll was trying his best to hold his girlfriend back. He wasn’t sure who she was going to try to harm. Gods damn it! This was all confusing and a lot of information within the past few minutes. How the hells didn’t he see it!? He had met a Bhaalspawn before. The person he called friend was the reason for their damnation.

“He’s dead.” Astarion thinks to himself as his face has this look of disgust on it. If this cunt of a duke wasn’t dead before he Ascended, he’d put him in the kennels. Carve into his skin and make him suffer in agony. As he fucking knew Gortash was responsible for a chunk of Gwynn’s trauma. He also wasn’t the only one drawing that connection. Even Halsin was having a hard time remaining unphased. His grasp on his hip was tighter than normal, but he allowed it. This was stressful. The people beside them, who knows what they will do later with this information.

It was like talking to a devil in the flesh. Yet, there was no hint of malice in his voice. Not even deception in his body language- in fact it was inviting. Extending an arm of trust as an attempt to show the benefits of the potential renewal of their partnership. Equals for this divine plan she originally orchestrated. How she felt the inner rage of getting revenge on Orin. Damning Gwynnistri to this godsforsaken parasite. The connections draw more conclusions in her mind. Her dreams slowly made sense, and he was part of the core of it all. There was more to it, he just wasn't going to tell unless it was on his grounds.

Taking a deep inhale to keep her head in straight. Or even rip his off. “I’ll accept- if you give me something in return.”

“Gwynnistri!” Gale yelps a little when Astarion elbows him hard in the ribs.

“Shut the fuck up, Gale.” Her glare was like when the mother owlbear stared them down in the cave. She was not in the mood for anyone’s gods damn opinions at the moment.

“And I thought wizards had better manners.” Gortash sneers. “And what do you want in return?”

“A man like ya keeps records. What I want in return are Karlach’s blueprints.” This surprised everyone.

Enver mentally rolls his eyes. She “Seriously?” The Duke scoffs surprised. “I can’t provide the full ones. They are useless and she’s going to blow up if she doesn’t get back the hells. A helpless request.”

“Maybe for you. After all, you have a tendency to discard things that no longer benefit you.” Her venomous tone cuts deep. Not intending to offend Karlach, but mostly make the point. If they were close. Why the hells does she have a parasite in her head? Where on Chauntea’s earth was he?!

[eobarried]

i think that when we talk about earth 42 miles morales, there’s more important things to consider than just “is he a villain or a hero” and here’s why:

1. disregarding thematic elements, let’s look at things logically first. og miles and 42 miles diverge when the spider bites. that means that BOTH of them were accepted to visions academy (we see this in one of spot’s flashbacks to the spider, where it was about to bite 42 miles). 42 miles wouldn’t have been accepted to visions if his father had died already, bc it’s a boarding school and his mom would have wanted him to stay at home. at this point, they have a similar starting point

2. 42 miles attending visions (likely briefly), is important and thematic. visions academy, as a prestigious charter school focusing on academics, represents being a productive asset (being a good student, good employee, working WITH the system). it is presented by miles’s parents as opposite to uncle aaron, who disregards this traditional approach to success in a capitalist society.  actually, the fact that 42 miles was almost bitten while he was in school (as opposed to og miles, who was bitten while he was with his uncle aaron), thematically aligns 42 miles more with his father than his uncle aaron. this is important, because jefferson believes in the american dream and proving one’s self through merit. if 42 miles believes that, it means he has a different viewpoint than og miles, who believes that everyone is deserving of greatness.

3. stereotypes are important in this movie. let’s talk about miguel now. he specifically calls og miles an anomaly. an anomaly doesn’t mean a “universe breaking threat” - if you’ve read anything scp related, anomalies are just things that are strange. they don’t fit in or make sense within the universe. in this sense, the universe is the “canon” - the fact that miguel uses that word is a clue that what miles doesn’t fit into is not only the “storyline associated with spiderman” but also “the storyline associated with a young black man.”

4. when we look at og miles as a spider-person, the “storyline” he refuses to fit into has to do with loss and struggle. everyone around him says: you are spiderman. spiderman has to experience loss, trauma, and pain in order to become a better hero. so you do too. thematically, this connects to miles as a young black man. people around him (like his school counselor) assume that he has to have experienced hardship and struggled in order to fit a certain mold. it calls back to they stereotypes we have surrounding black stories: that in order for them to do well in front of white audiences, that there has to be pain and suffering and hardship and loss. og miles rejects this stereotype and wants to “do his own thing” - tell an authentic story without reliance on pain and struggle. 

5. how does this connect to e42 miles? well, miguel says that 42 miles was supposed to be spiderman, not miles. that 42′s storyline is more stereotypical and fitting - both as a spiderman, but also as a young black man. this makes sense with what we see of him - he has lost his father, and had to drop out of a prestigious school to be with his mother. he was forced to grow up faster than miles - which is why he physically looks older (perhaps also referring to the fact that white people often overestimate the ages of black boys). even without becoming spiderman, his storyline is what a white audience would expect to see of a young black male protagonist. what miguel calls canon, we as audiences would call “stereotypical” “safe” or “expected.” these are stories we have seen over and over again (like spiderman) and that are familiar to us. they don’t make us question things. they don’t undermine our own beliefs and values. perhaps they present a sob story of a young man who was failed by the system (e42) or perhaps they’re the story of a young man who was able to pull himself up, and through effort and merit became what no one else thought he could be (og miles)

6. but, according to miguel’s logic, both miles have broken canon. og miles wasn’t supposed to have his story told in the first place. 42 miles was - but it hasn’t been. both miles have now broken canon, because neither of their stories are what they were supposed to be. we’ve seen the way in which miles broke canon - despite proving himself to be a competent spiderman, he’s still been rejected, breaking the mold of “young man who pulls himself up by earning himself a place in the american dream.” that can’t be his story, because it isn’t true - he didn’t pull himself up. he had a whole community of people - both spider and not - who helped him along the way. his story isn’t one of personal success, it’s a story about community.

7. and in order to solidify the themes surrounding these movies, that means that 42 miles has to have done something similar. but if 42 miles has similar beliefs to his father, that complicates things. if he believes that that a person’s worth is proven by merit, than he would resent miles for being bitten by his spider, because he knows that if he had that chance, he would have been just as good of a spiderman. and if he had been fated (or canon) to be bitten, then he would resent miles even more for taking that opportunity away from him. this is similar to visions academy - 42 miles won the lottery - he had luck. then he passed the entrance exam - he proved his merit. but circumstances meant he had to leave the school to take care of his mother, and he lost his chance to prove his worth to society. not only did he lose the opportunity to tell his story (he did not become spiderman, the movie isn’t “about” him), but in the world of the film, he’s unable to achieve greatness because not only was he unable to attend a prestigious school, but the community around him is now crime-ridden and crumbling because of his lack of opportunity.

8. miles would likely feel guilty about his opportunity, but also frustrated at the same time. why should their only be one spider between the two of them? why is there only one story that can be told? why is there only one version of the black experience that can be shared to a broader audience? why can’t he do both? 

9. what’s more important than 42 miles being a hero or a villain or whatever... is that he’s a person. he’s a kid, like og miles. he is miles - just like miles, he found someone that shouldn’t exist and immediately tied them to uncle aaron’s punching bag. yes, 42′s rope is stronger and his knots are tighter, but he’s still miles. and i think that hopefully, and i don’t know how everything will play out, but i really hope that through this story, 42 miles finds a way to understand and lift up his community on his own - in his own way. without the luck of a lottery or a spider bite. without a superhero swooping in to save the day. without having to prove himself through merit and claw himself out of a bad situation alone. but, like og miles - asking for help. admitting that he doesn’t know how to do these things, or fix his community. working together with those he loves to better the city that he loves. that - that’s what’s important about e42 miles. because he’s not just miles - he’s us. 

[kittflame]

Bittersweet History

Bittersweet History (3562 words) by KittFlame Chapters: 2/2 Fandom: Mortal Kombat (Video Games), Mortal Kombat - All Media Types Rating: Teen And Up Audiences Warnings: No Archive Warnings Apply Relationships: Hanzo Hasashi | Scorpion/Kuai Liang | Sub-Zero, Hanzo Hasashi | Scorpion & Kuai Liang | Sub-Zero, Frost & Kuai Liang | Sub-Zero Characters: Hanzo Hasashi | Scorpion, Kuai Liang | Sub-Zero, Frost (Mortal Kombat) Additional Tags: Denial of Feelings, fear of rejection, Hopeful Ending, Miscommunication, Implied/Referenced Child Abuse, Past Child Abuse, Implied/Referenced Character Death, Canon-Typical Violence, Near Death Experiences Series: Part 3 of SubScorp Summary: With a long history of violence behind him, Kuai Liang believed romance had no place in his life. Being raised in a clan of assassins and away from a nurturing home did nothing to help. His attempts to steer clear from it fail as Hanzo continued to worm his way into his life. The surge of emotions caused Kuai Liang to pull away, straining their friendship. Only when Hanzo's life is in danger does Kuai Liang realize the mistake he made.

Chapter 1:

In the time that the Lin Kuei and Shirai Ryu had become allied, their respective Grandmasters had to learn how to coexist at times. They had been working together for a year, and their clans’ alliance had been in effect for longer. Kuai Liang, having been the one to call for the alliance, had been a fool and asked for more. He respected Hanzo’s work ethic and itched for the chance to fight alongside the warrior. Upon acceptance, the two were inseparable when it counted.

Any meeting they had, Hanzo settled into. He was no longer wary of being on Lin Kuei grounds. The pyromancer was a perfect guest, despite some of the other clans’ remaining hesitance about his presence. While Kuai Liang handled the unease of his clan, his friend kept his head held high. He did not bat an eye at the skepticism thrown his way.

In their meetings with their fellow Earthrealm Defenders, the cryomancer always felt warmth by his side in the form of the yellow calf warrior. His initial confused glances about the matter went unnoticed.

To Kuai Liang, his efforts had paid off greatly. It was no surprise to him that the ex-spectre was a powerful and deathly loyal ally. The only shock had been that he’d not refused to join forces after Frost’s attack. Even more so when he discovered Kuai Liang had not thrown her out of the Lin Kuei. The matter had caused a rift between them. It was something that was quickly forgotten, with Hanzo realizing it was hardly his place to judge. Since that day, the two had drifted closer over time.

Sub-Zero had not known what it was like to fight so closely with another. Compatibility in Kombat was trained in him from a young age. The only difference was that there was nothing forcing the connection. It was a breath of fresh air. The only other time he’d felt it was with a long-lost fellow assassin. He enjoyed the chance to improve his skills.

With change came unfamiliarity. It tested Kuai Liang at times, but he had not backed out, although it had crossed his mind. It became a persistent thought the more they were in one another’s company. Hanzo began inviting him on missions and personal clan endeavors. The cryomancer was quick to understand that the tasks were well below their combined skill level. No comments were ever made; he simply assumed his friend had succumbed to boredom. Neither had any interest in waiting months for an appropriate job to present itself.

“They are dealing with the black dragon?” Kuai Liang asked in an attempt to understand their latest errand.

Hanzo only nodded, concentrating on their location and finding a vantage point. He was not talkative in his work, though his focus did not suffer from the few remarks.

Holding in a sigh, Sub-Zero continued to speak. “That is all it takes to catch your attention, Grandmaster Hasashi?”

The other man turned, an eyebrow raised in question. He’d not known if it was teasing or a childish complaint that he’d heard. He opened his mouth to ask, but movement caught his attention in his peripheral vision. His mouth snapped shut, the action hidden behind his mask.

One man was patrolling the grounds nearby. The sight of the armed man made the two warriors pause. He was a few feet in front of them, ignoring the height they had on him. There was no indication he’d heard them at all. Sub-Zero moved forward mindlessly, slipping onto the ground without a sound, and took out the man just as stealthily. His body was laid on the ground. The assassin looked on, paying no attention to the sensation of blood drying on his hands. Hanzo joined him and pulled him along to the entrance, nodding his thanks.

—

Things went on without issue, which was not a surprising fact for either man. They received more information about the Black Dragon during their time at the rundown building. While they had cleared out the base, they needed to contact the SF. Kuai Liang had offered what information he could and promised the rest in writing. It was something that would take priority another day. With their distance from any available transportation, the former spectre teleported them to the Lin Kuei Temple.

Upon their arrival, Hanzo had begun to shed as many blood-stained garments as was reasonable. There was no thought needed behind the action. He’d grown accustomed to unwinding in each other’s presence before returning to the Fire Gardens. Kuai Liang only watched, his own armour staying in place. Hasashi was used to Kuai Liang’s need for silence. Neither man was very talkative, regardless. He paid little mind to it, despite the uncharacteristic stillness.

The cryomancer found it hard to get out of his own head. Something deep in his mind unnerved him while he sat. His expression was blank as he stared at his friend, only his eyes following the movement. Brown eyes met his gaze, and Hanzo leaned in to wipe his red-stained face. Kuai Liang froze at the gesture. His friend was visibly comfortable with the touch, but it only worsened the dread he felt. Kuai Liang let him finish, hiding a grimace. He turned his eyes to the remaining blood splatter on the other’s armour as he moved away.

Hanzo caught on to the strange behaviour, as it had been long enough for neither to have spoken a word yet. “Kuai Liang?” He asked, worry evident in his voice.

The act only pushed the other man further into his spiral. His mind demanded an out. “I think it’s best you left.” He blurted it out as he moved to sit at his desk, needing the distance.

A frown crossed Hasashi’s features as he hovered over where Kuai Liang sat. “Surely you do not take me for a fool? What is the issue?”

The cryomancer’s agitation grew. He knew his silence had become petty, yet he could not force himself to speak. The longer Hanzo spoke and stood in his presence, the more sick he felt. The sweetness of his actions bittered in his mind in an instant. He remained stone-faced, acting as if he could not hear the other’s pleas. It crushed his heart to do so. The large wooden desk separating them was no longer enough. The pyromancer’s looming presence was only amplified by the furniture.

Hanzo scoffed in disbelief and withdrew from the desk. “Perhaps I misread our relationship. I’ll take my leave.” He had no energy to argue and was willing to accept the blame without a second thought. Back turned to the other, flames engulfed his form as he left.

Kuai Liang’s shoulders dropped, and he let out the breath he’d been holding. His behaviour was childish and pathetic for a man of his skill and importance. Poor emotional regulation was no excuse. He'd been raised better. Though he held some doubt about that fact given his childhood, or lack thereof. Despite the decades of freedom, the damage from the Lin Kuei had held on strong. That fact had become terribly uncomfortable to face with Frost entering his life. He’d never questioned it previously. Something had been dug up deep within his memories. Some faint image of Bi-Han as a young boy, begging him to stop fighting, haunted him. Why Frost’s fearful eyes had brought up such disturbed feelings was not immediately apparent to him.

He had a roof over his head and food in his stomach. He didn’t think he needed any more than that at the time. Frost had grown up with far less. She deserved more, and he intended to give her better than he’d gotten, even without much thought. Many days she’d lash out at him, expecting his generosity would end as it always had with others. Those moments had pulled sickening relatability out of the older cryomancer.

Sub-Zero had defended the Lin Kuei endlessly, even after he’d hunted all those who remained but himself. He preached that the Cyber Initiative was a fluke of the Lin Kuei’s principles. Sektor conspiring with Quan Chi over the Shirai Ryu’s extinction furthered that opinion. He fought hard for his clan's innocence despite it all, but Frost’s betrayal had been sobering. His explanation to Hanzo on the matter had not been well received initially.

The Shirai Ryu’s Grandmaster had taken the act as disrespect towards his lost family and clan. He was indifferent to the fact that an attempt was made on his life. Even more concerned that the Lin Kuei would continue to be dishonourable even when the man had little else to lose. Kuai Liang had argued still. There was nothing to gain from being deceitful. He knew for himself what it was like to be young and have your only home threatened. To live in a world where there was only praise as a response to violence. He’d seen himself in Frost and would not let her go disparaged. Years of building her trust were not to be cast aside so easily. 

Plenty of nights were spent worrying she’d run off over disagreements, and many more were scared she’d left for good. Kuai Liang had given her more patience than he had, but he persisted nonetheless. He’d lost those who’d done the same for him, and Frost had already lost more than enough.

Despite all of Hasashi’s hotheadedness, he still apologized. It had taken some harsh words that Kaui Liang was not terribly proud of, but it had gotten through to the other man. Beyond what could be considered selfishness, he was kind-hearted. The rare displays of that fact hung in the cryomancer’s head. Not always for the better. Dread pooling into his stomach grew worse each time. Yet a sick sense of yearning was felt. He was still not clear from it, even with Hanzo being gone from his space.

Needing to clear his head, he wrote his findings for General Blade. Drowning himself in his work being his best chance at easing the pent-up stress. He’d let the report linger on his desk to not be questioned for the prompt work. A distraction was all he needed.