#i do think he learned a lesson here. not to invalidate her emotions and experiences and upbringing

[mulders-too-large-shirt]

s3 episode 11 thoughts

dare i say it… new favorite episode?

whatever expectations i had, they were blown away. usually the episode after a two episode arc feels weird and stiff, but this? this hit every box on a checklist i didn’t even know i had.

i’m bouncing off the walls right now. i'm pacing my room and mumbling to myself while gesticulating wildly. i am filled with an energy that caffeine has not ONCE given me. and it's called "your character, that is so near and dear to you, got an episode dedicated just to exploring their inner life and workings and belief system and faith in God and the world". try it if you get a chance.

so let us begin. let me give you my verbatim notes, so you can watch the excitement grow.

oh boy! oh boy oh boy! i am excited! and i know by now to not expect any real continuation from the last episode, but i’m still excited because the last two were so good! and this one is like… good omens? with a kid that can start the end of the world?

wow. never have i thought to myself, how would mulder and scully handle biblical revelations? but here i am. wondering it.

hope the kid is chill. hope he has good vibes. mulder will like him anyway because he’s actually a huge softie but still better if he’s got good vibes.

we open on a sermon. the priest or pastor- depending on the denomination- whatever his title is, he is talking about faith. saying that miracles are real. and now he’s shaking and moaning. is this one of those churches?

OH HE’S BLEEDING from between his knuckles like some sort of blood wolverine. people are looking at him, thinking, what is going on? and this is something i am also wondering. maybe it was fake though…. little capsules in his hands, maybe???

he’s dabbing off his makeup now. as a man enters his dressing room. saying that some people really do believe. but he’s being weird.

and then this guy escalates to murder. and when he touches this pastor he’s burning up??? huh??? a firebender?? in pennsylvania??

THE INTRO WAS DIFFERENT AGAIN THIS TIME. WHY DOES IT CHANGE. i have come to know these beats VERY well!! they are like a heartbeat to me. you cannot simply alter them as you see fit!

scully looking at the body of the dead pastor/priest, talking about how it looks like rope burns around his neck. mulder crouching VERY close by.

HEHEHEHEHE mulder is like ���he was bleeding from his hands like the crucifixion” and scully goes “stigmata?” heheheheheeeee i’m blushing

(talking about belief systems is apparently a way to my heart? like c'mon, tell me how you understand the universe and which elements you surrender to knowing that you will never comprehend. you look cute while doing it)

no wounds on the hands, though… so mulder licks the blood. and i froze JUST as scully makes this horrified face... i’m CRYING. yes, it is fake blood, and yes, he has some on his lips and teeth, and yes, its adorable. but what a risky move!

ohhh he was wearing a sugar pump sort of thing! yum yum. couldn't be me, i'd be slurping that.

so mulder has been tracking religious murders related to stigmatics (excellent word!)

scully’s talking about how certain people believe at any given time there are 12 stigmatics in the world. and they represent the 12 apostles. and i’m blushing terribly.

nods solemnly. i am learning a lot about myself through this show.

scully you are so preeeeetty. 

okay, cut to elementary school in ohio. kevin is blowing spitballs. his teacher is bullying him into doing math on the board. when all of a sudden, his hands start bleeding!! and we see that he has the holes!!!

he’s in the nurse’s office still when mulder and scully show up. damn how did they get to ohio that fast… OHHH they had put out an FBI alert and maybe this happened more than once.  yes, this is exactly what is explained mere moments after i made the initial comment.

so it happened BEFORE, and they assumed it was an incident of abuse, but it wasn’t proven. still, his dad was institutionalized after saying Kevin was chosen by God. okay! things escalated. 

scully is talking to the boy. she feels his forehead and says he feels feverish. okay doctor!! and she says he is very brave. queen. smart and kind.

mulder is meeting kevin’s mom. explaining that he might be in danger from a religious fanatic.

oh! the thermometer in his mouth broke. straight up exploded. hope that was fake mercury in there.

they’re going to put kevin back “into the shelter” which i feel like would make him an easier target for a serial killer?? but on the off chance it WAS his mom, it would make him safer. so mixed feelings here.

mom yells at the teacher, teacher says she loves her job, and mulder has this excellent smile. then waves scully out to leave. it was kinda funny to me for some reason, the waving her out. quite domestic. 

mulder thinks the kid did the cuts to himself to get his father back. hmm. not buying it. so they go to talk to kevin's dad. 

dad claims the forces of darkness have been watching kevin. in the great war between good and evil. he’s really talking to scully and he says they just “come full circle to find the truth”. she says dude idk what that means?? and he says “you will” okay... i’m creeped out a bit!!!

kevin is back at the children’s home. telling a bunch of other kids scary stories. and he seems to be explaining a scary guy who is walking into the building as the storytelling goes on. just as the scary guy enters, all the kids leave. scary guy is looking at the wounds on kevin’s hands!

soon after, mulder is with the group of children who saw the guy. we learn here that mulder is 6 foot 1. which is very funny. 

kevin was abducted by the fellow it seems he was describing before his arrival!!! and his mom seems to blame scully. she looks really upset.

they see the drawing that they think does not look like a real person, and kevin’s mom is like it’s owen, who did the yard work. 

so it’s owen time. he’s carved noah’s ark and he has kevin. but he says he can’t let him go home. because it isn’t safe. he refers to himself as kevin’s guardian angel. hmm. that makes me suspicious.

owen grabs a shotgun when a car pulls up. but the agents get him to put it down and scully is on a quest to find the little dude. and he was there… but now he isn’t?

so owen says God asked him to protect kevin. 

OH ANGRY MULDER IS GONNA QUOTE SCRIPTURE AT YOU!!!!! now give him some DAMN ANSWERS!

owen is like, well YOU believe, don’t you scully, because you have that necklace on. he’s calling her a BAD CHRISTIAN??? the audacity….

then owen gets up and JUMPS OUT THE WINDOW??? and runs away??? somehow??

(mulder jumped down from the porch to chase owen, and his big coat floated around him like a cape... i giggled)

now where did this dude go...?

kevin made it home!!! he’s yelling for his mom. she doesn’t seem to be there, but someone rang the doorbell. and we only see a quick glance but it LOOKS like the killer!!! 

who burns off the doorknob with his firebending!!! so yes, it is the og killer from the start of the episode! he comes in and asks for kevin. saying he knows he’s here.

mom, now would be a good time to roll up with a gun. 

he picks up a family photo and sees kevin in a picture then checks the closet to see if he’s in there but kevin is in the hamper. and the hamper is bleeding!!! dead giveaway. 

but owen rolls up just as the firebender guy opens the hamper, and starts fighting for him!! so kevin is making a break for it!!!

he runs and runs and RUNS INTO MULDER!!!! scully is telling him that he will be okay.

they only find dead owen. no firebender.

and kevin asks scully if she was sent to protect him… she does not seem to know what to say because. do you mean like by the government... or jesus?

autopsy time!!!! she’s talking into the voice recorder like always. it always gives vlog energy. anyway, his body looks very much alive. despite the very much dead thing. 

mulder interrupts this. and scully asks him to SMELL the dude. he obliges. with only a smirk!

scully says he smells a bit… floral.

OMG!! OMG I RECOGNIZE WHAT IS GOING ON HERE. they talk about it in the brothers karamazov, how a holy body is said to stay intact and even smell good when it ought to be decomposing. so the real question is: is she imagining it?

i mean, she is the body expert. so i’d want to say no. but also, this dude was playing with her head. so it’s hard to say. i'd think she would identify the body correctly no matter what, but a little smell hallucination thanks to the power of suggestion cannot be ruled out in any situation.

AND SHE TALKS ABOUT IT!! apparently it is something you learn in catechism. okay, well i just picked it up from that summer i got through that book, but we all learn somewhere. mulder is like “you’re serious?” and i feel he should be encouraging this open discussion rather than ridiculing it. AND SHE STARTS NAMING SAINTS IT HAPPENED TO!

mulder is saying that those things didn’t really happen, and i’m not taking this from alien man.

mulder has transitioned into listening mode now. OH! SCULLY! she says:

“isn’t a saint or a holy person just another term for someone who’s abnormal?”

“do you really believe that?”

“i… believe in the idea that God’s hand can be witnessed. i believe he can create miracles, yes”

“even if science can’t explain them?”

“maybe that’s just what faith is”

YES! YES I AM CHEERING AND JUMPING UP AND DOWN. we were owed a scully-centric episode, and never did i even THINK we would get something so aligned with my interests that we’d start exploring her religious beliefs and how that intertwines with her faith in science and her work. that sounds like something i’d write a fic for because it’s hyper specific to my interests. but no. this is CANON!

mulder is saying that she shouldn’t get swept up in these things (and how ironic that the roles are reversed! it’s exquisite. we’ve found his weak point, he’ll believe in anything but a Christian God)

scully is lost in thought. taking a deep breath. steeling herself.

pause. it’s a scene change. but mulder has a pencil in his teeth. it’s adorable, really. he takes it out to write something.

they pulled prints from owen’s neck!! burned right onto the skin. and they found who did it!! the man i was previously calling the firebender, his real name is simon gates, one of the south’s wealthiest men, arrested 3 years ago on a DUI. 

so then he went to israel, and this is how i learned of something called “jerusalem syndrome”, where people come back from the holy land with religious delusions. i have not heard of this before. but it could be a motive. except for the whole burning fingerprints into necks thing. i'm unfamiliar with any sort of place turning you into prince zuko.

okay, so someone saw kevin with his mom the same time he was seen with a social worker??? doubles?? twins??? ghosts??

kevin and his mom are on the side of the road with a broken down car, when who pulls up but SIMON!!

she asks what he wants and he says “i think you know”, then kevin makes a break for it.

now. can an old man outrun a child? children have small legs, but boundless energy.

BUT HE’S RUNNING?? AND ANOTHER KEVIN GETS OUT OF THE CAR??? to talk to his injured mom. then running kevin DISAPPEARED!!! AND MOM HITS THE DUDE WITH A CAR!!!

sadly, it wasn’t out of excellent aim that she hit him, but rather because she had her face smacked into the ground by simon and was concussed or something similar. she drove into a ditch. 

NO!!! KEVIN IS SAYING SHE DIED BECAUSE OF HIM. DEATH??? I JUST THOUGHT WE WERE DEALING WITH CONCUSSION HERE?

i guess it can be a quick trip from one to the next. but i'm sad for poor kevin.

scully is near him, telling him she promises she won’t let simon hurt kevin. OH LORD, YOU GOT HER PROMISING THINGS, SMALL CHILD.

he doesn’t want to go back to the shelter. and she says he doesn’t have to. are they going to take this small child for a bit….?

she avoids mulder’s gaze when telling him she wants kevin to come with them, saying she is not getting personally involved, but like mulder is gonna complain having a kid around. 

(he actually didn't seem to have his typical instincts kick in today. how curious...)

and turns out simon rented the car under the name of one of the devil’s disciples. yikes!

so creepy simon is watching this go down despite being hit by a car. 

back to the motel. scully is running kevin a bath and sees he has a big scratch on his side. from the crash… or?

mulder is fake pouting. “you never draw my bath” JCHDJSBJSND

she’s freaked out because she knows that cut was NOT there before. OH? is it the jesus spear thing??

she is busting out her theological training- he could be in two places at once, like st. ignatius! and mulder is talking about how it was all a metaphor, that bible. mulder, if you are dismissive ONE more time...

OH, I GASPED AT THIS NEXT PART. HOLD ON I NEED TO WRITE THIS DOWN:

“how is it that you’re able to go out on a limb whenever you see a light in the sky, but you’re unwilling to accept the possibility of a miracle, even when it’s right in front of you?”

“i wait for a miracle every day, but what i’ve seen here has only tested my patience, not my faith”

“well, what about what i’ve seen?” 

UGH. how PERFECT is that dialogue!!! how brilliant is that exchange!!! why is what she has seen less believable than his x files and aliens and beasts? he spends so long looking to his own stars that he’s forgotten others can form constellations as well. and how often does the narrative favor him, his thoughts running like a prey animal, chasing and chasing any sort of lead. why can’t she have something that cuts her to the quick just as deeply?

sure, science is great, science is the building block of her reality. but you can’t change the way you grew up, either, the pattern recognition, the fear of the divine. and she’s never had trouble balancing the two, we just haven’t had a reason to see them interact before, because she generally compartmentalizes the day to day world and the spiritual- and how many of us can say we do the same? probably most, if we believe in anything at all. but then it comes straight to a head- and after she has been through so much as well, losing her dad, her kidnapping, her coma, losing mulder and her job (which luckily came back), losing her sister forever- is it selfish to want there to be a caring force out in the universe?

but on the flip side, that means that there is real and genuine evil, forces of the devil and hell- unless you think it’s poetry, like mulder does. but wouldn’t that explain all the suffering she’s been through? the horrific things this job has showed her? and wouldn’t it be worth it in the end to go through that all if you know it was to be defeated?

okay i just spend so long typing that up the screen went dark. SORRY SORRY I’M COMING BACK I PROMISE!!! I JUST GET EMOTIONAL.

NOOO! a weird noise was heard, so mulder kicks down the now locked door where kevin was supposed to be taking a bath. AND THE WINDOW WAS MELTED OPEN!! so scully basically comes face to face with the evil that must be real if miracles are as well. oh! i’m eating this up.

but she promised him he would be safe! so this is not looking good!

she wants to go talk to his father again. and mulder doesn’t want to, but she is NOT taking no for an answer. 

kevin’s father is not coming up with an answer. the doctors have increased his meds and he’s very foggy. 

she asks again about the full circle to find the truth thing. and she runs out, in a daze.

mulder gets a call that there has been a simon spotting, but she doesn’t hear; she’s pointing at a recycling bin, saying that it’s arrows that form a circle. she thinks he’s at a recycling plant; he thinks he’s at the airport.

mulder asks if she thinks she’s the one that was chosen to protect him. and she says she doesn’t know; her voice cracks as she says that if she’s wrong, she’ll meet him at the airport. OH! religious burdens, the divine pressure of fate. he watches her leave, looking troubled.

at the recycling plant- and simon IS there, saying kevin has to die, for everyone, so the new age will come. and his hands are bleeding again. all the others were false.

SCULLY AMBUSH!!! but simon is taking him into a recycling chopper. AND HE DROPS HIM IN!!! we see chopping occur!!! but it was SIMON AND NOT KEVIN THAT WAS CHOPPED!!! kevin caught himself on the ledge!!!! she pulls him up.

he says he knew she’d come, and they hug so so so tight, and she places a kiss on his head when she’s holding him, and i’m gonna cry like a baby

when they’re getting him around to leave, she says that maybe she’ll see him again sometime, and he says that she will.

and scully looks like she’s crying- i don’t think she is, but she puts her head in her hand- mulder comes in and asks if she’s okay. she says she thinks so, and he holds out her jacket to put on. it might have been the most tender thing i have ever seen. he says they need to go make a statement; she asks him to do it alone, she has to go run an errand.

again, she mostly avoids his eyes. but he agrees, and goes to make the statement alone. he doesn't press.

AND SHE GOES TO CONFESSION???? FOR THE FIRST TIME IN 6 YEARS??? she starts talking about not being able to discuss something with mulder. she asks about miracles; if she was seeing things when it comes to saving kevin, or if she was imagining them. 

she doubts herself because mulder didn’t believe them!!!!!!!!!!! and usually he believes without question!!!

maybe they weren’t meant for him, maybe they were meant for YOU, he says. and she asks if this was to bring her back; he says “sometimes we must come full circle to find the truth”

and it makes her afraid!!!! that god is speaking but no one is listening!!!!

WHO THE HELL WROTE THIS EPISODE. NO. NO, HOLD ON I’M GONNA LOOK THIS UP. 

KIM NEWTON. KIM. YOU ARE THE ONLY PERSON WHO GETS ME ON THIS PLANET. NO ONE ELSE DOES.

wow okay. i’m going to be pacing my room about this for 100 years. there are going to be think pieces about this, from me, for the foreseeable future. i’m losing my MIND.

i don’t think i could have cooked up a more perfect episode if i had tried. something centered on scully entirely (mulder has had his fair share of attention), something about faith, something where she questions what she holds close and why she holds it close and what it means that she does so at all. what it means for there to be human good and human evil and divine good and divine evil. how god speaks to people and how we listen. or hear things that he didn’t say, like simon did. 

holy FUCK i literally could not think of anything better. and i have SO much to say. i already SAID SO MUCH, too. like i’m seriously bouncing off the walls right now. whatever love i had for scully before just quadrupled- and who knew this was even possible??

for things to be reversed, for mulder to try and talk her out of a belief, how bizarre that must have felt to him, and how cold it felt. how he just couldn’t see it, how his not being able to see it drove her to doubt herself, how she must doubt herself already, but that sprung everything to the surface. how she doubts that god would use her. and use her for good. 

but still, despite his lack of understanding, despite his trying to get her to think rationally- he is there for her, even if he doesn't get it, even if he could have done better. the way he held her jacket while she processed everything, the way he didn't question her needing time for herself. somethings are best left unspoken.

lord, i’m gonna have to stop there because if i don’t. i just might never shut up ever ever ever. and i still need to proofread all my raw notes, and i’m sure i’ll think of something else to say.

i started this episode AN HOUR AND A HALF AGO LMAOOOO i just had SO much to pause and observe and say which is NOT a complaint in the slightest. 

wow. new fave episode i think. i’ll have to add it to the list. 

please let me know what you thought- are there any other scully truthers out there who lost their minds over this? did you like the episode? is it disliked and i'm strange for going on such a ramble? did you have trouble reconciling faith scully and science scully? personally i don't, but i could see how some people might. did you find mulder too dismissive? or did you think he was trying his best? some combination of both? did scully protecting that kid make you emotional? please, spill EVERYTHING. i always want you to spill everything, but now so even more than usual.

[mediocreauthor]

nana komatsu: how we surpass trauma to survive

tw: rape, sexual assault 

I recently wrote the way Hachi didn’t acknowledge or deal with her rape was one of the most realistic portrayals I have ever seen, whether that was Yazawa’s intention or not. 

Now you can say how Yazawa portrayed certain issues was wrong and potentially harmful for many young girls who read NANA and saw incredibly damaging behaviors brushed over or not even portrayed as bad. And you would be correct but this post isn’t about NANA’s affect, but rather story itself. 

The morning after Hachi’s pregnancy was revealed, which I consider as a turning point of the story, Takumi raped Hachi. I really don’t want to sugar coat or be poetic about this, he raped her. Now, I have been seeing some posts excusing Takumi’s actions therefore I will explain why this is considered as rape. 

In chapter 29, we don’t see Hachi explicitly saying no or fighting back, but hesitant and reluctant because Nana is right next door. Takumi first tries to convince her and when Hachi remains hesitant, what does he tell her?  “You should worry about making me angry.” I am paraphrasing but the message was this. Hearing this, Hachi gives up and people might think she ‘lets’ Takumi do whatever she wants therefore it’s okay somehow, it’s not. 

I read this somewhere and I want all of everyone to read it as well: A ‘yes’ only has value when someone is comfortable enough to say ‘no’. Hachi’s unwilling ‘yes’ means nothing because she was just very openly threatened by Takumi. Hachi, alienated from her friends, knowing Nana sees her as a traitor, Nobu as a cheater, Hachi who had no support for her baby, was given a clear ultimatum by Takumi, the only person she had by her side: if you don’t give me what I want, I will hurt you. You will be left alone. So she does. And then she doesn’t even acknowledge it as rape. She is angry and distraught after but it’s for the strawberry glasses and she just looks slightly annoyed with Takumi. That’s all. Where is that dramatic aftermath we usually see in media, where woman cries, breaks everything within reach then stares blankly at the ceiling?

Because most rape aftermaths don’t look like that. I am BY NO MEANS saying women whose experiences was as I wrote above as invalid. Most rape cases aren’t reported, we know that. But there is also a heartbreaking amount of women who can’t even decide if they have been raped or not. Women, who are  haunted by a certain memory but always pushing it to back of their minds.  I believe Hachi is one of them.  There is a high possibility Hachi was unable to register it as rape but we -readers can observe the effects of it through her behaviour. Hachi is terrified of Takumi. Fans give her so much shit for not contacting Nobu, even Hachi called it out of selfishness and no action is done with one mere emotion, but she also avoided it out of fear of angering Takumi. 

Hachi’s fear of him is displayed plain as day during Shin and Reira’s birthday party. Hachi knew she has angered Takumi by staying at the party, she even considers divorcing him and her inner monologue was pretty brave and promising. So what changed when Takumi knocked on Nana’s door? I would like to break down what for me, is one of the most disturbing scenes in NANA.

This scene right here, is a cry for help for someone who can recognize certain patterns in abusive relationships.

Hachi was in a good mood right before this scene, Nana even pointed out she was too cheerful for someone in the brink of a break up. However, at presence of Takumi, she immediately caves and apologizes for doing things without his knowledge while at the same time, still offering a way out. This way out isn’t for Takumi, it’s for her. I am %100 sure if Takumi said ‘okay go live your own then’, even though sad, Hachi’s predominant emotion would be relief.

She is terrified of Takumi. Hachi is unable to escape this unless he gives her an out. She regretted her ‘choice’ of being with Takumi the morning after but she had no one or nowhere to go. Now, you might think ‘she could’ve gone back to her parents!’ or ‘she could’ve lived on her own’ and I want to counter with: abused people’s mind don’t function like that. Even though you are somewhat aware that you are being treated badly, taken advantage of, it’s pushed way back in your mind. Your world consists of only you and your abuser, you can’t think of options simply because you don’t see any. 

And your abuser makes you believe what they are doing isn’t a big deal. They treat you with kindness right after abusing you while not acknowledging their behavior to leave you disoriented and unsure about the weight of what you have experienced. What Takumi did to Hachi was exactly that. So what did she do? She surpassed it and moved on.

‘I didn’t allow it for the sake of our future, but because I wanted to escape the terror and anxiety of that moment’ Read this sentence over and over again and process it. If I read one more take about how ‘what Takumi did wasn’t that bad compared to other NANA characters’ I am going to fucking slap them with this panel. Hachi learned that disobeying Takumi is pointless. She allows it even when considering separation, why? She is paralyzed by fear.  Because she tried to object Takumi once and learned her lesson. Obedience is so much easier than what you might face with your abuser. You bend and cave, do everything in your power to avoid their wrath. It’s safer.  Admitting that you haven’t received the best treatment from someone who is supposed to cherish you is an act strength by itself. I do not blame any victims of abuse who don’t want to admit or process their trauma. It’s hard, it’s terrifying and frustrating. Being able to process your trauma is a luxury most women don’t have. Hachi doesn’t have it with a belly up her nose at the age of 21. She is in a vulnerable position and don’t think even for a second Takumi isn’t aware of it. 

Next day, Hachi greets Takumi by the door as usual. Their home life becomes pretty stable since she takes all his micro aggressions,  his snarky comments and belittlement with slight annoyance, still with humor. Because the other scenario is losing herself. She surpasses her trauma to maintain her sanity. 

Why do I love this? 

Because a lot of women do exactly this. A lot of housewives who stick with their husbands despite years of abuse, young girls with their boyfriends do this. Because I read NANA at the age of 14 and didn’t even understand what Hachi went through but rereading it at 23, with what I have seen made me sob. Whether Ai Yazawa’s approach was irresponsible or genius I don’t know. But I took something valuable from it and if any minors or young adults especially are following me, I want them to recognize these patterns and behaviors too. 

And what should never be done is to take this tragic coping mechanism and turn it into an excuse to diminish your favorite rat boy’s behavior. You can keep saying what Takumi did wasn’t bad based on Hachi’s reaction, be aware it’s a survival instinct, not nonchalance.   To sum it up: Hachi is a survivor and what she lived through was just as sad and tragic as other characters, and  I am fucking sick of people invalidating it because she coped with a smile.

[soc-characters-as-songs]

The OCs as Jane Austen characters?

everyone is lizzie bennet, remember? lmao

quoted descriptions sourced from the atlantic, barnes and noble, the guardian, and stylist.

and yes, I realize some of these could definitely qualify as hot takes lmao

ivy: fitzwilliam darcy ("I always saw myself as more of a mr. darcy than an elizabeth bennet. we’re both more reserved, and people can mistake our standoffishness for arrogance. but mr. darcy gets the chance to prove what he is really like, and now people often think of him as the ideal romantic hero.")

meredith: marianne dashwood ("marianne is a hopeless, self-indulgent romantic who veers from ecstatic, all-consuming happiness to miserable self-neglect over the unsuitable man she has pinned her hopes on. she is, however, capable of self-improvement and learns invaluable life lessons from her practical and generous older sister, elinor.")

diana: susan vernon ("not all austen’s protagonists are morally sound, well behaved romantics. in her only epistolary novel she presents us with a vicious anti-heroine in the shape of lady susan vernon. a beautiful 30-something widow, she is charming and manipulative towards anyone she can make use of.")

dahlia: isabella thorpe ("in northanger abbey, isabella is one of austen’s funniest characters. she’s a very realistically drawn teenage girl who makes and breaks friends on a whim, is a shallow flirt and loves dancing, shopping and giggling.")

alassie: mary crawford ("in mansfield park, mary crawford is the character all men fall in love with. vivacious, worldly, musical, funny and kind, she is the ultimate femme fatale. even the dull parson edmund bertram falls for her charms, simultaneously attracted and repelled by her particular brand of sexy charisma. she’s a wonderful actress and plays the harp like an angel. she makes the filthiest joke in austen when she makes a pun about sodomy in the navy, concerning rear and vice admirals: “of rears and vices I saw enough. now do not be suspecting me of a pun, I entreat.”")

ramona: anne elliot ("she may be austen’s most hopeful character. without the native strength of emma or lizzy, her quiet character withstands her own youthful mistake to triumph in the end. since most of us blow it to one degree or another in our twenties, anne represents that painful journey to self-knowledge and courage that most of us experience.")

rhea: elinor dashwood ("on the surface, she has it together, she’s in control, she keeps her family together, and she acts like she has no need for romance. but underneath, she is a deeply emotional person. to me, she is jane austen’s most complex and human character. we all exist in layers and are neither sense nor sensibility, but a mixture of both.")

cornelia: elizabeth bennet ("she is smart, witty, charming, and loyal. I have always admired her self-respect: a self-respect that wasn't entirely vain or selfish. the self-respect that would not allow her to marry her intellectually inferior cousin, just to have a home, or save her family. her self-respect that gave her the fortitude to reject darcy's marriage proposal, though, again, it would have secured her future. Her self-respect that gave her the courage to speak her mind among men and women who outranked her socially and economically.")

kaden: emma woodhouse ("emma is rich, pretty, and thinks more of her matchmaking abilities than she should, but she is also a devoted daughter, a loving friend, and above all is someone who is willing to own up to her mistakes and attempt to right them. emma is a heroine you root for as she not only finds love (as any great austen heroine must), but also as she matures from an often inconsiderate girl to a sincere and kind young woman.")

andreia: diana parker ("diana is a homeopathic health fanatic in austen’s final, incomplete novel sanditon, written when she was dying. diana sips herbal and green tea, has anorexic tendencies and distrusts conventional medicine and doctors. she self-medicates with her numerous homemade remedies and is drawn to the other invalids who are staying at the seaside resort. she plans to take a sea bath in a bathing hut on wheels with a mixed-race girl. what a pity that we’re deprived of the chance to see how that would have turned out")

arely: fanny price ("fanny price is also an odd heroine, meek and quiet without any of the strength of her other heroines. she’s also very difficult to read, with a moralistic streak that comes across as quite judgemental. however, like anne elliot, she is very much the outcast of the family and has to endure a fair amount of humiliation from childhood. to see her finally defy her uncle in the gentlest way possible and end up with her childhood love edmund bertram is satisfying."

suzy: catherine morland ("catherine is a dramatic, gothic-novel-loving teen who is desperate for drama and tries to turn her own life into a ghost story, offending and upsetting her friends in the process. throughout my teens I did my best to make my life something in between a fantasy novel and a sofia coppola movie—I can relate. she’s funny, outgoing, and magnificently stupid. but catherine, in her ridiculousness, just wants to make life a fun story. she is the angsty suburban girl who invites you to join her book club with a message written in invisible ink. I would join in a heartbeat.")

samuel: henry tilney ("funny, good-natured, and forgiving, tilney’s even ready to defy his boorish father’s wishes to marry the woman he…loves? this novel lacks the intense romanticism of austen’s later works, but that doesn’t mean henry isn’t a peach.")

bianca: charlotte lucas (sensible and intelligent, does what she has to do for a successful life)

archibald: george knightley ("he is the epitome of kindness, an underestimated heroic quality. he takes care of a vulnerable woman like miss bates, and steps in to dance with lowly harriet smith when he sees that she has been snubbed by the awful mr and mrs elton. he represents the perfect english gentleman and sets himself firmly against french affectation. he refuses to play the conventional hero and talk the language of love: “I cannot make speeches, emma. If I loved you less, I might be able to talk about it more.” perfect!")

raphael: charles bingley ("this charming, gallant gentleman wouldn’t hurt a fly, but he would let his chilly sisters talk him out of proposing to the woman he loves, in an era when dancing with her all night has already got half the neighborhood writing up the wedding banns. but who doesn’t keep a spot in their heart for bingley, who’s glad to dance with even the homeliest old maids (we’re talking 27-year-old hags here). he may be suggestible, even a touch weak-willed, but he’s also got a heart of gold. (and if he had a bit more spine, he’d top mr. darcy.)

[inevitably-johnlocked]

hey Steph! I wanted to know if you knew of any fics that dealt with the topic of consent, and very explicit consent, and not even necessarily for sex, but just, explicit consent and conversations of boundaries in a relationship. "hay can I kiss you? it's ok if I hold your hand? can I hold your hand when we're outside?" people talking boundaries, that type of thing... you know anything like that?

Hey Nonny!!

You know, I ABSOLUTELY KNOW that I do, but I didn’t have the foresight to pre-tag all of them as I read them, so I can’t give you ALL of the ones I have in my bookmarks, but I can definitely give you the fics I do have tagged with “Consent” or “Negotiation”, so I hope that’s okay!!

If any of my Lovelies have any that they remember or have their own fics, PLEASE add them!!

CONSENT AND RELATIONSHIP NEGOTIATION

Personal Space by probablyquantum (T, 1,814 w., 1 Ch. || Pre-Slash, Cuddles, Nightmares, Awkwardness) – John and Sherlock renegotiate the rules governing personal space. Pre-Slash.

Husband by jinglebell (E, 2,003 w., 1 Ch. || Est. Rel., PWP, Anal, Multiple Orgasms, Fluff, Toplock) – Sherlock orgasms when John refers to him as ‘husband’.

The Marriage Proposal Negotiation by Goddess_of_the_Night (G, 2,161 w., 1 Ch. || Dev. Rel., Possessive Sherlock, Insecure Sherlock, Fluff, First Kiss, Post Mary) – Sherlock hasn’t ever really done anything the traditional way, so of course it wouldn’t bother him to propose to John even though they’re not even dating. And the fact that John is already on a date with someone else when he decides to do it? Tedious.

Perfect Solo by Itsallfine (E, 2,384 w., 1 Ch., || PWP, Solo Kink, Fantasy, Pining, Dirty Talk, Sex Toys) – Sherlock couldn’t decide how he wanted to have John that night. (The one where Sherlock uses his box of sex toys to take himself apart in every way John might have him.)

Everything by patternofdefiance (E, 4,409 w., 1 Ch. || Snuggles and Cuddles, Bed Sharing, Frottage, Vulnerable Sherlock) – John wakes up with an armful of Sherlock. This – situation – is unusual, yes, and definitely unfamiliar, but in no way does it feel wrong. Rather, it feels the exact opposite. Part 13 of I Blame Tumblr

Uninhibited by 221b_hound (M, 4,293 w., 1 Ch. || Bathing/Washing, Naked Cuddling, Non-Sexual Intimacy, Big Brother Mycroft, Relationship Negotiation, Massage, Sherlock Has a Low Libido, Pet Names) – Sherlock and John have been apart for the first time since Sherlock returned from the dead. Neither of them has had a good day. John’s gets worse when Mycroft comes to Baker Street in Sherlock’s absence to warn John Watson against disappointing his brother by expecting things to change. Mycroft has misjudged things rather badly. But finally he sods off and leaves John and Sherlock to reconnect, to give and receive comfort, and show each other that they are, indeed, perfectly matched. Part 15 of Unkissed

Beg for Mercy (Twice) by Solitary_Endeavor (E, 7,060 w., 1 Ch. || Est. Rel., Bottomlock, Bearded John, Edging, Rough Sex, Idiots in Love, Canon Compliant) – Sherlock hasn’t left the flat in four days, the itch of impatience beneath his skin too great to allow him to suffer interaction with any human being who isn’t John. This is probably a mercy that goes both ways, as he’s driving even himself mad. Sherlock supposes there is a lesson to be learned here about having himself to blame, but of course he blames Mycroft.

The doctor is in by PlainJane (E, 7,581 w., 1 Ch. || Omegaverse || Sex Therapist, Anal, Hand Jobs, Frottage, Virgin Sherlock) – Sherlock is a young alpha with an aversion to his cycle. John is a gender medicine specialist. Nothing could possibly go wrong… Part 1 of Doctors and detectives

Caves in the Mountains Are Seldom Unoccupied by starrysummernights & TheMadKatter13 (E, 7,925 w., 1 Ch. || Were-Creatures, Werebear John, Pseudo Bestiality, Rimming, Dub Con, Rough Sex, Come Inflation / Eating, Size Kink, PWP, Bratty Sherlock, Rutting) – “This isn’t something to play at, Sherlock,” he snapped. “If it doesn’t work out- what you’re asking of me- we can’t shrug and say ‘oh well, at least we tried’. If we do this… I could seriously hurt you. Do you understand? I could lose control. I could… I could kill you.” (This one is… REALLY REALLY kinky, heavy dub-con warning)

Just Like That by sussexbound (E, 8,442 w., 1 Ch. || First Time/Kiss, Frottage, Virgin Sherlock, French Kissing, Anal, Emotional Lovemaking, Enthusiastic Consent, Tenderness, Crying John, Bathing/Washing, Insecure John, Toplock) – John doesn’t want to talk anymore. He wants. Oh dear god, how he wants. For the first time in what feels like years he WANTS.

Evening Ride by LapisLazuli (E, 8,632 w., 1 Ch. || Public Sex, Alternate First Meeting, Humiliation Kink, Groping, Frottage, Consent Issues, Come Play) – John has a series of unexpected meetings with a stranger on the Tube.

C. sapiens by patternofdefiance (E, 8,813 w., 1 Ch. || Tentacles Porn, Magical Realism, Bottomlock, Anal / Tentacle Sex, Pheremones) – “A few weeks ago I would have thought you were impossible,” Sherlock begins, walking into the kitchen in his blue robe, and John – not quite catching on – wants to scoff and argue, No, actually, you are impossible, but then Sherlock continues: “But now I’d say you are improbable.” John thinks this might be flattering, if he could wrap his head around it, but he can’t – Sherlock is standing near, steaming his sun-baked-clean-sand smell, like the beach after rain, an alive smell, an other smell. It’s intoxicating, and John has been studiously avoiding it, but he can’t shift away now it’s so near. Now Sherlock’s so near. And then Sherlock ruins the probable-loveliness of his words and the definite-beauty of his presence by saying: “And by ‘improbable’ I mean ‘not yet scientifically acknowledged.’” Part 1 of Gifts from the Sea

John Watson’s Moon by patternofdefiance (E, 11,314 w., 1 Ch. || Werewolf John, First Time, BAMF John, First Time, Anal, Fleeting Depictions of Violence) – Sherlock finds out John is a werewolf and wants to see the transformation. It, uh, gets really kinky.

Kintsugi by distantstarlight (E, 14,772 w., 1 Ch. || Post S4, Emotional Hurt / Comfort, Regret / Remorse, Loneliness, Separation, Drug Use, Healing, Protective John, Sad Sherlock, Dev. Rel., Complicated Relationships, Love, Angst With Happy Ending, Sherlock is Called Freak, John’s Penance, Voyeurism, Doctor/Caretaker John, Guilty John, Detox, Fingering, Love Confessions, Cuddling, Slight Non-Con Turns Enthusiastic Consent, Virgin Sherlock) – Sherlock Holmes becomes estranged from the man he had once considered his best friend after John lets him down horribly in public. It seems that the world’s only consulting detective will be on his own once again…or will he?

Lacuna by coloredink (E, 15,607 w., 1 Ch. || Angst, Consent Issues, Drama, Amnesia) – God, it must have been terrible, to think that he would never have this again.

The Midas Touch by flawedamythyst (E, 32,231 w., 1 Ch. || Magical Realism, John has a Magical Cock, Dub Con, Healer John) – John Watson has a medical condition that means everyone he sleeps with is instantly healed of all illness and injury. This causes complications when Sherlock breaks his arm, and even more complications when Sherlock falls in love with him. Yes, this is a story where John has a literal magic healing cock. It’s a lot less cracky than you’re probably imagining. Warning: Contains complex issues of sexual consent, although not between Sherlock and John.

In the Dark Hours by hubblegleeflower (E, 51,639 w., 12 Ch. || Friends to Lovers, Unreliable Narrator, Closeted Bi John, Angst, Miscommunications, Slow Burn, First Time, John’s Blog / Epistolary, Selective Mutism) – John, wounded and silent, drifts back to Baker Street for healing…and then goes home again. He visits, gets more upbeat, chattier, smiles, jokes… and still goes home again. Sherlock wants him to move back in - it just makes sense - but John shows no signs of doing so. This is the story of how John and Sherlock learn to say what needs to be said when they’re both so very, very rubbish at talking.

Coventry by standbygo (E, 52,020 w., 26 Ch. || Dollhouse AU || Case Fic, Slow Burn, Sci-Fi / Fantasy, First Kiss / Time, Attempted Rape, BAMF John, Falling in Love) – “Let me get this straight,” John said, wondering when his life had become a science fiction film. “Some guy orders up a personality, a person, to his specifications, and they program this into a real live person, who has consented to do this, and she goes to this person and acts as his wife, or lawyer, or Royal Marine, or Navy Seal or what have you, and she has all the skills, all the knowledge, everything? Then you say the magic words, and she follows you back to The House, and they erase it all until her next appointment?”

Just To Hold You Close by sussexbound (E, 70,841 w., 18 Ch. || Alternate First Meeting, Sherlock POV, ASD Sherlock, PTSD John, Demisexual Sherlock, Bisexual John, Cuddling/Snuggling, Platonic Cuddling, Enthusiastic Consent, Bed Sharing, Love Confessions, First Kiss/Time, Sexual Tension, Emotional Hurt/Comfort, Cuddle Negotiations, For a Case Until It Isn’t, Hair Petting, Sexual Negotiation, Anxiety, Trust Issues, Slow Burn, Panic Attacks, Frottage, Hand/Blow Jobs, Referenced Self Harm / Abuse / Suicidal Ideation, First Kiss/Time, Anal, Autistic Sherlock) – When a woman is murdered and the last person to see her alive is recently invalided army vet turned reluctant (and prickly) professional cuddler, John Watson, Sherlock Holmes is pulled into a world of intimacy and intrigue he never could have imagined. John is a conundrum and mystery: frank yet reserved, tender yet angry, open yet afraid. Sherlock is instantly drawn into his orbit, and begins to feel and desire things he never has before.

A Cure For Boredom by emmagrant01 (E, 81,665 w., 8 Ch. || Dirty Talk, Threesomes, Light Dom/Sub, Sex Club, Experiments, Anal, Mildly Dubious Consent) – They’d never talked about sex in the year they’d known each other. Well, that wasn’t quite correct: Sherlock had never said a word about sex; John had bemoaned his personal dearth of it on many occasions.

Thermocline by J_Baillier (M, 83,557 w., 14 Ch. || Scuba Diving AU || Adventure, Angst, Hurt/Comfort, Marine Archaeology, Asexual Sherlock, Horny John, Relationship Drama, Technical/Scuba/Wreck Diving, Slow Burn, Underwater /  Medical Peril, Doctor John, Hurt Sherlock, Anxious Sherlock, John POV, Protective John, Body Appreciation) – John “Five Oceans” Watson — technical dive instructor, dive accident analyst and weapon of mass seduction — meets recluse professor of maritime archaeology Holmes. As they head out to a remote archipelago off the coast of Guatemala to study and film its shipwrecks for a documentary, will sparks fly or fizzle out?

Not Broken, Just Bent by Schmiezi (E, 87,585 w., 43 Ch. || Pining, Love Confessions, Rape/Sexual Assault, Torture, Hurt/Comfort, Heavy Angst, Villain!Mary, Suicidal Ideations, Main Character Death, Sherlock First Person POV, Parentlock, Sherlock’s Mind Palace, Grief/Mourning, Emotional Love Making, Possessiveness, Depression, PTSD, Kidnapping, Virgin Sherlock, Eventual Happy Ending) – “For a second, I allow myself to remember teaching John how to waltz. There is a special room in my mind palace for it. A big one, with a proper parquet dance floor. For a second, I go there. I remember holding him, closer than the World Dance Council asks for, excusing it with the fact that we are training for a wedding, not for a competition. For a second, I feel his hand on mine again, smell his sweat, hear the song we used. For a second, I allow myself to love him deeply. For a second, only a second, that love reflects on my face.” Fix-it for S3, starting at the end of TSoT. Evil Mary.

31_Days_of_Porn_Challenge_2017 Series by distantstarlight (E, 96,540 w. across 31 stories || Prompt Ficlets, Assorted Kinks, PWP) – A collection in response to the 31 Days of Porn Challenge issued by AtlinMerrik! Thanks for doing that because this has been buttload of fun (that joke never gets old). All stories will be brief stand-alone one-shots.

Shatter the Darkness (Let the Light In) by MojoFlower (E, 109,683 w., 23 Ch. || PODFIC AVAILABLE || Genie/Djinn AU || Magical Realism, Kidnapping, Genie Sherlock, First Kiss / Time, Case Fic, H/C, Angst, Clubs, John Whump, Mild DubCon, Hand / Blow Jobs, Torture) – Fairy tales are for those who remember how to dream; not John Watson, broken and hiding from his bleak future in a beige bedsit. But then he discovers a lamp and finds himself in the dangerous riptide of an enigmatic man whose very existence is unbelievable, murder charges against his sister, and the growing pains of feeling alive once more.

The Gilded Cage by BeautifulFiction (E, 326,887 w., 31 Ch. || Omegaverse || Omega Sherlock / Alpha John, Friends to Lovers, Dub Con, Reproductive Rights) – In a world where Omegas are the property of the elite Alphas, locked away and treasured by those wealthy enough to buy them, John never questioned his flatmate’s secondary gender. Sherlock Holmes was an Alpha through-and through. Wasn’t he? A chance discovery turns the world on its head, and John is left grappling to come to terms with Sherlock’s past as events conspire to threaten their future.

[xiaolongboba]

unpopular opinion...

sooo been on my thoughts for a really long time

And it’s not a completely serious theory... it’s just a thought I have, and I have to admit that I find it kind of funny actually...

And this post is really long 

so I’ll put a read more button here. 

Psst? Anyone still here? 

Okay

Ready???

The treatment of Marinette’s bad behavior in the writing of the show compared to that of Caillou’s. 

Okay the ones who are still here, bear with me for just a little longer. 

I don’t think TV show writers are responsible for teaching kids how to behave. It’s the parent’s job. But as Miraculous Ladybug was designed for kids to learn how to deal with their emotions, the writers are writing for the purpose of teaching kids. And throughout the entire time I’ve been watching ML, I’ve sometimes found myself wondering, is this what they want kids to learn?

Don’t get me wrong, I love the show. I love how Mari is shown as a strong independent heroine, and how she’s able to think herself out of a ton of situations. She’s smart, bold as Ladybug, and is cute and lovable all at the same time. She’s a leader, and I think that kids can learn a lot from her.

But the problem is, as she is supposed to be a role model most of the time, kids will look up to her and emulate her behavior, whether it’s good or bad. She is a “big kid,” and whatever she does is cool - because she is cool. Whenever she stands up for other people, does what’s right, or takes up leadership, kids emulate that. 

But whenever she steals phones

Decides to hurt a harmless peer...

Or revolves her entire life over a boy

I wonder if kids will emulate this bad behavior as well. 

I’m not saying she has to be perfect. I’m not saying that she can’t make mistakes. But the problem is that she has never been reprimanded for things that really count. Instead, she’s been reprimanded for other things that really shouldn’t be her fault. 

She’s been told to not stand up for herself, or tell an adult when she really needs help

Or has her feelings always invalidated

Yes, Marinette always learns a positive lesson in the end of each episode. But she always has to be the one to make the mistake. And she’s always the one to apologize first - not for the right things. For things such as stealing phones, treating people wrong, others - she is never really reprimanded. If she is, it’ll be a quick little lesson such as “Oh, I shouldn’t have tried to hurt Kagami because things won’t work out on their own” (wherein afterwards, Mari moves on quickly without really being reprimanded) instead of “Oh, I was in the wrong for trying to hurt Kagami because it was morally wrong. I have to change my behavior.” 

SO. What does this have to do with Caillou?

Caillou is a children’s show featuring a bald kid (he just is bald, for no reason) whose name means “pebble” in Canadian French because his head is as bald as a pebble. Throughout the TV show, Caillou behaves like a brat. He whines, complains, sneaks off on his own, lies, and in some cases hurts his younger sister (who is an infant). Of course, each episode, Caillou learns a new lesson in what it means to grow up - he corrects his behavior each time. (Also like Marinette, he’s on his own a lot and isn’t reprimanded for important things - for example, one episode, he sneaks out on his own, learns about his neighborhood, comes back, and his mother was like “wow! you learned so much!”)

I used to LOVE Caillou as a kid. It could have been just me being a dumb kid, but I also emulated him because he was the “cool kid.” he was the protagonist. If you look at all the hilarious angry parent online reviews of this show, it shows that kids who watch him emulate ALL his behaviors. They learn his lessons along with him, but for the behavior he’s not reprimanded for, (and even in the behavior he is reprimanded for - because he does it so frequently like Mari’s frequent stalking), the kids who watch this show pick up these behaviors as well. I even remember crying to my mom that the cereal has to go first before milk, and made a big deal out of it because Caillou whined in one episode over the same thing and never was scolded for it. I reasoned that this was just how kids behaved, and if Caillou could get away with it, then I could too, because I was just being a kid. 

I began whining and complaining too because Caillou whined and complained in every episode and never changed.

I wonder if girls watching Miraculous will unknowingly pick up Marinette’s bad behavior as well - such as obsessing over a boy, or stealing and lying for their own benefits. Like me, they could also reason that Marinette is being a normal kid, and if she’s such a cool person, and that if she can get away with these behaviors, then they could too. After all, they’re just being kids, right? 

A lot of these, I argue, are learned behaviors. We just think they’re natural because society believes they are (Children’s media showing girls being mean to each other over boys, media showing that it’s normal for kids to steal and lie).  And if not, I also think that these are behaviors we can teach kids not to do. 

Lastly, character development is soo slow in ML. Marinette and Adrien display the same behavior over and over in each episode. They might learn to be better in future episodes, but it’s been over four years now and kids grow fast. By the time that the characters do change their ways and learn their lessons, theoretically, kids who have emulated their bad behavior will have displayed these behaviors for four years.

I’ll end with a disclaimer - these are just my thoughts and opinions. I’m not a parent or child expert so I’m just saying this over my own experiences as a dumb kid. Again, I think ML teaches kids good lessons, but the writing also detracts from these lessons because of how different behaviors are shown and handled. 

[thecursedvaultchild]

"The truth hurts, doesn't it?"

Summary: Summer Charn and her grandfather, Rodolfo Selwyn, have an interesting chat.

“Angst and fluff prompt: 76. For any character of your choosing. Let the feels commence!” @caustic-curses

Thanks so much for this blessing 💚 I’m using it as an excuse to write some good angst I’ve been sitting on

Deep in the rolling hills of the green English countryside stood a manor. It was old, with ivy slowly carpeting the worn stone. No light shone out of any window into the gray sky, save one. One had the steady flicker of a fire interrupted with bursts of colorful lights.

Inside, two figures occupied the space, holding wands in their hands. The first was an elderly man with a burst of white hair and stern face, clothed in well tailored velvet. The wand in his hand was actually a well polished cane topped with a dark emerald. The second was teenage girl, hair shockingly silver enough to compete with the old man, dressed in an assortment of rock getup and witch attire. Both radiated exhaustion but their eyes glimmered with determination.

The man raised his wand, shooting out a burst of energy at her. She was knocked off her feet and he leered at her.

“Is that the best you’ve got, girl?”

Her only response was a growl as she shoved herself back to her feet and jabbed her wand in his direction.

“Tarantallegra!”

With nimbleness belying his age, he dodged out of its way. “Oh, this is hopeless. How have you maintained a perfect winning streak at Hogwarts? What are they schooling you in, fair play? Taking turns? Mercy?”

He shot at her again and as it hit, she cried out in pain. But it was cut short as her tongue became tied up. Her blue-green eyes burned with fury and that fury channeled through her wand and fired. His body began to tremble and shake and he nearly collapsed to his knees, leaning heavily upon his cane. Just as quickly as it had started, it ended.

The shock slid off his face as it was replaced with satisfaction.

“There you go, girl! You cast a powerful curse nonverbal. Keep at it and no foul wizard will stand a chance against you.”

She was too busy undoing the Tongue-Tying Curse but jutted her chin out. He stroked his chin, green eyes narrowed at her.

“Though… I do wonder where you learned to cast an Unforgivable Curse. Surely not your school that treats you all as invalids unable to take a few scratches. And I certainly never taught you it.”

“It was Rakepick.” Her fist clenched around her wand, knuckles white. The very yew wand the former professor had purchased for her. After breaking her first one. “And I’m going to kill her.”

A single eyebrow rose and for a brief second, she thought her mother was standing before her. But no. It was her grandfather. Whom her mother resembled.

“I know for a fact you can’t cast that curse, girl, otherwise you would’ve tried it out on whatever poor plant you had failed to kill yet.”

“I don’t recall you having much of a green thumb, either, Grandfather.”

“Such a controlled temper, young lady,” his tongue clicks against his teeth, “that serves you well in dueling. Somehow.”

“…teach me.”

“Teach? Teach you what? I’ve already been trying to educate you in the finer points of dueling, you silly girl, though I’m not certain it’s sticking.”

“No, I meant… Please. Teach me the Killing Curse.”

“That’s illegal, you know.”

“When have you been one to respect the law and not dance with it. Besides, wouldn’t you rather I do it under your supervision than experimenting on my own?”

His fingers drum against the top of his cane. “You make a fair point, girl.” Her eyes lit up. “But not now. I require preparation for such a lesson.”

“Are we done here? We’ve been dueling for over an hour.”

“Patience, girl. We are not done. And I know that if I let you leave, you’ll go to your grandmother’s piano and play the Muggle trash.”

“I have patience but it’s quickly wearing thin with your pointless dueling! And Queen is not trash!” she snapped at him, moving to pass him.

His eyes became piercing. “Summer Gwyndolyn Selwyn Charn. Sit. Down.”

No. She had had enough. The rage and grief that had been stewing in her ever since she’d come home for the summer finally bubbled over.

“No! I’m sick and tired of you bossing me around! And I’m so over you despising everything I do because I’ll never compare to Jacob in your mind!”

“Is that what you really think I think of you?” His voice was even. It grated at her.

“Well,” her own voice was taut, “it seems apparently obvious.”

“Remind me to add Legilimency to the list of things you require further practice in. As you’ve clearly never read my mind, or, if you have, you only touched the surface. You see, Summer, I never favored Jacob and despised you. I despised Jacob and favored you.”

Her jaw dropped open. She couldn’t help it. Legilimens. She dove into his mind, her emotions giving her strength to do so nonverbally. His mind… It was all right there. Everything she had thought she knew about her grandfather’s opinion of her… was a lie.

“The truth hurts, doesn’t it?”

All she could manage was a scathing glance, shutting her mouth.

“It’d be so much easier for you to think I hate you, girl. That I’ve never liked you and could care less if you die. Because I’ve been so hard on you all these years. But you have accept the fact I do care so blasted much.” He waggled his cane in her face. “You’re the only family I’ve got left, missy. And I’ll be damned if you die.”

“You only care so the Selwyn line won’t die completely and not just in the male line.”

He cackled. It crawled across her skin. “So much denial. No wonder you picked up Occulmency far quicker than your brother ever could. As always, the more talented of the two.”

“So you’re telling me everything—bcoming an unregistered Animagus, making it to prefect, shooting for all Outstandings on my O.W.L.s— you pushed me into doing wasn’t to try and prove myself just as good as him? It was—”

“—to prove you were better than him. You’ve got potential and I didn’t want you to squander it like he did, like Donovan did. We don’t need another Selwyn melting into the background or dying with a bad reputation. We need the greatest witch of her time.”

If he expected a wince or a snappy remark, there was none. Her eyes were cold and dark like the overcast sea. She nodded slowly. “I am the greatest witch of my time. The whole world will know it. Once I claim victory in the last Cursed Vault, they’ll never doubt me again.”

“I don’t want to hear another word about those blasted Vaults again!” His cane hit the floor with a resounding thud.

“Why not?! Why have you been so against them? You want me to bring glory to this dying house, don’t you? The Vaults are the perfect way to do it!”

“There is a time for seeking glory and a time to know you’re in over your head and should put courage aside to live another day, girl. Otherwise you’re one of those brainless fools who die with nothing to their name!”

“I’ve succeeded where everyone else has failed!”

“You could’ve been killed!”

“But I haven’t!”

“Not yet!”

“I can handle it!”

“You’re a child fighting what she doesn’t understand!”

“Then tell me! Tell me what I’m missing!

“I REFUSE TO SEE YOU WASTE YOUR TALENTS AND PERISH LIKE WISTERIA AND IEFAN AND JACOB AT THE HANDS OF ‘R’!”

Silence followed.

“…I miss them too.” To admit weakness was a risk, she knew. But, maybe… just maybe, it’d help widen the crack in his mask.

Exhaustion dragged at him and he wearily made his way over to the nearby sofa. It was easy to forget how old he was with him still being a very active wizard. But the years were catching up to him. His veiny hands trembled while holding his cane. A slight stoop in the shoulders hunched him over. His white hair seeming less a fashion statement and more just the effect of age.

She hesitantly sat down next to him.

“Summer. You must understand. Family is the most important thing.” His hand, shaking, was carefully placed atop hers. “I… we’ve lost so many. We’re all we have now. I couldn’t bear to lose you too. To ‘R’, to Death Eaters, to those blasted Cursed Vaults.”

He looked up into her eyes. “You are talented and have so much potential. You’re all I have left now.” A faint smile crinkled his face. “You’ve got Edith’s eyes, you know that? Sweet witch, like no other… Do you remember her, Summer?”

She nodded, swallowing. She remembered her grandmother. Rodolfo had been so much happier with her at his side. She had taught her piano and helped her care for the stray creatures the young girl picked up.

Then… she had died.

Summer had watched her. That’s how she could see thestrals. Rodolfo closed himself off from the world, burying himself in his work. Grudgingly, she could admit they were alike in that way, handling grief through distractions up to their necks.

Edith, Jacob, Wisteria, Iefan… and she supposed Clive and Donovan too. In some way, they had lost all of them. To death or some unknown fate, cut off from their family. The Selwyns were nearly gone.

She lightly squeezed his hand. “I’m not going to die, I promise. But I’m also done letting Jacob be the reason I do everything.”

“Good,” he nodded, voice hard.

“I’m going to do everything for me now. Including going after Rakepick. You can’t stop me from that and pursuing the Vaults.”

“Fine. Just… let me help you. Teach you things.”

She nodded back, lips trembling. “I will. I’ll make you proud.”

“You already have.”

And there they remained, this awkward family, grandfather and granddaughter with no one left, gripping each other’s hands.

Fin.

[megashadowdragon]

fantastic-nonsense . tumblr . com/post/169004280990/fantastic-nonsense-fantastic-nonsense-but

fantastic-nonsense:

fantastic-nonsense:

“But I finally understand why I had to go through all that. I needed to understand what true suffering was so I could be more compassionate to others, even to people like Kuvira.”

So do Eska and Desna just not exist anymore or what????

Korra: “I’m sorry about your father. But he was already fused with Vaatu. I couldn’t save him.”

#man the anger has come back with a vengence after re-watching Light in the Dark #like Korra tried to save Unalaq even after he tried to kill her her family and friends AND after the stunt with Jinora #and she was so sympathetic to Eska and Desna #LIKE WHAT PART OF HER CONDUCT IN THE BACK HALF OF BOOK 2 SCREAMED ‘I NEED TO LEARN HOW TO BE MORE COMPASSIONATE TO THE VILLAINS’?????

I would like to add a little bit more about this. Not only was she continually sympathetic to Eska and Desna and not only did she try and save Unalaq and talk him down before he fused with Vaatu, she was continually empathetic, compassionate, and willing to listen throughout the entirety of Book 3. I’ve covered some of this here (with an excellent response by ikkinthekitsune  ikkinthekitsune . tumblr . com/post/94735240726/on-unalaq-family-parallels-and-korras-character), but I wanted to talk even more about it (especially since the linked meta was written while Book 3 was still airing).

Because first we got this:

Where she calmly talks a man down from committing suicide after owning the fact that it’s her fault he’s an airbender (two incredible signs of character development at once: her new, calm and compassionate demeanor and owning up to her actions and mistakes). She’s still got a smart mouth and a hot temper, and she’s not afraid in the least to speak out (see her conflict with Raiko in the same episode), but it’s been slightly tempered with time, experience, and growth.

And then Korra was the one who pushed for Kai to be accepted as an airbender (most likely due to a three-way mix between thinking of how Wan and Mako were also “liars and thieves” before people came along and helped them get to a better place, about her own past and how she was given second chances, and her general compassion for Kai as an individual).

And she visibly and verbally cared a lot about the new airbenders pressed into service by the Earth Queen, and held herself back a lot during her interactions with the Earth Queen (we heard her frustration, anger, and resentment towards the EQ, but she never actually took it out on the EQ until those last few minutes of “In Harm’s Way” when they were all trying to escape).

And then, the interaction which I consider the crowning glory of Book 3 in terms of character development:

“Little Miss Hothead” who likes to beat things with a stick sat down and had an entire calm, levelheaded, rational conversation with the villain of the season. Would Book 1!Korra ever have calmly sat and had a discussion like this with Amon and Tarrlok? Never. Book 2!Korra attempted to have a discussion like this with Unalaq somewhere in the middle of Book 2, but her stubbornness and unwillingness to do anything but accuse put a quick stop on the conversation. Korra’s discussion with Zaheer was calm, rational, and interested. It was also assertive. Korra repeatedly told Zaheer that his approach and views were wrong and stuck to her own ideals while acknowledging that he had some valid points.

This is something that Korra has actually always been good at, oddly enough; she’s good at taking the best of what someone has to offer and leaving a lot of the worse parts behind (like utilizing Unalaq’s teachings while acknowledging that Unalaq was a bad and misguided person who used his teachings and techniques to cause harm). We just never got to see her have an opportunity to just sit down with the villain and have a calm philisophical discussion about ideals that goes beyond “well your views are wrong!” before now. She wanted answers, and Zaheer gave them to her. But the conversation as a whole is indicative of Korra’s immense character development that has happened from Book 1 to mid-Book 3. She’s gone from hotheaded and overly aggressive to assertive but more patient, restrained, and willing to listen. She’s gone from shouting “you’re wrong!” at people to actually having a discussion around why she thinks they’re wrong. She’s articulating her own ideals and views, something that would have never occured to Book 1!Korra.

Early and mid-Book 3 Korra was basically the best of both worlds: all the fire and spunk but with enough character growth to have that fire tempered with compassion, empathy, and mental/emotional maturity. Early/Mid-Book-3 Korra was Korra at her height: physically, mentally, emotionally, and spiritually. She had largely stopped defining herself by her status as the Avatar, took responsibility for her actions, and had grown much more mentally and emotionally mature. And she was compassionate. Incredibly so.

So compassionate and selfless that she proceeded to trade herself for the health and safety of the airbenders three episodes after this conversation:

“Worry about the airbenders first. Then you can worry about saving me.”

Like in what world are her actions not compassionate and selfless? Tenzin said it himself: “There would be no Air Nation without Avatar Korra. She opened the portals and somehow the World began anew for us. And she was even willing to lay down her own life in order to protect ours. There’s no way we can ever repay her for all she’s done. But we can follow her example of service and sacrifice.”

Honestly, her actions in “Enter the Void” and “Venom of the Red Lotus” are possibly the reason I’m most angry about the finale conversation and the compassion line in particular, even all these months later, because it completely invalidates and trivializes the entire reason she ended up poisoned, suffering, and traumatized in the first place. And yet somehow Korra needed to learn more compassion, and somehow the only way to do that was through more suffering. The reasoning is so completely contradictory and contrary to everything Korra had already experienced and the development she had already gone through (twice) it’s ridiculous.

I have my own issues with Korra’s Book 4 arc separate from the line, chiefly the fact that it was basically a repeat of her Books 1-3 development compressed into a single season and trauma-induced, but I keep coming back to that compassion line as the short and sweet “why I disliked the finale as a whole”: it erases and trivializes Korra’s actions and character development over the first three seasons, and Books 1 and 2 in particular. From being compassionate to Tarrlok in “Skeletons in the Closet” to sympathizing with Eska and Desna in “Light in the Dark” to calmly having a conversation with Zaheer about how she sympathized with his views but not his actions in “The Stakeout,” Korra proved time and time again that she was capable of incredible compassion, including to the villains and people she morally opposed.

The fact that Book 4 (specifically the finale) tries to erase this and pretend like Book 4 is the first time she has experienced that kind of pain or exhibited that level of compassion makes me incredibly angry and upset. It was cruel, repetitive, and highly unnecessary, and served as little more than a plot device and excuse for Bryke to do a rehash of Korra’s character development in the first three seasons under the guise of a recovery arc (up to and including Korra once again defining her self-worth on her ability to perform her duties as the Avatar instead of the realization of intrinsic self-worth she had as a person that she had realized by the end of “Light in the Dark”). Her PTSD in Book 4 is treated more as a (very condescending) lesson than a legitimately poignant recovery arc outside of select episodes (”Korra Alone” and “Beyond the Wilds”). Apparently, continuing Korra’s character development as they were either wasn’t interesting enough for Bryke or they’d run out of ideas; I can’t decide which possibility I like less.

[moretreasurewithinarchive]

About Beth’s Death

Because I’m an idiot, and was too excited to write Beth and John before I finished re-reading the book, like I originally planned, I made a pretty big mistake about Beth’s age when she died, and when she died. This is just to clear that up and point out some things in regard to Beth’s death and how the Marches, Brookes, and Laurences handle it.

Though, of course, I still haven’t finished it yet, so I may have to edit this later as well. 

First of all, when Beth and Jo went to the sea, and Beth told her she was dying, she was 19, as Jo tells her “nineteen is too young”. I’ve seen alternating things that this was in the fall of 1869 or the spring just before before she died; 

“When Jo came home that spring, she had been struck with the change in Beth. No one spoke of it or seemed aware of it, for it had come too gradually to startle those who saw her daily, but to eyes sharpened by absence, it was very plain and a heavy weight fell on Jo's heart as she saw her sister's face. It was no paler and but littler thinner than in the autumn, yet there was a strange, transparent look about it, as if the mortal was being slowly refined away, and the immortal shining through the frail flesh with an indescribably pathetic beauty. Jo saw and felt it, but said nothing at the time, and soon the first impression lost much of its power, for Beth seemed happy, no one appeared to doubt that she was better, and presently in other cares Jo for a time forgot her fear.” 

“ "Is this what made you so unhappy in the autumn, Beth? You did not feel it then, and keep it to yourself so long, did you?" asked Jo, refusing to see or say that it was best, but glad to know that Laurie had no part in Beth's trouble.”

Furthermore, we learn this chapter, that Amy will be coming home soon: 

“  "She is coming in the spring, and I mean that you shall be all ready to see and enjoy her. I'm going to have you well and rosy by that time," began Jo, feeling that of all the changes in Beth, the talking change was the greatest, for it seemed to cost no effort now, and she thought aloud in a way quite unlike bashful Beth.” 

So while it is unclear the exact time of this trip to the sea, we know it’s less than a year before Amy comes home. 3 to 6 months at the most. The chapter where Amy and Laurie reunite in France seems to support the Fall of 1869 theory. 

“Along this walk, on Christmas Day, a tall young man walked slowly, with his hands behind him, and a somewhat absent expression of countenance. He looked like an Italian, was dressed like an Englishman, and had the independent air of an American––a combination which caused sundry pairs of feminine eyes to look approvingly after him, and sundry dandies in black velvet suits, with rose–colored neckties, buff gloves, and orange flowers in their buttonholes, to shrug their shoulders, and then envy him his inches. There were plenty of pretty faces to admire, but the young man took little notice of them, except to glance now and then at some blonde girl in blue. Presently he strolled out of the promenade and stood a moment at the crossing, as if undecided whether to go and listen to the band in the Jardin Publique, or to wander along the beach toward Castle Hill. The quick trot of ponies' feet made him look up, as one of the little carriages, containing a single young lady, came rapidly down the street. The lady was young, blonde, and dressed in blue. He stared a minute, then his whole face woke up, and, waving his hat like a boy, he hurried forward to meet her.”

As does chapter 40, 

“The first few months were very happy ones, and Beth often used to look round, and say "How beautiful this is!" as they all sat together in her sunny room, the babies kicking and crowing on the floor, mother and sisters working near, and father reading, in his pleasant voice, from the wise old books which seemed rich in good and comfortable words, as applicable now as when written centuries ago, a little chapel, where a paternal priest taught his flock the hard lessons all must learn, trying to show them that hope can comfort love, and faith make resignation possible. Simple sermons, that went straight to the souls of those who listened, for the father's heart was in the minister's religion, and the frequent falter in the voice gave a double eloquence to the words he spoke or read.”

But the beginning of chapter 40 seems to indicate that the trip may have been in spring of 1869 and Beth’s death in Spring of 1870.

“When the first bitterness was over, the family accepted the inevitable, and tried to bear it cheerfully, helping one another by the increased affection which comes to bind households tenderly together in times of trouble. They put away their grief, and each did his or her part toward making that last year a happy one.”

Everything that I’ve found, timeline wise, seems to indicate that Beth dies in Spring of 1870. The season, at the least, is supported in Chapter 38, when we learn that the twins have turned or are approaching their first birthday. And if I remember correctly, Daisy and Demi were born on or around Midsummer.

“Not being a belle or even a fashionable lady, Meg did not experience this affliction till her babies were a year old, for in her little world primitive customs prevailed, and she found herself more admired and beloved than ever.”

Then, in Chapter 40, when Beth actually dies, we see 

“So the spring days came and went, the sky grew clearer, the earth greener, the flowers were up fairly early, and the birds came back in time to say goodbye to Beth, who, like a tired but trustful child, clung to the hands that had led her all her life, as Father and Mother guided her tenderly through the Valley of the Shadow, and gave her up to God.”

Now, as to Amy not being told about Beth’s illness and death. It is true that she was told to stay in Europe; at first. However, the Marches didn’t keep her totally in the dark, as she says to Laurie in France, 

“ "Beth is very poorly, Mother says. I often think I ought to go home, but they all say 'stay'. So I do, for I shall never have another chance like this," said Amy, looking sober over one page.” 

Then, we see in Chapter 41, 

“Leaving his sentence unfinished, he seized pen and paper and wrote to Jo, telling her that he could not settle to anything while there was the least hope of her changing her mind. Couldn't she, wouldn't she––and let him come home and be happy? While waiting for an answer he did nothing, but he did it energetically, for he was in a fever of impatience. It came at last, and settled his mind effectually on one point, for Jo decidedly couldn't and wouldn't. She was wrapped up in Beth, and never wished to hear the word love again. Then she begged him to be happy with somebody else, but always keep a little corner of his heart for his loving sister Jo. In a postscript she desired him not to tell Amy that Beth was worse, she was coming home in the spring and there was no need of saddening the remainder of her stay. That would be time enough, please God, but Laurie must write to her often, and not let her feel lonely, homesick or anxious.”

But later in Chapter 41,  we learn later that her family did write to tell her Beth was dying. But she never got the letter because she and the Carrolls had left France then due to the heat. 

“While these changes were going on abroad, trouble had come at home. But the letter telling that Beth was failing never reached Amy, and when the next found her at Vevay, for the heat had driven them from Nice in May, and they had travelled slowly to Switzerland, by way of Genoa and the Italian lakes. She bore it very well, and quietly submitted to the family decree that she should not shorten her visit, for since it was too late to say goodbye to Beth, she had better stay, and let absence soften her sorrow. But her heart was very heavy, she longed to be at home, and every day looked wistfully across the lake, waiting for Laurie to come and comfort her. He did come very soon, for the same mail brought letters to them both, but he was in Germany, and it took some days to reach him. The moment he read it, he packed his knapsack, bade adieu to his fellow pedestrians, and was off to keep his promise, with a heart full of joy and sorrow, hope and suspense.”

To me, this seems to indicate that the probable time frame for Beth’s death was April to May of 1870. And here, in the timeline, we see that Laurie proposes to Amy in June of 1870, so Beth’s death had to be in spring, likely before or around the time Amy and the Carrolls left Nice, France for Vevay, Switzerland. However, the timeline also says that Laurie and Amy don’t return home until after Jo’s birthday in November of 1870. I haven’t gotten that far yet, so I’m not sure. 

Will I forever be angry that we don’t actually get to see James and Laurie, and even John to a certain degree, mourning Beth like we do the Marches? YES.

Though, we do have this little tidbit of John from chapter 40 that I LOVE. 

“John quietly set apart a little sum, that he might enjoy the pleasure of keeping the invalid supplied with the fruit she loved and longed for.”

Now, Beth’s actual cause of death. We know that she got Scarlet Fever when she was 13 or 14, that it nearly killed her, and she never really recovered. And we know that lingering effects of the fever weakened and killed her. The book, however, never says how she died. And this was true of Lizzie Alcott as well. I’ve seen articles speculating that Beth had an eating disorder, which I don’t think was true at all. She was a peckish eater throughout the novel, stopping mid meal if she got emotional or excited, and she ate even less when she was ill, because she had no appetite. This article I found last night, however gives what seems to me to be a better reason for her death.

“It’s an illness that comes from the bacteria Group A strep, the same strain of bacteria that causes strep throat. The infection tends to breed in the nose and throat, and easily can be spread from person to person through coughing. It's called scarlet fever because it's characterized by a red, sore throat; a strawberry-colored, bumpy tongue; a sandpapery skin rash; and, of course, a fever, the Centers for Disease Control and Prevention outlines...  Lizzie Alcott recovered from her affliction like Beth, but it weakened her heart... But we ultimately find out find out Beth's system has been weakened for good. Years go by, the sisters grow up — Meg gets married and has children, Jo is living and working in New York, the youngest sibling Amy (Florence Pugh) is in Paris working on her art — and Beth gets really sick again. This time, she's suffering from the fever’s complications... As I learned from my deep dive into the CDC's website, complications are uncommon these days, but they can happen if the group A strep bacteria spreads to parts of the body other than the throat and nose. That can lead to long-term health problems, including: tonsil infections, chronic problems in the sinuses and ears, vulnerability to pneumonia, rheumatic fever (a type of heart disease), and a kidney disease called post-streptococcal glomerulonephritis. The movie doesn’t specify which of these happen to Beth, but the book (and Alcott's history) points to severe rheumatic heart disease.“

The article, of course, focuses on the new movie that came out on Christmas with Emma Watson, Saoirse Ronan, Eliza Scanlen, and Florence Pugh as the sisters. But I feel it fits Beth in all versions. So I would say that her main cause of death was Rheumatic heart disease, and possibly the Post-Streptococcal Glomerulonephritis of the kidney as a contributing factor, maybe even Pneumonia, since she still coughs. 

Finally, Beth’s reaction to her impending death. In the book, we have the following quotes:

From chapter 36

- “They did feel it, yet neither spoke of it, for often between ourselves and those nearest and dearest to us there exists a reserve which it is very hard to overcome. Jo felt as if a veil had fallen between her heart and Beth's, but when she put out her hand to lift it up, there seemed something sacred in the silence, and she waited for Beth to speak. She wondered, and was thankful also, that her parents did not seem to see what she saw, and during the quiet weeks when the shadows grew so plain to her, she said nothing of it to those at home, believing that it would tell itself when Beth came back no better. She wondered still more if her sister really guessed the hard truth, and what thoughts were passing through her mind during the long hours when she lay on the warm rocks with her head in Jo's lap, while the winds blew healthfully over her and the sea made music at her feet.”

- “One day Beth told her. Jo thought she was asleep, she lay so still, and putting down her book, sat looking at her with wistful eyes, trying to see signs of hope in the faint color on Beth's cheeks. But she could not find enough to satisfy her, for the cheeks were very thin, and the hands seemed too feeble to hold even the rosy little shells they had been collecting. It came to her then more bitterly than ever that Beth was slowly drifting away from her, and her arms instinctively tightened their hold upon the dearest treasure she possessed. For a minute her eyes were too dim for seeing, and when they cleared, Beth was looking up at her so tenderly that there was hardly any need for her to say, "Jo, dear, I'm glad you know it. I've tried to tell you, but I couldn't." “

- “There was no answer except her sister's cheek against her own, not even tears, for when most deeply moved, Jo did not cry. She was the weaker then, and Beth tried to comfort and sustain her, with her arms about her and the soothing words she whispered in her ear."I've known it for a good while, dear, and now I'm used to it, it isn't hard to think of or to bear. Try to see it so and don't be troubled about me, because it's best, indeed it is.""Is this what made you so unhappy in the autumn, Beth? You did not feel it then, and keep it to yourself so long, did you?" asked Jo, refusing to see or say that it was best, but glad to know that Laurie had no part in Beth's trouble."Yes, I gave up hoping then, but I didn't like to own it. I tried to think it was a sick fancy, and would not let it trouble anyone. But when I saw you all so well and strong and full of happy plans, it was hard to feel that I could never be like you, and then I was miserable, Jo.""Oh, Beth, and you didn't tell me, didn't let me comfort and help you? How could you shut me out, bear it all alone?"Jo's voice was full of tender reproach, and her heart ached to think of the solitary struggle that must have gone on while Beth learned to say goodbye to health, love, and life, and take up her cross so cheerfully."Perhaps it was wrong, but I tried to do right. I wasn't sure, no one said anything, and I hoped I was mistaken. It would have been selfish to frighten you all when Marmee was so anxious about Meg, and Amy away, and you so happy with Laurie––at least I thought so then." “

- “ "Not through me," said Jo decidedly. "Amy is left for him, and they would suit excellently, but I have no heart for such things, now. I don't care what becomes of anybody but you, Beth. You must get well.""I want to, oh, so much! I try, but every day I lose a little, and feel more sure that I shall never gain it back. It's like the tide, Jo, when it turns, it goes slowly, but it can't be stopped.""It shall be stopped, your tide must not turn so soon, nineteen is too young, Beth. I can't let you go. I'll work and pray and fight against it. I'll keep you in spite of everything. There must be ways, it can't be too late. God won't be so cruel as to take you from me," cried poor Jo rebelliously, for her spirit was far less piously submissive than Beth's.”

- “Simple, sincere people seldom speak much of their piety. It shows itself in acts rather than in words, and has more influence than homilies or protestations. Beth could not reason upon or explain the faith that gave her courage and patience to give up life, and cheerfully wait for death. Like a confiding child, she asked no questions, but left everything to God and nature, Father and Mother of us all, feeling sure that they, and they only, could teach and strengthen heart and spirit for this life and the life to come. She did not rebuke Jo with saintly speeches, only loved her better for her passionate affection, and clung more closely to the dear human love, from which our Father never means us to be weaned, but through which He draws us closer to Himself. She could not say, "I'm glad to go," for life was very sweet for her. She could only sob out, "I try to be willing," while she held fast to Jo, as the first bitter wave of this great sorrow broke over them together.”

- “Beth lay a minute thinking, and then said in her quiet way, "I don't know how to express myself, and shouldn't try to anyone but you, because I can't speak out except to my Jo. I only mean to say that I have a feeling that it never was intended I should live long. I'm not like the rest of you. I never made any plans about what I'd do when I grew up. I never thought of being married, as you all did. I couldn't seem to imagine myself anything but stupid little Beth, trotting about at home, of no use anywhere but there. I never wanted to go away, and the hard part now is the leaving you all. I'm not afraid, but it seems as if I should be homesick for you even in heaven." “

- “  "Dear little bird! See, Jo, how tame it is. I like peeps better than the gulls. They are not so wild and handsome, but they seem happy, confiding little things. I used to call them my birds last summer, and Mother said they reminded her of me––busy, quaker–colored creatures, always near the shore, and always chirping that contented little song of theirs. You are the gull, Jo, strong and wild, fond of the storm and the wind, flying far out to sea, and happy all alone. Meg is the turtledove, and Amy is like the lark she writes about, trying to get up among the clouds, but always dropping down into its nest again. Dear little girl! She's so ambitious, but her heart is good and tender, and no matter how high she flies, she never will forget home. I hope I shall see her again, but she seems so far away." “

- “ "She is coming in the spring, and I mean that you shall be all ready to see and enjoy her. I'm going to have you well and rosy by that time," began Jo, feeling that of all the changes in Beth, the talking change was the greatest, for it seemed to cost no effort now, and she thought aloud in a way quite unlike bashful Beth."Jo, dear, don't hope any more. It won't do any good. I'm sure of that. We won't be miserable, but enjoy being together while we wait. We'll have happy times, for I don't suffer much, and I think the tide will go out easily, if you help me." “

And from Chapter 40 

- “Here, cherished like a household saint in its shrine, sat Beth, tranquil and busy as ever, for nothing could change the sweet, unselfish nature, and even while preparing to leave life, she tried to make it happier for those who should remain behind. The feeble fingers were never idle, and one of her pleasures was to make little things for the school children daily passing to and fro, to drop a pair of mittens from her window for a pair of purple hands, a needlebook for some small mother of many dolls, penwipers for young penmen toiling through forests of pothooks, scrapbooks for picture–loving eyes, and all manner of pleasant devices, till the reluctant climbers of the ladder of learning found their way strewn with flowers, as it were, and came to regard the gentle giver as a sort of fairy godmother, who sat above there, and showered down gifts miraculously suited to their tastes and needs. If Beth had wanted any reward, she found it in the bright little faces always turned up to her window, with nods and smiles, and the droll little letters which came to her, full of blots and gratitude.”

- “It was well for all that this peaceful time was given them as preparation for the sad hours to come, for by–and–by, Beth said the needle was 'so heavy', and put it down forever. Talking wearied her, faces troubled her, pain claimed her for its own, and her tranquil spirit was sorrowfully perturbed by the ills that vexed her feeble flesh. Ah me! Such heavy days, such long, long nights, such aching hearts and imploring prayers, when those who loved her best were forced to see the thin hands stretched out to them beseechingly, to hear the bitter cry, "Help me, help me!" and to feel that there was no help. A sad eclipse of the serene soul, a sharp struggle of the young life with death, but both were mercifully brief, and then the natural rebellion over, the old peace returned more beautiful than ever. With the wreck of her frail body, Beth's soul grew strong, and though she said little, those about her felt that she was ready, saw that the first pilgrim called was likewise the fittest, and waited with her on the shore, trying to see the Shining Ones coming to receive her when she crossed the river.”

- “Jo never left her for an hour since Beth had said "I feel stronger when you are here." She slept on a couch in the room, waking often to renew the fire, to feed, lift, or wait upon the patient creature who seldom asked for anything, and 'tried not to be a trouble'. All day she haunted the room, jealous of any other nurse, and prouder of being chosen then than of any honor her life ever brought her. Precious and helpful hours to Jo, for now her heart received the teaching that it needed. Lessons in patience were so sweetly taught her that she could not fail to learn them, charity for all, the lovely spirit that can forgive and truly forget unkindness, the loyalty to duty that makes the hardest easy, and the sincere faith that fears nothing, but trusts undoubtingly. Often when she woke Jo found Beth reading in her well–worn little book, heard her singing softly, to beguile the sleepless night, or saw her lean her face upon her hands, while slow tears dropped through the transparent fingers, and Jo would lie watching her with thoughts too deep for tears, feeling that Beth, in her simple, unselfish way, was trying to wean herself from the dear old life, and fit herself for the life to come, by sacred words of comfort, quiet prayers, and the music she loved so well.”

- “ "Poor Jo! She's fast asleep, so I won't wake her to ask leave. She shows me all her things, and I don't think she'll mind if I look at this", thought Beth, with a glance at her sister, who lay on the rug, with the tongs beside her, ready to wake up the minute the log fell apart.”

- “Blurred and blotted, faulty and feeble as the lines were, they brought a look of inexpressible comfort to Beth's face, for her one regret had been that she had done so little, and this seemed to assure her that her life had not been useless, that her death would not bring the despair she feared. As she sat with the paper folded between her hands, the charred log fell asunder. Jo started up, revived the blaze, and crept to the bedside, hoping Beth slept. "Not asleep, but so happy, dear. See, I found this and read it. I knew you wouldn't care. Have I been all that to you, Jo?" she asked, with wistful, humble earnestness. "Oh, Beth, so much, so much!" and Jo's head went down upon the pillow beside her sister's. "Then I don't feel as if I'd wasted my life. I'm not so good as you make me, but I have tried to do right. And now, when it's too late to begin even to do better, it's such a comfort to know that someone loves me so much, and feels as if I'd helped them." “

- “ "I know it cannot, and I don't fear it any longer, for I'm sure I shall be your Beth still, to love and help you more than ever. You must take my place, Jo, and be everything to Father and Mother when I'm gone. They will turn to you, don't fail them, and if it's hard to work alone, remember that I don't forget you, and that you'll be happier in doing that than writing splendid books or seeing all the world, for love is the only thing that we can carry with us when we go, and it makes the end so easy." “

- “Seldom except in books do the dying utter memorable words, see visions, or depart with beatified countenances, and those who have sped many parting souls know that to most the end comes as naturally and simply as sleep. As Beth had hoped, the 'tide went out easily', and in the dark hour before dawn, on the bosom where she had drawn her first breath, she quietly drew her last, with no farewell but one loving look, one little sigh. With tears and prayers and tender hands, Mother and sisters made her ready for the long sleep that pain would never mar again, seeing with grateful eyes the beautiful serenity that soon replaced the pathetic patience that had wrung their hearts so long, and feeling with reverent joy that to their darling death was a benignant angel, not a phantom full of dread. When morning came, for the first time in many months the fire was out, Jo's place was empty, and the room was very still. But a bird sang blithely on a budding bough, close by, the snowdrops blossomed freshly at the window, and the spring sunshine streamed in like a benediction over the placid face upon the pillow, a face so full of painless peace that those who loved it best smiled through their tears, and thanked God that Beth was well at last.”

Beth knew she was dying and accepted it. She even felt she’d die young. But she didn’t die with perfect, blind trust, and no instances of refusal, denial, or anger. 

[suechoiart]

Captain Marvel (2019) and Demolition Man (1993)

I am marinating the portions of Dada’s Boys that I’ve read over the weekend. In the meantime, I wanted to practice some writing and ramble about two movies I’ve watched over the weekend.

Captain Marvel (2019), and

Demolition Man (1993) 

((If anyone has a high-res copy of the poster...I’d be eternally grateful)) 

Incoherent rambling ahead

Summary: Captain Marvel wasn’t a good  great movie (it was a fine movie); Carol Danvers is pretty cool but very similar to Cpt America’s character; looking forward to the second half of Infinity War; Demolition Man does a *lot* of things a *lot* better than Captain Marvel. Was Captain Marvel feminist? Lessons from good action movies. 

I don’t explicitly mention plot points but /educated readers/ could probably deduce some spoilers both movies. (I’m being sarcastic. I definitely mention movie details without any regard to spoilers.) 

I have a soft spot for both Marvel Studio movies and fun, cheesy, action flicks. I love the behemoth that MCU has become, something they could not have known when Iron Man was created 10 years ago... and I love the purity of action films - of good guys ‘beating up’ bad guys - and the heart actors and directors bring to it shown in movies like Die Hard. Some of the Marvel movies are right in that spot - and their strength shines more in the ‘character interaction’ department; whereas pure-action-comedy movies like Jackie Chan’s Hong Kong productions and The Matrix have great characters but the action sequences, where the actors themselves have to train at significant amounts, shine the most. 

The more I think about Captain Marvel, honestly the more disappointed I am. Frankly for the big breaking International Women’s Day release it was not rich enough. I thought Black Panther had done marvelously (I still tear up thinking about the themes of disaphora in BP), nor was a pure comedic genius like Thor: Ragnorak .... It was a very, very, very average Marvel film. The first Ant Man is better than CM; the second Ant Man is not as good as CM. 

Which is to say that CM is not a bad film, but unfortunately disappointing for what it was ‘supposed to be.’ I don’t feel bad thinking this way, because BP was a great success in my heart; it spoke to a universal theme while championing a targeted audience (of race and origin). As I am an immigrant, although I cannot associate with Black History Month, I can still relate to it deeply in terms of diasphora and displacement. (Wakanda forever!)

I’m urged to clarify again that CM was not a bad movie, but I think it failed because it placated a lot of the villains and conflict in favor of ~Carol Danvers~. 

So, good parts of CM: Carol Danvers is pretty darn awesome. I really think that she brings hope to the Avengers, -- she symbolizes what the humans have better than any of the outer-Earth lives that are out their in the MCU: she gets back up. No matter what she’s told, whom she’s told by... She always gets back up. I did tear up here. I really did like that notion that she, and her humanity, is how the Avengers will win. 

So.... That falls pale in her co-cast:

Nick Fury, who spends 75% of screentime cooing over a cat, and apparently too young to be the badass Fury that we know and love;

Kree mentor who tells her “u ahve 2 much emoshuns 2 be a gr8 kree” 

Best friend whose character is only to tell Carol how great she is 

Cat, saves the day probably more than she does 

Somewhere between those lackluster sidekicks and Carol Danvers’ overpowered ‘superpower’ ... You basically get women are cool and funny and get over it as the central theme of the movie. 

I think the “Carol Danvers gets back up” is problematic, because I read it in a very gender-neutral language (see above: I’m framing that as the HUMANITY’S reason to win, not WOMEN’s) -- potentially because this movie is situated in a world where the Avengers lost half of total lives in the universe... But also because the wOmyN aRe StRonG idea was so, SO obtuse, especially as response to CD’s Kree mentor (played by Jude Law) -- who, again, emphasizes how much weak Carol is because she lets emotions control her. Except it’s not about emotions. Emotions are not why Carol Danvers gains strength! (It’s her humanity!)  

I think the emotion thing *could have* worked, had Carol not been very, I’d say extremely level-headed in spite of a lot of the weird stuff that happened through the movie. She never broke down, never threw a tantrum.... She was just a very secure person with a sense of humor that Fury even enjoyed. 

So then, what was Jude Law even talking about? I find the “emotional is bad, logical is good” construct very gendered and extremely problematic, especially in our political/internet-driven social climate. In words of misogynists and keyboard warriors(who tend to be young males), being logical and rational is obviously superior; and emotional bad; and as a consequence many women (or emotional men) suffer through invalidation of their experiences. When Carol Danvers, as seen in the film, does *not* have issues controlling her emotions.... why does he even say that? Why is that even written in the script? 

In short, .... Considering that this is supposedly Marvel’s stake on feminism (yikes, it didn’t even register to me as feminst) ... I have to borrow the words of this great Mashable article by Jess Joho: 

The only thing that feels truly retro about Captain Marvel's '90s setting is its shallow take on feminism that we should be moving away from, not using as a crutch. It's not just that so many of the movie's heavy-handed Feminist Moments come across as disingenuous. Those moments also tap into an old conceit of equality as a sort of revenge fantasy, mixed with the undertone of a battle of the sexes. [...]  The feminist-ish sentiment of "girls are just as good as boys" defines and measures women's empowerment as it compares to men. Consequently, it devalues and trivializes feminine power in its own right.

... so considering that this is, the first and only solo female movie in MCU...... They really, really could have done better. I hate to say this but (because MCU > DCEU), ...... Wonder Women did it a LOT better. 

Onto Demolition Man. It’s past my bedtime so I’m going to just rush through random thoughts via bullet points: 

Wesley. Snipes. (Probably doesn’t help that Blade is also one of my favorite movies.) 

Sylvester Stalone was great in this movie. He had great form in all of the shots he was in. Commandeered every scene. 

ALL OF THE CHARACTERS! They were so lively. Everyone had motivations that drove them, instead of being basically houseplants that can drive spaceships (ahem...CM...) 

I definitely have another soft spot for movies with ridiculous plots. “LAPD gets cryofrozen as a criminal for failing to save citizens, but in tern DEMOLITION MAN-ing an entire complex throughout his career. When big bad evil Wesley Snipes gets parole, only one man can stop him --- the very Sylvester Stalone, The Demolition Man, who put him in jail!” “oh and this is a weird 2023 where you have to pay fines for cussing.” 

Oddly enough this movie has a great example of ‘secure heterosexual male protagonist’ and ‘female love interest with her own motivations’.. They actually agree to (CONSENT TO!) make love, and she starts and finishes in her own terms. 

Sylvester Stalone’s character is actually very caring and understands his role in the world he wakes up to; he is not at all gross (”back in my day” is never said) and he understands his position as a guest to all of this, while asserting his own views of morality onto the world. 

Also I’m very upset that this movie achieved themes of displacement, utopia, and “who is the real bad guy?!” a lot, LOT, better than CM. 

Denis Leary plays the rebel in the movie and also made this music video, which actually aligns a lot with my thesis interests (masculinity, prescribed notions of American life, suburbs....) 

I just have to reiterate again that (1) Sylvester Stalone did not have to prove his masculinity to anyone, but his humanity is acknowledged by even the heroine in this character - (2) why must women still be *acknowledged* by man of our competence in 2019!?

OH, this movie makes SO MUCH BETTER 90s REFERENCES THAN CAPTAIN MARVEL!!! This is important. Captain Marvel makes 90s references as much as it nods to feminism. There’s a Blockbuster. And a Radioshack. Do they even realize those stuck around into the 2000s? 

To conclude... I understand the constraints put onto Captain Marvel, sandwiched between freaking Infinity War 1 and Infinity War 2. But had Marvel Studios not learned their lesson from the tragedy of Age of Ultron? Even Joss Whedon, who arguably is a very well accomplished director, could not make AoU work. It was not a good movie. And he freaking set up the entire Avengers franchise! 

I can’t know what lead to the underwhelming result that is Captain Marvel, but it is not a great product to stand on its own. 

DEMOLITION MAN IS STILL RELEVANT! Captain Marvel will still only be relevant in the future if we don’t, as a society, move on from “girls can do anything boys can do” mentality. 

[sunflowerchester]

please tell me what you thought!! I'm not worried about spoilers, i already know what happened, i'm gonna see it in a few days and i'm so psyched! tell me all your thoughts please!!!

I am so charged up about this movie I don’t even know where to fucking start!!! I guess I’ll start with my initial Twitter rant bc GODDDAAAAMMMMNNNN!

Here’s some non-spoilery things about the movie for those who don’t want to be spoiled:

Mother! is a horror movie for every woman whose pain was ever used & romanticized to further a man’s personal growth.

Mother! is a horror movie for women who have invested and fallen in love with a selfish man.

Mother! is a horror movie for women who feel the constant suffocating entitlement of the patriarchy.

Mother! is a horror movie for women who feel they’ve been constantly taken advantage of and are demonized for daring to speak up about it.

Mother! is a horror movie version of The Giving Tree by Shel Silverstein. (And I said this BEFORE I saw this tweet by the director 😍)

Mother! is a horror movie for any woman who was only valued as a cure for a man’s pain instead of valued as a full, human person.

Mother! is a horror movie for women who were treated like IRL manic pixie dream girls and then tossed aside like garbage. 

Also I found it able to tap into horrors of being a woman that were subtle and specific in a slightly Get Out kind of way, imho. I felt very understood in many ways even as I was being horrified by what I was seeing. 

Below are some spoilery things:

The movie opens with a woman burning, a tear falling down her face, and then her turning to ash. Javier Bardem sets a gem stone on a stand and then a beautiful home surrounded by nature appears out of the ashes. I knew as soon as Javier Bardem’s character sat that gem on the mantel and the scene turned to Jennifer Lawrence appearing out of the ashes in bed that that is where the movie would end, and it would end with another girl in her place. 

AND IT DID. For a bit there at the end, I was wondering where it was headed because of the chaos, and I nearly forgot about the gem itself, but then we ended right where I expected. What I didn’t forsee was what the gem was made of: it was the last thing that Bardem’s character could squeeze out of his previous lover before she turned to ash, something beautiful that he could put on display before he started it all over again with someone new. 

GOD-FUCKING-DAMN

This movie is about a woman who gives all of herself (physically, literally, spiritually, emotionally, horrifically) to a man because she loves him, because it is expected, because she thinks he will view it as love, and it is never enough. He never stops taking from her, not even when there are literal mobs in their home tearing the physical house apart, stealing their belongings. At one point an actual war spills into their house and she barely escapes with the life of herself and the child she is about to give birth to. When she begs her husband to send these people away, he refuses because they stroke his ego. 

I don’t think the chaos of the previous 10 minutes of the film before she asks this question nor her struggle through them were literal but rather a representation of how it feels to be in her position, where she’s tried everything to be enough for this man for as long as she has been with him, rebuilt his house by hand, made it a home, served all his guests and fans without complaint, and even carried his child. She finally started believing with her pregnancy that she was going to win him over and be with just him, that this would be the key to finally meeting that standard of enough, but that was never who he was ever going to be for her, even as a father. And when she realizes, at 8 months pregnant, that his true love is still himself, his writing, and his fans, despite his child growing in her womb, she felt her world slip. The insanity of the the wars, the executions, the mobs in the house weren’t real but that’s how it felt. Her world was crumbling and she’d never regain any control again. 

In the end he even invites his fans to hold their baby and the baby ends up dying. It’s horrific and disgusting, and what does he say to her? He tells her that it can be something beautiful and encourages her to forgive, that there is nothing more beautiful than forgiveness, so they must. As if she doesn’t have rights to feeling ugliness in the face of losing her child. I felt suffocated myself by this immediately invalidation of even the most understandable and vulnerable of feelings. 

There are other moments like this throughout the movie where Jennifer Lawrence’s character is trying to speak up and voice her needs but it’s like shouting into a pillow as she asks politely and reasonably. No one listens or seems to care, especially not her husband. He seems to only placate her lovingly when he can tell she needs to feel he’s heard her, but he never really does or cares to try to actually listen to her. This last time, when she is weeping about her son being murdered by the people he allowed into their house, is the last straw and she calls the people around her what they are: MURDERERS. And because she finally yells and screams at them, they beat the everloving shit out of her and call her names like whore and bitch and cunt, etc etc. 

So she makes her way down to the furnace and burns the fucker down. GIRL YES BURN THAT BITCH TO THE GROUND.

And yet after the explosion that incinerates it all, guess who is intact and who is charred to the bone. Javier Barden, completely complete, carries Jennifer Lawrence, a burned, scaley version of herself, through the rubble of the house. She can’t understand how he is able to do this when she and everything she built is destroyed. 

She asks, “What are you?” He replies, “I am life.” She asks, ”What am I?” He replies, “You are home.”

You don’t have to be sexualized to still be objectified and if this isn’t exactly the damaging dynamic in so many male/female relationships, I don’t know what is. He is what life is and she is where he gets to live. Does she have her own life, her own plans, her own goals, her own space? It doesn’t matter, she exists to house him. 

She asks, “Where are you taking me?”He replies, “To the beginning.”

He lays her on the charred bed and tells her there is one more thing he needs from her. She says she has nothing left to give. He says that isn’t true, he wants her love. She relents. “Take it.” He digs physically into her abdomen and pulls something bloody and charred out. Jennifer Lawrence’s character turns to ash and the mess in Javier Bardem’s character’s hands turns into a gem. He marvels at how beautiful a thing it is, the only thing left of his lover. He doesn’t grieve that she is nothing but a pile of ash now, he sets the gem up where the old one once sat and the opening scene repeats with a new girl waking in their bed, signifying that this is what this man does to women and what he will continue to do. He doesn’t learn his lesson or change because he doesn’t value the women he is with enough to see their pain as destruction. Instead, he only sees it for how it can benefit him.

She is ash. He is whole. A parasite going from woman to woman. 

To me, one of the scariest elements of this movie is that Javier Bardem’s character himself isn’t really that scary, he’s not a horror. He’s even sweet sometimes, albeit neglectful af. What’s smart and unfortunately really relatbale about this is it makes him seem like (if not a good guy at least) an okay guy. He’s not evil. She doesn’t befall this horrible fate because he is malicious. It’s a Nice Guy who just wants to Create something Beautiful. But in the process he fucking destroys and sucks the entire life out of the woman he is supposed to love with no remorse at all. There are so many fucking men out there who do this very thing to every woman they are with, emotionally and mentally. Sometimes physically, too, but that’s easier to pinpoint. The horror of Javier Bardem in Mother! is that he could be and really kind of is many of the men we will come in contact with. 

(Bro I know I’ve fallen in love with and had this done to me by one ALREADY)

My thoughts on how this movie has been received:

What blows my MIND is that large groups of people DO NOT GET this movie and I think it’s because it is largely and almost exclusively a fundamental female experience. There are whole hot takes and think pieces trying to figure out HMMM WHAT IS THIS MOVIE ABOUT???? when like…to me, it was obvious and direct in my opinion. I’m not trying to be a bitch about it, like I’m smarter than everyone. I understand that I get it because it’s for me, it’s about a female perspective, but to say it’s about nothing is ASININE. Which many of them are saying. 

If you don’t like the way this movie told its story, that’s fine and fair. We all have different tastes. But if you don’t get the message and therefore want to criticize what it’s trying to say because you think it was pointless, maybe THINK AGAIN. It didn’t fail because you PERSONALLY don’t get it. It maybe just means that there are other experiences in this world and you’re lucky enough to have never had to understand what this movie is saying, the feelings it evokes in many viewers, or the horrors it represents for them. And most likely never will.  If the movie is just not for you I GET THAT bc damn it was rough, IT WAS HARD, it was awful. But it wasn’t about nothing. If you didn’t see the point, be thankful.

There were some think pieces analyzing it and coming to the conclusion that it was about global warming and the Catholic church, which there was definitely some imagery for but that for SURE was not the POINT. If you thought Mother! was just about taking on the Catholic Church while identifying the other ‘weird’ stuff in it as just ¯\_(ツ)_/¯ you MAY be ignoring the literal title character of the movie & her entire emotional journey throughout the whole thing. 

Which, SHOCKER, is like… the point of the entire movie. 

Good job I GUESS. But you still missed point by proving it. 

I mean, I get it, make it about whatever resonates with you, but it is undeniably about a fundamentally female experience. No wonder it’s being overlooked. "Gee what could this movie entitled ‘Mother!’ be about? Should we look at the mother character in the movie?? OR HOW ABOUT we just dive into the symbolism surrounding the woman instead while ignoring her completely.“ 👍🏻

To me it seemed any side-symbolism in that movie was to promote the dynamic of her giving all she was & him feeding off of it. Including any messianic imagery. As a smart, smart friend of mine said, “Men will of course deify themselves all the time.” That’s EXACTLY what the religious imagery was about, about Javier Bardem’s character living out his desire to be a god to his fans for his own ego, so deep that he let them devour his own child. It was about the church but it was only in service TO EMPHASIZE HOW HE CONSUMES HER AND WHAT SHE HAS GIVEN. Like… LORD help me. (No pun intended.)

I cannot believe a horror film about a female experience is so baffling for people to understand when we’re half the people out there. “WHAT IS IT ABOUT?????” It’s about what she’s showing you it’s about. PAY ATTENTION!! 

But how poetic (ew gross) that many people who don’t get it write it off. It’s the same reason so often women are not believed and their experiences are questioned. No wonder women feel LIKE NO ONE LISTENS.

It’s like there are people looking directly at this movie screen and seeing a blank black box for 75% of it. And here I am screaming into a pillow.

This is not to say that Mother! doesn’t take on many things, it does. There is a lot to unpack and it would be unfair of me to say there is only one way to read it. Of course there isn’t, and many parts are going to resonate with different people for different reasons. With that being said, though, to anyone trying to make the point of this movie about anything other than the experience of the female lead character, remember the gemstone and the burning woman at the beginning of the film, and then at the end. It is bookended this way for a reason. This is about the pattern of a man and how it affects the women he chooses to be with. This is about a woman who loves a selfish man who unapologetically lives selfishly and what it does to her to be in his life. 

It’s metaphors, it’s symbolism, obviously it’s hyperbolic, but it’s still REAL👏🏻AS👏🏻FUCK👏🏻.

[marisadonnelly]

I’ve come to terms with your leaving. I’ve accepted the fact that two people can drift to opposite sides of thinking, even after expressing emotions that sounded and tasted and felt completely real. I’ve learned that letting go is a part of the process, that sometimes we give our hearts to people and end up empty. And somehow, in the end, we’re still okay. We still find our footing. We learn, and accept both the lesson we didn’t realize we needed, and the blessing that comes in finding our way out.

And so, I’ve chosen to smile, even after losing you. Because I know now that one person cannot define my happiness. And as much as I want to harbor bitterness in my chest, that will only hold me back. And I’d rather be free.

I’ve decided to accept that maybe everything does happen for a reason, even losing you. I’ve decided to accept that closed doors lead to open ones. That pain creates purpose. That falling down gives me the strength to rise again. That the moments where I feel the most broken will show me the power in myself, in my faith that I didn’t know I had until I reached that lowest point.

I’ve realized that accepting ‘everything happens for a reason’ is not the same as writing off or invalidating my pain, or the pain of others. It is not saying that someone’s ache, someone’s loss, someone’s experience with death was simply ‘meant to be,’ but instead says that God is here, even in those lowest points.

His plan was not for us to end up heartbroken, watching someone we love walk out on us. His plan was not for our friend to take her own life, for us to stand helplessly as cancer spreads through our mother’s body, or to listen to the same song on repeat, longing for a different life.

The pain is a product of the world we live in, not our God. And so, to believe that everything happens for a reason is not to say that God is not in control, but to trust that no matter what awful things we experience, He will not leave us to fight through the pain alone.

Even in the toughest moments, God still has a plan—not for us to be in pain or to think that He is teaching us a lesson by taking people we love away—but for us to know no matter what we go through, we will still be surrounded by love and hope.

No matter what pain this life throws at us, our God is with us, guiding us, bringing us to our feet again, showing us how to move forward, to continue.

I don’t believe everything happens for a reason in the sense that we can simply say that what’s awful was ‘supposed to happen.’ But I do believe that everything happens to teach us, to mold us, to shape us, to grow us, to bring us to places that we never thought imaginable, to show us our strength.

And when I think about you and I, I’ve decided to accept where we are, how we’ve fallen apart. I’ve chosen to let go of you because I know I cannot change what has happened or the way you feel, and honestly, I don’t want to.

I’ve realized that maybe you weren’t meant to be more than a temporary blessing, a painful and necessary lesson for me. And maybe, in the end, that’s okay.

Because you’ve taught me to love myself, no matter how broken another person can make me feel. You’ve taught me to lean on my faith, even when I feel defeated. You taught me to show up for myself, and battle, and believe that I am worthy of the love I give to others.

And no, your leaving was not catastrophic, not like encountering death or watching someone I love struggle with the demons in their head, yet painful nonetheless. But maybe if I remember that God is in control, that He has a plan, that things will happen for reasons I might not understand—not because of Him, but because of this life—I can find the confidence to step forward. I can see His light all around me. I can let go of things that hurt, that defeat, that destroy, and walk with my Father, regardless of the circumstance.

Maybe if I realize that losing you was not of God, and not meant to break me, but to build me, I can decide to let you go happily, knowing that where I go next will be where I need to be.

Maybe if I choose to believe that everything is guiding me, shaping me, bringing me closer to who I am and what I deserve, I can let go of you freely. And I can truly free myself.

[time-to-write-and-suffer]

hey so, i was wondering if you have any tips on not making mortal/immortal romance seem... creepy/weird(?) as it often seems in books with supernatural romances etc. not asking you to spill a guide or anything, just maybe some thoughts on the matter? 'cause it's not like i know much abt your faery wip but so far what you shared about the sidra/val relationship, it sounds like a nice dynamic and rlly interesting... and yeah, that's it! thanks and i love your blog

“not asking you to spill a guide” Good thing you said that, because I was 100% going to write an entire essay just then. Maybe I’ll do that another day, but right now I’ll chill, since you asked so nicely and I’m tired.

I’m going to assume you’re asking specifically for romances with huge age differences? Because if you’re asking about general mortal/immortal stuff, then I’ll be here forever, and I will need to spill a guide because there are just so many variables.

The first, most basic tip that should already put you above most portrayals of mortal/immortal romances is that you make the mortal/younger party an actual consenting adult, with their own morals and opinions and uh ... outlook on life. This might seem basic, but most popular books nowadays seem to struggle with this concept.

My next obvious tip is to make them equal, and to remove any major power imbalances that result from the presumably massive age difference. Often people will write the older/immortal party as more experienced, more knowledgeable, more worldly than the innocent, naive, and “pure” younger party. Don’t do this unless you want to land directly into creep territory. 

Try not to have the younger/mortal character look up to the older/immortal one as some sort of mentor or guide, and try not to have the immortal character think of the mortal one as less experienced or somehow more “innocent”. 

What you need to do is to portray these people as people first. One of them has more experience living, sure, but the other one is still a person, who can still offer their own unique perspective on life. Have them learn from each other and communicate, share ideas and viewpoints. 

Let’s take Val/Sidra as an example since you mentioned it: Val has seen a lot more shit just as a consequence of living longer, but Sidra’s been through things too and came out looking at the world differently than he did. She learned different lessons than he did. Just because he’s been through more doesn’t invalidate the things that happened to her. Her unique perspective on life, both as a mortal and as a different person, means that she can teach him things just as well as he can teach her things.

Being mortal will also 100% give the mortal character a completely different outlook than the immortal one. Use this to your advantage to create conflicts and character development. How the characters view their own lives will impact how they interact with each other and view each other. 

It can also depend a lot on worldbuilding. The Fae in my thing live long, but they also mature much slower, so while Val is much older than Sidra, his mental and emotional maturity is about on her level. He’s just taken much longer to learn the things that she learned quickly. This is more of a “hack”, to be fair. You don’t really need to do this in your things, but I did it in mine just to decrease the creep-factor. (Nevermind several other creep-factors that rose from that hotfix, but it doesn’t affect any major ships or the main one, so I’m good.)

So yeah. These are some basic tips I can give you right now off the top of my head. I’m glad you like my blog and I hoped I helped a little! Feel free to specify stuff if you need more help! 

[metaformers]

Megatron and Abuse

I’ve spent months emotionally gearing myself up to make this Megatron meta post. It will contain mentions of real life abuse--verbal, emotional, physical, sexual--from my own life, as well as links to sites that discuss said topics. There will be a focus on emotional and narcissistic abuse, as that is the kind I have the most experience with--and the kind I most see Megatron perpetuating in More than Meets the Eye.

I understand that many people identify with Megatron. It may be best for you to skip this post if you count yourself among them. I want to be clear that this is my reading of the character, and I do not fault others for reading him differently; I’m not going to go after anyone for liking him or shipping him with people. It’s fiction. Do what makes you feel safe and happy. I can guarantee you are not the first to block me for saying I believe Megatron is abusive.

If you are interested in reading about why I, personally, view Megatron in this light, I would like to make one final request. This subject matter is extremely personal. I have spent four and a half years in therapy, but this still affects me powerfully. If you find yourself getting the urge to argue with me, please keep in mind that I will not be responding to comments for my own health.

So why am I posting? Because I have seen no discussion of this in fandom. When Megatron’s abusive behavior is described, it is invariably treated as a thing of the past, not the present. And I think that multiple views of a character in fandom lead to richer interpretations in fanworks and other meta.

And, with that, we’re off to the races.

(Note: This post is over 18k words long and contains over 70 images. If you would prefer to read this as a Google Doc, use this link. I recommend going to the View dropdown and un-toggling Print Layout if you do so. If you would rather read this as a Tumblr post, please use the read more below. The Google Doc may be better if you would like to use a functional outline navigation system or if Tumblr’s habit of stretching images bothers you.) 

***

First things first: abuse is cyclical. An abuser is not always going to be abusing someone--if they did, no one would ever tolerate the mistreatment. When times were relatively good, my mother and I would crack jokes. My ex would hold my hand and tell me cheesy pickup lines. This is known as the ‘honeymoon’ or ‘idealization’ stage of the abuse cycle, and it is as much a fixture of abuse as the tension-building and abuse phases.

If an abusive relationship never left the abuse stage, no one would ever tolerate it. No one would stay. So violence must be rationed, and after each new outburst, the abuser is likely to promise that--this time for sure--it will never happen again. They then ‘prove’ it with a honeymoon period and the cycle turns anew.

As a result, there is no way to point at one instance of kindness and say that someone isn’t actually abusive. It is likewise not generally possible to point to one instance of cruelty and call it abuse. Abuse is almost never a one-time thing. As a result, I’ve gathered examples from throughout season two of MTMTE and from the latest issue of Lost Light.

Since it’s the most clear and unambiguous example of Megatron’s abuse, I’m going to be singling out one particular relationship--the one between Megatron and Rodimus.

RODIMUS

To help me structure the problems I have with Megatron’s treatment of Rodimus in the time since the Lost Light left Cybertron, I’m going to borrow text from Psych Central’s “Eight Mental Abuse Tactics Narcissists Use on Spouses” article as well as tactics mentioned in their “Signs of Emotional Abuse” article and my own experiences.

Degradation

This is perhaps the most obvious type of abuse Megatron commits. He constantly belittles and demeans Rodimus. On the surface, it may at times seem justified. A minor comment on a fair annoyance.

Here he calls the Rodpod a vanity project, for instance. Getaway does much the same. But we know--and he likely has been told--that this wasn’t a vanity project. This was a gift from the crew to Rodimus.

It’s easy to forget. There’s no clear origin for the Rodpod before it was rebuilt, and, frankly? It’s not important. Whether it was a gift or something he had built, this is a privately owned ship, and this is a possession that clearly means something to Rodimus.

I grew up in the 90s, and I had a lot of tacky plushies and furbies and beanie babies--all extremely easy to mock, especially as I got older and they remained sentimental. Even when I wasn’t a kid anymore, I wanted to hold onto these things, and I think that’s understandable. If I’d lost my neon purple stuffed frog and had gotten a replacement as a gift, it would have been an easy avenue of casual attack. As it was, I mostly got, ‘Are you seriously keeping this ratty old thing?’ about anything that reminded me of happier times. It was always a coded jab at me, a deliberate forgetting of where a gift had come from or why I might want to remember.

This hits me especially hard since everything Megatron says here? Is an uncharitable lie. But believable lies have a way of spreading and turning into a commonly held ‘truth’--and Getaway later cites the Rodpod as a reason that Rodimus deserved to lose everything.

Which, ultimately, is the goal of abuse--start small and build until you can justify anything because of their ‘bad behavior.’

But, of course, this particular comment is targeted at a different audience, intended to undermine Rodimus’ standing with the crew and change the story to something that makes it seem as though Rodimus is squandering quest resources on trivial items.

Much of the time, the audience for Megatron’s comments is Rodimus himself--wearing at his already thin self-esteem and feeding the self-hatred we’ve seen him manifest throughout the series. (If you doubt either of those assertions, I plan to write meta about Rodimus later on. For now, I ask that you remember that he self-harmed by carving the results of the vote into his palm--explicitly so he would always know how many people didn’t want him there.)

Actually, for further confirmation, let’s take it to canon:

While he ‘admits’ to thinking he’s better than everyone else after having a very direct cry for help shot down with an insult, I hesitate to say this indicates in any capacity that his self-esteem is fine.

You see, I’ve been accused of the same. Literally--to the point where this exchange with Ratchet made me sick the first time I read it. How else is Rodimus supposed to respond to this kind of jab, especially when he’s in the middle of handling a crisis?

To me, the willingness to accept as ‘true’ something that directly contradicts his own experiences, especially coupled with the reassurance-seeking behaviors and low self-esteem, makes him especially vulnerable to emotional and verbal abuse.

And so, let’s turn our focus to Rodimus himself and answer the questions posed by the article to see how well Megatron’s behavior holds up.

Do they tell you that your opinion or feelings are “wrong?”

Without any warning of what to expect, Rodimus was presented with his own corpse--which has half its brain sliced out. They specifically didn’t tell him why they were calling him in, which I can’t imagine helped soften the horror. He’s in a very reasonable state of shock.

And there’s Megatron calling his reaction tiresome, even though his eventual reaction when faced with the spectre of his own death is to scream and punch Perceptor. Rodimus is just quietly attempting to come to grips with an upsetting situation, not hurting anyone by taking a moment to process.

But, of course, he isn’t allowed to process. Megatron is the captain of this ship, and he expects everyone else to handle their feelings quickly and efficiently, even if he never does.

This is a hallmark of narcissistic abuse--considering one’s own feelings bigger, more important, more valid than those of others. And it’s fully in line with the dynamic, too, to attempt to invalidate said feelings by emphasizing one’s role as an authority over the victim.

“Don’t you think, as your mother, it’s fair to expect a little consideration?” might have been fair if the consideration hadn’t involved her demanding things I’d already done for her--which she promptly pretended I hadn’t done, or that I’d done them improperly, or that I hadn’t adequately managed my emotions while doing them.

It’s patronizing enough from a parent. From someone who shares the same rank as you? It’s condescending in the extreme--not to mention entitled.

Do they belittle your accomplishments, your aspirations, your plans or even who you are?

But, of course, Megatron doesn’t respect Rodimus’ rank. Rodimus owns this ship--Drift purchased it as a neutral vessel and I would be genuinely shocked if he didn’t insist on signing it over to Rodimus after convincing Rodimus to let him take the fall. This ship? This is his ship. Optimus had no right to set Megatron up as captain; he didn’t even have the right to forcibly install him on the crew roster.

In fact, if you’ll pardon the brief aside, Rodimus had very fair misgivings about allowing Megatron onto the Lost Light.

Rodimus points out that Megatron is dangerous--this is undeniably true, no matter what your stance is on his character. And Ratchet responds by lying to Rodimus to convince him to let a powerful criminal aboard. Which is, ironically, the same thing that kicked off season one--only this time it’s Megatron instead of Overlord.

Personally, I think that this shows Rodimus has learned his lesson and is trying to avoid a repeat of that particular disaster.

He also offers a great insight into why Optimus is cooking up this outrageous plan:

And, although this is just conjecture, I think that this is part of why Megatron targets Rodimus. He can be insightful--especially when it comes to people and their motivations. This makes him a threat to Megatron’s otherwise nearly unchecked power as captain of this ship. However, he is also susceptible to manipulation, as we saw with Prowl.

Megatron is extremely intelligent and very good at manipulating others; he plays a long game, as Ravage walked us through at the end of DotL. And with the idea that Rodimus tried to bar him from his ‘rightful place’ at the helm of this ship, with the idea that Rodimus was the one chosen by the crew to be captain, I would like to return to the panel at hand...

Here we hear Megatron say--exasperated, belittling--“How many times?” As if this argument should be concluded by now, and Rodimus is being childish to keep forcing the issue.

I’ve heard this exact line in this exact tone too many times from multiple abusers. How many times would I dare to defy them? I wasn’t trying to be defiant; as Rodimus just did, I reminded them of an inconvenient (for them) fact, one they wanted to convince me wasn’t true. I doubt I could list every iteration of this I’ve seen in real life.

This is not something you say to an equal when discussing something that is objective fact. Rodimus is the co-captain, much as Megatron wishes to deny it.

And he continues to deny it. It’s not a real rank. It’s a made-up rank. He is the one true captain, and Rodimus is a recalcitrant second-in-command in denial. Megatron doesn’t have the best track record with those--which Rodimus would be fully aware of. I refuse to believe that the Autobots never saw footage of Starscream’s treatment at Megatron’s hands.

So I think that it makes sense that, rather than push farther when Megatron has already raised his voice, Rodimus redirects. This was a tactic I, too, used to avoid moving from the tension-building phase to the abuse phase in my own relationships.

Do they regularly ridicule, dismiss, disregard your opinions, thoughts, suggestions, and feelings?

This is a pretty obvious example of ridiculing someone’s feelings--and it’s another dig following right on the heels of the last two. Although all three are relatively small, the fact that they come one after another, basically coloring every statement Megatron makes, feels uncomfortably familiar to me.

Even if these are justifiable complaints--which I don’t believe they are, but I recognize they may be open to interpretation--the steady build-up is worrying.

My mother did much the same thing. One mild example was that she would tell me to go wash my face--I had acne, so this could have been reasonable advice. However, it slowly escalated until every time she saw my face, she would suck her breath in between her teeth and cringe. “Go wash your face!” If I complied immediately, there was no reward beyond, “See, isn’t that better?” (Which it wasn’t--the repeated scrubbing made my acne substantially worse.) And even then, within an hour, she would repeat the comment.

And if I didn’t comply? She would keep cringing and insisting until she brought acne pads over to physically drop on top of me before walking off with a smug smile. This despite the fact I was bathing twice a day and scrubbing with one to four of those pads a day. (No wonder my acne got worse, right?)

So when I see these types of minor but incessant insults--nothing big enough that any onlookers would feel comfortable defending Rodimus, nothing serious enough to justify lashing out--it rings alarm bells in my mind.

Furthermore, Rodimus turns away, but Megatron looms right behind him. I find the body language of this interesting--even when Rodimus approached previously, he left roughly an arm’s length between them--enough to not really be getting into Megatron’s bubble despite his frustration. It may be an angle thing, but it seems as though Megatron is closing that distance, subtly physically intimidating Rodimus. He’s closer still in the next panel:

Much less than the almost-arm’s length that Rodimus gave him--and he’s much larger than Rodimus, not to mention more powerful, which means that his physical presence alone can be a weapon. Healing Abuse Working for Change, an abuse prevention group founded in the 70s, specifies “looming over you, getting ‘in your face’ or blocking a doorway” as a variety of physical abuse (source).

Rodimus may have approached Megatron, but he respected Megatron’s space. Megatron did not return the favor--particularly when escalating his ridicule and getting increasingly aggressive in terms of tone and expression.

I’ll discuss other aspects of this panel in a later section--for now I want to focus on the intimidation and the way he insists that it is impossible for Rodimus to do something as adult as ‘take stock’--he is capable of it, but clearly Rodimus is not.

Why? He doesn’t need to state it explicitly; his previous comments are explanation enough. Rodimus is childish for not tailoring his emotional reaction to a traumatic scene to suit Megatron’s needs--and for not conceding the argument to Megatron and arguing about facts.

And when Rodimus turns back to look back at his own corpse?

When you complain do they say that “it was just a joke” and that you are too sensitive?

Rodimus’ head is bowed, and he looks resigned to me. Another red flag, since that was usually how I reacted to that particular brand of abuse, particularly when my ex or mother got into my personal bubble. If I didn’t shut down and comply, I ran the risk of inciting something worse.

Especially coupled with yet another dig at his emotional maturity and sensitivity, this conclusion to their altercation leaves me queasy.

If you have never been in a relationship where this is the norm, it can be hard to fathom exactly how taxing it is. You think that, if it were bad enough, you would notice. You would leave. But none of these comments are quite unreasonable enough to prompt a full-blown fight; none of them are hills worth dying on, particularly for someone who already has (hidden) self-esteem issues.

I’ve heard a metaphor for situations like these. If you place a frog in a boiling pot, they’ll jump out immediately. But if you place them in cool water and gradually turn up the heat, they get used to it. Eventually, they boil--because they were trained to tolerate minor abuses along the way.

Over time, in an environment where nonstop digs are normalized, they become background radiation. Rodimus turns away, unable to fight back against any single point aside from the few attempts at fact-checking and explanation he already made. It’s not worth fighting. It’s not worth pushing. If he pushed harder, maybe--but Megatron knows what he’s doing. He knows how far to push.

He wrote the script, after all: attack, withdraw, isolate.

Of course, if this scene were the only such example in the series, I would put it down to Megatron waking up on the wrong side of the bed and Rodimus not wanting to deal with the grumpiness. It’s the context of the entire series that informs the cycle.

Do they give disapproving, dismissive, contemptuous, or condescending looks, comments, and behavior?

Because this panel--containing a very similar dig--takes place a full year later. Instead of encouraging Rodimus or bantering back at him, he dismisses him.

‘But doodling is a sign of inattention and Rodimus should focus!’ you might say. And you would be wrong. As Time reported, doodling helps people focus. So, while teachers and other authority figures demean it, it’s largely because of the lack of respect they (falsely) believe it implies.

Furthermore, even though no one was aware of it, Rodimus was doodling the lost map to Cyberutopia. It’s possible that he was compulsively driven to carve it--and I do mean compulsive in the true sense of the word.

(An aside: I have obsessive-compulsive disorder and, when unmedicated, perform up to six hours of compulsions a day, so I think I’m qualified to make that call.)

He had merged with the matrix--it reformatted him, in fact. It seems reasonable that having the map lodged in his processor would itch like having a word on the tip of his tongue. His doodling in this case would have been more like filling a genuine physical need.

If you have never experienced a genuine compulsion, I can’t explain the visceral need of it. Fighting it down is much like holding your breath--if you hold out too long, it becomes intolerable. You feel like you will die. Like you are actively dying.

Of course, this is conjecture--it’s entirely possible that his doodling serves only the usual purpose: increased focus. And you know what’s a helluva lot more disrespectful than doing what you need to do to focus? Disguising verbal abuse as jokes.

Do they tease you, use sarcasm as a way to put you down or degrade you?

This example is super upsetting to me. On the surface, yeah, haha, Megatron made a joke, good one, Megs.

But...Rodimus was literally turned inside out. He was left in a dark hallway, alone and in pain, unable to move, unable to speak, for an indeterminate amount of time. Someone violated his mind to remove knowledge so basic it’s fundamental to them as a species.

To make sure not to understate things, let’s ask the psychiatrist who has the most experience with the procedure:

The most painful thing a Cybertronian can ever experience. A mental violation followed by incredible pain.

And that painful-looking mess of organs there in the brig?

That’s Rodimus. Who apparently rushed ahead to shut off the lights and protect the mechs in the brig--mechs who were trapped in place and likely targets for a criminal who likes to feast on ‘sin,’ wouldn’t you say?

Meanwhile Megatron and the others are far enough behind that Sunder has come and gone--turning Rodimus inside out, but not prisoners like Getaway, who were left safely in the dark. The timing, to me, makes it look like Rodimus barely got there in the nick of time.

Which, of course, only gets a disparaging comment from Megatron, who won’t even get off his moral high horse to fight back against Sunder and protect his crew.

Rodimus may or may not be able to hear this condescending comment, but when he comes back to work, fresh out of the medbay? Megatron kicks off by making fun of the experience. Rodimus counters humorlessly--clearly not digging this particular joke--and Megatron follows up with, oh, by the way, the only mech you probably count as a friend these days? Helped me come up with this terrible joke at your expense.

Making fun of your own trauma can be cathartic. Making light of someone else’s trauma, particularly when they’re literally leaving their hospital bed for the first time after the fact? No--that’s cruelty. That’s another example of convincing Rodimus that he’s too sensitive. Can’t he take a joke?

And he does take it--with only a minor dodge. Hence the barbed follow-up.

I would say that this is just an example of a tasteless and poorly thought out joke, but Megatron knows people. We see him manipulate the DJD masterfully--and those are mechs who know him, mechs who know the ins and outs of manipulation and abuse. So I’m inclined to believe that this is deliberate rather than a misstep, especially in light of his follow-up...

He cuts off Rodimus’ attempt to move away from the unpleasant subject by literally talking over him (note the overlap of the speech bubbles) in order to make a ‘joke’ about Rodimus resigning. Which--as we saw in the first scene, as we see in many scenes--is a continual point of contention between them.

Megatron is taking advantage of a moment of probable vulnerability by priming him with a ‘joke’ followed by a comment meant to make him feel alone, and then another ‘joke’ meant to indicate the desired behavior.

This is a pattern I’m familiar with, as you might expect by this point. In the case of my ex, he would use this pattern--making light of something traumatic that had happened to me, following up with a non-apology that referenced the fact that no one wanted to put up with my issues, and then bringing it home with an unsubtle joke about things he wanted to do to me to ‘make me feel better,’ no matter how I tried to indicate my own discomfort.

And I, personally, don’t think that this is any less bad here, even though that was really awful and--after enough rounds of it--inevitably succeeded in getting me to give him what he wanted to make it stop. Because, even if Rodimus seems to be in good spirits, trauma can present itself in different ways. And an experience like that, especially given the complete lack of emotional support he experienced before, during, and after? Yeah, no, I’m not prepared to believe that he's actually unbothered instead of coping by acting tough, not when he tries twice to dodge the ‘joke’.

And I’m also not prepared to believe that Megatron can't see right through that act, especially in light of the fact that he also makes a habit of making fun of Rodimus in front of everyone he can.

Do they make fun of you or put you down in front of others?

Megatron continually puts Rodimus down in front of the crew.

In case the screenshot ends up too small to read, he says, “I hope this puts paid to the notion that I ignore everything my ‘co-captain’ says on the grounds that he’s lazy, petulant, and pathologically ill-suited to command…”

From the air-quotes around ‘co-captain’ to the specific insults he uses, every word of this is supposed to cast himself as the responsible, capable captain and Rodimus as the immature usurper. He maintains a formal voice for his own actions--he’s being magnanimous by agreeing to Rodimus’ rendezvous plan on the planet below. Why, if he doesn’t, Rodimus will probably be petulant and whine about it, so really, any inconvenience is on Rodimus’ unstable emotional state.

Which seems over the top, but look at what he said. He starts by heavily implying that Rodimus shouldn’t be respected as a leader, then follows this assertion with three ‘reasons’ for this.

Lazy - Rodimus goes out of his way--literally--in season one to go on side-quests that help people. He’s always personally willing to go to the frontlines of any conflict he’s willing to risk his crew in. And when the co-captains are each presented with the opportunity to risk their lives for the sake of saving others (Rodimus in #21 and Megatron in #33), they have two very different reactions.

We are shown no panels of Rodimus balking; he immediately allows Perceptor to wire him to the anti-killswitch. When told it might kill him and will certainly destroy the matrix, he says, “There goes our map.” And after spending what might be his last moments telling Minimus the truth about Overlord, he says, “Self-sacrifice, Magnus--it’s cheap. It’s a cheap way out. I need to live so I can make amends and--” before the anti-killswitch cuts him off.

We go on an entire hunt while Megatron avoids coming clean about being able to mass-shift; it’s how we find out Brainstorm is a Decepticon. It takes five pages. And although Megatron agrees in the end, his quote on the matter is, “Oh, I could’ve said something earlier, but here’s a survival tip: when everyone’s lining up to make sacrifices...always get to the back of the queue.”

Which maybe doesn’t qualify as laziness--but it still paints a very different picture than Megatron is doing here.

Another point of fact is that even though Megatron has said in this arc that Rodimus has spent the time since launch hiding, Ravage points out later in the arc that he’s observed the same behavior in Megatron. More on that later--under Double Standards and Projection--but worth noting here to undermine the ‘honesty’ in the lazy point.

Petulant - This particular insult is set up to make Rodimus look emotional and childish. This is a pretty common tactic in abuse--it makes it hard to believe anything the person in question says. After all, they’re a child, do they really know what they’re talking about? Surely they just misremembered. Surely it’s safe to ignore their petulant demands unless you feel like indulging them.

Which is exactly what Megatron is implying he’s doing here. Indulging the whimsy of a child instead of working with the mech who shares his rank.

This particular brand of trivializing is a favorite when setting up for gaslighting, which I’ll talk about later. After all, if you can convince someone they’re immature--that they’re too inexperienced or emotional or downright crazy to trust their own perceptions--then they need to turn to someone with the authority to tell them what the truth is.

And if you can also convince those around the victim that this is true--as the villain does in Gaslight (1944), which gives us the technique’s name--by slandering the victim and undermining their authority, you have others who can ask, ‘Are you sure you didn’t imagine that?’ even when you aren’t around to enforce the reality you want.

The air-quotes around ‘co-captain’ are small, and words like ‘petulant’ are minor--but as Psychology Today’s article on Gaslighting points out, it always starts out slow. These words are weapons--and words have always been Megatron’s weapon of choice.

Pathologically Ill-Suited to Command - The final nail in this sentence’s coffin is this one. As I mentioned above, prepping for gaslighting is easier when you can convince your victim and their would-be support network that the victim is crazy--and here we see Megatron pull out that argument. Pathologically ill-suited to command.

It’s not poor baby Roddy’s fault, you see--his brain isn’t wired for command. He doesn’t have the intelligence of the True Captain. He doesn’t have the stability. He might like to pretend, but these are delusions.

As someone with several mental illnesses (primarily anxiety disorders, including obsessive-compulsive disorder, but also depression), I heard this one a lot. A lot. I tried for years to take crazy as a point of pride; sometimes I still want to. But it’s been used as a weapon against me for years. “Are you insane?” prefaced a lot of furious dismissals of innocent requests I made when I was young, but it sometimes still happens when I try again to interact with my family. I also had panic attacks that got called ‘tantrums’ to trivialize them.

Rodimus likely has PTSD--he’s a veteran with a traumatic childhood, after all--and I’ve seen headcanons that he has ADHD. We also know for a fact that he self-harms--and so do all the people Megatron is addressing, since the cuts were visible all the way until the morning of the day this issue began. (It was even commented on when they were looking at Rodimus’ corpse.)

Casually pathologizing someone who visibly self-harms is an easy way of isolating them. Making it an indication that Rodimus is unfit for command? Easier still. It’s also a ready-made dismissal whenever someone doesn’t like your argument. I could offer examples, but this blurb has gone on long enough as it is--and I think every mentally ill person I know could likewise offer examples of it.

This is far from the only time Megatron publicly insults Rodimus in ways that undermine his credibility as a leader. In fact, he does it often enough to have become an in-joke among the crew between Dark Cybertron and the first arc of season 2:

This is the first arc in season 2. The first arc. And yet they’re already saying that Megatron always says this.

Which...isn’t really fair. Rodimus isn’t an engineer. If you review the scene in issue one, he gives the order to jump, and no one tells him that the engines aren’t ready until after they’ve malfunctioned, and even then they can’t tell him why. He immediately has them set down and refuses to take off until they’ve figured out exactly what went wrong--which seems responsible to me.

But, of course, anything that goes wrong can become Rodimus’ fault, even if he wasn’t the one responsible.

Megatron also deliberately insults Rodimus in front of Ultra Magnus, the mech who was, once Drift left, probably the closest thing to a friend Rodimus had on the ship:

Note the way he frames it: “a crisis in morale precipitated by his own woeful captaincy.”

We know people actually liked the Rodimus Stars, even though they were ridiculous. Maybe because they were ridiculous. We saw that in the Trailcutter Spotlight, where the entire story revolved around characters like Trailcutter and Swerve trying to get Rodimus Stars.

Yes, it’s silly. He doesn’t have a great system for passing them out. But that’s not what Megatron focuses on--instead he once again targets Rodimus’ supposed ineptitude.

Am I boring you to tears yet? It’s five hundred insults that all make the same point, one after another, to everyone he can get to listen, for over a year.

Until eventually…

Even the mechs that once supported him are instead convinced that Megatron is correct. Rodimus is incompetent, incapable of leadership--Minimus is comfortable joining Megatron in mocking Rodimus after he took a long weekend off to do something he enjoys.

Something I find interesting about this is that they accuse him of disappearing when there’s work to be done, but he has no idea whatsoever what the work they’re doing is.

In fact, he doesn’t know anything about the situation at all. He’s been gone three days, and they clearly hadn’t started decorating before he left. He even makes the reasonable suggestion of maybe just maybe avoiding the death zone, even if he goes with Megatron’s reasoning in the end.

This implies to me that he didn’t know there was work to be done. Either it came up after he left, or he wasn’t properly informed before he left.

As for the ‘not returning their calls’ bit--I suspect that meteor storms might interfere with comms. I’m fairly sure that’s a repeated subplot in most sci-fi I’ve seen, and the Lost Light’s comms aren’t especially robust at the best of times, let alone whatever handheld or internal unit Rodimus might’ve had.

Leaving things in the hands of Megatron and Minimus for three days--just a long weekend--isn’t irresponsible. Everyone deserves to be allowed to have hobbies. Everyone deserves to have a long weekend now and again, no matter their job. But Megatron has turned this--along with a laundry list of things he himself does--into a way to justify isolating Rodimus.

Isolation

How isolated is Rodimus? Since season two started, there have been no scenes of Rodimus spending downtime with anyone--until Drift returns, the one friend who hasn’t been exposed to months of Megatron’s unending degradation and insults.

It’s possible I missed a scene in my reread, but even though every other member of the group who ends up on the Necroplanet in Dying of the Light has at least a panel of casual or friendly interaction with others, the closest I found for Rodimus was the scene when he was fresh out of the medbay and Megatron made fun of him. Not promising, to say the least.

From all the available evidence, I’d say that Rodimus is an extrovert. He seems more energized in front of crowds, he was so charismatic he was partly responsible for short-circuiting the personality ticks, and he does things like naming his favorite crowd the Rod Squad. He likes people, clearly--and he’s shown repeatedly to care about protecting his crew, as well as total strangers.

He also habitually seeks external validation because of his low self-esteem. Without this kind of support, he resorts to self-harm (see the numbers he carved into his palm) and other unhealthy coping mechanisms.

Again--planning to do a Rodimus meta at some point. For now, let’s roll with the idea that he’s a social mech who craves being around others and needs external validation to function, which I don’t think is particularly difficult to believe.

The lack of interpersonal interaction in season two--alongside the belittling comments he faces when he does interact with others--indicate that he’s isolated. He’s a charismatic mech; that’s part of how he helped to kill off the personality ticks. And yet by the time they leave for the Necroplanet, he’s receiving no external validation, no interpersonal support, nothing. He’s alone.

He may not be the best at friendship--but neither are Whirl, Cyclonus, or Swerve, all of whom end up with strong friendships and support networks. Considering the previous section and Megatron’s clear attempts to isolate Rodimus, one can only surmise that he was ultimately successful in cutting him off even from Minimus.

So what does Megatron accomplish by shutting out all sources of external validation, anyone who might rebuild Rodimus after Megatron verbally tears him down?

In my experience, he’s setting himself up to have power over Rodimus. Remember--Rodimus is so full of self-doubt even before the beginning of the series that he reaches out to Ratchet, only to get shot down there. (“Beneath my cocksure exterior I have terribly low self-esteem.”) No longer able to lean heavily on Drift for emotional support and cut off from any positive reinforcement, he’s put in an extremely vulnerable place.

I, too, am an extrovert. Sometimes I’m fairly sure that it makes me intolerable to be around, especially since I do the same reassurance-seeking behavior as Rodimus. If I go too long without interacting with friends, my depression makes a bitter comeback.

Yes, it would be awfully nice if I could go without social interaction or reassurance or positive external feedback in general, and certainly no one is obligated to provide such things for me. But the fact of the matter remains that without these things, I’m left vulnerable and hungry for any scrap of affection I can find.

And, in my experience? My abusers have deliberately starved me from outside attention to put me in that vulnerable state. It was easiest for my mother, which isn’t surprising; she already had absolute power over where I went and who I saw. What she didn’t have--and what she wanted more than anything--was my undivided attention and affection.

So when I displeased her--and there were quite a lot of ways to upset her--one tactic she used was cutting me off from other sources of support. People who could verify that she’d said one thing on Tuesday morning and something radically different by Wednesday night. People who could help me cope with the nonstop insults, the micromanaging, the unbearable pressure.

Without them? I crumbled. I did anything my mother asked--and I apologized when I did it ‘wrong,’ or if I had ‘misunderstood’ the order she’d changed halfway through my obeying it, or if she’d simply forgotten that I had, in fact, obeyed her already. She was the only one who could arbitrate the Truth; I didn’t have anyone else to turn to.

My siblings and I banded together sometimes to stave this off, but at other times they behaved more like Minimus--going along with Mom to keep the peace, to keep her focused on me instead of them, or just because they actually agreed with her, I can’t quite be sure. In the end, I’m not sure that it matters.

For a specific example--I was required to hug my mother and tell her I loved her before I went to bed every night. One night, I could tell she was sleepy when I hugged her, but she said, “I love you, too,” so I thought I was safe.

No such luck--she woke up at two in the morning convinced that I hadn’t hugged her good night or said I loved her. She burst into my room, sobbing and shouting, and I had to stumble out of bed and try to calm her down.

I’m fairly confident that she didn’t cite that as the direct reason for the ensuing silent treatment and enforced ‘family time’ that meant I couldn’t see friends for a while, but the timing was suspicious.

We see this general pattern a few times with Megatron and Rodimus, as well, the most recent of which was in Lost Light #4. I’ll cover other aspects of that later, but, for now:

Transgression: Rodimus asked about teleporters.

Warning: “Hush.”

Withdrawal: “Not now, Rodimus.”

Isolation: Public humiliation.

And that pattern--do something ‘wrong’ to earn punishment, an initial outburst, pulling back with the silent treatment, and then isolating them from others as a way to build tension for a final blowout? Uh...

That’s a script Megatron wrote a long time ago, and he knows exactly how effective it can be.

Ultimately, what Megatron gets out of setting himself up as the only one to interact one-on-one with Rodimus is a lack of oversight, a lack of outside influence, and--if he presses hard enough, if he twists Rodimus around for long enough, if he sways the opinions of enough of the crew--eventually he might succeed in becoming sole captain of their merry band. With Minimus in his pocket? It’d be a recipe for total control over not just Rodimus, but the entire group.

Rage

“This is an intense, furious anger that comes out of nowhere… It startles and shocks the victim into compliance or silence.” (“Eight Mental Abuse Tactics Narcissists Use on Spouses” by Christine Hammond, MS, LMHC)

This is what most people think of when they picture abuse--the most violent of the symptoms. It’s also the one that Megatron has deliberately been keeping in check, pulling it out only when the long game he’s playing is at risk of being cut short.

I have said before that abuse can only be viewed in a pattern--one instance of shouting doesn’t necessarily make an abusive relationship. In the context of an abusive relationship, however, even one instance of rage is a powerful tool for controlling someone. Even if someone never again takes it ‘that far,’ the victim remembers. And they know that the threat is always going to be present.

When I was fifteen, I did something to upset my mother. To this day, I have no memory of exactly what I did wrong. What I do remember is my mother taking a book and slamming it against my temple so hard that it knocked me to the floor. She then grabbed me by the hair and dragged me up to scream in my face. I remember being held high enough that my knees weren’t on the floor, but my legs were still bent--the only point of contact I had with the world was my toes. I remember being so terrified that I had no idea what she was saying other than the tone, the way spit hit my face. She then stormed out of the house and blamed me for it.

The older of my two younger sisters tried to run away that night, and I nearly jumped off the roof of our house. I remember very clearly that the only reason I didn’t was because I was convinced that I would only break my legs, and she would use it as an excuse to trap me at home with her.

Beyond that, my memories blur. I remember that either that night--or perhaps another night--my littlest sister caught our mother’s attention. I remember making an attempt to distract our mother. Was that why she attacked me? I don’t remember. Did I make her more upset? I don’t remember, although I recall fearing I had. What I do remember is the moment that she grabbed my seven-year-old sister and threw her--physically threw her--out of the way. My sister landed wrong--on her wrist--and broke a bone. I remember her crying. I remember my mother telling her to shut up. I remember that it took a while before Mom took her to the hospital, and then that we were all ordered not to tell anyone how she’d broken the wrist.

Aside from these instances, my mother never laid a hand on any of us.

She never had to. It’s been twelve years--almost thirteen years--and I still feel it every time we interact. I remember that she’s capable of it. I remember that she was willing to shift her rage onto the more easily accessible target despite my best efforts. All the way until I moved out--and beyond then, and into the present--it’s kept me from being willing to confront her about some of the worse things she says and does.

It’s been over a decade and I don’t think I’ll ever forget that fear. For a while, I was so deeply afraid of even sharing the story--after being ordered to be silent about it--that I think I’ve only told a few of my closest friends and my therapist. The only reason I’m sharing it now is because I’m posting this anonymously. Because, at heart, I am still afraid.

Now, I could cover the handful of examples of Megatron hitting characters here. I could make conjectures about how Rodimus cares more about the wellbeing of others than his own, and threats of violence against characters like Trailcutter, Perceptor, and Minimus would be more likely to keep him in line than violence against his own person. I know that was true for me.

But none of those were done directly in front of Rodimus, even though he would have heard about them later. That makes it harder to draw conclusions about without wandering a bit too far off panel. So I’ll be discussing physical violence in those characters’ subsections--and for now, I’ll be looking at the times Megatron has threatened violence directly at Rodimus.

In context, Rodimus respectfully said that he and the others were reporting for duty; he even saluted. Megatron then ordered all of them to carry Ravage back to Ratchet, and Rodimus objected.

What was his objection? Was it, ‘but this is only half of Ravage, and even Ratchet probably needs both halves to repair him’? Was it, ‘but there are a lot of us, and probably we don’t all need to carry Ravage, so maybe some of us could stay and help’? We don’t get to find out, because Megatron doesn’t accept any objection to his orders, no matter how softly or respectfully put.

In this scene, with the DJD nearby, his long game is, as I said, at risk of being cut short. So he breaks out the rage to terrify Rodimus into unquestioning compliance.

What’s more, it worked. They all fled.

Maybe this doesn’t look like violence to some of you. But his expression and the way he towers over Rodimus as he screams? Looks almost identical to my mother’s face in the anecdote I shared above. And to me, that screaming was violence.

In fact, screaming like that was the only kind of violence my abusive ex-boyfriend perpetrated against me. He was physically larger than me; he would get me cornered in a bus seat and loom over me exactly like this while screaming insults. And I know for a fact that some people don’t think this counts, or believe this behavior can be justified--when I reached out to the older of my two younger sisters about how he kept doing this, she told me that I deserved it, and she wasn’t the only one.

As a result, in the context of Megatron’s treatment of Rodimus, and in the context of this being a tool that worked to control him, I would personally count it as an abusive tactic--one that I believe was deliberate. Especially since he never apologized.

And then, almost immediately after Rodimus risks his life to save Megatron…

Rodimus is standing directly behind Ratchet as they try to convince him to pretty please put down the gun, as we can see in the next panel:

And, of course, Megatron pulls the gun on them--all of them. And Rodimus, the one who brought him through the portal, the one who rescued him, is looking down the barrel of a fusion cannon over Ratchet’s shoulder. This group of mechs--the Rod Squad, his favorite people--are all being threatened.

And then Megatron says that it’s time he left, and it’s hard not to think, under the circumstances, that he means he’s done playing at being an Autobot, done being nice. He’s wearing Tarn’s mask as a deceptibrand, for goodness’ sake! For all intents and purposes, at this moment, it looks like Megatron is through with the quest and has no intention of going to trial.

A few days later--or however long it takes them to build the Den and end up on Functionist Cybertron--you can see that Rodimus is still thinking about this:

There are other potential explanations, of course, but--in context? I find it both telling and worrying that Rodimus’ instinctive reaction when Megatron shouts his name is a full-frame flinch. Not with battle prep or defensive stances or anything that would indicate he learned this response from being ordered around in battle. Just the same sort of flinch I still sometimes get when my mother raises her voice.

And, although it’s been a bit since I used this format, let’s answer another question from the checklist:

Do they accuse you of something contrived in their own minds when you know it isn’t true?

This is the last example I’m going to use for rage--and a tirade like this is an example of out-of-nowhere fury used to shock Rodimus into silence.

The thing is? Megatron pulled all of this out of his tin-plated ass.

In this scene, Rodimus did not once mention the Lost Light. He only tries to ask about the teleporters, and then Megatron derails him with this.

Now, I’m going to give JRo the benefit of the doubt, here. Instead of assuming he’s forgotten about Nyon--the core of Rodimus’ backstory--and abandoned Rodimus’ main driving force as a character by having him sacrifice others to get what he wants instead of, y’know, literally being willing to risk his life saving people at every single opportunity he’s ever had… Instead of pinning writing that terrible on JRo, I’m going to assume instead that Megatron cut off and then derailed Rodimus before he could suggest what he actually had in mind. Misunderstandings and assumptions being thwarted both play a role in JRo’s writing, after all.

And, with any thought at all, it actually makes perfect sense that Rodimus might need teleporters for a plan--for saving the people of this Cybertron, not for tracking down the Lost Light. These mechs aren’t safe on Cybertron, even in this supposed ‘sanctuary city’--and there’s no way to transport all of them offworld. There are too many of them--we see veritable thousands in the streets.

So how do you save everyone? Do you start another war to rise up against your oppressors--because the first one went so well--or do you get everyone the hell off the planet?

Sure, maybe Rodimus wants to use the teleporter after the fact. I’d be surprised if he didn’t--he left half the crew he still has on a distant planet with a bunch of potentially dangerous strangers.

As for why Rodimus responds to this accusation the way he does instead of by saying what he actually intended--have you ever been accused of the worst thing? Something that is so antithetical to your character that you feel like the person accusing you of it has never interacted with you? How could you have given this person the idea that you would ever, in a million years ever, consider doing what they’ve just accused you of?

Well, you see, that confusion? That disorientation? The scrambling to find any common ground to argue on and finding that you have no footing because you don’t even know what to expect--what’s real and what you’ve made up? Leaving you floundering to counter a point in a way that at least connects to their reality?

That’s another abuse tactic. And it’s called gaslighting.

Gaslighting

“Narcissistic mental abusers lie about the past, making their victim doubt her memory, perception, and sanity. They claim and give evidence of her past wrong behavior further causing doubt. She might even begin to question what she said a minute ago.” (“11 Signs of Gaslighting in a Relationship” by Stephanie Sarkis Ph.D.)

I have more experience with gaslighting than literally any other form of abuse, to the point that I still struggle to believe that my memory isn’t just faulty, that I’m not just overreacting, that these things really did happen, that I’m not the one making things up. That’s why I extensively cite every point I make: I feel as though no one will trust me or my word, but maybe if I bring in enough data points--enough hard facts--it’ll make up for the fact that I’m the one writing it.

Gaslighting seems so minor, and it is so hard to point to examples when you’re living in it. Even the extensive trauma I described above doesn’t hold a candle to the scars left by decades of gaslighting. I cannot overstate how deeply emotionally scarring it is, the way it can change the entire way you see the world, the way it makes trusting yourself and others almost impossible at times.

This is a hard section for me to write. Perhaps the hardest, in fact, and I say that despite the fact that writing the last section gave me flashback nightmares so intense I couldn’t sleep for three days. To get through the experience, I’m using the framework offered by the article linked in the above description and referencing other sections of this meta post. Any brevity in this section is a result not of a lack of evidence in canon but of an overabundance of my own trauma.

And with that disclaimer, let’s dig in.

They deny they ever said something, even though you have proof.

“You know they said they would do something; you know you heard it. But they out and out deny it. It makes you start questioning your reality—maybe they never said that thing. And the more they do this, the more you question your reality and start accepting theirs.” (“11 Signs of Gaslighting in a Relationship” by Stephanie Sarkis Ph.D.)

I would personally amend this to say that they deny they ever said or did something, even if you have proof. This can range quite a lot:

“Mom, you said that you’d already picked up the stuff for my school project, but I can’t find it anywhere. Where is it?”

“You never even told me you had a project! This is what happens when you leave everything to the last minute.”

“But I have your text message right here?”

“Let me see that. No, no, that’s not what I meant at all, why would you think that was what I meant? Are you stupid?”

Which was a pretty staple ‘misunderstanding’ in our house, but less frustrating than the times my mother’s reaction to evidence was to say, “I swear to God that I never said that, and if I’m lying, may He strike me down where I stand!” Which was, unfortunately, at least as common--more common, actually, when we were in public. And when God didn’t smite her, she gave us a smug smile and considered herself proven right.

As this escalated--gradually, over the course of my entire childhood--eventually she built to a moment so big and so obvious that I actually realized what she was doing. That it wasn’t forgetfulness. That it wasn’t a case of repeated misunderstandings. That she was reconstructing reality as it suited her, and I was powerless to stop her.

What moment could possibly have been jarring enough to open my eyes to that? I talked in the rage section about the night my mother knocked me to the ground and hauled me up by my hair. What I didn’t tell you is that after she dropped me back to the floor again, I looked up at her and, still sobbing, asked her why she’d hit me in the head with her address book.

“I didn’t,” she said, still towering over me as I lay curled on the floor. “I would never.”

“Then--” Maybe it was her hand, I thought. Maybe I was confused. I felt so disoriented and terrified and I didn’t understand what was happening. “Then why did you pull my hair?”

“I didn’t,” and she looked angry enough to do it all over again. “It must have gotten caught in the zipper.”

The zipper, of course, being on the address book she’d just denied smacking me with.

When I tried to point out this logical flaw, she redirected--and then stormed out of the house, blaming me for the fact that she needed to abandon us. Even though she came home a few hours later, the guilt worked--and I was too afraid to bring up the incident ever again.

And here’s where I’ll be frank--I said that that incident opened my eyes. And it did--but not that night. That night, I was terrified I’d imagined the whole thing. I had no evidence. She’d hit me, but it hadn’t left a mark. She’d pulled me up by the hair to bellow in my face, but I couldn’t even remember what she’d said.

If my siblings hadn’t been there to question her with me--to reaffirm it had actually happened--to be honest? I might to this day believe it was a nightmare. That she’d never actually laid a hand on me. And that’s what long-term, slow-build gaslighting does.

So--a few small denials, a pointed redirection whenever holes get poked at, all of that seems trivial in comparison, I’m sure. But it builds. It has to start small if the abuser hopes to normalize it. Because, at first? You question them. You start hoarding evidence. But if it goes on long enough? You start to question yourself. You start to question any evidence that you, personally, collected. Eventually you’re left questioning yourself so often that you stop questioning them.

Which is why even minor instances of gaslighting--if they’re part of an abusive pattern--should be noted as soon as possible.

In this case, Megatron asserts he’s been saying something when Rodimus has proof that he hasn’t even been around to say it. He says it both to belittle Rodimus and to set up a reality where he’s been dutifully doing his job instead of secretly doing prep work for the ultimate supervillain device in his habsuite (I’m talking, of course, about the antimatter he spends months channeling, almost certainly in violation of his parole).

Before you doubt Rodimus--and I wouldn’t be surprised if you did, because another goal of gaslighting is to make others doubt the perception of the victim--I’ll point out that Ultra Magnus also comments on Megatron hiding himself away.

So Megatron was lying to begin with--he hasn’t been saying that for weeks. He hasn’t been in a position to say anything to Rodimus for weeks. And when called out on it, he neither apologizes for the lie nor even allows time to address the fact that he did so. Instead, he picks something we know to be a sore point--and therefore a good distraction.

Taking stock, not sulking. Because, as Rodimus clearly remembers:

And from the way Rodimus reacts? Especially given my own experiences? I would guess that this wasn’t the only time Megatron said it--just the only time caught on camera, so to speak.

Also, yes--in the next panel, Megatron claims that he’s been working, something that both Ultra Magnus and Rodimus have both confirmed isn’t true. The truth is that he’s channeling antimatter for his own purposes--regardless of whether he eventually uses them to benefit the others, with no one aware he’s setting this up, he has no oversight.

They tell blatant lies.

“You know it's an outright lie. Yet they are telling you this lie with a straight face. Why are they so blatant? Because they're setting up a precedent. Once they tell you a huge lie, you're not sure if anything they say is true. Keeping you unsteady and off-kilter is the goal.” (“11 Signs of Gaslighting in a Relationship” by Stephanie Sarkis Ph.D.)

These lies, in my experience, can range from nearly inconsequential to the extreme. My mother would routinely tell me that I hadn’t said something that my siblings later confirmed I said, but that could be dismissed as forgetfulness or poor hearing. She would also tell me that I’d promised to do something when we’d never discussed the matter in the first place, then tell me that I was the one forgetting. That was a little harder to handle--my siblings didn’t listen to every conversation between me and Mom, so I had no one to back me up. It’s much more difficult to prove you never discussed something than to prove that you did.

But, like I said--minor. Hard to prove or disprove. These tiny lies make it hard to trust reality and harder to trust your memory or judgment. These are also almost impossible to point to when discussing abuse with those who have never experienced it, because they look like misunderstandings at worst. It’s insidious and frustrating and only when you get to a big lie--the kind you build up to over years (or after more than twenty issues)--that you can point to it and say, “See? I have proof. I can prove this time it isn’t true!”

Megatron is claiming--genuinely daring to claim--that he was the one to first suggest stopping to help people along the way. When he’s been complaining about Rodimus’ so-called “side-quests” since day one. In season one alone, we saw them stop on the DJD homeworld so Ratchet could help cure a plague, Temptoria to rescue prisoners being used as batteries, and, eventually, the Big Hero moment when Tailgate uses a semicolon to save them all.

Except something that nobody seems to talk about in season two--as far as I’ve found, at least--is the fact that Rodimus is actually the one who saved all the constructed cold mechs with the help of Perceptor. Tailgate shutting off the suggestion beam and shutting down the Legislators was also critical to the operation’s success, of course, and I’m hardly going to say that Tailgate doesn’t deserve his due credit, but Rodimus was also fully ready to die for a universe of strangers.

I covered this above when talking about how Megatron called him lazy, but let’s pull in the panels for comparison’s sake.

Here we see Rodimus getting hooked up without a single panel of hesitation. As soon as they were ready to wire him in, he went.

He asks if it’ll kill him and has no qualms when he’s given a decided maybe.

And when he does save the CC mechs, you would expect, wouldn’t you, that he would never let anyone else forget it. After all, everyone (especially Megatron) insists he’s a self-centered jerk. But he lets Tailgate take full credit, and the only mention of Rodimus’ role in the proceedings after the fact comes when Optimus gets angry at him for destroying the Matrix.

Meanwhile Megatron drags his feet for five pages as the foam gets progressively worse and more dangerous, hoping they’ll find Brainstorm’s shrink ray so that someone else can go in his place.

But it was Megatron--who stays on the ship, who sends mechs to do battle but spares himself from the dirty work that would strip him of his self-righteous high horse--who first had the idea to help people. Right. One hundred percent his idea, and Rodimus should have told him they were saving organics so he could leave them to die.

It’s a lie. It’s a big enough lie that anyone could point to it and objectively prove that it’s not true. But Megatron says it, and Rodimus placates him instead of fighting him on it. He’s just happy that lives are getting saved; he doesn’t try to take any of the credit.

I find it unpleasantly relatable that Rodimus’ first reaction is no longer to correct Megatron, as he once did--in fact, as he did in the last example where we caught Megatron out in an obvious lie--but instead to offer him something to calm him down. Something to mitigate fallout. Something I, myself, have done countless times.

Their actions do not match their words.

“When dealing with a person or entity that gaslights, look at what they are doing rather than what they are saying. What they are saying means nothing; it is just talk. What they are doing is the issue.” (“11 Signs of Gaslighting in a Relationship” by Stephanie Sarkis Ph.D.)

I want to write a separate meta post about Megatron’s bullshit redemption arc because I don’t want my opinions on that to distract from the primary point I’m trying to make with this meta. However, it also fits this point to an almost ludicrous degree.

Rather than break down Megatron’s entire character arc, I’ll focus on a few relevant points and save the rest for another post.

What Megatron says: “I am on this quest to make amends by finding a new world for our people after destroying our original planet.”

What Megatron does: never apologizes to the people he wronged using his own words, takes control of a privately owned neutral vessel with the help of a mech who holds no democratically appointed position nor has any kind of oversight, deliberately sends them three jumps off course to the necroplanet for the express purpose of derailing the quest.

What Megatron says: “I’ve renounced violence.”

What Megatron does: continues to send others into battles he’s not willing to fight, refuses to act even when it means that his crew will likely suffer casualties, orders acts of violence from behind the protective distance of a screen.

What Megatron says: “It’s not about me! I am taking a vow of pacifism because, if I were to pick up a weapon again, I would be unstoppable.”

What Megatron does: continues to reach for the dark matter that would make him unstoppable (even at the cost of shirking his duties--note that he missed Brainstorm’s trial), continues to risk the lives of others--apparently, by this logic, for their own good.

I could go into greater depth--I hope that someday I will get to tear this particular topic open--but, for now, I’ll leave it at this. What Megatron says can be very pretty, particularly if you ignore the overblown narcissism hidden in the message, but in practice it’s functionally worthless. He does virtually nothing to actually advance the honorable goals he’s espousing--only enough to make himself look good and noble.

This is something my mother and ex excel at. My mother can talk anyone into believing she’s a good and loving person who gives everything she has for us kids, tailoring how she frames her beliefs to most please whoever her audience is. Growing up, I heard a lot about how lucky I was to have such a loving and wonderful mom. My mom has even been able to talk me in circles--‘I only threatened you with a pray-away-the-gay camp because I wanted you to know you had other options! I didn’t want you to be bullied, so I had no choice but to completely isolate you from your DFAB friends any time your sexual orientation came up!’

Only, uh, of course I’m not framing that the way she did. That’s just what all the pretty talk amounted to. I only picked it apart years after moving out of the house.

Actions speak louder than words--because in situations with this brand of abuse, words are just tools to further the abuse, not tools for honest communication. With gaslighting, especially, words are meant to confuse.

They know confusion weakens people.

“Gaslighters know that people like having a sense of stability and normalcy. Their goal is to uproot this and make you constantly question everything. And humans' natural tendency is to look to the person or entity that will help you feel more stable—and that happens to be the gaslighter.” (“11 Signs of Gaslighting in a Relationship” by Stephanie Sarkis Ph.D.)

Gaslighting has profound effects over time. In “Identifying Victims of Narcissistic Abuse” on Psych Central, the provided list offers some idea of the scope of the damage that victims endure.

What I find most interesting about that list in the context of this meta post, though, is that it increasingly describes Rodimus as season two of MTMTE and then Lost Light each progress. From second guessing and increasing difficulty concentrating and making decisions to being highly strung and irritable to fear responses when Megatron says his name, this all actually adds up to a potentially realistic picture of how trauma can affect someone.

It’s not pretty. In fact, it can leave people looking and feeling unstable, which adds further fuel to the gaslighting fire.

I can’t say for sure whether JRo intends Rodimus’ increasingly erratic (and, at times, desperate and out of character) behavior to be read as a response to this prolonged abuse. I hope he does--it makes more sense to me than the alternatives.

Especially since this particular article on gaslighting goes on to cover many of the points I’ve already addressed in this meta, which I think hammers home their severity.

They use what is near and dear to you as ammunition.

“They know how important your kids are to you, and they know how important your identity is to you. So those may be one of the first things they attack. If you have kids, they tell you that you should not have had those children. They will tell you'd be a worthy person if only you didn't have a long list of negative traits. They attack the foundation of your being.” (“11 Signs of Gaslighting in a Relationship” by Stephanie Sarkis Ph.D.)

I could rehash this point--but I’ve already spent several thousand words on it. From mocking the Rod Pod to tearing down Rodimus’ identity as a leader and a hero to rattling off reason after reason why he’s worthless, the entire degradation section could fit under this bullet point.

They wear you down over time.

“This is one of the insidious things about gaslighting—it is done gradually, over time. A lie here, a lie there, a snide comment every so often...and then it starts ramping up. Even the brightest, most self-aware people can be sucked into gaslighting—it is that effective. It's the "frog in the frying pan" analogy: The heat is turned up slowly, so the frog never realizes what's happening to it.” (“11 Signs of Gaslighting in a Relationship” by Stephanie Sarkis Ph.D.)

Once again, a point I covered in previous sections. Abuse builds up bit by bit, allowing the abuser to skate by without being called out. What would have looked like a vicious and unfair tirade at the beginning of the abuse--uncalled for and baseless--eventually looks like a righteous ‘dressing down’ of a petulant child.

They tell you or others that you are crazy.

“This is one of the most effective tools of the gaslighter, because it's dismissive. The gaslighter knows if they question your sanity, people will not believe you when you tell them the gaslighter is abusive or out-of-control. It's a master technique.” (“11 Signs of Gaslighting in a Relationship” by Stephanie Sarkis Ph.D.)

This is the reason I homed in on that particular choice of words by Megatron in the degradation section. It seems like it’s no big deal--all varieties of this abuse seem like they’re no big deal. Until they build and build and suddenly everyone believes--both in the comic and in the fandom--that Rodimus deserves the treatment he receives at Megatron’s hands and should not be trusted with any serious task. Everyone immediately believes the worst of him in every situation.

They try to align people against you.

“Gaslighters are masters at manipulating and finding the people they know will stand by them no matter what—and they use these people against you. They will make comments such as, "This person knows that you're not right," or "This person knows you're useless too." Keep in mind it does not mean that these people actually said these things. A gaslighter is a constant liar. When the gaslighter uses this tactic it makes you feel like you don't know who to trust or turn to—and that leads you right back to the gaslighter. And that's exactly what they want: Isolation gives them more control.” (“11 Signs of Gaslighting in a Relationship” by Stephanie Sarkis Ph.D.)

And here we have the final critical point I covered above--the result of all the dismissive comments, the intention behind the isolation. No one trusts Rodimus’ judgment. No one trusts Rodimus to even have good intentions anymore.

It’s a personal hell for someone as extroverted as Rodimus--and it could all end if he ceded power to Megatron. And wouldn’t that be easier?

They throw in positive reinforcement to confuse you.

“This person or entity that is cutting you down, telling you that you don't have value, is now praising you for something you did. This adds an additional sense of uneasiness. You think, "Well maybe they aren't so bad." Yes, they are. This is a calculated attempt to keep you off-kilter—and again, to question your reality. Also look at what you were praised for; it is probably something that served the gaslighter.” (“11 Signs of Gaslighting in a Relationship” by Stephanie Sarkis Ph.D.)

This seems counterintuitive, doesn’t it? If you’re spending months or years breaking someone down, why would you ever throw in a compliment?

The thing is, this particular brand of abuse--this variety of manipulation--makes the victim especially susceptible to praise as a weapon. When starved of praise, it’s natural to crave it. And in two rereads of season 2? I found exactly one instance of someone praising Rodimus. In issue 43, Rodimus says that Swerve called him the best dancer he’d ever seen. Other than that? Nothing. I reread twice specifically looking for positive comments about Rodimus, and there was absolutely nothing for him.

I was lucky enough to have friends who told me that I was worth something even when I was being abused. And even then, I craved praise from my mother more than anyone--both because she’d conditioned me to look to her above all the others, and because she was the one who was the hardest to please.

Of course, when she did praise me, it was either performative--‘look what a good mother I am’--or it was to get me to do something that I desperately did not want to do. “You’re such a good daughter, (name)--I know you actually do love us. That’s why you’re looking forward to this three month trip (where you’ll have no contact with any of your friends and no means of escape), right?”

And I went. So help me, once she pulled out that card, I honestly believed I had no choice but to go. Every summer, I fell in line.

If I’d been as starved of praise as Rodimus had--if my mother had succeeded in fully isolating me as she so often tried to do--I don’t think I could have pushed back on any subject at all.

At the start of Lost Light, the issue summary indicates it’s been five years since the ship first took off. Assuming half of that was during season two, that’s two and a half years--during which we only have evidence of a single, passing compliment. Especially for someone like Rodimus, that’s downright devastating.

And then Megatron drops this bomb during their most critical argument:

It works.

Rodimus stops pushing. Rodimus stops fighting him. Stops begging him to help them not die by standing with them instead of watching them fight from a screen, directing them in how to die. (Which he doesn’t do, by the way--he makes no contact with the group once they leave until he strides out onto the battlefield.)

This is the antithesis of everything Megatron has said for the last two-ish years. This is everything that Rodimus has wanted to hear.

It’s pure manipulation, of course--Megatron goes back to doubting Rodimus’ leadership and judgment without a single pause. He doesn’t hear Rodimus out on the battlefield or on functionist Cybertron. If this compliment had been genuine? He would have.

But no. It was a means to an end, and it worked. Rodimus did exactly as Megatron wanted. As Megatron knew he would.

The final point the article on gaslighting brings up is one I want to address separately--projection and double standards.

Projection

“They dump their issues onto their victim as if she were the one doing it. For instance, narcissistic mental abusers may accuse their spouse of lying when they have lied. Or they make her feel guilty when he is really guilty. This creates confusion.” (“Eight Mental Abuse Tactics Narcissists Use on Spouses” by Christine Hammond, MS, LMHC)

“They are a drug user or a cheater, yet they are constantly accusing you of that. This is done so often that you start trying to defend yourself, and are distracted from the gaslighter's own behavior.” (“11 Signs of Gaslighting in a Relationship” by Stephanie Sarkis Ph.D.)

Megatron has claimed--first to Optimus and later to everyone who would listen--that he would find success where Rodimus found failure. It was part of his sales pitch to avoid imprisonment until his retrial.

So he said then, when they had no map and their only plan was to track down Thunderclash, who was having visions to guide him toward Cyberutopia. And, once they’d found him, the map he’d carved was destroyed in the fight with the personality ticks, leaving them rudderless once again.

Or so it seemed.

Up until this point, Megatron has disapproved of Rodimus taking supposedly pointless sidequests. However, as soon as Rodimus produces a hand-carved map to Cyberutopia, he changes his tune.

Rodimus has just very reasonably expressed that Cyberutopia is in the opposite direction and given his position as co-captain: they need to stay on task and find the Knights. Here, Megatron overrides him without even acknowledging that, technically speaking, he doesn’t have veto power. Of course he gets the final say even if they share the same rank. Why shouldn’t he? Co-captain is a position made up for Rodimus’ ego; if Megatron decides that it’s time for a literally pointless sidequest, then it’s time to start getting the quantum engine jumping.

He looks so smug as Rodimus arches an optic ridge in the background. No one questions Megatron’s authority to make the executive override here, though, including Ultra Magnus, who would be the one in the best position to point out that the captains share a rank and Megatron can’t just arbitrarily ignore the chain of command. Ultra Magnus is also probably the closest thing Rodimus has to a friend on the ship, and he still doesn’t speak in Rodimus’ support here.

Even though, by the terms of the quest and Megatron’s parole? Rodimus is the one clearly in the right.

Megatron has been accusing Rodimus of shirking responsibility, of laziness, and at one point of not having the steel to face his own death (in the form of his corpse). And yet, when they can finally actually get on the right path--when Rodimus has hand-delivered a map--his first action is specifically to derail the quest.

And for what possible reason?

Because of character flaws he’s been accusing Rodimus of since day one.

Of not facing his death quickly enough.

Of not even being able to start the quest--when, of the two of them, Megatron is the one who sent them deliberately off course as soon as he could.

Of vanishing when work needs to be done.

This is all par for the course with projection. It can look coincidental; it can even on occasion look well-intentioned. But it ultimately comes from a self-centered place where the one doing the projection can have a few possible motives.

Self-Centered Motive 1: Being unable to conceive of motives separate from those they would have.

Self-Centered Motive 2: Being unable to conceive of being wrong about someone’s internal motivations--or, indeed, about any assessment they make.

Self-Centered Motive 3: Deliberately using the projection to cover for one’s own behavior. (This isn’t necessarily indicative of shame or guilt; it can be done to draw attention away from behavior they believe they will face repercussions for when they would like to continue perpetrating said behavior.)

Self-Centered Motive 4: Deliberately using the project to confuse and disorient an abuse victim, putting them on the defensive. (After all, “No, you,” is an argument that could be regurgitated by a ‘petulant’ two-year-old and therefore easy to dismiss, particularly when you habitually tell others that your victim is just childish and overly sensitive.)

The first and second motives are unlikely to be the case for Megatron, who is a master-class strategist used to dealing with schemers. He wouldn’t be able to remain several steps ahead if he was unable to read intentions behind other people’s choices. He also wouldn’t have lasted particularly long as leader of the Decepticons if he couldn’t infer the motivations of others.

Meanwhile, motives three and four would serve him extremely well, particularly in this situation. If he spends sixteen issues convincing the crew that Rodimus is the irresponsible one holding back the quest, if Rodimus tries to counter by saying, “But you’re the one trying to keep us off course!”--well. Can you imagine anyone taking him seriously?

Oh wait. You don’t have to--they had that argument in Lost Light #4.

And, as Megatron knew would happen, even Minimus Ambus believed his lie. No one--no one at all--believed Rodimus or took his side.

Great bit of misdirection, isn’t it? It also has the benefit of leaving Rodimus doubting himself--questioning whether he actually is working hard enough. That’s the gaslighting aspect of the technique; it destabilizes your reality and makes it harder to question what your abuser says about you or asks of you. Because if you and you alone think that something is true? Peer pressure is likelier to silence you.

It won’t always--the Asch conformity experiments are an interesting place to begin for further research, if you’re interested--but in those experiments, even though it was clearly objective reality being described, only one in four participants consistently fought majority opinion. When it’s something more nebulous--personality traits, personal failings--it seems likely to be a little harder to fight.

And when you’re already being conditioned not to fight this particular person (with bouts of rage and the other abuse techniques I’ve described here), it can be hard to convince yourself that it would be worth fighting in the first place.

Mix this with Rodimus’ already present self-worth and guilt issues? And it’s frankly stunning to me that he contradicts Megatron as often as he actually does. I know that I didn’t have it in me that often--it’s almost unspeakably exhausting to have this kind of fight, particularly when you have no one on your side and no hard evidence to point to.

This is still relatively early into the abuse, admittedly--six months after the trial. But Rodimus is still trying to assert his own reality in the face of Megatron projecting.

And he is projecting. Need proof? Ask Ravage an hour or two later in this arc:

He’s been sitting in his room for six months, the same as Rodimus. But to distract others from that fact, he loudly accuses Rodimus of it--publicly, purposefully. “I ‘take stock.’ You sulk. You’re sulking now.”

As the second blurb says, it puts Rodimus in a position where he must defend himself against the accusations, distracting from the fact that Megatron is also doing this.

And it works: Rodimus goes on the defensive, and no one questions the narrative that Megatron is setting up.

This narrative allows Megatron to twist situations (and facts) to suit himself with relative impunity.

Twisting

“When narcissistic spouses are confronted, they will twist it around to blame their victims for their actions. They will not accept responsibility for their behavior and insist that their victim apologize to them.” (“Eight Mental Abuse Tactics Narcissists Use on Spouses” by Christine Hammond, MS, LMHC)

Megatron avoids apologizing like the plague. He apologizes exactly once in the series--and then leaves without trying to get the injured party to the medical bay or calling a medic, which makes it more than a bit hollow. Beyond that? He never apologizes for his actions during the war--for Grindcore, for setting up the DJD, etc--and he also never apologizes for things like decking Perceptor and nearly sending him through a computer screen. He certainly never apologizes for his behavior toward Rodimus.

Instead, he twists the situation so that he’s justified in his awful behavior or so that the blame falls on someone else. He does this, too, when something threatens the narrative he’s been building or Rodimus ‘disobeys’ him. For example, when Rodimus overrides his condescending hush command that Megatron had no place issuing...

Rodimus is offering a potential counter-strategy that Megatron hasn’t approved: evacuation and escape. It’s something they discussed while Megatron met the ‘troops’ instead of coming to the briefing:

A solution Rodimus brought up at the time, using the same language he describes the teleporter with above:

So he’s trying to work out, it seems, whether there’s a possibility of rescuing the mechs already teleported away--and whether there’s a chance they could get all of these civilians to safety.

I discussed this possibility in rage, but I’d like to look at a different panel for the lead-up to that, where Megatron twists the narrative:

See how he turns his controlling and dismissive behavior (“Hush, not now.”) into an attack that invents a sinister motive Rodimus is clearly supposed to apologize for? This being despite the fact that all Rodimus asked about was teleporters--something that would be absolutely vital in evacuating a civilian population off-planet.

It’s a successful twisting of the situation--successful enough that even I bought it on my first read-through. Despite everything, despite all logic and circumstance and evidence, Megatron convinced even me that his narrative was the right one.

But when I read again? It was groundless. Megatron describes Rodimus as being obsessed; if he’s referring to the paint job, then Drift pointed out it lends itself to multiple interpretations--including mourning. Other than that, all Rodimus has done is organize a plan to get them home. Nothing about his behavior reads as obsessive to me.

But let’s stick to these panels and break it down:

Rodimus attempts to participate in the conversation. Considering that he and Rodimus share a rank and the group is currently planning what to do, it’s perfectly appropriate for Rodimus to try to pitch in, especially since he was the one at the briefing while Megatron met the ‘troops’ in another area. He knows more about the situation than Megatron in some ways, and he’s trying to use that information to help.

But Megatron gets visibly angry and tries to shut the attempt down. Based on his behavior through the series as well as my own experiences, I think I can guess why.

Rodimus ‘disobeyed’ him, which undermines the vision Megatron has of himself as the ‘real’ captain. The image he’s been trying to sell the crew. If he can spin this as Rodimus being childish, he can salvage the situation and maintain his narrative. Scolding him like a child sets that up.

It’s technically also possible that he’s somehow forgetting Rodimus’ experiences with Nyon and nonstop heroism despite being present for both, although that seems like an awfully large and uncharitable lapse on his part.

This implies to me that this isn't the first time Megatron has dismissed Rodimus like this--but before Rodimus can call him out further, Megatron twists the narrative, and now it's not about teleporters or exit strategies. It's a personal attack on Rodimus.

This comes, frankly, out of nowhere. It's an unprovoked attack against someone who shares his rank and is trying to contribute to the planning process--you know, trying to do his job.

Here's the thing. I'm familiar with these derailing types of attacks--where anything I do can get twisted and turned into something that requires an apology when I'm (a) trying to help, (b) doing my job, and (c) trying to do it respectfully but also efficiently due to time crunches. And, like Rodimus, I've been baited into shouting back at my abusers.

It's a win-win for them. Sure, they derailed first--they shouted first--but since I fought back, it can't be abuse. Since I got distracted from the point I wanted to make, I proved them right. I'm too sensitive. I deserve to be ‘taken to task’ or ‘put in my place’ or whatever euphemism you care to use. Because I stop looking like a crying victim on the floor, it stops counting as abuse.

If you think I'm exaggerating, I can assure you I'm not. Read any comment thread about abuse or assault and see how long it takes for people to find reasons why this person wasn't really a victim. Why they deserved it.

I should have talked above--under almost every section--about my abusive ex-boyfriend. Really, it's painful how much is relevant. But I haven't, because… Fuck me, this is the sixth complete rewrite of this section, and I'm still tearing up. I haven't, and it's because experience has convinced me that no one will take my side because I wasn't a good enough victim.

I'll keep it simple and relevant--just a single example that I feel parallels the above scene. It happened within a week of when my mom hit me; I was 15. My ex was failing a writing class, and he showed me his homework. I thought he was asking for feedback, since, y'know, he was failing. But I only got as far as saying he'd misused a comma before he told me to shut up.

I say he told me. That sounds so mild. We were sitting near the front of the school bus together; I was trapped between him and the window. He had eight inches and fifty pounds on me, and he used it to loom over me like Megatron continually looms over Rodimus. I say he told me to shut up; he got in my face and screamed it in front of a bus full of our peers.

He then proceeded to scream insults at me until he was red in the face. I wasn't qualified to judge his commas, I was an idiot, on and on. He had a bad habit of yelling at me in 1337-sp34k--yes, out loud--because it made him feel intelligent when I couldn't understand it. To be honest, I think that parallels with Megatron’s consistent condescending use of ‘big words’--the point of communication is to communicate, not to feel smart about our superior vocabulary.

Like Megatron, he would get loud and condescending and demeaning and use speech I couldn't understand to prove that I wasn't as smart as he was. Like Megatron, he would loom over me, using his height and bulk to intimidate me when I started getting ‘uppity’ or otherwise ticked him off. Like Megatron, he mostly did this when we had an audience--it was other types of abuse he perpetrated in private.

And, like Rodimus, sometimes I backed down--but sometimes I shouted back.

Not often. Usually I kept it to a few incredulous statements. But there were times when he said something so shocking, so untrue, I had to defend myself--like Rodimus does in this scene. And--once again, like Rodimus--I got so ‘het up’ that I would lose my point, forget my words, and find it impossible to actually figure out how to fight his points. Partly because they were so groundless it felt like there was no evidence I could pull to counter them.

I told my sister about it, once. And she said that since I yelled back sometimes, I deserved it.

She wasn't the only one to say that, but it hurt the most coming from her. And it hurts again when I read posts about Megatron and Rodimus where people talk about how great it is that Megatron finally put Rodimus in his place, how much Rodimus deserved to be screamed at. It's just fiction, true, but in the back of my mind, I always think, ‘If I told you that this happened to me, would you say I deserved it, too?’

Because I've seen very little recognition of the fact that victims do sometimes fight back. They often pay for it, but when you're driven into a corner you don't lie down and take it every time.

No one looks like a Hollywood victim all the time--crying and ‘weak’ and only staying because of fear. Anyone of any personality type can be abused. And abusers are experts at seeming like good, upstanding people; they need to be able to build a narrative that casts them as the hero or anti-hero. You need to see a whole pattern to recognize them for what they are--and they're invested in hiding that pattern by any means necessary so they won't lose that control, that power over both their current victim and other future victims.

Some abusers apologize going into the honeymoon phase of the abuse cycle as part of perpetuating that narrative. Others avoid taking blame at any cost, refusing to take responsibility for their actions. Megatron makes excuses rather than apologies and never does the work to make amends; like my abusive ex, he thinks experiencing any guilt at all absolves him of the hard work of fixing things. It doesn't; feeling bad is meaningless. It accomplishes nothing. And excuses relieve that guilt--the false high of unearned absolution.

Do they make excuses for their behavior or tend to blame others or circumstances for their mistakes?

It’s not his fault, you see! This murder squad he personally trained massacred two hundred of his crew members (the theory at the time of this panel was a ‘near future’ scenario, not parallel quantum shenanigans), but really, he knew this would happen the moment Optimus made him say sorry. These are natural consequences of making him do something he didn’t want to do.

Now, it’s true that Megatron didn’t order them to do this, but immediately putting the blame on Optimus making him vocally renounce the cause he was already claiming he’d renounced… When, y’know, these are his hand-picked and hand-trained assassins who he used to terrify his troops into abject obedience to all Decepticon beliefs… It’s just mind-boggling to me.

To explain another way: he just entered a ship full of two hundred mutilated corpses, all but a few showing signs of extreme torture. And he makes it about him. And he does that while still trying to dodge all blame. It’s a natural consequence of him reading the speech Optimus wrote for him, but it’s not because he trained a team of murderers in the art of violent murdering, no, that part has nothing to do with anything. They didn’t answer to him, he says, when he’s the only one who has Tarn’s comm number. When Tarn personally credits him with shaping him into the person he became.

The DJD are responsible for their own actions, certainly, but that doesn’t mean that Megatron isn’t responsible for giving them a list of traitors and turning them loose on his troops--and on innocent bystanders.

This would be a good opportunity for a sparkfelt apology. We could have seen Megatron mourn these dead and regret training the DJD and tell the survivors that he’ll find a way to talk to the DJD and make sure this never happens again (something he could have done at any time--he does have Tarn’s number, after all). We could have seen him start making reparations six months after saying he’d changed.

Instead we see him give a self-righteous little speech about how he’s totally blameless.

This may not be directed at Rodimus, but Rodimus numbers among the dead--he was the first corpse they found. And he cares not one bit that his living co-captain and second in command have vanished, with only gray and disfigured corpses to replace them. No, the most important thing in this situation is to twist the narrative and make sure everyone knows it’s not his fault.

This is what happens when he’s made to do things he doesn’t want to do. There are consequences; he doesn’t need to make reparations because the consequences are natural and right.

Living for millions of years with the DJD as real boogeymen who could appear and wreak this kind of devastation without warning if Megatron gave a single word? It’d be hard not to see those natural consequences as a threat.

Manipulation

“A favorite manipulation tactic is for the narcissist to make their spouse fear the worst, such as abandonment, infidelity, or rejection. Then they refute it and ask her for something she normally would reply with ‘No.’ This is a control tactic to get her to agree to do something she wouldn’t.” (“Eight Mental Abuse Tactics Narcissists Use on Spouses” by Christine Hammond, MS, LMHC)

All of the above is manipulation, without question. But I’m including this as a separate bullet point because it allows me to address a particular tactic that doesn’t fit neatly under any of the other sections.

Do they continually have “boundary violations” and disrespect your valid requests?

Megatron has no respect for Rodimus’ personal space, particularly when he’s being ‘defiant’ in some way. Paring away text to focus on body language, it becomes even more abundantly clear.

From the beginning of season two, he towers over Rodimus, jabbing a finger less than a hand’s breadth from his face.

When he wants to be obeyed, he physically gets in Rodimus’ face--snarling and huge.

And as a new arc begins, he’s once again looming and jabbing fingers in Rodimus’ personal space.

If I listed every panel where Megatron was shown leaning physically over Rodimus, I’d be including almost every panel they share. And before anyone says it’s because of Megatron’s size, and he can’t help but loom--he doesn’t do it to other characters unless they, too, are ‘misbehaving.’ He’s perfectly capable of keeping a straight back and relatively professional distance with most mechs, even when being threatened, even with extreme height differences:

Straight back, no leaning over Tailgate, no snarl. It’s the same with other crew members. With Rodimus, however, his nonverbal cues are constantly screaming dominance fight.

Now, I’m a small person, so maybe I’m especially sensitive to this--I’m just barely five feet tall and not muscular in the slightest. When much-bigger people get in my space the way Megatron gets in Rodimus’ space, it’s terrifying. Respectful people don’t do those things, and you can’t convince me that it’s merely a product of his size. My boyfriend of almost ten years now is eleven inches taller than I am, and he’s never once loomed over me or used his size to intimidate me.

I might be willing to call it thoughtless rather than an abuse tactic, since it is possible to loom unintentionally--except he singles Rodimus out for this treatment.

And it works.

After the first example above, Rodimus is visibly cowed while Megatron practically presses himself against his back:

Note the lowered spoilers on Rodimus’ back, the lowered head, the expression on his face.

And after the second panel, he literally transforms and obeys Megatron without further question.

Constant physical intimidation has unfortunate effects on a person, particularly when used alongside verbal and emotional abuse tactics like the ones I’ve been describing. This is a documented aspect of physical abuse--of which physical intimidation is a part--but I also know it intimately.

My abusive ex boyfriend never hit me, but he used physical intimidation tactics like these on a daily basis. He sat between me and the aisle on the bus and got in my face and snarled at the least provocation, but he also just--loomed. He was always--always--in my bubble, to the point that sometimes my friends would literally push him out of it. He would stand behind me like that, and when I have nightmares I can still feel his hard-on pressed against my lower back, his hands on on my hips or shoulders to keep me where he wanted me, the heat of his breath on me as he curled above me, around me, cutting off every exit until he was physically my entire world.

Which brings me to the panel that finally set me off enough to write the meta post I’d been mentally composing for over a year:

I feel sick when I look at this panel. When I look at the hand on his back and the way Megatron curls around him and the way the hand that’s always jabbing fingers in his face is caging him in. When I look at the way Rodimus is hugging himself, pulling in and away from Megatron--because in is his only escape route, because Megatron has cut off everything else. Verbally isolating him, then emotionally, then physically.

Rodimus doesn’t have any friends here to shove Megatron out of his bubble. Rodimus has the certainty that Megatron could be screaming at him (again), could be threatening him with hands in his face (that we can see are the size of Rodimus’ torso), could actually be injuring him--which we haven’t seen, but, honestly? “Whenever you shout my name I expect to get shot,” uh, isn’t a ringing endorsement of what might be happening behind closed doors, where most actual violence plays out.

Even if Megatron hasn’t hurt him--and I haven’t got enough proof to conclusively say one way or another--the threat is still there. As I said, my abusive ex never hit me. But I knew--every time he screamed, every time he got in my face--that he could. That he was capable of it.

He didn’t have to hit me. Like Rodimus, my defiance never lasted--without support, with too much fear, I decided that I needed to pick my battles. And, one by one, he pushed through my boundaries. Because if it wasn’t worth picking a battle over him stroking my inner thigh outside my shorts, was it worth fighting him on stroking the inside of my waistband? With that boundary demolished, was it really so unexpected--really worth challenging--when he went past the waistband?

After all, it was my fault he was so riled up. I’d done this to him. Didn’t I owe it to him to fix the problems I’d caused? But I guess that particular bit of nastiness comes from the next section--the victim card.

Victim Card

“When all else fails, the narcissist resorts to playing the victim card. This is designed to gain sympathy and further control behavior.” (“Eight Mental Abuse Tactics Narcissists Use on Spouses” by Christine Hammond, MS, LMHC)

At every point in Megatron’s “redemption” arc, he casts himself as a tragic figure. Poor Megatron, made to stand trial! Poor Megatron, asked to provide evidence to expedite the trial! (optional; he didn't consent to mnemosurgery and they immediately left) Poor Megatron, asked to read a speech renouncing the cause he already said he'd renounced! (optional; purely a get-out-of-jail-free card) Poor Megatron, surrounded by incompetence on this privately owned neutral ship he was given captaincy of in place of his prison stay! Poor Megatron, forced to drink ‘poison’! (optional; again, he made the choice himself) Poor Megatron, having to share the ship with the mech who owns it! Poor Megatron, faced with the knowledge that some people wish the war had never happened! Possibly even the knowledge of how many mechs he killed! What terrible knowledge.

Poor Megatron, indeed.

All of these situations are fair and reasonable for him to encounter. He's not a tragic figure for facing any of these things; in fact, the last two are hardly even about him. Billions died, and we're supposed to feel sorry for him surveying the field of flowers? For having to face the facts of what he did when he still doesn't face any negative repercussions for his choices?

This is entitlement, but it's also an abuse tactic. My ex used this trick to guilt me into roleplaying sexual situations I was really, really not comfortable with, while my mother used it to get me to do...well, in retrospect, basically anything she felt like I owed her.

Used on the wrong party, this tactic is just grating--case in point, Getaway and his mutineers. He specifically cited this overall strategy in his last call with the crew on the Necroplanet. But on someone who already has a guilt complex--someone who's easily manipulated by authority figures telling him it's his duty to do one thing or another, insisting nothing he does is enough and he owes more than he can give--the sort of person who carves into his hand the number of people who wanted him gone? Yeah, that's a different story.

Do they blame you for their problems or unhappiness?

Prior to this panel, Rodimus just informed Megatron that Brainstorm seemed to have jumped through time. Rodimus specifically gives him time to process the info, too.

He's beings downright nice about it.

And, yes, it's absolutely fine to need time to process or to freak about things not going according to plan. That's natural! I say this despite the fact that Megatron--a mech made of black holes--isn't exactly unfamiliar with weird science. In fact, one of the thirteen ores seeded by Shockwave had time properties, and they literally just met quantum doubles of their entire ship. I'm a little dubious about his claims of a minor breakdown here, but the freak-out itself isn't the real problem here.

What's not fine is taking that as an excuse to once again lean in over Rodimus (note the angle Megatron shifts to once he starts yelling), jab a finger in his face, and personally insult him. What's he done to warrant the “You are ridiculous” line and accusatory tone, other than tell Megatron something he didn't want to hear? How does keeping him briefed and patiently waiting for him to process lead to the conclusion that Rodimus is his own, personal punishment?

Well, keeping a level head while publicly briefing Megatron means undermining some of that narrative he’s so carefully constructing, where Rodimus is rash and rude and impulsive and irresponsible. Unsuited to command. Because in this scene? Rodimus looks and acts like a capable and considerate commander.

There's also the fact that Rodimus is treating him like a peer rather than a superior here.

Now, that might not be why Megatron lashes out. He might genuinely be disturbed by the idea of time travel and instinctively target his current favorite (emotional) punching bag. But I think it's telling that he immediately turns something going wrong into being Rodimus’ fault when he's actually doing his job quite well in this scene, not to mention respecting Megatron as co-captain. It's also telling that he breaks out the same physical intimidation tactics I described in the last subsection the moment he gets agitated.

So why do I think this is an abuse tactic and not poorly-handled panic, aside from Megatron's extensive experience with various types of weird science? Because Rodimus doesn't try to contradict him. He doesn't fight the point or defend himself. And, sure, that could be a sign of maturity--but it can also be a sign that he's beginning to internalize Megatron's message, especially when looked at in the context of everything else I mentioned in this post.

In fact, let’s cover his motivations and intentions a bit more directly.

INTENTIONALITY

Assessing whether abusive behavior is deliberate can be nearly impossible when you’re living in it. For example, I highly doubt that my mom is any kind of mastermind with an ultimate end goal of control over me. I’m not actually sure what she was thinking for any of that--she insists most of it never happened and has a different justification every time I ask about the parts she doesn’t deny (although she sometimes denies those, too, depending on her mood).

Even if Megatron’s behavior wasn’t intentional, it would still be unacceptable, dangerous, and traumatic. But I do genuinely believe it’s deliberate--partly because of the following scene:

This is coming from Ravage--a spy with extensive experience that goes all the way back to the day of the Senate. He’s seen a lot. And he makes a compelling argument:

Ravage points out numerous occasions where Megatron played the long game--planning ahead, setting up for what he might want someday as well as what he wants today. Reaching for the dark matter, delaying his trial with sidequests as soon as the opportunity presented itself--those, too, are examples of this.

So it stands to reason that all of this manipulation could serve the fairly straightforward goal of setting himself up to be sole captain of the Lost Light--or some other goal we haven’t yet worked out that requires tearing down Rodimus’ reputation and isolating him from the rest of the crew.

IN CONCLUSION

Megatron is abusing Rodimus. Emotionally and verbally at the very least, but possibly other forms of abuse. He’s certainly threatening physical abuse with his nonverbal cues--and, by some definitions, is in fact perpetrating physical abuse by bodily intimidating Rodimus.

The evidence is overwhelming, and I think that this interpretation gives greater depth and meaning to JRo’s characterizations of both Rodimus and Megatron. Through this lens, Rodimus’ increasingly erratic and seemingly out-of-character behavior as the series progresses can be viewed as a response to gaslighting and other abuse. Meanwhile, for Megatron, this interpretation serves to connect his current behavior to his wartime behavior in a way that feels more in line with IDW’s past version of him instead of a sudden and hollow change.

Ultimately, though, this interpretation is important to me as an abuse survivor. I don't fault those who want to write their own version of Megatron, but, if I'm being honest? I never again want to see another post insisting that Megatron can't be written as abusive. (and if you think this is vagueblogging about someone in particular, I swear it's not. I've seen multiple posts and tweets echoing this sentiment. This isn't some vague callout post; it's an alternative interpretation that runs counter to the dominant fandom narrative as I've encountered it.)

You can keep your interpretation of Megatron. He is a fictional character who has been written by dozens of different people in numerous canons. If you don't want to write about him as an abusive and manipulative jerk, by all means, don't. The only request I make is that you not condemn those who do.

Multiple interpretations of canon lead to more varied and interesting fan works. And I think that's good for everyone.

Additional Reading

In case you want to do further reading, here are some links to other articles I looked at while making this post. I may add to this if I find any others that feel relevant.

15 Types of Verbal Abuse in Relationships

10 Signs You Are in a Relationship with a Narcissist (first part in a series)

[lilai1018]

Thoughts 25

I've finally tested today.

A solid negative.

Though prematurely, Im hoping it's accurate and not just a false-negative. It's been what? 3 weeks since the incident? Im expecting my period this 30th so I thought why not end the anxiety earlier before I either get or miss my period right?

This is a somewhat personal entry so I had Mugi麦 sit this one out and decided to write it myself.

You see I've conflicted feelings about the result. Dont get me wrong, Im more than happy that Im not gonna have a mini me soon because the last thing I want is a freaking souvenir from that asshole.

The thing about it is just that feeling of failing to have something to grasp onto as evidence of what he did. Not that I would prefer having a child from his doing though. Everything is just as invalid as it seems already.

Somehow, through the 3 weeks of contemplating, I've managed to partially bribe myself into hoping for a positive result just so that I can convince myself that what happened really did happen. That all my claims were valid. Something to hold on as concrete evidence.

It was tough enough to think that there is nothing left to do to apprehend him or something. We dont even know where in the world he is right now. I have nothing except to have faith that karma finds him and do the rest.

As of this writing I've finally come to terms that this is a lost cause. That maybe it really is just a "lesson learned/charged from experience" type of thing. It's apparently without any kind of trace except for a few people who knows the truth and a few emotional scars that I know I can manage to hide over time.

It's really painful in my part. At this point do I have a choice though? It's as if the only option held out for me is just to forget. Think of it as something like a dream and just learn from it. I should just shove it at the back of my mind and use it as a backup file so that I wont make the same mistake twice.

Along with that choice is the decision to get along with my life as normal even though forced. I'd get the hang of it eventually for sure. I can trick people into thinking that Im slowly getting better but I know I cant fool myself. I'd hide behind a mask soon and I'd keep the struggles behind closed door.

I mean how do you expect me to completely move on? Moving on needs to be fueled by forgiveness. How do you actually forgive someone who's not asking for forgiveness? The least i can do is hollow out myself into an empty shell and hide behind forged truths in my mind.

Im also actually considering the fact that I didnt have to tell this unfortunate tale to my parents and aunties since it's just a dead end that will cause nothing but worry and anger in them. Maybe I could bribe my cousins to keep this within just the 3 of us. What happened in Qatar, stays in Qatar. (Though ironically when the ultimate goal do happen they'd still figure this one out since it's here and forever lost in the internet. jokes on me. haha)

I guess you could say this plan is better than being a solo parent to a child I didn't plan and want to have. Worse than that is explaining that his/her father was a coward waste of space in this world. I can deal with myself and my tendencies better than dealing with emotions of other so yeah... maybe this is a better turn of event for me.

Cheers for my upcoming period this 30th! Maybe the only time Im pretty excited to be bleeding for a couple days. Hoorah!

麦

[fullybookedreviews]

Talia Benson has always been independent, unafraid to go after what she wants, regardless of setback, injury, or failure. But between her father’s conditional tuition payments and her mother’s nagging concern over her emotional state, Talia’s suffocating.

So when Talia meets doctoral student Sean Poole, she can’t figure out why she wants him to control her. Why she wants him to boss her around. Why she wants him to hurt her.

Talia learns the hard way that not all control is created equal, and sometimes submitting is the most empowering thing in the world.

Rating: 4/5

I discovered this book after some glowing reviews on Twitter, and am really glad that I picked it up! A slight departure from my usual fare, but as you have have noticed by now, I really do enjoy reading far and wide. On Goodreads, Hold Me Down is categorised as romance, erotica, and new adult respectively, so if you have any interest in these genres, support an indie author.

The book features strong female friendship, a focus on the importance of communication (in all aspects of one’s life, not just in le bedroom), character growth, and great banter.

“Your social acumen never fails to astonish me.” “I spend way more time socialising than you do,” she said. “Doing it through an internet connection doesn’t invalidate it as a social experience.” “I feel like you’ve been waiting to use that line on me for a long time.”

There are two main elements to this book that make it stand out from its contemporaries.

Firstly, the much-needed discussion of BDSM, specifically those who enjoy it, and the lingering feeling, either by those who participate or those look in from outside and judge, that there is something psychologically ‘wrong’ with them.

“I think telling me my tastes are dysfunctional because they’re not yours is overly simplistic.”

There’s a lot of discussion with a not particularly-understanding therapist, family members, Talia’s best friend, and her love interest Sean, working through the intricacies and implications of those who gain pleasure from pain.

Secondly, Talia comes from a Jewish background, and her religious traditions are entrenched in the story. Not in a forced way, like Judaism 101, but rather in a way that feels organic. And this makes such a change, a fantastic part of the growing movement of readers and writers demanding more diverse stories.

This is what I believe: I believe in strength through faith. I believe in compassion and freedom. I believe in the lessons of history, and I believe in learning from mistakes, and I believe in not ignoring what’s right in front of you. I believe in deliverance and second chances. I believe some wonders are undeniable, no matter how hard you try to deny them.

By the end of the book though, Talia seems to be in a much more settled place, having made peace with her inner self, set boundaries between herself and the judgement of her family, and learnt how to express herself when needed with Sean, instead of keeping silent or running away.

“Always talk to me,” he said. “Always be honest with me. Tell me what you’re thinking, what you’re worried about. It’s never an imposition or a burden. I want to be here for you, and I want to support you, and help you where I can, but I can’t do any of that if you won’t talk to me. I’m good, but I’m not a mind-reader.”

[koojiru0-blog]

OKAY MEN! I get it...

I get it cys men who feel like youre being oppressed. Change is scary I know, imagine living your whole life in trauma and then suddenly it all disappears. So yeah I fucking get that change is scary. But when it comes to feminisim, our goal is not total world domination, our goal is equal rights. It may seem like we want to take over but AHAHAHAHA.HAHAHAHA.HAHA. no....No not quite right. I feel like it's because we're mad though that you're scared, it's a lot of anger to deal with I mean generations of women standing together yelling our truths. You have to face facts though, we ARE angry and rightly so. We still ne d feminisim and don't tell me that's bull with stats like 2/3 women IN CANADA yes guys, OUR WORLD are raped. And there's a whole culture around it to, I'm sure your well aware thanks to some of my angrier sisters. The culture basically says she wanted it because x bs excuse to not face reality. Things like "well she was talking to him! In THAT outfit she was being a tease" which can fuck you up BELEIVE ME. Let me break it down for you here... If that happens to women, then rape culture is a feminist issue... "But what about male survivors?!" God I can hear you from here stfu and listen, yes male survivors exist and think, the victim blamings worse therefore men are also victims of rape culture and rape culture is a feminist issue. See what I did there? Yeah, were also fucking fighting for your rights. Beyond that though, there are still bigots out there who believe women's places are in kitchens pregnant and bare foot, yeah even in my own fair city somewhere in Canada. Weird right? Because the guys I'm talking to here wouldn't say that whole heartedly, you bigots can do/say what ever I've already dubbed your views invalid ^^. Anyways so while those men exist, dating your sisters, mother's, aunts, friends, women you love you're freaking about US taking over? Um HULLO! We STILL can't because those men are very capable of reaching positions of power (I hate to beat a dead horse but Donald Trump, nuff said) while we're still kinda laughed at and sexualized when we do that shit cause isn't it true that women in power just want a man to imasculate them right? NO and the fact that we even view power as masculine is in itself messed up I think. So those are some examples, of our need for feminisim but not all and aside the rape culture point kinda weak I get that. Why though? I'm assuming, (ass.u.me) that's because of the women who claim to be feminists but in reality aren't educated in the ways they are oppressed, like thinking grass in a sports stadium is a need to address RIGHT NOW! And while fake grass for women and real grass for men IS indeed a tad unfair THAT parts not the issue. The issue behind that that I can see? Is fake grass is cheaper, and there's some joke that goes around a lot that women's sports aren't as popular as men's. Less popularity less funding that's how the world works (sometimes even popular doesn't get funding but that's my own personal shit) and even that's not exactly the problem it's far from the money. Why are women's sports so unpopular compared to men's? There's my issue I feel. I can hear the snickers and snarky comments about women's sports now, and you're only further proving my point while you do that. If you didn't? Awesome we might get along. I personally can only guess but it's like since when have we taken many female athletes seriously? Aside the ones who play in.....MEEENS LEEEAAAUUUGGGEEESSS~ yup, that's the only time I've seen a female athelete get the same respect as a man, when she reaches manly state. If you don't see it, then I pity your delusional ass. Finally, before I stop, kinda being an angry bitch (but I'm sorry it's hard to not become one when you remember all the things we need to work on here at home for women's rights) Men reading, no I'm not going to be snarky this time: What did you do this morning to make sure you could protect yourselves today on outtings? I'll tell you what I do, I tell my boyfriend where I'm going, the time I should be there, when I'm coming home and when I should arrive. I also took some self defense classes, I have tips to scare off a predetor, I have been taught what is an effective weapon and what is not (keys fyi ladies? *Shakes head* unless you get lucky aren't actually effective self defense tools, also weapons that can be turned against you like knives aren't so spectacular either unless you KNOW YOUR SHIT). I even had to go as far as to stay close to any glass things with alarms like store Windows, car windows, I was given a whistle once....So amazing to live in sketchy nabourhoods I swear. But unfortunately for us a sketchy situation could pop up anywhere, some guy you meet up and agree to have sex with, your boyfriend, relative, basically anyone who could be in a position of power over you. This also includes other women, sadly I'm aware of that. And I don't know what the rates are for men, unfortunately that info is scarce but I do know a decent number of men who've faced sexual harassment or exploitation or assault you name it it can happen to men too. But like I said, feminisim took over that cause, so many years ago because we got sick of staying scilent. And I'm aware that we had enough power to stand up and speak out with our hearts, souls and minds but we had to band together to do it. And I'm also aware that men face issues like "I'm a man's man, I don't cry unless I absolutely can't hold back, and I am strong! I am a leader I don't have time to be sad or scared" (like seriously?! Who the fuck can sanely live up to that if they face mental health issues, abuse, general build ups of stress? No wonder you're all flipping). However, men have been in positions of power for a very long time. Don't even get me started on that downfall for Canada, I could go on forever dad's half Inuit. Anyways that's a fact, you know it, I know it anyone who's aware of history within someone's life span. Like there are people who are still alive who could tell you what it was like during their life, what they heard from others about days even before them. And it was very male centric. Male leaders everywhere, women on the sidelines somehow even in many movies today you see the MAN take over and save the day or the woman's doing things for a man all the time generally talking about a man etc. I saw a ted talks that asked some questions, I don't remember them all or word for word, but it was a man with daughter's talking. He basically talked about how a lot of a woman's role in media is tied to a man, even when she's supposed to be the hero. Men in media don't always have love interests correct? Sometimes he'll fuck a few though but he's not always romantically tied down. Women always seem to be. Catnis, Pocahauntus, Harley Quinn (granted she's a villian but she's also a powerful woman no doubt), ugh! I forget her name but the lady from gaurdians of the galaxy...I could go on. I mean there ARE a handful of female hero's or stars who are simply hero's or stars on their own accord like Mulan....Uhm.......*blinks*...... ...... Wow okay really thought I had more....Jesus wtf. =_=. Anyways my main point IS this. Feminisim isn't just for women power, though it has fem in it, it's become an equal rights issue based off women's issues but had branches in everything. Our very birth or death could be dictated by a man who either wanted or didn't want us. We could be fatherless because of this and that affects us all for sometime at least (if you did have that experience and it still hurts I'm sorry, I was there too, but I can promise one day you'll wake up and it won't matter. I don't know when that is but I know it's possible). If women's emotions are irrational, then any emotions beyond anger men feel is too (remember I made that point?) And, women, men, non-binary, whoever you are, it's well known that suppressing emotions can have adverse affects. Not just mentally though but physically (I was taught to be manly in order to establish my independence, gotta love old school feminisim. I now have a fucked up heart beat though it's not dangerous it's a product of hiding my anxieties for so long. I recently almost developed an ulcer due to suppressing my emotions and I've read multiple times from multiple educated sources that this is possible). Everything that keeps us down or hurts us feminisim wants to rise above or against depending on what's needed. Because we all got sick of being shoved down for centuries, we got sick and fucking tired of watching people we love get affected by these oppressive systems. And there are men out there I applaud for getting this. Men who saw the reality unfortunately like my own biological father, my adoptive grandfather, my own boyfriend now (though he's weired out by this post heh ^^; meh that's fine disagreements not so bad as long as intent is pure I suppose). They all know how women can be oppressed and why we need equality. Yet sadly they don't know how feminisim can help them too, how it's for them and their sons as much as their daughters. Think of it like this, if men cant show female emotions which are, actually simply human not restricted to women, then their only outlet becomes agressive and dominating. You become someone you never thought you'd be when shit hits the fan I know this because again I was also held to male standards. You don't want to but you aren't given any other option because "weakness and vunrability are dangerous things" cause who knows how far someone would go to take advantage of that. Things like crying or talking about it are signs of weakness. Expressing it is being vunrable. However, if you're in the right setting it's quite the opposite, that's a lesson I learned from women. If you're in a safe place, it can give you strength and power, it can ignite the flame once lost and put a bounce back into your step because it's no longer posioning you slowly from within. We are aware we need to value men too and that means letting men be human. Feminisim is about all of this, we can't do this alone like I said before. Hell we only got this far cause men who got this to some degree helped us too. They listened and agreed it wasn't right that we had no say in our government. Even today I'm held and agreed with that what happened to me, what happens to 2/3 women here at home isn't okay and it's bullshit that reporting is so hard. Without the support of loving caring smart guys, we may have just been swallowed up by it, just as you're being swallowed up by this restriction of how a man needs to be. It's been a team effort all around so don't let the whiney ones sway your view on feminisim, it's not about fake grass, or clapping, or domination (or making bread out of your own yeast.....*goes green*). Hell it ain't about rights to party either (heh nabours 2 is fucking great I do recommend). It's about all of us and how this rigid unwritten rules of society make us sick Thanks if you read this all ^^ especially to the dudes who did even after I kinda went all snarky ^^; like I said, kinda stems from a jaded place because of injustice from my own life too. Have a great weekend!