#in the context of a romantic arc

[burneddownthegym]

FARSCAPE 1.01 "Premiere" SEVERANCE 1.01 "Good News About Hell"

[madbard]

Thinking about how the Stan twins were both taught from a young age that life is a matter of transactions. How they were valued only for the money they could bring their family, and how this shaped their lives in such different ways.

Ford was the intelligent one, and this made him valuable. He knew what he had to offer. He knew he was important. (He had to be. Experience had shown him that love was conditional. He had to earn it. He had to be enough.) When Bill Cipher approached him, he confirmed everything Ford wanted so desperately to believe about himself. Imagine that sense of excitement, of accomplishment, of pride and power and relief. Imagine having that final, unshakeable source of external validation - that this being that knew everything and could have chosen anyone, chose you. Imagine knowing exactly what you could do to please this being and, with the understanding that love is conditional, knowing that you could fulfill the requirements for that love. Imagine knowing exactly how to ensure you would be loved, not just by that being but by the family you uplifted and the future you created. All you had to do was satisfy your own curiosity… all you had to do was build a portal. Is it any wonder that Ford fell for Bill’s tricks?

Then we have Stan, the failure. If love was transactional, he could never pay the fee. He knew people only helped you if you had something to offer. And he had nothing to offer, so why would anyone ever help him? Why would anyone care? Of course he didn’t fall for Bill. He couldn’t. When Bill promised gifts and power and happiness, how could Stan believe a word he said? In a world without altruism, such promises could never be trusted. There was always a price to be paid - and Stan had never been able to pay it.

And so the end of the world was triggered and then averted, all because one brother thought he could earn the world’s love, while the other knew he would never earn anything good.

A+ parenting, Filbrick. Truly.

[sengenism]

Thoughts on Tsukasa and Kohaku as a ship?

funny thing... i actually thought this was the direction dr stone was going for initially when they made tsukasa the "lion" and kohaku the "lioness" LIKEEEE

but they barely had any interactions after that first fight where kohaku was defeated via being crushed under a tree. i think their relationship wrapped up pretty nicely with their final fight in the later chapters where she dodged tsukasa's attack and received his blessing and respect, though!

what really gets to me is that they share the same worry– their sickly dying sisters– and how they both did everything they could think of to save their siblings

the parallel is crazyyyyyy it's so cool

[lord-squiggletits]

What is the Tarnma penpals au? I've seen you mention it a couple times and am super curious about it!

Hiiii

So the Pen Pals AU is an idea that I got a couple of weeks ago. Kind of self-explanatory by the name, but the idea is it's a post-war scenario with a diplomatic ending b/t the Autobots and Decepticons. One of the many efforts to normalize relations is a pen pals program that's set up to pair Autobots with Decepticons under randomized pseudonyms. The goal is to try and create positive relationships based only on these letters and not any preconceived notions based on faction or identity. (Also it's pre-Earth which means it's pre-Delphi for Pharma, so his normal non-traumatized personality features.)

Pharma and Tarn naturally get paired up under this program, and the first part of the AU/fic (yes I'm going to write it eventually) is them basically having their pen pals relationship turn from friendship to heavily implied mutual romantic attachment. Their individual daily lives are also shown bc each of them is dealing with their own identity-related crisis: Tarn struggling with depression and addiction in the aftermath of all the things he did for the DJD and confusion over why Megatron just had them change so suddenly. Pharma with the realization that his whole life has just been defined by his accomplishments and he's lived his life in a way where he's oft-respected and admired, but never loved for who he is as a person rather than what he does.

The whole AU was originally meant to be fluffy and slice-of-life-esque (there was even an arranged marriage component in the very first conception of the idea), but as I fleshed out the setting more, I realized I wanted to actually delve deep into the implications of a post-war setting. So the Pen Pals AU has taken a darker turn recently; not darker as in fluffy romance to dead dove, but it's more like, the fluffy romance develops and then the past/war comes back to haunt Tarn and Pharma's relationship in a way that's very (re)traumatizing, both for them individually and their chances of being able to stay together as a couple.

So the fact that Tarn was in the DJD/oversaw Grindcore and did countless atrocities is very much an element of the story that's explored rather than shied away from. At first he deals with it on his own, and for a while he lives in blissful ignorance knowing that his pen pal is the one relationship he has with a "normal person" (he knows that his pen pal is a doctor, aka not a hardened soldier and criminal). Unfortunately things get complicated when his pen pal asks to meet IRL because he wants them to be more than friends, and Tarn realizes that he can't move forward with this new, blooming relationship without being honest about who he is. On Pharma's end, he has to grapple with the idea of choosing love over reputation, following his heart rather than his fear of social rejection/ostracization. Especially when the consequences of continuing to date Tarn could go from just "people judging him" to.... well, that's what me eventually writing the fic is meant to reveal. :)

TLDR: Tarn and Pharma meet as anonymous pen pals, end up having a lot of shared issues re: loneliness and isolated public personas, help each other solve their personal problems, share a mutual love of music, and fall in love, then realize who the other is. Complications ensue.

[dolokhoded]

simon peter is the funniest apostle to work with because in theory he's the most loyal, most by-the-book of the apostles so you'd expect him to be the most logical and collected one but 80% of his concerns (pre crucifixion then everything went downhill and they all died) are that he has a crush on every person he encounters

[cynthia39100]

About RWRB movie adaptation (1)

I watched movie first, then the book, so I might be biased. But I do think the movie did a great job in terms of adaptation.

The movie captured the essence of the book which was the romance between Alex and Henry and the character growth stemmed from that relationship.

They managed to hit all the important emotional beats and have a clear character arc within 2 hours. Alex and Henry's enemy to friend to lover development, Alex's new realisation of being bisexual, his dream of participating in politics, Henry's growth from being oppressed and insecure to embracing his desire and confronting his family. Even after I read the book, I never felt that something was missing or unnatural in those arcs. Some scenes were cut, but I can still find other scenes that serve similar purpose. It's pretty impressive.

Admittedly, the overall tonality is lighter and some heavy topics were not discussed as deep. That's because they made a conscious choice to treat the movie as a light-hearted romcom, and they committed to it. I think it's worth respect.

(I might write more. If I still have strength after handing in my dissertation…)

[selfinflictedgunshotwound]

it's always a good time to remember that just because a large portion of fans feel two characters should have ended up in a relationship doesn't mean that that relationship is actually interesting or is crucial to the plot/what the media is trying to convey. usually it's just because people get caught up on the least interesting parts of a plot and make that the media's entire core in their brains and if they feel betrayed by the creators because their judgement was off then it's their own fault and no one elses! isn't that crazy.

[upinyourcortex]

Do you not like claire thebear because the so-called love story she has with carmy was essentially just thrust in the show in the least organic way possible and they just expected the audience to believe she’s the great love of his life when it was never set up properly and we know shit about fuck about her as a character outside of that relationship, or do you not like her cuz you're an annoying sydcarmy truther

[snekkerdoodles]

I initially created Aveo to make a self-indulgent oc ship with grovyle but now that ive actually given them some story and a personality, I feel like their most interesting interactions/dynamics are with Celebi and Dusknoir.

[shyshitter]

i know im not saying anything new, but fan fiction is an absolutely insane episode to watch with the context of chuck’s control over the narrative. before anyone knows that the winchesters are canonically pawns of the obsessive author of their story, dean breaks the fourth wall, because haha destiel is so silly ridiculous that dean has to poke fun at the audience right, just like jim from the office right.

but holy FUCK. in an episode where a fan criticizes chuck for inserting himself in the story, whose arc is centered around fulfilling their own vision of an alternate spn, dean has the only ever fourth wall break in the entire series. and it’s about DESTIEL—the relationship whose existence, whether platonic or romantic, consistently carries the theme of free will throughout the show. seeing other people acknowledge his feelings for cas evoked an emotion so strong within him, that dean was capable of breaking through the narrative and into reality to avoid it. and in an episode without cas

[cjrae]

Rank And Responsibility. Or: The Hairpin Scene from Jinshi's POV.

Be warned now about the consequences of choosing to do an English Lit degree - you end up doing lit crit for fun. With that in mind, let's break down the hairpin scene at the end of Covert Operations (Episode 5). Mild spoilers for Jinshi's arc are below.

While this moment does kick off the romantic subplot, with all the implications that giving Maomao the hairpin out of his own hair has, I would argue that this is not the moment Jinshi realizes he's in love with Maomao. Instead, from his point of view, this scene demonstrates how Jinshi handles failure.

Holding Power In An Open Palm

This is still very early in the story. Our first hint to Jinshi's true rank does come in this scene, but for now we know him as the manager of the Rear Palace. For the three thousand people who live and work there, for all intents and purposes, Jinshi is the highest authority they will encounter. He literally has the power of life and death over them, either directly in the case of the servants and eunuchs, or in the case of the consorts, his word to the Emperor directly can serve the same purpose. We also see Jinshi use this power early on - he's not just there to keep order, but also to test the consorts' loyalties and virtue. We never see what happens to the lower-ranked consort who attempted to invite Jinshi back to her room, but at the very least that report ensures that her already small chance of the Emperor choosing her as a potential mother of the nation is utterly cut off - and if she doesn't bear children, she will be discarded.

We also know that Jinshi will not hesitate to order corporal punishment if he views it necessary - for example, when Maomao discovers that the toxic face powder is still being used by Consort Lihua's ladies in waiting, she mentions in the aftermath that the eunuch who failed to recover the powder was flogged, while the lady in waiting who hid the powder is put in solitary confinement. These are brutal punishments - and if we consider the historical inspirations, these are also very restrained consequences. For hiding an item that caused the death of the prince (unfortunately, the more valuable child) and has put the life of one of the Emperor's favored High Consorts in danger, Jinshi would be utterly within his rights to order executions. If ignorance is a sin, ignorance in the face of knowledge is a greater one.

Microcosm of Li

For all that Jinshi holds his power lightly, he also takes the responsibility that power bestows upon him quite seriously. It's worth noting that Jinshi takes over governing the Rear Palace shortly after Maomao's service contract is purchased. (Remember, Xiaolan talks about the "beautiful, new eunuch that's been posted to the central courtyard," which tells us that Jinshi has not been in the Rear Palace long enough to become a fixture - he's an object of speculation and admiration from episode 1).

In context it's clear that, with the birth of two Imperial children, his job is to ensure the survival of the Imperial line and investigate why children of the Emperor are dying consistently in one of the wealthiest and safest places in the entire empire. We're shown him running in between Lady Lihua and Lady Gyokuyou to ensure that their very sick children are being seen to properly, investigating what could be causing it, while also managing tensions as rumors about the Emperor's children being cursed begin to spread and outright accusations of sorcery are being thrown between consorts. While the audience might immediately scoff along with Maomao at the idea of one consort cursing another, if Maomao hadn't found the cause of death, those types of accusations followed by Lady Lihua's and Princess Lingli's inevitable deaths could have ended with Lady Gyokuyou's execution.

The Rear Palace is a reflection of the nation as a whole. No Imperial heirs plus the deaths of two High Consorts with various foreign and domestic political ties had the potential to thrust the entire nation into chaos. Jinshi's choices have very real consequences, so when Maomao discovers what the true cause of death is and sends her warning, Jinshi looks at Maomao and doesn't see a person. He sees a "perfect pawn." A tool, one with talents that have ensured that at least one Imperial child has survived and providing a rational explanation why these children have died so that it can be prevented from happening again - and a skill set that can be turned to preventing any more shenanigans in the Rear Palace that could threaten the empire's foundation.

And, as Gaoshun points out, in the beginning of the hairpin scene, she is a toy. Maomao amuses Jinshi up until this point.

For all that Jinshi is shown wielding power with a light hand and a responsible mindset, it literally doesn't occur to him that the people working in the rear palace have stories - some tragic - about how they came to be there. They are resources to be used as befits the Emperor's (and therefore the nation's) need.

Hidden Beauty

When Maomao turns around and Jinshi doesn't recognize her until she speaks, he's shocked. He thought he knew exactly who and what this girl was - ugly and unremarkable, except for her intellectual brilliance and the challenge in managing her by other means than empty compliments and smiles. He attempts to recover and assumes that she is enhancing her looks - and is shocked again when he realizes that the face Maomao has presented to him so far is a protective mask against attracting attention. In a world where beauty is both a currency and a tool that others covet, Jinshi doesn't understand why Maomao would deliberately devalue herself like that. So she tells him.

This is the moment Maomao becomes a person to Jinshi.

Not a toy, not a pawn. Someone who has been ripped from her home and her life illegally and sold off. It's in this moment that Jinshi is forced to confront the ugly side of the society he lives in, people who would rape Maomao out of pure convenience or just take a "borderline marketable" girl off the street in order to get extra drinking money.

Worse, Jinshi is complicit in Maomao's captivity. The Rear Palace has bought her contract - and as the manager of the Rear Palace, Jinshi is responsible for everything that happens within its' walls. The fact that Jinshi does not personally oversee service contracts is irrelevant. The buck stops with him. If the Matron of the Serving Women or whoever is below her is buying these contracts without checking their sources, that is Jinshi's fault because he has allowed a lax enough system to flourish. He has failed to govern this microcosm of the nation wisely, with thought for the welfare of the least powerful among his people. Worse, he has failed to even notice the problem - Maomao may say she's angry about having been kidnapped and sold, but she doesn't react in a way that indicates anger. Instead, she's resigned. Yes, what happened to her was wrong and she's angry about it, but there's literally nothing she or Jinshi can do.

Or Is There?

Jinshi offers Maomao two apologies, the first of which is our first hint to his true status. "I'm sorry we couldn't police them better." Maomao immediately blows off this apology - she points out that there's no way Jinshi should have known and has a very "all's well that ends well" attitude about her situation - her contract will be up eventually and in the meantime she's managed to land in a fulfilling role. Essentially Maomao is telling Jinshi that this apology is not his to make - he's overstepping his responsibility. And, if Jinshi were simply the manager of the Rear Palace, she would be right. It's his job to ensure that the Rear Palace is properly staffed, not to regulate that all contracts comply with the law.

Jinshi apologizes again. This time, he offers no other context. He doesn't accept Maomao's absolution of responsibility - because he knows (even if we, the audience, don't) otherwise. It can certainly be read as Jinshi refusing to accept easy absolution, and the rest of those witnessing the scene, apart from Gaoshun, certainly take it that way.

Instead, he takes the hair stick from his own hair and places it in Maomao's. Their entire relationship has just been upended; Maomao is a person who has been gravely wronged and it is Jinshi's responsibility to begin to make it right. Aside from the personal implications of giving her the hairpin (and the faint blush on his face makes it clear that he's aware of them), it is a form of restitution. There is an unspoken social contract Jinshi is offering that Maomao does not understand in the slightest. It never occurs to her that Jinshi would do something for her with no thought of what he would receive in return, because of the difference in their social ranks. But, from Jinshi's perspective, that social difference is the point. He has failed her and, as the person of higher rank, it is his responsibility to do what is within his power to begin to remedy the situation in front of him.

And, of course, in that moment he sees Maomao in a new light, the other meaning of gifting her his hairpin has fertile ground to take root in Jinshi's mind.

[eosofspades]

also i'm upset bc so much stuff in season 2 of arcane would be so good removed from CONTEXT but the context really just ruins it for me. first time right-before-the-end-of-the-world fucking in a jail cell would actually be kinda badass if it wasn't the cell that vi's suicidal sister had just been rotting in for a week (& if the severe problems they had weren't left completely unaddressed). "i am the dirt under your nails" would actually be devastatingly romantic if the character arcs and class & political implications weren't left so uncomfortably unresolved. "you wanted to cure what you thought were weaknesses, but you were never broken, there is beauty in imperfections" would be beautiful if the context wasn't that viktor wanted to NOT FUCKING DIE OF CANCER

[greenfiend]

Are we ready to have an honest discussion about Will and El’s dynamic and possible ending yet?

Two characters sharing a similar narrative in this story. How will things end for these two?

It hasn’t occurred to me until recently just how little we discuss these two.

Over the course of the show, the development of Will and El’s co-existence has less to do with their relationship but more to do with Will’s character arc.

In the beginning (seasons 1 and 2), Will is so hidden that El takes over. Will “hides” in the upside down, and is again hidden when he is possessed. El takes the spotlight in his place.

Then in season 3, Will is physically present but in the background. He’s the side character. El is the leader. They barely interact.

In season 4, Will is starting to come out of his shell. He’s still a side character, but he’s closer to being on an even playing field with El. He’s not in the background as often, and is actually seen conversing with El, and he even confronts her on her lies to Mike. Which is also foreshadowing his lies to Mike later on in the season.

I’m going to be quite frank: El and Will are not actually very close in canon. The “wonder twins” idea is beautiful but very fanon. These two had so many opportunities to grow closer, especially since they were separated from the others in California… but they just don’t? They both seem lonely and disconnected in the other’s presence. But yet, they are connected another way: El is Will’s saviour/protector. She is like his security blanket. I mean this literally (textually), and a sub-textually. Obviously she helps him while he’s trapped in the upside down and when he’s possessed- making her a textual, and literal saviour.

But… what do I mean by a sub-textual saviour? Well, she protects him from having to take the spotlight. He is able to hide behind her in many ways.

For one, she takes the brunt of the bullies in Lenora. Will is able to go around unnoticed even as a GNC guy that he is. Back home at Hawkins, he is, unfortunately, very visible to bullies. Visibly different, visibly gay. But in Lenora? Bullies are too distracted by the girl who’s different instead.

Now when it comes to Will’s love life… El also is protecting him in a sense. He desires Mike, romantically, sexually, and intimately. Due to the rampant homophobia that surrounds him, these desires scare him. El is a safe barrier from these desires. Will is also able to safely express himself through her.

If El weren’t in the picture, Will may have been more bold in expressing this side of himself to Mike. He may just let his feelings slip out more. Perhaps he’d let his eyes linger a tad longer, or he’d be tempted to be a bit more tactile with the boy he’s overflowing with affection for.

El shields Will from having to confront many aspects of himself. That’s the problem. Because of her protection, he isn’t able to challenge himself and grow. This is why whenever El saves the day, it never lasts. She merely puts a “bandaid” on the wound. But this wound will grow and fester if the source of the problem is not addressed.

El’s Possible Origin

This is the first time in the entire show that El is mentioned. The context of this sounds like they’re implying that El also “came from” the upsidedown; precisely where Will was at the time.

Now, I’m aware this is a fairly unpopular opinion, but I do believe El was created from Will in a supernatural sense. I suppose in a similar way to how Eve was created from Adam, minus any romantic undertones.

Our very first sighting of El is of her emerging from the forest, barefoot, in a hospital gown, with very little hair on her head, and a limited knowledge of the English language. Not unlike an infant child. Now, please don’t take this the wrong way… I’m not implying that everyone with limited language skills are babies, there are many possible reasons for it. But within this show, it is implied that her lack of language skills are due to her experiences within the lab, and lack of experiences outside of it.

I do have to ask though, why do the other “lab kids” we have seen have no obvious language difficulties? Unless… El actually was an “infant” in a way…

This quote is interesting for multiple reasons. One I’m focusing on here is the mention of life starting that particular day. Of course I’m not referring to Mike’s life starting that day- I’m talking about the person we are shown in this particular shot- El.

Now, I know what everyone is thinking: how does El have memories that predate this day then?

Well, what I’m arguing is that many of her memories could be an altered version of Will’s memories. I don’t think it’s out of the realm of possibility that his memories could have been transferred to El.

This “fake” script of the episode Papa tells us that Will recognized Brenner. There’s a history there! Will likely could not quite pinpoint how he recognized him.

It’s important to note that Will only vaguely recalls aspects of his childhood. There’s gaps. Just like there’s gaps in El’s memory as well.

El’s Possible Ending

I’ve always been surprised just how little people dig into El’s possible ending in the show. I feel like people are somewhat aware of this possibility but choose not to give it any further thought. Truth is- El doesn’t feel like she belongs anywhere.

I need to remind everyone of this last shot in ST4. Yes yes the couples, we have heard it a million times already… but look where El is standing. She’s on the other side. She’s in the upsidedown. Where she initially came from. Now, I’m not saying she’ll end up in the current unpleasant upsidedown- she will likely live on in a peaceful version of it. An entirely new environment one that exists…

[In Will’s mind.]

I do think this is an important foreshadowing quote- but not in the way most people think. They won’t work together as twins- they will work together as one person. What I’m saying is…

They will combine. Just like what this hug visually foreshadows… El and Will will become one again.

I can honestly make a whole separate post regarding references made in ST to other media involving two characters being one. There’s a lot…

[princesssarisa]

As I've read different people's views on Little Women, I've realized that for different readers, it's a fundamentally different book.

When I see someone describe the "universal" experiences of identifying with Jo, wanting her to marry Laurie, and disliking Amy, I remember all the proof I've seen that these are far from universal. The latter two weren't even my experiences: identifying with Jo, yes, but shipping her with Laurie and disliking Amy, no!

Even people with equal amounts of knowledge of the historical context and of Louisa May Alcott's life seem to come away with vastly different feelings about the story and characters.

I suppose there are a wide variety of reasons for this. First and foremost, which of the four March sisters you personally admire or relate to the most. Then there are other factors like your gender, your age when you first read the book, your relationship (good or bad) with traditional femininity, whether you read Parts I and II as a single novel or as Little Women and Good Wives, your relationships with your own family members, your religion and ethical values...

The list goes on.

That post from @theevilanonblog that I reblogged recently about the different interpretations of Frankenstein makes me want to write out a similar list of ten different views I've read of Little Women. Here it is:

Little Women is about the March sisters learning to be proper virtuous women of their time and place. With Marmee as their role model (a role later shared by Beth as she becomes increasingly angelic in her illness), they learn to conquer their flaws, give up their wild ambitions, and settle down as good wives and mothers. This is especially true for Jo, whose character arc is a slow taming from a rough tomboy to a gentle nurturer. It's a conformist and anti-feminist message, which Alcott probably disliked, but she wrote it to cater to public tastes. (This reading seems mainly to come from critics who dislike the book.)

Little Women is about Jo's struggle to stay true to herself in a world that wants to change her. She struggles with whether to stay a tomboy or become a proper lady, whether or not to marry Laurie despite not loving him romantically, and as an author, whether to write what she wants, write what earns the most money, or give up her writing altogether. In the end, she changes only in ways that make her happy, e.g. by learning to control her temper, and later by embracing romantic love. But in more important ways, she stays true to herself: always remaining slightly rugged, clumsy and "masculine," finding success as a writer, and marrying Friedrich, a man just as plain and "unromantic" as herself, but whom she loves and who respects her as an equal.

Little Women is about learning to "live for others." That phrase is used often and could well be the arc words. Beth is the only March sister to whom a selfless life comes naturally, but the other three master it by the end of the story (as does Laurie). They learn to conquer their moments of pettiness and selfishness, to live in better harmony with each other and with their friends and love interests, and to give up their self-centered dreams of fame and wealth, building lives that focus on service instead.

Little Women is about growing up. The first half is mainly about the March girls' maturing by surviving hard times and learning to be better people, while the second half is about reaching adulthood and bittersweetly parting ways to start new lives. At the beginning, Jo is a girl who doesn't want to grow up: she wants to always be a wild young tomboy with her family (and Laurie) by her side forever. But of course, she can't stop time or womanhood, and is eventually forced to accept the loss of Meg, Amy, and Laurie to marriage and Beth to death. After grieving for a while, she lets go of her old life and willingly builds a new one with Friedrich.

Little Women is about family bonds and the fear of losing them. We meet and become attached to the wonderfully close, cozy March family, which gradually expands through friendships, marriage, and new babies. But throughout the story, the family is in danger of breaking apart, whether due to conflict (Jo and Amy's sibling rivalry, Meg and John's marital problems), or separation by distance (Father going away to war, Amy going to Europe, Jo to New York), or death (the danger of losing Father and Beth in Part I, and the ultimate loss of Beth in Part II). But in the end – unlike in reading #4 above – the family doesn't break apart and never will. Conflicts are resolved, travelers eventually come home, the surviving family members always live near each other and stay as close as ever, and even Beth isn't really gone, because her memory and influence live on.

Little Women is about femininity and each March sister's relationship with it. Meg and Amy happily conform in different ways: Meg to "domestic femininity" as a housewife, Amy to "ornamental femininity" as a society lady. Beth pressures herself to conform to self-effacing domestic femininity, until sadly, it kills her – either because she's too selfless and nurturing when she cares for the fever-infected Hummels, or because she has anorexia, as Lizzie Alcott might have had. But Jo strikes a successful balance in the end, conforming just enough to fit into society, but only on her own terms, and otherwise living a happily unconventional life as a writer and schoolmistress.

Little Women is about Jo's unlearning of internalized misogyny. At the beginning, she's a "Not Like Other Girls" tomboy, who wishes she were male, disdains feminine girls (especially her sister Amy), doesn't care enough when "her boy" Laurie behaves badly toward women, and is afraid to be vulnerable. But gradually, and without losing her strength of character, she learns to embrace the sweeter and more tender aspects of herself, sees that Amy's ladylike manners have practical benefits, and learns to say "no" to Laurie when he turns his childish, unhealthy romantic attentions to her. Then after Beth dies, she realizes how precious Beth's utterly domestic, feminine life was, and embraces a more domestic life herself. Yet by doing so, she becomes a true feminist, as she enters an egalitarian marriage and devotes her life to teaching boys to be good, respectful men.

Little Women is only what US Americans know as the first half. It's just about the March sisters getting by and learning moral lessons over the course of the year their father is away at war. Nobody gets married and nobody dies. Everything else is in Good Wives, which is a sequel with different character arcs and different themes, and which should be published separately, as it originally was and still is outside the US. Trying to tie them together into one narrative never feels quite right.

Little Women is Alcott's idealized version of her own life and family, where no one suffers quite as much as they did in real life, everyone is slightly less flawed, and Jo ends up happily married to a man very much like Alcott's lost love Henry David Thoreau. She wrote the life she wished she had.

Little Women is just a semi-autobiographical slice-of-life that Alcott wrote quickly for money.

Which is the truest to Alcott's intent? I don't know. But while some of these readings I like better than others – and some of them I despise – I'd say they're all understandable and reasonably valid. Some aren't even mutually exclusive, but can be used together... although of course, other readings are mutually exclusive, like whether the story is feminist or anti-feminist, or whether the March family ultimately breaks apart or holds together. And they're all worth using as springboards for discussion.

Alcott wrote more books than she ever realized she did, because Little Women can be many different books to different people.

@littlewomenpodcast, @joandfriedrich, @thatscarletflycatcher, @fictionadventurer, @fandomsarefamily1966

[laterreurofficial]

What’s up with Ivan in the AU? Out of everyone, he’s been mentioned the least by far. You’ve said there won’t be Stoneheart, but also that he won’t end up with Mylene romantically because she gets scared of him or, like, his akuma? And he has a scholarship for something but isn’t in the teen garage band. Overall I’m getting the vibe like he may not be a great person in the AU or that you guys are just disinterested in his character. It’s hard being one of the only Ivan fans out here

Stoneheart does exist, he's just not the canonical akuma for Origins in LT. The whole incident means Ivan fumbles harder than anyone could ever possible fumble it with their crush (which is not really his fault), and then because Mylene has been rightfully and unfortunately traumatized from being in the news as an akuma hostage, Ivan quietly avoids her for the rest of the school year (which, honestly, is one of the better things to do in that situation).

Him not being the drummer in Luka's band is because Luka got that age-up and we thought it would make more sense for the band to be mostly comprised of people his own age (Juleka got in because she's his sister, and Rose got in because Juleka begged him to let her in and then blew them away with her metal screaming and vocal skills).

We're just not sure what we could even give him as a character arc, really. He might get a moment in a later issue as Minotaurox, but the context around it is somewhat spoilery.