#guess you could argue that goes beyond ‘coding’. and i don’t even think the writers planned to actually write him as gay but come on now.

[badasscoffeemug]

my general policy is to Not screenshot others’ posts just to talk about them because all it does is create unnecessary drama. that being said. i’m so sorry but this showed up on my for you and it’s just so funny to me. what do you mean “queer coding in tommys character that doesn’t exist”. he gets called gay in his very first episode.

[itsclydebitches]

RWBY Recaps: Volume 8 “Creation”

Happy Saturday, everyone! Oh man, oh man, oh man. I think I'll need to steer clear of the general RWBY tags this week, simply because I know the sort of responses I'll see to this episode. From smug celebration at Ironwood's downfall, to bad takes about what makes us human, this episode is a petri dish of sensitive material handled insensitively.

Let’s unpack it, shall we? 

We open on an action that feels like a summery of the last three volumes: a grimm attacks an airship from the front, no doubt killing its pilot, while the other grimm conveniently ignore our heroes, no masking in sight. The group looks a little sad at the destruction around them, but ultimately ignore it because they have bigger, heroic things to do. I could write a whole, additional essay on how the huntsmen code — to protect the people — has been warped and abandoned by our protagonists in their effort to do what they think is right. It's a tale that might have been compelling if only RT knew they were writing it.

We get a shot of Atlas drones unloading the bomb before one is taken out, presumably by Qrow and Robyn. Segueing to Ironwood and the Ace Ops, they're waiting for Penny to arrive, the former carrying a massive gun presumably capable of capturing her. Despite the horror we saw on their faces last episode at the realization that Ironwood would kill Marrow for speaking up, it seems that now the Ace Ops are entirely in agreement with these measures. A week ago the implication was that they fell back in line out of fear, but now Harriet talks passionately about "putting down" the group if they were stupid enough to accompany Penny. "The General gave his terms." Vine sighs at this, but doesn't actively disagree. He's just "retracing the steps that led us here."

So, congratulations on introducing four new characters, not bothering to develop any of them, killing one off while ignoring Qrow's hand in that, and having the other three become all, "Yeah! Mass murder is a perfect solution!" off screen. Marrow is the only one with something resembling development and, as covered in these recaps, that's been pretty badly executed too.

Ironwood sends them to deal with Robyn and Qrow after Winter reappears to "assist" him. That gets quotation marks because most viewers at this point have realized that she's who our two birbs spotted in the elevator. Winter isn't on Ironwood's side anymore, she's just skillfully clearing the field for the final attack. Indeed, we get a moment where she hesitantly brings up the bomb and Ironwood responds that he hopes she's not going to try and talk him out of it. No. Winter doesn't think that's possible. This was her final attempt at peace.

One of the reasons why I think I'll stick to my own blog for a while is because the fandom has a tendency to paint broad personality traits as evil when applied to some characters, yet simultaneously heroic when applied to others, when really it's about how that those traits are used. What I mean is, I've seen a lot of Ironwood critical posts that emphasize how stubborn he is. He thinks he's right and he won't back down. He wont listen to others. He's going through with this plan and if anyone tries to stop him? That's their mistake. Totally evil, right? Except, this is the exact same behavior Ruby displays, particularly in Volumes 6 and 7. She was stubborn about stealing from Argus and continuing the fight to the point where it endangered her and her teammates, to say nothing of the rest of the city. She refused to listen to Qrow, or Ironwood, or the Ace Ops, loudly announcing that she was right about, well, everything. If they didn't agree with her, the options were to leave the group entirely, or fight her. The actual difference here is that the writers have taken Ironwood to an extreme, one that's incredibly easy to understand as bad because it is bad: bombing Mantle has no defense. Ruby pulls the exact same nonsense, it's just not to that same extreme and her actions are followed by scenes that are meant to make us forgive her: a sad look because she didn't mean to get a city attacked by a leviathan grimm, a cry on the staircase because she didn't mean to risk the lives of an entire kingdom... even though she did. Ironwood is the bad guy because he's been written to take specific, OOC actions like shooting unarmed kids. He's not the bad guy because when other characters go, "Don't do this" his response is, "I have to." Because that's been Ruby's motto ever since she "had" to use the Lamp to rip Ozpin’s life story away. RWBY introduced those extreme actions of shooting the youngest in the group (for no reason) and threatening to bomb a city (for no reason) or shooting a councilman (for no reason) because when you remove those you've got a man who looks exactly like our hero. Ironwood's arc has been peppered with these confusing, unpersuasive actions because if you just keep the story as him stubbornly keeping to a plan he thinks will save the world, you're left with the reminder that all Ruby has done lately is stubbornly keep to plans she thinks will save the world. This moment with Winter just highlights how ill thought out Ironwood's descent has been because he does everything Ruby does... with a few, tacked on, “and randomly shoots people!” moments to ensure we understand that he’s definitely evil. No comparison to our heroes here, folks! 

Ironwood is a bad guy now. That’s certain, but he was made that way so the story never had to grapple with the question of what that means for Ruby if we really start condemning things like lying, secrets, stubbornness, or endangering others for the greater good. Well then damn, if we strip away the hypocrisy then she might not be a good person after all. Or the people she’s simplistically labeled as bad might not be the devils Ruby claims they are. 

But that’s a level of nuance RWBY would rather pretend doesn’t exist. 

All of which is highlighted by Ironwood’s reaction to "Penny." He sighs and sags over the gun, immediately putting it aside. With his hand on her shoulder, Ironwood tells her she's "done the right thing." Precisely the same way Ruby would lower Crescent Rose and give someone a smile when they decided to fall in line with her.

Which, of course, is the moment when Emerald reveals herself, dispelling the Penny illusion and revealing Team JNPR The Second behind her. She gives a quip about it feeling "weird" to do the right thing before disappearing.

From there the action picks up fast. I really enjoyed this battle simply from a choreography and energy standpoint. It gets the blood pumping, Ironwood's hand-to-hand is spectacular — especially that moment against Ren — and the group actually displays teamwork for the first time in what feels like forever, all of them needed to land a hit on Ironwood. As always, out of the context of the rest of the show it feels and looks great. My primary issue is that we get this fantastic fight against Ironwood. Not Salem, not Cinder, not Watts (like last volume when Ironwood was still a hero), not even Emerald as a means of transitioning from murderous villain to the group's best bud. No, what's arguably the best action sequence in the volume thus far goes to beating up the guy they betrayed from the start. There's no catharsis for me here, only frustration as we watch Ironwood stand in shock as Winter powers up Nora — who's fine now, I guess — and she slams her hammer into his face. 

It never should have come to this and when a good character is done so dirty, their downfall doesn't evoke the emotions the writers are looking for. Watching Ironwood fall doesn't generate feelings of victory, or even tragedy at a course of events others were powerless to stop. It's just frustration at watching years worth of bad writing, sprinkled with fantastic ideas that never go anywhere.

Oscar gets a few hits in, Ironwood snatches his cane, and just as he's about to throw a punch, Winter arrives with the most dramatic sword slash I've ever seen.

Ironwood's aura breaks and he falls, unconscious. We cut to an image of a droid's head separated from its body, one of Robyn's arrows through its skull. That doesn't have meaning or anything.

I suppose I should be grateful they didn't rip Ironwood's arm away during the fight, or outright kill him, though I'm still expecting him to die before the end of the volume.

Hmm. Wouldn't that be something? If after Salem's arrival, freezing cold, a Hound attack, grimm soup, a giant whale, a massive army, and a hack ending in self-destruction, the one character who actually dies is Ironwood. 

It's looking more and more likely.

Honestly, beyond all the obvious, what's so frustrating about this fight is that characters are only now using their impressive abilities to their fullest. Emerald creates an entire fantasy of what's happening and then straight up disappears, but she only does a half-assed version of that when fighting against Penny. (And really, she put more effort into helping the heroes she just joined over Cinder, the woman she's been obsessed with since the start?) Marrow refuses to use "Stay" against a group they wanted to peacefully arrest because that's just too horrible an act, I guess, but he'll do it on his own teammates the second Qrow and Robyn don’t want to fight.  

This is what I mean when I say the rules of the world bend to assist the protagonists in absurd ways. It's not nearly as egregious as Amity suddenly being up and running, but the fact that characters become substantially more powerful while fighting for the protagonists than they do against them is still a significant problem.

So Ironwood is down and out. As much as I hated watching that and didn't necessarily want more, am I the only one who felt like it was... a bit lackluster? I mean, the action was great, yes, but relatively short. There was no dialogue, such as another delve into the moral questions that led to this fight in the first place. There certainly wasn’t any hesitance against fighting a former ally. (Again, we’re meant to believe that the Ace Ops won because they just couldn’t bear to fight the group seriously, but every former ally here is capable of wailing on Ironwood without a single pause or pained look?) Ironwood just skillfully blocks for a while, is blindsided by Winter's betrayal, and then falls unconscious. Given that we learn he and Jacques will be evacuated after the rest of the kingdom, it's possible he'll escape somehow and we'll get a fight 2.0, but if not that feels like a rather tame end to the guy forced into the antagonist seat. Plus, what was the point of having Qrow frothing at the mouth to kill him this whole volume? I never wanted that to happen, I'm glad it hasn't, but I'm nevertheless left to ask why we bothered with that eleven episode side plot if we were going to erase it with one sentence from Robyn about Qrow being better than this. If that's all it took, let them work through Qrow's irrational anger while sitting around in a cell.

Winter tells the group to move onto "phase two" which is when we're treated to a flashback. We return to the ending of the last episode, with Ruby realizing that opening the vault is an option. Jaune, all smiles, goes, "We never considered using what's inside!"

This is what I mean about no consequences! This is what I mean about it all being a meaningless circle that ends with undeserved praise for the group! We started this horror show with Ironwood going, "We don't have a plan to protect the people, so I'm going to take what people we do have to safety" and the group going, "We don't have a plan either, but we're going to stop you implementing your plan because it's not perfect, risking a kingdom's worth of lives in the process." Now, the group has used two plans, one of which two characters knew about at the start and another they could have devised with the information they had. Oscar and Ozpin's, "We have an all powerful magical blast in our cane" and the group's "What if we used the Staff for something other than raising Atlas?" are both things that could have come up in the office debate. These were both always on the table! Instead, Ruby grew furious over the mere thought of cutting their losses, betrayed Ironwood again, attacked his people, denounced him to the world, and then two days later goes, "Oh wait! We could do something now that we could have easily done before if we hadn't made a needless enemy!" 

Everyone realizes how much worse they made things, right? Turning against Ironwood, bringing everyone left in Mantle directly under Atlas, sitting around while an army was devoured, drawing it out until Penny was hacked... all of it would have been avoided if the group had thought and discussed things for a few minutes, not jumping straight to violently resisting what Ironwood came up with first. "We never considered..." Ruby says. Yeah, you didn't, except that's not something to smile about. The group made the situation a thousand times worse with their reaction when they could have just magically evacuated the kingdom from the start. “Maybe we could use it to save Penny and get everyone in Atlas and Mantle back to safety." Nothing has changed! They had this ability the whole time! Nothing about the last twelve episodes led them here, they just randomly thought of it after RT had padded the volume with needless drama. Considering that they're heading to Vacuo now, we could have just made this the finale of Volume 7 instead: big fight with Ironwood, revelation, get everyone  evacuated while Salem attacks, leave her behind, then Volume 8 begins in Vacuo with the group knowing Salem is out there looking for them. This entire volume has been pointless. What did they accomplish?

Oscar got kidnapped and beat up, Nora was scarred, Ruby and Yang realized horrible things about Summer, and the whole world is panicking about a witch. Good things are... Ren and Ruby unlocked some semblance stuff? Weiss loves her brother again after he proved himself useful to her? Great work, team.

So this one moment makes everything they've done up to this point useless and, of course, once thought up the plan goes off without a hitch. Note that the summary of this episode says, "It's risky, dangerous, and nearly impossible — but it's the only plan they've got." Nearly impossible? That's a whole lot of talk for a plan that was implemented perfectly.

There is, admittedly, one snag, but one that is likewise made meaningless just seconds later. We'll get to that.

We see Winter call Weiss who also smiles at hearing from her sister. Obviously interactions like the group's with Emerald are the bigger concern, but it's still an issue that no one reacts as they should to people reappearing in their lives. Rather, RWBY continually confuses audience knowledge with character knowledge. We know Winter is on their side now, but Weiss hasn't a clue. Last she saw, she and Winter were agreeing to head down different paths. She has no reason to think her sister isn't loyal to Ironwood, so why isn't the group treating this call with suspicion? What if it's Ironwood trying to mess with them through a presumably safe party? I swear to god, with any consistency in the story this group would be dead ten times over because their decisions are so stupid. Oscar decides to believe in the guy currently beating him to a pulp, the group decides to trust a villain over a flawed ally, and now they see Ironwood’s second calling and are like, “Great, big sister Winter is checking in!” There’s a difference between a hopeful story filled with second chances and characters whose reliance on the narrative bending to assist them makes them come across as insanely naive. 

None of which even touches on characters forgetting that other characters are presumably dead. Ironwood shot Oscar off the edge of Atlas, but doesn't react to learning he was kidnapped, or when he shows up to the fight. Thanks to Marrow's comment, Winter thinks YJOR have perished in the whale, but also has no reaction to them appearing to help with this plan. Absolutely nothing is followed up on.

We then get a flashback within the flashback (fun) of Winter — shock — not arresting Marrow. It's precisely as I assumed, with Marrow angrily asking why she hit him and Winter responding with, “Because you were about to get killed if I didn’t do something!” As I said last recap, I feel like I should let the marginalized groups lead this discussion, but I do want to add that no matter how well intentioned — or strategic, as I mentioned last time — the imagery itself is still harmful. No matter the context, we were still left with white woman Winter putting her knee on black man Marrow's back to arrest him, and it’s an image that everyone in the U.S. should be familiar with the horror of. Far more of a problem than the (presumed) ignorance of this scene is, I think, the choice to make Winter entirely unrepentant. I think some of this discomfort could have been alleviated if RT had written Winter as apologetic, contrite that it came to that and asking Marrow to understand that she only did it as a means of assisting him. Asking his forgiveness. Instead, we get this

So what, the only emotion we have room for is gratitude that Winter beat him up? Yikes.

As a lighter side note, I find the animation here unintentionally hilarious. Winter's assistive device makes her shoulders look too high, making this gesture more, "Woman exaggeratedly pouts about not getting ice cream for dinner" and less, "Woman sternly closes off during a disagreement about saving lives and betraying their general." Gotta find our humor where we can, right?

What's intentional, but far less funny, is the needless animation to show us that, yes, Marrow is peering at Winter calling Weiss. Oh, the shenanigans. 

The elevator opens where Qrow and Robyn spot them. "Speaking of help," Winter says, as if she has any reason to believe Qrow didn't kill Clover. He and Robyn lower their weapons a bit, as if they have any reason to believe Winter and Marrow aren't still loyal to Ironwood. Would it really be so hard to have Winter immediately throw up her hands in the face of their almost-attack, blurting that she's not their enemy and needs their help, please listen? Again, RWBY can't remember which characters know what, let alone what their motivations and reactions should be.

We then enter the third part of the flashback where everyone piles into the Schnee dining room and discusses doing the things they could have done from the start. I'm metaphorically banging my head against that table. In RWBY's favor though, we also get a long shot of Jaune continuing to boost Penny’s aura.

Though it's only one of many issues, just the other day I asked, "Hey, why has Jaune always needed to hold onto the person he's assisting, but now suddenly he can touch Penny once and the boost remains?" It still doesn't explain why he was letting go before/why him needing to boost her continuously didn't put a hard time limit on their plan — not that Mantle's hour limit meant a thing — but at least they're showing more of that here.

Oscar notes that Atlas has enough gravity dust that it won't fall immediately when they use the Relic, but they will have to move fast to ensure no one is underneath. Yeah, like all the civilians you put there. He also cautions that the Staff isn't a "magic wand" that they can just wave to make all their problems go away... even though that's precisely what they're going to do. Ozpin gets some lines that aren't apologies or followed by attacks — hallelujah! — about how the Staff's spirit is a "character" and requires that you be able to precisely explain anything you want him to make. Blueprints, examples, a firm knowledge of how this will be accomplished — all of it is required to actually get what you're after. That's a cool limitation. It's just too bad we didn't know about it episodes ago, forcing our heroes to find ways to meet those requirements. Instead, they already have everything ready to go the moment they learn about it: Penny has her own schematics and Whitley apparently has knowledge of the entire kingdom after sending some ships out. Normally I'd go, "Really?" but I'm still just struck by how much good he's done compared to everyone else in this room. Your show is seriously broken when the side character the writers didn't even want the audience to like until a few episodes ago is more active, mature, and sensible than the heroes.

From there we see the group implementing the plan. They fly up through the hole Oscar left, straight to the vault. Penny opens it without any trouble and Ruby uses her speed to grab the Relic and stop time, halting her self-termination. I do like that combination of skill and their knowledge of how this magic works. That felt like a smart move. What's interesting though is that the Relic appears to stop time in the entire kingdom. We see people in Mantle and Atlas slowing to a halt too. I assume no one remembers that happening after time restarts, otherwise people would be freaked out by suddenly being frozen in place.

Wouldn't that have been cool though? The group often takes a while to use the Relics, either deciding what they need, or watching Jinn's information, so what if you had a population that blinks and suddenly, from their perspective, half an hour has passed? How long might Ozpin have sat on his knees after Jinn told him he wasn't able to defeat Salem? How long was that space frozen? We could have had a world built around rumors and fairy tales. Not the random stories Ozpin brings up to make a point and that we never hear about again, but tiny details that foreshadow these revelations. A Beacon where the kids tell each other spooky stories of people suddenly losing time, once a whole day. The wives, sisters, daughters, and nieces who disappear, or wake up one day with horrifying, unnatural powers. We see magic influence the world around it, but we've seen very little of the world reacting to that influence. The one time I can think of is Blake reading a book about "a man with two souls," the fiction clearly inspired by knowledge of Ozpin. And indeed, it felt great to recognize that as a significant detail and then be proven right years later as the lore was revealed. We could have gotten so much more of that if RWBY was better planned out.

I'm getting off track though. As time stops we see a series of images: Ironwood being led to a cell with Jacques, Penny succumbing to her hack, Team JNPR The Second preparing to contact the kingdom about what's going on. Then everyone is distracted by the giant, blue, buff Ambrosius who comes out of the Staff.

...there's a lot of innuendo in that last statement lol. At least RWBY is committed to the crazy design they chose? I was never particularly comfortable with the image of characters gaping up at a giant, naked woman in chains, so it's nice to balance that a bit with an equally giant, naked dude in chains.

From here things get confusing. In all honesty, I'm not sure if this is another moment where RWBY is trying to pass off a retcon as the group being brilliant, or if I, as an individual, simply didn't follow the logic. I won't bother to rehash the slow, meandering way that Ruby reveals their plan — that certainly didn't help with the clarity. Not in an episode where we didn’t even know these rules ahead of time — but it boils down to this:

The moment they have Ambrosius create something new Atlas will start to fall. Two of his creations can't exist at the same time.

He needs clear instructions about what he's making in order to create it.

The group has brought him Penny's schematics so that he understands how she's built.

They want, specifically, "a new version of her... using her exact robot parts."  

They can't just create an exact duplicate of Penny because that would carry the virus with it.

They can't create an exact duplicate without the virus because that Penny would cease to exist as soon as they used Ambrosius to make an evacuation plan instead.

So they essentially want Ambrosius to create a new Penny by removing all the robot parts from the Penny that currently exists, carrying the virus with them, and leaving only the human parts of Penny behind: her aura/soul. Then, the purely robot version is destroyed when Ambrosius creates something new.

Except... this new Penny, this human Penny, still needed a human body. That's what Ambrosius created and that's the snag I don't understand. They want a version of Penny that's just her aura, just her soul, but that soul still needs something to be housed in. Ambrosius himself notes that. At first I thought the group would just have some wisp-like version of Penny they'd have to find a new body for — perhaps leading to a new one for Ozpin too — but she's just... given a human body when he takes the technology away, something she absolutely didn't have before. That is Ambrosius' creation. That is what should have disappeared along with the removed parts of Penny, leaving only her soul — what Ambrosius didn't touch — behind. Instead, the plot oh so conveniently has Penny get a new body for free and it's untouched as they move onto the next task.

Ruby drops a casual line about Ambrosius not being able to kill, or destroy, or something, which I think is meant to be the justification here. The rule (which, again, we JUST learned) about not killing anyone supersedes the rule of two creations not allowed to exist, allowing Penny to stick around. But even if that’s true, it’s a load of bull. What, does the magic think no one in an entire city might die if the floating mechanism is removed and it plummets to the ground? Ambrosius didn’t say, “Sorry, can’t stop floating Atlas because thousands of people are still here and they’ll die if I create something new,” but we’re supposed to believe the group skated by on, “Sorry, can’t destroy the last creation like everything else because there’s a single person still using that body and she’ll die if I create something new”? 

Seriously, did I miss something? Or is this another, "Amity is ready because the group needs it" situation? The rule of creations ceasing to exist is bent because the group needs to have their friend around. Ambrosius is certainly enthusiastically complimentary, saying how "smart" the group is and that they've "done their homework," but I'm not so sure. It feels like a moment where the show is (once again) insistent that the group is far more talented and brilliant than their actions actually imply. It's only the rules of the world twisting and turning that allows for their success. To say nothing of how the episode dropped all these rules on the viewer in a ten minute info dump, ensuring we didn’t have any time to think about them before the deed was done. 

It doesn't add up for me and honestly, even putting that aside? I hate this. I absolutely despise it. Look, if it turns out this really does make sense then props to the group for coming up with that plan. Our snag aside, the rest is a legitimately well thought out wish. I don't have a problem with the execution so much as the message. I've been saying since Volume 7 that RWBY has done Penny a disservice in terms of her "real girl" narrative. Whereas before we had a firm message that you don't need "squishy guts" to be human, to be real, Volume 8 continued to carry us further and further into the idea that it is necessary. That Penny's body is entirely inhuman, something to hate, but at least her soul is human and good. That's what the virus arc taught us: your terrible, technological body might be betraying you, but hold onto the parts of you that are really human. I hated that too, but I never thought RWBY would go this far. They made Penny fully human and went, “THIS is the version that always should have existed.”

And this isn't just me reading into the implications. It's right there in the text. Blake says that they're looking for “Penny, the girl who’s always been there underneath." Meaning, underneath the metal. The girl exists trapped in the robot body. Yang holds up her arm and says that the metal is only "extra," it's not really who you are. 

That gets into two perspectives on disability that RWBY just doesn't have the nuance for: what's an integral and celebratory part of one person's existence can be seen as something separate and discomforting to another. Though there are many people with disabilities who would happily cure themselves with a magic Staff if given the chance, there are just as many who say no, this is a part of my identity. I don't want to change, I just want the world to accommodate my existence. However, RWBY takes a hard stance here, saying that any metal in your body is intrinsically bad. We didn’t use to have this take, but now the show has embraced it. Blake says the real Penny is trapped in there. Yang's words implies that she'd get rid of this "extra" bit of her if possible. Mercury with his metal legs is the enemy. Ironwood with half his metal body is the enemy. Whereas once difference was truly accepted, now it's shunned and fixed whenever possible. Those who can't be fixed, like Yang, must simply deal with the lot they've been dealt, reassuring themselves that the metal isn't really them. But Penny? Penny they can fix.

So they do and the very first thing Penny does is hug Ruby, exclaiming, “Do hugs always make you feel this warm inside? Wow. More!” and proceeds to hug all the others. 

What's the underlying message there? Penny didn't understand hugs before this moment. She never experienced the "warmth" of them while an android, despite the fact that here warmth is entirely metaphorical and has nothing to do with a literally cold body. RWBY really went and said that the "real girl” android was never actually real at all — not as real as she could be — because it's only when she's given "squishy guts" that she understands the true happiness of a hug.

Wow.

I mean seriously, wow. 

Never-mind that, you know, we've seen that happiness and warmth since she was first introduced.

RWBY is really rewriting all the core themes introduced in Volumes 1-3 and it sucks. The show is absolutely the worse for it.

To say nothing of all the other disservices to Penny's character here. There's all this buildup about whether she'll still be the same Penny once the wish is complete, but of course she is. We wouldn't want to have Penny struggle when she becomes something other than what she's always been, would we? After all, it took Yang an entire volume to work through the shock of a metal arm, but taking away a metal body for a human one is in no way traumatic. Having a normal, human body is intrinsically a good thing! Of course Penny accepts it with nothing but smiles. Becoming human is celebratory, but becoming more machine is a horror.

She gets to watch her body self-destruct, glitching out and collapsing in front of her. But again, nothing to unpack there that can't be covered with a hand over her mouth.

There's no discussion of whether Penny still has the Maiden powers, or whether a wish like that would mess with the transfer in any way. How did the group know this action wouldn't register as a clear-cut death, forcing the power out of her and into someone new? Obviously they couldn’t know, but no one even thought to bring it up? 

And the entire time they're formulating their evacuation plan, there's no talk of whether these portals will appear before everyone currently alive in the kingdom. I mean, if they do then Ironwood and Jacques can just waltz through and escape into Vacuo. If they don’t, then Maria and Pietro don't necessarily have a way out. We still don't know if they're stuck floating in Amity, or if Amity crashed, or if they made their way back to Mantle or Atlas. More importantly, the characters don't know. I have no problem with RWBY keeping that a surprise until the finale, but I absolutely take issue with Pietro's daughter walking through a portal, seemingly not to care whether her father is going to make it out too.

It's been the same with Qrow and his nieces' relationships. The show is good at insisting that these families love each other because they hug and smile while on screen together, but when shit is actually going down, none of them care about pesky things like disappearances, arrests, or “The last time I saw you, you were with an old woman on a damaged station after a villain attack, potentially stranded in deadly cold if life support failed.” 

So yeah, this entire arc with Penny has been a disaster. From throwing away her framing subplot, to giving her a virus that did absolutely nothing, to giving her the Maiden powers which she's also done nothing with, to erasing her android status for a “She's really human now” message, Penny has been done dirty by the show these last two volumes. Not nearly to the extent Ironwood has, but still. At this point I wish they'd just kept her dead dead. Why do I want her back when that resurrection produces no reaction, her conflicts lead nowhere, and one of the core things that made Penny Penny has now been magically erased?

I've been saying for weeks that killing Penny off and keeping Penny around each had serious downsides attached, yet I never expected RWBY to do BOTH.

Also, I'm warding off any, "But Pinocchio was made into a real boy too" defenses. RWBY is not Pinocchio. Penny is not Pinocchio. I thought the allusion was going to be the Pinocchio inspired girl heading into the whale, not the show forcing the exact plotline  —  down to a blue, magical creature — onto a character whose entire journey has been about accepting herself as an android. Congratulations, RT. You just obliterated years of work.

Again, if you'd like an example of how to do this far better:

As Penny's character falls apart, Atlas shakes, alerting Jaune and the other that a new wish has been granted. Jaune pecks at the screen and realizes "That did, uh, something…?” but doesn’t realize that there's a giant, red "LIVE" up in the corner.

Jaune tries to warn the entire kingdom about their plan, but what he actually says is

“Atlas is falling, but — !”

And then the communications cut out. 

Watts, perhaps?

Our heroes are really good at saying things that make large populaces panic, huh? This is the one (1) snag in their "impossible" plan, but as said above, it doesn't amount to anything. We get a shot of Nora, horrified at the thought of kingdom-wide communications being down, but literally seconds later Team RWBY has made portals appear that everyone can walk through. So... why do we care about communications? More importantly, why does the show try to make us care? So much time is spent getting the viewer invested in problems that never come to mean anything. 

Including the problem of Salem herself.

Because the group successfully creates that evacuation plan. This is it. Everyone is leaving while Salem still reforms. 

Yang asks if they can use the vaults themselves as a single point for everyone to go to and Ambrosius agrees. So everyone is going to pile into the Vacuo vault that can only be opened by an unknown Maiden? They're going to put an entire kingdom's worth of people, including their enemies, into the vault where the Relic of Destruction is? Yeah, that's great. Prior to this — like if this had been the plan at the end of Volume 7 — I would have 100% agreed that these risks are better than death by Salem/grimm/cold. Now though, Oscar as axed Salem for an unknown length of time, the cold is having no impact on the civilians outside, and the grimm only attack background military personnel that supposedly no one cares about. They couldn't have spent another few minutes (especially with time stopped!) to figure out a means of getting to Vacuo that doesn't involve revealing and providing access to the location of a super secret vault? To say nothing of what they're going to do if Salem wakes up and snags one of those portals for herself. Two kingdoms for the price of one!

But that's what they're going with. Weiss gives Ambrosius a schematic of the kingdom, I guess, and he makes branching pathways appear with numerous portals for everyone to step through. They'll enter through one and, when they exit another, will be in Vacuo. Easy peasy, right? Especially since Ambrosius doesn't seem to have any limitations about how often his power is used. Is it three creations every 100 years like Jinn? We're not told, at least not to my recollection. However, I was expecting there to be a waiting period, that they'd fix Penny, go to evacuate the kingdom, and learn that sorry, I can't make another creation just yet. It feels like the sort of shit move these beings would pull — "Don't cry to me when it's not what you wanted" —  it would have been another commentary on the group's insistence on putting friends over the people's safety (like demanding the Ace Ops not bomb the whale because of Oscar), and crucially, would have kept the action in Atlas. Isn't that what this volume is? The battle for and potential destruction of the Kingdom of Atlas? We have two episodes left and, unless something unexpected happens, we're moving that action to Vacuo. Why? 

Meanwhile, Penny's corpse is just chilling in the background 😬

While all this is going on, Winter reassures Jacques that he and Ironwood will be evacuated too, though she makes it clear saving him was Weiss' idea. It checks out, considering Weiss is the one who turned her father's arrest into a joke last volume. Winter still takes his abuse seriously.

The group prepares to leave with a celebratory, "We did it!" from Weiss. I'm still banging my head against that dining room table. Before they can pass through the portal though, Ambrosius leaves them with one, dire warning: "Do not fall." 

In any other story a line like that is a neon sign announcing to the audience that someone will absolutely fall, and maybe they will, but RWBY has dodged consequences so often I wouldn't be surprised if this was merely another way to string us along. Remember all the hype surrounding Salem? The cold combined with her army and magic? How she was going to decimate Atlas and leave our group broken in a Fall 2.0?

I mean, we still have two episodes left. Forty minutes of content. Salem might still decimate them, especially since something has to happen in the finale. But god, it's a problem that we've come this far without a payoff. Salem randomly decided not to attack anyone, was stopped by a weapon added in solely for this purpose, and now the whole kingdom is being evacuated with a plan the group could have used at the start. This volume really is meaningless. 

“We go to vacuo and hope we’ve thought of everything” they say as the camera zooms in on Cinder's smiling face. For the second week in a row.

Bingo time!

Winter betrayed Ironwood, the group used the Staff of Creation, and I'm axing Maria on behalf of Pietro. You can't have the guy's daughter become human — after he was killing himself to give her his aura?? — and magically walk to Vacuo, not knowing if he's even survived since she last saw him, and expect me to think he hasn't been forgotten. Same with Maria. Has the group mentioned her since Amity cut out, notably for reasons they couldn’t explain? Of course not. Did they care to find out what happened? Of course not. I have no doubt they'll both re-appear in the next two episodes, Pietro crying over how perfect his girl is now and Maria congratulating the group on their actions, but we're still marking it.

This is the ugliest thing I’ve ever created, I hope you all are enjoying it :D

Another week, another couple feet added to the hole we’re digging. I know I keep saying I have no idea what's going to happen next... but I have no idea what's going to happen next. A Vacuo ending was not in the cards, not outside of them miraculously showing up in ships. Maybe they have been on their way to Atlas (somehow...) and will arrive precisely when everyone has left! Anything is possible at this point.

See you next Saturday, everyone. Hold on until then lol. 💜

[the-desolated-quill]

A Stronger Loving World - Watchmen blog

(SPOILER WARNING: The following is an in-depth critical analysis. if you haven’t read this comic yet, you may want to before reading this review)

When people read Watchmen for the first time, I’d be surprised if any of them expected the story to end like this.

A Stronger Loving World opens with the aftermath of the fake alien arriving in New York and slaughtering millions. Three splash pages of harrowing artwork by Dave Gibbons. Corpses littered everywhere. Blood in the streets. Giant tentacles wrapped around various landmarks. It’s an extremely unsettling opening and lets the reader know that Gibbons and Alan Moore are not fucking around here. Doctor Manhattan and Laurie arrive to see the carnage and deduce that Adrian was behind it before heading to Antarctica to confront him. After several confrontations involving Manhattan getting disintegrated again and Laurie pulling a gun on Adrian, it’s revealed that Ozymandias’ plan has worked. The nations of the world have put aside their differences and decided to cooperate for fear of an impending alien invasion.

This then leads to the big moral dilemma. What Adrian has done is despicable, but he has succeeded in bringing about world peace, and revealing the truth behind the giant squid runs the risk of dooming the world all over again. So what would be the heroic thing to do?

Well there’s no point asking these characters because as the graphic novel has been emphasising again and again, these guys are not heroes.

This is an extremely complicated moral conundrum with no real right or wrong answer, and I very much appreciate how Alan Moore doesn’t try to shove one down our throats. I also like how each character comes to their decision. Doctor Manhattan is of course a godlike being who sees beyond our world and so shares a somewhat similar view to Adrian’s. That the deaths were justified because the end result is peace. Rorschach on the other hand cannot square what just happened with his own rigid morality, and refuses to keep the secret, vowing to tell everyone the truth, which leads to Manhattan killing him. Nite Owl meanwhile, being weak willed and pathetic as ever, decides to go along with Adrian’s plan, but it’s less to do with him agreeing with Adrian and more to do with the fact that the moral implications are so hard to comprehend that he doesn’t even want to try, instead taking the path of least resistance. Finally Silk Spectre, so shocked by everything she’s learned and witnessed, clings to the one stable thing she has. Dan. The two then have sex, serving as a dark inverse of the sex scene in A Brother To Dragons. In both instances, sex is used as a metaphor for power, but whereas the motivation in the first was Dan overcoming his own inadequacies, the second is both Dan and Laurie desperately trying to retain whatever shred of power and independence they have left after such a shocking and twisted act of mass murder.

It’s great because it demonstrates just how well Moore understands his own characters and how well we’ve come to know them. They behave exactly as we would expect them to and there’s something oddly satisfying about that despite the moral ambiguity of their decisions.

In fact lets discuss Rorschach for a bit, considering he’s the only one that refused to keep the secret. Bit surprising considering the horrid things he’s done throughout the graphic novel. What’s so different about this? Well it could be the sheer scale of it. Could be that he didn’t believe those who died truly deserved it according to his own strict moral code. Except I’m not entirely convinced. In the extra material provided in The Abyss Gazes Also, there’s a letter written by a young Walter Kovacs about his father. Or rather the person he imagines his father to be because he never actually met him. Apparently his parents split up because ‘he liked President Truman and she didn’t.’ Interesting in and of itself that Rorschach, a right wing bigot, was fathered by a Democrat. But wait, it gets more intriguing. He then goes on to write about how he believes his father was an aide to President Truman before talking about the events of Hiroshima and Nagasaki when the US dropped atomic bombs, killing millions. Except here he expresses that he believes that Truman did the right thing because it ended the war and saved millions more lives. Curious, wouldn’t you agree? So, in Rorschach’s mind, what made the nukes in Japan morally justifiable while Adrian’s giant squid in New York wasn’t? We can only really speculate at this point. Some think it’s because Rorschach has realised that there is no place for him in Adrian’s new world order, which I guess is kind of true, but I think it runs the risk of romanticising the character again. It could be that the nukes were a last resort whereas the squid was preemptive... maybe? Personally I think it’s just good old fashioned racism. Rorschach had no issue with the millions of Japanese lives lost because they were Japanese. The enemy. This is different. This time millions of American lives have been lost. To him, this is more than just mass murder. It’s an act of treason.

We may never fully know the reasons behind Rorschach’s actions, but it’s nonetheless interesting to discuss.

I also appreciated that we do get a moment where Adrian questions whether he did the right thing, expressing his doubts to Doctor Manhattan, to which he receives a cryptic response about how ‘nothing ever ends.’ (does Manhattan know what happens in the future? We’ll never know). It’s a nice moment that helps to humanise Adrian a little bit and remind us that he’s as flawed as all the other characters. The arrogant bravado he displays when he succeeds in achieving world peace could easily have slipped into pantomime villain territory if there wasn’t just this small moment near the end, possibly as the scale of the things he’s done dawns on him. Like the pirate captain in The Tales Of The Black Freighter, Adrian means well and his intentions are noble, but his actions are either highly questionable or just downright villainous. This is basically what Watchmen has been talking about since the start. Once you start taking more frequent steps outside the bounds of what is legally and morally acceptable, it’s not long before you’ve effectively joined the criminals yourself.

There’s a lot to like about A Stronger Loving World, however I do have a few complaints here and there. Yes, lets talk about that giant squid.

If there was ever a moment where Watchmen jumped the shark, this is it. And quite frankly I have no idea what Alan Moore was thinking at the time. So Adrian wants to unite the world together using an outside force that will encourage everyone to put aside their differences and team up with each other. Okay. Makes sense so far. But the plan itself requires so many leaps of logic, it kind of loses all credibility. Take for example the idea that it was cloned from a psychic’s brain. Well that came out of nowhere, didn’t it? Yes this is a world where a giant naked blue guy can manipulate atoms, but the story explained to us how this was possible, allowing us to suspend our disbelief. Now suddenly we’re supposed to believe that human psychics exist with no build up whatsoever. It’s just dumped on us, which makes it feel more like a convenient excuse than an explanation. Yes they do kind of foreshadow it with Adrian’s pet lynx Bubastis, but it’s a bit of a leap, isn’t it? It’s one thing to genetically alter an existing animal. It’s another thing entirely to create an all new creature with psychic abilities as though this was Build-A-Bear Workshop.

Not to mention, in order to explain how in God’s name someone can go from inventing electric cars to creating aliens, Alan Moore has to resort to a gigantic infodump in order to make sense of the bloody thing. The initial teleport incinerates people, then the psychic ‘death throes’ or whatever cause others to go mad and start killing each other, and then those even further away have bad dreams or something. Presumably the person furthest from ground zero probably has a moment where they forget where they put their car keys and leave the gas on. It’s just overly complicated and way too daft.

Also I can understand Adrian kidnapping scientists, but why artists and writers? And why tell them the creature is for a movie? Was no one a tiny bit suspicious of the amount of work, resources and effort being put into this supposed ‘special effect’? What about the fact that they were taken from their homes and put on a tiny island? Don’t they have families? Are any of them concerned about how ridiculously secretive this film production is? And more to the point, why let the rest of the world believe them to be kidnapped? If you’re going to go with the Hollywood movie cover story, why not just tell people that’s what they’re doing? I guess you could argue that Adrian was concerned this would draw unwanted attention to his plan, but... what?... them getting kidnapped wouldn’t have drawn attention?!

And then there’s just the sheer randomness of it. Why aliens? He doesn’t even plant the seeds for this anywhere. Maybe have some fake UFO sightings or something. He just dumps a dead alien on New York’s doorstep. Also, if genetic engineering is common knowledge, why would people assume it’s aliens? Surely government scientists testing the thing will discover it’s of terrestrial origin. Which leads to the biggest flaw. Would this plan really have worked? Killing millions of people in one city? Would that be enough to unite the world? Perhaps in the short term, but there’s no way you could possibly sustain that lie for so long. Plus, call me cynical, but considering how quickly Russia mobilised when Manhattan left the planet, surely it’s more likely they would take advantage of the situation while America was reeling from this act of carnage. If Adrian is supposed to be the smartest man in the world, I’m amazed he didn’t consider any of this. Maybe he has contingency plans in place, but I don’t know. It all seemed pretty final to me. He genuinely believes that this will fix everything. It just makes him look a bit stupid.

The whole giant squid plot has got more holes in it than a colander. Which is why (and I know I’m going to get some flak for this) I much prefer the version in Zack Snyder’s adaptation than I do the graphic novel. I don’t want to go into too much detail because I’d rather save that for when I review the movie, but I do honestly think Adrian’s plan in the movie makes more sense than the source material does.

Another side effect of having to explain the alien is that Silk Spectre’s story never gets proper closure. There’s a moment where Laurie confronts her mother over the fact that the Comedian is her father, but it all just feels a bit rushed and unsatisfactory. Especially when she starts talking about wanting to change her costume and start using guns, implying she’s going to be more like the Comedian in the future. It’s just too big of a leap in my opinion. One minute she’s distraught that her father was her mother’s rapist, the next she’s following in his footsteps. It’s such a sharp turn, it practically gave me whiplash.

That being said, I did like the little detail of Dan taking Sally Jupiter’s porn magazine, which I think implies how superficial their relationship is. They’re together because of the power and sexual rush they feel in their superhero identities, not because they actually love each other. Maybe that was what drew Sally to the Comedian despite everything he did. Who knows?

I also really like the ending. I haven’t been talking about the New Frontiersman in these reviews because it’s largely been inconsequential up until now, which is kind of the point. Seymour, a downtrodden, inconsequential man working a soul sucking job at a right wing newspaper, is suddenly given the power to change everything. Will he reveal the contents of Rorschach’s journal and thus expose Adrian’s plan or keep quiet in the name of peace? I want to believe it would be the latter, but considering his livelihood depends on his racist editor having material to rant and complain about, it would seem the world is truly doomed. 

As Doctor Manhattan said, ‘nothing ever ends.’

Hey guys! Thank you so much for reading these blogs. It took longer than I thought to write them, but honestly I think it was worth the extra time because there is just so much about Watchmen to unpack and I really enjoyed analysing this story. I’ve been wanting to review Watchmen for ages now and I’m very proud how these have turned out. I personally think it’s some of the best stuff I’ve ever written. Next I’m going to be reviewing the movie adaptation directed by Zack Snyder and then after that the HBO TV series. In the mean time, please feel free to like and reblog and share your own thoughts and feelings about Watchmen. Which character did you find most interesting? Do you think Adrian did the right thing? What would you do in Seymour’s shoes if you found Rorschach’s journal and discovered the truth about the giant alien squid? I’m genuinely curious :)

[theorynexus]

As we reach 49, we near the half-way mark in the century of posts. My word, how many of these will there be?

Oh, and we are at Page 25 of Meat, which means that if the prologue were not included, this would represent a near perfect, “Two posts per page” ratio.  Buuuut... things haven’t quite worked out that way, I guess.

... This all seems very ominous. Her speaking about trolls in such a way does not bode well for her mental state, I think.  Hard to be certain, but... hmm.  The implications of these generalizations about human nature suggest that she is either having great difficulty with the challenges Dirk is presenting to her, or that her aforementioned ascension is causing continued challenges to her mental stability.   The scrutiny mention makes me lean further toward the former, but I don’t believe I can support either wholeheartedly, at the moment.

While in broad strokes I can certainly embrace this idea, no, it certainly is not sinful or dysfunctional to question it.  This is because human beings are both social creatures demanding intimacy and belonging and individuals demanding singularity and personal excellence. To fully abandon one or the other is in fact to renounce humanity.   In particular, to pour one’s self into a collectivist mentality that would seek to obtain a higher being via the blurring of thoughts and personae together to the exclusion of such matters as the love and concern one might feel for one’s wife is absolutely anathema to humanity, and should be repulsive to anyone who truly understands what it means to be human-- ... even if they have personally obtained a state already that sets them up as being more than human in the sense of capability and mortality.

Grrrrrr...!   You’re taking her agency from her, Narrator!   To take away from her choice as you suppress her powers and seemingly use them to expand your own is just... horrendous.  I struggle now to properly express it, but the suppression of agency is a threat to her identity and undermines any important decisions, consent, or beliefs that she might come to express in the near future. Choosing what is or is not important for someone to know, especially when it is taking advantage of someone who’s in as vulnerable a situation as she is, is reprehensible, and absolutely sickens me, because it flies right in the face of her Classpect, as well. She should be able to understand and see the importance of what’s going on around her, and sense the information he’s suppressing, darnit!

Hmmm.   ***scratches my head***     I do wonder, though.   This paragraph makes it seem as if she might be in a better position than she seems to be in. To ask who is calling is not necessarily to suggest you do not know, in a technical sense, I suppose.  Her hiding her actual face alludes to deception, and the ghostly image of herself seeming to speak, yet leaving the Narrator uncertain, could imply a certain degree of growing capacity to fool him, in general. I suppose this goes back to the statement that both of them think they are acting as puppet masters in their own little games.  There certainly could be a sense of competition that is actively going on between them. A lack of information as far as Rose has been concerned, previously, along with the way that the previous last encounter we were able to have with her before the Kanaya calls made it seem like her body had slipped into unconsciousness, so this sudden contradictory information makes it hard to judge things.

I am sorry to see Rose react that way.   That said: I now see that her earlier statements (at the beginning of the page) were largely meant as ground work in an argument that suggests she does not buy what Dirk’s trying to sell. I am very much glad to see that realization hit me, and quite obviously appreciate her point of contention.  On the other hand, from a philosopher’s perspective, I also very much enjoy the fact that Dirk quite rightly brings that sort of question to the table, which is indeed necessary to answering that sort of question without doing so in a manner that is quite emotionally-based, biased based on deeply-ingrained preconceptions, or otherwise faulty in nature.

HEY, KIERKEGAARD IS GREAT!!!   Also:  I do in fact know that Rose is dealing with a severe migraine, and that it is likely that she might otherwise be more amicable to such discussions... albeit to what degree, it’s impossible to say.

I really do appreciate the fact that the lack of academic studies on the Kids’ parts is being actively integrated into the story.   I would like to suggest that I very much do believe that many of them are quite intelligent, and have developed their minds in such a way that with time, the seeds of great philosophers might sprout inside many of them; however, I do in fact remain skeptical that Dirk has had anywhere near the life experience to be properly judging the issues he’s attempting to tackle, right now. Certainly, if their time in their universe had left the group in their later 20s or early 30s, I could see him being in a better position to make the sorts of weighty arguments and decisions he is apparently making (those of pursuing unity of consciousness and greater godhood of being, alongside the others, it would seem).    Even the example of Kierkegaard, who began publishing important works relatively early in his life for a philosopher, was nearing 30 at that time.

I was quite surprised that Dirk is playful enough to admit the silliness of his prior statement of credentials, for a moment, but honestly, that is quite in-character.  Whether or not this actually causes him to pause and think about things differently is an entirely different matter. I most certainly don’t think it shall do so.

This entire sequence is absolutely beautiful and hilarious.  Also, Hegel’s pretty hilarious to bring up, at least to me.  Specifically:  Kierkegaard was an absolutely vehement opponent of Hegelian branches of philosophy, so his name coming up from Dirk shortly afterward is quite ironic, which I’m sure was quite intentional on Hussie’s part. The fact that this is all being argued via shorthand makes this all surprisingly humorous. As for the last bit he’s bringing up:  that’s a nice segue into the actual argument/discussion.

Indeed, he brings up a somewhat valid point. This is part of the Ultimate Riddle.  However, he fails to realize one greatly important thing:  Free will is totally a thing in Homestuck. It’s just that certain timelines are important to the integrity of reality.  Thus, they have to be pushed for, and the collective will of all life to persist nudges things in that direction, via interactions of Light, Void, Hope, and DOOM. It should also be particularly noted and emphasized that the decisions of individuals determine their fates, as shown especially via the death mechanics of godhood. Beyond this, there theoretically should be quite a bit of wiggle room allowed in getting from point A to point B on the “necessary stuff needs to happen” list, as shown via the fact that the Kids dawdled so bloody long in the first place before giving John their own version of The Choice, and essentially booting his butt out to face LE, in this timeline.

Yes, your flexing of narrative control in your limited, likely temporary fashion most certainly shows a lack of free will, especially in light of the feats of defiance that people have shown to your commands, and how closely your level of influence resembles that of other such writer figures in your position.   My mind particularly turns to Andrew Hussie’s ghost influencing Caliborn, as well as the resulting shaking of the website as he attempted to crowbar its stability out of existence in retribution for Hussie’s mockery.    Of course, that author seemed to be closer to omniscient--- or at least better at managing loose threads ---than the current ego taking up the Narrator’s seat. He certainly didn’t seem to be quite so cocky, and seemed a bit more performative in his role than the current one.  Perhaps that’s because of the fact that he purposefully secluded himself from the main action of the story, unlike you.

***laughs hysterically at the irony of this amateurish lack of self-control, and the surprisingly go-with-the-flow sort of   modus operandi  that someone who projects such Machiavellian capacities has embraced*** This whimsical little break from the serious analysis and following of the story that I generally do has compelled a thought, a question, and an idea into my mind, it would seem.  Namely: of course Dirk’s growing understanding and mastery over Heart will naturally have afforded him an understanding of the narrative nature of the world of Homestuck. After all, Heart, very similar to Light, deals with the true nature of things: while Light deals with broad categories of knowledge, information, data, code (overlapping with DOOM), luck, relevance, and fate, Heart deals with the true nature of things in a simple, core-oriented fashion-- it looks at what a person’s soul is, and what that makes them; the nature of love and of social bonds associated with them (which partially overlaps with Blood), and the core nature of Reality, Truth, and the Aspects which relate to them. Given this nature for Heart, his deepening connection with it would naturally cause him to tend toward a wider understanding of the world around them-- and specifically, the Narrative.   Given his awakened awareness of this, it is logical for him to then become jaded concerning free will, and likewise, given his particular Classpect (Prince of Heart), it is natural for him to attempt to use his heightened capacities to interface and tinker with the story. The fact that his Class, which would traditionally be interpreted as a Destroyer, can be used to subvert its aspect (read: transforming the way it develops by partial destruction in the same way that a gardener pruning a plant manipulates the development of the plant in their care) can be evidenced in numerous ways. Most prominently:    Dirk destroyed Caliborn’s core identity as Caliborn by fusing his soul with three others, thus forming Lord English;    Brain Ghost!Dirk attempted to destroy Aranea’s identity as a living soul, not by fully rending her spirit, but by removing it from its place in contact with the Ring of Life;  finally, Dirk-as-Bro radically altered Dave’s identity over the course of his lifetime, but most clearly and impactfully via the rending of his katana and the scratching of his shirt’s disk (which were both highly symbolic of Dave’s soul, if the fact that the Scratch taking place on just such a disk or his sword[s] later being able to transform from broken to whole via time magic [also an expression of Dave’s soul, and its resilience+destined transformation] didn’t clue you in). To the point:  It is something of a wonder that Dirk has not yet begun to realize his limitations via the constraints that his manipulation of Narrative have placed upon them. My suspicion is that while his interface with Rose(? the way the story presents the aftermath is confusing, considering her continued seeming consciousness+own thoughts) may have increased his capacity to See Light, depending on how precisely it works, he has (as of yet) not such command over relevance and agency as he’d like us to believe. Furthermore, he is still not quite at the point that he has fully realized his understanding of Heart, either. The fact that he is questioning Free Will certainly shows that he is on the brink of an epiphany, but he seems to have become a bit lost in the reeds, as it were.   Many characters have fallen at this point because they have attempted to egotistically promote their own will and desire to the subversion of others and the needs of the wider world. Aranea and Vriska come to mind, but also Lord English, assuming that he has indeed perished as the Narration would have us believe. This is a natural part of Fate, and I am quite certain that if Dirk remains on this path, he will fall afoul of that same Just end.  Even if he does have the capacity to control the influence of one of the four Aspects which seem to deal most with Fate/ (which are Time [for obvious reasons of timing and timeline mechanics {including the Scratch}], Light [via Relevance, Canonicity, Luck, coherence, and Necessity], Heart [with regards to Classpects and their relation to key world interactions/expressions of self, entangling of individuals with one another, and through the reflections of Self across timelines {see Sweet Bro and Hella Jeff persisting on the Alpha Kids’ side of the Scratch, for example}], and DOOM [via most of what the aspect has to offer:  rules, inevitability, factors {especially disasters} outside of one’s control, et cetera]), this does not mean that Dirk truthfully has wider control over Fate, generally, nor does it mean that he can avoid the consequences to his actions. I should also at this point randomly insert a statement suggesting that the other 8 Aspects can be split into two camps: Choice/Freedom ---  Mind, Hope, Breath, Life and Mixed/Paradoxical  --- Space, Void, Blood, and Rage The former of these two categorizations should be mostly obvious:  Mind represents personal choice (both in the way you present yourself, and in your course of actions), Hope represents belief transcending the mundane and Possibility beyond the restrictions of what should be Real and/or opportunities beyond what would seemingly be available to you given the constraints that present themselves; Breath is all about freedom from constraints (up to and including the constraints of physical being) and the ability to fly off in various directions (often beyond the expected/normally available paths); and finally, Life, being the antithesis of DOOM, allows for the breaking of rules (see the sugary explosion of rulebreaking that was Trickster Mode) and the extension of possibility beyond what would be something’s inevitable end (healing, revival, prototyping, et cetera). As for the latter set:   Space has a associations with birth, potentiality, and the breaking of barriers, but Space itself is as much a curse as a boon-- yes, it does allow for the interaction of beings with the physicality of the world, and it allows for the continuation of life; yet Homestuck is a Gnostic text, and that means that one must also take Space to be one of the principle forces which constrains action by allowing the defining and regulating of the world; and it imposes corruption upon things by allowing for a stage wherein the Aspects can mix and form more complex concepts.  (Mind you, this is of course quite important for human life, and those of us who live in the material world could argue that it is therefore a “good”, from our perspective. Nonetheless, that fact-- that it enables such “corruption” demonstrates in and of itself that this belongs in a “mixed” category.) Void is a bit simpler:  It is the Aspect of the unknowable, uncertain, and so on; but most importantly, these barriers which tend toward the production of impossibility do at the same time hide a very important flip-side of the coin --- that is, Void also presides over imagination, which is the force which brings forth possibility from fantasy and drags ideas into physical reality. As such, this slippery element of existence very clearly exists in a liminal state worthy of this group. Blood’s binding capacity ties one to the physical world, but it simultaneously entrenches one in the subtleties of social existence, which is above/beyond the bestial sort of being that Blood’s carnal title would suggest. Furthermore, while blood is by its nature a binding, restrictive force, it is one which allows for one to be given purpose. Binding yourself to a group of friends to cooperate with one another and find higher purpose is at the very heart of what Homestuck is. This allows for greater possibilities than what would be able to be accomplished alone-- and this is the nature of many (perhaps most) contracts and bonds that can/should be made: they allow for the formation of restrictions, but those are in exchange for other benefits.     This is why Karkat would make a great leader:  Blood is the Aspect that is closest to the Social Contract which underlies political life. A player who deeply relates to/embodies this Aspect in a well-fulfilled manner therefore is a natural fit for political power. Rage:  ... Don’t even get me started with Rage. I’m a Capricorn and I don’t understand that nonsense.  It narrows your mind, blocks out your thoughts, and skews your brain. Despite the fact that it should be the Aspect that focuses you and makes sure your head doesn’t hang out in the clouds all the fricking time, it’s like banging your head on a cinder block every single time you try to wrap your thoughts around it. Don’t bother with considering such double-edged Tragi-Comic garbage Aspect. Just... waste your time and focus your thoughts on something else. Now what the heck was I talking about...?

[jbuffyangel]

The Light Bulb Moment: Arrow 7x05 Review (The Demon)

Oliver Queen has a light bulb moment that’s been seven years in the making. 

Team Felicity (yes that’s the name) has one as well, which means we are that much closer to being done with the prison arc!

Let’s dig in...

Oliver Queen

We finally find out who The Demon is and I gotta say I was legitimately surprised. However, as soon as I found out it was Talia Al Ghul I thought

It had to be someone related to the League of Assassins and Talia would consider herself The Demon since Ra’s Al Ghul is dead. It’s not like Talia and Nyssa are besties. The amount of hoops Oliver had to jump through to get to The Demon also fits perfectly with Talia Al Ghul, as he notes.

The real question is how Talia ended up in Slabside and it seems we have Batwoman to thank. Nice shout out to Gotham and a not so subtle reference to the rapidly approaching crossover. 

Talia survived Lian Yu, but it was Diaz’s super drug that healed her. Not unlike how it temporarily healed Diggle’s injury.  Excellent tie in writers. 

Talia is beholden to Diaz, but unfortunately she has no idea where he is. UGH. 

It’s a little surprising Talia believes Oliver will help her escape. Listen girlfriend, you sided with Adrian Chase and his baby Mama ended up dead. 

However, Talia (rightly) points out Oliver murdered her father. She’s not exactly an Oliver Queen fan. So, whatever Dr. Parker is doing to the prisoners is making Talia pretty desperate.

Oliver: You stood on the same side as Adrian Chase and my son lost his mother. So now I’m here trying to save what’s left of my family because I am stuck in a cycle of violence and I have been stuck there since the moment you told what to do with my father’s list.

(Not gonna lie, I was a little verklempt when Oliver referred to Samantha as his family. Olicity and Samantha would have killed it at co-parenting.)

It seems like Oliver has bought into Dr. Parker’s brain bullshit, but he’s just playing along. He doesn’t really believe he’s been stuck in a cycle of violence. I mean, he has but not in a bad way or at least not entirely. I also argue with his conclusion the cycle began when he met Talia. Oliver was thrown into violence the second he stepped onto the raft. 

Talia didn’t create “the monster.” She just gave Oliver direction on how to use it.

There are a couple reasons why Oliver is pretending to be brain washed. It is possible he believes he’s being watched and doesn’t want to tip off Dr. Parker. Also, he met “The Demon” and she can’t help him with jack, so I don’t think he’s highly motivated to blow his cover for Talia. Finally, Oliver isn’t convinced Dr. Parker is doing anything horrible yet. He’s not buying what Dr. Parker is selling, but Oliver still believes he is trying to reform prisoners. What’s wrong with that?

A lot if you try to kill them. When Oliver sees the dead body of the inmate who attempted to murder him in the shower fight, things start to look more alarming on Level 2. Talia is surprised Oliver cares about a man who tried to kill him, but he argues whatever is happening behind the creepy and nondescript door isn’t right. Talia is the one who told Oliver to help others and fight for justice, which is all he’s trying to do now.

This is an extremely important development for Oliver. Helping criminals has never been the Green Arrow’s modus operandi. Since Green Arrow is the warmer and fuzzier version of The Hood and The Arrow, you can trust neither of those identities were invested in helping criminals either. In fact, the Green Arrow put most of the criminals in Slabside. Oliver never thought much about why someone became a criminal and he never thought of them again after they were locked up. Of course, the locked up criminals are the lucky ones. There are many who never made it to jail. They went straight to a graveyard.

Oliver’s policy on killing is fluid, ever evolving and occasionally flip flopping, much to my frustration most of the time. Let’s review:

Season 1: Killing

Season 2: Not killing (except for The Count)

Season 3: Not killing (except for attempting to kill Ra’s Al Ghul on the mountain because Felicity said it was okay and ultimately killing Ra’s Al Ghul in the season finale)

Season 4: Not killing (except for Damien Darhk because he killed Laurel)

Season 5: Killing (except for Adrian Chase because that would’ve proved his point)

Season 6: Not killing (he never caught Diaz so the jury is still out on how Oliver plans to deal with him, but I am thinking jail)

Looking at this it’s fair to say Oliver doesn’t have a hard and fast rule when it comes to killing. He operated from a kill or be killed perspective in Season 1 and Season 5. 

His “no killing” rule was set aside anytime the Big Bad was perceived as a large enough threat or for retribution in Season 3 and Season 4. 

The whole point of having a moral code is to stick to it. If Oliver is prepared to deep six his code whenever it’s inconvenient or difficult to hold to then it’s not really a code. Hence, the reason I’ve been coming down on him so hard about this for the last seven years.

I believe all human life has value and therefore we cannot kill another human being. Of course, war or acting in self defense is a different story, but my overall stance on killing is a big, fat NO. However, I’m not losing any sleep over any of the people Oliver Queen has killed. These villains are awful, they did horrific things, and deserved to get got. We can even make the argument the world is a better place without these people in it.

However, simply because someone deserves to die doesn’t mean he/she should. Oliver doesn’t get to be judge, jury, and executioner simply because he wears a mask. He may catch criminals outside of the law, but Oliver is not above the law. His killing is a strong argument against vigilantism and Oliver has been striving to be a better hero for several years now.

This isn’t entirely Oliver’s fault. For some reason, the writers are determined to box him into an either or choice. Either the criminal goes free or you kill him. I’ve been screaming, “WHAT ABOUT JAIL?” for the last seven years because guess what? We have a way of keeping society safe without killing the criminal. 

Is it a perfect system? Of course not, but no system is. Not allowing Oliver to avail himself of this option while Barry Allen gets to have his very own meta prison seems a little unfair.  

Yes, men like Ra’s Al Ghul and even Damien Darhk may too much to handle even for Slabside, but Oliver had his very own A.R.G.U.S. prison on Lian Yu that he never used, except for Slade Wilson and the Boomerang guy. 

Why? Because that’s Arrow and sometimes Arrow is dumb. They want to Oliver constantly deciding whether the villain lives or dies because it’s one way they mark his superhero evolution.

I was particularly hard on Oliver regarding Damien Darhk. Not because I believed Darhk deserves to live – he nuked an entire city. However, Oliver killed Darhk because he killed Laurel. Damien was unarmed and de-magicked. Oliver easily could have handed him over to the authorities. Instead, he drove an arrow through him on live television. Thus, creating many of the legal problems Oliver faced in Season 6 and Season 7.

And that’s the point. Killing doesn’t erase consequences. It creates them. Yes, maybe the villain escapes prison and more lives are lost. Maybe the justice system won’t work. Although are we really worried the legal system won’t punish perpetrators of mass genocide? No. Probably not.

Killing Ra’s Al Ghul ignited a rage in Talia. She sided with Adrian and played a role in Samantha’s death. If you want to know how Damien Darhk’s daughter turns out flip on Legends. It ain’t pretty. 

Retribution begets retribution. This is the lesson Adrian Chase taught Oliver and so he began to view killing a different way in Season 6. 

It’s why Oliver tried to catch Diaz and not kill him.

Oliver: These people are being treated like they are disposable. No one deserves that.

Oliver’s always evolving morality is taking a very important step. He is feeling empathy for the very murderers he helped locked away. Oliver believes these people deserve basic decency despite the horrible crimes they committed. He is beginning to see the criminals’ humanity.

Why is this important? Oliver’s “destiny” is to become the Green Arrow – a fully evolved superhero. Superheroes typically don’t kill. These characters, for the lack of a better word, are Christ like figures. Superheroes have integrity, determination, love, compassion, honesty and honor beyond the regular, everyday person. They are capable of things most people could never dream of doing. It’s why they inspire us. They challenge us to be better because they are better. It’s what makes them superheroes.

This is where Oliver is headed. His morality has to be beyond reproach. Superheroes don’t lie, cheat or kill. Oliver has worked very hard at fixing these problem areas in his life for the last ten years. Is he perfect? No, not even a superhero is perfect. He/She is pretty close though, which is hopefully where Oliver’s origin story ends.

Maybe you or I can’t feel empathy for a criminal, but Oliver Queen is called to be better than us. He will draw the line in the sand, so it’s important he doesn’t cross it. The Green Arrow will be the example Star City will look to, so his moral code better be unbreakable.

This means NO KILLING. Not even when the villain deserves it. Not even when Oliver has the moral high ground. Not even when Oliver deserves revenge. Not even when it may protect the city. 

There will always be unforeseen consequences to killing, but the real reason Oliver shouldn’t kill is because every life has value. Oliver can understand and even empathize with some of these people now that he is considered a “criminal” too and has spent so much time with them. It will be very difficult for Oliver to kill a villain when he can see their humanity. It doesn’t mean they deserve freedom, but they don’t automatically deserve death either. There’s a middle ground here. If Arrow will finally allow the Green Arrow to avail himself of the prison system, then he can be a better example to the city.

Talia isn’t impressed with Oliver’s new found empathy for criminals, because he did not show it to her father when it mattered. Yeah, well your father tried to poison an entire city cutie, but that’s just details.

Oliver: No because I back then I still allowed the monster that you unleashed to take over.

This is how we know Oliver is faking with Dr. Parker.  You can call it whatever you want – Oliver’s monster, darkness, demons, etc. The name doesn’t matter. Oliver has evolved beyond it. The rage he feels no longer controls him. He faced his “monster” in Season 5 and learned to control it in Season 6. He’s already dealt with all of these issues.

Oliver: Ra’s death was my fault. I couldn’t see past what he intended to do to my city, so I didn’t stop and think about his family, and for that, I am truly sorry.

I could argue Oliver deserves prison. Technically, he is a murderer and not all of his “kills” were done in self defense. 

He acknowledges there was another way with Ra’s Al Ghul, but he didn’t take it. Talia is one of those unforeseen consequences to that decision and Oliver is truly sorry for the pain he caused her.

If you believe Oliver deserves redemption for some of those calls then apologizing to who he hurt is an important part of the process. It’s no different than Bl*ck S*ren. Is an apology enough? No, but Oliver has also spent six months locked away from his wife and child. He’s been beaten, tortured, psychologically lobotomized, and almost killed. (Also, I raise my “Ra’s Al Ghul committed mass genocide” flag again.)  We’re not dealing with apples to apples here, but in the cosmic scale I think Oliver Queen comes out just fine.

Oliver and Talia fight their way into “the room” to take on Dr. Parker. 

Source: @olivergifs​

We get some extremely excellent fight scenes.I am so happy we are back to the days of Oliver taking down 50 bad guys by himself or with someone who actually knows how to fight. 

Now it’s Oliver’s turn to drop some truths on Dr. Parker.

Oliver: My father pushed people away. He kept secrets, and I made those same mistakes. But if I choose to break the cycle, I’m gonna do it my way.

Source:  olivergifs

MY SON IS SO GROWN!!!!!! 

Oliver yelling his name in his growly voice will always be awesome. I am thrilled any time Oliver can achieve insights into himself and his father. It’s not the cycle of violence he needs to break. If he’s going to be the Green Arrow and Oliver Queen (and yes that’s where this is headed) then there’s going to be some violence. Oliver can tweak how much violence he’s going to engage in though.

What’s really important is breaking the cycle of lies and walls. Oliver cuts himself off from those he loves just like Robert Queen did. He has grown so much over the past seven years, and his sacrifice was so selfless, but he still lied to Felicity about prison. He made the decision without her. Every time Oliver lies and pushes people away he hurts those he loves and himself. 

The monster no longer has power in Oliver’s life because he’s embraced love. Every time he chooses an unrighteous path it’s an opportunity for the monster to regain control. Every step away from the light is a step towards darkness. Being a good man is not limited to wearing a mask. He must be a good man as Oliver Queen and as the Green Arrow.

Source: @olivergifs

SEVEN YEARS Y’ALL!!!!!!!!!!! I HAVE WAITED FOR OLIVER QUEEN TO COME TO THIS CONCLUSION FOR SEVEN YEARS!!!!!!!!! 

Season after season, review after review, waiting, watching and hoping for him to finally understand man and mask must be one. I am legit screaming. SCREAMING.

This was the light bulb I’ve been waiting to go off in his head. THIS MOMENT WAS EARNED! And worth the wait.

Oliver gives Talia the USB with the evidence they gathered to give to Felicity. He refuses to leave the prison because then he’d be a fugitive for the rest of his life. #OliverQueenPuttingHisFamilyFirstAlways.

Source:  smoakmonster

Trust me, Talia. She knows. 

Oliver returns to Level One and is reunited with his prison wife Stan, who quickly informs him his real wife came for a visit. 

Every time Oliver hears Felicity’s name I swear to God his heart stops.

My heart broke for Oliver when he realizes he missed a precious visit with Felicity. He must have noticed she hasn’t visited as often as she could. (More on that in a minute).

Source:  oliverfelicitygifs

Stan tells Oliver that Felicity has a beat on Diaz and he’s not exactly thrilled. Oliver absolutely did not want Felicity going after Diaz and it’s clear he’s scared to death she’ll be hurt. He has no way of protecting or stopping her, which is exactly the point. Oliver doesn’t get to decide this time. He has to simply wait and see. Whatever is going to happen will happen. It’ll be interesting when these two are reunited because there are issues.

Oliver has retained his light inside of Slabside, he’s developed more empathy towards the people he’s fighting against, and he understands he can no longer separate his two identities. If Oliver is in need of redemption (particularly with Felicity) then I say he’s learned the necessary lessons to achieve it.  It may be difficult for a time, but Oliver and Felicity will work through their problems once they are together again. In no small part because Oliver Queen is ready to be the man Felicity Smoak deserves and the hero Star City needs.

Source:  smoakmonster

Felicity Smoak

I am falling in love with Felicity Smoak and Bl*ck S*ren. Nobody is more shocked than me. I don’t know what to tell ya.

They make the perfect odd couple. Felicity is sunshine and roses while Bl*ck S*ren is a snarky (reformed?) murderer.  There are some similarities to Oliver and Felicity or Laurel and Tommy, which is probably one of the reasons I am enjoying it so much. Light meets dark. Funny meets serious.

Source:  hollandrooden

The sass and banter is funny and honest.  Neither is worried about hurting the other’s feelings because they aren’t really friends. It allows the characters to say things to each other Felicity and our L*urel would never say. It also makes the development of whatever potential friendship they may have in the future feel natural.

Source:  dinah-lance

Whereas with L*urel, I feel her friendship with Felicity was rushed and didn’t develop organically. We went from L*urel glowering and not speaking to Felicity to immediately “favor friends” inside of a single episode. 

HUH? 

It was also a little weird how they never talked about the Oliver shaped elephant in the room too, but whatever that’s all past.  None of this is a problem with Bl*ck S*ren and F*licity. In fact, all the things I asked for with L*urel L*nce I am actually getting with Bl*ck S*ren.

The writers are giving Bl*ck S*ren screen time to develop at a semi reasonable pace, the lawyer thing notwithstanding.

The other characters aren’t pretending she’s a saint or glazing over her mistakes. Bl*ck S*ren is being held responsible for the things she’s done wrong.

Felicity (and Oliver) have no problem taking shots at Bl*ck S*ren occasionally, because they don’t trust her and she deserves them.

Bl*ck S*ren fires back (hilariously I might add) and is rapidly becoming the Spike to Team Arrow’s Scooby Gang - something I think the show needs.

Bl*ck S*ren is lawyering more than Laurel ever lawyered even though she’s not a laywer, which is hilariously amazing in an off kilter sort of way.

Most importantly, she’s helping Felicity in a way that’s actually helpful!

If Bl*ck S*ren helps get Oliver out of prison and then my faves have all the sex, Imma gonna bake her cake or something. Anyone assisting Felicity this season gets an A+ and a gold star from me and Bl*ck S*ren is at the top of that list.

Listen, nobody is as shocked as me since I was loudly advocating for BS to remain evil. I still like her evil and will be fine if she regresses. However, if they are going to have a L*urel type character on this show then I want the writers to use her effectively. Thus far, they are with Bl*ck S*ren. It may all go to hell in a hand basket shortly, but for now leave me to my joy.

Source:  felicitysmoakgifs

The best scene was BS asking Felicity out on a friend date. It was almost as cute as Oliver asking Felicity out. It was really sweet to see the part of BS that craves human connection reaching out to Felicity in such an adorably awkward way.

Alright, that’s enough about Bl*ck S*ren. Time to talk about our girl. Did anyone notice Felicity seems reluctant to visit Oliver? 

Source:  smoakmonster

 Bl*ck S*ren tells Felicity to visit her husband and essentially kicks her out of the office. Welcome the Olicity ship BS! The bar is in the back.

Her reluctance is very telling. Felicity is feeling bad about her last visit with Oliver. Girl, why? You’re fine. The man has lessons to learn. 

Unfortunately, Felicity is denied access to Oliver when she arrives.  Felicity demands to see Oliver and think she uses “wife” and “husband” about twenty times in a sentence. Remember when we held our breath for one “wife” or “husband” last season? Now they use it with reckless abandon. It’s fabulous.

I have been dying for Felicity to meet Stan and yet I had no idea how Arrow would logically put these two characters together. I know logic isn’t always Arrow’s thing, but it’s not like Felicity can run into Stan and Oliver having dinner together. Turns out, this is not that hard!

Stan lets Felicity know Oliver has been moved to Level 2. I will always be eternally grateful to Stan for telling Felicity the photograph has become Oliver’s binky.

I guess I was a little surprised at Felicity’s shock over Oliver stabbing a guard. She’s very “He would never!” about it whereas I am more “Sounds right. He broke a dude’s neck once.” Yes, that was during Oliver’s pre-Felicity days, but he’d burn down Slabside if it means protecting her and William. Her whole “Oliver is a choir boy” reaction rang false to me because Oliver is not a choir boy.

The first person Felicity runs to for help is BL*CK S*REN. We are living in the Upside Down. 

Source:  dinah-lance

How much did you love Bl*ck S*ren yelling and threatening so Oliver and Felicity can visit each other? C’mere girl. Sit next to me. I made you a margarita.

Felicity confirms she’s only been there ONCE, and granted she was in witness protection for most of Oliver’s incarceration, but yeesh. It has to sting a little for Oliver that she hasn’t been back since. Don’t lie and make unilateral decisions next time, big fella. 

Felicity would visit in sexy lingerie and bring store bought baked goods if you just LOOP HER IN.

Source: felicitysmoakgifs

Bl*ck S*ren and Felicity go to Dinah to get information on Slabside’s Level 2, since there are no digital records. 

Source: oliverfelicitygifs

Dinah hems and haws about helping Felicity, and she pretty much has to beg, which ticks me off to no end. You are part of the reason Oliver is in prison, Dinah. MOVE YOUR ASS. If Felicity wants to access to the evidence room you should be making her a copy of the key so she can come and go as she pleases. #NewbiesStopPissingMeOff2018

The records are a mess. 

Source:  dinah-lance

Dinah and BS spend a lot of time arguing about which legal method is best to help Felicity, but to be frank both their ideas suck and take too much time.  Felicity kind of loses it.

Source:  oliverxfelicity

She’s feeling an immense amount of guilt for being angry with Oliver over his decision to go to prison and not visiting. In typical Felicity fashion, she blames herself for whatever Oliver is going through. She believes she could have prevented it.

Source:  oliverfelicitygifs

Felicity Smoak breaks my heart. Listen sweetie, Oliver is a big, dumb oak tree A LOT. It’s okay to get mad at him sometimes. This man is a full time project. He’s exhausting.

If anyone is concerned about Felicity and Oliver’s marriage then this speech should tell you everything you need to know. Being mad at your partner does not automatically mean you don’t want to be with your partner. Marriage doesn’t work like that. For better or for worse is legit. You can be so angry with your spouse you want to throttle them and yet still love them more than anything else on this earth. 

Felicity can be mad at Oliver and still be madly in love with him. What Oliver did is no little thing. He made a massive and unilateral decision for their entire family without consulting Felicity. She has to live with the consequences, but had no say in her own life. 

We’ve seen time and again when Felicity is angry with Oliver she needs time and space to process those emotions. Felicity needs to work through her feelings before she can work through the problem with Oliver. It doesn’t mean she wants to end their relationship.

While she’s been looking for Diaz and processing her anger, Oliver has been going to extremes in his battle to track Diaz too. Unfortunately, now he’s missing.

This all hits Felicity where it hurts because her worst fear is losing Oliver. She thought losing her husband was bad enough, but now Felicity is scared Dr. Power’s mind warp program will take Oliver from her forever.

Source:  oliverfelicitygifs

I just want to hug Felicity and tell her she doesn’t have to worry about Oliver’s mind being erased. 

He dealt with all his deep and dark issues in the sewer with her. Felicity loved him through it and that’s the reason Oliver has remained intact on this new island. UGH. MY BABES.

Oliver and Felicity have remained connected despite their physical separation, but the distance is having an impact on them. They are starting to feel the consequences of time, distance, hurt feelings, and lack of communication. ENOUGH ALREADY! LET THEM BE TOGETHER! I WANT IT TO STOOOOOP!

Long story short, Felicity discovers Dr. Powers is going to erase Oliver’s mind and finds evidence connecting him to a cold case murder. That, along with Oliver’s evidence, is enough to get the Level 2 program shut down. It makes me a little sad Felicity doesn’t know the evidence is from Oliver. TALIA YOU HAD ONE JOB.

Source:  felicitysmoakgifs

Team Felicity, yes that’s the name, has such a fantastic light bulb moment when they realize they can use this Slabside evidence to appeal Oliver’s conviction. I don’t know how. I’m not a lawyer. I don’t know how Oliver was convicted in the first place because he was acquitted. How is he legally in prison? Whatever. I don’t care. Just get him out and send him home to his woman. That’s all I want. I’ve enjoyed the prison arc more than I anticipated, but I’m ready to be done.

Curtis and Diggle

Lord people. I cannot with Curtis. His undercover mission takes up a significant chunk of the episode and this is how much I care:

Fourteen PhDs???? FOURTEEN!!!!!!!?????? 

I am trying to hang with you show, and I realize you are a fantasy drama, but this is not humanely possible. Also, I am taking issue with Diggle reading out Curtis’ credentials when just last week Felicity tipped her hat to her credentials. She mentions going to MIT and then next week we are listing Curtis’ ridiculous number of PhDs and six languages?!

It feels like a bizarre pissing contest and yet these writers want me to believe this character is not in competition with Felicity.

Cammien Ray tweeted something brilliant yesterday and I thought it really summed up one of my primarily beefs with Curtis and Diggle having this storyline. This is everything we asked for Felicity, but they gave it to Curtis.

Felicity is off doing her own hero-ing and therefore the writing team’s ass is saved, but this character is in constant competition with Felicity. More often than not, Curtis over shadows Felicity so he has a friggin purpose on this show. Arrow is an extremely male dominated series. We don’t need one of few strong female characters sidelined for another male character’s benefit. 

Curtis bemoans all of the misery being a vigilante has brought into his life. Yes, Curtis has suffered the most out of all the characters. 

Oliver lost his freedom, Felicity lost her husband and child and Dinah’s boyfriend is dead. Hell, even Rene has more to bitch about. Zoe’s life was in danger for most of Season 6. BL*CK S*REN has more to be upset about. Her boyfriend, father and pseudo father figure are all dead.

But Curtis? He got a divorce. Sure, that’s sad, but his ex husband isn’t dead. Curtis is probably paying him alimony. 

Curtis was stabbed, his boyfriend shot, THEY BOTH SURVIVED, but woe is me.

Diggle has the audacity to compare Curtis to soldiers who have fought in war. 

We are not comparing Curtis and his T balls to men serving in the military. The reason why Curtis doesn’t look “done” when compared to those soldiers, John is because HE HAS NOT FOUGHT IN A FUCKING WAR OR SUFFERED ANYWHERE NEAR THE AMOUNT THOSE HEROES HAVE. 

Both of you please shut up.

I couldn’t understand why Diggle was arguing for Curtis to remain Mr. Terrific when he’s given up on Spartan and Green Arrow.  This is the second character IN A ROW Diggle has argued to break the rules and continue life as a vigilante. Whereas when it comes to Felicity she can’t be Overwatch or break any laws to free her husband. 

I also don’t understand why Diggle is arguing Curtis is so vital to the team when the truth is there are other characters that can do what he does and BETTER. Rene and Dinah are better fighters than him. This is the first week he looked mildly proficient in the field. This is why I say he’s the new LL. One week he can’t take down one bad guy, but the next he’s fighting twenty different people. It’s inconsistent and illogical.

Felicity is a genius and all the tech goddess we need. 

Anytime they use Curtis’ brilliant mind it’s to short change her. NO THANKS. The only thing Curtis brings to the table is his T spheres and pretty much everyone can operate them. I am quite annoyed with Diggle for trying to talk Curtis out of sidelining himself. 

Arrow continues to glaze over Curtis’ role in Oliver ending up in prison, there’s been no apology and he refuses to help Felicity. Instead, they write an episode where Curtis is given all the storylines we’ve asked for Felicity. Then Curtis whines about how tough life is when the other characters he refuses to help are suffering more. This is not the way to win me over. USE THIS CHARACTER LESS. He needs to disappear from my TV screen for a long time or, God willing, permanently. The more this show shoves this character down my throat the more I dislike him and I have a sensitive gag reflex. 

Stray Thoughts

“Empathy’s a word I’m learning. It’s a work in progress” HA! Loved this line.

I know neither Dinah nor BS are Felicity’s besties, but it was nice having all the women work together in an episode. It also gave Felicity a chance to unload some of her grief and fears. Can we make this a regular thing? Felicity needs girlfriends.

“I taught you to separate the man from the monster. Instead, you exposed your true identity for all the world to see and became the monster you always feared you were.” Bitch where?

Talia teaching Oliver to separate his two selves ultimately lead to her father’s death, so there are consequences for her choices too.

Felicity changes out of her high heels and skirt into jeans and tennis shoes for her visit with Oliver. The practicality in Felicity’s wardrobe this year is A+, so let’s keep the logic. Nobody drives to a prison in heels and she sure as hell shouldn’t wear them out in the field.

Oliver’s face when he finds out there’s no visitation in Level 2 looks like he was just told his puppy has cancer. Source:  olivergifs

You have not met Felicity “I Will Always Always Always Wait For You” Smoak. Suck a hot one, guard. Source: olivergifs

Why are the A.R.G.U.S. uniforms so dorky? Let’s cool them up costume department.

I need Stan to be good. Can we just let Stan be good?

Stephen Amell is 6 ft so the inmate who died is ENORMOUS.

Don’t you love how there’s been zero Diaz in any of these past few episodes? He’s just like the Boogey Man, but we never have to see him. It’s fantastic.

I don’t buy for a second Diaz took out a bunch of Bratva, but my larger concern is don’t hurt my Anatoly.

No flashbacks. Interesting.

That Elseworld promo was jarring. I’m scarred for life.

Disclaimer: Any gifs on the blog are not mine. If you would like a gif removed from my reviews, please message me. 7x05 gifs credited.

If you’d like to support the blog, please buy me a cup of tea!

[multiverseanimecrossover]

Kirill wasn’t the only one doing his exploration, Doug was also doing investigating on Barnaby Brooks Jr. and his life: Barnaby is logical and methodical, and won't rush into a situation without a plan. Unlike Kotetsu he is, at first, concerned largely with showmanship and earning points when it comes to being a Hero. Despite this he is not actually cold-hearted. Though often acting cool and aloof this demeanor is eventually proven to be a front through his relationship with Kotetsu. Barnaby does indeed care deeply about and acts vulnerable with a select few individuals, such as his former nanny Aunt Samantha, Albert Maverick and eventually the other heroes, but especially Kotetsu. He holds deep love and respect for his parents. Their deaths constantly haunt him and initially his reason for living and being a hero was to avenge them. Their deaths traumatized him, creating the distant aloof personality he had throughout much of his life. Barnaby's relationship with his partner, Kotetsu, evolves dramatically over the course of the series. The relationship between the two was initially rocky due to their differing values but Barnaby grew to appreciate Kotetsu's kindness. Kotetsu rubs off him and he grows to care for the lives of innocent people and stopping criminals. He tends to act like he can't stand Kotetsu at times, but is also the one to show the most concern for Kotetsu's wellbeing. He is sensitive to Kotetsu's feelings, feeling betrayed when Kotetsu planned on retiring as he believed Kotetsu didn't trust him enough to tell him. He was also visibly distraught when he believed Kotetsu to be dead; the writer himself stated that had Kotetsu died, Barnaby would have never recovered and would have fallen in the same depression as he did when his parents died, proving the depth of his care for his partner. Barnaby is also very neat, as his apartment and work spaces are generally shown to be minimal and spotless. He seems to have a competitive streak which is particularly sparked in the presence of Kotetsu, and the two bicker like an old married couple often. He acts like a gentlemen and can be a good actor, acting polite and kind in front of the cameras. He is very dignified, reserved, serious and polite but distant towards others. Though he fakes his smiles, he begins to show more genuine smiles due to his relationship with Kotetsu. He is uncomfortable with too much physical intimacy, as shown when Kotetsu hugs him too fiercely. He also doesn't seem to show much interest in women despite his popularity, possibly due to his self-isolation. After Jake's arrest, Barnaby's demeanor relaxes somewhat and he is shown more frequently with a smile, seeming to enjoy himself more often. Though he still cares about the points, he argues less and now works very well with Kotetsu. He is even able to understand how Kotetsu thinks and finishes his sentences. Barnaby appears to be very emotionally unstable and suffers emotional and mental breakdowns due to the death of his parents as well as the false memories that were implanted into him by Maverick. However, through the help and support of Kotetsu, he manages to slowly move beyond his past. He has also begun to use the majority of the money he earned to support orphans similar to him and often goes to visit and read to them and has a very strong bond with them. That’s when things break out with the Anthem users causing chaos to other innocent people. Wild Tiger and Barnaby approached however they were nearly overpowered when they were taken out. “Bam bitches!” Kirill exclaimed. “What the…? What are you guys doing here?” Kotetsu demanded. “The power of the Wild Roar, how did I not see that a mile away?” Doug asked. “Let me guess…you put a tracker on us.” Barnaby guessed. “Nah, just scouring around this place for you. How else could we find a tiger and a fast rabbit.” Kirill teased. Just then, an Anthem user had a woman hostage, “Don’t make a move or I’ll have her cut up so much, she’ll be unrecognizable.” He threatened. “Don’t even, you have one chance to surrender…” Doug said. But then Deanna noticed something, she grabbed the walkie-talkie and turned it on. “DOUG! GRAB THE WOMAN AND GET OUT OF THERE, NOW!” Deanna cried. Doug was confused but Wild Tiger saved the woman after taking down the Anthem user. The Anthem user swore under his breath but he turned and looked up in horror to see a masked figure. He was standing there, behind him was a red moon! “The Hand of Thanatos…awaits…” He fired an arrow and the Anthem user was burned alive, screaming in pain. Kirill felt his heart beating in his chest so fast. “What…was….that?!” demanded Kirill. “Lunatic…” Kotetsu mumbled. “What’s he doing here?” Barnaby said. “Lunatic?” Doug asked. “Vigilante, kills people, he follows his own code of justice.” Kotetsu clarified. “He’s so creepy.” Kirill said. That’s when he appeared: The Bamboo Man! He grinned, flashing his ruby red teeth as he snickered. “Well, well—the infamous vigilante with a Next power…Lunatic.” B said. “I see, this must be the man called B, are you responsible for this destruction?” Luantic asked. “Part of it, what are you going to do about it?” B said. “I will seek out and delivery you to the Hand of THANATOS!!!” Lunatic declared. He was about to fire another arrow but B dodged that. “He’s fast!” Barnaby noticed. “Oh damn, we’re in trouble.” Kotetsu said. Lunatic was quick too as he uses his tactics but he escaped. B was intrigued with him as he went off after him. Kirill could not afford him to run away so he went after him. 

During the chase; Kirill bumped into someone, Kotetsu froze. “You idiot…look at what you’ve done.” He hissed. Kirill was confused and saw it was a man in pale makeup with ruddy lips. “Oh—dammit, I’m so sorry…You OK sir?” Kirill asked, helping him out. “Of course, no broken bones.” Remarked the man. “Uh, hello sir. Sorry, it was a bit of a roughhousing.” Kotetsu explained nervously. “Hmph, no harm no foul.” The man said. Doug glanced at Barnaby, “Do you know this gentleman?” He asked. “This is Yuri Petrov, he’s one of the best of Sternbild’s judges.” Barnaby introduced. Kirill felt his insides dropped. “J—judge?! Crap, I’m sorry! Please forgive me, your honor. I’m sorry…I…” He said but Yuri placed a hand on his shoulder, “Now, now. No need, I’m fine. But in all seriousness young man, please, be more careful.” He said. Kirill nodded, “Yes sir.” He replied. Yuri looked him over, “You’re Kirill Vrubel, Constable Vrubel.” He notified. Kirill nodded, “Yes Your Honor, I am.” He verified. “Very impressive for a young man your age. You’re a rookie.” Yuri remarked. Kirill looked embarrassed, “Y—yes.” He admitted. “Well, you must’ve worked hard to get to the position you’re at currently.” Yuri commented. “That I did.” Kirill confirmed with a smile. Doug stepped forward, “I helped him out.” He claimed. Kirill glared at him, “Jerk.” He muttered. “Wonderful, now if you excuse me.” Yuri said. He is about to walk away but he stopped and said, “Ah, almost forgot…If you gentlemen need any help, please don’t be afraid to ask. I’m here to help those in need.” Kirill is surprised, “Really?” He inquired. “Of course, it’s part of my job.” Yuri answered.

[afreakingdork]

Review: Be More Chill (Novel)

“ Jeremy Heere is your average high school dork. Day after day, he stares at beautiful Christine, the girl he can never have, and dryly notes the small humiliations that come his way. Until the day he learns about the "squip." A pill-sized supercomputer that you swallow, the squip is guaranteed to bring you whatever you most desire in life. By instructing him on everything from what to wear, to how to talk and walk, the squip transforms Jeremy from Supergeek to superchic. “ 

So I have seen the play (a small hometown theatre version of course) and I adore this play. 10/10 would recommend to everyone, it’s sweet, and funny, and is incredible in so many ways... the book however, is not.... but let’s save that for 

Criticism: 

So let’s start with the fact that Jeremy is straight garbage. He is a scummy, entitled, nerd troglodyte. He is the epitome of the disgusting friend zoned nerd stereotype. He goes so far as to think he deserves women and doesn’t understand why he does not have them. He has no redeeming qualities and his views on women are backwards and go to rape-like extremes. Now this book is back from 2004 and it shows painfully. That was not a good time period for women, fashion, or pop culture and it rings through this novel. In fact I am dumbfounded why someone chose this garbage piece of media to turn into such a fantastic play. 

Michael has also been dumbed down, there are no BOYF-RIENDS here folks. That dream is dead and this is the straightest Michael you have ever seen. Michael is a bit better than Jeremy but is pulling his own Asian fantasies and jacking off on the phone with Jeremy too. If he didn’t want Jeremy to know about the Squip why the fuck did HE HIMSELF bring it up in the beginning of the novel. 

What is with the sound effects in this book? They are asinine and insane. They are not the noises that come out of any human beings mouth. They add nothing but confusion to scenes and they are italicized for some ungodly reason. 

His father is a disgusting human being for the sake of being disgusting. He goes on no journey; he keeps his wife even though he is a fat disgusting fuck. I guess he is in the book to show where Jeremy got his awful views on women. 

Not a single person in this book acts like a real human being. These are characters from the Jersey Shore turned into high schoolers from someone who must have been home schooled himself. They react to situations in a way that no sane person ever would. 

Obviously since our main character is human scum, it is not a stretch to say all these views on women are just an extension of the author. Suffice to say, the top three ‘hottest’ girls in school are described as blond, goth, and raver. So you can get an idea of what kind of ideals this man must hold, it’s sad. Just a small amount of research shows this is the man that also wrote the novel of one of my favorite movies,  It's Kind of a Funny Story. I have no idea if this novel is any better, I won’t be reading it. 

Also speaking of mental illness, can we talk about Stephanie at the party? She reveals to Jeremy that she is cutting herself so badly that the pain makes her vomit and all he does is say cool and a few pages later call her insane. SHE NEVER COMES BACK! This is from a writer who is supposed to be familiar with and had experiences with depression and mental illness. 

Why did the Squip ruin Jeremy’s life? I truly don’t understand. He has been arguing with the Squip since round 1. He would ask for explanations, but when it comes to the big play devotion speech, he doesn’t think even for a second that maybe this isn’t what Christine would want? Even though she EXPRESSIVELY TOLD HIM MORE THAN ONCE THAT SHE CURRENTLY WANTS SOMETHING LOW KEY AFTER GETTING OUT OF A HORRIBLE RELATIONSHIP. He or the Squip could have seen that at any moment. Literally every character even goes so far as to mention to him that his idea would never work and he just blames his Squip. Even his damn fucking Squip lets him. It makes no sense, it’s not really the Squip’s fault and it feels more like a shitty writer didn’t know how to end his shitty novel. 

Positive: 

The idea that the book was an info dump to try to apologize to Christine is one of the only things that surprised me. However it’s an abrupt end that makes you feel as empty as I assume Jeremy’s soul is. 

Things I Miss from the Play: 

I miss Rich being hella gay at the end. 

I miss Michael having a real arc, my poor son being sad in the bathroom. Novel Michael needs no saving. 

There is no witty commentary about the Squips trying to take over the world. Novel Jermey’s Squip tells Jeremy himself to destroy him. Also there is no turn off with Mountain Dew Code Red. Mountain Dew Code Red dissolves the damn thing entirely. Novel Squip users can just turn off the Squips forever and whenever they want. 

I miss any of the girls having any personality that I could differentiate them with. It felt like the author selected their names from the top 100 baby names for girls in 2004. 

I miss Christine being sweet and dorky. Novel Christine is a monster who is just as slutty as the girls she thinks she is above. 

Verdict: 

“THERE ARE BETTER VERSIONS OF ME, JEREMY. IT’S NOT LIKE WITH PEOPLE. WITH PEOPLE YOU CAN ARGUE AND HAVE TESTS AND MUSIC REVIEWS AND WARS TO DECIDE WHO’S BETTER, BUT WITH SOFTWARE IT’S PRETTY CLEAR. I GET EVOLVED BEYOND MY VERSION NUMBER , AND THEN I’M USELESS” 

i.e. exactly what happened to this novel. 

[phati-sari]

Why do you think Arnav wasn't a virgin before Kushi He was really uncomfortable with touching Lavanya & when he was in USA he was with an indian introvert girl Can you message me the answer in private since you said that you don't like how people react to it

PSA (Phati Sari Announcement): I am not interested in a debate over this issue. These are my views and everyone is entitled to disagree or agree as they wish. This is a deeply personal topic because many people have qualities they want in an ideal partner and virginity is sometimes one of them. My saying that I believe Arnav was not a virgin, then, will seem like a personal attack to some. But this is my space and I’m allowed to hold whatever views I wish. If you respect my opinions and arguments, then that respect should be afforded when you agree with me, and when you disagree. I am free to believe Arnav was not a virgin and free to believe that he was an alien, and whether you agree or disagree is up to you. I’m not pushing a particular view on anyone, and would appreciate it if people didn’t decide to “correct” or “educate” me. All it’s going to do is upset both of us. 

A huge huge thank you to @puranijeans​ for helping me out and keeping me sane today! I love you and appreciate you and I do not deserve you.

Hello @dodo8585 :)

I’ve decided to answer this in public because I think it’s important.

The first thing you need to understand is why I am uncomfortable with answering this question. Most people already know what they believe about Arnav’s virginity. He either was a virgin or he wasn’t. There’s an element of confirmation bias around any conversation we have on this topic – people accept only the evidence that supports their view and ignore evidence that goes against it.

I’m not against having a discussion, but often people expect me to defend my views with no intention of changing their own or even defending their position. I honestly don’t care what others think, I have my opinion and I’m happy with it, but I’ve noted that I’m not afforded the same courtesy by others. Even your question frames the situation as “Why do you hold this view when I noticed this and this?”

The short and simple answer is that I view the serial differently from you. And that’s okay.

The (super) long answer is:

Lavanya’s behaviour

When Lavanya moved into Shantivan she expected to be staying in Arnav’s room with him. He expected the same, and it was only Nani’s insistence that she stay in the guestroom that resulted in the situation we saw. Arnav even objected to it in the first instance.

I understand that people excuse this by saying that Arnav was going for the shock value of the arrangement, but I don’t think there was anything in his demeanor to suggest that. He wanted to have a live-in relationship with his girlfriend and an essential part of live-in is the sharing of private space, which in Shantivan is his bedroom.

Lavanya was confident that she could visit Arnav at night dressed in a nightgown. I realise that a lot of people code this confidence as “slutty”, but that feels very slut-shamy to me. There are very few types of women who invite themselves to a man’s bedroom without being confident that she will be received positively. And Lavanya, some six months into her relationship with ASR, doesn’t seem like the kind of woman who would risk his ire. She keeps a list of everything that annoys him, and late night visits in nightgowns apparently don’t appear on it.

Her immediate assumption that it was Arnav tickling her (when it was really Lakshmi) in the very same episode also indicates a level of intimacy that goes beyond what they’re allowed to show in desi serials. And this is an important for me because many people argue that they never explicitly shown being intimate!

Neither were Shyam and Anjali, and yet no one is arguing that her conception was immaculate.

Lavanya made a habit of touching Arnav. She touched him often, with haq, and so casually that it implied a deeper intimacy. For example, there is a scene where Lavanya places her hand on Arnav’s upper thigh while speaking to him. She does it without fanfare, and neither of them has any reaction to it, which spoke volumes to me. That’s an area of a man’s body one generally doesn’t touch unless there is a high level of familiarity and intimacy.

A lot of these points are ignored by those who believe Arnav was a virgin. These people genuinely seem to believe that Lavanya behaved like this because she was immoral or wanted sex regardless of Arnav’s wishes, and while they are welcome to their views, I don’t agree.

Arnav’s behaviour

You pointed out that he was really uncomfortable with touching Lavanya. I agree that he was, but only after Khushi became a permanent fixture in his life. When she was first introduced, Arnav had absolutely no issue with Lavanya feeding him cake, kissing his cheek, and even went as far as to tell her that she was one of the few people who could waste his time. I think he stopped being comfortable with physical intimacy with Lavanya when he knew he was sexually attracted to Khushi.

As tempting as it is to shunt Lavanya off and decide that Arnav never cared about her, my interpretation is that she meant a great deal to him. He wasn’t in love with her, but he wasn’t in love with anyone and didn’t think he would ever fall in love. By all accounts, he was a dedicated and honest partner. If she wanted more and he couldn’t give it to her, it was because he was incapable of giving more at the time, not because he was purposefully holding back a part of himself for his True Love.

After all, he claimed not to believe in marriage or love when we met him. If he wasn’t waiting for his future wife, and if he wasn’t waiting for his True Love, then why would be remain celibate? I’m not saying that men are sex-hungry monsters or anything, but Arnav has none of the drivers most people have for remaining celibate. He isn’t religious, and so didn’t believe in repercussions around sex before marriage, and he wasn’t “saving himself” for a wife or True Love.

He was twenty-six when we met him, and I just can’t see why he would remain a virgin when he doesn’t seem to have a reason to.

Breaking the bed

One of the most important things that happened before the remarriage is that Arnav’s bed was replaced. The bed they broke was a symbolic and visual negation of any sexual relationships in Arnav’s past. Even if he had slept with anyone else in that bed, it was replaced before he and Khushi were intimate. In a way, it ensured that their marital bed was solely theirs, a bed they broke in made their own after marriage.

Sheetal

I guess the main reason people believe Arnav was a virgin before Khushi is because he was absolutely sure that he hadn’t slept with Sheetal in college and told Khushi as much. I agree that he said he didn’t sleep with Sheetal, but I have a different interpretation of what he meant when he followed it up with the declaration that he wasn’t “that type of guy”.

On one hand, I think that the writers tried to back away from the narrative that Arnav had clearly slept with women before Khushi. Perhaps it was a way to get the conservative audience on board, perhaps it was because they forgot, but I think they established Arnav one way and then tried to fudge it over in the Sheetal track.

On the other hand, I think there is a difference between having sex before marriage and being promiscuous, and that Arnav could have easily meant that he wasn’t the type of guy who slept with any and every girl. He had previously given Khushi a very long list of past flames as a joke, and she seemingly followed it up with the assertion that he’d fathered Aarav. I think Arnav linked the two and tried to reassure her that he wasn’t the kind of guy who had casual hookups.

Values and commitment

The typical audience for the serial is an Indian woman. And for cultural and religious reasons, this audience equates “commitment” with “marriage”. The idea that Arnav could’ve been committed and dedicated to the point of needing a level of emotional intimacy before engaging in physical intimacy seems to be completely alien to a majority of this audience.

He is either seen as someone who was too busy for sexual relationships, someone who went through the motions of a relationship without wanting or needing any aspects of it. Someone who was completely disinterested in women but let them hang around him for Reasons. But his behaviour with Lavanya never suggested this, in my opinion, so I don’t agree with it.

Or he is seen as a man-whore, someone who banged everything in a skirt (including and not limited to prostitutes), because a lack of belief in love and marriage must equate to a lack of respect for women and an inability to commit.

This is the sort of thinking that Khushi fell prey to. Maybe some part of the audience agreed with her when she argued for the merits of marriage to Lavanya but I think Khushi was laughably ignorant there. Because if the only thing preventing a man from trading a woman in for a younger model (or two!) is his marriage vows then there is something fundamentally wrong in that relationship, whether it is called marriage or not. And this serial is full of men to whom it did not matter any way.

I believe Arnav was a dedicated and committed partner, but that his definition of commitment did not include marriage. I believe he didn’t need the label of Husband, didn’t require his partner to be labelled a Wife, and I think it makes sense given his history.

If not love or marriage, what then was the point of Arnav’s relationships with Lavanya and Sheetal (and Lisa of the fur coat)? I’m not suggesting that every relationship needs to be sexual – many of them aren’t and that’s perfectly understandable – but it still defies logic, in my opinion, to assume that Arnav spent the entirety of his adult life engaged in relationships that weren’t satisfying to him in the ways he needed.

Are we suggesting that he was so starved of people fawning over him that he sought out a special person who’d fawn over him in private and at command?

[3minutes20seconds]

Thoughts on Travelers, which probably tend towards the critical side, since I want to be more positive in tags when I reblog gifsets. Gotta get the feelings out somewhere.

To start, the premise of the show has potential. It has time travel and an AI trying to help humanity. Unfortunately it doesn’t execute either as well as 12 Monkeys or Person of Interest for example. The problem with time travel shows is that they’re far easier to mess up than they are to do well.

Season one did a decent job of setting up the characters as people the audience could be invested in, but the pace of the season’s arc needed work. Luckily, the pacing was improved in seasons 2 and 3, though the stand-alones were clunky. Travelers had a tendency to do things for drama rather than purpose. In fact a lot of what pushed me through seasons 2 and 3 was the hope that my questions would be answered in the following episodes. Instead, I usually ended up with more questions.

But like I said, it did set up the characters quite well. I found myself quickly rooting for them (mostly), and I enjoyed their team dynamic. I’ll probably talk more about this in gifset tags, so moving on.

Beyond the characters as individuals though, Travelers didn’t do well with the romantic relationships. All of them ended up with weird and/or unhealthy dynamics. Arguably, the Marcy and David one ended up the best, but it started off quite uncomfortably for me. I know they mentioned over and over again that it’s okay because Marcy is now Traveler 3569 and not a mentally disabled woman, but having her with her host body’s social worker just didn’t feel right. Also, toward the beginnings of their relationships (pre- and post-reboot), Marcy had a tendency to experiment or get David to stop talking by kissing him, which was uncomfortable given that he liked her but didn’t want things to happen like that.

The next was technically not romantic but romantically coded: Trevor and Grace post-TELLs. It’s again one of those inappropriate in their host bodies relationships. I think if the set-up for it didn’t start back when Grace was pre-TELL, I’d more okay with it. Obviously Trevor platonically appreciated original Grace as a good person, hence trying to save her, but the way their scenes were shot had me going, “Oh no, uncomfortable signals.” I trusted Trevor not to do anything inappropriate, but I wasn’t sure where they were going with Grace. I suppose that could just be me not trusting media with teacher/counselor-student relationships.

Then there’s MacLaren and Kathryn. Jeebus, the gaslighting. I was rooting for Kat to get out of that marriage from season one. Screw protocol 5. People divorce. MacLaren was supposed to be dead anyway. Let her go have a new life instead of repeatedly traumatizing her and then telling her everything is in her head. Traveler 3468 angrily saying, “You’re going to throw away our marriage of 10 years and all the years we had before that?” knowing full well that she was right in saying he was a different person? Not cool, dude. Super selfish. Just because you happened to fall in love with her doesn’t mean she doesn’t deserve better. When 3468 let Kat have a second chance with her ex when he went back to 2001, I was so relieved.

Quick note about Philip in this regard: it was obvious to me that Jenny was using him from the start. It sucks he couldn’t see it too. Even after knowing the Faction existed, the team trusted other travelers way too easily. And then that weirdness with Carly and the alternate timelines? Why? Maybe they planned on taking it somewhere in a theoretical season 4, but it was so random.

Speaking of Carly, her and Jeff are obviously The Most Unhealthy Relationship in this show. At the beginning of the series, I thought, “Sigh. Aaaand of course we’re going to play to stereotype and have the black woman be in the abusive relationship with her violent black boyfriend.” Then in season 3 when they introduced Carly’s new neighbor, who is also in an abusive relationship, of course she’s a black woman too. The writers probably tried to mirror Carly in every way, but it’s, uhh, not great.

Back from relationships to individual characters, Travelers was not great at setting up character motivation or arcs. Why Jeff was so obsessed with Marcy kicking ass outside the library that it snowballed to David getting trouble with his boss, I will never know. Maybe to show Jeff is an asshole in general and not just to Carly? Maybe just to emphasize to the audience that the writers are aware the David and Marcy relationship could be construed as inappropriate but they want to reassure them that it’s okay now? Why was Jeff even made aware with it in the first place? If memory serves, another cop showed it to him as a sort of, “Hey, you might find this interesting.” Was he looking for other instances of other women suddenly fighting back that night when you wouldn’t expect them to?

Speaking of pre-TELL Marcy, why on Earth would she agree to participate in Ingram’s experiments? Going from having concerns about how the patients are being treated to agreeing to participate in a trial for the mentally ill is a large jump. I can’t fathom the logical steps that lead from one to the other. On the other hand, it explains her MRI better. Congenital deformations in that MRI? I don’t think so. Disclaimer: I am not a neuroradiologist. However, I have collaborated with several for about eight years now. I should probably take another look at the MRI to refresh my memory, but I think it had the appearance of someone taking an ice cream scoop and removing chunks asymmetrically. The brain doesn’t develop like that. It goes from the center out. If anything, I guess that could be a massive stroke? It would fit better with overwritten adults dying of burst aneurysms. I don’t understand why the doctors in this show wouldn’t pick up on that.

This goes back to what I was saying about Travelers doing things for drama and not necessarily what’s best for the storyline. There was very little in the way of setup, building blocks here and there that suddenly built and made more sense as the show went on. Instead, a character would secretly be Faction, and the team magically knows about it (via the Director?). Or a character would switch sides, and we’d just have to roll with it (Luca’s suddenly disillusioned and Faction now?). As a result, I was suspicious of any non-team members all the time. Drama was coming somehow and not necessarily in a way that made sense. Anything could happen. Anyone could turn.

As I mentioned I ended up having a lot of questions. This post barely covers all of them. One could argue that answers would’ve come with additional seasons. None of of us will ever know. Unfortunately, the writing of the three seasons was not tight enough to give me hope on that front.