#from my perspective he's handled the whole thing in a very mature and healthy way

[tuxedomax]

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[deckofcookiez]

The Alex Kister Situation

Alright; I've been more of a lurker on here for awhile, but for months now--almost a year--I've been a massive fan of the Mandela Catalogue, and this fandom has been a major form of escapism and safety for me. So, I feel the need to say something about the current situation.

To start, I'm putting a link to the document with all of the information about what happened, as it's important to read it and learn about this whole situation in depth:

With that out of the way, I just wanted to share my own personal opinion; personally, Mandela Catalogue has legitimately become my special interest. I have pretty much obsessed over it ever since I first found it, and everything I've written or drawn since then has been to do with it. It's been very important to me, especially due to the community here on tumblr, as this fandom is probably the most supportive and open places on the internet I've found. I feel a lot more connected because of it, and it made me feel comfortable and safe.

I was in a bad mental space today, and when I found out about this, I had a pretty bad breakdown--some might call it an overreaction, but you don't know just how dependent my mental health had become on this series and fandom. (I will be working on avoiding this habit in the future, as it isn't healthy to depend so heavily on one interest)

After reading through the document, and just seeing so many opinions and contributions from others, I am almost certain that these allegations are true. But I always, always listen to all perspectives before making judgement, so I will not be going full "I hate Alex, he's a despicable person!!" before Alex gives his own point of view.

That being said, I do believe Alex has serious issues that he needs to get handled. I am hesitant to call this pedophilia, as from what I've gathered, he didn't seem to have active malicious intent towards minors(correct me if I missed something that said otherwise)--rather, I get the impression that Alex simply doesn't understand boundaries, and genuinely saw his fans as mutuals. He seems to be a person who's manipulative--whether intentionally or not--and his personal relationships, platonic, romantic, or sexual, turn very toxic because of this. So, trying to have personal relationships with fans, people who look up to him and see him in a very different light, results in inevitable toxicity as well.

I get the sense that Alex simply is a young person, struggling with mental health and gender dysphoria, who was thrust into extreme popularity very suddenly, and doesn't have the maturity level to handle it properly. Overall, I do not support him, if he continues to act like this--if he makes genuine, real efforts to deal with his mental health and his unhealthy behaviours, I would respect him for that. I wouldn't look at him quite the same, but as long as someone makes genuine efforts to better themself after doing something wrong, I appreciate and respect that, and may eventually give forgiveness. But, if he doesn't make those efforts, if he continues his patterns and refuses to try and get better, then that is on him and at that point I have lost any and all respect for him. At that point, you are not a good or reasonable person, in my eyes.

Regardless of how things go with Alex himself, though, I want to say...

You do not have to support a creator to enjoy their work!!

I am a huge fan of Danny Phantom, and that show's creator is a genuine piece of shit. Like, a truly despicable human being. That fandom successfully has, just... completely ripped the show and characters from their creator. They have cut him out entirely, nothing he says holds any impact or meaning to them and it hasn't for years. He's seriously fallen off. And it's still a fun, active fandom! The people in there are super neat!!

And, hell, look at the whole mess with J. K. Rowling!! She is an absolutely disgusting person. But so many people grew up with Harry Potter, and still like her stories, without actively supporting her--lots of creators turn out to be really awful people, but that doesn't mean that what they made is automatically awful as well. They still have some kind of creative ability, that happened to produce something that garnered a significant amount of attention.

We don't need Alex to still enjoy the concept, characters, and overall story he's created. We can still make fanworks, still appreciate what it is that drew us to the series in the first place.

Honestly, out of everything that the fallout of this would bring, I was most terrified of the fandom itself dying, as that is what truly matters the most to me. This place, these people are so important to me, and I am so scared of this community falling apart. I've already seen plenty of people stating that they will no longer be associating with TMC, and are just completely distancing themselves from it. It feels like things are already dying and disappearing and it really, really fucking hurts.

I guess what I'm trying to say, is that... if that is your choice, if you truly do not want to associate with TMC anymore whatsoever, then I don't blame you for it. I understand if you can't look at the series the same way after this, and I respect that choice.

But you don't have to, if it still means anything to you. Fandoms are more than just their creators--they're the community that has been built around the work, and this community is possibly the best one I've ever been in. I don't want to see it die. So, just know, that you can still love this fandom, this story, these characters, without supporting Alex. You can still draw the characters, make OCs, write fanfiction, etc. He won't get money from that--only from directly watching his content or buying his merch.

Finally, I'd like to say to go support the victims. They didn't deserve this--no matter what Alex's intentions were. Please support them, and regardless of how this turns out, do not continue actively supporting Alex Kister. I am sure that, whatever his intentions were, he did still harm people and that is not okay.

Also, this is all just my own opinion, based on what I know; I was not in the discord, I don't have Twitter, I don't personally know anyone involved and I have not seen everything regarding the situation as a whole. I simply felt I should state my current opinion, as I'm seeing a lot of people freaking out and spiraling and just leaving the fandom entirely. I wanted to remind people that it's okay to still enjoy this fandom and be a part of it, without Alex. My opinion may change some with new information I find, but overall, I am of the opinion that Alex should not be supported, while the Mandela Catalogue itself can be separated from him and still be enjoyed and appreciated.

And, whatever happens... Adam Murray, Jonah Marshall and Thatcher Davis are officially honorary characters in my stash of little guys. If he's not fit to keep them then they will become my creative outlet instead (and others who love them, obviously). They're very special characters to me, I can't express just how many things I have written and drawn to do with them, and I refuse to give them up.

(another addition, regarding the apparent 'alter egos' Alex apparently had: Possibly consider DID? I know a lot of people with DID will often mistake it for other things, including simply being gender non-conforming, when in actuality they really have alters that just identify differently. Not diagnosing, I don't know enough about him to make any real claims--it was just a thought.)

[lesless]

🤖

Re re re quit nicotine. Talked to my partner & was like dude I need you to be done with this so I don’t backslide bc I do fine on my own & then you make a decision which I can’t keep being responsible for bc I “have more willpower” at this point I don’t have any willpower left bc it feels like this hopeless eternal cycle when you keep going back to it & im eternally exposed to it so i do it too. I’m so frustrated by it & it’s fucking up my hormones & messing with my mental health like I’m asking you to be accountable & at first he got butthurt bc he’s not used to adult conversations & that seems to be his knee jerk reaction every time I ask him to be accountable but as of yesterday he seemed to understand so that’s good. Take my tone with a grain of salt I’m dealing with withdrawal in real time & I’m so incredibly irritable & I just have to wait for it to pass.

Like I’m proud of him for working through his knee jerk reactions consistently, he definitely does separate & return to be accountable when he has a Mood. but IN GENERAL I’m SO fucking tired of people who can’t handle a direct conversation but then “hate passive aggression” like you have to be a welcome space for open & honest communication OR people are gonna be cunts to you bc you can’t communicate. & he’s typically very good at having these conversations but there’s a select few topics he just won’t have a direct chat about & it really really frustrates me. One of them is minor & silly but the other is kinda big & they annoy me for different reasons. Like we’re mid 30’s dude get over it? But then I get frustrated that I’m not more patient that everyone’s journey is different & growth is not a consistent metric across the board so people get better at some things before others & blah blah blah whatever.

Why did I do all this work to mature & now I am accountable for all these people who don’t do the work like that was a rude double cross. I know my life is happier for working towards understanding & peace but also now I have to do that for everyone? Lame.

Also I’m sure I’m immature in a lot of ways I don’t personally see that he has to deal with but dude I just want to be bitchy without caveats but here I am understanding the perspective of the other bc I went to therapy 6 years ago & took it to heart. 🙄

I really don’t want to go work on the property this weekend either, not even a little, & he wants me to drive 2 hours to clean ceiling tiles & I understand it would look good to his parents but you know what lately I’ve just felt like I’m on the periphery of everyone’s priorities & feeling really lonely (ALSO probably bc my hormones are fucked up from the start stop start stop) & obviously their kid is their priority not the girl he’s dating & I didn’t get so much as a thank you when I worked my ass off over spring break week until days after I left when I texted them about something unrelated (which they still didn’t do). It’s FINE I’m FINE I’m just super grumpy.

Anyway I bought a bunch of supplements to hopefully assist my body in rebalancing my hormones & I’m really hoping it helps. I’m gonna be Healthy Lauren for this whole month & take my vitamins probiotics walk sleep enough not drink etc to see if I can avoid the mental spiral that came with my last cycle.

& now that I’m calming down at the end of this rant I feel guilty for being so annoyed at my partner bc I love him dearly even though right now I want to both snuggle him & beat him with a spatula. Feeling very complex today.

[thesimperiuscurse]

08.04

It’s The Kingston Legacy’s sixth anniversary, so here’s a throwback post to celebrate! Last month I forced myself to reread the entire legacy, and while I stopped, clicked off the tab, and emitted a soundless scream of pure cringe numerous times (I wish I was kidding)—the past generations are actually not as terrible as I remember. I think enough time has passed for me to detach myself from the childish storytelling and look back in nostalgia. 

Thank you to my fellow Wordpress writers who have come along the journey, some for many years now, through every high and low. It’s astounding how much has changed in the legacy from when I was 15, and 21. Follow me down the (very) long memory lane, as I reminiscence about each story and my perspective on them now ❤

Generation 1 — Fern (2015)

To my shock, I found myself genuinely enjoying Fern’s story. I think this was because the first generation was purely me commentating on gameplay, and not trying to write a story (that’s when the cringe began). I was inspired by one of the original stories, Alice and Kev, to make a homeless sim and document her struggle for a better life: Fern, a snobby aspiring writer. Reading this, a huge wave of nostalgia hit me, and it reminded me of how wonderful Sims 3 gameplay is. Although I’m long past it now, there’s real heart and life in the design. I think it speaks about the rich personalities and quirks that I could write a whole life story off it. It was super fun making Fern camp out at Old Pier Beach, stealing from townie picnics and roasting apples on the fire, finding little ways to scrounge money, giving her a makeover in the salon, watching the townie dramas unfold around her. Although she faced homelessness two times and a shitty first husband (yeah, fuck off, Xander), Fern grew into a strong and independent yet sweet and gentle character, in love with the ocean like her great-granddaughter comes to be.  

I never actually addressed this, but she (and her love Christopher) passed away in the story between the end of Gen 3 and start of Gen 4. It just felt weird to make it a big deal because they never died in game—still ‘alive’ and well, scattered across different backup saves and the bin.  

Generation 2 — Briar (2015)

Briar’s story was strange, because it was half gameplay and half story, which meant that there were things that just did not... make... sense. She was quite an ‘unreliable’ character to follow because of her Insane trait. The plot revolved around her as a fresh detective, investigating supernatural phenomena in Sunset Valley. Her character arc was almost the opposite to her mother’s: a naive, optimistic, silly girl hardening through trauma into a cold and ruthless police chief. Ash’s death was the one moment I felt true sadness in this legacy, because he did really die. Imagine me actually getting emotional over my characters, lmao. Wild. 

Also, Max is OP. To this day he is one of the best male characters in my legacy, a healthy and supportive best friend (to husband) in stark contrast to the following generation. 

Fallen Angels — Cherry (2016-2019)

Yes. It’s this generation. Square the fuck up, Cherry. I will fight her any day. Old readers will know of my pure hatred for this story. It’s been about two years since it thankfully ended. My verdict now?

It’s not quite as horrifically shitty, Gabriel and Lilith being a lot nicer than I remembered (Gabriel’s only a bit of a dick at the start), but it still has glaring problems, such as the pacing and clumsy handling of sensitive topics. The story would have been far nicer if it focused less on Cherry and Luc’s relationship and their respective issues, more on the found family and her relationship with Gabriel (which was rushed due to me despising the story by that point). During the first chapters, I was cringing spectacularly at the combination of Luc’s initial jackass behaviour and Cherry’s whining. Toxic as FUCK. I had to skip 3.8 and 3.9 entirely. These two (because of my own shameful mistake) tainted the generation in my eyes, and even though all of the characters grew from their toxicity, I can’t really see past that guilt to the better parts of the story. 

Jade has been telling me for years that this story isn’t all bad, and upon forcing myself to reread, I can see what you mean. I’m sorry LOL. Something that pleasantly surprised me was the writing quality (just the prose, not the actual story mechanics... lmfao), and Raphael, who made me smile every time he appeared. Every single careless, sarcastic line of his was a banger. The pictures are something else I like, too. Many of them stand up to the best ones in En Pointe—the fiery, gritty, industrial tones of Bridgeport just hits different. The world was rich and immersive, which is missing at the moment in En Pointe because of me being too lazy to build a proper Los Angeles world, but Act III is set in Boroughsburg so I’m excited to get back into the city scenes. 17 year old me wasn’t mature enough to tackle dark themes, but at least the visuals for them were nice, I guess. The atmosphere of the story I really enjoy. It’s just the toxic characters and way-too-angsty moments that ruin the whole thing for me. 

En Pointe — Evangeline (2019-)

And here we are now! The early chapters are kinda painful to read because 1) Mako looked so ugly and 2) the dialogue was so clumsy and generic. I sighed in relief when Chapter 5 came around, because it was then both of those aspects really began to improve. Eva’s voice was simple, with her punchy remarks, much less romantic and descriptive than Cherry, so it was interesting to see her voice becoming more complex and layered as I more understood her character. Also, me visibly struggling with the natural lighting and only getting a handle on it 7 chapters later has me shaking my head. 

I’m already beginning to identify issues with the story, mostly with character arcs and pacing. It’s a strange combination of fast pacing (spanning half a year in 8 chapters) and Eva becoming surprisingly comfortable with Mako’s touch due to their unusual pas de deux circumstances. It’s curious how real life time actually played into the pacing of the story—because of the slow publishing schedule, less time has passed in the story as real life, so it’s almost as if the time jumps were made up by real life time, making the jumps feel not too strange. Reading consecutively, however, Evako’s relationship growth doesn’t feel slow burn... a little underdeveloped, in a way, despite their lengthy conversations. I think that’s because of Mako being such a reserved and mysterious character, and that I’ve unconsciously come to rely on Tumblr to give more depth to the characters/relationships. Luckily, pretty much everyone who comments on the story also follows me here, so this dual-platform storytelling is okay, I suppose. I want to post more of #Mishako since there just isn’t enough time to explore their bromance in the story!

At the moment I’m not happy with the story, but it’s fine. I’m learning. There’s more than half the story to go, which means plenty of time to reflect upon the issues and improve. I’m really looking forward to Eva and Mako’s character arcs in Act III. At the moment their relationship is based on their natural chemistry and respect for each other, and since they are yet to face trials their bond isn’t super deep, but Evako are still my favourite couple in the legacy thus far, and feel much more real than any character I’ve written before. It’s been very interesting for my aro ass (and being way more logical than emotional) to figure out a dynamic that is actually compelling to me, because most of the time when I look at romance I’m just like 😐🤨 I’m liking it so far but we shall see how everything unfolds, because I have barely any idea what’s going to happen beyond Act II, lmfao. 

That’s it for my incredibly long throwback! I hope it was at least nice for the OG readers, and interesting for anyone else who managed to battle through this essay, haha. This family has been an integral part of me growing up, as a person and writer and artist (what I’ve developed in visuals I apply to architecture), learning a great deal of awareness about real life through story research, which is pretty cool now that I think about it. I’m aiming to finish En Pointe by the end of 2022. I’m excited for what unexpected changes are to come!

[loveijun]

Can we hear your thoughts on KnT Soulmate? English chapter 7 just got released yesterday.

omg hii 🧞‍♀️ ill probably talk a lot more about it later when i read the new chapter but these are some of my thoughts 💗 1 im so glad kurumi gets her own story because after the whole situation with her and sawako in high school, they had such a weird but delicate balance of friendship and i became curious abt what would happen with kurumi later on but the story moves past it and we have to forget about her sadly... 2 i just think the soulmate chapters are amazing and beautiful and I HAVE TO MENTION that it basically confirmed for me that ms karuho shiina did in fact do the questioning of sexuality type of undertone throughout the manga on purpose.. it didnt start off with the typical kurumi and eiji falling in love but with kurumi and sawako being together + kurumi in this umm head space where she's thinking of sawako from so many different perspectives (romantically 💖‼️, as a rival and a peer to learn from, a monumental figure in her life since sawako basically helped her grow as a person and guided her unknowingly to a much healthier mindset, and a close friend she actually felt comfortable with for the first time since elementary school) and coming to the conclusion they are soulmates regardless of anything else. it's also obviously kurumi's personal redemption story but not as some evil villain becoming good... she was never really evil but just a very misguided teenager who at the time made decisions with consequences. this is her chance to... almost like what happened to ayane when she finally let herself go (not a 1-time complete healing but the beginning of it: she took a step out her shell and stopped devaluing herself for deserving love) and redeemed herself in her own mind - is what im waiting for in this series for kurumi. she's confident and loves herself somewhat but is constantly quesitoning her motives, thinking she didnt deserve to be forgiven, and is full of doubt so she clashes constantly in her mind and ends up numbing her sense of urgency, gentleness, and care when dealing with herself. i really want her to cherish herself as fast as possible but she cant just overcome it on her own (omg that theme keeps coming back - you can't grow [to love yourself] in solitude) and it's lacking for her to just suddenly become better when a guy shows up and at the same time rush a discovery process like that so i really love the bit with sawako in the beginning. alsoo i cannot forget im so happy and proud that sawako matured from her intial earnest but unsettling awkwardness to a hmm not mellowed but a more transparent ease with communication and presenting herself while still retaining her honest character. i love love loveee the fact that shes also a lot more secure with kazehaya and when i saw them joking around with each other i had to pause for a moment bc in the beginning shes such a precious and selfless person and that's great and all but she didn't believe in herself at all.. like when the high school class pulled the dating prank on her the way she handled it is hard to watch and very telling of how she sees herself.. she underestimates gestures of love towards her as mere kindness and at the same time overestimates the effort she needs to put in to repay it while also setting a thick boundary and voluntarily putting herself on a level lower than others. but the way that she's now able to understand favors that ought to be repaid, the difference between that and a gift - defined a thing given willingly to someone without payment, helping others without hurting yourslef, being a healthy amount of selfish and etc ❤️ i cant get enough. she even set up a blind date for kurumi can you imagine how far we've come??? now for when eiji appears i was just observing in the beginnig but i love his personality so much it feels like he was gonna be a classic romance mc just rude and insufferable or a stuffy/overbearing kind of nice but his moments of vulnerability and unpredicatability are GENIUS bc kurumi has never met someone like this before (she gets so flustered and is so cute when shes around him sometimes

i feel like crying aww). oimg and i cant forget how interesting this is just becasue its a college setting and not highschool so its more (i hate reusing words 💢 but mature is the word and theres more oppurtunity for things and various situations i think. 'real' dates and staying over at each other's place... and i want to see them in those^ types of situations so badly but i dont think we'll see much 💔). also their dynamic is everything i love how unique their character is and shes (the author) definitely put a lot of effort into every single one of her characters but i did not expect her to give eiji that much depth (i know hes from one of her other works and i need to read it soon and i want to know what happened before he met her so bad 😭.....) ^like at all. i dont have much more to say but i hope kazehaya shows up and meets them all again bc im want their reactions, and i think kurumi is so adorable and eiji is the hottest guy of the series excluding sanada. the end 💗

[the-badger-mole]

Hero to Zero

Sit down, kids. I want to have a rap sesh with y’all. 

There is no such thing as a perfect show. Even if you think there was a perfect show, it’s rare it holds up to multiple viewings. Still, Avatar: The Last Airbender probably got as close to perfect as any children’s show could hope to. All this to say that ATLA is a good show. A great show, even. But it is not a perfect show.  and they missed some pretty big opportunities.

Specifically where Aang was concerned. 

So, here are the Top 3 Opportunities ATLA Missed with Aang:

1. Having Aang actually work for his victory.

If you’ve followed me for literally any length of time, you know that I hate,hate, HATE the LionTurtle/Rock of Destiny Deus Ex Double-Team ( ™ ©  ®) in the last episode. Now, I know some of you think that I- and others like me- just wanted to see Aang kill Ozai. To you I say...

Look, some of my favorite superheros have a no kill policy. I have no problem with the idea of Aang capturing Ozai and having Ozai stand trial. What I have a problem with is the fact that Aang didn’t have to work at finding that solution at all. There were plenty of chances to set up the finale in a way that wouldn’t have made it a complete and utter cop out. It wouldn’t have even taken that much. Aang was confronted by the terrible realities of war all throughout the series. He knew everyone expected him to end the war. He was involved in the deaths a lot of Fire Nation soldiers at the battle in the Northern Water Tribe. At any point, there was room to have Aang face what was expected of him as Avatar and consider what it meant for him as the last Air Nomad. 

What I- and others like me- wanted was not for Aang to become a compunctionless killing machine. What I wanted was to see Aang realizing his duty and working to find a solution that would end the war and keep his values in tact. Instead, he waits until the last minute to consider what how he would end the war, snapped at his friends for pushing the obvious, and (until the magic Lion Turtle arrives) best solution to the problem that the world’s been facing for 100 years, and is rewarded for (let me be frank) his absolute laziness and refusal to accept responsibility.

Aang’s whole arc was supposed to show that he had to stop running away from his problems and accept his role as Avatar. The thing is...he didn’t. He had one moment where it looked like he was ready to stop running and do his job (DoBS), but that moment is robbed of any power by the finale. Why didn’t Aang have this moment then? Why wasn’t the rest of the series spent with Aang putting in work towards finding a solution? As the story stands, Aang looks inexcusably stupid, even for a 12 year old who didn’t grow up with a war. Not having Aang actively working towards a solution, freaking out over the solution presented, and then stumbling on the one being in the whole world that could help him undermines his entire journey. Aang was not the Real Hero of the series. Plot convenience was. 

2. Having Aang learn more about how the war affected his friends personally.

This kind of ties in to my first point, but Aang never really had a moment where he realized exactly what was at stake. Not just for the world in general, but for his friends. Heck, he never really reckoned with what happened to his own people (but we had time for a nonsense Footloose pastiche???). Had Aang made any effort to understand the war from his friends’ perspectives- particularly Katara, with whom he was allegedly in love- it might have occurred to him sooner what they expected of him. 

There’s no real moment of Aang understanding how much Sokka and Katara and even Toph have lost because of the war. He meets war refugees and is there when Katara rescues the earthbenders from the Fire Nation prison ship, but it never sinks in how much damage any of these people have survived. I don’t think I’m asking for that much here. I understand ATLA is a children’s show, but look how they were able to show us the devastation of war and abuse through literally every member of the Gaang except Aang. Even finding out that his mentor had been murdered washed over Aang like a summer squall.

It’s great that he had the perspective of someone who got to live in a world without war, and that he got to be a kid a bit longer than his friends, but at some point it would have been nice to see something stick to him. There were moments where I thought Aang was finally starting to understand the enormity of what the war had done and what it would take to end it (like in DoBS), but then the very next episode would have him goofing off (remember when Aang wanted to take off and play the day after a bunch of people- including the father of two of his “best friends”- sacrificed their lives and freedom for him? Pepperidge Farm remembers.) Nothing seemed to stick to him, which is why his refusal to kill Ozai and lack of preparation with another solution is both infuriating to me and honestly not that surprising at all. Aang is the most static character in ATLA (a show that included Mai, cardboard puppet brought to life by dark magic). He learns nothing. And honestly the fact that he stays the same from the beginning to the end of the series makes him look incredibly unempathetic. Who remains so unmoved by the tragedies of his friends?

3.Having Aang not get Katara and having the hero of a popular TV series handle unrequited love in a mature and realistic way.

Even less secret than my hatred of the Deus Ex Double-Team ( ™ © ®) are my feelings about Kataang. ( Shut up! You knew this was coming. Don’t act brand new). Now, normally, my focus is how bad Kataang was for Katara (the canon did my girl dirty, and I will NEVER forgive or forget), however this time, I want to focus on what the show lost by forcing this pair (Kataang was only developed if you only care about Aang’s feelings. Fight amongst yourselves. My mind is made up on this point).

Avatar: the Last Airbender was amazing in a lot of ways- groundbreaking, even- but it also perpetuates the idiotic myth of the Friend Zone, and those lucky fellas who break out of it. Throughout the whole series, we see that Aang is super into Katara, but the show also drives home pretty clearly that the feeling is not mutual up until that last scene (which makes it clear that the show runners didn’t give a crap about Katara). The showrunners had a golden opportunity here to show a young boy graciously accept that his crush isn’t into him, and remain good friends with her despite the fact that romance is off the table. Instead they chose to push the message that a guy can, through persistence, intimidation (lava fissure anyone?), and a healthy dose of arrogant entitlement, win the girl in the end. It’s not even that this was a terrible relationship for Katara and Aang; it’s that it’s such a boring and typical conclusion for this show to end on. Following through on Aang needing to let go of his unhealthy attachment to Katara would have been a much more powerful move. 

That’s not to say he had to stop being her friend. In fact, I think had he actually let Katara off of that pedestal he’d set her up on, they could have formed deeper bond based on mutual understanding and respect. Instead, we got “Hero Gets the Girl, Because...Hero?” Instead we got a pair that upholds the dangerous Fiend Zone myth, which arrested Aang’s development, turned Katara into a hollowed out trophy wife and produced three maladjusted adult children. It would have been a fascinating direction to take the story...if it had been done on purpose. 

Anyway, kiddos. I’m done here. If I pissed you off, call my lawyers. You can rebut me if you’d like (I’ll be honest,I probably won’t read it if it’s too long), but if you’re rude in my comments, I will delete and block you. Smooches!

[tea-at-221]

The TJLC Debacle: 3 years out from S4 and counting; the copyright mini-theory; so much salt I’m bloated; but in the end, there is peace (I love you Johnlockers)

Ugh, don't even talk to me about Mary.

Don't even talk to me about the way Mofftiss have said they're sick of responding to fans on the subject of Johnlock. Of how they've said they're "not telling anyone else what to think or write about them" (as if they could stop us; as if they even own Sherlock themselves. Do keep reading, because this point becomes much more relevant and in-jokey later on). Don't even mention how they've bitched and whined incessantly because--god forbid--fans got *really really* into their show and emotionally invested.

They're so eager to discount all the beautiful little moments they wrote as accidents. And Arwel, who planted all those props, continually demonstrates that he's on their side (a not-very in-depth-analysis of his Instagram account and the way he interacted with fans towards the beginning of the pandemic showed as much, but I think maybe he’s grown a bit wiser and quieter since at least in terms of Johnlock and all things elephant-related. I don’t know for sure because I stopped looking.)

Anyway--they'd actually prefer for us to celebrate our own intelligence, is I suppose a charitable way of looking at it: our ability to make connections between things in the show; our metas on symbolism; our insightful fanfic; etc., and denounce them as the bad writers that they ultimately are.

More under the cut.

(This post may be of interest to you especially if you came to the fandom a bit later: multiple links to things of relevance/quotes/explanations appear both within and at the end of this entry.)

Because what makes a writer good?

Well, an ability to make people feel an emotional connection to their work, for one. I know this is just my own perspective, but if not for Johnlock, all my emotion about the show would evaporate. There wouldn't be much else there. Other people might get something, but I wouldn’t. Is some of the writing witty and entertaining regardless of any inferred/implied Johnlock? Yeah but, eh, a lot of shows have some good writing and I just don’t give a damn about them.

What makes a writer good?

Not making promises to the reader/viewer that they'll never keep. Plot holes, leading dialogue ("There’s stuff you wanted to say...but didn’t say it.” “Yeah”) never followed through on, puns that are apparently, I suppose, unintentional (e.g. "'Previous' commander?" "I meant 'ex'").

Uh, not writing continual gay jokes that aren't actually pointing toward the inference that people are making them because there's actually something going on there under the surface. (How about just don't make those jokes ever.)

Not being, apparently, oblivious (? questionable) to the queerbaiting they're engaging in *as they’re writing it.*

Acting like their LGBT audience is in the wrong/the bad guy, instead of choosing to remain respectful in the face of dissent. Instead it's just, "we never wrote it that way" / "We never played it that way."

A lot of those other mildly witty shows don’t actually blatantly drag their most passionate fans face-down through the mud the writers themselves created. Imagine that.

I'm not even a fan of Martin Freeman anymore, for the way he handled the whole thing (getting angry, the comments he made about how the fans made Sherlock “not fun anymore”...apparently Martin’s packing up his crayons and going home?)...no offense to anyone who is still a fan of his. I don’t make it a habit to drag him. I do to some degree understand his frustration with having the whole situation taken out on him--he’s just an actor in the show--but I simply wish he’d remained as cool and professional about it as Benedict Cumberbatch instead of pointing at the fans. You’re pointing in the wrong direction, mate.

What also irks me at the end of the day is this: the subsection of people who legitimately responded badly to the TJLC/S4 debacle and went above and beyond to harass the writers and actors/actresses on social media are *few and far between*, but we've been lumped in with them by what feels like...everyone, Martin included. TJLCers/Johnlockers (not the same group, but often treated as such) have been made to look like a bunch of rambunctious, immature, demanding children time and time and again in the wake of S4.

They'd rather, what, suggest John was so in love with Mary? THAT was the relationship they wanted to uphold in that show as so significant and...what, a demonstration of how honorable it is to respect your heterosexual relationship despite, you know...ANYTHING?

Yeah sorry, I don’t believe in that. John’s text-based affair, whether a disappointment for some as to his supposed character, was a very human reaction and I kinda sorta feel like I would have reacted MUCH more strongly than that had I been John. But nope. He stayed with Mary and was *ashamed* of his wandering eye. Ashamed that maybe he wanted to be admired by someone. I can’t think of a scene, off the top of my head, where Mary ever interacted with John without belittling him in some way--if not with words, then with consistently patronizing glances.

The message here is that heterosexuality is not just acceptable, but VALUABLE, however it manifests--but god forbid anyone see a queer subtext. (Why are lgbt+ writers some of the very WORST offenders where this is concerned? And they defend it! Is this childhood nostalgia/Stockholm Syndrome of the very fondest variety or what? Gay angst is all they got if they got anything at all, so it’s still good enough as far as “representation” goes?)

They really want to tell the story of John as so emotionally/mentally fucked up that he surrounds himself with unstable people time and again. They never give any reason *why* he might do that (which they could have done even soooo subtly), or delve into his past--just, apparently it's okay to assume that Sherlock's comment about "she's like that because you chose her" is exactly that.

No. Sherlock and Mary are NOT the same. Not...*remotely*!

Mary is underhanded and evil. She lies. She manipulates. She schemes. Her “love” is based on selfishness, and her assumption that John is a simpleton and hers to mold. She's in it for herself.

Sherlock hides. He prevaricates. He feels. He loves John. He does fucked up things in the name of love, but always for the benefit of those he loves. When he screws up, which he obviously does, it’s painful to us as the audience because we see that it is painful for him when he recognizes and regrets it.

I have never seen Mary regret anything. Those crocodile tears at Christmas? More manipulation. Inconsistent with anything else we were shown about her as a character.

To even think for a SECOND that people could ship Mary and John and mentally condemn John for cheating on Mary AFTER SHE SHOT HIS BEST FRIEND...as if marriage is the be-all-end-all free pass in which every sin must be forgiven until the end of time...as if John broke any covenant with his wife beyond those she broke from the very moment she walked into his life *with an entire fake past.* Is just. Well. It's asking us to accept gaslighting as healthy, loving, normal, *preferable* behavior, so...given the source that message is coming from, it's all a bit meta.

THAT. Is insanity. Maybe Mofftiss are the sociopaths.

How these men could write characters they themselves understand so little (or tell us they understand so little because their emotional maturity has yet to surpass that of the average three-year-old’s), I will never know. I can only imagine that they have absorbed, by osmosis over their lives, real and nuanced human behavior...then churned it back out again in their writing unaware, a bit like psychopaths who teach themselves what "normal" people do so that they can pass as psychologically sound in regular society.

Remember, we *are* talking about men who do these sorts of things:

Moffat says that Sherlock is celibate and that people who claim he's misogynistic when he does things like make Irene Adler imply she's attracted to the detective (even though she's a lesbian) are, ironically, "deeply offensive" (despite lines like "look at us both" in Battersea. We aren't your therapists, Moffat--we don't care what you meant, we care what you said, and what you *said* was clear. *Implying* it does not let you off the hook).

Gatiss has proclaimed that "I find flirting with the homoeroticism in Sherlock much more interesting" than the idea of ever making a show addressing LGBT issues. (That link is to a reddit forum, and I can't find the original interview anymore, but I assure you I had seen the actual article myself ages back and can't find it online again now along with some of the Martin quotes I wanted to link to. And nevermind what Gatiss has done with LGBT shows/issues since--my focus here is on what he has said, versus what he and Moffat have since claimed regarding their queerbaiting.)

Here’s a transcript of this screenshot:

"...many people come up and say they didn't realise." Despite this lack of public awareness, being part of the gay community is clearly important to Gatiss: "The older I get the more I want to give something back. I mean, I keep meaning to do something." When asked if he'd be interested in making a series about gay issues his response was enlightening:

"No, I don't think I'd make a kind of gay programme. It's much more interesting when it's not about a single issue. And equally, I find flirting with the homoeroticism in Sherlock much more interesting. Of course this reflects the grand picture of everyone's strange make-up; there are good gay people and bad gay people. I wouldn't like to make an issue film around the culture of being gay."

Instead Gatiss' interest seems to lie in making a drama where sexuality is, if not mundane, part of the wider framework: "I'd quite like to do something about a quite happy, ordinary gay person who's just incidentally gay. For example, a three-part thriller for ITV where the lead character just happens to be gay; when they finally go home, say 45 minutes in, and they had a same sex partner. That to me would be genuinely progressive. It wouldn't be a three-part gay thriller for ITV. It would be that this character just happened to be gay."

--End article quote.

And instead, who is canonically gay in the series? Well, Irene Adler. The innkeepers at the Cross Keys. And perhaps most notably, the *villains*, because that's a helpful trope: Moriarty and Eurus are, in S4, both implied to be at least bisexual.

Any character should be able to be any sexuality, this is true. But can we have some main characters, the good guys, give some good representation? Can't we start making that the standard, rather than the villains and the background characters? Because so far, that is the exception and not the rule.

Writers need to be aware of the damage they are perpetuating. We are not quite in a world yet where any character should be able to be any sexuality but isn't, yet we have no problem with saying the villain is LGBT+ or looks different/functions differently than much of the viewing audience.

"Male friendship is important and valid, not everything has to be gay"--this is a popular point with casual heterosexual viewers (and, to my chagrin, some of my LGBT+ friends) who don't fully grasp what "queerbaiting" is, often even when it's pointed out to them.

The lens of heterosexuality is real. My first time through watching BBC Sherlock, I didn't see the Johnlock at all. I had to look for it and read about it. When I saw it, the lens was lifted for me, and it changed my life and the way I view things forever (and for the best).

But back to my point about how little Mofftiss seem to understand their own story/most ardent fans, and then on to my other theory: in S4 it must be that they dropped their “psychopaths emulating empathy” act and indulged in their own "insane wish fulfillment" by doing away with all of the meaning, continuity, and sense. Right?

So, here’s the alternate theory. One which is not, please remember, in their defense.

Remember that S4 is what Mofftiss are *happy* to have us believe is what they'd do with these characters, given the chance to do whatever they wanted. I repeat, in Moffat’s own words: “Insane wish fulfillment.”

Okay I get it, this pasta has been over-salted.

Without further delay: MY COPYRIGHT RESEARCH THEORY THAT EVEN I DON'T PUT MUCH STOCK IN AND WHICH DOESN’T MAKE UP FOR THEIR CRUELTY EVEN IF TRUE

Part of me also raises an eyebrow at S4 as perhaps an example of the effect of the Conan Doyle estate on any modern production in the US. While it’s true that all of Sherlock is part of public domain in the UK and has been for quite a long time, Gatiss and Moffat still talk about it being partially under copyright. Specifically, the last 10 stories. I’m supposing that this means that because Sherlock airs internationally, or due to whatever contract the BBC has with the Doyle estate, they are still limited by the copyright as to what they can “publish”.

The Doyle estate is known for being a pain in the ass when it comes to abiding by copyright law as everyone else knows and practices it. They’ve tried to argue, for example (in 2013 and, much more recently, with the advent of Enola Holmes), that because Holmes and Watson were not fully developed as their final selves until the conclusion of all 10 stories still under copyright, then perhaps the characters themselves should still be protected, basically, in full.

It’s true that certain elements of the remaining stories are still under copyright here in the US (Watson had more than one wife--uh huh, we have that to look forward to, Johnlockers; the Garridebs moment is still under copyright--yeah, I’m getting to that too; and Sherlock didn’t care much for dogs til later so that’s not allowed either, fuck off Redbeard), but the estate’s problem in 2013 seemed to be based around a fear that *gasp* some day--if not right now!--anyone could write a Sherlock Holmes story in any way they pleased, changing the characters however they wished to and giving those characters “multiple personalities.”

See the following excerpt from the Estate’s case:

“...at any given point in their fictional lives, the two men's characters depend on the Ten Stories. It is impossible to split the characters into public domain versions and complete versions.”

(Click for full transcript.)

Obviously, by this point, that’s been done in multiple iterations. So I dunno. Their argument was *more* than muddy to begin with--they just grasp at straws to stay in control, it seems.

But okay. Backing up: wasn’t there sort-of a Garridebs moment in S4?!?? you cry. Yep. But imagine this: the Conan Doyle estate taking Mofftiss to court to argue that they depicted the Garridebs moment--a moment still under copyright--in The Final Problem.

Did they, though? Did they really?

The fandom cried out about the ridiculousness--the utter disappointment--of that moment when it was shown. It was not what we would have expected/wanted. We didn’t see John injured, Sherlock reacting with tender outrage to the good doctor’s attacker.

Instead we saw some ludicrous BS that was as bad as the clown with the sword-gun-umbrella. More of that.

I think Martin probably found that it was easy to produce real tears when he thought about how fucking terrible the S4 scripts were.

Ahem. Yet, this all seems very Mofftiss-flavored in terms of humor.

I can all-too-easily imagine them saying, “HA. We’re going to show some of these supposedly copyrighted things--and if they take us to court, they’ll be laughed out of the room.” Could that explain some of the overall S4 fuckery?

Sherlock wasn’t supposed to like dogs til later stories, as previously mentioned-- is that why Redbeard pulled a “Cinderella’s carriage” and transformed into a pumpkin (Victor Trevor)? Hmm. Sigh.

It...doesn’t actually appear that the estate has any qualms about taking laughable stuff to court, I mean...*shrug.* They have the money to do it, and money is the name of the game, because you’ve got to pay for rights (cha-ching sounds).

Yep, it does seem that the estate is open to the copyrighted materials being made reality, but who knows for what price or with what caveats. The BBC isn’t, so far as I’ve ever heard, known for throwing money around. Early Doctor Who would be so much less entertaining if they’d had any sort of budget. (And in fact, more of the older episodes would exist, but apparently the BBC--in part to cut costs--reused some of their tapes.)

My bottom-line bitter is this: Mofftiss do like to amuse themselves. To please themselves and no one else, as they’ve shown time and again. Sure, they could do whatever they wanted with S4...and they did...but they were also cruel about it, and that’s what I’ll never forgive them--OR the BBC--for.

A lot of fans gave up after series 4. I was very nearly one of them. I was angry, like just about every other Johnlocker and/or TJLCer, but I was really truly heartbroken. I couldn’t look at fanfiction. My days were full of bitterness and I keenly felt the lack of the fandom outlet that had become so essential to my mental well-being. I didn't know how to overcome the disparity between TJLC and what the show actually was. I didn't know how to separate the things I loved so much from the shitty writers and the way the BBC handled things with their whole response letter (that atrocious, childish blanket response they sent to everyone who complained about S4, not just the Johnlockers/TJLCers. Related to your complaint or not, if you filed one post-S4, this was the response you got). I still boycott BBC shows/merchandise, just by the way.

I tried to link to the blanket response letter but the link didn’t want to work (it’s an old reddit post; I had difficulty finding a copy of the letter elsewhere though at one point it wasn’t so hard...Google is weird these days y’all...tell me it’s not just me) so here’s a screenshot:

Transcript:

“Thank you for contacting us about “Sherlock”.

The BBC and Hartswood Films have received feedback from some viewers who were disappointed there was not a romantic resolution to the relationship between Sherlcok and John in the finale of the latest season of “Sherlock”.

We are aware that the majority of this feedback uses the same text posted on websites and circulated on social media.

Through four series and thirteen episodes, Sherlock and John have never shown any romantic or sexual interest in each other. Furthermore, whenever the creators of “Sherlock” have been asked by fans if the relationship might develop in that direction, they have always made it clear that it would not.

Sherlock’s writers, cast and producers have long been firm and vocal supporters of LGBT rights.

The BBC does not accept the allegations leveled at “Sherlock” or its writers, and we wholeheartedly support the creative freedom of the writers to develop the story as they see fit.

We will of course register your disappointment.

Thank you for contacting us.

Kind Regards,

BBC Complaints Team

So how about that? *Did* they “register our disappointment”? We can actually check that. The BBC’s website has a monthly summary of complaints received. So what did they receive in January 2017, the month S4 aired?

Huh, what do you know. Sounds like that blanket response was exactly the “fuck you” it came across as.

But the show--the FANDOM--had filled a need in my life, and so I had to own that and make it mine, or just...let something in me die: something that felt like an actual vital organ. I had to decide that these characters mean something to me beyond what anyone else tells me they should. I had to accept my own perceptions as truth, as I do with everything else in my life. I had to overcome the idea of canon as law (BBC Sherlock isn't canon anyway; ACD is canon. BBC Sherlock is, in the end, badly written fanfiction--or--worse?--decent pre-slash fanfiction distorted by consistent lies and the hazing of the LGBT audience, topped with the dumpster fire of S4′s incoherent nonsense).

I had to take the good and throw away the bad, just like anyone else who chose to stay. The good bits of the show...dialogue, yes. Plot points, yes. These awful writers did write some good stuff sometimes.

They just broke all the unspoken rules of what not to do to your audience. And then did and said everything they could not to apologize, and to justify their own failings. Which, in the years since I began shipping queer ships beyond any others, I have unfortunately experienced more than once.

So, my vulnerability has been yeeted into the vacuum of broke-my-trustdom: no one can tell me what things should mean to me. I will decide.

I decide that all of the FUCKING AMAZING writing in the Sherlock fandom is a staple in my life that makes it worth living. And that that's okay. And takes precedence over anything the writers or anyone else associated with the show could ever say or do.

Johnlock can not be taken away. It doesn't belong to them. It never did, even if they brought us to it. It belongs to us. To the group of amazingly creative, brainy, empathetic, resourceful, vibrant, resilient people who make up this fandom.

So thank YOU, all of YOU, for giving me Sherlock, Johnlock, and TJLC.

I am SO SAD for those who never found a way to make peace with this fandom again. Let me just say that I understand that inability entirely.

I am fortunate that I found the ability in myself to cling to the joy (something it has taken my whole life to be able to do). I hope others will who haven’t yet but wish they could.

Let Mofftiss and whoever sides with them stay angry and bitter and vicious, always looking over their shoulders for anyone who dares to whisper about subtext.

I’m proud to be part of what they’re whispering so angrily about.

Thanks for sticking it out if you made it this far. I know this was very self-indulgent and rambly.

Articles of interest:

A Study in Queerbaiting (Or How Sherlock Got it All Wrong) by Marty Greyson

“We never played it like that.” - Martin on Johnlock

Henry Cavill on the Enola Holmes lawsuit

More on that--and by the way Sherlock isn’t allowed to like dogs

The way Sherlock creators told fans Sherlock & John aren’t gay is so rude

Especially for those new to the fandom who may not know the distinction between TJLC and Johnlockers and want to know more about TJLC's evolution/what it is/meta through the years

Moffat's view on asexuality, offensive to me in particular *as* an asexual person (same article where he claims he isn't misogynistic): "If he was asexual, there would be no tension in that, no fun in that – it's someone who abstains who's interesting."

Yet he says Sherlock isn't gay or straight and that he's trying to keep his brain pure which is a "very Victorian attitude"

(Nice historical research there, Moff--actually the Victorians were sex-positive).

Sherlock fans were robbed of the gay ending they deserved

Benedict Cumberbatch has lashed out at his Sherlock co-star Martin Freeman over his negative attitude towards fans

BBC complaints January 2017

Martin Freeman: 'Sherlock is gayest story ever'

From 2016: UNPOPULAR OPINION: "Sherlock" Isn't Sexist or Queerbaiting; It's Actually Trying to Stage a Revolution

Queer-baiting on the BBC's Sherlock: Addressing the Invalidation of Queer Identities through Online Fan Fiction Communities by Cassidy Sheehan

[mrs-nate-humphrey]

I’ve never personally been a fan of Derena after s1, but reading your posts made me sympathize a bit. I totally agree that them just being friends would be so nice. I hated the whole Serena pining after Dan in s5, it honestly felt like she only wanted him cause he didn’t want her. What do you make of Serena during the dair arc?

hi!! finally i have been re-united with my laptop and i can get to this ask! ngl, i was so excited to see it in my inbox, because i have a Lot of Thoughts about serena during the dair arc (some of which people have said before me, as some old LJ comments can probably testify, haha.) 

this got very long and very serena centric *raises a mug of tea* cheers!

serena pining after dan and chasing after him like that was... i hated it too, and it made me.. uncomfortable is the best word i have for it, but also really deeply sad? i joke about serena’s ‘evil arc’ but as someone who genuinely loves her character and wanted good things for her, it was so painful to see her hurting so much and, instead of coping with that hurt in a mature way, causing harm to the people around her (two of whom she canonically loved very much; two of her favourite people in the world.)

the way i felt about serena during the dair arc was very much like... her reacting badly and not being sympathetic actually did make sense. i wasn’t a fan of how the show handled it and portrayed it, but given everything that happened with her in s3 and s4, i do think some kind of fallout was warranted and expected. everything that happened with lily, william and the fake cancer plotline was really messed up, and serena had spent majority of her life waiting for her dad to come back, and - i think we can blame lily for not being a particularly good (or present) parent, but i think serena had this very strong feeling that her dad coming back would somehow fix their family, or something like that. instead, his coming back caused a very new level of van der woodsen fuckery, and i think that would’ve been extremely traumatic for serena.

it’s also worth noticing that she doesn’t spend time after breaking up with nate in s3 to work on herself. she recognises that she needs to, recognises that she needs some time to recover and really find herself again. but s4 rolls around and she’s still feeling lost. going to paris with blair is fun for serena, but it’s also an escape - she’s actively not dealing with the stuff that’s happened, which i think is part of why her behaviour in early s4 is so chaotic and messy - leaving dan & nate hanging like that is.... mean. she should’ve been honest with them, she should’ve made a choice, even if that choice was ‘neither of you, i need more time, sorry’ or ‘hey, i’m not really sure yet, you shouldn’t have to wait for me to choose’.  

i’ve said stuff very vaguely, mostly in tags, about serena & dan being very emotionally unintelligent, and i think this is serena’s emotional unintelligence - she wants things to be okay and alright again, but she doesn’t want to face her trauma and her insecurities to get through it (which... trauma is fucked up so i do understand that.) i think that’s what makes her such a sympathetic character to me. like, serena, you can run away from everything, but you can’t run away from  yourself + your issues. you have to face them!! but she doesn’t really know how. nobody’s taught her this.

we’ve already gone into serena’s abandonment issues quite a bit, but i think serena during the dair arc was mostly those issues flaring up + the build-up of a lot of trauma re: the thing with her dad (that she was pretending not to see), serena feeling abandoned & lost because the only two people who she’s really ever thought of as ‘hers’, blair and dan, suddenly care about each other in a way that excludes her. we talk about the “dan and i have a real connection” thing in a dair way all the time, but the first time i saw that i was like “HELL YES” for dan and blair but like “ohhhhh noooo” for serena because the whole ‘we do things together that we could never do with you’ - which, i don’t think blair even meant in a hurtful way, but was probably the worst thing blair could’ve said to serena at the time?? 

it’s also worth noting that serena and dan keep going to each other when they’re at their lowest. serena reaches out to dan over the william thing, even though william majorly fucked over rufus, even though serena was dating nate at the time, it was dan she turned to then. when georgina takes milo away, dan immediately goes to serena, and she’s like, how are you, and he denies feeling bad about it, and serena (who probably knows dan well enough to know that it’s bullshit) humours him and goes “okay, let’s not talk about it” which nobody else was really doing at the time, which is why he went to serena. serena and dan’s high school relationship was very sweet and uncomplicated and i find it interesting (& a little sad, tbh) that when things go bad in either of their lives, both of them sort of immediately reach out for the other, almost like they’re trying to recreate the way their relationship was at the very beginning. gossipgirls has some great meta on this.

there’s probably also some jealousy over like.. dan and blair having found some stability and happiness with each other (without her! she’s no longer the person dan or blair loves the most and that hurts!) - and that they’ve found this stability while she still feels so lost and she’s drifting so much. serena’s gradual evolution into someone who really cared about being a socialite (??) and her reputation (to the extent that she was screwing lola over for her own benefit) felt very... drowning man clutching at straws-ish. like she’s lost everything else, might as well hold on to the one thing that she has.

this made me sad because i feel like... she still had dan. he didn’t want to be her boyfriend, he didn’t have romantic feelings for her, and he didn’t want to have sex with her. but he was still very much her friend. he confided in her!! he spoke to her about blair more openly than he did with anyone else (nate was right there, it’s not like the only person dan had in his corner was serena - serena was just the easiest person for him to talk to) and i really, really feel like if serena had just been like “dan, i want to be happy for you but i feel so lost, i feel like you and blair don’t need me anymore and i feel so lonely” or whatever... he would’ve understood!! he would’ve helped her through it! you know that bit with blair and serena in the elevator in 3x09? i can’t find the gifs right now Unfortunately but you know the scene im talking about - they both open up and talk and serena is finally honest with blair? i wish she’d gotten something like that with dan in s5 because like... this theme of dan trusting her with his heart (in a platonic way, but STILL, he was being soo honest and vulnerable and open with her) and her just being all supportive on the outside and sabotagey on the inside... like.. i didn’t like that for her, and i honestly think the level of evil they dialed it up to was cartoon villainny and very ooc for serena. 

i DO see her having resistance and insecurity to the dair arc, but the sort of dishonesty and antics she was pulling felt so wrong and so un-serena, even in the light of all the trauma and the context to her acting out. the shephard divorce thing especially... serena spends so much of the earlier seasons feeling guilty and hating herself over the shephard wedding and the thing with nate. i don’t think she would do that again in any capacity - forgetting blair for a moment, i don’t think she would do that to herself. she hated the person she’d become back then & i do think serena is more strong-willed than most of us give her credit for (filming dan without his consent like that is a georgina move, it’s not a serena move.) 

as for leaking blair’s diary... i feel like serena and blair have such a complicated and not always healthy friendship (that bit in s2 i think it is where serena says something about ‘im sick of always holding myself back so i don’t outshine you’ and blair is like ‘hey wtf??’ hits very hard because it’s so... understandable from BOTH of their perspectives, like i feel like i can understand how serena’s just been quietly holding onto all this resentment until she can’t be quiet about it anymore and it explodes, and blair’s insecurities make this moment one of her worst fears being actualised. but it’s an impactful moment because it touches upon the complexity of blairena.) serena leaking blair’s diary makes sense - i hate it, but i don’t think it was that ooc, and if that had been her only act of betrayal that would’ve felt a lot more realistic to me, tbh, given the way blair & serena’s relationship is and how often they hurt each other (sometimes even deliberately!!) like i would’ve just been like ‘serena! no!!’ as opposed to ‘that’s not my serena; what is this arc!!!” which is what s5 always makes me feel. 

[zuzuslastbraincell]

☕ Aang.

He's a character I don't see you talk about much, so I'm curious about you thoughts on him, his character arc, what you like or dislike about him, etc.

The short answer: Love Aang. He’s great! Feel like a lot of the dislike of his character (while fading, at least in the circles I’m in) is misplaced. People who think Aang didn’t make the right end game decisions don’t understand his character / miss the point, IMO. That said, dislike some of the character decisions especially r.e. Katara/Aang.

The longer answer: I really love Aang and I feel like the hate he receives from various parts of the fandom is very unwarranted, though I wonder if it stems from watching the show as a child his age and finding his playfulness unrelatable - like as a kid I might have found it exasperating but as an adult I find it very refreshing and it is so obvious to me that Aang is A Child, it informs how he behaves and his decisions massively, and I wonder if the dislike comes from the lack of perspective and being unable to view Aang as a kid, being kids themselves when these haters watched the show?

That said, all kinds of people do dismiss Aang as immature and it frustrates me to no end, because being cynical =/= maturity, a willingness to make difficult decisions that betray deeply held beliefs =/= maturity, and Aang’s decision to stick to his beliefs should always be viewed in tandem with the context that he is a victim of genocide, that genocide includes the destruction of a culture’s common beliefs and practices too, and whether those beliefs live or die in the future starts and ends with him.

Additionally, I feel like Aang does possess a lot of emotional maturity for his age, even if he has bouts of being immature (like, normal, honestly). Like he processes his anger in a way that is largely healthy, actually? I think that’s a thing most people don’t understand, they don’t see that as part of Aang, when really Aang processes his emotions like someone who’s had very clear healthy models for it. He does feel anger, and grief. When Aang tells Katara in the southern raiders episode vengeance isn’t the way, that’s something that he’s fought hard internally to believe in, that’s something that he’s learned.

Tying into that, I think an overlooked aspect of Aang’s development is how in season 1 Aang spent a lot of time looking for Fire Nation citizens who were good / who could be good, because the idea that the Fire Nation is fundamentally evil contradicts his world view (”the monks taught us all life was sacred”), but I think that was probably a perspective he clung onto as well as a way of dealing with his grief. Like, I feel like Aang has fought hard to reaffirm his beliefs in a world that seems determined to “prove him wrong”, surrounded with characters who largely don’t share or understand them & see it as naivety because they lack perspective and have only known war / understand the brutality of the opponent they’re facing on a personal level. I think we don’t see a lot of this explicitly, it’s largely subtext and often an internal debate -- Aang doesn’t have many people to soundboard these kind of thoughts off, there’s no one who is an air nomad or of a similar kind of upbringing around.

Tbh I feel that Aang is best in season 1, largely because his developments in later seasons also incorporate his feelings about Katara as part of his general development, and if I’m just completely honest with you all, I mean no disrespect to Katara/Aang folks you’re cool in my books but I’m just not sold by it at all. For example, because Aang’s journey mastering the avatar state involves him reckoning with his earthly attachments and the idea of letting go, and that conflict revolves around his feelings for Katara, and because I am not particularly sold by Aang and Katara, that impacts on how I view that whole arc. I love a good friends to lovers arc where the depth of those feelings extends to both friendship and romance but I feel like the way ATLA writes romantic arcs often involves a character suddenly looking at another with heart eyes and very little actual bonding to justify that sudden change, very few *journeys* or *arcs* that culminate in feelings (unrelated, but this is my theory as to why Zuko is shipped with almost everyone, because he literally has several life-changing journeys with other characters at the tail end of S3), and it’s fairly unconvincing / pretty flat to me? Especially since we do not get anywhere near as much an insight into Katara’s feelings in that regard? I get that romance isn’t always a grand arc or whatever but given that it’s tied to a lot of Aang’s S2 development, I think it ought to have more prominence.

If I’m honest, I also feel like Aang’s development regarding Katara and the Avatar State was incomplete, and that made a lot of his S3 development frustrating because in other aspects I think he came into his own and matured - usually in subtle ways, like his attitude in the Southern Raiders, but also we see him from being understandably upset about having to hide his identity, to incorporate aspects of Fire Nation dress into his final late S3 look - but in that aspect, his arc felt incomplete to me? This might be a poor reading of it, but to expand on how I see it, in S2, Aang is incapable of letting go of Katara until literally the most critical moment, when he has to -- at which point, he is struck down by chance. In S3, the concept of entering into the Avatar State being a matter of difficulty is literally not mentioned, so we can presume he’s come to terms with letting go of Katara - which directly contradicts the pushy behaviour he shows in Ember Island Players, the way he ignores her boundaries? And then that’s literally never addressed, Aang never apologises, Katara and Aang never have an important conversation resolving the conflict there, and in the end Aang gets the girl? It’s frustrating.

Like, the way I see it, “letting go” of Katara shouldn’t mean putting no importance on her - I actually like the idea of Aang not being willing to leave his friends behind, his compassion and care is important in this aspect. Rather, if I were in the writer’s chair, I would have it that “letting go” means a willingness to face rejection. Aang lets go of a romantic prospect of Katara - and acknowledges she can and might reject him, and that’s always a possibility, but opens his heart to her anyway out of trust (and when they get together, it’s not because he’s proven himself worthy, but because Katara wants to be with him). I think that would have been such a monumentally *powerful* message, especially in a late 00s cartoon, prior to the likes of Adventure Time and Gravity Falls quite explicitly deconstructing the idea of the male protagonist always getting with their crush (I feel like a vital context new viewers miss r.e. Katara/Aang is that the male protagonist would always always get with the girl in cartoons, it always happened, to the extent that female characters existed as much as love interests as characters in their own rights). I honestly don’t think it would even require that much in terms of change! I might show that in S3 Aang still has difficulty with the Avatar state at times - he can go into it at will, but not always - and that’s because he’s in the process of letting Katara as a crush go. I’d still keep the kiss in Day of Black Sun - tbh, I have no issues there, he thought he’d never see her again quite possibly, he’s impulsive, it makes sense - but I’d maybe highlight a slight awkwardness afterwards. I might even keep the awful Ember Island Players conflict - but crucially, I think Aang would have to learn from this. I think when Aang might realise he’s still struggling with the Avatar state as late as Sozin’s Comet episode 1, panic, realise he needs to internalise that belief more, and I think he’d leave Katara a note - including an apology for his actions before, for pushing her when she wasn’t ready, but explaining also, that he needs to go on a journey by himself to figure this out. Rest of Sozin’s comet goes ahead as normal, more or less. I’d end with Katara, maybe at the tea shop afterwards, talking to Aang and asking him why he went off by himself, explaining that she & the gaang would be there for him, he didn’t have to go on a journey alone. Aang would explain that he didn’t expect they’d understand, they’re not monks, and Katara explaining that maybe they wouldn’t, but he could *try*, that’s a risk you sometimes take (but concedes they could have been more understanding). And I think over that conversation it hits Aang it’s not about being alone. Everything’s connected. It’s about not clinging on. it’s about being willing to lose. It’s about trust. I think by the end, they agree to try and communicate better, and Aang then asks Katara out - mirroring “Do you want to go penguin sledding with me?”, similar kind of activity. He almost tries to over-explain and say ‘listen it doesn’t have to go anywhere’ but Katara just smiles and says yeah. And they leave to go on their first real date.

Anyway that’s how I *would* have handled it and that is what I think could be an interesting and compelling arc that wouldn’t take much adjustment to add. Aang is afraid of losing Katara, and realising that he can and might lose her is important.

.... that’s way more than I intended to write but yeah. I feel like a lot of Aang’s development ties in with his feelings for Katara and that’s where I take issue.

[rickybowxn]

hey!! ok so i just need someone else’s opinion bc i haven’t seen anyone talking about this and i literally can’t wrap my head around it lol ok so ricky and nini dated for a YEAR and never once said i love you? and if ricky isn’t ready to say it was he going to wait till 2 years? 3? 4? or was he never going to say it? i also don’t understand why he doesn’t understand that he broke her heart :( i love him but he essentially broke up with her after she told him she loved him on their anniversary 😭

hiya! this is such a great line of discussion and so there’s a lot to break down, bear with me this is gonna be a long one :)

let’s start with the thought that ricky doesn’t understand that he broke nini’s heart. i agree and disagree with you on this. i think that as a 16 year old boy, in the heat of the moment after he saw the instagram post and was clearly overwhelmed by it, he definitely didn’t know that he deeply hurt nini when he decided to not say it back and break up with her. he was as impulsive and sudden in action in response to a post/declaration that in his perspective, was impulsive and sudden by nini. he definitely underestimated the consequences and the weight of him not saying it back in respect to nini’s emotions, and thought that there was space to come back from not saying it back (and i’ll get to why he assumed that in a bit). now, fast forward to junior year, i think he’s definitely understood just how much he broke nini’s heart. i think kourtney’s resentment toward ricky in respect to how nini was treated and more importantly, nini’s general irritation/stand offishness and just distaste towards him throughout the first three episodes allowed ricky to understand how hurt she was by it.

now let’s get when ricky was supposed to/will say ‘i love you’. i don’t know about you but i personally believe that every relationship has a pace, and that pace is different for everybody. saying ‘i love you’ simply doesn’t have a timer on it, it could happen in weeks, or months, or years. how fast or how long it takes to say those words neither validates nor weakens the relationship, and that’s what i believe. personally, i’d argue that throwing around ‘i love you’s’ at 14/15/16 is more unusual/immature than a healthy/mature response (and i’ll elaborate on that in a bit as well) in a relationship. with respect to rini/rickini/ricky and nini, it’s more about each character’s motivation and circumstance with respect to their relationship, as well as their relationship as a whole. tackling that first bit, ricky is in a really rough spot in his perception of love atm, it’s been skewed into negativity since his parents’ marriage started falling apart, i’ve mentioned it in another post of mine when i was analysing ep4 - ‘the only concept of love that he grew up with, his parents - he witnessed them be in, and slowly fall out of love. his only understanding of love is that it is temporary and painful’. now parallel that with nini’s perception of love, beautifully explicated by the subtext of kourtney’s (kinda) monologue in ep5 “i don’t get it, what happened to the seventh grade nini who used to belt this song… ever since you discovered boys, you’ve spent way too much time trying to see yourself through their eyes”, we know that they are worlds apart in how they perceive and pace the idea of love, as well as a relationship itself. nini, from what kourtney said, can be deduced to loving the idea of love - having a boyfriend, getting attention and affection etc. she’s a 14/15 year old girl who started a relationship with the first boy she met and seriously had feelings for. it’s even safe to assume that she jumped into saying ‘i love you’ because she thought ricky was ‘the one’ and she must have watched about 3737328473 romcoms and musicals that pushed the agenda and romanticised relationships and being in love (which no doubt influenced her version and understanding, which is still completely valid and integral, of love). it’s really important for us to understand that just like ricky’s understanding of love is twisted, so is nini’s, neither of them have really gotten to knowing the depth of how good and not so good love can be, and how big of a commitment it is, and that’s because of what i talk about next!

the bombshell that has created the entire arc of the ricky and nini relationship is immaturity. immaturity! ricky and nini are teenagers who are still developing skills such as communication, their independent values and beliefs, as well as self-image. these are all fundamental aspects that encourage and foster a healthy environment for a romantic relationship to grow. getting into a relationship so young, at 14/15 and committing to a person is so difficult simply because you don’t have a developed skillset of these things yet, and ricky and nini are a poster example. remember how i said i’d get back to why ricky thought that he could come back from not saying ‘i love you back’ to nini? well we’re here now, it was immaturity. ricky didn’t have the empathy or emotional maturity to understand how it would effect nini, and nini didn’t communicate, (and actually still hasn’t communicated), why not saying ‘i love you’ back hurt her, she’s just been lashing out so far. now the mature thing to have done is to have sat down with ricky and talked through it, asked him and understood his train of thought. she didn’t do that and ricky just walked away without explaining himself. that, is called a lack of communication. and that skill, comes from learning and ageing. yes it was obvious to us as an audience what he’d done was so wrong, but seriously, as a 16 year old coming from a broken home and never having experienced/seen a healthy relationship, i doubt you any of us would be able to fully grasp it if it was happening to us. and that’s why i’d argue that taking a relationship slow, feeling it out and getting into it as older and more mature individuals is more thought-out. your feelings at any age toward another person are valid, especially in the case that they are reciprocated, but that doesn’t mean you will have a functioning relationship. that’s because relationships. are. work. and kids can’t handle the work because they don’t have the skills that match the job description. ‘i love you’ encapsulates that promise - exercising communication, empathy and support, it’s more than just an emotion i think. in this case, i actually think that ricky understands that better than nini does, because as i said in my other post, one of the motivating reasons he didn’t say it back is because his parents didn’t keep their promise - they fell out of developing their skillset and supporting each other. 

now the most important side-note: none of us will ever perfect these skills that make a relationship work, its constant practice in empathy, in communication, in understanding, in esteem and confidence, and in support. i just think that nini and ricky never got to experience even developing those skills independently and that’s why their relationship fell apart in the way it did. this break has already matured them, ep5 showed nini gaining genuine confidence in herself and ep4 showed ricking communicating to nini how he felt about everything going on at home. them independently going about their lives and growing is already inevitably readying them for being in a relationship and committing to them the right way, when they’re ready for it! i’m so excited to see it

finally, as for when ricky will say/was planning to say ‘i love you’ - i think the writers are taking us on that journey right now! the break ricky and nini have been going through is perfectly setting them up for that mutual and satisfying understanding of the love they have for one and other. i personally think that ricky has loved nini from the get-go, his fear of externalising those emotions is that he’ll have the same outcome as his parents, his insecurities right now don’t allow him to believe that he can have, or even deserves, more than his parents’ fate. hopefully gets out of his rut with talking about how he genuinely feels about nini and how he’s ready for that relationship soon. nini is already getting better at being more sure of herself and what she wants, i think she’ll soon realise how ricky is different to her, and how that doesn’t take away from his legitimate and very strong feelings that are ever-present for her.

what ricky did sucked and he was undoubtably a douche. but that was the exposition to his, and ricky and nini’s story, it only gets better from here! it already has xx

(i’m so so sorry it’s this long, you just really got my analysis flowing lmao, hopefully this wasn’t just a mumble and was kind of an insight. i have so much to say but my brain feels like ramen rn)

[rcyharper]

can you explain why you don't like new 52 roy? i don't know much about him so i'm curious

I’m gonna paste an edited version of an old answer I’ve given before. It’s kind of long so I’ll put it under a cut.

The gist of it is that the New 52 basically changed everything about him. His origin, his heritage, his history, his relationships with the Titans and Arrow family, his personality, his addiction, and so much more. They literally changed everything and none of it actually helped his character– most of these changes were made to prop up Jason Todd and Roy’s relationship to him. They were made to justify him being labelled an outlaw- a label pre-RP Roy would have never taken.

They completely disregarded his Navajo heritage. They removed his band tattoo on his bicep and replaced it with tattoos of a scorpion and a skull. His Navajo tattoo actually had meaning to him– we actually saw the story of where and why he got it, and we know how much and what it means to him. It’s important to him because it ties him back to his culture and it was the tattoo he got when he was officially officiated as a member of the Navajo Tachini tribe. His N52 tattoos generally have no meaning or point. They’re just… there. We never saw how or why he got them or what they mean to him. To me, they’re just there to make him look more “rebellious” to try to justify him being labelled an outlaw. His Navajo heritage gave him a unique perspective on life, whereas N52 Roy is just like any other guy. Him being Navajo also gave him a home he could always return to when needed, and his perspectives about family, death, life, etc. always added a unique layer to the character. Also, him growing up in a tribe came with a love of the outdoors and growing up with archery– that’s the reason he loves archery and is so good at it, it ties him back to his home and it’s something that was always a part of him. Granted, Rebirth did bring back his Native heritage but it was only in the GA issues he was in (which some writers, aka old Lobdell, didn’t bother to read and hence ignored.)

Another change the N52 made that I hate: his relationship with his fathers. Roy has three fathers: Roy Harper senior, Brave Bow, and Oliver Queen. They’re all inspirations to him and he looks up to all of them, but N52 made him hate 2 of them and erase the other one. Basically, what they did with each of them:

Like I mentioned before, N52 erased his Navajo heritage, so with that, Brave Bow was erased as well (he was brought back in Rebirth though, though they changed his name to Big Bow.)

Roy Harper senior, his biological father, was a forest ranger that died in a fire when Roy was 3 years old. He died saving a man (Brave Bow) who took Roy in. Roy senior was a hero Roy always looked up to and strived to be like, but N52 changed his father into a generic stereotypical absentee father who’s an alcoholic. Just another asshole father, how original…

As for his relationship with Oliver… while yes, Oliver and Roy did have their infamous fight pre-FP, but they never hated each other. This is a huge misconception among people. If people actually read the story where the fight happened, they’ll see that it ends with them being on okay terms, but moving in their own way. After spending some time apart doing their own thing, the two become closer than ever once they reunite and start getting closer again. They’re very much a father and son who love each other as any healthy father-son does. N52, however… changed that. It made them hate each other way into the present day, and removed a loving bond between the two that made them so close. it didn’t help help either of their characters and just made them both seem to be like assholes because of the things they’ve done. 

I have a lot more problems with Roy and Ollie’s relationship in the N52, I’ll get to them in a later point. But like I said, this point was about how N52 absolutely destroyed Roy’s relationship with his fathers.

Another thing I despise about N52 Roy is… Lobdell always wrote him as someone who needed to be taken care of. Someone that couldn’t be independent, which is just… the exact opposite of Roy’s character. Pre-FP Roy, after making his mistakes, goes solo to find himself and make amends. He, solo, worked on becoming a better person and making the world a better place so people wouldn’t go through what he did, and later, he was a single father who raised a daughter alone and he was a good father. N52 Roy always implied that Roy had to be babysat by Jason and couldn’t be left alone, or that he was too much of an idiot to handle himself (oh, how Lobdell loved to remind us that his Roy is dumb.) N52 kept portraying Roy as always needing to be with Jason or hating being separated from Jason and Kory… making him be so dependent is so against his character. He was completely independent when he went solo. He even refused to rejoin the Titans at first because he wanted to do things solo and find himself, and most importantly… he was a single father! A responsible father who independently raised a daughter… that’s why him being dependent is literally the opposite of his character.

And then there’s his addiction… N52 changed his addiction from heroin to alcohol (it was changed back in Rebirth but still.) Addictions are not and should not be treated like they’re interchangeable. The original drug addiction story, Snowbirds Don’t Fly, was an award winning story that changed the landscape of stories that could be told in comics. It was that good, and changing for just a generic addiction story is pretty ridiculous. The original story showed that Roy was the one who kicked his addiction away, all because of his will and drive to kick it away. He was the one who wanted to get rid of his problem. With some help from people around him (aka Dinah), he kicked it away and was determined to be a better person because of it. He wanted to become an educator and volunteer to help people dealing with addictions like his, and he wanted to help fight drug dealers and help fight the drug problem. That’s why he joined the DEA– he wanted to help people who went through what he did. Roy appealed to a specific demographic of teenagers that fell low and fell into drug addiction– something that hasn’t been done before with any other character– and he served as a role model as someone who overcame it. N52 just got rid of all that and not only changed his addiction type, but had him be completely be saved by someone else (who he shouldn’t have any relation to in the first place). N52 focuses on him relapsing and being tempted back all the time, which is against what the character stands for. The whole point is that he’s someone that wants to move on past his mistakes and become a better person and let others see him for who he is as a hero, but N52 keeps throwing his addictions back at him and him being literally labelled an “outlaw” is something pre-FO would never accept because it goes the entire idea of him wanting to move past his past and being something better, letting people see him for the good he’s done. He’d never accept being labelled as some sort of outcast, because that’s not what he is.

And then there’s his relationship with… Jason… first, even if they were in a team together, there’s no way in hell Jason would be the leader over Roy. That’s just ridiculous. Roy has led the Titans, Checkmate, and the Outsiders. He’s more level headed, nowhere near as damaged, and has so much more experience. Not only has he led all those team, but he led them well. Even Dick said he was a great leader and that he should lead the Titans in his absence. Roy’s character was completely changed to justify him being on a team with Jason that labelled him an “outlaw”. Roy was 19 when he met Jason, who was Robin at the time, and probably no older than 12 or 13. In that same story, Roy discovered he was a father. There’s just so many levels of maturity and experience Roy has above Jason. Jason being the one to take the shots makes no sense at all.

I also hate how all his relationships and history are disregarded to justify him being an outlaw and to prop up his relationship with Jason. Just some of the relationships that were gone include:

His relationship with the Titans? Completely gone and watered down to prop up their friendship. Lobdell takes every opportunity he can to insult Roy’s relationship with the other Titans to show Jason as his one “true” friend. Even when he wasn’t writing Roy in Rebirth, he still decided to include someone stupid line about how Roy was drinking because he was with the Titans, even though there was literally nothing in the Titans book actually indicating that, even more proof that Lobdell doesn’t bother to read other books and just makes up his own stuff. As a side note, relating to what I said about how Lobdell handles his addictions earlier, he seems to be the only writer show throws them back at him when he’s (aka N52 and that one crappy RHATO annual, and even a line in a book Roy isn’t in that makes, and most of it doesn’t make any sense when you look at what Roy is actually doing in Rebirth.) They literally were never thrown back at him in Rebirth except for one line in a comic written by Lobdell that Roy wasn’t even in. In just one and the one issue he wrote Roy in Rebirth, Lobdell managed to throw his addiction back at him and managed to undermine his relationship with the Titans to imply that Roy hasn’t been happy since leaving Jason which completely ignores what’s going in the book Roy is actually in. Ridiculous. I mean, even when Lobdell the Wally/Speed Buggy book, it ended with Wally celebrating with the Titans, and it had every Rebirth Titan there except Roy. It’s like this guy just wants to erase that part of Roy’s history.

His relationship with Oliver? Completely scrapped and changed. I talked about just some of the problems i had with it earlier, but one of my biggest problems with it is that their father-son relationship was completely thrown out in favor of making it a… weird co-worker type relationship or whatever it was. Instead of making Roy a kid who Ollie took in and had to raise, they made him what was basically an employee/associate of Oliver’s who had a falling out because of business issues with the company. His problem with Oliver was the reason went into in addiction, but the N52 completely changed that to say oh, it was that kind of but it was also actually because of Jason’s death, someone Roy barely even knew when he died. His relationship with Ollie was completely damaged and destroyed to justify Roy’s position as an “outlaw” and to make him more relatable to Jason. (Rebirth thankfully changed it back to a father-son relationship)

Also, Roy recovering from his addiction? Instead of being by Dinah and Hal and the Titans, nope, they replaced all of them with, you guessed it, Jason Todd and fucking Killer Croc of all people… again, his relationship with people that were family to him was all completely scrapped for the development of Jason and Killer Croc, again to try to justify him being labelled an outlaw since he can apparently only seek help from outcasts and to prop up Jason even more.

Basically, what I’m saying is that all of Roy’s relationships with the Titans, the Arrow family, and any other character that had meaning to him were completely and utterly undermined for no reason other than to prop up Jason Todd and his relationship with Jason. None of these changes actually benefitted Roy himself (other than the horrible attempt to label him an outlaw), they just made him worse- but they all benefitted Roy.

Roy’s personality also changed a lot. Pre-FP was lighthearted, but he was also serious because of what he’s been through and he was smart and great at what he does. N52 changed him into a literal idiot (like I said, Lobdell loved reminding us of this) who can’t handle himself alone and has to crack a dumb joke every second and doesn’t take things seriously and has to be babysat by Jason. Even when they tried portraying to do things like build tech, they still wrote him as dumb. Roy’s always been someone that was good with tech, since he obviously built his arrows, weapons, so many high tech bases, etc. But the N52 chose to portray that intellect by portraying him as a mad scientist... that’s literally what they refer to him as multiple times, or a “rockabilly genius”. Basically, they wrote him so that he could only build tech, but he gets so carried away with it to the point where he either destroys a lot of crap while doing it or if he’s unsupervised, he’ll spend all their money on it. They wrote him as someone who was so irresponsible and had to be kept in check, whereas Roy is actually someone who builds things when he needs to. He’s someone who prefers to spend his time either with his family, training, or volunteering somewhere. He doesn’t spend his entire time building things for no reason, he has to plan something out, know why he needs it and adds it in. Technology is a hobby for him that he occasionally spends time on, it isn’t an obsession and it’s nowhere near being his main focus. He was extremely dumbed down to serve a role of being the dumb guy who’s good with tech.

And it’s not even just relationships and history that were changed. They just changed him so, so much. His attitude towards life and how to deal with bad guys and killing, and his views on being a superhero were all changed from someone who genuinely wanted to be a hero to help people to someone who tried going hard and edgy and it just doesn’t work with what the character represents and is about. It all goes back to trying to fit him under the outlaw label– they changed his views and how hard he goes, what he is and isn’t willing to do, his tolerance on killing, etc. All of that changed to try to fit him and being an outlaw.

Another thing I’m not a fan of is one of the consequences of the bad attempt of labelling him an outlaw, which was his status in the hero community. Pre-FP Roy worked so hard on himself, to prove himself as Speedy and then Arsenal and then Red Arrow. He cares so much that other heroes see him for who he is and not his past and respect him for work, and he more than earned that respect. When he took on the Red Arrow name and joined the league, it meant so much to him because of him finally deciding to take on the family name and legacy, and to be up there fully after all he’s done. N52 made him an outcast in the hero community, made the league and all other heroes look down on him instead of being his friends. He looked up to the heroes and wanted to be treated as an equal among them, and he was-- he was just like any other hero, but that was all thrown out to, once again, justify him being an “outlaw”.

Another consequence of trying to label him an “outlaw” is that he just… doesn’t look like Roy Harper. Like, at all. I’ve already talked about how they replaced his Navajo tattoo with edgy tattoos to make him look edgy in the beginning of this, but it goes even beyond that. The extremely long and messy hair and the way he dresses so badly is just… not Roy. Roy is definitely someone who takes care of himself. Like I said before, he cares about how he presents himself and the type of image he sets, so this whole “don’t care” attitude they tried reflecting in his clothing and hair just didn’t make sense for the character because he does care, he’s not a rebel. Plus, there’s also the whole infamous trucker cap thing that they had him wear… not only does it make for such an awful look, but it’s also not practical, and Roy is someone who works a lot about the practicality about how his suit works, and he cares about being the best possible superhero he can be, and he doesn’t like wearing a cap beyond his Speedy days, let alone a stupid trucker cap. Also, the way he was drawn just didn’t look like him. Side note, but most of the time, he was drawn a lot smaller than he is for some reason, and for some reason the shape of his head was just… off. He just doesn’t look like himself at all. His whole look is just too messy and that isn’t Roy. 

Roy just doesn’t fit the “outlaw” label– he never has, and the fact that they had to change so, so much about his character to try to justify it is proof of that.

And finally… most importantly… Roy being a dad, and the erasure of Lian Harper. When Roy’s a dad, he was something to fight for. He has a reason to be a superhero and do what he does, to be responsible and to be more mature than he already is. Him being a dad completely changed him and gave him a reason to strive to become a better man than he already was, all for his daughter. He helped so many characters because of how his fatherhood changed him. Him being a father gave him so much happiness and brightness in his life despite the mistakes he made before. On top of that, Roy became a father when he was young. He risked his life just to see Lian and take her in. He could have easily ignored her and left her with Jade, but he chose to actively seek her out and risked his life to do so. He wanted to be a father. He wanted to raise his daughter right and be an inspiration for her, and to me that just shows the kind of man he was.

Being a father is one of Roy’s biggest character traits. It isn’t just some random thing, it was part of his characters for literal decades. It’s so much of who he is and holds so much of his development, and the erasure of it just changes so much about him for the worst.

Roy’s a character that meant something. He had a unique story with a unique background and perspective on life. Despite the mistakes he’s made, he still fought hard to strive to become a better man and hero. His relationships with the Titans and Arrow family and were such a huge and important part of his history. All those characters mean so much to him and they’re all his family, and they were closer to him than anyone. He was a Titans and Green Arrow character, after all. He was a role model that readers and characters would look up to and be inspired by. He was a character that showed despite the mistakes he made, there was always room for redemption and the path to becoming better and learning from your mistakes to become a more inspirational and better man.

And the N52 just threw that all out the window… and for what? Nothing good.

[caitsbooks]

Caitsbooks Reviews: Kingdom of Ash by Sarah J. Maas

Overall: 5/5 Stars Characters: 5/5 Setting: 5/5 Writing: 4.5/5 Plot and Themes: 4/5 Awesomeness Factor: 5/5 Review in a Nutshell: Kingdom of Ash is a fantastic conclusion to a series that has taken over the YA community. 

“Hers was not a story of darkness. This would not be the story. She would fold it into herself, this place, this fear, but it would not be the whole story. It would not be her story.”

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// Content Warning: War Themes, Mature Content, Graphic Torture (seriously, it's very intense), Sexual Assault (Mention), Death, Murder, Violence, Self-harm, Suicide (Mention), PTSD, Depression, Animal Abuse, Animal Death, Abuse

“Once upon a time, in a land long since burned to ash, there lived a young princess who loved her kingdom …”

- Premise -

Kingdom of Ash is the final Throne of Glass novel. This book takes place after the events of Empire of Storms and Tower of Dawn and follows an insane amount of characters as the war begins.

“Let’s make this a fight worthy of a song.” 

- Setting -

I absolutely love the world that Sarah J. Maas has built with this series. This book adds even more onto the lore and even discusses the other worlds, which made me so extremely happy. There were also plenty of things set up in this world even from the first novel that finally come into play in this book, which I found impressive. Sarah J. Maas either is a genius or found clever ways to fix plot holes (or both?)

“Remember that we have something to fight for, and it will always triumph.” 

- Writing - 

I think it's pretty well known that Maas' writing in the later books has gotten a bit repetitive and much more mature, but I felt that while writing this book she took these complaints to heart. I won't lie and say it's absolutely amazing and no line made me cringe, but it was an improvement from Empire of Storms (I'm not comparing it to Tower of Dawn because that book was absolutely amazing). The sexier scenes were less detailed and more fade-to-black, which is a lot more appropriate for the YA audience and makes more sense considering the plot. However, if that's why you loved this series- sorry! The romance aspects are still adorable though!

“Do you know the story of the queen who walked through worlds?”

- Plot-

This book had a lot to do, and a lot to live up to. I left it feeling satisfied with the ending, but there were definitely a few plot points and deus ex machinas that pulled me out of the book. Mostly towards the end, there was one specific thing that was so out of nowhere that I got annoyed, and the ending itself was a little too neatly wrapped up for how things were solved. I'll get into that more in a spoilery section. As for the pacing, this book was relatively fast-paced and engrossing despite being 1000 pages. There were constant battle scenes and action that moved the book along, mixed with some amazing character-defining moments and even a couple of lines that made me laugh despite the war and death. After a while, specifically the Lysandra and Aedion chapters did get a little slow and predictable, but the other perspectives made up for it. Also, I want to mention that the first quarter of this book has a lot of graphic torture scenes that can be hard to get through. It's absolutely brutal and I found myself having to step back from the book a few times. 

“Who do you wish to be?” 

- Characters - 

The cast of characters in this novel is immense, and I can't talk about every single one, but I wanted to mention a few of the standouts and a few people/relationships I needed to talk about: Aelin - She really had a great arc in this book. We've seen her grow and develop so much over this series, but this book definitely has the most growth for her. I was getting a little apathetic towards her in Empire of Storms, but in this last novel I really began to feel for her again and care about her. Fenrys - If you asked me, before this book, what I thought about Fenrys, I would probably ask you who you were talking about. That said, after reading Kingdom of Ash, I would die for him. Sarah J. Maas developed him into an amazing character who stole the show for me. Dorian - Dorian was one of my favorite characters in this entire series. I need to start with that, because Dorian in this book was just kinda meh. I think part of it had to do with his relationship with Manon. It just felt forced and unnecessary (and this is coming from someone who loved Manon and shipped them back in Queen of Shadows). Aedion & Lysandra - This is another relationship that lost its adorableness for me. I loved them in the previous books, but Aedion said and did some things that really ruined my love of them as a couple. I still like them together, but I wasn't excited to see their relationship develop like I was in the previous books. Chaol - What a journey. I've gone from hating him, to loving him, and this book just cemented how much I love him now. I loved his interactions with Yrene, and how he defies the trope of overprotective husband and lets her make her own decisions and risk her life if it means saving the world. I just love a healthy relationship.

“Her name was Aelin Ashryver Whitethorn Galathynius. And she would not be afraid.”

- Conclusion -

Pros- Lots of action, satisfying conclusion, epic setting as usual Cons- Meh writing, a few unbelievable deus ex machina, lack of diversity, ALSO- check out Aentee(Read At Midnight)'s review which brings up a lot of amazing points Overall- 5/5 stars. Kingdom of Ash isn't perfect, but it is a conclusion that fans of the series will adore, and casual readers will still enjoy.

---------------------------------------------------------------------------------------------------------- Spoilery Section - Only read on if you've finished Kingdom of Ash

Okay I have a lot of thoughts and I want to try to go through them in a way that makes sense, but let's be real, that's not gonna happen. Most of the spoilery things are things I'm disappointed with so if you want positivity... sorry? 1. The Thirteen I loved The Thirteen so much, which is why I hate what happened to them. I understand Maas couldn't let everyone live (more on that later) but why them? The only people who died where them and Gavriel, a.k.a the only people every cared for without heterosexual love interests (and since she tortured Fenrys enough I guess she didn't want to kill him as well). I cried so hard at their deaths, and then when I stopped crying I was just upset. They deserved a better ending than that. 2. Literally no one who lived could be single or straight. Once again, Fenrys is the exception, but let's face it. She's probably going to write a spin-off featuring him and probably ending with him marrying some unnaturally beautiful girl (don't lie, you know the end of this book sets it up perfectly). 3. (Not a complaint) THAT CROSSOVER!!! Did everyone notice Rhys' little cameo when Aelin was falling through worlds???? I loved it so much!!!! 4. (Back to negatives) Gravriel & Aedion's "reunion" Okay, am I the only one loved Gavriel? I adored his character, and I thought this book did a great job developing him, and I was so upset that all that work was done only for him to reunite with his son for one page being killed off. I just felt like it was used as a cheap way to get emotion out of the reader while also killing someone so no one can complain like after A Court of Wings and Ruin 5. Deus Ex Machina That Wolf Fae thing at the end. That was just out of nowhere and really unnecessary. It felt wayyy to convenient and just pulled me out of the book. Also, the entire army dying after Erawan died. That felt like another cheap way to wrap up loose ends. I understand why she did it, and it makes some sense, but it did leave me feeling a little bit disappointed. It was anticlimatic. 6. Character Deaths in General So a lot of people were upset with the ending of ACOWAR, and while SJM clearly did try to kill some people off, it just wasn't done well. She conveniently killed off those who were paired up so this book could have the happiest ending possible, which just made it seem so unrealistic in a series that has always felt down to earth for a high fantasy, assassin-fae YA series. 7. (another good thing!) The Nameless King I just wanted to mention the King of Ardalan. I always wondered why she never gave him a name (I thought she just didn't like naming Kings because she didn't name Hybern), and I love how she actually had a reason! I really loved how she handled his and Dorian's relationship and how Dorian was coping, since we didn't see much coping in Empire of Storms. Also, I loved the reveal of his name. I was afraid if she did reveal his name it would be disappointing, but it really wasn't. 8. Speaking of names- LORD LORCAN LOCHAN Just say it out loud a few times. It's too fun. (Also I love Lorcan and he's precious).

[whitewolfofwinterfell]

Please spill tea on Rachel/Joey as a romantic ship since I know you're with me on being one of the few who still ships Ross/Rachel!

This is a very strange ask for me to receive, since I’ve spoken about my like for Joey and Rachel as a romantic pairing in the past, even above Ross and Rachel (you may not have seen it because I tend to just rant in the tags of my posts haha, but you can see some of the things I’ve said in my Rachel/Joey tag here). Having said that, it is a topic that I go back and forth with because I see the positives of both ships and I like both for different reasons. However, this may go in a different direction than you expected since I do really like Joey and Rachel, so beware that this does contain some anti-Rosschel content, and it’s pretty long (sorry, I have a lot of thoughts on this).

On paper, Rachel and Joey are the perfect couple and I love their relationship on the show so much. They had such a respectful, loving and endearing friendship that was so beautiful. Even as I’m trying to sit here and think of the negative side to Rachel and Joey’s relationship, I can’t. It was so open, warm, trusting and sweet. Joey falling in love with Rachel is one of my favourite arcs on the entire show, because it’s so realistic and emotional. We’ve all had that moment at some point in our lives where we have a close friend who we’ve only ever thought of platonically but then something happens and we see them differently, whether it’s just for that one moment or whether it develops into something more like it did for Joey. I’ve never really seen it discussed before, but all of the characters on Friends developed over the seasons, except Joey. Who Joey is in season 1 is practically exactly who he is in season 10. Falling in love with Rachel is the only time we actually got to see a change in Joey. It was the first time he’d ever been in love so it was incredibly difficult for him to navigate those intense feelings anyway, but it was a million times harder because he was also dealing with the confusion and guilt of that person being Rachel who was pregnant with Ross’ child. How Joey handled himself throughout the situation was so beautiful to watch and made me fall in love with his character in an entirely new way. Here’s this guy who’s specifically known for being a womaniser and an immature bachelor, but he was mature, selfless and fair throughout the entire thing.

Joey falling in love with Rachel made perfect sense. He lived with her and was incredibly close to her, they got each other and had fun, and you could just perfectly see and understand why he would love her. In comparison to Ross, whose love for Rachel was just there from the beginning and mainly based on an infatuation he’d had since he was a child, Joey’s feelings for Rachel were incredibly complex. When Joey’s feelings for Rachel seemed to pass, I thought that was the end of it and then BAM, Rachel had her dream and suddenly she had feelings for Joey. This was the point at which I knew something had to happen, because two friends don’t both just develop feelings for each other out of nowhere, that has to mean something. Watching Rachel’s feelings for Joey develop wasn’t nearly as enjoyable as watching Joey’s (but that’s mainly because whenever Rachel has the slightest interest in someone she immediately becomes annoying to me), but again, it made sense to me. She was close to Joey, he was always there for her, she knew he had romantic feelings for her recently and hey, he’s an attractive dude!

The perfect basis was already in place for an amazing romance to develop between the two – they’d been best friends for 8 years, lived together for two(?) years, they had an attraction and a special bond - yet when it finally happened it just didn’t work. Every time I rewatch the show (and that’s a lot) I ask myself the same question about Joey and Rachel and that’s – why!? Why didn’t it work? Because it doesn’t make sense to me, but of course, that can be summed up in one word: Ross.

Ross and Rachel are that couple, aren’t they? They’re so iconic, everyone worldwide knows them and from the very beginning they just sucked everyone in. Nowadays I see people growing tired of the will-they-won’t-they trope because it’s so overdone, but when Friends was first airing, it reeled people in hook line and sinker. What really sells Ross and Rachel as a couple is Jennifer and David’s chemistry but also that intense passionate love that Ross and Rachel have. The problem is, that beyond this I do struggle to see what makes sense about Ross and Rachel. This is where you may want to stop reading if you’re a huge Ross/Rachel fan because it’s going to get a quite anti-Rosschel.

It starts off as a very one-sided relationship that is built upon Ross’ crush on Rachel that goes back to high school and by the time they do finally admit their feelings and get together, there’s just a series of endless arguments and break-ups which suggest it’s not a very healthy or happy relationship. From Ross’ perspective, in particular, I think his perception of Rachel and his relationship with her was incredibly distorted. All of their issues in season 3 are because of Ross’ insecurities, because he spent his high school years pining for a girl that was “out of his league”, once he was with her he was constantly afraid he would lose her and that led to possessive behaviour. What always sticks in my mind is the conversation they have about Rachel working too much and Ross expresses that he feels she has this entirely different life that he’s not a part of, and Rachel explains that she’s glad about that because she wants to have something in her life that is separate from him. She says that she’s scared but she’s happy because she’s out there in the world doing something for herself and she asks if he’s okay with that, which he replies yes, but then over her shoulder when they hug he says he’s not. Because Friends is a sitcom, comedy is injected into that scene, but it’s actually not very funny at all. What about what Rachel said is even slightly unreasonable? In most relationship’s an individual’s work is the only part of their life that is not intertwined with their partner and is the place where they can channel their passions and energies. Ross had his career at the museum which was clearly very important to him yet Rachel couldn’t have hers because that made him insecure. What’s even worse is when you think back to the list he made about Rachel, under the cons he listed “Just a waitress” as one of her cons, yet when she decided to break out of the coffee house and launch a career, he didn’t like it. So what did he want from her? Rachel always felt very much like an achievement to Ross rather than a person, particularly in the early seasons. I don’t necessarily want to pit the two relationships against each other but when you compare how well Joey knew Rachel and his opinion of her in comparison to Ross, there’s no comparison. Ross was in love with the idea of Rachel (I think as the seasons progressed he did fall in love with who she was more so), but it still didn’t feel like he really knew her and loved her for her. Proof of that can be seen by his negative reaction when she started to change and become her own person and establish a life for herself.

Having said that, there was an inexplicable pull between Ross and Rachel that brought them back together time and time again. They finally admitted their feelings to each other and got together in season 2, only to split up the same day because of the list Ross made, then they got back together later in the season after the prom video, then they took a break in season 3 (by this point they’d been in a relationship for total of 11 episodes), got back together in the next episode and broke up soon after when Rachel found out Ross slept with Chloe.10 episodes later, in season 4, they got back together at the beach house only to split up the next day because of the whole ‘we were on a break’ argument. Nothing much happened with them after that and they seemed to be moving on, until Ross met Emily and Rachel realised she still has feelings for him and went to England to stop the wedding but Ross said her name at the altar, so that ended in tears hah. Throughout season 5 Ross fights for his marriage and is insistent he loves Emily, whilst Rachel continues to pine for him. By the time we get to season 6, this is where they’ve both seemingly moved on from one another and then lo and behold, they get married in Vegas! After this Ross realises he has feelings for Rachel AGAIN, which seems to soon pass. In season 7, it seems like they’re moving on again until they wind up kissing after Monica and Chandler get engaged. Season 8 is of course the season where Rachel falls pregnant with Emma and from that point until the middle of season 9 when they’re living together and raising Emma, their relationship seems headed in the romantic direction once again. Then they decide their arrangement isn’t working so Rachel moves out and back in with Joey, and they go back to their own lives. That brings us to the end whereby they finally come to realise they want to be with each other in the finale. Wow, that’s one hell of a long and complicated relationship, right? But it perfectly displays the on-off nature of Rachel and Ross’ relationship and shows that even when they were supposedly over each other or moving on, they very quickly found each other again. What I never got about all of this is why it happened. I understand it up until around season 4, but past that I don’t. Why did Ross say Rachel’s name at his wedding? I don’t care what anyone says, at that time he was not in love with Rachel. He agreed to stop seeing Rachel to make his marriage with Emily work, for crying out loud. Also, why did Rachel continue to love a man that had made an immature pros and cons list about her when they first got together, was possessive and jealous when she got a job, fell into bed with the first woman he clapped eyes on when she told him they were on a break (I mean, who does that!?) and refused to accept responsibility for his actions or act with even the tiniest shred of maturity when presented with the chance of getting back together with her? What is it about this man are we supposed to believe makes him a man that Rachel is in love with? It doesn’t make sense. Neither does the fact that they randomly kiss and have sex for no reason what so ever other than the fact that they have before. When they have sex and Rachel gets pregnant with Emma, that literally happens because they’re both there and it’s easy because they’ve been together before and they know they’re in a place where emotionally they’re not attached, so they can treat it as a casual one-night stand.

But, back to Joey and Rachel, because that’s technically what this ask is supposed to be about rather than Ross and Rachel. I think in comparison to Ross and Rachel, whose relationship was incredibly rocky and problematic, Joey and Rachel had a much better build-up, a richer relationship and a more complex connection. The problem with Joey and Rachel is that the audience were already too invested in Ross and Rachel, for a Joey/Rachel romance to last long-term and the writers couldn’t fully let go of Ross and Rachel, no matter what they did. I’m not sure what the intentions with Rachel and Joey were or if the writers even intended for them to be the real deal and stay together, or if it was supposed to be brief like it was, but it certainly felt like they never fully committed to it. 

Again, what bothers me about this is that Rachel and Joey splitting up didn’t really make sense and neither did Ross’ reaction. Of course Ross was going to react strongly to finding out about them, but it really didn’t make sense to have Ross react the way he did unless he still had feelings for Rachel and/or was in love with her, which we were told he didn’t and there seemed to be no indication of anything to the contrary until that point. No matter how long your history is with someone or whether they’re the mother of your child, the fact was that Rachel was his ex, Ross had a girlfriend (Charlie) and as Ross himself pointed out, he and Rachel hadn’t been a couple in 6 years. So it didn’t really make sense for Ross to react that way. He and Rachel were exes, so what? They’d both moved on, Ross with Charlie, and Joey and Rachel deserved a shot. What also didn’t make sense is the way in which Rachel and Joey split up, since the issue they came upon again was completely fixable. A lot of people when transitioning from friends to romantic partners experience initial awkwardness. When Ross and Rachel first tried to have sex, Rachel couldn’t stop laughing, but they persevered because they knew they wanted to be together and it should’ve been the same for Joey and Rachel. They were clearly attracted to each other physically and they wanted to be together, so once they’d pushed through that barrier once, they would’ve been fine. The only reason they split up at that point is because the writers knew they couldn’t make it work after having invested so much time in Ross and Rachel. I really think if the writers and audience weren’t so fixated on Ross and Rachel, Joey and Rachel could’ve gone all the way. I also think if it had been a real life situation and not a show, Joey and Rachel would’ve lasted. There was absolutely no reason they wouldn’t last because they were incredibly compatible. Their relationship ended before it even began, I mean, they really didn’t even give it a chance at all and immediately afterwards it was completely swept under the rug as though it never happened. That’s something that will always bug me and is just proof that the writers wanted to try and erase Joey and Rachel because they wanted Ross and Rachel to be endgame. But the fact remains if they knew they wanted a Ross and Rachel endgame (which they clearly knew very early on) why did they decide to go down the Joey/Rachel route? It didn’t really make sense in that context. 

One thing I will say is that despite the seemingly anti-Rosschel sentiment of this, Ross and Rachel’s romantic chemistry always felt stronger than Joey and Rachel’s, and their relationship always felt much more natural. However, I put that down to the actors. I think because Jennifer and David were portraying a romantic relationship from rather early on, they fell into a natural rhythm but Jennifer and Matt were such good friends on and off-screen, that when they had to make that transition to a couple, it didn’t quite click. And I’m pretty sure even Matt and Jennifer themselves protested against them being a couple, claiming it was too weird because they were brother and sister, so clearly their hearts weren’t really in playing that relationship and I think that shows in their performances. So, it’s strange because in terms of writing, I’m all for Joey and Rachel, but in terms of the chemistry and the feeling of the couple, I’m all for Ross and Rachel. I also think that despite the problematic elements of Ross and Rachel’s relationship I mentioned above, they changed and developed and by the time they got back together in season 10 I think they were much more suited and ready for a proper relationship. A big part of the issue with their relationship in the early seasons is that Ross was in a completely different place to Rachel. Even in season 1 Ross is very together - he has an established career as a palaeontologist, he earns a decent wage, he has his own apartment in the city, he’s been married - but Rachel, in comparison, is just starting out in life. In season 1 she completely uproots herself and leaps into a world she’s never been part of, so by the time she and Ross get together she’s still adjusting to that huge change. She hasn’t built a life for herself yet and she hasn’t found what she enjoys or what her path is in life, but Ross is already sure in himself and that’s why Rachel freaks out when he starts talking about having kids and moving to Scarsdale. At that point, Rachel isn’t ready for any of that, she’s still trying to deal with having a part-time job at Central Perk and trying to decide where she goes from there. But by season 10 she’s established herself in an amazing career, she’s a mother and she’s grown so much and she’s finally right there with Ross and ready for all of that. As for Ross, by season 10 he’s realised that Rachel loves him and has chosen him so his insecurities shouldn’t be so much of a problem. So where Ross and Rachel start and where they end up is two vastly different places, and although I don’t like the way the journey was written, they earned that ending.

In comparison, Joey and Rachel just can’t compete with that. As sweet and well-developed as they were, they can’t compete with that magnetic pull between Rachel and Ross that continued for 10 years. Ross and Rachel had simply been built up too much for too long for Rachel and Joey to be able to swoop in at such a late point in the series and be endgame. Perhaps if certain things were different and Rachel hadn’t of had Emma, Rachel and Joey could’ve worked, but Ross and Rachel were too entwined to ever separate and I think if they’d ended up with other people and Rachel had ended up with Joey, somewhere deep down inside they would have always felt a sense of regret and “what if?” and I definitely think that would’ve cast a shadow on Rachel and Joey’s relationship if they’d stayed together.

To conclude this big muddle of a response, I really like Joey and Rachel together and see a lot of potential with them as a couple, but their romantic chemistry was lacking and dare I say it, even felt awkward at times, and they simply couldn’t get to the same place as Ross and Rachel. Ross and Rachel were written as being the love of each other’s lives and despite the messiness their relationship, I strongly believe their fate was sealed in TOW Prom Video and there was no coming back from that. 

[aion-rsa]

Archer Season 12: Casey Willis On Sterling And Cyril’s Emotional Breakthrough

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This article contains spoilers for Archer season 12 episode 5.

Archer has a fascinating relationship with change. Major elements like the show’s genre have transformed, but a constant through the years are the characters and their relationships with one another. The series has made it clear that these character dynamics are quite toxic in many ways, some of which have left the characters looking for ways to grow. The most recent seasons have prioritized the cause and effect nature of Archer waking up from his coma and returning to work, which has left everyone feeling very raw and vulnerable, including Sterling Archer himself. 

Archer’s latest episode, “Shots,” dresses itself up as a playful night of liquor and laughs, but it becomes a deep look into Archer’s poisonous effect on his friends, specifically Cyril. Archer EP Casey Willis and producer Pierre Cerrato deconstruct the emotional entry and its significance in the season, putting together the glorious “Pampage” sequence, and if those were really the origins of “Sploosh.”

Archer Season 12 Episode 5 – “Shots”

Written by Matt Roller “Sex, drugs, and monster trucks! Archer and the gang celebrate another barely successful mission.”

DEN OF GEEK: With this being the half-way point of the season, were there any sort of goals or expectations in check for this point in the season, or was it not thought about in such a precise way?

PIERRE CERRATO: We are definitely thinking about how we are telling the story across the entire season. It may feel like a standalone episode, but I can’t really slot this episode anywhere else in our season. We needed to feel that the gang had been on a few missions and could use a break. We also needed to expand on Lana and Robert’s relationship a bit. And we really needed to Weekend at Bernie’s two different characters. That was a must.

There’s a bit of a bottle episode mentality with this installment when it begins and a lot of the entry is contained to the bar. What was the agenda in scaling things down here and was it ever smaller in nature?

PIERRE CERRATO: For the first half of the episode it may feel like there isn’t a ton going on narratively and we are just hanging out at a bar, but there are some nuggets in there that will come into play later in the season. While those early scenes may feel small in scale, hanging out in a populated bar comes with its own difficulties. We have to design and layout every individual character that is present at the bar and make sure they are engaged in just enough activity to feel natural, but not enough to take your attention away from our main action. Once we enter the rave, the scale of the episode gets pretty big.

There’s a self-aware nature to this episode as the characters reflect on the rut that they’ve found themselves in and the predictable nature of their dynamics. Why did this feel like the right time to ask these questions?

CASEY WILLIS: This episode was always planned to fall in the middle of the season. It was a great time for the characters to reflect and take stock of their situations. We also planted a lot of seeds for stories that will pay off in the second half of the season. And it was great to have Sandra, with her outside perspective, act as a cheerleader for the team at the start of the episode. However, by the end of the episode she realizes the team is a mess.

The brewing personal drama and stress with Lana and Robert continus to carry over and be present. Talk on that a little and why having that as a throughline through the season rather than them being entirely broken up or on healthy ground?

CASEY WILLIS: We wanted Lana and Robert’s relationship to get more complex and a bit messy this season. Is it because Archer is back in the picture, or is Archer just shining a spotlight on some behaviors Lana ignored in the past? This is a season long storyline and we are very excited for everyone to see how Lana and Robert handle these hiccups.

Lana seems to regress in some ways in this episode while she searches for clarity. Can you elaborate on that a little bit?

CASEY WILLIS: We wanted Lana’s story to contrast Archer’s in this episode. We also wanted her and Sandra’s story to connect to the previous episode and just show Lana having some fun. So many times Lana has to play the “wet blanket” role in an episode and it’s nice to see her cut loose. In fact, it’s Pam of all people who tries and fails to stop Lana from partying with the Prince! When Pam is the voice of reason, your party is off the rails.

The most moving material from this episode is Archer’s resolve to “fix” Cyril. This is a major aspect of the previous season, but why did it feel important to readdress it here and go so far as to resolve the problem?

CASEY WILLIS: Last season we saw the decline of Cyril and while Pam tried to rebuild him, Archer and Cyril’s relationship was much more contentious. Archer and Cyril had some great moments though, especially in last season’s Aleister episode. We wanted to show Archer’s growth and him realizing that he does care for Cyril in his own twisted way. Also, we wanted to show Archer having fun in situations we normally don’t see him in, while also showing a glimpse into Cyril’s free time.

Where is Archer’s head at during the end of this, does he actually feel remorse, and will he be closer with Cyril moving forward at all?

CASEY WILLIS: I think he grew a bit, but he isn’t emotionally mature enough to share that with Cyril. We purposefully had Archer undercut all the progress he made when Pam called him. Then we further rubbed salt into the wound when Archer used Cyril as a step-stool. It’s just Archer’s way of showing affection.

The neon visuals during the “Pampage” dance party look gorgeous and are a serious highlight. Was it difficult to construct that scene?

PIERRE CERRATO: Our team went above and beyond to answer the call of the “Pampage.” It was a very complicated sequence. The script outlined four different areas in the warehouse that Pam takes the gang to. We needed to figure out what it would look like if there was a rave, a bare knuckle fight and a punk band playing while a monster truck is crushing cars in the back. Everyone did a fantastic job with that specific scene, and it took us a long time to get through it. If you take a closer look at the whole episode, you’ll realize just how many beautiful set pieces there are throughout. For example, the game store, the planetarium, Ding Dong’s strip club (the logo is my personal favorite), etc. Our artists, designers and animators are pretty incredible across the board.

CASEY WILLIS: Just a quick side note. We never really promote Archer merch because we are so focused on producing the show, however, when creating the “Pampage” shirts that Pam and the gang wore in this episode, we thought it would be great if FX would sell them. For anyone interested, they’re available soon via https://shop.fxnetworks.com/collections/archer.

This episode also seems to provide the origins of “Sploosh.” Did it feel time to provide some context there?

CASEY WILLIS: Is it the origin or did Lana just think it might be the origin? I am of the opinion that “Sploosh” has an organic origin from deep in Pam’s past. Sploosh, the bouncer, was probably bestowed that nickname by Pam, but I doubt he is the origin of the word.

It’s not just specific to this episode, but there’s some really nice staccato jazzy music that’s present throughout the season. How did this season’s sound come about?

PIERRE CERRATO: We can thank our amazing composer, JG Thirwell. He has been working with us since season seven and prior to that, we used needle drop for all our music. It worked well, but you can’t beat having an original score and developing a musical language with someone as talented as JG. 

We had a phone call at the beginning of season 12 to go over our plans and share some musical ideas. We knew that Fabian was going to be a season-long villain, so we made sure to give him his own themes. We usually temp the music in our edit and when JG gets it, he’ll put his spin on it. If we use something that he has composed for another episode, he’ll tweak it to match the new timing, add extra instrumentation or anything else he feels would work for the scene. We don’t really go back and forth too much. We’ll generally do a round of notes and we’re good.

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Our writers’ room walkthrough for Archer’s 12th season will conclude with this season’s eighth and final episode.

Our breakdown of Archer’s 12th season premiere and previous writers’ room walkthroughs on earlier seasons are also available. 

The post Archer Season 12: Casey Willis On Sterling And Cyril’s Emotional Breakthrough appeared first on Den of Geek.

from Den of Geek https://ift.tt/3hActJe

[onceuponamirror]

riverdale 201 meta

no one asked me but i’ve got Thoughts so i’m making the post anyway, because it’s been a long time since i’ve done a chunky meta and this is what i’m really here for, SO

all the world’s a stage

first of all, acting was fairly strong all around, strong chemistry, and bughead was particularly excellent in terms of continuing their pattern of healthy communication, even when that leads to uncomfortable truths.

diving into it, i could see the effect of the step they took in their relationship and the change that admitting love had, particularly on jug, all grins and teasing and breathing some much needed light of love into the character

[x]

not just because it was such a spot of happiness amongst the heaviness of jug’s earlier arcs and this episode’s drama

but also because the bigger they are the harder they fall---

it made the hammer heavy when he realized his seemingly simple request for information was taken as a direct order essentially from his father, and the intense ramifications of such.

he admitted to betty that he was drawn to the motorcycle, the jacket, to stay closer to his father, a person he still idolizes despite having such a thick sense of disenfranchisement about him that he lived in a drive in for who knows how many months---and the gang delivering the “proof” of completing a job, and more so, realizing that his father would want to see that the job was done, sets the stage.

the civil war isn’t just a story of class warfare and suburban disillusionment. it isn’t just about bughead’s romeo and juliet™ storyline. it’s jughead. 

jughead is the civil war, all happening within himself. 

he’s still just a young boy craving a hero, and his father falling on his sword at the end of the first season earned him a lot of respect in his son’s eyes---his father’s biker iconography suddenly became a symbol of the under trod, proletariat revolutionary a jaded kid like jughead would be desperate for. 

and the americana open road biker imagery has been heavily rose-colored over the years, particularly in pop culture, and i think that’s what jughead bought into---the idea of rebels, not the gang behind it. 

and here he realizes that it’s not just symbolism. it’s not a game.

[x]

i mean, jughead was playing amateur p.i. all episode, clearly relishing in the role---and so when he came home to a bloodied message, it was def a successful emphasis of the fact that he was almost treating it like a game, which did establish him as a capable detective once more, but also highlighted how naive he can be. 

in an episode that was really all about fathers, an absentee FP managed to not just have a presence---but an impact.

it was an especially interesting parallel between the other fathers---fred was also heavily exploring symbolism within his fever death dream scape, witnessing passages of time, whereas hiram was introduced almost as the opposite anvil to FP, his entire presence ominously manifesting in a bottle of cristal. 

his absence was conspicuous, where FP’s was not initially, and by the end of the episode, their identities as major players within a larger scheme put them on opposite ends of the same road. 

and unlike jughead, who realized throughout the course of the episode that this wasn’t a game, that there are rules and they’re being applied to himself---veronica is hyperaware of this game, hyperaware of the manipulations at play, and is certainly adept at it.

but like jughead, she doesn’t seem to really have the scope of it yet. 

veronica is a character who only shows her age around the adults with whom she’s always had intense power imbalances. in a world of elite new york society and manipulative, abusive parents, she was forced to appear grown up, so much so that she tricked herself. 

[x]

through the poking and proding of her mother, leveraging timed accusations, and brattily doing the things she knows she’s not supposed to, veronica reveals herself as probably the most immature character on the show---but that’s a good thing, hear me out.

because she’s also the character who appeared the most put together. the most honest with herself, the most willing to look within and self-analyze. in the first season, she seemed unflappable, but it was also---well, there was no real tension in her character beyond a building fear that her parents were not who she thought they were. 

i thought veronica could’ve been more compelling than what we got in season one, so this opening with setting the stage of her as a child playing a game she doesn’t understand the stakes of sets her up for really excellent character growth and development---

and some fun structural parallels between jughead too, which will hopefully galvanize the layers of classism to be explored throughout the season. 

veronica and her father vs jughead and his, in the ways they navigate the societal games that feel so disparate from one another but will ultimately, i’m sure, meet in the mobs v. gangs mouth of cultural ouroboros. 

so i’m excited!! ok, now moving on to betty.

[x]

the acting was also very strong here. i think i read lili describe this season as “tortured” for her character, and that already came across. she too had the afterglow of i love you, but obviously haunted by what happened after that; her anxiety about the serpents was felt and perfectly sold.

but her ability to understand that from jughead’s perspective while maintaining her skepticism (rightly so, considering) showed maturity while also set the stage for the upcoming tension.

i wish i had more to talk about with her in this ep, but i think i will again soon.

also, that chemistry!!! again!!!

[x]

anyway.

cheryl was also crazy good tonight; she gave me chills!! madelaine petsch’s greatest skill is her intonation---she has an ability to keep a blank face that puts her entire delivery into her voice. 

she did this last season too, when speaking to her parents (and particularly her father), where she’d keep a doll-like composure that was manipulated by tone, and she did it again, with that soft voice and eyes that manage to be dull and blank and calculating and winking all at once. 

i don’t know how she does it but i’m friggin impressed!!!

[x]

however, the weight of this episode rode on archie overall, and there were some things i felt fall a little flat.

i know what they were going for was a slow build of impact, as they did with jughead, realizing the depth of what was going on, but the the whole first third of the episode just was slow and, at times, felt a bit insensitive to the topic of a man being shot.

(minus the scene where they all get the call---particularly sold by the perfect 80s synth-noir music of the chromatics [x])

when archie (and veronica too) did finally break down (though for him it was again) i think it was a strong moment, and very well acted---KJ does terror and latent anguish very well, two spectrum ends of the same emotion that is hard to balance. he was shaky with the gunman, and then when he really gave in to the trauma of that, it was well done. 

and right before he did give in was, i think, the best part of his performance. it’s easy to sell crying. it’s not easy to sell all the emotions that you cling to in order to keep yourself from doing that.

[x]

but. i wish there was a different tone set between the time he left the hospital and when it all hit him again. this is an issue with the episode direction, though.

still, a good episode for him, it was nice that archie had more to do than be the chess board plot plays out on top of, and moreover i think it really established the tone of the next arc, and the obsessive vigilance that’s taking over him.

so as a whole, a good development/establishment episode for these 5 main characters. 

lights, camera---

into the overall, the cinematography was excellent!!

[x]

however, i think this was an episode that particularly highlighted the difference between cinematography and direction---as in, the former was strong, the latter felt off. 

perhaps it’s the chronic effect of heavy promotion and hype, but i honestly felt like the episode was confusingly paced in terms of it’s timeline, and surprisingly goofy with the special effects (shaky zoom? really?).

and as i said above with archie’s point, the structure of the episode was rough and just wasn’t the best directed episode of television i’ve seen. i think there needed to be a lot more momentum coming out of the gate.

however, again, the cinematography, and the framing within those shots, was very strong. there was one shot that was just the word “hospital” but the H was a parking sign number and it was so simple but i am obsessed with it.

[x]

extra thoughts

hopefully the show actually consciously tackle the topic of abuse beyond the bare bones of an origin story (cheryl, calling it as it is), especially of it’s many forms that it’s already portrayed and frankly fumbled (i.e. grundy, even in the curtain of the premiere), but also with the upcoming lodge arc.

i mean, many of us were calling for grundy’s death, and i wasn’t one of those people because i wanted her to fucking go on TRIAL for her aggressive sexual predation of young boys and have an actual dialogue about male rape, so my main concern with her back for a ~twist that ended in her murder is that we’ll never get to have that conversation? and the impact that her abusive behavior had on archie, too? i mean???? ugh 

and i don’t really have much to say about cheryl and veronica’s abusive relationships with their parents as of now, because it’s late and i’m tired and i think i just wrote like 5k words, but just that i want them to handle this right, and i’m nervous but trying to be optimistic that with a longer season and more time, heavy topics will be handled with sensitivity and the respect they require. 

so cheers to a new season, i think this episode set the stage for a lot of meaty character growth, neon delirium aesthetics, and a plot that explores classism and family under a microscope. 

yay!

also---who else thinks the “green-eyed shooter” was chic cooper? i mean, come on