#character is not actually suicidal

[castielsprostate]

breaking the sign in two by how hard im tapping it

[hellspawnmotel]

remember when I did this?

well I did more

[dykedvonte]

Curly not immediately punishing Jimmy for assaulting Anya is something I don’t think a lot of people are viewing in the complex context for Curly as the superior to both of them and closest confidante they had.

Like I am in no way saying he didn’t under react or fail Anya by not being harsh or direct with Jimmy but it really is the case that he really couldn’t. Imagine being stuck in such a confined space with very little areas to genuinely hold someone if they commit a crime. It’s not like this was an event that occurred before they departed or that they have easy communication with The Pony Express to ask for how to proceed when something like this arises. Not to mention, Jimmy’s relative power in relation to Anya as the co-pilot and second in command, he has the knowledge and access to do something to her had Curly directly punished him in this setting.

They were also Curly’s friends. It’s not just the case of him mediating something between his subordinates but people he is personally invested in don’t want to see spiral further in Anya’s case while also not wanting believe his friend go that bad in Jimmy’s actions. They were both suicidal and Curly putting Jimmy’s stability first is both out of bias but also the fact he’s aware at some level Jimmy is a danger to himself and others if not constantly placated. Combined with the fact he was in denial or just not piecing together what Anya said it’s hard to say what he buying time for and what he had treat as urgent. This isn’t even saying he doesn’t care about Anya but he’s not going jump to the worst conclusions about his friends even if part of him acknowledges the evidence saying so. It’s a complicated thing but he’s still human and needed to process it on top of trying to keep a ship that already took on a lot of water from further sinking, metaphorically.

I just personally think that while Curly failed Anya, it was a scenario where there wasn’t much he could do to the best thing by her safely and like Jimmy, we are underestimating what a good leader would do in a very fragile and tense situation like he was in. By the time he may have been ready and had a plan, things were much too late.

[shima-draws]

Still going through it emotionally btw. I've seen a lot of character death in anime but it's been a WHILE since I've seen one as brutal as Ace's, especially bc of Luffy's reaction to it. Character death isn't unusual but the trauma and PTSD that comes after it isn't really shown that often so Oda actually showing Luffy going through it is. Oof. That shit HURTS bro. And the fact that Luffy's immediate reaction is to just. Self destruct. To hurt himself and risk his own life?? Like it was never explicitly said but I could see the suicidal intent there and jesus CHRIST. Just sitting there watching him refuse to accept it and then mourn and grieve was absolutely brutal;; Not to mention the fact that like. We can see him having PTSD flashbacks. It was just written very well (too well bc I'm still a goddamn mess) and I gotta commend Oda even tho he's putting me through the fucking wringer

[ghelgheli]

Idk how to tell you this but it’s unreasonable to expect a novel written 3 decades ago to align with today’s understanding of representation and respect.

i think it's sleight of hand to suggest that the complaints many people (not just i!) have with sbb can be reduced to "representation and respect" rather than observations about the politics that informed its writing, but even if we grant this: why would anyone recommend a book that they agree is wildly inadequate by contemporary standards as first-line reading for lesbians? if there is such a failure to "align" with "today's understanding", what on earth makes it the go-to introductory text that it is so often shilled as? better to give it an honest elevator pitch—it is a semi-autobiographical historical document, with some interesting and compelling things to say but also with all the perspectival limitations that that entails, about one kind of lesbian experience in a few parts of the usa in one part of the 20th century.

[spaciebabie]

if you are someone like me who has trouble processing life events/mental health stuff create an oc. like. make a guy who's entire story is yours, who knows every inch of your suffering b/c they are you but maybe all their troubles stem from being in an intergalactic war with goob noobs or something. hurt them in terrible ways so that you dont hurt yourself.

[jawz]

i saw the tv glow is legitimately one of the stupidest, most tryhard movies i've ever seen in my entire life. absolute dogshit. and everyone is pretending it's the most lifechanging thing they've ever seen LOL give me a break! the gall to claim this is inspired by fucking DAVID LYNCH??? i can't

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[spacepunksupreme]

This 70s pulp fiction book I picked up off the street awhile ago that had cigarette ads in the middle printed on higher quality paper than the actual book lol

[tobythetrashyartist]

A scene from Chapter 6 of "Haunting My Own Skin," written by @kirii-kitten

Here's a few warnings for the fic, read the tags on ao3 and read at your own discretion:

TWs: Suicide, Major Character Death, Alcoholism

[akimojo]

i get so disappointed thinking about how close ff was to having another revolutionary female character with jill but they just had to fuck it up by taking away damn near all her plot relevance and screentime once her revenge arc finished 😭

[givehimthemedicine]

lumax as a premature relationship

first: I don't mean any of this like "the show shouldn't have done it". what I mean is that with lumax, ST is telling the story of a relationship whose flaw (if it can be summarized into just one) is that it happened too soon.

probably out of comparison to milkvan, and the delay of canon byler, lumax gets lauded as the wholesome ship based on true friendship that slowly blossomed into romance. but that's not accurate. Lucas is a good friend to Max, but Max isn't to Lucas, and it certainly wasn't slow.

even platonic lumax should've been a slow simmer but was a speed run

the newly-introduced Max has high walls, which suggests anyone who wants to get close to her will have to take a slow approach. but then before you know it, Lucas is just kinda. in there.

yes, it takes him most of the season to earn Max's trust, which sounds long, but isn't. the first time Lucas and Max ever spoke was Halloween, Wednesday. the arcade I think is Saturday, and the junkyard is the day after that? so she broaches the darkest subject in her life... 4 days after meeting him. with like. zero prompting. "that fog looks cool! btw my parents are divorced and..."

Max's walls are only so high because of how badly she wants to let someone in, so it's understandable that the right person could get in relatively fast. I have no problem with that trope. sucker, in fact. but opening up here was CRAZY for someone with huge trust issues:

you have to be careful who you confide in about abuse because if your confidant mishandles it so that your abuser finds out you told, things could get MUCH worse. she simply doesn't know Lucas well enough to know he won't accidentally put her in more danger (which actually he already did: by following her out of the arcade after she said not to, and again by showing up at her house).

this talk was moments before Max saw a demodog, meaning she's gone along with the supernatural story without any evidence. I'm not criticizing that; she's a kid who likes fantasy, wants friends really bad, and isn't above playing make-believe in order to be included. what bothers me is she confided in Lucas about her abuse BEFORE seeing a shred of proof this entire outing wasn't the elaborate prank she feared it was. in the infinitely more realistic scenario that these boys are just messing with her, and will ditch her after they've had their laugh, this could so easily have led to a much darker situation at home.

the timing of that conversation was so objectively, stupidly unsafe that I'd call it bad writing if it was an isolated incident. but, self-preservation instincts so terrible they can sometimes be better explained as elf-sabotage - that's just classic Max.

romantic lumax seemed kind of forced because as a new kid in town, all Max wanted was friendship

the snow ball is about a month after everything else. Max and Lucas don't seem to be a couple yet. it doesn't even look like they're dates. so to kiss him suddenly felt like another jump way ahead. he sure looked surprised.

I guess a month is a while when you're 13, but the romantic aspect felt rushed to me because the whole season is full of indications that Max only wanted friendship. and that's made super clear by her constant focus on group friendship. her dialogue throughout 2 is consistently group-oriented.

her behavior is too: as of Halloween, Max has Lucas and Dustin in her pocket. if she's crushing on Lucas, or enjoys attention from boys in general, why on earth would she go out on such a limb seeking Mike's acceptance after she already has what she wants?

because that's not what she wants most. she wants to belong to the whole group, like she keeps saying. (I'm going to ramble much more about this theme in another post soon)

Max continues to prioritize friendship / group activities even after lumax becomes a thing

a few examples:

lumax's idea of "romantic time" can include their friends, in contrast to milkvan prioritizing alone time.

Max (and Lucas) drop 1 on 1 time (washing out his eyes is a scene that's an easy kiss opportunity for your standard tv teen couple) in favor of a long trek in the sun to build a radio tower so Dustin can talk to a girl she doesn't believe exists. Max and Lucas do skip off together, but again in contrast to El and Mike who leave early to make out, they only leave because it's time to go home.

^that's the same Max who tagged along and earnestly participated in armoring up a junked schoolbus to fight monsters without any proof.

despite downsizing for trailer living, she kept the Michael Myers mask in memory of the first night she felt like a part of the party.

unlike others who yell for their loved one from the UD, Max calls out for Lucas and Dustin.

her life-saving montage includes many platonic as well as romantic moments.

alright killjoy, if Max only wanted friendship, how's it make sense that SHE initiated all the romantic stuff?

ST is not a universe where grabbing someone's hand in a tense moment is necessarily an indicator of romance. Dustin said he could feel "the electricity" when Lucas and Max held hands on the bus, but then, Dustin also ships stobin.

the kiss, I could actually come closest to calling a writing misstep because.. it wasn't written. it feels forced because it was, as a last-minute unscripted thing - not because the Duffers decided it fit Max's characterization, but purely because they thought it was funny how uncomfortable Sadie was with filming her first kiss. <- this interview is actually so gross.

but, that kiss is canon regardless of how I feel about bts lore, and it fits and it works in the sense that this is the story of a flawed relationship. Max initiated it despite not being ready for it, simply because she thought she was.

Max's childhood fears about bad relationships have made her overeager to prove a good relationship can exist. so the first time a boy is actually kind to her, she's like OH SEE LOVE IS REAL I DONT HAVE TO GROW UP TO BE MY MOM LET'S GOOOO and hurls herself into something she's not mature enough to realize she's too immature to execute well.

if that kiss was so misguided, how's it still Max's happiest memory?

there's no conflict there.

she grew up around terrible relationships and probably feared she was destined for the same, so to find a nice boy like Lucas must have given her such incredible relief and hope. in her young mind, that dance was her happily ever after. you never forget how good a moment like that felt, regardless of how well reality lived up to it.

that said. can I point out that reality hasn't lived up to it?

Max choosing the moment lumax began, as opposed to any moment from the year-and-change of its actual contents... might be less good the more you think about it. like. she doesn't describe this as her favorite memory. she says it's the time she was happiest. in other words, she hasn't been as happy before or since.

that kiss marked lumax's moment of greatest potential, which I think is what made Max so happy. not the relationship she's actually gotten so far.

mmkay and then what do I do about the fact Max STILL wants to date Lucas?

once again, Max is the one who makes things overtly romantic by doodling a picture of them holding hands. but as you may know from my recent lumax diatribe, I don't see how the ship is seaworthy at present.

so the top layer of my interpretation is that Max is still operating under the same ideas that caused her to kiss Lucas in the first place. she's not thinking about how it'll work; she just wants. this is fast-forward Max again. it's a similar moment of hope to the snow ball kiss. romance with Lucas once again looks like her lifeline out of an awful situation.

the layer underneath that is less fluffy:

Max might've accepted this invite in as much an "I might die tonight so it won't hurt to make some lighthearted plans for the future, he did just save my life so why hurt his feelings for no reason" way as anything else. I don't mean her affection is fake. she just might consider the movie date a pipe dream.

consider that her attic monologue happens only a couple minutes after the doodle, and shows that her suicidal ideations are barely behind her. like, the wanting-to-die part is just bait at this point I think, but the deserving-to-die sentiment still feels fresh and sincere.

consider that Max so recently scolded Lucas for assuring her things would work out because that's "never true" in her life... and now here she is drawing a doodle of things working out.

sure, this could be a girl who's thinking "yes!!! ✅ Attending Event! I genuinely expect to be alive, deserving of love, and in the mood for romance this Friday!" but to me, it honestly seems more like a girl thinking "God, I wish."

btw the doodle would've been perfect as the advent of romantic lumax, imo

if lumax had grown slowly out of a healthy mutual friendship, Max really could be ready right here.

imagine: s2, Max earns her place in the party, but to grow especially close friends with Lucas takes a year; the bus talk happens in s3. we can tell their friendship is starting to want to become more. depression interferes in s4. but their bond helps pierce the fog, and they protect each other from Vecna/Jason.

you hit me with the movie doodle after THAT buildup? adorable, precious, showstopping. at that point, that date could've been their happily ever after. <- this is what people think it is already!

lumax is one of many flawed relationships (and that's okay)

another sign that lumax is supposed to be flawed is its place in the larger pattern of flawed relationships: parallels with other characters and ships.

Max and El in particular share a similar stumble into their relationships: both bond with the first boy to treat them with kindness, and throw themselves into a relationship that actually costs them the friendship they should've had with that boy.

and all the party relationships illustrate different friendship/romance progressions:

lumax is the story of a romance that should've been a friendship first/also and isn't going to succeed til it gets this right

byler will be the story of a romance that was a friendship first and will succeed by remaining one also (or so the themes and patterns suggest)

mileven is the story of a romance that should've been a friendship instead.

literally all of ST's relationships, including the endgame romances, have flaws that are intentional and meant to be explored. in fact that's like... most of what the show is. and most fans can readily admit that about all of them, until they get to lumax, which they think is uniquely meant to be perfect and is flawed only in its writing. this view strips lumax from its broader context and ignores many lessons it's there to teach us about ST's overarching themes.

understand: my aim in pointing out lumax's flaws is not to persuade anyone to enjoy it less or stop shipping it!

flaws don't mean you aren't allowed to like a thing. if anything, it makes them way more interesting to discuss, and more compelling to root for/against. we don't have to pretend our characters are perfect in order to enjoy, ship, and learn from them.

more on all this coming soon in another post exploring different types of love in the Max plot!

[shortbreadly]

was reading the original saw script and:

WHAT THE FUCK THIS HURTS MORE THAN THE LINE THEY WENT WITH

[dykedvonte]

My post about Anya is making like a little ruckus on Twitter and I think it’s crazy how many people like have a problem with it.

Like you don’t have to agree with how I characterize Anya and her actions but it’s more like, why are you focused on only one aspect of her character? Why are you removing nuance from the situation? I don’t see it as giving Curly the benefit of the doubt when it comes to doing better for Anya, but as exploring his character and hers relationship with a the very little authentic facts we get about them. In truth, there’s a lot more I wish Curly did, even if it wasn’t pragmatic but I realize the issue there.

The first psychological horror game in a while that’s real intricate in its storytelling and makes you need to really need to address the morality of intentions and its already getting torn asunder smh 😔

[weedle-testaburger]

excuse me for a second. *picks up cynical sci-fi men whose optimism was crushed by the injustices of the universe and snorts them like heroin*

[pumpkinrootbeer]

The majority of sejanus analysis I see falls into this trap of simply critizing characters for not being completely rational actors which happens a lot with media analysis. Think "they both could have fit on the door!" brand of almost cinema sins-esq story analysis.

Which I could get into how I absolutely hate that style of media critique because it so often boils to asking "why is this story happening at all!?"

"Why does gothel keep Rapunzel so close to her kingdom why not run away to a different country" because then this story wouldn't be happening at all, man. I don't know what to tell you.

But to keep this focused on Sejanus and how so much criticism is just "he's too irrational" I think miss completely miss the mark. Obviously I think there's a lot of misinterpretation of characters (their motivations, emotions, intent and so on) due to Coriolanus beings an incredibly unreliable narrator, and people tend to just skim over how young and vulnerable Sejanus is. (He is 17-18 and actively suicidal to say the least.)

But Sejanus isn't irrational, or well, he is, but no more than anyone else in the story. I often see "he should have changed the system from within" as a critique for his character, and sure you can absolutely think that. But the issue wasn't he wasn't thinking ahead or that he was just too emotional and irrational to see the merit in that. Thinking he couldn't understand the value of playing along fundamentally misses what asking to play the long con is asking Sejanus to do.

He would have to stomach going along with the games, staying silent, working in a city with slaves, and watching every year as children get massacred. Asking him to wait it out until he has enough power is asking him to not just stomach capitol cruelty but actively participate within it. Sejanus doesn't make choices out of just pure emotion but a sense of right and wrong. He is a character completely guided by his morals, and one that is constantly punished because of it. People say "He should have used his money to change things" He tried to, in the story, explicitly. And Coriolanus killed him for it.

Yes, using only his morals as a guiding light resulted in his death. Yes, if he played along he might have been able to change things for the better. But what it really comes down to is this, Sejanus refused to play the capitol's game, refused to let them make him something he's not. And he died for it. Kind of reminds you of another character in the franchise huh.