#i believe in the power of inspiring to reflect on one's self through being confronted with uncomfortable topics

[mihai-florescu]

I strongly believe no movement (or any action really) of substance can avoid making some people uncomfortable. And it shouldnt aim to either, to defang itself into a perfect acceptable smile for mass appeal. What change would you even make then...

[theweeklydiscourse]

Alina is unable to confront her anti-Grisha bias

So there’s an interesting line I came across while reading Shadow and Bone. At first, it seemed insignificant but for some reason I felt the urge to investigate why it had caught my eye. The line in question is the last line in the passage below. It stuck out to me because I feel it is an example of Alina’s self-centered attitude as well as her lack of awareness regarding the position she’s in.

The Darkling opens by trying to explain, but Alina dismisses his words entirely and accuses him of pretending to care about the greater good of the country. While this is understandable on Alina’s part considering she has received shocking news paired with Bahghra’s manipulative framing of the truth, this scene reads as Aleksander trying to reason with a brick wall. Alina says “Don’t pretend this is about Ravka’s welfare. You lied to me.” But I have to ask: what on earth do those subjects have to do with each other? As if him lying automatically means that he must have been up to something. But the connection Alina makes in this quote demonstrates her tendency to fall back on her prejudice in order to avoid confronting the larger issue.

I believe what Alina means to say is “Don’t lie and pretend this is about Ravka’s welfare, if it were truly about Ravka’s welfare you wouldn’t have had to lie to me for months.” However, the irony of her statement is that Alina seems to be under the impression that had the Darkling just told her the truth, she would’ve had a more favourable reaction to the coup. But based on her previous responses to the mere suggestion of treason, it becomes clear that Alina falsely assumes that she is trustworthy enough to handle that kind of information. But she believes that because she still cannot reconcile her anti-Grisha prejudice with her new Grisha identity.

The Darkling puts it very plainly why he couldn’t tell her. The future of Ravka, the future of GRISHA depended on his plan going forward without a hitch. There is so much that could go wrong with the coup, and when they’re being attacked on all fronts, The Darkling would have to be extremely foolish to risk everything on the feelings of a girl he’s only known for a few months. The fact that Alina never reflects on this conversation is so baffling to me, but I imagine the reason for that is because doing so would require her to delve deeper into the plight of Grisha.

Alina cannot take a single second to look outside of herself and consider why the Darkling hesitated to trust her with such a huge secret. She focuses solely on how his deception affected her and makes the issue about her own feelings instead of considering the large-scale implications of what this coup would mean for Grisha.

This passage is one of my favourites, because it really captures the way the Darkling’s patience slips away as Alina continues to childishly deny her culpability in this conflict. He calls her out so succinctly in this moment, that she acted recklessly and thoughtlessly because of her underlying fear of her own identity. It only took Baghra a few accusations because it was the excuse Alina had been waiting for since the beginning. Baghra took advantage of Alina’s prejudice and doubt, validating what she had secretly felt all along. That Alina was afraid of her powers, that she believed that the Darkling was evil, that she wasn’t responsible for the future of the country.

For once, we get a glimpse of the true extent of his frustration and hint of resentment towards Alina. Here is a girl who has the kind of influence that could change the fate of Grisha and rescue them from the exploitation and prejudice they are subjected to. A girl who has everything he ever needed to get his plan through the door, yet refuses to move because of her one-sided dependency on some guy and her crippling fear of being an adult. Alina is literally worshipped by the common folk and Grisha alike, she inspires awe and respect in others by virtue of being born a sun summoner and yet she cannot see past her own self interest. She childishly complains that she never had a choice and that it isn’t fair, falling back into a childlike helplessness and oblivious to her immense power. She refuses to take responsibility which is exactly what sends the Darkling over the edge.

While I know that much of Alina’s reaction to the “Darkling Disney twist villain reveal” is coloured by her fear and insecurity in her new role, this frustrates me so much because it never culminates in anything meaningful for her character. It’s no coincidence that the Netflix show decided to omit this conversation completely, because it presents a character conflict that actually challenges the viewer’s perception of the conflict. The Darkling actually makes a ton of sense in his reasoning and it’s so good that they had to remove it to turn him into a cardboard shadow man that could be killed off in a #girlboss #girlpower moment.

[zepskies]

Why We Love the Boys

As promised, here is my review of Supes Ain’t Always Heroes. I actually used to write book reviews in my high school journalism days, so here we go!  

What this book is: A masterful deep dive. A study on character psychology, the source of the comic and show’s inspiration, and the narrative themes illustrated in The Boys that parallel American culture and our real lives.

It includes interviews from one of the comic’s creators, Darick Robertson, The Krip himself (Eric Kripke), and actors Jim Beaver (Robert Singer), Aya Cash (Stormfront), Chace Crawford (The Deep), Jessie T. Usher (A-Train), Nathan Mitchell (Black Noir), and of course, Jensen Ackles (Soldier Boy).

It also includes a small but significant ode to the creativity of fans and fandom (with a mention of fanfic writers)!

I’ll admit, I felt seen. 😊

Who wrote it: Psychologists Lynn S. Zubernis and Matthew Snyder, among several other contributors. Zubernis is a self-proclaimed fangirl of not only this show, but also of Supernatural and Eric Kripke in general. (That aspect definitely comes through in her writing.)

She is also editor of Family Don’t End with Blood: Cast and Fans on How Supernatural Changes Lives and There’ll Be Peace When you Are Done: Actors and Fans Celebrate the Legacy of Supernatural—both of which I now want to read.

As I mentioned, several other authors also contributed to this book, as their expertise and backgrounds lend to the subjects they’re covering, such as racism, sexism, the entertainment industry, the comic’s inception, and more.

Who wants to read this book: Anyone who enjoys learning about what makes characters tick. What drives their choices, their sense of morality and justice, and their trauma and strife that lead them to do heinous things. This book will help you better understand your favorite characters (and how to write about them).

Perhaps most importantly, this book is for anyone who wants to read it put into words, why many of us love The Boys, as well as Supernatural.

In a way, the latter is more escapism entertainment than The Boys. Because in this show, there isn’t much, if any escape.

Despite this being a “superhero show,” as we all know, it’s so much more than that. It’s a mirror held directly into our own faces: about why we enjoy heroes and antiheroes, and excuse the “bad behavior” of the ones we like.

About mental health, grief and loss, nature and nurture, coping mechanisms and the importance of choice in dealing with trauma; of racism, sexism, misogyny, weaponized social media, politics, corporate greed, and the power (and cruelty) of good marketing.

This book explores the true villain of the story...and it ain’t Homelander.

I’m going to get into my favorite aspects of this book—as well as an amazing chapter on Soldier Boy’s character study (and why we love him, perhaps too much).

There was also one small, but key thing I would add to that argument. But first...

The Mirror of The Boys on Screen

This world is a gritty, bloody, and at times all-too realistic take on how superheroes would be if they lived in our world.

They are the worst of celebrities, professional athletes, and politicians all rolled into one. They are the shiny products of a company and are marketed as such—and worst of all, they often buy into their own hype.

Some of my favorite quotes on this topic:

“The Boys often reflects darkness in our real world that is uncomfortable to watch. While we go through the tedium of our daily lives, trying to get by and using television or comics as an escape, it can feel difficult and overwhelming to confront the very real and insidious sources of authoritarianism, nationalism, and corporatism that are not just part of a story. “This show holds up a mirror and forces us to catch a glimpse of things we need to question, and asks us why we so easily believe the talking points of systems with marketing departments and press flacks behind them that carefully massage every word in order to get us to feel enamored with their product or policy.” (p. 227-228)

“The Boys works to reveal the nonaltruistic, sociopathic nature of contemporary US corporate culture. In a sense, The Boys uses the behavior of its characters to diagnose not an individual, but a culture.” (255)

In studying narrative I’ve learned that the best fiction and art serve to reflect the human experience. In this case, it’s something The Boys does expertly, even though it’s packaged in extreme, shocking, and often uncomfortable ways. But also in brutal, hilarious satire that’s fun to watch.

It “exposes real-world abuses, revealing many” of our own frustrations in American culture and in life in general (267).

Major Themes & Questions Explored

Several Boys themes are explored from a psychological, cultural, and narrative point of view, as I mentioned earlier. These are some of my favorite segments:

Toxic Masculinity & Narcissism

A whopper in The Boys, and the main theme of season 3. This book defines clearly what both of these words actually mean from a psychological point of view.

It also takes the bad taste out of your mouth that you might get from just hearing the words “toxic masculinity,” as it’s a phrase that can be carelessly thrown around to describe men and character traits that aren’t truly toxic...

How being emotionally available to your loved ones and not repressive of your feelings doesn’t make you weak, or less of a man. And how “being strong” doesn’t mean being physically violent and domineering. (AKA: the Big Swinging Dick™️ in the room.)

Narcissism is explored in a very interesting way. The book gives a diagram of different aspects of narcissists and how each character (Soldier Boy, Homelander, Butcher, and the Deep) falls into them.

Soldier Boy, for example, is classified as a “Classic Narcissist,” while Homelander a “Malignant Narcissist.” <- This will play into Soldier Boy’s character study, and the main difference between Soldier Boy and Homelander.

Butcher, however, displays narcissistic tendencies but is not, in fact, a narcissist. (More of an antisocial sociopath. Yay for him.)

Misogyny & Sexism

The classic superhero world of comics dates back to the 1930s and ‘40s. It has been, and in many respects still is a (White) male-dominated industry, where in narrative, female superheroes typically work under a male leading the team, as in Justice League, Teen Titans, and the Avengers.

As much as I love DC and Marvel comics, female characters have also been depicted wildly sexual for male readers and the male gaze, and non-supe characters have been written primarily as love interests and damsels for the hero to save. (Think Lois Lane, Lana Lang, and Mary Jane.)

Modern adaptions have given female characters more agency, but their foundations were rooted in underlying sexism and the mythic hero—an Odysseus-type with certain characteristics of male strength and heroism; and that goes all the way back to classic literature, like The Odyssey, Beowulf, and the Epic of Gilgamesh.

In The Boys, the female supes go through the same issues as their comic counterparts. They are treated how women are treated in the real world—marketable as sexual objects. Starlight’s forced costume change is a prime example.

Author Danielle Turchiano argues in the book that the women in power at Vought (Madelyn Stillwell, later Ashley) are given only so much power as men like Stan Edgar and Homelander give to them.

Stillwell, Ashley, and even Stormfront “drink the Kool Aid” of the misogynistic infrastructure of Vought, but they’re not truly “powerful” in and of themselves (112).

I would add that the only female characters that have or find true agency are Grace Mallory, Annie January/Starlight, and Maggie Shaw/Queen Maeve. Even Victoria Neuman is trying to work the political schematic and Vought by operating within the system Vought has created.

Mental Health, Trauma & Unhealthy Coping Mechanisms

This is a huge section, and rightly so. It kind of spans throughout the book, really, because all of these characters have traumas that inform who they are as adults making the (often grotesque) choices they make.

For many of these characters, it stems from their upbringing and fraught relationships with their parents, whether explicitly or implicitly explored in the show.

Butcher: Is an antisocial sociopath with narcissistic tendencies. Arrogant, emotionally manipulative, violent, and obsessive. He was also physically and emotionally abused by his father, led to use drinking and violence as a means to cope and express himself. His rage is so deep under his skin—he loathes himself for it (and his father), but struggles immensely to escape it.

Homelander (John): A malignant narcissist, the height of arrogance, and emotionally manipulative. He lacks empathy for others' pain, and in fact enjoys inflicting it. Yet according to Jonah Vogelbaum, "John" was a sensitive, gentle child who only wanted connection and love. Vogelbaum raised him like a lab rat and fostered him in a cold, detached cell. He was raised to be entitled and to believe he was an all-powerful god, the lord of his own kingdom within his mind, excused from the responsibility of his actions.

Soldier Boy (Ben): Also a narcissist; violent, arrogant, misogynistic, and often indifferent to the damage he causes, emotional or physical. Yet he was also emotionally abused by his father, who set high and exacting standards for what it meant to be a man. It drives Ben to try and prove his worth to his father, though he’s never able to. It fosters the lack of self-worth he probably feels as he seeks validation through fame, and what he believes power to be.

These three characters have many similarities, but also notable differences that set them apart from one another. And both Butcher and Soldier Boy use substances like drugs and alcohol to cope with their traumas—ones that their forced stoicism and sense of manhood won’t allow them to easily express.

“We see Soldier Boy use substances almost continuously in season three to deal with his PTSD from the childhood emotional abuse he received from his father, the betrayal and assault from his team, and the torture he endured from the Russian scientists.

“In the short term, the use of drugs and alcohol to avoid thoughts and feelings about traumatic experiences can be felt as helpful, but in the long term, it hinders one’s ability to process emotions and can cause a deeper depression from the guilt and shame of both avoidance and substance abuse.” (27)

Heroes, Antiheroes & Villains

This book explores two key questions that the show encourages you to think about:

Who the hell is the hero of this story?

And who is the villain?

The surface-level answer is that Homelander and other supes like him are the villains, and Butcher and his band of bros are the heroes (or antiheroes). But they commit just as questionable, sketchy, and downright murderous acts as the supes they’re trying to take down.

“Butcher is not really a good guy. He’s manipulative and self-centered. His reasons for wanting to take down Homelander are utterly personal. That it serves the greater good is almost a coincidence.” (9)

And if Butcher is not a hero, but a vengeful vigilante, then why do we root for him so much?

Well, we see his incredible flaws, of course, but I sympathize with his struggle in losing his wife and the life he could've continued to have with her. I root for the underdog going against the hydra head of Vought and the psychopathic Homelander.

I see in Butcher, as I also do with Homelander and Soldier Boy, their traumas and their internal conflicts, their deep-rooted self-loathing, and a desire, deep, deep down…to be loved.

(And to foster connection with others, even if they’re unable to sustain them.)

On the flipside, we have antagonists in this show who do truly heinous things. What makes them compelling even sympathetic at times, yet again, are their painful upbringings that have shaped them to be who they are. The supes of this show are byproducts of being treated like products.

Like the saying goes: Villains aren’t born, they’re made.

That’s why the real villain of this story is Vought International. It’s an allegory, and an indictment of the ruthless corporate greed that pervades American culture—and much of the world.

It’s why Stan Edgar is sometimes scarier to me than even Homelander (and was the true villain of my story, Break Me Down), if far more insidious.

Speaking of BMD, let’s get to it, shall we?

Here’s a (lot) bit about the Soldier Boy section of the book.

Soldier Boy: Why We Can’t Hate Him

I had to laugh out loud at the title of Soldier Boy’s chapter:

Loving the Villain: The Confusing Case of Soldier Boy

I’m not gonna lie. I felt called out. 😂

It is a confusing dichotomy. Soldier Boy is an absolute asshole. Misogynistic, narcissistic, arrogant, callous, violent…

But also deeply traumatized, a man-out-of-time, emotionally abused, a byproduct of the historically and culturally different time he was raised in, a man who just doesn’t get it…

And also charming, adorably grumpy, and undoubtedly attractive.

It’s hard to indict “Ben” as an unredeemable villain in the same way I do Homelander, the psychologist-labelled Malignant Narcissist.

Therein lies the main difference between Soldier Boy and Homelander: Soldier Boy doesn’t seem to take joy in harming others the way Homelander does...but, Soldier Boy still harms people, whether he means to or not. He is arrogant and callous, deeply traumatized and vengful.

Zubernis confirms many of my own conclusions and ideas about Soldier Boy, and why I still rooted for him to be better, and didn’t want him to die at the end of season 3.

As Zubernis rightly exclaimed during her own watch of the finale: “Noooo, don’t kill the Danger Grandpa Baby Murder Kitten!” (175)

Because Jensen did what he does best in his roles: He made us feel Ben’s pain.

“What’s funny is, in regard to Jensen playing Soldier Boy, you know he’s fucking fantastic, he’s just so good at bringing the audience, and it’s almost like—what I laugh about is, he was probably a little too good at his job!” Kripke said. (180)

And he continues, “In part it’s because of the fandom. So many people took his side in the finale, they’re like, Were’s on his side, fuck everyone! And you’re like, but he’s the bad guy and he’s trying to kill a ten-year-old.”

Were there fans who held this viewpoint? I’m sure. There are some radicals who don’t care about the humanity of characters or story and will side with their favorites, come whatever. But while I can’t speak for others, that’s not how I interpreted that moment in the season 3 finale when I watched it for the first, second, and even third time.

Yes, I think Soldier Boy was wrongfully willing to fight Ryan after cruelly batting him away. Do I think he would’ve killed him? I’m not sure. I think he would’ve continued to do what he had to do to get Ryan out of his way in his fight with Homelander. Maybe he would’ve been more violent than he intended, in the callous collateral damage he’d shown throughout the season. Maybe he would've held back at the last second. Or maybe he would’ve gone that far, if provoked.

It’s a tough call, as I think this character can go one way or the other in terms of his “villain” nature. We just haven’t seen enough of him in the series yet for me to make that conclusion on the canon-version of Soldier Boy. (In fanfic, I’ve explored my own interpretation.)

But overall, I think The Krip underestimated the power of Jensen’s acting.

…And the ardent nature of his mostly female fanbase. 😂

Why We Love Soldier Boy

The author cites multiple reasons for why we love Ben more than we probably should:

It’s Jensen Ackles: Fair enough. His talent speaks for itself.

Soldier Boy’s backstory: He was emotionally abused by his father and as a result, he has a complex regarding his self-worth, “something to prove,” and I would imagine a secret need for attention, validation, and praise.

He has trauma and PTSD: He is displaced from what is familiar to him and confused when the boys find him, and that is the least of it. He’s been tortured for 40 years. Can you even wrap your mind around that? (*cough cough Dean Winchester in Hell cough*)

He’s charming: In a sexy grandpa, adorably grumpy, lovable asshole kind of way.

We’re drawn to danger: Dangerous “edgy” types are fun, especially when you’re physically attracted to the character.

He has his moments of vulnerability: Jensen’s ability to play the nuance in the character is the ultimate draw. I felt his pain, could see his torture, and his resulting PTSD. He even admits that he longs for a family, even if his ability to bring up those children is questionable at best. 😅

But I think the one aspect that can also be considered is the character’s capacity for change.

Soldier Boy’s Potential

Again, I don’t think you can write off Soldier Boy’s potential for positive character development the same way you can Homelander, or even Butcher.

For one thing, we just haven’t spent enough time with the character. In season 3, a lot of his collateral damage after he escapes imprisonment has been accidental, or PTSD-induced. Though we can’t discount how he murdered M.M.’s grandfather via collateral damage (and was callous about it).

I think this is what drew me to write about Soldier Boy. For all his arrogance, his chauvinism, his massive ego and general bastardry, there’s still humanity in Ben.

In the book, Nathan Mitchell says something amazing about his own character (Black Noir) that resonated with me about Soldier Boy as well:

"One of the ingredients of a compelling character is contradiction. How does one aspect of our personality contradict with one another? [...] Who is he underneath? How might his true nature contrast with the demands of his job?"

Or coded for Soldier Boy/Ben: The pressures he puts on himself to be the type of man he thought his father wanted him to be.

Again, his sexist, misogynistic ideals are shaped by the time he was raised in, by being a product of Vought, and of his father’s emotionally abusive upbringing. Does this excuse or justify all of his behavior? Of course not.

But I do think those 40 years in captivity changed him from the careless alpha dog we saw in 1984 Nicaragua…

He admits to Crimson Countess, with tears in his eyes, that he’d loved her. That he waited for her and his team—arguably the only social system he had in his life—to save him. He’s gutted to realize that not only did she and the rest of the team never love him, they hated him. They traded him for nothing. Just to get him out of their lives.

For all he claims to be afraid of nothing, tough as shit, he is afraid when he goes to face Mindstorm. He knows what the supe is capable of, and he visibly takes a shaky breath and tries to steel himself.

For a moment, he drops the “Soldier Boy” persona that he wears like that fine tailored suit, and he tells Butcher that the backstory Vought created for him was a lie; he grew up a rich kid who got sent to boarding school, but flunked out, because "he was a fuck up." And his father couldn’t be bothered to lay a hand on him, implying he didn’t care enough about his own son to "discipline" him.

He is reluctant to kill Homelander when he finds out he’s Ben’s son (sort of). He even claims that he would’ve been willing to share the spotlight “with his own son.” — Something I doubt even Homelander would do.

Ben even seems to be fighting tears when he levies the same vitriol at Homelander that his own father did at him:

Homelander: “Weak? I’m you.” Soldier Boy: “I know. You’re a fucking disappointment.”

Let me be clear. I don’t think it’s up to someone to change him (like a love interest). I don’t subscribe to that thinking, that a woman can “change” a man.

For example: In season 2, Butcher tells Becca, “Who was I before you? Nothing.”

And yet, she tells him that he put her on an unrealistic and unsustainable pedestal, in which she felt like she wasn’t allowed to fully be herself, unable to keep him from flying off the handle in rage. That kind of relationship (where one is dependent on the other to “keep them in check”) doesn’t work as a lasting, satisfying redemption arc, and it often doesn’t work in real life either.

I do think, however, that a person is capable of change if they’re broken down enough (pun intended), and if they themselves have a desire to change. Someone they encounter can inspire them to be better, like Butcher with Hughie. That person can help support the other.

At the end of the day, however, it’s Ben that has to want to change.

If he wants love and connection, he’ll have to somehow want it, and try (and sometimes fail) to get it, thereby giving him agency and a redemptive character arc.

Now, obviously, it’s up to The Krip where Ben goes from here. He seems to have a more indicting vision of the character than I do (at least, so far). But we’ll see! The fan demand to bring back the character has already had Kripke confirming that Soldier Boy will be back.

Maybe it will encourage him to give the character a more satisfying ending than Dean Winchester got in Supernatural. Though granted, that one wasn’t his doing, apparently he was in favor of that ending, which ultimately culminated 15 years of monster slaying and broments under Baby's roof.

Comparing Dean & Ben

In his interview segment, Jensen talks about what, if any, are the comparisons between Dean Winchester and Soldier Boy. AKA: Wanting a father’s approval, and an undercurrent of “John Wayne”-esque masculinity in John Winchester that Dean sought to emulate.

Jensen also talks about where he drew from to not only embody the character of Soldier Boy, but bring nuance to him—and show the peeks of vulnerability under the bravado and stoicism.

“He’s so fragile and his ego is fragile. Just like Homelander. These bigger-than-life powerful heroes really have a glass jaw… “And everyone walks on eggshells around him [Soldier Boy], and they tell him that they love him, and it’s the same with Homelander. Then when all of a sudden he faces his old team and Crimson Countess says we never loved you, we hated you—that’s a gut punch for him. Because even though on some level he may have known that, he never thought he would hear it. “And he probably propped himself up around trying to believe otherwise, because how can you walk around knowing everyone you’ve ever cared about hates you? It’s too painful.” (191)

It really is. I inherently felt this about Soldier Boy (Ben) when I watched season 3 for the first time. That’s exactly what I got from his performance and thought, there’s more to this guy than the toxic masculinity he represents.

This guy just wants to be loved, like everyone else. He wants to feel important, and even after his father’s dead, “show him” that Ben is the man his father wanted him to be. And so, he bought into the illusion Vought painstakingly crafted for him.

Whether he can come back from that remains to be seen, but I choose to be optimistic until evidence points to the contrary. 😅 (Maybe we’ll see in season 4!)

So that’s my personal take on Soldier Boy and this awesome book. 💚 Thank you again @kaleldobrev for recommending it to me! I hope you all enjoyed my long-winded review and want to check this out.

And if you do read it, let me know! I hope to read your thoughts as well!

Tagging people who said they wanted to read my review on this book: @venus-haze @jessjad @kristophalis @sl33pylilbunny

[poemshubs]

12 Famous Poems About Being Positive in Life

Poetry has the remarkable ability to capture and convey the most profound emotions, thoughts, and states of mind. Among the various themes that poets explore, positivity and the affirmation of life’s value resonate across cultures and centuries. These poems about being positive in life offer reflections on hope, perseverance, and the strength to overcome adversity. In this article, we will examine twelve famous poems that inspire a positive outlook on life. Each poem will be analyzed to uncover its message and the way it encourages readers to embrace a hopeful and resilient mindset.

1. “The Road Not Taken” by Robert Frost

One of the most iconic poems about life’s choices and their consequences, The Road Not Taken emphasizes the value of making decisions and following one’s own path.

“Two roads diverged in a yellow wood, And sorry I could not travel both And be one traveler, long I stood And looked down one as far as I could To where it bent in the undergrowth.”

In this poem, Robert Frost reflects on the nature of choices in life. While the narrator faces a difficult decision, the tone is not one of regret but of acceptance and curiosity. The idea of taking the “road less traveled” speaks to optimism — the notion that even though we may not always know what lies ahead, embracing our unique choices can lead to fulfilling experiences. Frost encourages readers to remain positive and embrace the unknown, as every decision has the potential to shape one’s journey in ways that will later be appreciated.

2. “Still I Rise” by Maya Angelou

Maya Angelou’s Still I Rise is a powerful anthem of resilience, defiance, and confidence in the face of adversity. It speaks to overcoming oppression and personal struggle, ultimately celebrating one’s inner strength.

“You may trod me in the very dirt But still, like dust, I’ll rise.”

Angelou’s poem embodies a spirit of perseverance. Despite the external forces that may seek to bring her down, the speaker rises again and again. The repetitive phrase “I’ll rise” serves as both a defiant declaration and a source of empowerment. It reminds readers that no matter how many times they fall or face obstacles, they have the power to rise above them. The message is clear: positivity is not just about facing life’s challenges but about confronting them with strength and pride.

3. “Invictus” by William Ernest Henley

Invictus, meaning “unconquered,” is a short but compelling poem about maintaining strength and dignity in the face of life’s challenges.

“I am the master of my fate, I am the captain of my soul.”

Henley’s lines encapsulate the essence of self-determination and resilience. The speaker in the poem refuses to succumb to external forces, asserting control over their own destiny. The notion of mastering one’s fate and being the captain of one’s soul conveys an unshakeable sense of personal agency. This poem encourages readers to maintain a positive attitude even in the darkest times, believing in their own ability to overcome adversity and shape their future.

4. “If—” by Rudyard Kipling

Rudyard Kipling’s If— offers a set of guidelines for living a virtuous and resilient life. The poem encourages readers to maintain composure and grace under pressure and to persevere through challenges with optimism.

“If you can keep your head when all about you Are losing theirs and blaming it on you, If you can trust yourself when all men doubt you, But make allowance for their doubting too…”

Kipling’s poem presents a stoic vision of resilience and positive living. The speaker in If— encourages the reader to rise above doubt, fear, and adversity. The key theme here is emotional balance—being able to handle both triumph and disaster with equanimity. The poem suggests that maintaining a steady and positive mindset, regardless of the external circumstances, is one of the highest virtues a person can achieve. The poem serves as a reminder that positivity is an internal choice, one rooted in self-discipline and emotional intelligence.

5. “The Peace of Wild Things” by Wendell Berry

Wendell Berry’s The Peace of Wild Things explores how nature offers solace and restoration, urging us to find calm and positivity in the world around us, even in moments of distress.

“When despair for the world grows in me And I wake in the night at the least sound In fear of what my life and my children’s lives may be, I go and lie down where the wood drake Rests in his beauty on the water, and the great heron feeds.”

Berry’s poem emphasizes the restorative power of nature. In moments of despair, the speaker finds peace in the simple presence of natural beauty. This act of seeking solace in the world around us reflects the importance of grounding oneself in the present moment and finding comfort in life’s simple pleasures. Berry advocates for a positive mindset through the acceptance of life’s uncertainties, encouraging us to focus on what is beautiful and life-affirming in the natural world, even when everything else seems uncertain.

6. “A Psalm of Life” by Henry Wadsworth Longfellow

Henry Wadsworth Longfellow’s A Psalm of Life is a timeless call to live life to its fullest, to act with purpose, and to stay optimistic in the face of challenges.

“Tell me not, in mournful numbers, Life is but an empty dream! For the soul is dead that slumbers, And things are not what they seem.”

Longfellow’s poem emphasizes the active pursuit of life and purpose. He encourages readers to reject pessimism and the idea that life is meaningless. Instead, he advocates for living with passion and vigor. The line “And things are not what they seem” invites readers to adopt a more positive and hopeful outlook, urging them to believe in the potential for growth, change, and meaning in all of life’s experiences. The poem’s uplifting tone is a reminder that positivity comes from an engaged, purposeful life.

7. “The Laughing Heart” by Charles Bukowski

Bukowski’s The Laughing Heart is an optimistic and somewhat unconventional take on life. It urges readers to embrace life with joy and courage, defying the forces of despair.

“Your life is your life. Don’t let it be clubbed into dank submission. Be on the watch. There are ways out. There is a light somewhere.”

Bukowski’s poem is a raw call to action. Its message is clear: life, despite its hardships, is ultimately our own to shape. The speaker encourages readers to reject despair and take control of their own destinies. The theme of optimism is captured through the idea of finding “light somewhere” — a symbol of hope and possibility. Bukowski’s voice is a reminder that positivity isn’t always about avoiding struggles but about actively seeking out hope and meaning.

8. “To Hope” by Emily Dickinson

Emily Dickinson’s To Hope is a meditation on the elusive nature of hope and its essential role in sustaining positivity through challenging times.

“Hope is the thing with feathers That perches in the soul, And sings the tune without the words, And never stops at all.”

Dickinson personifies hope as a bird, emphasizing its ability to endure and bring joy even in the harshest of times. The metaphor of hope as a bird “perching in the soul” suggests that positivity is something intrinsic, a source of strength and perseverance that resides within us. This poem encourages readers to hold on to hope, even when it seems fleeting or intangible. Hope is a constant, unrelenting force, offering comfort and positivity in moments of uncertainty.

9. “The Cure at Troy” by Seamus Heaney

Seamus Heaney’s The Cure at Troy speaks to the themes of hope and redemption, advocating for the transformative power of forgiveness and positivity.

“Hope for a great sea-change On the far side of revenge. Believe that a further shore Is reachable from here.”

Heaney’s poem emphasizes the importance of hope, not just as an abstract ideal, but as a practical tool for overcoming adversity and healing. The reference to the “great sea-change” suggests the idea of transformation, where positive change can arise even from situations of conflict and despair. The poem is a call for resilience, offering a vision of hope that transcends vengeance and promotes a future that is both reachable and promising.

10. “The Will to Win” by Berton Braley

Berton Braley’s The Will to Win is an energizing, motivational poem that champions the idea of perseverance and staying positive even when faced with setbacks.

“If you want a thing bad enough To go out and fight for it, Work day and night for it, Give up your time and your peace and your sleep for it…”

Braley’s poem is a rousing celebration of determination and drive. The speaker encourages the reader to pursue their goals with relentless energy and optimism. The poem’s central theme is that positivity comes from a steadfast belief in oneself and a refusal to give up. Through hard work, dedication, and an unwavering belief in one’s potential, success and fulfillment are within reach.

11. “Desiderata” by Max Ehrmann

Max Ehrmann’s Desiderata is a meditative poem that offers advice on how to live a peaceful, positive life in a chaotic world.

“Go placidly amid the noise and haste, and remember what peace there may be in silence. As far as possible, without surrender, be on good terms with all persons.”

Desiderata is a poem about finding inner peace and harmony with others. Ehrmann encourages readers to approach life with patience, tolerance, and serenity, even in the face of adversity. The poem’s gentle tone suggests that positivity can be found through calm reflection and acceptance of life’s uncertainties. It is a timeless reminder to live harmoniously, embracing both the joys and challenges of life with grace and composure.

12. “A Dream Within a Dream” by Edgar Allan Poe

Edgar Allan Poe’s A Dream Within a Dream grapples with the idea of fleeting moments and the passage of time, but ultimately it encourages readers to hold on to what is good and meaningful.

“Is all that we see or seem But a dream within a dream?”

Poe’s poem explores the transient nature of life, yet the speaker’s philosophical tone invites readers to reflect on the beauty and significance of the present. The poem’s message is one of appreciation for the fleeting moments of joy that life offers, encouraging a positive outlook even in the face of life’s impermanence. The poem’s meditation on dreams reminds us that life, though brief, can be full of meaning if we choose to live fully and with intention.

Conclusion

The twelve poems analyzed in this article share a central theme: the power of positivity, hope, resilience, and self-determination. Whether through the quiet introspection of Wendell Berry, the defiant strength of Maya Angelou, or the reflective wisdom of Henry Wadsworth Longfellow, each poem speaks to the human ability to overcome adversity and embrace life with optimism. These works encourage readers to find beauty and strength within themselves and the world around them, making them invaluable sources of inspiration for anyone seeking to cultivate a positive mindset in life.

[brainanalyse]

Spiritual Practice

Understanding the Essence of Spiritual Practice

Spiritual practice encompasses diverse rituals and activities aimed at nurturing the soul and fostering a deeper connection to the divine or transcendent. It goes beyond mere religious observance to encompass personal exploration, self-discovery, and the cultivation of inner peace.

Exploring the Multifaceted Approaches

Spiritual practice manifests in myriad forms, catering to individual beliefs and inclinations. From traditional religious ceremonies and prayers to secular practices like meditation, mindfulness, and creative expression, there are countless avenues for individuals to engage with their spirituality.

Cultivating Mindfulness and Presence

Central to spiritual practice is the cultivation of mindfulness — the art of being fully present in the moment with open awareness and acceptance. Mindfulness techniques, such as meditation, breathwork, and mindful movement, help individuals develop a deeper connection to themselves and the world around them.

Connecting with the Divine or Transcendent

For many, spiritual practice involves seeking connection with a higher power or ultimate reality. Whether through prayer, worship, or contemplation, individuals endeavour to transcend the limitations of the ego and commune with the sacred, finding solace and guidance in their spiritual experiences.

Embracing Self-Reflection and Growth

Spiritual practice serves as a catalyst for self-reflection, inviting individuals to explore their beliefs, values, and innermost desires. Through practices like journaling, self-inquiry, and retreats, individuals embark on a journey of inner exploration, confronting their shadows and nurturing personal growth.

Cultivating Compassion and Empathy

Spiritual practice nurtures qualities of compassion, empathy, and interconnectedness, fostering a sense of unity with all beings. By cultivating kindness, generosity, and forgiveness, individuals extend love and support to others, contributing to the well-being of humanity and the planet.

Seeking Meaning and Purpose

At its core, spiritual practice is about seeking meaning and purpose in life — a quest for deeper understanding and alignment with one’s true nature. Through spiritual teachings, sacred texts, and existential inquiry, individuals seek to discover their unique path and fulfil their highest potential.

Nurturing Resilience and Well-being

Spiritual practice provides a source of strength and resilience in times of adversity, offering solace, hope, and guidance. By drawing upon their spiritual beliefs and practices, individuals navigate life’s challenges with grace and equanimity, fostering inner peace and well-being amidst the ups and downs of life.

Integrating Spiritual Wisdom into Everyday Life

Ultimately, the true essence of spiritual practice lies in its integration into daily life. By embodying spiritual principles and values in their thoughts, words, and actions, individuals cultivate a life of purpose, meaning, and integrity, honouring the sacredness of each moment and the interconnectedness of all existence.

Conclusion

In conclusion, spiritual practice is a transformative journey of self-discovery, inner growth, and connection to the divine. Whether through meditation, prayer, yoga, or acts of service, there are countless paths to explore on this sacred journey. May you find solace, inspiration, and fulfillment as you embark on your own spiritual quest.

FAQs

What are the benefits of spiritual practice? Engaging in spiritual practice offers numerous benefits, including reduced stress, increased happiness, enhanced relationships, and greater resilience in the face of challenges.

How can I start a spiritual practice? You can start a spiritual practice by exploring different techniques such as meditation, mindfulness, yoga, prayer, or journaling. Find what resonates with you and commit to incorporating it into your daily life.

What if I don’t believe in a higher power? Spirituality is a personal journey, and belief in a higher power is not necessary to engage in spiritual practice. You can focus on cultivating qualities such as mindfulness, compassion, and gratitude, regardless of your beliefs.

How do I stay consistent with my spiritual practice? Staying consistent with your spiritual practice requires discipline and commitment. Start with small, manageable steps, and create a routine that works for you. Find ways to stay motivated, such as setting goals, practicing with others, or seeking support from a mentor or community.

Can I practice spirituality without being religious? Yes, spirituality and religion are not mutually exclusive. While some spiritual practices may be rooted in religious traditions, you can explore spirituality in a secular context, focusing on personal growth, self-discovery, and connection to something greater than yourself.

[0613magazine]

032423 Nikkei Asia

For BTS's Jimin, music transcends language barriers

South Korean singer releases solo album that peers deep into his soul

TOKYO -- BTS member Jimin will release his debut solo album "Face" on Friday, marking a milestone since the sensational South Korean boy band decided to concentrate on their solo projects and the oldest member, Jin, was conscripted into the military last December.

In a recent written interview with Nikkei, Jimin divulged the creative muses that went into his new album. He also talks about how music is powerful enough to transcend national borders and languages, and lays out how BTS aims to stage a comeback in 2025.

Edited excerpts from the interview follow.

Q: How did you prepare for the release of your "Face" debut solo album?

A: I worked on "Face" while looking back on the time during the COVID-19 pandemic as well as on my own self. I began actively working on the album from the start of 2022. One of the things that pushed me to do the album was [BTS] members suggesting I try expressing my various thoughts and feelings into music.

Just knowing that my album is about to be released worldwide has made me so nervous that I feel like I'm trembling. It's my first solo album and I wonder how people would react to it. ... But the tension feels great.

Q: You said this album will express your true self, but how would you describe the true Jimin?

A: Various emotions will be part of you after going through a variety of experiences in life. I believe that everyone has a deeper aspect of themselves that they don't really want to confront. I made my solo album while peering at the feelings deep within myself.

Even the word "face" can be used as a noun, or as a verb as in "to confront." I want to show my true face and speak to you honestly. For those who are used to seeing the glamorous side of me on stage, this album will show the other side of me, and show me overcoming my loneliness and struggles through music.

Q: Would you mind telling us your goals and your inspirations as a solo artist?

A: For me, everything about this solo album was a way of challenging myself, so I believe this is a different start for me as a singer. So rather than having a very large goal, I want to live up to the feelings of everyone who has high hopes for me. I'd also be glad if those who don't know much about me are able to discover how I've transformed.

Whenever I view the other [BTS] members, they always influence me positively and they're a source of inspiration for music and performing. Lately, I had been given an opportunity to collaborate with Taeyang [the artist also known as Sol in the boy group Big Bang], my longtime role model whom I look up to. It was such a wonderful influence seeing him look far more incredible than I would've imagined.

Q: How do you see the success BTS has achieved since its debut in 2013?

A: Thanks to the support from all our fans, I was able to have an unbelievably dreamlike experience. I don't take anything for granted, whether it is being nominated for a Grammy, or winning the No. 1 spot on Billboard's main Hot 100 chart -- those were all miracles that would not have happened without the "Army" [BTS fans] who love our music and performances.

I think that I need to do my best and live up to the passionate support I have received, which has motivated me to strive and move forward.

Q: The other BTS members are also working on solo projects. How do you enjoy each other's work?

A: The other members were nervous before the release of their solo albums, but they're turning out well. Their music reflects their own individual color, and the performances and the approach to their projects are filled with their own distinct personalities that I personally have fun watching as I support them.

The advice from the members was the catalyst for me to produce my solo album. The words from the members helped me during the production of the album, and for me personally, they also played a role in deciding which direction my album should take, which is reassuring.

Q: What are your thoughts on the power of music?

A: I'm a singer but I'm also a listener, and I receive positive energy and comfort from music. Just like other artists' music has affected how I think and given me strength, I hope people can feel what I feel and resonate with my music. That's what drives me to keep making music.

Music lets us relate to other people at any time, under any circumstance, and reminds us of who we were in those moments. That's the biggest power music has. Music can transcend countries and languages. We saw that firsthand, so we know better than anyone how powerful it can be.

Q: Aside from your new album, what's in store for you in 2023?

A: This year will be full of new challenges for me, including the release of "Face." I'm focusing solely on the album for now. But I'm thinking about how I can show different sides of myself, and have many things in the works. I also don't have any hobbies I can talk about, so I'd like to find one.

Q: How do you think solo activities by BTS members will help the group in the future?

A: When I see what the other members are doing, I'm amazed by just how different we all are. Making my solo album made me realize how much I relied on other members on certain things. I faced deep dilemmas about music as well. I think the other members are experiencing similar things, which will help generate great synergy when we come back together as a group.

Q: What are your thoughts on the influence you and BTS have?

A: It's all thanks to our fans. They not only loved our music, but they translated our songs from Korean and requested them on American radio stations, which allowed us to reach a wider audience.

If we have any influence, it's thanks to everyone who has supported us. So I strongly feel that we should do our best to not let any of that go to waste.

Q: K-pop is now recognized as its own genre across the world. Why has it appealed to so many people?

A: That's a really difficult question. As one of the people making the music, it's hard for me to look at it objectively.

But I am touched to see so many people love and enjoy K-pop across borders and language barriers. I hope that K-pop will continue to show us the power of music. BTS, including myself, will keep doing our best to be at the center of that.

Q: Do you have a message for your fans in Japan?

A: Hi, it's Jimin of BTS. We haven't been able to see each other for so long, but your support has helped me bounce back from difficult moments many times. I will do everything I can to make better music so I can help during your hard times. I'm also grateful for you and I love you.

Source: Nikkei Asia

[bravemina]

The Importance of the 12 Virtues of a Lasallian Business Leader

Indeed, being an MBA student of De La Salle University has been a roller-coaster ride. But in the past three years taking different subjects, I truly learned to appreciate the La Sallian virtues as I get closer to continuing this journey until the end.  Coming from the different virtues of a Lasallian business leader, I was able to reflect on what comes naturally to me or resonate with most, if not all, of them. Among these virtues, reserve and wisdom hold a special place in my heart as they align closely with my inherent characteristics. The virtue of reserve inspires me to practice thoughtful restraint and measured communication. It reminds me to pause and carefully consider my words and actions before expressing them. Similarly, wisdom guides me to make sound decisions.

As I read through the descriptions of these virtues and observe how they manifest in the leadership styles of other La Sallian individuals, my appreciation for them deepens. All these virtues are certainly powerful as they do not only act as guiding compass for everyone who strives towards the kind of leader one must aspire to be, but also remain within reach for all to achieve. 

However, the real challenge lies in living out these virtues in our everyday lives as we continue to be the leaders in our own communities and companies. It is one thing to recognize their importance and power and another to embody them in our words, actions and decisions. Embodying these virtues calls for self-awareness and introspection at all times. We must consistently examine our thoughts and behaviors, holding ourselves accountable to the values we sincerely uphold. I would say that it is easy to get caught up in the fast-paced and often demanding nature of leadership roles, but it is during these moments that the true test of our character arises.

When confronted with a challenging and urgent situation, the ideal approach is to tap into our La Sallian virtues within ourselves to guide our decisions. However, circumstances can sometimes tempt us to act contrary to these virtues. For instance, when leaders discover misconduct and wrongdoings among the members of their team, the normal response might be to punish them impulsively. At the receiving end of this practice, the team would feel humiliated, disengaged and discouraged. This kind of response not only erodes respect but also does little to promote positive change in behavior. On the other hand, when we consciously embody the La Sallian virtues such as reserve and wisdom that encourage a different path, a different and more positive outcome is likely to emerge. By demonstrating reserve and wisdom, leaders make sound decisions thoughtfully and create an environment where team members feel heard, valued, and respected. Leaders are able to bring humanness and clarity of mind to the process in order to consider various perspectives, explore solutions and others. This approach, as guided by the La Sallian virtues, paves way for more transformative change and growth, to the individual, to the team, and consequently, to the business.

I firmly believe that possessing and living by these virtues is not just a part of being a La Sallian leader, but it is at the very core of what makes us truly unique. As we strive to live by these virtues, we become living models for our team members. Leading by example is a fundamental aspect of effective leadership, and the La Sallian virtues provide us with a powerful framework to do just that. We are empowered to nurture and develop their potential and how they can contribute to the business. In this way, the La Sallian virtues not only transform individuals and teams but also elevate the overall business into a purpose-driven, compassionate, and thriving organization. 

[iamanartichoke]

I'm creating my own post in order to avoid adding negativity to someone else's, but I will link the post that inspired this one for context. This post talks about the theory that King Loki is the one pulling the strings, and it's mostly a theory that I can get behind as laid out by OP, but I have a serious problem with the role Sylvie may play in it, which is what this post is about.

So, okay, I was with [OP] right until this part -

Except, King Loki never met Sylvie. King Loki is everything Show Loki could’ve become if he hadn’t met her. Who he still could be, because it’s possible for him now to kill King Loki and take his place. But he won’t do that, because meeting Sylvie set him on a different path. Because she taught him how to love himself, he can let go of his need to grasp at power to feel special and important and in control of his life.

I'm not saying this is wrong (and my criticism is no reflection whatsoever on OP's theory in general, which is pretty sound overall), but I am saying that if the show chooses to go this way, I'll probably rage quit. It's a lazy trope to fall back on - that the only thing that could prevent Loki from becoming an evil mastermind and/or supervillain is meeting "the one" (in this case, Sylvie) and falling in love with her. It's so over simplified.

For one thing, I don't see how Sylvie taught him anything, let alone how to love himself. They may have a bond even after knowing one another such a short period of time; I'll give them that, since they're variants of one another and that strips away some of the layers and allows them to connect more easily. But Sylvie's existence isn't a lesson and while Loki may admire her for what she's accomplished, it doesn't automatically mean he can see himself capable of the same things. Whether he is capable or not isn't the point. He clearly doesn't hold himself in as high regard as he holds Sylvie (which is super in-character for him, to downplay his own strengths and potential even while recognizing the value in someone else's). Maybe he can learn to view himself as favorably as he views her, but to me, that's not what "teaching someone to love themselves" means.

(It's worth mentioning - but I won't digress too much - that at this point in the show, Sylvie shows no indication that she returns Loki's feelings, nor has she gone out of her way to build him up or show him that he's worthy of love, so it really is just Loki's feelings for her that we're relying on, that this point, to carry the love story.)

To be honest, I don't think he even necessarily views Sylvie as a variant of himself, as much as he views her as a separate person. She may know what it feels like to be a Loki, but her experiences are so different from Loki's and her path is so far diverged that it's more akin to meeting someone who knows what it's like to struggle with depression (or mental health in general): their perspectives are similar, and their emotional cores may align, and meeting may make each of them feel like they're not so alone - but she is Sylvie and Loki is Loki and neither one of them can step into the other's shoes and know exactly what it's like to be them. The way that he interacts with her implies that Loki is aware of this - that is, he's aware that they are two separate people, even as Mobius insists that they're the same.

So my point is, even if Loki admires Sylvie or falls in love with her bc of reasons, I would still fail to see how that put him any closer to loving himself. But say it did, for arguments' sake, since that's what the writers are going for. I still feel like it would be lazy to say that this is the one thing that stops Loki from becoming the most evil version of himself. It undermines Loki's legitimate trauma and layers of issues, like his fear of abandonment, his crippling lack of self-esteem, his belief that his worth has never been equal to that of Thor's, his identity crisis and struggle with the idea that he is "a monster," figuratively and literally. By virtue of all of these things being major contributing factors to Loki's fall and his villainy and his need for power to feel in control - which I believe that they are - it would naturally follow that, unaddressed, these would be the major contributing factors to Loki becoming more and more evil until we have a King Loki masterminding the TVA (and, by extension, the timeline, the multiverse, and free will itself - like, that's some pretty significant evil, or at least power).

(Again, it's worth acknowledging that it didn't go that way for Prime!Loki, who proved more than once that he was a good person at heart, and he never met Sylvie either - but, that's beside the point right now.)

But Sylvie can't be the sole person who inspires Loki to address these things, nor would these things just go away or fail to hold the same weight once Loki meets and falls in love with her. Loving Sylvie doesn't change that Loki is a frost giant and has never come to terms with that. It doesn't mean he's suddenly not afraid of abandonment, or of being alone. It doesn't fix the complicated twist of emotions (understatement) Loki feels when it comes to Thor and the concept of worthiness and the truth of their parents' love for them.

At best, one could argue that Sylvie may act as a support system that Loki might not have otherwise had, which would allow him to then confront and untangle his way through these issues to ultimately suceed in becoming the best version of himself. This still renders her role in Loki's life a supporting one as opposed to the one thing that can stand between Loki as he is now and Loki as he has the potential to be (in this case, a full-fledged supervillain).

Loki's issues are issues that will not go away until Loki faces them head on and does the work. Which is a journey, admittedly, too long and complex to be accurately portrayed on-screen in a limited series, but the narrative can either imply that Loki's journey is one of self-love with his feelings for Sylvie acting as a catalyst to his working through the things standing in the way of that self-love - or, it can skip all of that and say that Loki's self-love journey begins and ends with his love for Sylvie, and not only does this "fix" him but it's also the one thing that prevents him from becoming a supervillain who presumably controls all of these things - the TVA, the timelines, etc - without remorse.

I, personally, would have no interest in the latter option, so if it does go that way, I think that'd be it for me. And I realize that a lot of my argument here is focusing on Loki ending up as King Loki, which is still speculation and it may not go that way at all. But I think that - since the show has confirmed it's going to explore self-love through a romance - my points about Sylvie's ultimate role in Loki's journey of self-acceptance are still worth mentioning, I think.

[mfkinanaa]

LIBRA RISING.

Born with Libra on your Ascendant (or Rising), life is likely to be experienced as a constant series of choices.

It is important for you to consider everything from its various points of view.

Deliberation may be your hallmark, and eventually justice your middle name.

Libra is an Air sign, concerned with fairness, equality and right relationships.

Thus, you are likely to feel the need to be objective in all your dealings, and will specialise in relationships.

However the need to consider all perspectives may be somewhat crippling if a decision or resolution cannot be reached.

Reflective judgement with a committment to equity is the key note for you.

Your task is to find the right principle involved in a given situation, and then commit to it – maintaining your position without changing your mind.

Shall I Do This Or That?

When your Ascendant is Libra, the temptation to change your mind is ever-present. This can lead to vacillation, indecisiveness and a tendency to fence-sit when a choice is not made. You need to become aware of any intrinsic desire to avoid making a decision, as this will lead to others seeing you as fickle, and even opportunistic, rather than the finely balanced, fair-minded individual that you truly are.

You may be easily imposed upon because of a tendency to avoid openly stating what you really want. You yourself are likely to feel frustrated by this inability to choose. It is important to reflect on this and admit to yourself what your true motives are. Are you seeking others approval by avoiding action? Do stop yourself doing what you know is right in case someone else disagrees?

The Need To be Liked.

Often, the desire to be liked, and a willingness to please others can lead you to “people-please”, rather than commit to what is right or fair. In order to guard against this tendency, a reliable, fair and objective system of values needs to be established. You would do well to be guided by principle rather than popularity in the choices that you make.

A balance should be found between activity and passivity, between head and heart, intuition and logic. Negotiation through charm and objectivity is your forte, and you can help bring about resolution through a balanced assessment of facts.

You need to experience both confrontation and compromise to find out what is important to you. Thus, you can be both principled and assertive, willing to compromise yet clear in your objectives once you have decided on what you want. At your best, you are able to express the grace, poise and consideration which is characteristic of this sign. 

Harmony and Balance.

Symmetry, proportion and balance are also important, and you are likely to prefer harmonious, refined or well-designed environments. You need to be surrounded by beauty and will function best in an organized and aesthetic space. Harmony is important for your mental balance.

You are also likely to be quite refined, with a sense of style that is often innate. It may be important for you to project a stylish appearance, and so, you may also be very fashion conscious.

The search for the ideal system, relationship or ideal can lead you into many areas of interest and exploration. This is a mental sign after all, so that information is a key theme. You are also probably known for your listening and negotiation skills, and ability to give good advice. This is the sign of wise counsel, and your capacity to make a detached assessment of any situation is likely to be highly esteemed.

The Gift of Libra Rising.

Relationships are a major concern, and you will get the best from your partnerships when you learn to first define who you are, and what you need, before then making any necessary compromises to keep things agreeable. Libra is the sign of partnerships, and you may feel that you need others to be able to fulfill yourself. Doing things collaboratively brings your best qualities to the surface. You may find it easiest working toward a goal when you have someone else to do it with. Through relationships, you learn to assert yourself, adjust to others, and to stand up for the principles which you believe are fair.

SCORPIO RISING.

Born with Scorpio on your Ascendant (or Rising) you are likely to experience life as a constant series of obstacles or crises in which you learn about the nature of power through transformation.

Whilst this may seem challenging, once understood in terms of a life lesson, you have the potential to be an inspirational and catalytic individual.

Your strength and insight gives you the ability to change your own life and help others overcome whatever is holding them back.

On the one hand, this is a difficult Ascendant.

On the other it offers you a magnetic and charismatic quality that makes you fascinating to others and deeply perceptive.

There is much in the experience of Scorpio Rising that involves learning to transform yourself and others through episodes of conflict, challenge and subsequent letting go.

Finding the Light Within.

When your Ascendant is Scorpio, a confrontation with that which is dark, hidden, destructive and taboo in your own nature is often required. Despite your best intentions, you may need to deal with negative, toxic and obsessive emotional states that seem to plague you.

Such destructive qualities need to be internally transformed by being acknowledged, accepted and brought into the light.

You may also meet the same qualities in others. You could find yourself confronting darkness in the outside world through facing extreme situations, or attracting negativity to yourself. Whilst your nature is inherently good, you are learning to experience both the positive and negative aspects of life.

Through overcoming difficult situations you find your strength and light.

The Eighth Labour of Hercules.

The themes which present with this sign on the Ascendant can be described by the mythic tale of Hercules battling the much-feared Hydra, a demonic creature of the Underworld with ten heads and a deadly bite.

The Eighth Labour of Hercules tells the story of how he overcame the beast. Victory required submission rather than brute force. Every time Hercules cut one head off, another would appear.

To overcome the Hydra, Hercules had to follow the guidance of his teacher – “We rise by kneeling, we conquer by surrendering, and we gain by giving up”. This experience could be described as the quintessential lesson for those with Scorpio rising.

The Curse of Jealousy.

Jealousy is often an issue, especially in the early part of life. You may find yourself envious of others apparent power, beauty or success – with no rational explanation as to why.

This destructive emotion can alienate you from others, generating friction that needs to be released. Envy pulls you down and can trigger a nasty backlash. If not released, resentment and associated feelings fester within, rearing their ugly heads at inopportune times with a powerful and destructive force. Internal pressure slowly builds until an explosion occurs.

Just like the Hydra, toxic emotions can only be conquered through submission. This means letting go of negativity and aligning yourself with something greater than your personal desires. Humility and self-acceptance is required.

You may find yourself oscillating between hopeful and hopeless responses to your feelings and external stimuli. You can unconsciously create dramatic events in your life which trigger catalytic personal experiences as you discover more about your true self.

Sometimes, situations of disability and impairment come about, so that the fear of helplessness or restriction is materialised. These challenges then become the opportunity for you to experience surrender, learning eventually to open up and trust others.

Private & Sensitive.

Private by nature, you are likely to give very little away about yourself until you know who you can trust. Others may not be sure of your true intentions. They may find you somewhat inscrutable, mysterious or just hard to read. You are likely to play your cards very close to your chest.

Rather than being secretive, you are self-protective.

Your acute sensitivity to environmental influences means you try to avoid exposing yourself and feeling vulnerable in any way. For you, letting others know how sensitive you really are means giving them a kind of power you are not sure you want to give.

You are often extremely aware of the underlying emotional currents surrounding you. This sign is extremely perceptive. You can easily pick up on another’s mood, and will sense how they feel – sometimes before they do.

You will also have a knack for exposing hidden intentions, and will need to dig deep to uncover the underlying psychological motives in any important situation with which you are involved.

You will also be aware of others potential to be deceptive, abusive and less than truthful, and so you can be at times disarmingly honest. Most often, your preferred form of attack is defence, and so you keep yourself to yourself.

You are generally quite content therefore to wait while others reveal who they truly are to you. 

Careful in Relationship.

With a warm and passionate heart, you are likely to respond intensely to significant relationships, and it will be especially important for you to find a partner you can trust. You do best with calm, placid yet strong lovers who are able to withstand the intensity of your emotional reactions, and your need to work them out through others.

When you have committed your heart to someone, you are loyal, giving and devoted. You need someone who is stable enough to ride any emotional storms and patient enough to give you the security you need.

In many ways you might take an “all or nothing” stance with affairs of the heart. You need time to get to know someone so won’t be inclined to rush in. Even if you do form a connection quickly, you will probably withhold parts of yourself. You need to know your partner is “all in” before you can trust them.

Or you could try avoid intimacy because it means you have to let your guard down. For this reason, you can be hard to get close to, as your self-protective mechanisms are very strong.

This can mean you end up remaining on your own, leaving others feeling uncertain as to where you stand but safely at a distance.

The Fires of Transformation.

Once the necessary transformations have come about, you then become a powerful catalyst or agent for change in your own and others lives.

You have the ability to renew and rebuild your life, and can show others how to do the same. Negative states can be transformed and redirected through internal processes. A creative outlet, some form of therapy, a mystical experience or an intense sexual exchange can serve as the means to refine these energies.

As you let go of pain and open up to light you find strength and wisdom within.

You are likely to have a penetrating kind of insight that makes you a valued confidante and friend. You have great compassion for others, but will not suffer fools. You are also likely to be patient, persevering and reliable, and can be a source of strength in times of need.

Your desire for truth means you may sometimes have to employ shock tactics to instigate change. Usually this is not to be upsetting, but rather because you know sometimes you have to say the things that others will not in order to shake up the status quo.

Your highly developed emotional intelligence can make you privy to others’ secrets. When you share vulnerabilities with others you also learn to let go of your own fear of being overwhelmed.

The Gift Of Scorpio Rising.

Yours is an intense rising sign, with the potential to experience great rewards. You have come to learn the secrets of resurrection and rebirth through experiencing transformation in certain areas of your life. Once you learn the techniques of inner growth by finding your power within you then have the capacity to become an incredible force for change.

SAGITTARIUS RISING.

Born with Sagittarius on your Ascendant (or Rising) you are likely to experience your life as a quest, challenge or search for adventure where the prize you seek is meaning.

Self-awareness comes about through expanding your horizons – at either physical, mental or spiritual levels.

You are likely to approach new experiences with a sense of optimism and hope – an expectation of success.

The dynamic, fiery qualities of this rising sign need to be directed toward reconciling some of the metaphysical and philosophical quandaries of life.

In your quest for meaning, you should leave no stone unturned.

The Search for Meaning.

When your Ascendant is Sagittarius, every situation can be viewed as an opportunity to learn. You are likely to feel a sense of restlessness and need to have the freedom to roam, explore horizons and see how far you can go. This might happen at physical, mental or spiritual levels.

At times, your life could feel like a pilgrimage, where the need to find the holy grail of your own “truth” is paramount. A way to express this approach might be – “I see the goal; I reach the goal, and then I see another”.

Gifted with energy and inspiration, you are often able to inspire and uplift others. You are typically broad-minded and so happy to let everyone live their own lives. Charged with faith and optimism, you can look for symbolic meaning wherever you go, finding portents in life’s circumstances and omens to guide you on your way. Usually, every event is seen as part of a larger, connected whole. You find meaning in patterns and serendipity at every turn.

Times of Excess.

Yet there may also be times where you allow your faith to dwindle. If you fail to find the answers you seek you can become despondent and cynical in the extreme. You must be careful not to set yourself up for crushing disappointment by setting expectations that are unrealistic or too big to achieve.

Added to this, there may also be a tendency toward excess, inflation and overstepping the mark. Your exuberance and optimism can sometimes turn to greed, recklessness or a lack of due care. Your tendency to go to extremes goes hand in hand with a belief in your own invincibility and need to push boundaries in terms of what is possible. It is worthwhile checking in at times to see if you have in fact gone too far – despite the fact that you want to. 

Sharing your Truth.

If your Ascendant is Sagittarius, you need to find your truth on your own terms, and there may be an extended period of searching for the right path, teaching or philosophy to satisfy your quest. You may spend significant chapters of your life travelling or immersed in a particular belief system, exploring ideas and concepts to their broadest level.

You are likely to be passionate about the pursuit of knowledge, and so it is important to allow yourself plenty of opportunity to explore new horizons, and broaden your sphere of reference.

Once you have found a path that fulfils, you can become so enthusiastic that you want to share with everyone else what you know. You are eager to teach others what you have learnt. Many excellent teachers have this sign pronounced in their charts.

Yet some of you can turn to preaching and even zealotry in your eagerness to share. There may be times when you go to extremes in your efforts to recruit others to your particular belief system. Care should be taken to extend to others the same intellectual, moral or personal freedom that you require for yourself.

In this way, you can manifest the darker side of Sagittarius, trying to co-opt others into agreeing with your version of the truth. Cynical disbelief can be equally vehement as optimistic faith. In the end you will find that trying to convert others is an ultimately futile preoccupation.

The Gift of Sagittarius Rising.

With Sagittarius rising, life is best viewed as a quest and adventure. Faith and a positive attitude are your greatest assets. You are likely to approach life in a grand way, excited by possibilities and certain of your right to experience them. Using your innate gifts of insight and perception gives you the ability to inspire and uplift others, helping them become the best that they can be by lighting the fire of meaning and purpose all around.

[jujujitsu]

AoT and their favorite Disney Movies

My head cannons regarding some AoT characters, their favorite Disney/ Pixar movies, and why.

WARNING: AOT SPOILERS

Reiner Braun- Wreck it Ralph

Reiner would relate to Ralph on so many levels. Just like Reiner, he wants the respect of his people so he sets out to prove himself. They are also known for smashing stuff. There's also the character Felix which could be similar to Bertholdt and how Bertholdt always had to balance out Reiner and remind him of his goal. Not to mention, Felix falls for this one bad-ass female character similar to Annie. Then you have Princess Vanellope's situation which is a little similar to Historia and her turbulent drama with her dad. Historia and Vaellope's real identities weren't known and the end, they are both royals, exploited by the people around them. So based of the connections he would make with his real life, I think Wreck it Ralph would be Reiner's favorite movie.

Historia Reiss- Inside Out And Frozen I

I chose Inside Out because of the transition we see in Historia Reiss through AoT. Joy has control over the main character Riley until Sadness touches a core memory. We see Historia go from this positive, loving, cheerful person to...well, not. Sadness and Joys dynamic in the movie would resonate with her so much, especially when they start working together. Seeing Riley accept her new life and transition into a better person would be inspirational to her.

Frozen I is her other go to movie because of several reasons. Anna gets the knowledge of her sister's powers erased and that would remind her of Frieda Reiss. The isolation of the kingdom of Arendelle would also resonate strongly in her because it would remind her of Paradis as a whole. Anna's self sacrifice to save Elsa from Hans would make her think of Ymir and what she did for her. Seeing Elsa mourn for her sister causing her to be freed from the spell would also catch her in the feels.

Zeke Yeager- Zootopia

Okay, first, this is a movie about animals and he is the Beast Titan, so it just makes sense. On a deeper level, we see the dynamic between predator and prey in Zootopia. While watching, I see him making a connection to Marley and the Eldians and this just draws him in so much more. When the Predators go "savage", he would have a moment where he goes, "OMG JUST LIKE THE ELDIANS BECOMING TITANS!" When Officer Judy comments about predatory biology being the reason behind predators going "Savage" and the fall out occurs where they are discriminated, you better believe Zeke felt that on a personal level as an Eldian. AND THEN, when the plot really comes out and there's a serum being used to make predator's savage because of it, he just loses it and this instantly becomes his favorite movie.

Armin Arlet- Moana

Armin's drive to go beyond the Wall is to see the ocean, so Moana makes the most sense. What further solidifies this as being his favorite movie is Moana's desire to go beyond the reef even though her father forbids it because it's dangerous. This resonates with him because he has lived behind the walls and cannot go out because of the Titans. Moana reminds him of Eren, especially when Maui and her face Te Ka and she refuses to turn back against their better judgement. Maui's fishhook is damaged because of the confrontation. Eren's decisions often led to dire consequences. The ocean automatically makes this his favorite, while the other connections just seal it for him.

Sasha Braus- Brave

Obvious reason, Merdia uses a bow. The drama between Merida and her mother makes her reflect on what's going on between her dad and herself. Sasha retaliated and joined the military. Merida retaliated and competed for her own hand in marriage and she just thought that was the most kick ass thing. Then, when Merida sought to repair the relationship with her mother, she felt that on a personal level.

Niccolo- Ratatouille

It involves food and Niccolo is a chef, however, things can get a little deeper with this one too. One underlying dynamic that might really drive this home for Niccolo is the division and later the collaboration between humans and the rats. Humans view rats as vermin, but because of Remy, Alfredo Linguini becomes a chef. He was a Marley soldier and he hated the Eldians, but because of his capture and time, he became a chef and he stamped out most of his racism because of his interactions AND he fell in love with an Eldian, Sasha Braus in the process. So, this movie would hands down be an automatic favorite for him.

Ymir- Frozen I and Mulan

Ymir would enjoy these movies because she's all about people revealing who they truly are. In Frozen 1, Elsa hides her powers because she's afraid of what others will think and she doesn't want to scare people. This reminds Ymir of everyone she's interacted with who are in similar situations including Sasha with her accent, Historia with her royal ties, and her self as a Titan and former Eldian from Marley. And the fact that Elsa and Anna didn't need a man to accomplish all this was a huge plus. You know she thought of Historia. I also bet she joked and stated Hans was Reiner just out of spite.

Mulan is a favorite because of a similar reason. Mulan hides her identity to enlist in the military and does this as an act of self-sacrifice. While Ymir states she is living for herself, we know this isn't true because of the choices she makes in the end. She automatically will think of Historia/ Krista during their time in the 104th. And the LGBT vibes from Shang and Mulan/Ping are icing on the cake.

Conny Springer- The Emperor's New Groove

I don't have much of a thorough explanation as to why this is Conny Springer's favorite, but I just felt in my gut that he would get the biggest kick out of it. Especially Kronk because the running joke as that he and Sasha are the idiots of the 104th and Kronk is...well, he is Kronk. He also finds Kuzco's narcissism hilarious because he referred to himself as a genius throughout his time in the 104th. He had no business talking himself up that much but he laughs about it now. I think on very serious level, Kuzco's plan to build over Pacha's village would sort of draw him in considering what happened to his own village.

Levi Ackerman and Erwin Smith: Wall-E

I chose Wall-E because Levi is a clean freak and he hates litter and so I imagine when new recruits ask him why he cleans so much, he sits them down and makes them watch this movie. Since Wall-E was in this trashy awful wasteland to which he continuously cleans, Levi would be reminded of the Underground and EVE is literally Erwin Smith. Just like EVE and Wall-E they end up trying to uncover some sort of truth. The Scout Regiment is labeled as a bunch of degenerates and the government seeks to undermine them all the time. During the royal government arc, we see the other branches turn on the Scout Regiment because Erwin and the crew are trying to serve humanity and uncover the truth about the Titans. So when Wall-E and EVE are labeled rogue robots and they have to struggle to save the plant to show the ship's captain, he gets some serious feels. That resonates big time. Follow that up with AUTO trying to keep the information Wall-E and EVE have uncovered quiet, and you can see why Wall-E is Levi's favorite movie and you know he watches this with Erwin all the time.

[thisdreamplace]

ashamed to say the 3D reflects our true inner reality, yes? my ENTIRE family has turned against me, after some atrocious conflicts in which they all ganged up on me nd judged me, name-calling, very hurtful things too, provoked me. i been dealing with some serious mental uh 'issues' on my own nd when this happend i was already on the verge of a breakdown nd the good news is while the conflict happened i kept telling myself theyre only reflecting me u can get thru it etc. Later i looked at the hard facts nd realised some of the hurtful things they said were my deep secret feelings abt myself. BUT my question is why the HELL cant they talk to me like normal people? confronting one person vs whole family, why?! i felt so small nd like an object, nd not a single person defended me. am i not a part of the family?

Part 2 is simply its been a week and theyve still been cold towards me as if I yelled AT THEM ABT THEIR PAINFUL 'tRuThS' in front of EVERYONE LMAOOO. At first if i was around we'd have dinner together while they'd all talk to each other like best friends aka sickeningly overly friendly while completely IGNORING me while i sat there. i could tolerate it. I WAS PISSED AT THEM TOO Now its too painful. They're having dinner without telling me, yesterday didnt leave enough food for me knowing i hadnt eaten, serve tea/snacks without my portion. i honestly feel so unspeakably trigered nd sad. worst is these things r reminding me of deep school memories when id feel excluded like this by other kids at parties or class activities nd its like im back there. anyway im glad i controled myself a bit nd didnt counter with horrid things abt them to THEM yet they think they can say the same to me. im so hurt rn i cant even tell u lol i was okay the whole week but now its too much,, ive been crying the whole day

thing is, ik this seems like 'im a victim oh noooo they ganged up on meee'. Nope its more like how do i change myself to change them?! u could say why not talk to them how they made u feel, except whenever ive defended myself in the past regarding hurtful things they/anyone in family did, the siblings/parents would say irritating things like: "oh so YOU'RE the one hurt? Oh thats right, its because YOU'RE right! yes, yes, you're always right. Forgive me for saying anything against the perfect person u are." Or one of them says: "You?! I hurt YOU? What about me? You don't care about me! So you think what ur doing is okay?" or "no, who do YOU think u are to tell ME what to do?" it just goes in circles like this! i dont deserve to hurt myself or do smth to myself even if they dont give a damn, even if years of silent suffering of the 'mEntAL pRoBlEms' (which my lovely parents have already told me is my fault years ago, hence why I NEVER show it to them, unless im crying too much then lol they just mock me, but idc abt THAT bcoz now ik i hav a right to let out my emotions)). i mean this is worse rjan usual. its kinda insane nd when guests come they start talking to me as if nothing's wrong then when they leave, they ignore me!

this whole twisted dynamics, feelijf left out nd helpless is ig some crazy assumptin from childhood of being alone nd unable to defend myself. plus when they argye with anyone, they become overly self-righteous nd over the years its clear they can only scream, blame the scapegoat and never talk abt serious matter like normal ppl. And yes, in the past when i bring this up, they like to reply with stuff like: "no YOU'RE the one who doesnt talk to US bla bla" like, when i do u just shut me down? have belittled my mental 'issues', mocked me when im at my worst, stabbed me with cruel silent treatments nd thinking its alright "bcoz of self-righteousness blegh". Or maybe i think its okay for them to punish me? or whatev? Like law says u get what u r. if these ~~~ keep doing this to me, im doubly ashamed to say this means im the one at fault?! i let this monster assunptin grow nd now idk what to do. the worst thing imo is how i failed to tell them,even if they ignored me in the past, how i feel when anything like this or a conflict happens nd none of them stand up for me, or at least are neutral to me. bcoz now if i do, they say nope, u dont care what we do, YOUR the shameless one :! so yeah they hav the advantage of 'numbwrs' while im too afraid to stand up for myself lol. btw they never apologize nd i suspect they expect ME to apologize to TYEM bcoz everything's already ruined bcoz of 'me'..... i give up on them, i really do, but my heart hurts. Either i harden my heart, nd save up to move out, OR i try to change my self or whatev assumptins i have. But how do i do that? i try afirming: "my familys so nice to me, im respected by them" but it feels so fake tears literally enter my eyes lol

firstly i want to say, thank you for coming here to vent and being open about your feelings. it’s so important sometimes to just let it all out, without holding back. so that way you can move forward more bravely, to create the life you truly want to experience. that being said, i am going to be completely honest with you here in hopes that perhaps it may inspire you and you will be ready to do what is needed for the life you truly want to experience.

“BUT my question is why the HELL cant they talk to me like normal people?” -> “i felt so small nd like an object, nd not a single person defended me. am i not a part of the family?” here is your question, and here is your answer. i think that being completely honest when venting your feelings can actually be so helpful, because if you read back what you have said, you will be able to clearly find the patterns that are creating your personal hell. FEELING IS THE SECRET. ASSUMPTIONS HARDEN INTO FACT. the true way you feel, becomes your experience. Feelings/assumptions/beliefs come first, and the experiences come second to confirm them. That’s all that’s happening here.

i am glad that you were able to keep your reactions to a minimum! that's wonderful and as many of us know, it can sometimes be hard to do in such hurtful circumstances. but you managed to do it, this shows just a small glimpse of the power you truly hold within. although emotionally you may feel out of control, there is still the choice to choose better for yourself which you demonstrated through your reaction to them. good for you!

the truth is, you acknowledge the victim mindset to seem like you’re not engulfed in it, but no, you’re still very clearly engulfed in it. as i have said before, you can’t be a VICTOR and feel bad about it. feeling bad about taking responsibility, about everyone is you pushed out, about any of these types of concepts automatically shows a victim mindset. talking to them won’t do anything, because there are no second causes. you could talk to them nicely, you could be the nicest person in the world. but you can’t pretend your way out of your inner world. your inner world is the one and only cause of your experiences. until you change the story you tell yourself, they will stay the same. this is a hard pill to swallow sometimes. and it can feel heavily, because it’s ultimately only you’re choice. they can’t change until you do. the heaviness of the situation may make it seem impossible to turn around, but that’s just an illusion. your emotional attachment to the situation makes it seem so real and hard to change, but no. that’s just an illusion too. however, it’s ultimately your choice. Do you want to take responsibility for your life, or do you want to keep being tossed around like your lost at sea, victim to the merciless angry waves? Because we always have a choice. No one chooses your inner world, you do. No one can go into your mind and decide things for you, that’s only your job.

you can harden your heart, but who would be the one who suffers more? It won’t be your family, i can assure you. it’ll only be you. by doing that, you keep that old story alive and therefore you keep experiencing it. you keep those stories alive that are desperately showing themselves to you, saying “LET US GO.” but you remain identified with those painful stories, so you grip onto them tight. you keep on thinking of possible reasons for their behavior, but you could just read your entire ask back to yourself and you’ll see every reason. your reactions, your beliefs about them, your emotional pain. its your refusal to let those things go, and focus on what you truly want that keeps you in this state and keeps them in this state. sure it’s painful to face the responsibility at first, but it’s not a blame game. thinking its about blame is just a misunderstanding of the teachings. it’s not about they’re so perfect and you’re so not, so you have to change your ways. it’s about this is how life works here. this is about... you can ONLY ever experience self. whatever is going on within, will be reflected in your outer world. it’s about how they can’t change, UNTIL YOU DO. so instead of feeling sorry for yourself, you have to decide to give yourself the gift of a wonderful life because you have that power too. you stop deciding they can be in control of your experience, and you decide your experience yourself.

to change your assumptions, stop trying to affirm over them and actually face what’s keeping you from believing in your desires. yeah, it’s going to be painful and uncomfortable. but you need to face the pain that you’re running away from, so that it can finally be released. you have to realize, it only stayed true because you believed it to be true. and if you are to live a life free from that story, and experience a more desirable story, then you must let the pain go. give yourself love and grace as you work through it, and know that there is a more beautiful side of life that awaits for you to accept it in.

No One To Change But Self

There is Nothing to Forgive

How to Sit with Your Triggers

give yourself the time you need, it's not race. the love that you wish to experience exists, allow it in. 💖

[saturnsummer]

 law school: love and goodbye letters

notes: i would like to give out love letters to the amazing cast, our 8 students from hankuk law school. like what the director said, i’ll support them in their journeys as they take a step into their new chapter, wherever they go. their stories continue and live on. it’s been an amazing journey, although I was initially hesitant on starting it. while i will definitely be suffering withdrawals and probably think about it too much, i’m thankful i started watching.

the finale has left me with so many thoughts, I want to send them off right. also, writing these letters have helped my process my feelings towards the show and stop me from getting so withdrawn. so, shall we begin this court hearing?

over the next couple of days, my inbox will be open to requests! i may not write the fastest, but I’m willing to fulfil any of your desires about law school now that it has ended.

(skip please, if you don’t want to see my personal reflections.)

HAN JOON HWI// KIM BEOM

you have been a pleasure to watch, a seasoned actor indeed. you brought life to joon hwi, depicting the student that is smart, aloof, but is actually caring for their friends alike.

joon hwi, when you entered law school, you wanted to be a prosecutor. now, you finally got your dream. you were broken, sad, betrayed by your uncle. you remind yourself that you cannot be your uncle. but at the end, you’re happy, aren’t you? you’ve been through hell, yet somehow you told yourself to hang on. believe it, samchoon is proud he raised a noble nephew to fight and correct the flaws in the law. 

you have taught us the black and whites, yet seeing the greys of law. and with that, as you continue your journey as a prosecutor, remember to judge fairly and make sure no one suffers unjustly. 

you’ve done well, kim beom. thank you.

KANG SOL A// RYU HYE YOUNG

hyeyoung, you’ve brought so many emotions across the screen. as kang dan and sol, you had the challenge to play polar opposites, the moon and sun. you were feisty, you were soft. yet, you brought the humane qualities out of sol, conveying it to us.

kang sol a, you represent that majority of students, or even adults alike. you’re single parented. you come from a broken family. you have an estranged sibling, one you try so hard to find. you are barely making enough to live by. on top of that, you are on a scholarship, yet scoring grades that skim the pass. you represent so many students in the world. yet, you didn’t let these weights hold you from feeling your passion into law. you fought tirelessly for your friends and family, and stayed grounded in your morals and values.

this is why you are my personal favourite. that you love and strive for something so much, you work on it endlessly and still rigorously put in hard work. your passion for law inspires me to be equally passionate for my future degree as well. the fact that you went to law school seeking an apology, I hope you have gotten your apology. your zeal for justice will live on.

as a lawyer now, i hope you will remember your endless nights. i hope you know your worth. i hope that everyday, you trust yourself and be bold and courageous, like how you are when defending for your professor. you will excel, and you will be a good lawyer. 

so thank you, for speaking up for the students who find it tough to get through school. for telling us and giving us faith that we can survive. 

KANG SOL B// LEE SOO KYUNG

sookyung, you are far from your character of solb. yet, you were a perfect representation. you were elegant, classy and held that prestige whenever you acted.

solb, you represent that group of us that are pressured. when the society pressures us, it is nothing compared to our family’s pressures. you held your mom’s pressure to heart, studying endlessly, trapped in a cage that you couldn’t get out of. you isolated yourself to break free, acting cold.

you finally broke free, with your consultations with your therapist. and i hope you know just how proud i am of you for standing up for yourself. your unnies and oppas will always be supporting you, and wherever you are now, whether you are training to be a judge or not, i hope you never forget that you are supported. you are a free bird, and you should do things for yourself. 

thank you, for being the solb we have learnt to love, the student we aspire to be. solb, you are forever an A+ in our eyes. 

SEO JI HO// LEE DAVID

david, you are the man backstage always goofing off. your character hates goofing. yet, your simple eyes and acting brought so many emotions. you didn’t have many emotional scenes, but your expressions were so well done.

jiho, you started law to fight for your dad, for justice to be served. but over your journey, aren’t you glad you have made so many friends? your 3 years there have proved that you have earned justice, but you earned friendships that you will never experience anywhere else. 

wherever you are, if you are at a law firm working and earning lots of money, cherish the friendships. justice is served. learn and let go, and maybe you will enjoy your life a bit more.

JEON YE SEUL// GO YOUN JUNG

youn jung, where can i start? your acting was phenomenal. you played the cheery girl so well, yet at the same time you empathised with the victim of a domestic abuse. your scenes blew me away.

yeseul, I hope you carry this on your heart. you are loved, you are right. you are not wrong. you speak up for those abused, because you were once them. with the power of the law, I know you will go on to defend for them and fight for them. you will bring justice, and you will be the woman of power in the courtroom.

leave your immature self behind. you have matured to be a woman of confidence, boldness and most importantly, knowing you are not wrong.

you will be the woman of the courtroom. your kindness is your strength. wherever you are, defending abuse victims, thank you for speaking out for the millions of women who victimise themselves, still. you have inspired the generation of women to provide support for them.

MIN BOK GI// LEE KANG JI 

kangji, your goofiness on set and in the show plays out especially well. you were lively, yet at the same time the right support we needed.

bokgi, you will forever be remembered as the boy who comes to classes with a head band. you were casual, easy going and the extroverted one in the study group. you brought life to them, taught them to live and take things easy. you supported yeseul regardless, and always stop by her side. you are unafraid to be defensive over your friends.

for that, we thank you for being the character that is loyal. that regardless of what happened, you stayed with your group even though you could easily walk away.

JO YE BEOM// KIM MIN SEOK

minseok, you were fun to watch on set, yet a more fun character to watch grow with your actor friends. yebeom had many iconic lines, yet you did well in them.

yebeom, I will not understand why you were a spy. i however, will empathise your situation. what could you do? regardless, all that is useless now. you were sidekicks with your bestie bokgi, and together, you were both the life of the group that reminded them to breathe.

you made a good choice to be honest when sol a confronted you. and you should be thankful that the group still kept you even after all that. I hope that in your law career, you will remember the codes of law, and remember what is right. you stand for truth, you stand for justice.

YOO SEUNG JAE// HYUN WOO

hyunwoo, you had lesser scenes, yet each scene you had was a turmoil of emotions each time. you conveyed your emotions so well, and I’m so impressed.

seungjae, you are the oldest of the study group. you’ve been through a lot, haven’t you? you’re permanently suspended from law school, and with a kid now. I hope things are going well for you, whether you are a doctor or a computer guy now.

thank you for being the bigger man, to admit to his mistakes and asking for a bigger punishment. you have deep regrets, but I know you will grow and learn from them. you deserve your happiness.

to my law school fam,

thank you for this beautiful journey. you have taught me to be righteous, to be bold and to be confident. you taught me the results of tenacity. you taught me how to upload my values. you taught me the reasons to be lawful and that I should stand by my morals. you taught me confidence and courage.

truth and justice, only by the law.

it’s been a journey, my graduates. I close the hearing as make my final decision. i will close my case.

thank you, directors, pds, writers, staff, editors, musicians, make up and stylists. I hope you will meet again on another shoot.

goodbye, thank you. we’ll see each other again.

[hekatepoetryxxwriting]

How is the transgression of boundaries explored in ‘The Bloody Chambers & Other Stories’ by Angela Carter and ‘Carmilla’ by J. Sheridan Le Fanu?

In ‘Carmilla’ by J. Sheridan Le Fanu and ‘The Bloody Chambers & Other Stories’ by Angela Carter, the idea of female oppression being thwarted by the women’s self-awareness of their sexuality and their ability to use it as a form of power is explored through various boundary transgressions in both novels. ‘Carmilla’ be Le Fanu was influenced by real life Countess Elizabeth Bathory and was the predecessor to Bram Stoker’s ‘Dracula’. ‘Carmilla’ is also referenced in Angela Carter’s short story ‘The Bloody Chambers’ (it is the name given to one of the Marquis’ previous wives), thus linking the two novels together.

In another one of Carter’s stories, ‘The Company of Wolves’, there is a transgression of gender roles regarding the girl in the story. In the Gothic genre, women usually fall into three types: The Trembling Victim, The Femme Fatale, and The Crone. However, the child in this story is none of these, and displays strength that defies the stereotypes in her confrontation with the werewolf as seen when she ‘burst out laughing; she knew she was nobody’s meat’[1], which is itself is sexual symbolism that makes the ‘meat’ a metaphor for the sexual objectification of women’s bodies, which she rejects by laughing. Her laughter is also a mockery of the patriarchal expectation of submissiveness that men believe all women possess. It suggests that the girl is aware of the power her sexuality carries, much like a femme fatale. The same could also be said for ‘Carmilla’, where Laura’s father ‘won’t consent to you leaving us’[2]even though he has no familial ties to Carmilla. In both stories, the fathers seem to be in a superior position within the family, and evidence of this can be found not only in that quote from ‘Carmilla’, but also from the line ‘Her father might forbid her’[3]in ‘The Company of Wolves’. The verb ‘forbid’suggests that he hold powers over his daughter and is able to control her actions. This is a reflection of the patriarchal family systems which were in place up until the late 1970s, when men were considered the breadwinners. Angela Carter, a feminist, was part of the movement that broke down those family systems; Carroll Davids referred to this in her review of Angela Carter; “Angela Carter’s portrayal of husbands and fathers not only reflects the ideals of her time, but also contradicts them on occasion with the femininity of the men.”[4]

There is also a transgression of gender through the empowerment of female characters in ‘Carmilla’ and ‘The Werewolf’. In both of these texts, the female character succeeds through her own means, rather than relying on a man to support her. In ‘Carmilla’, it is through death that Carmilla is able to gain power. This idea is strengthened through Laura’s speech to Carmilla in Chapter 4, where she asserts that ‘Girls are caterpillars while they live in the world, to be finally butterflies when the summer comes’[5]. The use of this metaphor suggests that girls are only free of the constraints that surround women when they have died, a suggestion that is supported by Colleen Damman’s analysis of the novel “as a woman, Carmilla can only claim her sexuality after death. Thus, vampirism is the only way she can express her own carnal desires. Besides marriage, becoming a vampire is one of the only ways that female sexuality is licensed in the Victorian era”[6]. Meanwhile, in ‘The Werewolf’, the child represents the New Woman and is pitted against her grandmother, who represents the generation of women who have fallen under the thumb of a patriarchal society. The final line states ‘Now the child lived in her grandmother’s house; she prospered.’[7]which implies that the child benefits from the downfall of the previous generation and is able to live happily without a husband or children. This conclusion suggests that women can live complete and fulfilled lives without needing to be married. Angela Carter’s feminist views on empowerment were controversial during her lifetime, including negative reviews for her book ‘The Sadeian Woman’ due to its defence of the Marquis de Sade, who wrote violent erotic novels that many consider sexist and inspired the word ‘sadism’. In regards to the empowerment in ‘Carmilla’, Elizabeth Signorotti states that “Le Fanu allows Laura and Carmilla to usurp male authority and to bestow themselves on whom they please, completely excluding male participation in the exchange of women”[8].

The inclusion of the female ‘Monster’ in ‘The Lady of the House of Love’ and ‘Carmilla’ also transgresses the boundaries placed around gender and the roles women play in society. The Countess is a vampire, much like Carmilla, and bears similarities to Elizabeth Bathory, the acclaimed ‘Blood Countess' who was rumoured to be a relation of Vlad the Impaler. The Countess in Carter’s tale embodies the idea of a Gothic Femme Fatale through the description ‘Everything about this beautiful and ghastly lady is as it should be, queen of night, queen of terror’[9]- the repetition of ‘queen’ places emphasis upon her position within the story. She is the highest authority within the text, being the queen, and is not subject to male dominance. In ‘Carmilla’, the monster is humanised at its death by Laura ‘a sharp stake was driven through the heart of the vampire, who uttered a piercing shriek at the moment, in all respects such as might escape from a living person in the last agony.’[10]and a simile is used to liken the monster’s pain to that of a human’s, implying that Carmilla is not actually that different from human beings. It seems that Le Fanu, like Carter, is suggesting that women who are free from male dominated societies are not monsters but are in fact just as human as everyone else. Le Fanu’s decision to focus on a female vampire may have been influenced by the legends he would have known growing up, namely the stories of the Leanan Sidhe and the Dearg-Due. These myths revolved around female vampiric creatures that preyed upon Irish youths and left a lasting effect on the victims even after the creature’s death (Laura never fully recovers from the effect of Carmilla, and often imagines she will return.). A connection between Le Fanu and the myths of the Leanan Sidhe and the Dearg-Due can be made as his mother read Irish folk tales to him when he was a child.

The continued transgression of gender moves onto the reversal of gender roles in ‘The Erl King’ and ‘Carmilla’. In ‘The Erl King’, the titular character defies the stereotypical role of men in literature as it states that ‘He is an excellent housewife.’ -[11]Carter ironically using the feminine spousal term for him. Aside from this, he has long hair he frequently combs and he takes part in activities that were frequently considered feminine, such as cooking, basket weaving and collecting flowers. Carter may have taken elements from the traditional Pagan god ‘The Green Man’ and his myth; he completed a loop in which he would conceive a child with ‘The Goddess’, die, and then be reborn as the child he created. Certainly, the Erl King is similar in appearance, as well as the narrator of the story stating ‘I would lodge inside your body and you would bear me’[12]. This is a metaphorical reference to birth, something only females are capable of, which juxtaposes the idea of the Erl King birthing the narrator. ‘Carmilla’ does the opposite, as Le Fanu gives Carmilla masculine qualities, the most obvious being her inhuman strength ‘and unscathed, caught him in her tiny grasp by the wrist.’[13]The use of the adjective ‘tiny’juxtaposes the power Carmilla is able to demonstrate. Moreover, a less obvious trait of masculinity is Carmilla’s lesbianism which was , in Le Fanu’s time, sinful in Ireland, and sexual desire for women would have only been acceptable from men. The inclusion of homoerotic features in ‘Carmilla’ points towards Le Fanu’s possibly relaxed view of homosexuality, as pointed out by Christy Byks, who states “Le Fanu, one of the godfathers of Gothic, appears to draw upon features that women would not have been given during his era, and his writing of Carmilla and her inability to fit in with most female Gothic characters would likely have been a topic of controversy within Ireland, a country ruled by religion.”[14]. This idea is supported by the introduction of Bram Stoker’s ‘Dracula’, which takes many ideas from ‘Carmilla’. Many literary theorists suggest that Bram Stoker wrote ‘Dracula’ as an answer to the female centric ‘Carmilla’, choosing to re-focus the story upon men, with women being forced back into smaller, weaker roles.

Further transgressions of boundaries, including the transgression of religious boundaries, can be viewed in ‘The Company of Wolves’. This story mocks religion through an intrusive narrator who informs you ‘you can hurl your Bible at him and your apron after, granny… and all the angels in heaven to protect you but it won’t do you any good.’[15]This is the intruding narrator mocking the two key aspects that Carter believed held women back, that being the ‘Bible’and the ‘apron’, which is a not just a symbol of stereotypical femininity; a feminist literary study showed that almost every female character in a fairy-tale wears an apron, referencing their roles as the housewife. seems to be Carter herself, who openly stated that she thinks “Mother Goddesses are just as silly a notion as father gods. If a revival of the myths of these cults gives women emotional satisfaction, it does so at the price of obscuring the real conditions of life. This is why they were invented in the first place.”[16]Rather similarly, in ‘Carmilla’, Le Fanu presents Carmilla’s aversion to religion, and portrays a fight between Carmilla and Laura’s father, which could represent an argument about nature versus God. Carmilla speaks against Christianity ‘”Creator! _Nature! _” said the young lady in answer to my gentle father. “And this disease that invades the country… and under the earth, act and live as Nature ordains? I think so”’[17]. The caesura used between the words ‘creator’and ‘nature’ not only symbolises her anger, but in placing a caesura here, Le Fanu separates God from Nature, and therefore denies religion the claim of creating everything. This scene contrasts with Le Fanu’s own background, whose father brought up the entire household with strong Catholic beliefs.

This questioning of religion perhaps suggests why there is also a transgression of moral boundaries in both texts. The ‘Trembling Victims’ within ‘Carmilla’ and ‘The Lady of the House of Love’ are Laura and the Soldier. Both texts include a similar juxtaposition of feelings towards the ‘monster’. In ‘Carmilla’, Laura portrays the Gothic feature of ‘The Uncanny, in people’s reaction to her; “but there was also something of repulsion. In this ambiguous feeling, however, the sense of attraction immensely prevailed.’[18]This shows that Laura subconsciously knows that something is wrong with Carmilla, because like most Victorians of the time, she reflects the belief that the appearance of a person was an indicator of their moral standing. Carter’s ‘The Lady of the House of Love’ has a similar scene in which ‘Her huge dark eyes almost broke his heart with their waiflike, lost look; yet he was disturbed, almost repelled, by her extraordinarily fleshy mouth’[19]The descriptive imagery and modified noun phrases work to emphasise the Countess’ appearance and how the soldier is affected by this, and it also represents the notion of the ‘Male Gaze’, the theory presented by Laura Mulvey, that women are either sexual objects there to satisfy men, or the housewife. The two notions are represented in the Gothic genre as the Femme Fatale and the Trembling Victim, and the Countess in ‘The Lady of the House of Love’ has facial features that are stereotypical of both women. Her ‘huge dark eyes’ and ‘waiflike, lost look’ are used often in the description of innocence, whilst her ‘extraordinarily fleshy mouth’ is a sign of sexualisation. Freud’s theory of ‘The Madonna and the Whore’ also comes into play here, as the Countess and Carmilla both bear qualities (both physically and metaphorically) of innocence and sexuality. The presentation of the soldier as a Trembling Victim links with Angela Carter’s view that not only should women become more masculine, but that men should also embrace femininity.

Laura in ‘Carmilla’ transgresses the sexual boundaries placed around her by choosing to refuse medical treatment from her father and the doctor. In doing so, she rejects the idea of curing her illness, which is a metaphor for lesbianism, and becomes free to make her own decisions in regards to her body. She takes on the dominant role in saying ‘I would not admit that I was ill, I would not consent to tell my papa, or to have the doctor sent for’[20]by making her own decisions regarding her wellbeing. The first-person pronoun ‘I’ is used so that the readers understand that Laura is the sole maker of these decisions. Through this illness, she has been able to gain freedom from her father. According to Christy Byks, Laura’s illness is a visualisation of what Victorian’s believed homosexuality was: a disease that needed to be cured. Byks says “Two ideas are at work in this passage. First is Laura’s father’s attempt to control the women who are becoming “ill” and dying; the men want to “cure” her (Laura) by making her well and keeping her among the living, for it is in death that the women break free… By making these interactions with Carmilla a medical problem, the situation can be contained and defined, thus still under the control of men”[21]. Angela Carter also provides transgressions of sexuality when placing women in the dominant position. In ‘The Company of Wolves’, it is the girl who makes the first move towards sexual intercourse, as suggested by the removal of her clothes in the extract ‘The thin muslin went flaring up the chimney like a magic bird and now came off her skirt, her woollen stockings, her shoes, and on to the fire they went, too, and were gone for good[22]’. A simile is used to present the girl’s clothes as a ‘magic bird’, and this personification of her clothing suggests that by removing her clothing, the girl, like a bird, is free to go wherever she wants to. The use of listing used within this quote also suggests that layers are being removed, eventually revealing the girl’s real desires beneath. Angela Carter herself believed that women were not given an equal role in sex, as stated in her book ‘The Sadeian Woman: The Ideology of Pornography’. In her comparison of Justine and Juliette, she states “Women do not normally fuck in the active sense. They are fucked in the passive tense and hence automatically fucked-up, done over, undone.”[23]and it is clear that this idea of a preference of submissive women over dominant ones had a large influence on how Angela Carter shaped her female protagonists and their attitudes to sexual desire, especially in regards to ‘Wolf-Alice’, who’s title character, like the Marquis De Sade’s Justine and Juliette, was originally housed in a convent after being found with the wolves.

The portrayal of the convent in ‘Wolf-Alice’ itself does not conform to the traditional view of religion, and instead transgresses religious boundaries by presenting the nuns not as kind, helpful religious figures, but instead as oppressive matriarchs; the nuns’ only purpose in the story is to attempt to integrate Wolf-Alice into the human society they live in, evidenced when ‘The nuns poured water over her, poked her with sticks to rouse her’[24]and ‘Therefore, without a qualm, this nine days’ wonder and continuing embarrassment of a child was delivered over to the bereft and unsanctified household of the Duke’[25]. When they find they are unable to manipulate her into becoming like everyone else, their choice is to pass her off to a male figure instead, whose house is described as ‘bereft and unsanctified[26]’, which is ironic, as it means the nuns, extremely religious beings, abandon their ward in a house that is considered unholy. This irony serves the purpose of being a metaphor for how society treats outcasts as whole, by isolating them from those considered normal. Angela Carter herself believed religion to be mythical, and stated “I’m interested in myths because they are extraordinary lies designed to make people unfree”.[27]The second transgression of religious boundaries in ‘Carmilla’ is during the funeral scene where Carmilla states ‘Besides, how can you tell your religion and mine are the same… everyone_must die; and all are happier when they do.’[28]and uses a caesura, perhaps to indicate the way she views life. The use of ‘Why you must die--_everyone_must die’[29]indicates how short life is, and the suddenness of death is reflected in the caesuras. Furthermore, the use of ‘your religion and mine’ seperates the two, and conflicts with Victorian ideas of religion. Christianity was considered the one true religion, and therefore Carmilla suggesting she followed another religion would have been heresy. As well as this, her pain at hearing religious hymns in the line ‘��There! That comes of strangling people with hymns!”’[30]presents the idea of a supernatural aversion to religion and foreshadows the reveal of Carmilla’s vampiric nature.

In conclusion, the varied transgressions presented within the two novels provide solid evidence of both authors’ awareness of the problems that are faced by females within traditional literary roles, and both Carter and Le Fanu are able to present their arguments using a variation of language features and characters whilst managing to keep a strong theme of female sexuality at the forefront of their stories.

[1]‘The Bloody Chambers & Other Stories’ by Angela Carter [2]‘Carmilla’ by Joseph Sheridan Le Fanu [3]‘The Bloody Chambers & Other Stories’ by Angela Carter [4]Carroll Davids on: How Does Angela Carter Deconstruct Conventional And Repressive Gender Identities In The Bloody Chamber [5]‘Carmilla’ by Joseph Sheridan Le Fanu [6]Colleen Damman on: Women's sexual liberation from Victorian patriarchy in Sheridan Le Fanu's Carmilla [7]‘The Bloody Chambers & Other Stories’ by Angela Carter [8]Elizabeth Signorotti on: Repossessing the Body: Transgressive Desire in Carmilla and Dracula [9]‘The Bloody Chambers & Other Stories’ by Angela Carter [10]‘Carmilla’ by Joseph Sheridan Le Fanu [11]‘The Bloody Chambers & Other Stories’ by Angela Carter [12]‘The Bloody Chambers & Other Stories’ by Angela Carter [13]‘Carmilla’ by Joseph Sheridan Le Fanu [14]Christy Byks on: Women's sexual liberation from Victorian patriarchy in Sheridan Le Fanu's Carmilla [15]‘The Bloody Chambers & Other Stories’ by Angela Carter [16]‘The Sadeian Woman: The Ideology of Pornography’ by Angela Carter [17]‘Carmilla’ by Joseph Sheridan Le Fanu [18]‘Carmilla’ by Joseph Sheridan Le Fanu [19]‘The Bloody Chambers & Other Stories’ by Angela Carter [20]‘Carmilla’ by Joseph Sheridan Le Fanu [21]Christy Byks on: Women's sexual liberation from Victorian patriarchy in Sheridan Le Fanu's Carmilla [22]‘The Bloody Chambers & Other Stories’ by Angela Carter [23] ‘The Sadeian Woman: The Ideology of Pornography’ by Angela Carter [24]‘The Bloody Chambers & Other Stories’ by Angela Carter [25]‘The Bloody Chambers & Other Stories’ by Angela Carter [26]‘The Bloody Chambers & Other Stories’ by Angela Carter [27]Angela Carter on: Religion by SlideShare [28]‘Carmilla’ by Joseph Sheridan Le Fanu [29]‘Carmilla’ by Joseph Sheridan Le Fanu [30]‘Carmilla’ by Joseph Sheridan Le Fanu

[handlewithkara]

Versus a depowered “human” Kara ending

I know that people have put forth the theory for why they think that the show will end with Kara giving up her powers and becoming “human”. I thought I would lay out my reasons why I don’t think it will happen. For this I will use a mixture of spoilers, discussion of themes and yes of course you can’t avoid personal preferences. 

First let me say, I don’t blame people for this speculation and that it makes the stupid or bad fans. I can see why looking at the evidence could make them come to that conclusion (for example with quotes like “Melissa:  What she stands for and always fighting for what's right, and leading with your heart and compassion and finding your family and holding on for dear life. “ or “ it's a lot of exploration of power and what it means, how do you wield it well, how do you wield it for the wrongs reasons, and what happens when you do on both sides of heroes and villains. “ or “The more Kara matures, the more she's grappled with her power and what it means to carry the powers that she has on Earth and her identity as either an alien or human, or where she belongs. Those are things we're really exploring this year with her. And what makes you strong? What makes you feel empowered? Those are things we're looking at this season across the board for all the characters. But with Kara specifically, this season is going to be more of a self-exploration, looking in the mirror and [contemplating] what her power means because it's almost limitless and it makes her so strong on Earth. Where does she draw the line? How does she reconcile that with her humanity?”), I’m just going to share why I don’t think it will be the ending the show goes with. 

Things we know about the ending - quotes: 

Quotes from Melissa:

-  they pitched me the end, and it's really lovely. It's a great ending. I feel fantastic about it  

-  "Story-wise, it's really lovely the capacity in which [James, Winn and Mon-El] return."

-  She said she would be willing to put on the Supergirl costume one more time to convince [her son]."If he asks, I would do it," Benoist said. "Something tells me he probably won't. [He] might be embarrassed." 

-  Of course, I’m not going to give anything away, but I am very happy with the strength and the empowerment that comes with the way we’re ending the series for Kara.

- it’s our heartfelt wish that her legacy echoes the central message of Supergirl: embrace the hope, the inspiration and the supwerpowers that live within yourself

Quotes from Chyler: 

- Question: Are you content with where Alex’s story ends? Chyler: It’s bittersweet. [..]  It’s going to be a “to be continued” kind of thing. It’s understanding that, OK, they’ve reached a certain point in their life where it’s almost like the audience can hopefully give them permission to imagine them having some time to be happy and it not be dire straits all the time. There’s always going to be bad guys.

Things we know about the ending from behind the scenes pictures: 

- Alex and Kelly will have a wedding and very likely Alex will finally get to adopt a kid like she has always wanted. 

- James, Mon-El and Winn are back for the finale and take part in the big battle. Kara is still flying in that battle. 

- A part of the battle is the people of National City rising up and helping out. 

- There is a scene where Andrea and Lena create something dedicated to William Dey. There is a scene of Nia posing with a flag and Kelly is present. 

- Alex will appear in the Flash crossover which is set after Supergirl concludes, potentially together with Kelly. Kara/Melissa won’t take part. As per her quote Melissa very likely doesn’t plan on playing Supergirl any time soon. 

The feminist message of Kara giving up her special powers

To me, there has always been a feminist message in women having powers and getting to use them. If you compare it to how how the journeys of Kara’s male colleagues have gone, traditionally they have gotten only more powerful over time, such as with Oliver dying and returning as an almost all powerful being. 

To me the message of taking the most powerful character in the Arrowverse who happens to be female and telling her “you have to give up your powers for the greater good” seems just kind of wonky to me. Not that it couldn’t be done at all, but I find it at least somewhat questionable rather than “I heard it and I got it immediately”. (is it really a great example of strenght and empowerment for Kara to give up her special powers? Is it really a lovely occasion for Mon-El, Winn and James to return to watch Kara give up her powers? As opposed to the occasion being that all of Kara’s friends, all the people she inspired to be heroes, powers or no powers get together to help her defeat the baddies) 

Especially since in the context of the show, these powers are an inherent part of Kara, just like they are for Nia and J’onn. And the show has consistently shown as the powers also being something that give Kara great joy (particularly flying). 

Diversity versus hegemony

Supergirl has always used aliens as a metaphor for immigrants and bringing up various aspects like suspicion against aliens, their rights as full citizens etc. 

It seems to me that for the way the show has used this metaphor the more suitable message would be aliens and humans living in harmony with each other and the aliens can keep having their powers. To resolve this conflict by Kara just “becoming human” seems like an odd fit for me compared how the show has handled this topic so far. 

Especially considering how Melissa has recently frequently brought up season 4 and citing that she liked it precisely for the political storylines it had. That being the very same reason where Kara contemplates embracing her heritage in public. 

There has been a lot of moaning about the potential implications of “giving up your life for a dude”, but I would bring forth, isn’t “giving up your heritage, giving up an integral part of yourself for anybody” still a pretty wonky message (presuming that the end would be something like “Kara gives up her powers for Alex, so she can be human with Alex, since the sisters are the heart of the show” [as it does not appear that Kara gave her powers up to defeat the big bad, since she still seems to have her powers in the big battle, so it would have to be what... Kara asking Nyxly or Myxy to take away her powers?], it just seems to me that in such a scenario, wouldn’t the greater love be where the other person doesn’t need or want you to give up such a huge part of yourself and instead loves you the way you are?

To me it just seems like the more uplifting message would be if aliens can keep their powers and still be accepted for who they are. 

Powers are used to bring down the big bad

Having a badguy with the power to do everything at the snap of a finger would be an excellent setup for Kara to lose her powers. But if the message of the show is supposed to be that no-powers is as good or even better than having powers, wouldn’t you expect that be reflected in how the big bad is handled? If the end of Kara’s story was that she gives up on having superpowers and focuses on being just a journalist, wouldn’t you expect then that journalism is what brings down the badguys? Wouldn’t you expect a big battle where Kara does not have powers but beats the badguys anyway to show off that powers are not needed at all even when facing down the biggest bads? 

Instead it looks to me like Kara still very much has her powers in this confrontation (we see her doing a superhero landing) And she is still wearing her superhero suit. Again if the central message of the show was wouldn’t it be more powerful if the big final battle would feature Kara facing the badguys down in her human, reporter outfit? 

Kara wouldn’t leave her friends

I find this claim strangest of all. Because Kara has left her friends before. She left to live on Argo. And if you look at those episodes, she did not come back because she missed her friends so much and realized she could not live without them. She realized she did not like it there, that she didn’t fit in there because even in a mostly peaceful world where Kara has no special powers compared to everybody else Kara could just not stop superheroing and she returned because earth was in danger. 

Back in season 3 when Kara tried to leave, all the people in her life were arguably in a way worse condition than they presumably be at the end of season 6. In season 3 Alex was still alone and still saddened by her breakup, just on the verge of taking steps towards her goal of motherhood. At the end of season 6 she will presumably be married to an equally heroic partner with the adoption she has been craving going through. 

In season 3 Lena was still clueless about the inner workings of superheroics, by the end of season 6, Lena is in the know, part of the team and has forged a lot of new friendships and might presumably even get more active powers of her own and it stands to reason by the end of season 6 Lena will be truly free of her family influence. Nia has grown into her own powers. Compared to the last time Kara left, everybody is in an even better shape.  

Would Kara really stop being a physical hero if she lost her powers? 

One component of the speculation is that whatever the ending is, it must provide an explanation for why Kara isn’t taking part in crossovers. Yet... Alex has no superpowers and she is still a hero. And every time Kara lost her powers in canon, she still kept on being a hero. So even if Kara gave her powers up permanently why wouldn’t she just join Kelly and Alex in being a technology based hero? 

I find it much harder to believe that a Kara who stays would sit by idly while Kelly and Alex put themselves into phyiscal danger. To me, a setup where Kara is still a superhero, just physically elsewhere and trusting Alex to hold down the fort just works a lot better than Kara not joining physically when she is basically around the corner and the show has plenty of technology lying around that would allow her to stay a physically active hero. 

It just seems odd to me that she couldn’t do both yet at the same time Alex presumably stays active as a hero. So is staying a vigilante superhero something worthwhile (even as you can have a positive influence on the world as a social worker or a reporter) or is it not?  If it’s not worthwhile, why is Alex still doing it and if it’s worthwhile and Kara’s beloved sister is doing it, why would Kara stop doing it, when in the past, she has always shown herself to still act heroically even when she had no powers? 

Is being human is better than having powers, shouldn’t J’onn and NIa (or Mon-El for that matter) give up their powers too? 

If the core message of Supergirl is supposed to be that not having superhuman powers and just acting with human empathy and ingenuity is better, why don’t J’onn and Nia give up their powers? if let’s say sacrificing powers was a requirement to defeat the big bad, wouldn’t that also affect J’onn and Nia? 

Yet when Nicole Maines was interviewed and asked how she would like Nia’s story to continue after Supergirl she talked explicitly about wanting to develop Nia’s powers more and how she wants Nia to become even more powerful. Something that seems kind of at odds if she just comes off a show where the presumably celebrated end is the main character losing her powers. 

If Kara has lot her power, why isn’t she present right there in the front line in those scenes with Andrea, Lena and Nia? 

If the aim of the show is for Kara to become “human” and focus on her work as a reporter and the various way that humans can inspire each other and lift each other, wouldn’t you expect Kara to be part of it? To either cover it as a reporter or to even be part directly when for example sort of inspiring organization is being created? 

Kara not being in those scenes to me makes more sense if she either isn’t there and these scenes communicate how various other characters carry on her mission OR if she at the very least still has her powers and flying over them in a way that is added as CGI later. 

Anyway, these are the reasons why I personally find it rather doubtful that the show will go with a depowered or “human” Kara ending. 

I personally lean towards what I call a “Graduation” ending, an ending where Kara looks down with pride on all heroes she helped inspire and moves to some other location to be a hero there or hone her heroing there, feeling safe in the knowledge that she is leaving the protection of earth in capable hands and that her message is still being carried forth by the people she has inspired. 

Another option of course could be that she just stays as a superhero as before, and they just don’t care to have any particular explanation for why she isn’t taking part in crossovers. 

Maybe the strength and empowerement could come from full circle from the pilot in her standing tall as a powerful hero with a army of people she inspired behind her and finally being open about her secret identity, as an alien (as mirror to Kara revealing her powers to the world in the pilot, it is Kara revealing her identity to the world). 

In the end, it be will a question of personal preference and we’ll probably have to agree to disagree which ending seems more likely and just a couple of months from now, we will see what the show goes with, what they felt was more suitable and what Melissa thought made a “lovely” ending for Kara’s character. if Kara “turn human” in the end and Melissa is happy with it, whatever. I can live with it. But with the things are now, I’m skeptical that that would be their ending. To me it would just seem like an odd fit with the overall messaging of the show (yes even with all the talk about human hearts, but what does it say about the rest of the characters who are also aliens?) and a rather dubious place to leave the character in and imo doesn’t really provide a lot of advantages to Kara keeping her powers and staying in town when it comes to explaining her position vis a vis the rest of the Arrowverse. 

[lore-of-the-silvereyes-rwby]

The Hero that was never meant to be

I’m going to ask you guys a quick question. Think back to the volume 2 season finale in 2014. Or before Salem's debut. Once all of the antagonists are defeated and you're now left asking; Who's going to be the next antagonist for the series?

Before we proceed with this inquiry let's take a look at what exactly distinguishes a hero, from a villain.

Hero/Villain/Anti;who knows?

Below are multiple examples/definitions and meanings of heroes and villains as well as their anti sub groups.

Hero

a person who is admired or idealized for courage, outstanding achievements, or noble qualities.

the chief character in a book, play, or movie, who is typically identified with good qualities, and with whom the reader is expected to sympathize.

“a person of distinguished courage or ability, admired for his or her brave deeds and noble qualities." Heroes come in many forms in life, ranging from one's family and friends to athletes to movie stars. A person's heroes can change over time.

Villain

(in a film, novel, or play) a character whose evil actions or motives are important to the plot.

 a cruelly malicious person who is involved in or devoted to wickedness or crime; scoundrel. 

a character in a play, novel, or the like, who constitutes an important evil agency in the plot.

Anti-Hero

a central character in a story, movie, or drama who lacks conventional heroic attributes.

is 'a central character in a story, film, or drama who lacks conventional heroic attributes'. These missing attributes include idealism, courage, and morality. Anti-heroes can sometimes do the right thing, but it is usually because it serves their interests to do so.

Anti-Villain

is the opposite of an Anti-Hero — a character with heroic goals, personality traits, and/or virtues who is ultimately the villain. Their desired ends are mostly good, but their means of getting there range from evil to undesirable.

Now that we have some measure of clarity about this let's get to the point.  Basically Ironwood is a Anti-Villain character

If you think back to the things we have learned throughout the series, all the people we have met, you will find that all of Ironwood’s traits align better with Salem, Cinder, Jacques, and Adam.  All of them have this hunger for power and/or control, all of them are trying to protect themselves and increase their control.  

All of them use a level of manipulation and none of them really cared about the damage it would do to others.  Ironwood might be a little better because, at first, it was something he kind of thought about.  Kind of. He had trouble relating to the idea that protecting more was better than protecting less, and it seems that he had been struggling to find his heart since the beginning. 

Ironwood is a well intentioned and desperate man who wants to protect Atlas against Salem, but he can reach extreme means to do so. By the end of Volume 7, he's willing to abandon both Mantle to die and throw away humanity's best chance of survival by leaving Amity Tower; he also falls far enough to shoot a teenager for comparing him to Salem.

Going hand in hand with his Never My Fault tendencies. Ironwood hates anyone bringing up how his ways don't work, with extreme annoyance being the best reaction possible. It doesn't matter if someone is simply stating the objective tangible negatives of his actions, he will not hear it. He gets into a shouting match with Nora when she calls him out on how much damage he's doing to Mantle and only stops when she points out his proposed solution to deal with the current unrest (martial law) is just going to cause far worse problems if he goes through with it.

While he demands complete loyalty from others, Ironwood has repeatedly betrayed the trust of others in the name of the greater good. If someone is an obstacle to accomplishing what he believes is necessary, he will use political or even military power to enforce his will.

Ironwood has helped Ozpin fight Salem for years but they disagreed over the best way to defend Vale; Ironwood secretly convenes a meeting of the Vale and Atlesian councils to report Ozpin's behavior, resulting in Vale removing Ozpin from overseeing the Vytal Festival security in favor of Ironwood. Qrow later tells Ironwood that he has a strange idea of showing gratitude if he responds to Ozpin bringing him into the fight against Salem by betraying him. Even after being confronted, Ironwood insists that he had no other choice.

Ironwood spends most of Volume 7 promising that the Kingdom of Atlas is safe and that Mantle can count on him to protect them. However, when he discovers Salem is arriving in person to attack Atlas, he decides to abandon Mantle to the Grimm in favour of raising the floating city of Atlas higher in the atmosphere where the Grimm can't go. When Ruby tries warning her allies about Ironwood's plan, he disables her scroll, and has Teams RWBY, JNR, Oscar and Qrow arrested.

Ironwood's a man with good intentions, but he seems to believe the best way to handle any sort of situation is if he is in full control of it. This is seen as early as Volume 2, where he both brings a large fleet (composed mainly of machines) along with students for security and later has the Vale and Atlas Councils transfer security control of the Vytal Festival from Ozpin to himself. 

After the Fall of Beacon, James continues to tighten Atlas' defenses with a Dust embargo and closing of its borders, and by the time the heroes arrive in Mantle, there are broadcasts of the general practically saying that as long as they cooperate with his laws, he can and will keep them safe. 

As Salem's forces continue to sow discord and increase his paranoia, and when he discovers that Team RWBY has consistently hidden important information from him, Ironwood decides to invoke martial law and raise Atlas out of Salem's reach, under his control. When Ruby warns the others of his plans, he shuts off her call with his own Scroll.

Ironwood is noted for being a man who never gives up pursuing his vision of how people should be protected. When his attempts to convince Ozpin that they're on the wrong path fail, he convinces the Atlesian and Vale councils to override Ozpin's authority and give him direct control of protecting the Vytal Festival Tournament. 

In Volume 7, he is willing to pursue his goal of protecting the Kingdom of Atlas against Salem no matter how bad his public reputation becomes with the citizens.

To be clear Ironwood is an Anti- Villain type character in the RWBY story. He may have good intentions but it is unknown as to their extent of what they are. His methods to achieve those methods have only made things worse.

I couldn’t let you breath, cause I didn’t wanna Die

We all say we would die for something but do we actually mean it?

“I would die without regret I offer up my life”

It is hypothetical but not in the way you suggest. The difference between using would or will is not about whether the speaker is being disingenuous about their offer, it’s about whether the speaker knows if they are ever going to be in a position to fulfil their promise

It is hypothetical because the speaker does not know whether there will ever be a situation where they would be in a position to give their life to save you. If they were to use will, it implies they are anticipating that they will be in a position to give their life to save you 

When someone says “I would die for you if you need it,” is it just a hypothesis that's never going to happen,  the subject doesn’t want to die at all, otherwise they’ll use “will” instead of “would”?

Kill or be killed

All the weapons in rwby appeal to the audience as they have options when it comes to fighting. Ironwoods does not. His weapon is only designed to kill as a reflection of his inability to see reason. As opposed to other characters that show that when they kill it would be a last resort option.

(Think of the Jedi's preference for lightsabers instead of blasters)

Ironwood has a revolver  -  reliable, never jams. high attack power, similar to his mentality on robotics in general and how he values them focusing on the characteristics of the revolver is the important part, and you see it in another Atlesian character--Weiss Myrtenaster is a Rapier and a Revolver as well, and revolvers are still used nowadays because of their reliability. They'll never jam, and when it comes to a gun all that really matters is hitting the target on a pragmatic mindset at least, and ultimately in the show the weapons used by characters say a lot about them. For example;

Qrow has a scythe - not a weapon, a farmer's tool, alluding to the scarecrow. The actual weapon would be the sword mode, and is inspired by the grim reaper, who uses a scythe because he reaps souls like one would reap what was sown(or harvest)

Jaunes shield and sword are both offensive and defensive weapons which offers a variety of options as to handle conflict

Ozpin's cane symbolically conveys the message that it's okay to be weak and its normal to accept help and support from others

Yang's gauntlets are basically Bruise but don’t kill type weapon as such they give her  more control of the damage that is inflicted on her opponents

As ruby put it the Weapons in the show are an extension of the characters. The extent of Ironwoods weapon is that it conveys his blunt, and cold methods that he can’t or won’t embrace alternatives solutions or anyone else's ideas to problems

This can also be seen with his use of militarized Huntsmen and the use of mindless android soldiers. As I stated in I am power Ironwood’s personnel combat abilities are mediocre to non-existent with his true power stemming from the consent of the people to die for his cause instead of him since it's guaranteed that he will die instantly due to his lack of unique or special combat abilities. 

(Pretty self explanatory considering he had to sacrifice an arm to beat a nerd)

Fear of death is basic human instinct

Ironwood believes that he is this chosen savior and can’t die and he believes his life is more important than others and would instead sacrifice everyone else instead of him if it would mean victory

Now you're probably asking why does Ironwood not want to die when he said he would? As stated before he doesn’t trust anyone but himself to do the job right. His narcissism and ego prohibit him from trusting others and having faith that people besides him can win. 

This has been hinted as early as his debut in V2 where he asks Ozpin;

“Do you honestly believe that your children can win a war?”

Because of this and his Nihilism for rejecting the truth, he believes that he is the most important piece on the bored and everyone should listen and die for whatever he needs if it would mean victory

Ambitions and desires of a broken kingdom

A character without motivation is a really boring character as opposed to one who does. But to realize what their motivation is or what it is truly is another. Ironwood is no different but what exactly is his personal motivation that is unique to him one must wonder?

That's just it, he has no real personal motivation. Like what does he have to lose? What does he have to gain? What is so important that he is willing to go to such lengths that clash with the ideas of Ozpin and the heroes? To answer Atlas. After all, what is Ironwood without Atlas?

 It is important to know the effects of a characters home and origins to better understand a character's personality. Ironwood's plans have always been in line with Atlas, whose intentions are that of Ancient Mantle. Now what exactly are the intentions of the former capital that would live through Ironwood.

Atlas as I stated before is more or less a Technocratic Conservatives society led by Authoritative totalitarians with a focus of becoming an Extreme Militaristic Oligarchy that had originally started out as a Resource driven Empire out of necessity and without restriction 

To clarify, Ironwood is a byproduct, and enforcer of Mantle’s(later Atlas) Philosophical Ideology and Culture. The effects of one's origins can have a very lasting impact on one's life. Ironwood’s life has been heavily affected by his homeland to the point that he will die for it, and sacrifice whatever he deems necessary for it. 

Because of this Ironwoods alignment is that of Lawful Evil because of his Atlas ideology

A Lawful Evil character is an evil character who either tries to impose or uphold a lawful system on others without regard for their wishes, and/or adheres to a particular code. They believe in order, but mostly because they believe it is the best way of realizing their evil wishes.

In other words Ironwood will always be the loyal son of his Kingdom and will do anything to save it.

Now that clears his main motivation and the scale of what he is willing to do to achieve it but what motivates him personally?

Well that's just it there is none. His primary motivation is pretty shared by most of the heroes and main characters and as is the common clause of save the world stories everybody knows they can’t let that happen as peter quill would say;

“Why do you want to save the Galaxy?”

“Because I'm one of the idiots who lives in it.”

So with that in mind what's in it for him that he can’t lose or let the world be destroyed?

You overstepped your boundaries

To help understand his character it is important to understand what exactly his role in the plot was originally and how he ended up biting off more than he can chew when he broke away from it.

Essentially Ironwood was meant to be the overseer and guardian of the relic of creation as well as the trainer of the next generation of huntsman/huntresses. Meaning the only position of power that he should only have is Headmaster of Atlas academy. As I stated in I am machine Ironwood's heroism stems from a lack of trust and in doing so has burdened him with more responsibility than he can handle.

The catalyst 

All of the events and conflicts that plague remnant at the shows present can all be traced to Ironwood. An argument can be made for Salem but to me she seems more of an opportunist instead of an actual evil master mine. Being the opportunist she is she needs ammo for which she is otherwise incapable of making on her own. Thanks to Ironwood she has plenty of it to enact her plans and reach her goals 

Below is a list of events and conflicts as well as characters that have been affected by Ironwood

(Whether Directly or Indirectly)

The Schnee Dust Companies Immoral and shady practices

I know Jaques is mostly to blame for all of this but one must ask; Why didn’t anyone stop him before V7? 

It's already been established in the show that the S.D.C. and Atlas Military have a corporate alliance to mass produce Weapons and ammunition. The most prominent weapons to come out of this alliance was the paladin assault mechs. Now how important was this alliance to Ironwood?

In short, they are the best choice to provide for his needs for war. As long as he gets weapons and all that he needs to sustain a war he doesn't care what the giver has to do to meet his demand. As such Ironwood had enabled Jaques and allowed him to continue his immoral ways so long as he gets what he needs. On the other hand Jaques seems to be at least a decade older than Ironwood so there is a possibility that the corporate alliance has already been there long before Ironwood ever came to power.

But I ask again why didn’t Ironwood who was aligned with a man like Ozpin didn’t stop him? As the Volume 7 commentary stated Ironwood doesn’t care for Ozpin's rules and sees being efficient is more important than being morally good. Because of this Ironwood had been more focused on starting a war first and caring about people second thus he has only spread misery by enabling Jaques’s greed just to have his war. The crimes of the S.D.C. are also Ironwood’s 

The family strain of the Schnee family and Winters abandoning

While we’re still on the subject of the Schnee's let's talk about how essentially Ironwood made Winter the Blake to his Adam

As I stated before in “You had me with your words”  we don’t exactly know why Winter would be so loyal to Ironwood to the point of saying that her life doesn’t matter in V7 and why she would be so against her family to the point that she makes no effort to see Weiss, and Whitely included and only bothering to be apart of Weiss’s life only because she seems to be following the same path of defiance against their father. In other words she only chooses to interact with her sister only if she is rebelling against their father. If she is not, then Winter wants nothing to do with her. 

Now who or what exactly would cause Winter to have this unhealthy mindset in regards to her own personal existence and relationships?

The answer being Ironwood. 

If we were to consider Jaques words being serious than it is more than likely the truth. Ironwood did steal Winter, not just from her father but from the rest of her family. I don’t know what exactly Ironwood said or did to turn winter away from her family but it wasn’t out of the kindness of his heart. He did this  just to have a loyal subordinate with incredible power( her hereditary semblance) & status( her grandfather's legacy and accomplishments) just to give his power and status more legitimacy.

By doing so Ironwood made Winter  believe that her family as well as herself is beyond redemption due to the actions of her father thus leading her to abandon them and only believing Ironwood can redeem her hence why she values her life so little and is willing to die for whatever Ironwoods says.

I understand that winter joined the military to get away from her dad but she had options besides the military and like weiss she could have went to the other academies to get away from her dad but she didn't which i consider Winters greatest flaw is that she has no idea of an actual healthy relationship

The White Fang

This is also speculative but not unlikely as the show has clearly shown; Faunus and Atlas don’t mix. 

Same thing with the S.D.C. this can really be seen as indifference on Ironwood’s part and lack of care  but still Ironwood didn’t do anything to settle the racial inequality in Atlas even though he is allied in a secret circle that's supposed to keep the peace.

Especially when that inequality was being used to help legitimize a terrorist organization that can be used as a disposable army for Salem which it did.

Watts’s Defection & the P.E.N.N.Y. Project

Ironwood commissioned 5 scientists including Watts and Pietro to make Weapons for war.

Even though Watts is an egotistical bastard it really makes you wonder how someone as smart as him would work for a literal demon lady hell bent on conquest. The same can also be said about why he chose Penny instead of any other actual and practical projects ideal for war.

One thing to note is the possibility that Ironwood did not tell the 5 about the real reason as to why they’re making these weapons in the first place. For example would Pietro really want Penny the closest thing to an actual child that he may have had to be used as one of Ironwoods militarized assets?

We’ve seen what Pietro is like and that he really cares about Penny and if it were his choice Penny wouldn’t be in the situations that Ironwood would place her in. Ironwood had basically taken and drafted Penny without her or Pietro's consent and made her a tool for war and much more.

In semi canon sources(Amity Arena) the general consensus is that the Paladins were Watts’s idea and project. One of the misconceptions is that it was a contest for whose idea would be made but since we see both the Paladins being used and Penny that's not the case. All 5 projects were going to be used but only 1 would take top priority first before others and that project was Penny. 

This might actually explain why the paladins were ugly and incomplete in V2 as opposed to their slicker and finished versions in V3. The Penny project took both praise and priority first before the others. Once penny was finished the other projects would begin that may also explain why the Paladins weren’t first revealed until the events of V2 even though Pietro said that the commissions for the projects including the Paladins were almost a decade ago as of  V7 ep 7 

To Watts he felt insulted that his (to him) practical project was being postponed for a sad man's personal self indulgent pet project. This and due to not really knowing as to why these projects were going to be used for. Because of this and Ironwood’s lack of concern for people He had essentially driven Watts to Salem and made him one of her most valuable assets that she ever had. Salem herself even states that she should have employed his services years ago that alone tells us how valuable an asset Watts was and Ironwood discarded it. Which led to the fall of Beacon and the civil unrest in Mantle With Watts out of the way let's move to the next question

Why the Penny Project?

We all know at this point that Penny is the Pinochio for Pietro’s jopedo. So why would Ironwood approve a project that seems the least efficient and effective for war? There have been many theories as to why but two of them stand out the most; Potential vessel for the maiden powers and Espionage

It has been made clear that Ironwood has been readying for war against other people Salem specifically but how does one go about that? The first of which can be explained as Ironwood trying to make the ultimate artificial warrior with incredible power. As Ironwood has more faith in machines than people he would see Penny as the ultimate super soldier that he can use in his war

The second theory as to why he chose penny could be for spy and espionage purposes. As stated by cinder in volume 3 where this theory originates from; why would Atlas make a robot look like an innocent little girl? We know why Pietro made Penny look human but why would Ironwood go along with making a T800 complete with realistic skin and hair?  Besides Pietro there was no logical reason to make penny look as humanly as possible. Like the Terminators who were designed for infiltration and assassination missions and Ironwood being a paranoid individual who sees the world as one of two things; you’re either an asset or a threat / Penny or similar models would have been used to spy and eliminate potential threats in the other kingdoms. With the possibility as to what Ironwood would use penny for before her reveal in V3 clear let's move on to the last part of this bullet point

Why didn’t Ozpin know about Penny?

Prior to the truth of her origins being revealed via her death by Pyrah the only people who knew she was an android are cinder’s team, Ruby, Pietro, and Ironwood. The villains knew that truth after being fortunate enough to have Ironwoods scroll infected by the virus and Ruby found out by accident from penny. 

So officially the only people that were allowed to know the truth about Penny were Pietro and Ironwood. Winter and the Ace-opts don’t count as Volume 7 confirmed that they were brought into the fold after the fall of beacon along with penny so by the time of the fall of beacon they had no idea about salem or that was the sole purpose as to why penny was made.

 The same can be said for Watts too since Penny was still an idea being developed along with being assumed dead and not seen in atlas for years. Thus Watts never even knew what penny looked liked. Had he known i'm pretty sure he would’ve revealed that to Salem who would have given it to cinder for use in her mission. But as V3 shows Cinder finds out after getting access to Ironwood's personal scroll. Meaning that Ironwood kept Penny so secret that he never even bothered or considered to tell Ozpin.

By the end of PVP Ironwood sounded like a terrified child who got caught while trying to explain to a pissed off Ozpin about Penny only to be coldly told in a threatening tone to use the army that he brought to clean up his mess or else. That alone is proof enough from Ironwood that he never told Ozpin about Penny and was scared of what Ozpin would do to him for catching him on his secrets and lies.

So why didn’t Ironwood tell Ozpin about Penny? Short answer Ozpin would never approve the use of Penny. It was already established in V3 ep 6 that Atlas has been doing unethical experiments with Aura. Ozpin and most of the inner circle don’t really approve of such practices but can tolerate it  and use it if they have to. But most likely not to the extent of using it to make artificial living beings just to be soldiers.

This would be a similar moral dilemma as the clone troopers from star wars who were bred and mass produced at an accelerated rate to fight  in a war that they didn’t even understand or have a choice to fight in with the mindset and innocents of a child. The Umbara arc from season 4 of the clone wars series perfectly depicts the unhealthy amount of abuse the clones faced and the length of being taken advantage they were forced to endure

Now apply that to an army of pennies with the same childlike innocence and naivety and sentience being deployed into combat without much preparation and are expected to die just to buy time for the real heroes to win.

Now who is more likely to use a clone army without concern for the morality and ethics about making it let alone not care for the well being of those clones

A key important factor to remember is that until V7’s end Ironwood was pro war as he thought he could win against Salem if he had the largest army at his disposal. Penny was no exception and Ironwood only saw her as a potential part needed for his war machine. Because of the war centric views of Volume 2 & 3 Ironwood and lack of concern for the safety of others Ironwood had set the stage perfectly for volume 3’s finale

The Fall of Beacon

The points above actually help validate and contribute to the Fall of Beacon, but it's true Beginning for its fall started when Ironwood arrived at Beacon in Volume 2. As stated by Oz in Ironwoods first appearance Headmasters don’t usually attend the vytal festival with their students. Given what we now know about the importance of the academies, Ironwood pretty much abandoned his post and risked the safety of the relic under his charge.

All in what appears to be an effort to make a power grab against Ozpin and promote Atlas.(That’s probably speculative but not far off the bat given Ironwoods doubts and actions by the end of V2).Ever since his debut Ironwood has always been a character that contradicts the main characters that are suppose to be the heroes

He seems to only believe the best way to handle any sort of situation is if he is in full control of it. This is seen as early as Volume 2, where he both brings a large fleet (composed mainly of machines) along with students for security. Ironwood has helped Ozpin fight Salem for years but they disagreed over the best way to defend Vale; Ironwood secretly convenes a meeting of the Vale and Atlesian councils to report Ozpin's behavior, resulting in Vale removing Ozpin from overseeing the Vytal Festival security in favor of Ironwood. 

 Volume 2 also has Ironwood reveal to Glynda that he thinks Ozpin is hiding something from them. Glynda points out that he's part of the inner circle that's hiding things from the rest of the world and that he needs to stop talking about trust and learn how to trust others. Ignoring her advice, he secretly collaborates with the Vale Council to strip Ozpin of his control over the Vytal Festival security, then tells Ozpin to trust him.

This also brought up the possibility that Ozpin would be removed as Headmaster of Beacon academy. Not only was Ironwood willing to depose the leader he was following from his position of power but also remove an important ally from safeguarding one of the most important and crucial places in all of the world that also holds probably the most important relic of all of them(The Crown of Choice)  

I already talked about how Penny’s secret had contributed to the fall so I’ll be talking about how Watts contributed to it since I forgot to include in the last bullet point. Its a very small Easter egg but on Cinders scroll as she was rigging the vytal tournament for CVFY’s match and discovering Penny’s android nature there is a small cursive W at the corner of her scroll. The small W that Watts uses as a holographic icon when he calls Leo in V5. RT has said that they had WTCH in their back pocket for years until they were revealed taking that into account it is clear that the virus that infected Beacons CCT Ironwoods scroll and forcing the droid army to commit order 66 was made by Watts.

The virus and the cyber warfare aside the next final contribution on Ironwood’s part was the imprisonment of Roman Torchwick

It's pretty much been clear that Torchwicks' imprisonment was an improvised plan on the villains part to get an inside man aboard a warship. Basically it was like Heath Ledger's joker in the dark knight; he wanted to get caught. Torchwick himself said that he is where he wants to be to Ironwood at the end of V2. As V3 showed Torchwick and Neo took over what can be assumed to be Ironwood’s personal flag ship and used it to destroy the rest of the air naval section that was brought for the Vytal security team. 

This could have been avoided had Torchwick not been released into Ironwood's custody or at the very least kept somewhere else that should he escape he couldn’t have done so much damage. The Airships aside it was also possible that Roman had used the onboard artillery on the city as well that means that innocent civilians weren’t just being mowed down by hacked robots but being carpet bombed as well increasing the death toll at the fall of Beacon.

The Dust embargo and closing of borders

Since the fall of Beacon Academy, Ironwood has become increasingly unstable and paranoid, making more and more ethically questionable decisions that he repeatedly justifies as the greater good; by his own admission, he will do anything it takes to stop Salem. 

This however does not fare well with the rest of Remnant though.

As Atlas is the primary location for most of Remnants Industry as well as having a monopoly on Dust; Remnant’s most crucial resource that everyone needs in order to survive, the other  kingdoms rely heavily on Atlas for technology, resources and weapons. By placing an embargo he has cut off everyone in the world from their most valued resource. Though he did this to stop the enemies chain of supply he is still letting people suffer and die by with-holding the one thing they need to live and survive. 

Which brings us to the borders

Though it could have eased tensions after the fall of Beacon it just lasted too long as well as the fact that Ironwood had essentially turned his back on the world and refused to help the other kingdoms in their time of need. In the CFVY book spin-off all of the Beacon students either went to Haven or Shade academy to finish their training. As well as the Vale refugees going to other kingdoms as well. But due to Atlas closing its borders none of the students or the people went to Atlas for help. Basically due to Ironwood’s orders the Kingdom of Atlas was forced to not help the other kingdoms when they needed it the most.

And it has only gotten worse due to the events at Mistral in V5 as not only are the students of both Beacon and Haven going to shade, putting a strain on the academy but leaving the entirety of the worlds largest kingdom unguarded and undefended as it now lacks able huntsmen to protect it due to Ironwood’s refusal to help 

It should also be noted that when Ironwood closed the borders he had failed to inform any off his subordinates of who can and can’t enter the kingdom especially in regards to allies like Glynda or Qrow who again are allies against Salem and Ironwood made little to no effort in keeping contact with the other Oz members. This is made evident in V6 when the Argus soldiers refused to believe Qrow about being an ally to Ironwood. you could say that he was waiting on the amity project to make contact with the other members but  he had to have realized that they needed to get into atlas at some-point. But did he make it easy for them or any other ally to reach him? No he did not. 

The Mistral Huntsmen Genocide and the Battle of Haven

Second verse, same as the first, he had put them in a hearse. Another example of Ironwood’s indifference and hypocrisy that led to the death of allies and innocent people.

Due to the events of the Fall and it being broadcasted the enormous state of panic had spread throughout all of the kingdoms. The negative emotions in mass had attracted the Grimm and caused much havoc and loss throughout all of them and the worst to suffer from this mass hysteria was most likely Mistral due to its larger population and territory.

In V5 Lionheart had confirmed that Mistral losses were heavy and many of the local huntsmen including the Professors from Haven were killed in the initial grimm invasion that plagued Mistral following the fall of Beacon. After the initial panic had settled down the Mistral council had been employing Huntsmen in mass and restricted their activity to crucial and vital missions in high profile areas to ensure the safety and stability of the Kingdom.

Now the real question comes in where was Atlas?

In the world of remnants shorts  its confirmed that Mantle and Mistral have an alliance that eventually carried into Atlas. With that being said, where was Mistral’s ally during the fall out and what were they doing. We know in V5 that all Military Assets were recalled within the month prior to the battle of Haven. I know that the kingdoms are weary of Atlas at this point but given the state of the world after the fall, Mistral needed all the help they could get. As such Mistral would have to call upon the old alliance and have them honor their word and offer aid. 

Or at the very least transfer some assets over to Mistral to use it as needed. We have the base in Argus sure but that was just a forward border control base  that didn’t really help anybody. Prior to the recalling Ironwood had Winter gather intel on potential activity that would lead to a second fall of a huntsmen academy and he chose to do nothing. This is further proof of his hypocrisy and arrogance. Ironwood at this point is reading the military for war and with holding aid and support that was actually needed. 

His V4 self is a stark contrast to his V2&3 self as that version of himself was willing to manipulate and intervene in the affairs of other nations under the assumption that the ends justify the means and would see himself above the rules so long as it's for the greater good and stop the threat before it can escalate. That was exactly what Ironwood did at the end of V2 by stealing power from Oz and tried to enforce his own set of rules if it would prevent a disaster.

Now why did Ironwood not do the same thing with Mistral and try to prevent the potential fall of its academy regardless of the bad publicity that it would warrant? It's already been said by Ironwood that he doesn’t trust Leo to handle the situation at Mistral and based his dissection to close the borders on Winters report and decided to prepare for an potential attack on Atlas rather than sending a small task force to handle the threat at Mistral. 

Taking into consideration his plan for Amity it's quite possible that he wanted Leo to fail and Mistral to be ready to eat from his palm. In other words unless there is something to gain and benefit from he’s not going to do it.

Ironwood all the way till he was told the truth about Salem in V7 had a War is the Answer mentality and was hoarding everything and anything that would help sustain a long campaign as well as increasing the size of that force with the intent that  that the large numbers were enough to intimidate Salem and her faction into surrendering and eventual destruction. The only problem is that the people he needs were born in a time of relative peace.

Because of the 80 year age of peace that followed the Great War the Modern world of Remnant has had zero to no conflicts as large or damaging since that one war. There were small conflicts sure like the faunus war, the White fang terrorist cell, and the criminal underworld but they weren’t that much or a threat or concern to a majority of remnant it wasn’t until the Fall of Beacon that the foundation of this peace was shaken so intensely that the cracks started to show but it was still together if only held by a thread.

With the Peace in mind and the peoples faith still with the huntsman as their distrust for Atlas Military lingers no one in the world of remnant outside of Atlas would have any motivation or desire to mobilize for war let alone a war for a foreign leader of a foreign land that has recently come under suspicion. Ironwood was never going to be able to unite the Kingdoms and mobilize their people for his war after the fall of Beacon with Atlas being painted as the bad guy. Unless the situation went from worst to extreme.

Like if another academy were to fall with the same or greater results like Beacon. Then maybe people all around the world would consider following Ironwood’s lead and wipe out the threat before things can get even worse.

Because of this Ironwood had allowed Mistral and possibly the other Kingdoms to exhaust themselves so much that they would be unprepared for the next major Grimm invasion should they come after the next major hysteria induced panic. Panic like Ironwood’s original plan to unite the world and tell them about Salem causing the kingdoms to fall into further disarray only to be saved by the flying grace of Ironwood and his Military. And the only repayment for his help is that you join his fight.

I know this is all speculative and you can say Lionheart was the one who was responsible for mistrals problems after the fall, but remember Leo was the only Faunus on the council of a racist kingdom and only had one seat over the huntsmen and can only give out and approve mission assignments that would get them killed thus he had no real authority or power in Mistral  besides siding with the majority and even if he tried to talk the council into refusing Ironwoods help their racism wouldn’t listen to Leo and they would do the opposite and call for aid. 

But again Ironwood prior to the fall was willing to stop the threat at its source regardless of politics. But after the fall he had put all of his focus on preparing for war instead of helping people that needed his help at that moment. This may be due to his semblance(still dumb BTW) but ultimately he was focusing on his own needs first than the needs of others. Because of this he had ignored the issues of Mistral and failed to see the truth of what Lionheart was doing and had allowed Most if not all of the well trained and experienced huntsmen of that kingdom to die leaving the kingdom defenseless and unprepared for any conflict that would come.

 Like the Battle for Haven for example. Had Ironwood not recalled everyone back and had Winter and whatever Atlas personal that were with her its quite possible that the battle may never had happen, the truth about leo would have been discovered sooner and the genocide of Mistrals huntsmen wouldn’t have been as bad had Ironwood actually chose to help, Instead he  started to fall back and focus on the Amity Project and Atlas instead of spending any resource outside of them, due to a narrow focus to and putting everything on it just so he can have his Victory.

The Civil unrest in Mantle

A loved and respected leader will die by the side of his people: A feared and hated one will die by their hand. Short term closing the borders cloud have helped ease tensions between Atlas and the rest of the world but long term it had made things worse

Due to the fall of Beacon it's quite possible the initial attacks that came after can explain why Mantle's defensive wall was so destroyed and ruined by the time of V7. That means that potentially for almost over a year that wall has had no repairs or maintenance  and has had the bare minimum leaving the citizens in a state of constant peril and danger since the fall of beacon

This is further made worse when Ironwood closed off the borders and cut off the chain of supplies and trade not only to Atlas but also to Mantle as well making the kingdom suffer more than it had to. As the original capital, the rise of Atlas reduced Mantle to a shadow of its former self. Streets are run-down, technology is old, security defenses haven't been updated in years, and smog from the mines hangs heavy over the city. People struggle to eke out an existence, depend on dangerous mines for work and experience regular Grimm attacks that the city increasingly struggles to repel. Meanwhile, Atlas hangs in the sky above their heads; a constant reminder of the wealthy elite that is failing to share the wealth that Mantle creates, and a target of Mantle's growing resentment and anger at having been left so far behind.

Ironwood who is again allied with and a member of a secret circle that is supposed to keep the peace and prevent any social unrest that can cause a conflict.  Thus he should have tried to ease the tensions and made the conditions of Mantle better in order to maintain peace. Now I know it's not solely Ironwood’s fault for the state that Mantle is in as he hasn’t been in a position of power for long but still he should have focused on the people instead of preparing for a war that may have never come. A stark contrast to Ozpin’s way of preserving peace and handling threats

Because of his narrow focus and indifference he made things worse as he was only focusing on potential threats that have yet to come instead of focusing on the issues and preventing them before they escalated. After the fall, the embargo and closing of Borders Ironwood concerned himself with preparations for an assumed winnable war instead of trying to restore peace and keep the people on his side. Which is ironic as he was doing this to rally a large force and stop the threat but did not consider that he may have been pushing away potential troops and allies that he would have needed. And only stoked the people's frustrations 

This is mostly due to Ironwood never giving an estimate of time for how long the embargo and the borders would last as well as not giving a clear and believable reason as to why he was doing all of this in the first place. I know he was going to tell Mantle and the world about Salem eventually and he did in V7 but that was only because he was forced to and used it to take out potential threats by baiting them. This is also added with the fact that he really didn’t have any solid proof that would make the people believe him about Salem as well. Due to the frustration of the people it would just sound like made up propaganda and Ironwood shifting blame onto a fake enemy to drive people's attention onto something else. And yes the people believed it but remember they were being evacuated so i don’t think they were buying Ironwood's statement but were just glad that they were being saved.

And in the end it doesn’t even matter as ultimately Ironwood caved in to fear and decided to leave Mantle for dead. Which could have been avoided had Ironwood focused his attention to the needs of people rather than the needs of war. One of the constant themes of the show is that victory is not in strength or in mass numbers but within the small and willing hearts of those that will fight no matter what.

In conclusion Ironwood had played a pivotal role in contributing to all of the conflicts that plague the world of Remnant at present, even if it were minor role he nonetheless helped set the stage for the villains and Salem   

The reason why I say that; as stated in earlier sections: Despite all of his talk about the greater good for the world he really means the greater good of Atlas and by extension himself. He is prioritizing his kingdom above all else at the expense of the other kingdoms and exploits of their people for his kingdom's own personal gain. As well as with holding beneficial technology that could actually benefit and improve the living conditions and way of life of the other kingdoms.

Ironwood’s inability to trust and have faith in people and others to keep the peace ultimately led to him intervening in affairs that he had no right to and with his own belief that his way is what is best had caused the Fall of Beacon and the events and conflicts before and after it.

It was over before it started

Now the Question must be asked what was Ironwood’s plan?

Ironwood throughout the series believed that he could win against Salem, and by the end of volume 7 he still believed that he could win, but in reality he had already lost the moment he tried to start a war.

To quote Ruby as she asked Ozpin: what was Ironwood’s plan to stop Salem if he ever had one to begin with? As far back as Volume 2 to Volume 7 Ironwood’s ideas and plans to handle Salem seemed to be; gather a large force, blitz run her stronghold, and destroy her with WMD’s. Most of his plans stem from an appeal to force and intimidation tactics via large numbers with heavy armament. In any other circumstances this could have worked had it been a different kind of villain that wasn’t immortal. As V6 has revealed Salem can’t die through traditional means such as modern warfare thus making Ironwood’s plans and solutions moot and pointless. Once he is told the truth in V7 he still continues down the same path of thinking that has not only failed but enabled the villains goals as well. So it must be asked why does Ironwood not see that his way is flawed and that he was never going to win if he continues down this path?

 Ironwood's numerous conflicts throughout the series occur because he feels he does not need to follow the standards he sets for others; He demands people trust him while showing them none in return. He forces others to sacrifice much for the cause while giving up very little in return. He insists on loyalty when he has turned on others solely because they disagreed with him.

As Volume 7 progresses, he becomes willing to commit increasingly dubious actions in order to oppose Salem. He starts off by imposing a military embargo on Mantle despite the economic hardships said embargo is causing for the civilians on the ground and diverting resources that Mantle needs to rebuild its infrastructure to build a comm tower at Amity Colosseum. By the end of the volume, he's degenerated into declaring full martial law, abandoning Mantle to die, and either attacking or having arrested anyone who opposes him.

Salem and her faction were a tumor that can only be handled with the surgical precision of a scalpel not with the bulk of a fleet or large armies. The Huntsmen were that scalpel and to be specific the Huntsmen that Oz had chosen as they were meant to protect all people and prevent conflicts without personal bias or desire. Ironwood only acted in the self interest of Atlas and the benefits that he would gain from it

Ozpin’s priority had always been the people, no matter where they came from. However, I think he was once in Ironwood’s shoes.  I am pretty sure he tried everything, including the same things Ironwood did, and saw it fail horribly. Ozpin or at least the soul, has had centuries to millennia's of experience in fighting Salem and managing the world. The delicacy of the human mind and heart are something he is well acquainted with, and I think he already knew what type of person Ironwood was, or at least was becoming.  Near as I can tell, the big reason he kept Ironwood on at this point was because Ironwood had the resources and technology he needed to keep his plan moving forward and wouldn’t relinquish them.

Ozpin worked hard to maintain the peace and goodwill of the people.  Ironwood, so far, has not.  Having robot sentries on every corner without the concept of morals and stopping trade for a kingdom that can not easily generate its own resources, as well as hoarding those resources and preventing necessary repairs and aid to those people–those actions all show that he is not keeping this important aspect of leadership. He is not making sure that the people are on his side so when he needs them because he does not consider their needs as important unless they are in line with his own

Even with the Knowledge of the truth of Salem’s immortality he is still sacrificing everyone and everything else for nothing just to keep up the illusion that he is the hero and to keep his source of power high in the clouds away from anyone who really needs it

I may have been a little harsh on Ironwood for his actions, especially V7 and I understand the circumstances that led to escalation by the end of the volume.  He was making dubious decisions but he was trying to do better, he listened at times and tried to show an extension of trust, the kids with giving them the lamp back, and later with Robyn at the dinner. These were due to the positive influences of Oz.  He just fell back to old habits hard and turned to extremes when it became clear he had non control of what was happening by V7 end. He was struggling with old habits and opening up and was doing better that first part of the night a prime example of what the creators meant if Ironwood had been more open and trusting of others but when everything went down he was pushed over the edge in the latter half of the night cementing his fall and decent into an antagonist further making the problem worse as he has always done. This is mostly due to his primary source of influence; Atlas (which we can agree has been the biggest source of conflict in the show so far) and probably his lack of understanding and planning for what comes after all is said and done.

What did you think would happen?

The question must be asked; What happens after Salem? The fandom has pretty much each their own idea of what might happen after Salem is finally defeated. But do the characters know what happens after the war especially Ironwood? As the end of the hero’s journey goes; Nothings the same after you become a hero. And given Ironwood’s behavior and actions before his fall in Gravity, Ironwood seemed to have ambitions and plans in the works for the long run after Salem was no longer a threat. As stated before in I am Machine no one is truly altruistic to the point that they do something that doesn’t benefit them. So what exactly did Ironwood want after Salem was gone to the point that most if not all his actions and decisions were in the effort to reach and make those plans come true?

As stated in Broken Kingdom Ironwood doesn’t really have any personal desires or motivations that aren’t related to Atlas or the Heroes common goal to stop Salem. As far as we can tell Ironwood has no current family members at present and there's very little that tells us that he has anything in mind outside of either Atlas or Salem ,so what does Ironwood have to gain from this conflict?

All hail the conquering Hero

Ironwood’s biggest issue is that he has to be the center of everything, that he has to be in control. First he’s going to try and gain control with his army, while trying to wrangle anyone else back under his control. Then, when it becomes clear that anyone who has a plan that better and could work, he’s going to get competitive, come up with new and crazy superweapons to throw against the enemy in an attempt to prove that he can defeat Salem before the heroes can gather allies from across Remnant. He believes that He is strong, that He is brave, that He doesn’t need to run to anybody for help! He believes that he is the hero and is letting his self entitlement cloud his mind and it has gotten the better of him

 An In-Universe example of this false belief comes from RWBY: Amity Arena as it  gives bios to every character in the game compiled by the In-Universe developers. While many try to be objective, the ones representative of the Atlas Elite tend to demonstrate a notable bias, most prevalent with the General's. His bio is very defensive of him, calling him the "hero of our time" and that he wears the burden of the world on his shoulders, talking him up as a Hero with Bad Publicity. The bio goes as followed;

General Ironwood. The hero of our time and Atlas' greatest protector. Under the general, we have advanced to incredible heights, discovered new technologies, and created the world's first artificial intelligence. Though horrifyingly revealed at Amity Arena, Penny is our proud foray into sentient AI, and Ada is the culmination of the machine learning we have long developed in our labs.

As reviled as he was for his misguided attempt to protect Vale, how can the world fault our General when the culprits are out there? How can the victims be blamed for the sins of the perpetrators? Is incompetence somehow a greater sin than premeditated evil? Our General may have failed to protect Beacon, but he's not the one that hacked our weapons into hurting the innocent.

Yet... he wears that burden on his shoulders like he is alone in the world...

Ozpin, missing. Lionheart, dead. Theodore, uncertain. We say Atlas is the greatest, the mightiest... the city in the clouds, but what is first place when there is no competition? Yet, our kingdom and our General... we're the best chance that humanity's got... which scares us to death.

Menagerie?

...what about it?

After reading that you can probably see through the propaganda, hypocrisy and ego that are written in the bio. A key factor to note is that this was possibly made after the main heroes arrived in Atlas and before the election night. And since there's been no contact or travel between the kingdoms and Ironwood was aware of Leo's status by worst case scenario  it tells us that the heroes have shared everything with Ironwood in regards to those events concerning Haven.

 Since Ironwood is looked up to as a god by his subordinates and since he was the one of the only few to have known about them as well as to have the status to make any key choices since the app is made by atlas scientists contracted to the military. Thus Ironwood had used it and the blind loyalty of his loyalists to make propaganda and shift the blame from himself to something else as well as try to emotionally manipulate the people by making them sympathize with him while ignoring the truth.

He is not Remnant's only hope nor is he the best choice.

This is another example of his never my fault montra and he does things right and its further shown in the bio as it not only continues to discredit the other Headmasters(I am well aware of leo) but ignores all the good and actual heroism of other people like the Faunus of Menagerie as they are to the primary reason as to why Haven didn’t become the next Beacon and as stated before in an earlier section the opportunity for the Battle of Haven was in a way created by Ironwood who had chosen to flee and protect his city instead of preventing an attack like he had originally intended with Vale.

It may also show how much Ironwood believes in his own hype as it does paint him as some sort of de facto king of Atlas. Again he views himself as the chosen savior of the chosen people and that it is his destiny to rule and change the world as he sees fit. Or as Watts puts it the Giant that stands above all

I’m the Captain now

I think it's safe to say that almost everything he does is a twisted version of Ozpin's ways as well as to place himself as Remnant's ultimate leader as he believes he is the one that can ensure a safe and secure world. Ever since his debut he has undermined everything that Ozpin has done and stood for because he believes his ways aren’t efficient ( Or beneficial) to him and has been systematically taking power and control away from him and placing himself as the new big good.

He wants to be the New warrior king and change the world as he sees fit as he only sees Ozpin as either a failure or a hindrance to him and his plans. Combine that with his Atlas ideology and a lot of things make sense. I mentioned in the False chosen one that Ironwood may have been influenced and tried to emulate the Warrior king as to better rise and gain power and correct the supposed mistakes of Ozpin. Even though that he has claimed to be doing it for the greater good of all of Remnant but  he really means only Atlas and himself

A world Reborn in my image

A major factor to consider is that Ironwood is a by-product of Atlas that was a by-product of Ancient Mantle. Ironwood is essentially a living mouthpiece for Atlas. He pretty much the living embodiment of the kingdom if it were a character. That's the sad truth of Ironwood is that he is simply an extension of this toxic environment and tricked into believing that its this ideal society when  in truth it never was.  In other words a legacy of tyranny lives on through Ironwood

We’re all aware of the origins of Atlas and its rise to prominent power. It started out as Mantle that began with a handful of people that prospered by adapting to the harsh conditions by making advanced technology faster than the rest of the world. It eventually formed a trade  alliance with Mistral trading tech for food. A grimm  incident occurs and Mantle thought being cold emotionless robots was a perfect solution. It tried to force its toxic ideology onto other civilizations and was met with mixed results. The Great war happens they lose and all of their resources are spent forcing it to rebuild its economy that eventually gives way to Atlas

Now how does this affect Ironwood?

Well Mantle through its alliance with ancient Mistral possibly adopted their ideals of imperialism and expansion as Mistral was the world's largest territorial economic empire of its time. When it comes to the rise of an empire and the type they are as well as their need for expansion it can be summed up to these 3 

Economic empire

Ideological empire

Territorial empire

Due to Mantle's lack of essential resources like food and energy, its early days were more or less focused on establishing a strong economic trade empire in order to get the essential supplies needed to sustain life in solitas. After its great depression period after the War the kingdom's economy began to grow at a rapid rate that by the time the kingdom shifted to Atlas it had Remnants largest economic empire.

This is also an important factor to consider since the sad truth of it all is that as long people can make a stable income and support themselves, they are more than likely to turn a blind eye to any shady or immoral activities so long as there's something to gain. What does this have to do with Ironwood you ask? Well as his bio card said Ironwood has pretty much been proclaimed as the kingdoms benefactor for its prosperity. This may have been due to his Corperate alliance with The Schnee’s since it was Mostly Nicolas and Jaques as far as we know being the most prominent reason as to why Atlas has prospered. 

When Ironwood formed that alliance with the SDC it gave him at least half of the power and influence of the company that was truly responsible for the kingdom's wealth and claiming it as his own. Once he had gotten some control over the economy it was time to move onto the next step and increase the empire from economic to Ideological or Political expansion.

Empires change and adapt in order to satisfies their needs now that Ironwood is the de facto head of that empire and given what we know about him and Atlas it is quite possible that he has been indoctrinated to have this desire to create an empire for Atlas as the politics and ideologies of its people have given it a false sense of entitlement and need to have everything under their control.

When looking at it from V1 to V3, it looks as if Ironwood was trying to occupy without resorting to force then you're left asking the real questions like "Why is ironwood selling the people of Vale on Atlas military Technology?" "Why is it that when a breach happens in vale, Atlas Bots rush in?" "Why did Ironwood make a power play to become the security of the Vytal Tournament?" It all seems to point to the same thing, Ironwood wanted control over Vale

A section of Lyrics from the song “When it Falls” may help reveal Ironwoods true intentions since his introduction and to be honest they seem relevant only to him and given his actions this is mostly likely the truth as they go like this; 

“They play the part of allies

Claiming peace their only goal

But once the fight for power starts

They'll eat each other whole

Their iron gloves point fingers

They'll wage a war of blame

And mankind will wilt in pain”

As of V7 aren’t those words mostly relevant to Ironwood? After all, what has he done recently? He claims to be an ally with intentions of peace but he’s really trying to control those who buy that lie and escalates the situation to the extreme for no logical reason other than to set the stage for the next part in relation to the lyrics.

After all is said and done the fight for power will start and he wants to win and consume everyone before they can consume him. And as things go wrong he points his metal hands blaming everyone but himself as he tries to gain control and power, the world suffers.

Ever since his debut he has been trying to amass  Political power which would lead to a territorial empire under Atlasian control. Playing into the theory that he does want to be a better version of Oz he wouldn’t make the same mistakes that he assumed the king  did by letting the kingdoms remain independent instead of being under the control of one.

A king has his reign and then he dies

To continue on with the theory that he is essentially a bastardized version of Oz, Ironwood may have been trying to find ways as to make himself immortal 

Another reason as to why he would see Ozpin as inferior is due to the fact that for all his power he can’t stop himself from dying, or at least maintain the same amount of world power and status from his last life. This may have given Ironwood ideas and ambitions to pursue any methods that may yield results that may make him a true immortal version of Oz hence why he most likely authorized the research and development of the aura transfer technology as a means to artificial reincarnate till proper immortality was achieved.

This could also be another reason as to why he may have chosen the Penny project. As it could lead to a way of extending his life as a means of transhumanism; immortality through technology

To reiterate Ironwood doesn’t trust anyone to do things right so he micromanages everyone under his control and makes them dependent on him. This is best seen with Winter and Clover as Winter would side with a madman as opposed to siding with her sister and clover’s inability to think for himself led to his death. 

Due to his lack of faith in people Ironwood makes them less independent and make them rely on him as  he may believe if everyone is dependent on him then the more control that he will have over them as to better determine who is a threat as the people he controls are more or less robots now without a conscious or sense individuality and are less likely to commit evil acts. Similar to ancient Mantle’s anti life policies before the war.

If he believes that to be the case and since he only trusts himself to see it through he’s going to try and find ways to make him live as long as possible until his methods become autonomous. Because of his lack of faith for others Ironwood doesn’t understand or refuses to understand the fact that he is going to die one day and everything that he has ever accomplished will be undone by the ultimate victor; TIME.

This is sadly the likely outcome as everything changes through the passage of time. As time moves so does the advancement of decay upon the world. Ironwood is already dying by aging and all that he has achieved will be undone or outdone by others that will come after him. The same thing can be said for everyone else in the show as they already lost. 

Ruby, Oz, Cinder, even Salem herself have already lost to time. Everything they have or will achieve will be undone as well and one day they will all die. It’s just a matter of how and when. 

To better explain let's take a look at Epsilon’s final speech from RVB season 13;

“There are so many stories where some brave hero decides to give their life to save the day, and because of their sacrifice, the good guys win, the survivors all cheer, and everybody lives happily ever after. But the hero... never gets to see that ending. They'll never know if their sacrifice actually made a difference. They'll never know if the day was really saved. In the end, they just have to have faith.”

Does Ironwood have faith in anyone that's not under his control? 

People only do wrong when the perceived benefits outweigh the cost in that moment. Ironwood doesn’t just see an opportunity to stop Salem he also sees an opportunity to bring the world under Atlasian control with him at the top. Since he has amassed so much power and authority he sees himself above the rules that everyone respects and follows. Because of this Ironwood tries to hold unto that power because without he is nothing and would become a lesser and weaker being which would be an affront to his perfectionist ideologies

If your nothing without it then you don’t deserve it

Take away Ruby’s Silver eyes and what is she? Someone that will continue to fight no matter what

Take away Atlas from Ironwood and what is he? Nothing but a broken man who had this coming for a long time.

As I stated in I am power Ironwood by himself has nothing to contribute to the fight against Salem. Let's face it the only thing that he had going for him was the fact that he lead the Military and as we later find out that Military isn’t going to be useful against Salem since the key concept of the show since V1 was that there is no victory in strength but in the simpler things in life that start with simple and honest souls. 

How does this concern Ironwood? 

Well that's just it Ironwood was never going to win with his methods and he was never going to get the benefits that he wanted if he followed someone else with theirs. Again Ironwood had plans and ambitions after Salem that saw him as the ruler of the world instead of her, and controlled it so that a threat like her or any threat to his power would never come again. This is probably what he thought would happen before being told of her immortality. 

Now with the knowledge that he can’t destroy her and that she’s coming he decides to cut his losses and settle with ruling the city instead and leave the rest of the world in her mercy instead of accepting the fact that he is wrong and relinquishing power to someone that can handle the situation better. Remnant doesn’t need Ironwood to survive. This is the biggest problem with Ironwood that he thinks he is the hero so long as he is in control of Atlas. Because without it he is truly nothing and has defined his whole existence around it. And will continue to make whatever plans to keep himself in power and is willing to pay the price at the expense of others.

“What if all the plans you made,

Were not worth the price they paid?

Even with the lives you stole,

Still no closer to your...

Goal.”

He never cooled the fire but he still incites the crowd for he can't see what he has  become a crown with no kingdom

Ironwood had only played to win and he would laugh at the ones who lose while millions are shouting out for him to stop but he Still lit the fuse

He says he wants to fight but Then he always runs because he doesn't want to die yet he Still shoots the loaded gun escalating things for the worse

His refusal to see the faults in his own actions. Ironwood continually defaults to and relies on methods and actions that have repeatedly been proven to not work because he refuses to see the error in using said methods to begin with.

This isn’t your story James

One of the important aspects to remember is that this isn’t Ironwood’s story. His entire character and story revolves around the main protagonists and how he interacts with them and more importantly what role he played in it. Ironwood started out as a side character that ended up getting a lot of focus because the story of  Team RWBY and the show in general is to show how the last generation can fail the next and how that generation has to learn and grow so it can avoid the mistakes of the past. 

Before we delve further into Ironwood’s true character in the show let us explore whether or not he was an antagonistic or protagonistic force in the story. Keep in mind these terms are different from hero and villain. Below are several definitions and meanings for the 2 narrative characters types;

Antagonist

a person who actively opposes or is hostile to someone or something; an adversary.

a person who is opposed to, struggles against, or competes with another; opponent; adversary. the adversary of the hero or protagonist of a drama or other literary work

Protagonist

the leading character or one of the major characters in a drama, movie, novel, or other fictional text.

an advocate or champion of a particular cause or idea.

In modern literature, the protagonist drives the story forward by pursuing a goal. 

The protagonist of a story is sometimes called the main character. 

Since this is RWBY’s story and to an extent Oz’s, Ironwood(and Atlas to an extent) was always meant to be an antagonistic force in opposition to the show's true ideals of  heroism and saviors. 

The antagonist is the principal source of conflict for the protagonist. Often, the antagonist is a bad guy, a villain, but he doesn't necessarily have to be. He may just be someone who has a different agenda. Antagonists might be one person, a group, or even an animal.

Due to the beliefs that his methods are for the best even though they contradict the intentions that were thought to be shared by the heroes Ironwood was always going to become an Antagonist for the series at some point

Volume 7 slowly sees him fall into this, as his paranoia and determination to stop Salem cause him to perform increasingly questionable decisions for the greater good. While Qrow, Oscar, and Teams RWBY and JNPR support Ironwood, they increasingly debate the merit of doing so, given how concerned they're becoming with his behavior. When Cinder breaks into his office and plants a black queen, Ironwood sends Winter to forcefully take the Winter Maiden's powers, and he begins to question every decision he's made and speculate whether he's played right into Salem's hands. His confrontation with Team RWBY over their decision to leak intel to Robyn triggers the appearance of a Seer Grimm, forcing him into a verbal confrontation with Salem. With the discovery that the conflict with Watts and Tyrian distracted them from realizing they'd lost long-range sensors and that Salem is already on her way to Atlas, Ironwood snaps. He orders the arrest of Qrow, Oscar, and Teams RWBY and JNPR, and decides to abandon Mantle to die in an effort to prevent the two Relics and the Winter Maiden from falling into Salem's hands. Volume 7 ends with him and the protagonists actively opposed to each other, as his refusal to acknowledge that his methods are flawed and his opposition towards anyone who might stand in his way solidifies him as an antagonist.

The events of Volume 7 slowly but surely tear away at the positive aspects of his character as he succumbs to fear and paranoia, and questions whether Salem's strength comes from her ability to strip away her humanity. By the end of the volume, he has degenerated into a paranoid tyrant who abandons Mantle in favor of saving Atlas, is willing to kill a dying Winter Maiden to protect the Relics from Salem, and arrests the heroes for disagreeing with him. At the end of the volume, Oscar even points out that Ironwood's actions and current mentality make him no better than Salem.

 His character deconstructs the mindset of the Necessary Evil character archetype. He declares his willingness to sacrifice his reputation and humanity for the greater good by forcing others to sacrifice for his cause. Characters constantly question the morality of his choices and his own actions create consequences that later bite him in the ass. His lack of concern over his image and the negativity his actions generate serve only to assist Salem's plans and increasingly alienate him from the heroes. He appoints himself the judge of what counts as the "greater good", he neglects Mantle's security and makes it increasingly vulnerable to attack by viewing it as less important than Atlas. Oscar lampshades the deconstruction by pointing out that being willing to sacrifice all of Remnant just so "a few can live" is making him just as dangerous a threat as Salem.

In a way Salem and Ironwood are also foils to each other as they appear to be dark lords from their respective genres 

Ironwood being the syfy equivalent clad in white to convey the false message of order and peace while masking evil intentions and crimes 

Salem being the Fantasy equivalent clad in black to emanate a sense of Mystery and fear of the unknown while using it to her advantage

Discussed between Ironwood and Oscar. Ironwood spends Volume 7 utterly haunted by how Leo's fear of Salem destroyed him and endangered Mistral and Haven. He is so determined not to end up like Leo, that he doesn't realize what mistakes his own fear of Salem is causing. While Leo completely submitted to Salem and became her puppet, he has full self-awareness and knows exactly how far he's fallen and why. Ironwood cannot accept that he has any fear of Salem at all and interprets the problem as possessing "humanity". He believes Salem is a threat because she has none and speculates that the solution is to become the same. He becomes increasingly controlling over his kingdom and his allies; regardless of how much suffering his methods cause, he persists in believing it's for "the greater good". While Leo is willing to give up the Relic of Knowledge and his kingdom's Huntsmen, Ironwood is so determined to prevent Salem getting the Relics, his Huntsmen and the Winter Maiden, and thereby avoid Leo's mistakes, that he travels in the opposite direction, becoming a dangerous authoritarian instead of a spineless coward.

Ironwood has made it clear that he will use whatever means necessary to defeat Salem. When Team RWBY calls out his decision to raise Atlas out of Salem's reach, he calmly says he's aware that he is essentially damning Mantle to her wrath. He later tells Oscar that he is done letting others' opinions hold him back from doing what he thinks is right. The boy warns him that he'd become as dangerous as Salem herself like that; the general simply nods to himself but doesn't deny it.

This is who he has always been. The only difference is the more desperate he becomes, the more extremes he goes to to maintain the illusion he is strong and in control of the situation.

During Ozpin's speech, notice how this unique line of dialogue is purposely inserted over Ironwood's last scene of  Volume 7.

“Or will the person staring back at you be the very thing you should have feared from the start? I suppose we all find out... sooner or later.”

As the other parts of the speech are relevant to the other characters shown in the montage This specific line cements the Truth of Ironwood's character being a threat that was planned for a very long time. Going with the show's themes of Grey morality and the balance of light and dark, we are to learn of the possibility that with the potential to do great good also comes with the potential to do great evil. 

As we were focused on the obvious threats in the show like the grimm, the white fang, Cinder, and Salem we are tricked to neglect the obvious signs of evil intent that are hidden and growing  among the heroes. The real monsters of the world aren’t the ones with fangs and red eyes hiding under your bed, No the real monsters of the world look just like you and me. After all if we assume everyone is like us then how can we tell who the real monsters are, that are hiding in plain sight. 

Ironwood’s evil nature and antagonism  was subtle and growing under the skewed perception that he was the hero and that he was right. But this comes down to the fact that he is only in it for himself and what he has to gain from it. 

I understand that James Ironwood was a tragic character even from his introduction, and the seeds for his volume 7 turn were planted in volume 2. I eventually recognized that RT was setting up this pivotal plot point way back in the day and now they are harvesting what they had sown.  

Ironwood didn’t snap when he found out RWBY lied to him. He was content, even after he defeated Watts. He snapped as soon as he saw Cinder’s present. The Queen piece. He unraveled immediately and, sure, the discovery of RWBY’s lies didn’t help,  but it wasn’t the cause for Ironwood’s descent.

 He genuinely means well in opposing Salem and her forces, but his severe paranoia complex, exacerbated by the stress of being one of the only ones in the know about Salem and having to explain his actions to the skeptical populace and council, cause his decisions to degenerate over time. By the end of Volume 7, he becomes willing to abandon everyone in Mantle to die, violently lashes out at anyone who opposes him, and manages to undo all of the hard work he's accomplished by second-guessing his own actions.

James Ironwood is undoubtedly a fascinating character that has this certain appeal to most people. I  can understand Ironwood's viewpoint but it is not the same as forgiving or condoning as good. Sure, I thought him intervening in affairs that he had no right to was a skewed perception, but I understood where he was coming from. I thought him ignoring the concerns and advice of people was reckless, but I also kind of understood  his limitations and his upbringing. But in all honesty I was neutral about Ironwood ever since he debuted and didn’t think he had much to contribute to the story besides being the guy with an army along with the pride and arrogance that comes with.

Because of that Ironwood was always an antagonistic force in RWBY with ideals and plans that contradict the established ideals and motivations that are already shared with the world of Remnant. He just simply couldn’t fit in and when he tried he didn’t like it. When he tried to change it and take charge he only made things worse. Ironwood had potential to be good and a proper hero due the influence of Oz but his pride and ego that he got from Atlas got the better of him and now the show's true heroes will have to fix the problems that he has caused.

Summary

[thewatsonbeekeepers]

Chapter 12: Three Men in a Boat [TFP 2/3]

[This was completely missing from my tumblr, via every search function and everything! So I’ve reuploaded - thanks anon for letting me know!!]

This section of the meta is going to deal with the events at Sherrinford – I’ve broken TFP up into three sections to try and get the most out of it. This isn’t just a read through like the first part of the meta, it has a specific structure, much like Eurus’s trials for the boys, so it’s really important to take this bit in one chapter. My hypothesis is thus – that each episode of s4 has been a different obstacle to be broken through in Sherlock’s mind, and that each of them is represented by one of the different Sherrinford tasks. It’s essentially an illumination of Sherlock’s progress through his mind – but it’s set up by Eurus, who is Sherlock’s mental barrier, so these are going to represent Sherlock’s darkest fears about each of the obstacles. Ready? Let’s go.

We take up the episode at the pirate hijacking, which is quite BAMF, but also illuminates a couple of things that we should bear in mind going into this episode. The first is that the transition from a blown up Baker Street to Sherlock and John hijacking a boat without a scratch on them is absolutely bizarre and leaves SO many questions – it’s dream-jumping of the most obvious kind. The second is that water has played a long role as a metaphor through the show, particularly in the EMP sequence, and it’s climaxing now – we are in the deepest waters of Sherlock’s mind.

Mycroft and John working together in the disguise sequence is metaphorically lovely – in the Oscar Wilde scene of the last part we saw Sherlock’s brain and heart finally coming together, and here for the first time they’re working together to give Sherlock the ability to go and confront Eurus. This is what makes Mycroft’s line so powerful. He says:

Say thank you to Doctor Watson. […] He talked me out of Lady Bracknell – this could have been very different.

Comic throwaway? Maybe. But given what we know about Lady Bracknell from the first part, this also has a more powerful meaning – heart!John finally stopped brain!Mycroft from being an obstructive force in Sherlock’s psyche, and they started working together instead to save him. This could have been very different is far more loaded than it sounds. All this whilst creating an image of Mark Gatiss as a Victorian aunt – wonderful.

When we first meet Eurus proper, her similarity to Sherlock is striking. She plays the violin – this isn’t a Holmes thing, because Mycroft doesn’t – it’s Sherlock’s motif throughout. Her hair is like a feminine Sherlock, her pallor and cheekbones match Cumberbatch. For reference, this is a picture of Sian Brooke and Benedict Cumberbatch together in real life.

I’ve done a section on why I think Eurus is the most repressed part of Sherlock’s psyche, and his traumatic barrier to love and life – I sometimes glibly refer to this as gay trauma, but that’s its essence. The similarity between Brooke and Cumberbatch in this scene is really compelling, looking the same but lit and dressed in opposite colours. Similarity and difference both highlighted. Even nicer, the white of Sherlock’s shirt is the same notable brightness as Eurus’s uniform, but it’s hidden under his jacket – a visual metaphor for her being hidden inside him.

Eurus gives Sherlock a Stradivarius as a gift. This should set alarm bells ringing for anybody who has seen TPLoSH. If you haven’t seen The Private Life of Sherlock Holmes, please do so immediately because my God you are missing out, but TLDR – a Russian ballerina offers Holmes a Stradivarius to have sex with her so she can have a brainy child, and he declines because he’s gay. (This is not just my interpretation, this is genuinely what happens, just to be clear.) Eurus giving Sherlock a Stradivarius is a deliberate callback to the film which Mofftiss cite as their biggest inspiration; just like the ballerina tempted Holmes to feign heterosexuality, so does Eurus – and both make clear that it’s not without its rewards, which is unfortunately true for real life as well. This moment in Sherlock’s psyche also recalls the desperate unrequitedness of Holmes’s love for Watson in TPLoSH, a reference to our Sherlock’s deepest fear at the moment – he has realised his importance but not John’s romantic/sexual love for him, as we’ll see. So here, trauma!Eurus isn’t just referencing closetedness, but is actively drawing on a history of character repression with which to torment Sherlock – metafictionality at its finest.

The Stradivarius is specifically associated with closetedness, but violins more generally in the show are used to show expressions of love that can’t be voiced out loud – think of John and Mary’s wedding, or the desperate bowing of ASiB. So Eurus, gay trauma that she is, telling Sherlock that she taught him to play is a moment of distinct pain – she is the reason he can’t speak his love aloud, but instead has to speak in signs.

When Sherlock plays ‘him’, rather than Bach, to Eurus (he has a big Bach thing with Moriarty in s2, take from that what you will because I don’t know!), he’s playing Irene Adler’s theme. As a fandom, we’ve generally agreed on associating Irene’s theme with sexual love, which ties in nicely with Eurus’s question – has Sherlock had sex? It’s unanswered. At the end of ASiB, Irene calls Sherlock the virgin, suggesting that he hasn’t.

My favourite moment in s4 without a doubt is Jim dancing to I Want To Break Free. I know it’s the most boring thing to say, but my two greatest loves are Andrew Scott and Freddie Mercury, so it was like Christmas. Here it is also Christmas, but there are two possible timelines. I hypothesise that this refers to Christmas 2010, but it’s absolutely conceivable that it could be Christmas 2009. If we acknowledge that Sherlock is in a coma in 2014, then five years ago is Christmas 2009; however, given that we’ve jumped to 2015 in dream time, I’m going to make the guess that Jim’s visit to Sherrinford is supposed to take place in 2010. This ties up with the idea that this is when Moriarty first started taking an interest in Sherlock, who had never heard of him before ASiP, particularly as this is all in the EMP.

I firmly believe that Jim represents the fear that John is in danger – I highlight this in the chapter on HLV, where you’ll recall we first encounter Jim in the EMP and he sends Sherlock on his journey through the EMP with the words John Watson is definitely in danger – a pretty big sign. Even without this, though, his biggest threat to Sherlock has always been hurting John, whether in TRF or with the idea of burning the heart out of him with Semtex. It’s not unreasonable then to assume that MP!Jim first getting inside Sherlock’s subconscious to represent this fear happens in 2010, when he first meets John. He slips in and stays there, and he melds with Eurus. We see this in the powerful visual of the two of them dancing in front of the glass as Jim’s image slowly becomes Eurus’s reflection – the fear of John dying embeds itself into the gay trauma that Sherlock has stored up, even without him realising it. This ties in nicely with the choice of I Want to Break Free, which is famous for its use of drag in the music video – Jim melding into Eurus is the dark side of queer genderbending that we hate to see. It’s also a pretty fitting song name for an intensifying of repressed gay trauma, even without the association with queer king Mercury.

[A side note to all of this – there were wonderful TEH metas about trains in tunnels being sexual, which isn’t just a tjlc thing but is a well-established idea in cinema – Moriarty’s consistent train noises here seem like a horrifyingly inverted version of that sexual longing.]

Task 1 – The Six Thatchers

The governor is set up as a mirror for John in this task, which provides some helpful context for the episode as a whole. Heart!John makes this comparison himself, by drawing out the similarity between the situation with the governor’s wife and his with Mary, though in this case the governor does kill himself because of his wife – or so it seems. The suicidal instinct matches with everything we’ve learned about John in s4, but I want to hypothesise, perhaps tenuously, that he’s more connected with Eurus than we might think. We know that Eurus has had control of the governor for quite some time, and one of the things we hear her saying to the governor in the background of the interrogations is that he shouldn’t trust his wife. This is an odd thing to pepper into the background when he’s about to commit suicide for her, and perhaps suggests that he’s more of Eurus’s pawn than he lets on, though I grant this may be spurious.

The idea that he distrusts his wife because of Eurus is important, however, because we’ve already seen John engage with Eurus in various forms, but this seems like an extension of E; Eurus, aka Sherlock’s hidden self, has been making John doubt Mary, even before she shoots Sherlock. John cannot know she’s a spy at this point, so it’s unlikely he’s doubting her goodwill; he’s simply doubting her.

Before we look at how the actual task impacts the governor and how that illustrates what’s really going on in TST, it’s worth pointing out that it is the governor’s engagement with Eurus which prompts the entire shutdown of Sherrinford and forces Sherlock (with brain!Mycroft and heart!John ever at his side, of course) to engage once and for all with Eurus. This points to everything that s4 has been telling us – that Sherlock’s understanding of the relationship between him and John, including his power to save him (we’re going to see the governor play the foil here) is what sends his brain into stay-alive-overdrive. Sherrinford is the peak of this.

Summary of the task, for those who hate TFP: Sherlock is given a gun and told he can pick either John or Mycroft to kill the governor, otherwise the governor’s wife will be killed by Eurus. As I’ve written about in its chapters, TST is about Sherlock trying to get to the bottom of Mary and why she tried to kill him – and, of course, the impact this will have on John. In brief, by displacing the shot onto Mary in his mind, he’s discounting his own importance and instead thinking about what it will mean for John to lose Mary. His greatest fear is that losing Mary will break John, and it isn’t until the end of TLD that he recognises that the return of John’s suicidal ideation isn’t over Mary, but over him. TFP presents the horror version, the version of TST that Sherlock’s trauma wants him to believe but which he has to overcome. In this case, Mycroft and John resolve to keep the governor alive in their passivity, but that passivity – Sherlock’s coma – is not enough to keep the governor from killing himself over Mary. This is the most feared outcome from Mary’s death that Sherlock can think of – his fear of losing John combined with John’s love of Mary, which in TST Sherlock is still taking as read.

Double naming in this show should never be neglected, and in this case we learn shortly before the governor dies that his name is David. Again, the dramatic manner in which we learn this (on the moment of execution) draws our attention to it – we know another David in this show.

Yup – Mary's ex who’s still in love with her from TSoT. So even though Sherlock is experiencing the panic of John killing himself for loss of Mary, his subconscious is still pointing out to him that that’s not what’s happening here. This mirror version of John that he has set up, who is broken by the loss of Mary as Sherlock fears in TST, is actually the other man in Mary’s life – even with Eurus forcing the worst possible scenario onto him, this still can’t quite fit John’s character. And so we move onto the second task.

Task 2 – The Lying Detective

This section of the Sherrinford saga is the three Garridebs, the closest thing that the fandom has ever got to a collective trauma. I do think, however, that it’s fully reclaimable for tjlc and means the same as we always wanted it to; I also think that it’s possibly the most gutting part of Eurus’s metatfictional power play.

If you haven’t read The Adventure of the Three Garridebs, it’s quite short and the most johnlocky of the Holmes canon, so I’d thoroughly recommend. For the purposes of mapping bbc!verse onto acd!verse, however, here’s the incredibly short version. A man called Evans wants to burgle Nathan Garrideb, so he calls himself John Garrideb and writes an advertisement from a man called Alexander Hamilton Garrideb (make of that what you will, hamilstans) declaring that he wants to bequeath his fortune to three Garridebs. “John” gets someone to pretend to be a Howard Garrideb to get Nathan out of the house to meet him – he comes to burgle the house but Holmes and Watson are lying in wait. He shoots Watson, and Holmes thinks Watson is seriously injured and so we have this wonderful section:

“You’re not hurt, Watson? For God’s sake, say you are not hurt!”

It was worth a wound–it was worth many wounds–to know the depth of loyalty and love which lay behind that cold mask. The clear, hard eyes were dimmed for a moment, and the firm lips were shaking. For the one and only time I caught a glimpse of a great heart as well as of a great brain. All my years of humble but single-minded service culminated in that moment of revelation.

“It’s nothing, Holmes. It’s a mere scratch.”

He had ripped up my trousers with his pocket-knife.

“You are right,” he cried with an immense sigh of relief. “It is quite superficial.” His face set like flint as he glared at our prisoner, who was sitting up with a dazed face. “By the Lord, it is as well for you. If you had killed Watson, you would not have got out of this room alive. Now, sir, what have you to say for yourself?”

Mofftiss have referenced this moment as being the greatest in the Holmes canon for them, the moment when we see the depth of Holmes’s affection for Watson, and so it seems odd to waste it on such a tiny moment in TFP. Many fans, myself included, were really upset to see Eurus drop all three Garridebs into the sea, the implication being that tjlc would never be real, and it was that moment that caused many (including me) to walk away. I came back, obviously, but I completely understand why you wouldn’t. However, I want to map one Garridebs story onto the other to show how they might match up.

The Garridebs that Eurus presents us with are not the three Garridebs from the story. In the story, there are three physically present Garridebs – Nathan, John and Howard – although admittedly only Nathan is an actual Garrideb. Alexander was completely invented by John and existed only in a newspaper advertisement. Evans, alias John Garrideb, is the criminal in the Garridebs story; Alexander is an invention.

So – what happens if we substitute John for Alex in bbc!verse, as in canon they are the same person? This is interesting, because double-naming means that John becomes the killer. Whilst it’s true that John Garrideb is known as Killer Evans for his murder of a counterfeiter back in America, in canon he is done for attempted murder – of John Watson, of course. Here we have a situation where a John is set up killing John. This is exacerbated by the victim in bbc!verse being called Evans; Roger Prescott, the counterfeiter, would have been a much more canonical nod to the books, so we can assume that the choice of Evans is therefore significant. It should be noted that Evans and John/Alex Garrideb are the same person in acd!canon - so killing Evans is a representation of suicide. But, in case we weren’t there yet, the reason that Evans took the name ‘John’ is acd!canon is very likely to be because Evan is Welsh for John – so whatever way you look at this situation, you have Sherlock deducing John killing John.

This is, of course, exactly what Sherlock deduces at the end of TLD, far too slow, when we see Eurus shoot John in an exact mirror of the shot from TST – I explained in a previous chapter why this means that John is suicidal without Sherlock. However, much like the passivity of Sherlock, John and Mycroft in the first task, here we see that Sherlock’s act of deduction is good, but can’t actually save anyone; Eurus kills off our Garridebs moment as Sherlock is left to watch, and it’s notable that heart!John is the most distressed about this. Remember, in the first task Eurus left Sherlock with an image of a John who was suicidally devoted to Mary, and although the Garridebs moment is one which metafictionally highlights the relationship between Sherlock and John, she’s still presenting him with a Garridebs moment in which he is fundamentally unable to save John. This is a direct result of the Redbeard trauma that Sherlock has experienced – helplessness is key to that, and this is what Eurus has come to represent in his psyche. But – Eurus isn’t real, Eurus is testing Sherlock, trauma trying to bring him down, and Sherlock’s job in TFP is to break through the walls that his consciousness has set up for him.

The power in Sherlock saying I condemn Alex Garrideb is heartbreaking, then, because it is Sherlock recognising that he is the reason that John is going to die. Eurus is there to make him confront that reality, which she explicitly makes him do. We get the split-second moment where he thinks he’s saved Alex, and then he’s plunged into the sea – but remember, this is Eurus taunting Sherlock, presenting him with worst-possible-scenarios. TFP is set up as a game for a reason – it is a series of hypotheses cast in Sherlock’s mind by his trauma that he has to break through one by one. Remember, although she’s ostensibly trying to hurt Sherlock, Eurus’s ‘extra’ murders in the first two tasks are aimed at hurting John, which wouldn’t make sense if he weren’t the mp version of Sherlock’s heart.

Task 3 – The Final Problem

Pretty much straight after this episode aired, people were pointing out that Molly is a clear John mirror and that pretty much all of the deductions Sherlock makes here could be about John. Again, we’re seeing Sherlock’s emotions being resolved in a heterosexual context – the presence of Eurus means that he’s unable to process them in their real, queer form. However, if we take Molly to be a stand-in for John in this scene, it may tell us what TFP is about – and the scenario that Eurus presents will be the worst one, the thing that is causing Sherlock the most pain.

TLD/the previous task have shown us that John is in imminent danger, so the transition to Molly Hooper’s flat being rigged with bombs is not a difficult one; we must assume this to be the suicidal ideation that we’ve just deduced. The time limit suggests that Sherlock is running out of time to save him (fucking right he fell into a coma SIX YEARS AGO). Putting Molly in a bad mood isn’t really necessary for this scene – they make her seem a lot more depressed than she would necessarily need to be, and they emphasise her aloneness and her ability to push people away, which isn’t something we know Molly to do. These traits are all much more important in the context of a suicidal John – they paint a much clearer picture of someone who is depressed and alone than we really need for this scene, where it’s not relevant to the surface plot.

Sherlock and the audience believe he has won this task, but of course he hasn’t - there were never any explosives rigged up in Molly’s flat, and it was a ruse to destroy his relationship with Molly. This is what he fears then – what if he’s wrong? What if coming back to life because he loves John won’t save him – it will destroy him and their relationship? The problem to be wrestled with is how to save John – according to the symmetry of these tasks, that is the final problem. We know that the scenario Eurus has presented isn’t real, but Sherlock doesn’t; he is being held up by his inability to cope with interpersonal relationships, and to get to the bottom of that we’re going to need to understand what he’s been repressing – part 3 of this meta.

There’s a wonderful shot just as Sherlock is destroying Molly’s coffin which zooms up and out through a ceiling window, all the way above Sherrinford, as though to emphasise not how remote Sherrinford is but just how deep inside it Sherlock is. Given what we know about the height metaphor as well as the water metaphor, this shot is a pretty clear way of telling us – this is as deep inside Sherlock’s mind as we go, this is the nub. But Sherlock smashing up the coffin has another powerful connotation – he's refusing death. In terms of metaphor, he’s refusing John’s death – there will be no small coffin, because he will not let it happen – but the visual of him smashing the coffin also suggests that he is rejecting his own death. The two are, of course, inextricably linked. Our boys’ lives are tied together.

Epilogue: The Hunger Games

I can’t watch this without thinking of The Hunger Games, I just can’t! But regardless of how much Sherlock seems like Katniss in this section, let’s press on. I don’t count this as one of the typical tasks, because this isn’t Eurus presenting a ‘haha I tricked you scenario’ - far from it. This is Sherlock’s way into unlocking his repression. The key takeaway from this scene, as we’ll see is that trauma has hurt Sherlock, and it’s going to try pretty hard here to mutilate him – but it can’t kill him.

We get a great line from Sherlock at the beginning of this, where he tells John that the way Eurus is treating him isn’t torture, it’s vivisection. Because it’s an experiment? Perhaps. But the more logical way to phrase this would be that it isn’t vivisection, it’s torture. Torture is much more emotionally charged than vivisection as a phrase – from a writer’s perspective, this phrasing is strange because it seems to negate rather than intensify the pain our characters are undergoing. Why, then, would vivisection be more important than torture? Well, put simply, vivisection is the act of cutting someone open and seeing what’s inside – and that’s what we’re doing. This isn’t just an analogy for experimenting on people, it’s an analogy for going literally inside somebody. In EMP world, then, these words are well chosen.

Sherlock is offered the choice – John or Mycroft? Heart or brain? We might initially think that this is Eurus pressuring Sherlock into death, but that’s not the case at all – we know from the early series that Sherlock has survived before (although very unhappily) with just one of these two dominating the other. It has taken his EMP journey to unite them into a functioning entity, and Eurus is bent on destroying that, mutilating either his emotional capacity or his reasoning, the two parts that make him human. This is a good sign, as well, that trauma has been acting on Sherlock through the first three series, when his psyche was dominated by brain!Mycroft - Eurus is keen to revert to that state, when trauma had control. It is touching, then, that brain!Mycroft is willing to relinquish that control and leave Sherlock with his heart, perhaps because this new unity allows him to recognise how damaged the Sherlock he created was. We should also note that this diminishing of Sherlock’s heart is compared to his Lady Bracknell, which we know to be his repression of all Sherlock’s romantic/sexual impulses – except this time it’s less convincing, because his brain doesn’t believe it anymore. What is also devastating is heart!John’s lack of self-esteem or knowledge, the sense that he isn’t useful to Sherlock, which of course will be proven wrong.

[if anyone has thoughts on the white rectangle on the floor, do let me know. It’s bugging me!]

Mycroft says that he acknowledges there is a heart somewhere inside of him – again, this is emotionally powerful in the context of the brain/heart wrangling that we’ve seen inside the EMP. Just as Sherlock’s psyche has tried to compartmentalise them all this time and they’re finally working together, now there’s an acknowledgement that the compartmentalisation into personae is maybe inaccurate as well – brain!Mycroft’s pretence to be emotionally detached is not in fact correct, as we’ve been suspecting for a long time.

Brain!Mycroft also states that it’s his fault that this has all happened because he let Eurus converse with Jim. If you spend any time thinking about the Eurus + Jim meeting, like many elements of this show it doesn’t make sense. There isn’t a feasible way this could have been planned, recorded etc in five minutes, and although it’s true that Jim could have come back to shoot the videos under the governor’s supervision, it’s not clear why he’s so important. Unless he takes on the metaphorical significance that we’ve assigned him, letting Jim see Eurus seems pretty unimportant – he is only the garnishing on Eurus’s plan. Instead, Mycroft is at fault for letting John be in danger – not only did Sherlock misdeduce Mary (although we can lay the blame for that at the feet of heart!John - see meta on TST), his reasoning was blinded and so he missed John’s suicidal urges and the danger to his life. Brain!Mycroft holds himself responsible – all of these EMP deductions are way late, comprised of things Sherlock should have noticed when his brain wasn’t letting his heart in.

Five minutes. It took her five minutes to do this to all of us.

The lighting is dramatic, so I can’t properly gauge Ben’s expression at this moment, but his eyes look crinkled in confusion, just like they are at the moments when a sense of unreality starts to set in in TAB. Indeed, these aren’t very appropriate words for when you’re about to kill your brother; it’s like he’s being distracted, like there’s something important that he’s missing. Mofftiss are drawing attention to the sheer impossibility of the situation – and Sherlock’s nearly there. His Katniss Everdeen move, threatening to kill himself, is the recognition that his trauma doesn’t have that power – it can hurt him and deform him by twisting his psyche into unbalance, like it has before and like Eurus is trying to here, but it cannot kill him. We can see that Sherlock has risen above the one-sided dominance that he began the entire show with when Eurus shouts at him that he doesn’t know about Redbeard yet – that’s not going to change his mind today, but it’s a direct throwback to the days when it would have, in ASiP with the cabbie. Character development, folks.

The shot of Sherlock falling backwards into the dark water links to two aspects of the EMP. One is the continued metaphor of water to represent sinking into the depths of his mind. The water is so dark it looks oily – it could be argued that this is the oil that is corrupting the waters of his mind as we finally cut to the repressed memories. I quite like this reading, though I have little other oil imagery to link it to in the show. The other notable point is the slow-motion fall backwards – instead of showing Sherlock, John and Mycroft all falling, we cut to Sherlock falling backwards exactly like he did in HLV when he was shot by Mary. This is a really clear visual callback. Even though we’re going deeper, we’re linking back to the original shooting, back in reality, suggesting that this depth is paradoxically going to lead us back to the start. To go back to the oil imagery, don’t forget that oil floats on water – although it looks like we’re sinking, there’s a real sense that these repressed memories are actually pulling us to the surface of Sherlock’s subconscious, quite unlike the deep zoom out we saw when Sherlock was destroying the coffin.

And that’s it for part 2 of the TFP meta! Part 3/3 will deal with such highlights as John not being able to recognise bones and presumably getting his feet pulled off by chains. Good thing this is just a dream. See you then!