#integrated into both the series and the episode

[quicktimeeventfull]

also i WILL say that vacuum sealing your analysis and consumption of media off from its wider context is not a neutral thing to do — like there are genuinely valid reasons to do it but it often (intentionally or otherwise) ends up reinforcing existing systems of oppression & erasure.

this also doesn’t mean you have to be Serious and Critical all the time, but rather that it’s worth just generally being open to the fact that all media exists within the world and can’t be separated from it. you don’t have to be actively deconstructing or problematizing things or explicitly acknowledging them to be participating in them. in fact, i think it’s a huge problem that Being Aware Of Existing Systems Of Oppression is so often equated with being critical and serious. you can also be fun and silly and shallow. it doesn’t have to be a big deal. most of the time it’s not.

[moosegbt]

Happy one year anniversary to my Over the Garden Wall VHS tape project!

I made it in both orange and black. I like black more, but orange really feels more in the spirit of the season. I used the shell from a VHS copy of the Rugrats movie.

I made the box art using various screenshots from the show, as well as some promo art. The description was taken from the DVD release, and the description title “will you take a peek?” was the tagline during the promotion of the show.

The back also has a fun little easter egg: the barcode is for candy corn!

What’s more is the tape has a special cut of the series that I made myself. I cropped every single scene in every single episode to make sure it naturally fit in a 4:3 aspect ratio, and I edited the episodes together to flow as if it were one movie (the pacing is a little like Babe). Additionally, I added trailers for movies that give me the same nostalgic vibes (The Last Unicorn, Princess Mononoke, Steven Universe: The Movie, and The Iron Giant). I also added the Warner Brothers and Cartoon Network title cards.

I printed this cut into the tape by integrating a VCR into my PC setup. If you want to see more about this project, I have a few videos about it on my TikTok @MooseGBT, or you can check out the main one right here!

The video has an earlier version of the tape, which is why the actual tape doesn’t have a real label (it’s kind of just a piece of paper slapped on upside down with tape). The content on the tape, however, is the same.

This was a really fun project, and I’ve already started working on a VHS cut of Scott Pilgrim vs The World, Steven Universe: The Movie, the Star Wars Sequel trilogy (I have 1-6 on VHS, and I also want 7-9), and the other Star Wars movies (the Christmas Special, the Clone Wars, Solo, Kenobi, and Rogue One). I also have plans to begin editing and printing the FNAF movie, the spiderverse trilogy (once ATSV pt 2 comes out), and Don’t Hug me I’m Scared.

[longing-for-rain]

Katara and Mutuality in Relationships

There are lots of conflicting opinions about which characters Katara felt attraction towards, which characters she didn’t, and how long she felt that attraction. I see in most cases, people point to quick clips of her faintly blushing or kissing another character on the cheek as evidence, but I think these kind of takes miss the nuance of the purpose attraction serves in a story.

Most importantly, I see these characters treated as if they are actually people capable of making their own decisions. It’s important to remember that these are fictional characters. They don’t make their own choices; the writers make their choices for them for the purpose of telling a story. From that standpoint, it’s more valuable to examine how a character’s story and narrative themes tie into their relationships with other characters. Animators can shove in a kiss or a blush wherever they want, but it’s harder to demonstrate through storytelling how and why two characters might feel attraction towards one another, and how a relationship between them would develop both characters and contribute to the overarching themes of the story.

In other words, when discussing which characters Katara is “attracted” to, I’m discussing which relationships and actions within the narrative build on her established story and arc. Romance is always integrated into a story for a reason, and considering that reason is important.

Unfortunately, ATLA is very much a product of its time in this way. It’s easy to see what romance adds to the arcs of the male characters—but not so much with the female characters. All three canon relationships (kataang, sukka, and maiko) follow this trend to some degree. The primary purpose of the woman in this narrative is to act as a prize for the man for performing some good deed. Once they’re together, she ceases having her own motivations and becomes an extension of the male character she’s dating. This is pretty blatant with Suki—she barely had a personality in that later seasons; she is there to be Sokka’s girlfriend. Similarly, Katara becomes a completely different character—she’s even animated differently—when the narrative pushes her into romantic scenes with Aang. Her character is flattened.

So what is Katara’s arc, and how do the romantic interactions she has throughout the series contribute to this?

Well, that could be a whole other essay itself, but to put it simply, Katara’s arc is one of a young girl devastated by grief at a young age clinging to hope that she has the power to fight and change the world for the better. Which she does as she gains power and confidence throughout the series—culminating in her defeating Azula in the finale.

But the part I want to focus on here is how Katara connects with other characters. She connects with them over shared experiences of grief and loss.

Take Haru, for instance.

Haru: After the attack, they rounded up my father and every other earthbender, and took them away. We haven't seen them since.

Katara: So that's why you hide your earthbending.

Haru: Yeah. Problem is…the only way I can feel close to my father now is when I practice my bending. He taught me everything I know.

Katara: See this necklace? My mother gave it to me.

Haru: It’s beautiful.

Katara: I lost my mother in a Fire Nation raid. This necklace is all I have left of her.

Haru: It’s not enough, is it?

Katara: No.

This isn’t just a throwaway moment; it’s an important character moment that leads up to growth and the progression of Katara’s overall story, both in this individual episode and in the whole series.

Katara finds her power in the connections she’s able to make with other characters. It’s a powerful driving force for her that makes her a strong character even before her bending abilities develop. Imprisoned was such an important episode to establish who Katara is and what her power is, and adds so much to her arc.

But there is one line in particular from the above exchange that also stands out: Haru says “it’s not enough, is it?” and Katara agrees. Even this early in the series, we’re establishing the fact that despite her drive and hopeful outlook, Katara feels deeply hurt, she feels a deep sense of loss that she opens up about to other characters in moments like these. But unlike Haru…Katara can’t go rescue her mother. Her mother is dead, and we see her grapple with that grief throughout the series.

Another character she reaches out to like this is Jet.

Jet: Longshot over there? His town got burned down by the Fire Nation. And we found The Duke trying to steal our food. I don't think he ever really had a home.

Katara: What about you?

Jet: The Fire Nation killed my parents. I was only eight years old. That day changed me forever.

Katara: Sokka and I lost our mother to the Fire Nation.

Jet: I’m so sorry, Katara.

Another important note about Jet is that there are explicit romantic feelings from Katara in this episode. Again, Katara empathizes with another character through a shared sense of loss. Sadly, in this case, Jet manipulated her feelings and tricked her into helping in his plot to flood the village…but those feelings were undeniably there.

That was the tragedy in this episode, but it also gives the audience so much information about Katara as a character: what motivates her, and what she wants. Katara is established as a character who wants someone who will connect with her and empathize with her over her loss—her greatest sense of trauma. She wants to help others but also receive support in return. The reason why she was smitten with Jet, beyond just initial attraction, is because he gave her a sense of that before Katara realized his true motivations.

A lot of people make the claim that Aang is good for Katara because he also feels a sense of great loss and trauma. And while on paper that’s true…does he really demonstrate that? I just gave two examples of characters Katara connected with this way, and both responded with deep empathy to what she said. Very early on in the show—the third episode—Katara attempts to connect with Aang the same way. How does he respond?

Katara: Aang, before we get to the temple, I want to talk to you about the airbenders.

Aang: What about 'em?

Katara: Well, I just want you to be prepared for what you might see. The Fire Nation is ruthless. They killed my mother, and they could have done the same to your people.

Aang: Just because no one has seen an airbender, doesn't mean the Fire Nation killed them all. They probably escaped!

Just compare this exchange to Haru and Jet. No effort to empathize, not even a “sorry for your loss” or anything. It’s a stark contrast, and the reason for that is because this narrative entirely centers Aang. Katara’s narrative always seems to be secondary to his when they’re together—which is exactly my point when I say this relationship has a fundamental lack of mutuality. It’s built that way from the beginning of the series. It does not add to Katara’s arc nor establish what about this dynamic would attract her.

And, look, before someone jumps down my throat about this…I’m not saying Aang is a horrible person for this response. I think it’s a sign that he’s immature and has a fundamentally different approach to problems than Katara. Katara is a character who has been forced to take on responsibilities beyond her years due to being a child of a war-torn world. Aang’s approach to problems is avoidance while Katara never had that luxury. It doesn’t mesh well.

This is all in Book 1. I honestly could have gotten on board with Kataang if the series meaningfully addressed these issues…but it didn’t. In fact, they actually got worse in some ways.

Back to Katara’s mother. We’ve established that this is a core part of Katara’s character and like in the scene with Haru, she indicates that this is an unresolved issue that pains her. But then, in Book 3, Katara actually does get a chance to confront this pain.

This would have been a powerful moment. Surely the character who is meant to be her partner, her equal, would have been there for her. Surely he would have understood and supported her, fulfilling her narrative and adding to her story.

But Aang didn’t do that. I won’t go into details because there are a million analyses out there on The Southern Raiders, but Aang’s response to Katara was the opposite of understanding. He got angry with her, insinuated that she was a monster for wanting revenge, and tried to dictate her behavior according to his own moral values. And importantly, from a narrative standpoint, he did not go with Katara. One of the most important events in her arc, and Aang didn’t support her—he actually tried stopping her. He didn’t contribute to her growth and development.

Also noteworthy:

Katara: But I didn’t forgive him. I’ll never forgive him.

Even at the end of the episode, Aang clearly doesn’t understand at all what Katara is feeling. This line demonstrates it perfectly. He thinks she forgave him when that wasn’t the case at all…but of course, he didn’t even accompany her, so he didn’t see what actually took place. His worldview is fundamentally different from hers, and he’s consistently too rigid in his morality and immature to center Katara’s feelings.

Throughout Katara’s whole arc, her most significant character moments, Aang’s character just doesn’t come through the way Katara’s constantly does for him. Their narrative lacks mutuality. When Katara and Aang are together, she becomes an accessory to him. The ending scene is a perfect demonstration of this.

Now, to address the elephant in the room.

Which character does actually add to Katara’s narrative and support her growth as a character?

Correct! I just talked about how important The Southern Raiders is to Katara’s character and story, how it’s a chance for her to finally address the grief she’s been carrying since Book 1. And who stood by her side throughout this pivotal moment? Right—Zuko did.

You can talk all you want about how he’s a “colonizer” while Aang’s people suffered genocide, but you’re forgetting that “show, don’t tell” is one of the most basic aspects of storytelling. The fact is, despite how it looks on paper, Zuko was the one there for Katara at her critical moments. Zuko empathized with Katara more than Aang ever did—as demonstrated in this episode. Zuko never once brought up his own cultural values. Zuko never once told Katara what to do. Zuko’s position was that Katara should be the one to decide, and that he would support any choice she made. He supported her decision to spare Yon Rha, but he would have also supported her if she decided to kill him. I actually found this episode to be a satisfying reversal to what is typically seen in TV—for once, the female character is centered while her male counterpart takes the backseat and becomes a supporting role to her narrative.

Even before this, Zuko is shown to empathize with Katara.

Zuko: I’m sorry. That’s something we have in common.

I think what gets me about this scene is the fact that he’s still Katara’s enemy, and she was just yelling about how she hates him and his people. But despite that, Zuko still empathizes with Katara. She is fundamentally human to him, and he expresses that to her in a way that allows them to connect. Zuko stands to gain nothing from this. It’s true that Azula entered the picture and twisted things around—but in this moment, Zuko’s compassion is genuine. His instinct was to respond to her grief with empathy, just like she consistently does for other characters.

And finally, how else does Zuko add to Katara’s arc?

I don’t think there is any more perfect of an example than the finale itself—the culmination of the arcs and development of all characters.

Zuko and Katara fight together. In a heartbeat, Zuko asks Katara to fight by his side against Azula, because he trusts her strength. She’s his equal—both in his mind, and in a narrative sense.

Then, this:

Both of their roles are so critical in this fight. They both save each other. The scene has such raw emotion to it. These characters were together at the conclusion of their respective arcs for a reason.

This is the perfect conclusion to Katara’s arc. She just played a critical role in ending the war that has caused her trauma her whole life. She just demonstrated her mastery of waterbending (another thing she’s dreamed of throughout the series) by defeating the world’s most powerful firebender during Sozin’s Comet. Even though she had help as all characters do, these are victories that belong to her and demonstrate the growth and power of her character. And to top it all off? She was able to save Zuko’s life. She didn’t have to endure the pain of feeling helpless to do anything while someone else died for her; this time, she had an active role, she changed her fate, and she prevailed. Zuko plays an important role in Katara’s story without dominating it. They perfectly represent mutuality. They add to each other’s stories. Their narratives become stronger when they’re together, without one diminishing or sidelining the other.

So, from that standpoint, that’s why I always see the attraction between Zuko and Katara and why I see it lacking between Aang and Katara. Zuko and Katara’s story doesn’t need some cheap little throwaway moments to shine. It’s integral to both characters’ stories. We are shown not told of the way these characters feel about each other. Given everything we know about Katara, her goals, her values, her past loves…absolutely everything points to Zuko being the true subject of her feelings.

Because let’s be honest. The ending I just described is so much more powerful and so much more Katara than seeing her being relegated back to a doe-eyed love interest for Aang to kiss. It hardly even made sense—Katara played no role at all at the culmination of Aang’s arc. She was relegated back to a love interest, rather than the powerful figure we saw fight alongside Zuko.

[thethiefandtheairbender]

as a lifelong ATLA fan who narrowly had ATLA dethroned as my top show by The Dragon Prince steadily over the past 5 years, the similarities between the two have very little to do with the surface level parallels that get regularly drawn between them.

Like ATLA, TDP has Books for seasons and chapters for episodes, but unlike ATLA, which only touched on storytelling sparingly as a theme, TDP is obsessed with interrogating storytelling and history and the presence of unreliable, biased narrators throughout many of its episodes (most notably 2x05, 2x06, 3x06, 4x04, and 4x07 among them). Half of what you learn in the 1x01 intro ends up being a lie once you reach S3, with more being steadily deciphered.

Yes, TDP has different magics with people living under those umbrella terms... for the elves. Humans are coming culturally at things from a completely different angle, and the elves' connection to their primal sources are discussed philosophically in detail, informing their practices and their culture first hand, including the way they chafe against humans, who are arcanum-less. Many animals in the world are also connected to magic, which influences both their design and which ones get hunted for humans' more 'clever' solution in dark magic, including each other.

The core issue of the Puppetmaster, down to being a coercive magic formed by someone deeply resentful of their imprisonment? Said puppetmaster is the main endgame antagonist of the entire show with all of S4 onwards being exploring the ethics of controlling people against their will in various methods, and the entire show itself being a thematic battleground of fate (imprisonment) vs free will for virtually every single character.

Where ATLA mostly concerns itself timeline wise with ending the war, very little thought is shown by any of the characters as to what they'll do after the war. This isn't a problem (as it reflects the sheer domineering scope of the conflict) but even Zuko being firelord is only ever really addressed with 2.5 episodes left till the finale. TDP, meanwhile, ends its 'war' in s3 and s4 opens up with dealing with the old wounds festering between people with centuries of history, the struggles that come when people aren't able to let go and believe they're safe or mourn in a healthy manner, and the religious/cultural clashes that may occur when trying to integrate different groups of people.

TDP also has an evil father with a devoted daughter and a brother who eventually defects, but it explores the reality of an abusive parent who loves/will sacrifice for you and your right to leave regardless, even if that means leaving the sibling you truly deeply love and who loves you in turn. Which means that when you and your sibling are on opposite sides of a deep ideological conflict, it actually really fucking hurts bc we've seen first hand just how much they love each other and also how and why everything fell apart not in spite of that love necessarily, but also because of it.

Is this to say that TDP is a 1:1 with ATLA or that it's better? No, not at all, and the latter is subjective. I prefer TDP, but I think they're about on equal ground when you look at each show currently as a whole (although TDP has two seasons left to go).

But TDP takes a lot of what ATLA was doing thematically with some of its most interesting beats and then builds or expands upon them further. It talks further and more consistently about the cycles of violence; in many ways, Jack De Sena's character, Callum, begins the series largely where Sokka had ended (and he's not the most like Sokka anyway; very much his own thing); we get Faustian bargains and centuries' long grief and fucked up people who are trying both succeeding and failing at not doing fucked up things. There are antagonists, but it is very hard to actually label anyone at this point a straight up villain. Moral greyness is where the show starts, and it just continues from there.

That's not to say the show is nothing but dark and depressing - like ATLA, there's a steady thread of hope and humour even as the show gets steadily closer and closer to its 11th hour point - but the show is usually emotionally heavier. There's more blood and potentially disturbing imagery with body horror and on screen death. There's so much foreshadowing you basically can't go more than 5 minutes into any episode without having something that's going to come back around or be referenced again like 3-5 seasons later.

Just to be clear - TDP is like ATLA, but it's like ATLA in interesting ways beyond the more shallow surface level that usually gets attributed to it, while still very much being its own show and its own thing. And that is why I tend to recommend it to people who like ATLA.

Thank you and goodnight

(Also, the fandom doesn't have any ship wars, and the show is queer as fuck)

[adventure-time-news]

THREE NEW ADVENTURE TIME PROJECTS ANNOUNCED

First of all, it sounds like the Adventure Time movie is finally happening! This was announced way back in like 2013 but never really went anywhere. The plot and other elements ended up getting integrated into various season six episodes. Adam Muto, Rebecca Sugar, and Pat McHale are all involved in the project.

Then we also have two series on the way. The first one sounds like it will be a return to the 6-11 demographic, unlike the recent Fionna and Cake series which had a slightly older target audience. It will be titled Side Quests and will be an episodic show focussing on a young Finn and Jake, serving as a sort of prequel to the original show but without many serial plot elements. The Variety article says Nate Cash will be working on it.

Finally, the second series will be a preschool show called Heyo BMO. Adam Muto and Ashlyn Anstee are both involved. I expect we will hear more in the coming weeks. There might be more info at the Annecy festival by tomorrow.

I will of course be bringing more updates as they come, and will dig around for more info later once I have some more time.

Stay tuned!

[balsamfir-fics]

a hope redefined (prelude)

Genres: angst, post S1 canon, more angst, romance, eventual smut, established childhood crushes to strangers to lovers, post-pining, becoming machine herald (sort of), eventual dad!vik, political tensions, growing up, the human condition

Pairing: Viktor/AFAB Reader

Warnings: series will have eventual smut, mentions of difficult pregnancy/injury/civil war. this prelude mentions spicy activities.

Summary: Viktor shouldn’t be alive.

He shouldn’t have survived the blast of the Council attack, and even if he did his sands of time should have soon run out. And yet here he stands, part man and part machine, in a future he never planned for and an augmented body he never expected to have.

With no template to follow, Viktor forges a new path towards happiness as he grapples with reconciling the man he once was and the man he could become. Complicated as this path may be, he knows better than to waste an opportunity to spend his remaining years with you, the person he’s kept in his heart ever since you were children. Amidst the chaos of an antebellum Runeterra, Viktor finds his freedom, his future, and his family.

Chapters: Prelude

Chapter Word Count: ~1.3k

Author Notes: Unedited. Threequel and final part to a hope never forgotten and a hope at risk. This can be read independently of its predecessors, though reading those first will better contextualize Viktor and YN’s relationship. Previous fics summarized below if you don't have time to read them!

Prequel summary: YN is Heimerdinger’s adopted daughter; YN and Viktor are childhood friends who grew up together between the ages of 10-16 and separated at 16 immediately after an unspoken confession of love. The uncertainty and cowardice of youth prevent YN from keeping contact until twelve years pass. Over the next five years the two keep orbiting each other, gravity pulling them closer, until Viktor’s hospital stint as per Episode 5 forces YN to reckon with their lifetime of love. The end of A Hope Never Forgotten sees Viktor’s seventeen-year-long hope and longing fulfilled.

A Hope at Risk follows canon for episodes 5-9 of Season 1, with some references to LoL lore for post-Season 1 events. Viktor hides his prognosis and the nature of his Hexcore experiments from YN for as long as possible, until his life is in jeopardy after the Council attack and YN finally finds out. YN and Jayce share the decision-making burden in not destroying the Hexcore so that Viktor's life can be saved. Viktor withdraws while processing all of these black-swan events (Hexcore integration, new city of Zaun, his Zaunite and Piltovan identities, etc), but hopes to work through his demons enough to return to YN. In the meantime, he moves to Emberflit Alley in Zaun where he hopes to rebuild who he is and figure out who wants to be.

If missed, the prior work notes that Viktor refers to YN as 'Sparrow' sometimes, which is because he finds her lively and likeable.

This last work refers to Arcane Season 1 canon first and foremost, then interprets post-Season-1 events by incorporating elements from older LoL lore. The majority of this piece will not follow Season 2 canon as it's not out at the time of writing, but Viktor's plotline in this work is written to be as plausible of a Season 2 fan theory as possible.

The first work in this series deals primarily with hope as per the title; the second deals with themes of loss and survival. Both are about decisions made and avoided. This final work reckons with recovery, rebirth, and rebuilding.

Hope, as the past five years has taught Viktor, is not quite the out-of-reach temptress he once believed it was, but rather a willful act of empowerment that even he is entitled to pursue.

It’s a bit of an odd lesson for him. During decades of wanting, but not having, he thought perhaps hope was a thing intended only for others — never him. He now thinks back to those days, remembering his own failure to quell the little flickers he felt, despite what he considered to be careful, methodological, and supposedly fool-proof efforts. How could his sixteen-year-old self, shown blissful perfection for mere minutes before having his heart torn away from him, ever have fathomed that there was something that came after despair? How would he, at 28, know that the little flame of hope he forgot to extinguish would grow to a blaze of success? Even more important — how could he have ever known that a sickly boy from the undercity could be given a second lease on life?

These second chances he never expected to receive (and one, even, that he still struggles with accepting) are the reason he is here today, he reminds himself. And here so happens to be in the arms of your post-coital form, watching as you struggle to calm your breathing. This affirms two things that he thought to be impossibilities: you’re his partner, and he’s — somehow — alive.

Such boons come with their own set of costs, of course. The cool metal of his peculiar augmentations serve as a daily reminder of what he gave up for science, for life, and for society. In part, he surrendered some of his humanity; though he's grateful to live another day in your presence, something that nearly feels sentient lives within him as sustenance. Nevermind the brief euphoria he felt running at the docks; the Hexcore might be a curse, he thinks, but it saved his life. In other ways, he lost control over his moral sensibilities; the breaths he’s allowed to take now were given to him against his consent, and the corrupted Hexcore remains, undestroyed, within him. Skye’s life was taken by the very thing keeping him in the mortal realm, and he endures the guilt of her death with every second his life goes on longer than hers.

He’s spent the greater part of the past few weeks in agony, mostly of the emotional sort as the foreign, willful hum of the Hexcore inside him makes quick work of healing his most severe injuries. Tormented by his conscience, his fear, and a profound sense of losing himself, Viktor knows he’s made a series of hurtful decisions to part from his entire family in Piltover. He knows that some of these relationships will have seen their heyday and may be beyond repair — not for lack of effort, but by the predicament of the turbulent political climate created in the aftermath of the Council attack. But such efforts must be taken one step at a time, one person at a time. Fixated on working on himself so that he might stand by you as his full self and not a broken, conflicted version, he furiously set plans in motion no matter his uncertainty. At his first sign of some satisfactory progress (to his standards), he allowed himself the small luxury of reaching out to you. He’d intended to only start a conversation, hoping to restore the full effect of your relationship as best as one might during a powder keg of a political situation. At most he’d expected that you might see each other in a few months to a year after letting letters and counseling do the work of rebuilding.

Naturally, you (fearless, fearless you, Viktor thinks) showed up on his doorstep at first chance instead. He would never complain, but after two nights of your warmth in his bed and the impossible pleasure of your daily company, the worries that prevented him from seeing you earlier seep back in.

As if you can sense his rising anxiety, you stir against him now after having come back down to Terra. He smiles at the dazed, incomprehensible murmur you make with your lips against his bare shoulder. You ease him, somewhat, but the kernel of worry remains. Viktor presses kisses to the top of your head. You tighten your arms around him, blinking back into reality under the dim Zaunite glow that filters into his bedroom.

“It’s still early,” he hums. “I’m sorry I woke you for…” (You raise your eyebrows knowingly, pressing naked self into him more intently). Viktor elects to finish his sentence carefully. “…For certain activities.” He coughs, making you smile at the dichotomy of his bashfulness after rather intense morning spent with his face between your legs. “You should get some more rest.”

Never one to be told what to do, you frown slightly, then prop yourself into an elbow. But Viktor is adamant you take care of your health (never mind that he’s notoriously bad at doing the same for himself), especially in these polluted depths. Pulling you to the washroom for the loo and a quick rinse, he then leads you back into his small bed for a few more hours of shut-eye. Later when he tries to wake you for a tardy breakfast, he chuckles at the trail of dried saliva you hurriedly wipe away — at least it’s a strong indication that you’re able to sleep soundly despite the constant bustle in the streets of Zaun. His small unit is a far cry from the sweeping wings of the Heimerdinger Estate that you’re accustomed to, and it’s still much less comfortable than even his modest apartment back in Piltover. In the least, he’d managed to pull together a rudimentary air filter from spare materials he brought with him from the academy lab and hopes that it lasts long enough for the duration of your stay.

Then he realizes something. He has no idea how long you’ll be here in Emberflit Alley with him. Hopefully not long, he thinks. Not because he wants to stop seeing you, no — rather, Zaun is no place for a Piltovan at present, and the small alley he’s in now was chosen for its seclusion instead of its relative quality of living. The dangers to you in the former undercity are many; if not to your health by means of pollutants, then by the constant stirrings of war that are whispered in the streets, emboldened by the Council attack and the topside confusion that remains unresolved. The pit in his stomach grows. You shouldn’t be here. No matter how much he would prefer to bask in your presence.

Nonetheless, you are here and these precious minutes are not to be wasted. You sit up, concerned by the change in his expression as thoughts race through his brilliant mind. “Vitya?”

“Hm?” He shakes his head slightly as if to rid himself of his thoughts, then pushes himself off of the bed to lean against his crutch. “Ah, I made a quick meal in case you might be a bit peckish. It’s not much, but it’s enough.”

You survey him, waiting to see if he might share what he was thinking of. Viktor merely tilts his head in the direction of his kitchen with a half-smile. He waits patiently as you grind your teeth in your decision to stay in bed longer or satisfy your hunger, electing to savor the moments he can with the extra time he’s been given, and pushes away his niggling concerns for now. His leg twinges as if to remind him who he has to thank, but when you slot yourself into him and support his side (arm wrapped tightly around his waist), he melts into your warmth and feels his worries — temporarily — fade into the background.

The road ahead might be immensely difficult and fraught with tragedy, he thinks. But mornings like these make it all worth it. As he wraps his own arm around your shoulders and nestles your head onto his, Viktor silently vows to help ensure that you and Runeterrans — all Runeterrans, not just the privileged few — get to have a future filled with such mornings.

[stelly38]

“I can’t remember how much bonking I did”  —Aidan Turner

With Ross Poldark behind him, the star of Di5ney’s adaptation of Jilly Cooper’s Rivals talks ’80s excess, intimacy coaches and beef brisket.

Here I am, avidly watching the first few episodes of Rivals, the sizzling new Disney+ treatment of Dame Jilly Cooper’s raunchy blockbuster, before my interview with dreamboat-y Aidan Turner, when my 22-year-old daughter walks into the room. “What the actual?” she cries, open-mouthed in horror. “Oh my God! What are they doing?”

I chide her prudishness. “Well, if you must know, Rupert Campbell-Black and a woman he probably just met have reached a shuddering climax on Concorde,” I explain. “Your generation didn’t invent sex, you know, darling – the Mile High Club has been around for…” but it turns out that’s not what’s triggered her.

“These people are SMOKING! On. A. Plane. Who even does that?” Everybody, that’s who. Welcome to the sassy, sexy 1980s, Missy. Double-breasted suits and taffeta skirts, booze, bonking, endless ciggies and hairstyles so fugly (the mullet, for pity’s sake?) as to have recently crept back into fashion. It’s all there: rampant sexism, social climbing and conspicuous consumption, to a banging soundtrack of Eurythmics, Hall & Oates, Haircut 100 and the rest – no idea how The Birdie Song got in there though. Did people really...? Yes, we did. Now run along. From the moment the opening credits roll on Rivals, it’s fair to say we are immersed in a very different, instantly recognisable universe.

I lapped up every transgressive minute. Why, dear readers, the last time I enjoyed a pleasure quite so guilty was when Aidan Turner took off his shirt in…  “I’m not here to talk about Poldark,” says Turner very politely, with a fabulously winning white smile, when we meet. So we don’t. At least for a bit. We are here, after all, to discuss his new role in this very different literary classic – and no, ladies, he’s not been cast as the libidinous blaggard Campbell-Black. As if. County Dublin-born Turner, 41, was a shoo-in for dashing Declan O’Hara, the saturnine Irish journalist turned reluctant chat-show host who finds himself at the epicentre of a battle royale in the cut-throat world of independent television. David Tennant plays Corinium TV boss Lord Baddingham, and Alex Hassell’s Rupert Campbell-Black has ascended to the lofty heights of Tory Minister for Sport.

I could try to explain, but that’s about all the primer you need – rest assured that with this high-budget adaptation, even the most loyal of Cooper’s fans will find themselves safe in its (wandering) hands. “Rivals is about the three things that fascinate all of us: sex, power and money,” says Turner. “That trifecta is especially potent when there’s a clash of status and class. Class informs all sorts of things, including the sex, which is sometimes completely transactional on both sides. From the very top to the very bottom of the ladder, everyone’s slightly on the make.”

Speaking of the top and indeed the bottom, the eight-part series employed not one but two intimacy coaches. “They had a lot of intimacy to coach,” confirms Turner breezily. “I think they really improve sex scenes because they encourage creativity and it all looks so much more authentic. There’s a lot of bonking. I want to say I did a lot of bonking – I can’t quite remember how much.”

Declan is very much the dark-eyed, watchful outsider, his integrity as deep-rooted as his humongous moustache – “artist’s own”, remarks Turner. (He speaks in mellifluous Irish tones and uses his own accent to play Declan.) Amid the jostling for supremacy in the first few episodes, Declan’s only crime appears to be wearing mustard socks on air and having sensuous congress with his own wife (played with exquisite brittleness by Victoria Smurfit).

Such uxoriousness appears borderline scandalous in Dame Jilly’s masterfully constructed world of egos, oneupmanship and serial adultery, which signals that despite being a workaholic, Declan is clearly a good ’un – although, to be fair, I have only seen the first three episodes.

“I hadn’t read Rivals before. It seemed very British so it wasn’t really on my radar, but it’s really fun – although later on it descends into something much murkier. I just read the scripts initially and then was really struck by how faithful they were to the book,” says Turner, who is married to the American Succession actor Caitlin FitzGerald, 41. “You get a real sense of the characters in the first 15 or 20 pages and it’s a mark of excellent writing that you feel you already know these people.”

Whether or not you like them is up to you, but it’s absolutely gripping and Turner’s character is right at the heart of the story. “Rivals is a really truthful depiction of an era that in a great many ways was hugely problematic,” says Turner. “It’s not being refracted through a modern lens and some of it is quite shocking, particularly the way women are treated. There’s also endless back-stabbing; Declan is detached, the one who sees what’s going on, and because he’s not from this class-bound world [he] struggles to understand the playbook – but he’s married to a woman who does and that causes tension.”

To research the role of a broadcasting homme sérieux, Turner trawled YouTube to watch hours of Firing Line, the US current-affairs talk show presented by conservative pundit William F Buckley Jr for 33 years. From 1966 to 1999, he verbally sparred with leading figures of the age.

“I felt it was important to look to older shows, the way they were presented and the communication style,” says Turner. “The interviewee would be given time and space to answer questions in full. These days it’s very different; the nearest we have to that now would be podcasts.”

“Once filming started, to be honest I was channelling my dad the whole time. He’s an electrician, not a journalist, but Declan is very like him – the way he carries himself, the tone of his voice, his passion. He feels very Irish and so does Declan.”

For Alexander Lamb, an executive producer on Rivals, finding the right fit for the pivotal character of Declan was crucial. “The very first person we thought about – the very first person we cast – for Rivals was Aidan. He was the lynchpin because he just felt so right; he’s got depth but also such charm and that was exactly what we wanted. A lot of the cast was built around him.” That cast also includes EastEnder Danny Dyer, Katherine Parkinson, best known for The IT Crowd, Emily Atack of Inbetweeners fame, and Claire Rushbrook, who was in the first series of Sherwood. When it came to Turner, Lamb had been impressed by his previous standout roles as a vampire in the supernatural series Being Human and a clinical psychologist in police procedural The Suspect.

“Aidan hadn’t played sexy-dad-with-teenagers or an intellectual journalist before, so that gave the whole thing a freshness. I think there’s a lot to be gained from getting actors out of their comfort zones,” observes Lamb. “I’ve never really worked with an actor before who was so conscious of his performance. He would come back behind the camera to see if he could improve on what he’d done.” Dame Jilly, adds Lamb, needed no persuasion in casting Turner. “It did not escape her just how good-looking Mr. Aidan Turner was. Let’s just say she became quite the fan.” Turner responds in kind, with unalloyed admiration. “Jilly is so sharp, perceptive and really funny – she’s very kind, but as she was seeing the daily and the weekly rushes I am quite certain that if she hadn’t liked what any of us were doing, she would have told us very swiftly.”

Later, he quietly relates a telling conversation with Cooper at a garden party held at her Gloucestershire gaff (to call it a pile would be too excessive, to call it a house too modest), one summer evening last year, after filming. “I remember a surreal moment when she took me by the arm and led me around the garden, pointing out the place where she would write and how she would look over the valley,” he says. “And then she pointed out the houses where her nearest neighbours and friends lived and said, ‘This is Declan O’Hara’s house, and that one’s Tony’s house,’ and explained how she would visualise the world of Rivals. It was a very special moment.” How magical, I say. He nods very slowly, the corners of his mouth twitching, eyes crinkling at the preciousness of the memory. He’s so unabashedly soulful, I almost have to look away. And so, to business: is Turner really as handsome as they say? Hmm. Maybe that’s what strikes you first but, in truth, it’s the least interesting thing about him.

Born in Clondalkin, a town outside Dublin, before the family moved to a suburb of the city, Turner admits he was never academically inclined. With a low boredom threshold, he struggled to concentrate at school, but when his accountant mother took him along to dance classes, he excelled; he went on to compete in ballroom dancing at national level, but lost momentum.

There was a stint working as an electrician with his father, but it was a job at the local cinema that sparked his interest in acting, entering the Gaiety School of Acting, Ireland’s national theatre school, where he graduated in 2004. After appearing in several theatre productions, including Seán O’Casey’s Easter Rising play The Plough and the Stars, he got his first major television gig in 2008 in the Irish hospital drama The Clinic.

“I was a lowly receptionist and Victoria Smurfit, who is my wife in Rivals, was a consultant,” he smiles. “Let’s just say we didn’t have a huge number of scenes together back then, so it’s great to catch up now.” Soon the BBC beckoned and he was cast as Dante Gabriel Rossetti in the Pre-Raphaelite Brotherhood drama Desperate Romantics. The six-parter failed to make a mark, but led to a critically acclaimed role in the comedy-drama Being Human, where he caught the eye of director Sir Peter Jackson, who cast Turner as the dwarf Kili in The Hobbit trilogy between 2012 and 2014.

Various other parts followed, culminating in his award-winning portrayal of Captain Ross Poldark in the 2015 revival of the BBC classic, which ran for five series and made him both a household name and a pin-up among ladies (and interviewers) d’un certain age.

After he was shown scything a field shirtless, a sheen of sweat on his ripped – sorry – torso, the Sunday-night concupiscence became so pronounced that media commentators called out the reverse sexism and denounced the reductive way in which Turner was being treated as a piece of prime meat. A decade on, he still seems mildly baffled, but not ungrateful, for the attention, if loath to dwell on it. “There are worse things to be known for than having a nice physique,” he says, philosophically. “But that was a long time ago and I’ve done a lot of fully clothed work since.” Hilariously, in Rivals, Declan finds himself sharing a schedule with a series called Four Men Went To Mow, featuring a quartet of topless hunks – with scythes. Turner almost leaps off the sofa when I bring it up. “I know! I was reading the script and when I saw the Four Men Went To Mow reference, I assumed someone was deliberately winding me up. Then I realised it was actually in the original book, so I took a deep breath and let it go.”

I can confirm he’s fully dressed for our interview, wearing a mustard top by British menswear brand Oliver Spencer, which he dryly describes as ‘drab chic’, Levi’s 501s, and a pair of trainers. He points out they are classic white Reeboks with a natural gum sole. I admit I didn’t know that was A Thing. “To be honest, neither did I,” he shrugs in good-natured agreement. “They were a present from a mate of mine – he’s a musician so far cooler than me, obviously – and he was very emphatic that the soles were a big deal.”

On his wrist is a 1969 Omega Seamaster. “It cost less than £2,000, it was an anniversary gift and the only watch I own,’”he offers, pre-emptively. “Oh, and I’m not sponsored by Omega, none of that.” Would he like to be? I ask mischievously. “Ah well, I’d certainly take the phone call. You always like to have options.” This is all the more interesting because later I ask if there’s any truth in tabloid rumours that he has variously been earmarked as the new Bergerac and the next James Bond. He denies both charges. “But you’d take the calls presumably?” I suggest. A pregnant pause follows. “You know, I don’t think I would. I have to say I think I’d pass on those.” Bergerac I can understand – but intimations of 007 are, like talk of knighthoods, not to be trifled with, much less dismissed out of hand, however cat’s-chance unlikely.

Turner just pulls a slightly apologetic face (possibly for the benefit of his aghast agent reading this). But really it should come as no surprise; Turner has built up a reputation as a protean performer, moving seamlessly between television, film and the stage in a variety of markedly different roles. Last year he appeared opposite Jenna Coleman in a minimalist two-hander, the West End revival of Sam Steiner’s 2015 fringe hit Lemons Lemons Lemons Lemons Lemons, about love and language. Director Josie Rourke says she cast Turner not just because he is ‘brilliant’, but because he has an ability to connect with his character and with the audience.

“Aidan is a very technical and focused actor who really works hard to prepare – in that respect he’s not dissimilar to David Tennant. That might make him sound dour or serious, but he’s very personable and funny,” says Rourke, a former artistic director of the Donmar Warehouse in London. “He’s acutely aware, in a lovely way, of every single person in the room. There’s something fundamentally unselfish about his performances.”

Off stage, Turner leads a quiet life with his family in an 18th-century house in east London, which he famously furnished with the table and chairs from the Poldark set in Cornwall. He looks amused when I wonder aloud if he hangs out – virtually or actually – with the slew of young Irish actors, like Paul Mescal and Barry Keoghan, who have made a name for themselves. “It sounds boring but I work, and then when a project is finished I start reading scripts again,” he says. “I’m not on social media, I don’t get wrapped [up] comparing myself to anyone else. Frankly, it’s hard enough keeping track of my own career. Since the birth of our son, my wife and I have agreed that only one of us will take a job away from home at any given time; we’ve not [had] a clash yet but we’ll have to see what happens when the time comes.”

They did, however, both have plays on in the West End at one point last year; he was appearing in Lemons while she was in The Crucible. “It worked out really well, we headed out in different directions during the day, catching up with friends and getting stuff done, far too busy to see each other,” he recalls. “Each of us did our show then we would meet up afterwards and share a cab home. It was really fun, but that sort of synchronicity is quite rare.” Like a lot of actors, Turner is guarded when it comes to discussing his personal life. Although frenzied interest from the paparazzi has calmed down post-Poldark, every so often pictures do appear in the tabloids – and Rivals will no doubt increase his bankability. It is something he accepts with equanimity.

“If I do get snapped, I don’t make a fuss or get angry, but I try to stay out of the way.” I remind him of a very striking photo of him putting the rubbish out in a frankly extraordinary receptacle. “Ah yes, maybe I should get rid of the fluorescent pink wheelie bin, a bit of an own goal,” he sighs.

I bet he doesn’t. Far too much of a compromise. I do manage to winkle a few details out of him by playing my fellow Irishwoman card and discover that he’s a ‘serious’ pool player – just this week he settled down in front of a recording of Steve Davis and his teammates taking the 2002 Mosconi Cup in Bethnal Green. He plays golf, enjoys music, and is an avowed Nick Cave fan.

“I’d have to say my favourite downtime is having friends round for good banter and food in the garden, weather allowing. I’m trying to perfect the manly art of beef brisket in my [Big] Green Egg barbecue. I think one of the reasons Rivals was such a happy show to work on was because so many of the scenes were us all together at parties. Then at the end of the day we’d kick back and half of us would still be in character.”

And what characters they are, all dressed up in their ’80s finery, jockeying for position, angling for seduction as Tears for Fears belt out ‘Everybody Wants to Rule the World.’ Gen Z won’t understand, much less approve (lock up your 22-year-olds), but as a snapshot of a bygone age, Rivals promises to be TV gold, and at its glittering epicentre, Declan O’Hara, legendary brooding broadcaster with the biggest ’tache in town.

All episodes of Rivals are available on Di5ney+ from 18 October

Interview by Judith Woods from The Telegraph; Photos by John Balsom.

[dbphantom]

I'm a OP manga reader, sell me on watching G-8

Sure!

G-8 is post Skypiea filler and starts with the Strawhats landing right in the middle of a walled-in marine base after they fall from the sky island. They have to figure out how to escape this 'impenetrable fortress' with Merry without anyone getting captured or killed.

To do this, most of them go undercover and infiltrate the marines so they can buy time, regroup, and figure out a plan.

It goes about how you'd expect.

(If only Garp could see him now, lol).

The guy on the left in the above picture is this arc's amazing antagonist, Vice Admiral Jonathan.

He is so cool that he cameos in both Stampede and Film Z.

G-8 has some of the funniest jokes in the series, including this iconic scene:

The way it pairs off the Strawhats at the start leads to some great extended interactions between crew members who don't directly talk to each other too often, like Nami and Chopper + Usopp and Robin. They're all very in-character, too.

It also lets the Strawhats show off in their respective areas- Chopper ends up in the medical wing, Usopp works with the shipwright, Sanji is dragged to the kitchens...

[Spoilers in case you're not post Water-7]

It even takes time to emphasize the set-up for the Klabautermann reveal, just to make sure you remember it before the emotional gut punch that is Water-7.

[End spoilers]

It's got a really endearing and memorable cast of side characters as well, who all get roped into the Strawhats' shenanigans.

G-8 also has one of Robin's coolest outfits.

The entire arc is basically a 4D chess match between Jonathan and the Strawhats, except the entire crew is shoveling pieces into Luffy's mouth as fast as they can whenever Jonathan isn't looking.

G-8 is what I show people who want to get into OP, but don't know if they'd enjoy it. It's short (only about 11-12 episodes iirc) and it encompasses everything I really love about early One Piece. I think it's a great litmus test for if you'd like the vibes of the show as a whole. Also, it is so well-integrated into the story that most anime-onlys don't even realize it's filler unless they're told.

Honestly, I would put G-8 on the same entertainment level writing-wise as some of the better movies. It's fun to watch, the jokes are great, and the characters are all enjoyable. I really recommend giving it a go.

[librarycards]

do you have any resources or advice on how to help people who have manic episodes or who could possibly harm others according to antipsych principles? my friend diagnosed with bipolar disorder has been looking into checking themself into a hospital, and their home situation isn’t the best though their dad somewhat tries to be supportive, but i wonder what other options there are. the most i can do is offer some emotional support and give advice since i live too far away to be of much help otherwise. sorry if this is the wrong place to ask.

hello, and thanks for your patience on my response - this week has been busy and i'm only just now getting to asks!

here is an excellent piece by Stefanie Lyn Kaufman-Mthimkhulu on providing support for comrades in crisis, many of these tips are very applicable to distance-relationships too! bipolar comrades/others who have manic episodes are also welcome and very encouraged to reply and share what kinds of supports work best for them.

There are also a series of free zines/books by the Fireweed Collective (FKA the Icarus Project), particularly Navigating The Space Between Brilliance And Madness: A Reader & Roadmap Of Bipolar Worlds. This is a great way to learn more about a variety of bipolar experiences to better contextualize your friend's.

here are some tips based on personal experience being close to multiple people with bipolar, while not being bipolar myself:

create balance within yourself + project it - it's tempting to get yourself wrapped up in others' big feelings, especially if they trigger you. but it's crucially important to maintain a (porous!) barrier between you and your friend, both as a way of maintaining your own peace and providing something sturdy for them to lean on. this means taking what they say/do in the midst of crisis and placing it "beside" your own feelings, rather than integrating it and responding viscerally in the moment.

neither "reality checking" nor "reality confirming". this is tricky. it's pointless to tell someone "you're wrong, you can't do that, etc." when they're experiencing a different reality than you. it is also harmful to encourage someone to act on beliefs that are not actually aligned with their values, but instead the result of a state of crisis. i try to use phrases like "that sounds ___," "that must be ____," "i can see how you'd feel ____" and similar, both to affirm their own lived experience and to avoid reifying it as objective truth.

know when to step away. mania is draining for literally everyone involved, and what people do to their loved ones in the midst of a manic episode can be incredibly harmful, even if occurring alongside grand gestures of generosity, productivity, etc. you are not your friend's keeper, and your feelings and well-being matter just as much as theirs. do you both have mutual friends you can tap into to provide support when you're burnt out? these friends might also be able to offer some strategies that you or i haven't thought of. it's important to say that this support shouldn't be constant "did you use substances today" "did you drive recklessly today" other surveillance type stuff. try to maintain a normal rhythm to your conversations, and when something that makes you go ??? comes up, try framing your response as a question. "i'm going to finish writing and editing my novel today and start two new books and apply for this and that grant" - you could say, "that's a ton of stuff. why do you need to do it all today?" this creates space for other possibilities without forcing it.

your friend doesn't need advice right now, they need support! the person who needs advice, i think, is your friend's dad. are you and him directly in touch, and is there any way that you could get in touch with him? since you're online, i don't know the details here; it may work best when your friend is no longer manic and you two can speak frankly about how best to support them. i do suggest making a crisis plan with him/whoever they're close to irl.

I hope this is somewhat helpful!

[plantsjustwannahavefun]

"Izzy Canyon dwellers just want to turn him into an innocent victim who did nothing wrong!"

Actually my problem is that, in hindsight, Izzy didn't do enough wrong to justify the common interpretation of his relationship with Ed. In my book, the first time in the series he legitimately crossed over to villainous antagonist territory - someone you actually loved to hate for it even if you understood his reasons - was when he set the British Navy on the Revenge. That way he not only betrayed his integrity as a pirate by consorting with the common enemy of all pirates, but risked Ed's life too - cause, like, come on, that "plan" to send CJ to convince Ed to leave Stede was so far-fetched it barely counts as a plan. I don't buy Izzy ever looking at CJ and going "yep that seems like a smart, responsible, trustworthy man I could rely on for a delicate mind games operation like this". It was an act of sheer desperation on Izzy's part, but he still chose to do it. IMO this was actually worse than what he said to Ed in S1 finale. Although of course that was very nasty, too.

But the thing is, we don't actually have any info on what their relationship used to be like before S1. We were only ever shown, not told - and both times from Izzy's perspective: the first time in S01E04 during his resignation rant, which was very heartfelt and I'm sure a lot of it was true, but it's still one-sided, and the second time during his deathbed speech, which was, again, one-sided and this time biased in another direction - instead of airing his pent-up grievanced Izzy was putting most of the blame on himself.

Other than this, the entirety of Ed and Izzy's pre-S1 relationship gets extrapolated from one single episode, S01E04. The narrative itself seems to want us to see it as a microcosm of their usual long-standing dynamic, at least on the surface. We see Ed being depressed and suicidal, trying to open up to Izzy about it, and Izzy shutting him down and making him act like Blackbeard again. Since it's already clear that Ed and Stede are the main characters, we're primed to see Ed as the victim here and Izzy being an annoying, insensitive nag.

Except the context of those interactions changes everything. The context being that they are literally about to be attacked by the Spanish - something Ed knowingly brought on them with his decisive power as captain - and Ed is deliberately withholding crucial information from his own first mate and the rest of the crew, making them all think they're going to die and he isn't doing anything about it. Izzy wasn't just being a boring buzzkill not being excited for Ed when he showed him that ship model. He was actively panicking and trying to do his job asking Ed for orders so they don't all get slaughtered.

So, yeah, those are some very exceptional circumstances that don't say anything about their typical day to day interactions go when they're not in immediate mortal peril due to lack of communication. Was this the first time Ed ever told him about not wanting to be Blackbeard anymore? Izzy didn't seem very surprised, so probably not, but we don't know, and if Ed had confided in him before, we don't know how Izzy reacted - but I'd like to point out that this time he didn't ridicule Ed in any way, he simply pointed out that they were about to die if Ed didn't do anything. Does Izzy usually indulge Ed in the stuff he finds fun when they're not about to be killed? Again, we don't know, but Izzy's playfulness during that first confrontation with Stede in S01E02, and his whittling and jokes in S2 showed that he wasn't always as grouchy and joyless as he's made out to be. We actually saw him smile when Ed got excited about Buttons, too. Pretty sure if Izzy always shut him down about things like that, Ed would have stopped trying to share it with him long ago.

And, finally, there's one piece of this puzzle that doesn't seem to fit in with the rest at all. The show both told us and implied that Izzy couldn't let Blackbeard go because his own identity was too tied up in it, and because he idolised the glory of violent pirate lifestyle. But if that's the case, then why did he have no problem with Ed wanting to retire? Izzy literally gave him an enthusiastic thumbs up on the whole "kill Stede and steal his identity so he could live the rest of his life as a rich aristocrat" plan. If Izzy only admired Ed as a pirate, and was so hell-bent on keeping the Blackbeard persona alive, why was he ok with Ed retiring? How does this square up with the idea that Izzy had been keeping Ed chained to piracy?

I'd honestly hoped we would get some flashbacks of the two of them in S2, and then S3 before that hope died too, because there's still so much we're missing.

[respectthepetty]

Pride Petty Watch (The Untamed) 2/?

The crowd picked two blacklisted shows for me to watch during Pride, so even though the first series took me only three days to get through, the second one is taking some time since I went out this past week and touched some grass for Pride. However, I did watch an episode a day AND spotted something on sale while out and about.

Fun Fact: These are 200 pages EACH, and they only cover what has been shown up until episode five. I teach English, not math, but doing some simple addition, dividing over A, carrying the Y, and solving for X, I have guessed that this series is going to be 20 books long! TWENTY! AT LEAST! Basically, it's going to be as long as this long-ass series.

*presses play on episode six*

These idiots are drunk, loud, and fighting. They are breaking rule #36, #265, and #1. Even I know that!

When you realize you're in love with a virgin who is a light-weight and can't even drive after talking about intimacy while touching his headband. I take back everything I said about this show. It's gay. Like real gay. Gay gay.

Fuddy Duddy is better than me because I would not have taken that beating, but that's probably why he is an elite Cloud Cunt or whatever, and also why he has now been blessed with Wei Wuxian trying to cuddle in this freezing water while talking about his "extremities" shivering. Note: In the comics, we see that Fuddy Duddy is BRANDED (like as in marked by burning the flesh) and has A SHIT TON OF SLASHES ON HIS BACK (like as in whipped . . . BY A FUCKING WHIP). Basically, this Cloud Cult is batshit crazy.

These two are fighting literal demons. But also the demons are homosexuality.

THEY TIED THEMSELVES TOGETHER WITH THE INTIMACY BAND! If it was red, it'd be game over for China!

Y'all cute but your kid is still an asshole, and there is a queer plot brewing. GET OUT OF MY FACE!

They were lesbian lovers, and I will not be entertaining any other reason for all of this because only a lesbian would tie her soul for eternity to a musical instrument just so she doesn't have to admit she was wrong to her wife, while her wife goes on to train the most elite squad of wizards just to one day help her wife because she already predicated her wife would fuck up. This is love.

Correction since my boy asked AGAIN if he could harness evil power for good - One of them is fighting demons, the literal and homosexual kind, and one is embracing them both, openly, with no fucks given.

And she knows! Not about the homosexual part, but about the "finding the stone hidden in the rock" part (but probably the homo part too)

Wei Wuxian lied for you when you got out of the rock. He touched your headband. And now he has touched your soul. Stop fighting it. Embrace this. It's Pride Month.

Wei Wuxian drinks, parties, talks shits, and backs it up. I'm getting flashbacks to Spring Break in South Padre. It was the best of times. It was the worst of times. But the hands were always ready to hit their mark.

My boy is Catholic. Fuddy Duddy took 300 hits earlier to uphold the integrity of his Cloud Cult or whatever, but my boy was told his punishment and is merely going through the motions since he doesn't regret laying hands on his future in-law. He said "tell me how many Hail Marias I need to say, so I can go play with the ants and get a tan." Same.

First, your best friend brought the bird into the class and now you took the bunnies to remind Fuddy Duddy of "those four amazing hours you spent in the hot tub together after Winter Formal." Y'all are schemers, and this will cause problems later. I've taught too many freshmen. Y'all need to be separated before you plot the end of the world and animals have to be sacrificed. I see the signs.

Who is going to kill this man? WHO?! Let it be a woman because he needs to be reminded he is insignificant and useless.

Oh my God, they found each other! I knew my boy would go after his boy, but for his Bird Bestie to spot them too?! These two idiots are going to cause havoc and hijinks.

Y'all are so Romeo and Juliet coded, it hurts my feelings. Girl, you're going to die and he is going to be sad about it. But can you kill that red asshole first? Please.

Sir, now you and I both know some shit is about to go down because that florist's house was crispy fried burnt, that woman outside was creepy as hell, and these two are over there chatting about soul snatchers. GET OUT OF THERE, FD, AND TAKE THE ANIMAL BROS WITH YOU!

FD might have the brains and the silencing charm, but my boy got the moves. He has that Spider Man magic string thing, he has the Shrek gingerbread men, and he keeps making spells out of thin air. Maury, who is his daddy? God?! THE DEVIL?!

SHE CAN PLAY A MUSICAL INSTRUMENT TOO! Hold up. HOLD UP! Fuddy Duddy's brother played it to calm everyone down. FD played his to subdue the zombies. And now she did too, but my boy's flute playing skills not only calmed the zombie, but controlled him. Did he learn it from her?!

Girl, what are you doing at the devil's sacrament?

Wen Qing has been holding off this fucking bird and these zombies all night, and these boys have been doing what at their slumber party? Braiding each other's hair? She better be the one to kill that red asshole. She deserves the body count. *wink, Jiang Cheng*

The bird needed to go, but this is what I'm talking about with him and his bird bestie. Homie closed his eyes and felt his feelings because FD told him to, then pretended to be dead just so he could kill that bird. It's smart as well as scary because how much power does he really possess? A shit ton. That's how much. But also, why didn't they take the dead bird with them? Don't leave behind magical creatures to be brought back to life!

Smart to have the others chase after a chicken, so the color-coded boys in love could get more details, but these two are a hetero version of the mains. She is not bad. She is trying to do good with what she has, which is a pile of shit, and he wants to do right by her but his principles are going to get in the way. I anticipate no happy endings for anyone. Not Romeo and Juliet or Romeo and Julio.

Bird Bestie was smart to stay behind because it was obvious there would be dead bodies, but WHO THE FUCK ARE THESE TWO?! This show is color-coded within an inch of its life, and everyone is a pair because they both have the other's color in their robes, so the fact that the white one showed up first and claimed evil guy was his enemy makes me think they have history (exes), but the new black guy replaced him. Black dude, I'd watch my back because Evil Dude is coming for you.

It also worries me that these two have a similar . . . something. Wei Wuxian, buddy, homie, ho-migo. You're getting darker. You were dark blue, but now, you're black. Why is no one else concerned that the call is about to come from within the house?

So much shit is going down on this mountain! White No Name dude just said he knows and was trained by the OG lesbian, so we know she is still alive and well waiting for her wife, and my boy is sad since his mama was trained by her therefore he was trained by her, which makes her his grandma or something (I DON'T KNOW!). And now the illegitimate brother I want to be with FD's brother is in charge of watching the evil dude, but he is wearing white/blue and evil dude is wearing black/gold, and if they become an item, I'm gonna be pissed!

Y'all, he is gonna fuck up. He is going to let the bad guy go isn't he? I don't understand why they couldn't kill the bad guy, but my illegitimate son has been disrespected in this house too many times in the past ten minutes to let this shit slide. He is going to make a deal with the devil. I feel it.

"I'll sleep on your roof" - That was a declaration of love because y'all fought on a roof over liquor, and now he wants to just chill on your roof while drinking even though you are leaving. He is sprung and does not care who knows.

WHAT THE FUCK IS HAPPENING?! THIS IS A FUCKING SHIT SHOW! The oldest kids are being called away which means Fuddy Duddy's cult is probably losing it and branding everyone. They are being attacked by the Evil Reds even though their evil dude admitted to killing that whole damn family! My illegitimate son DEFINITELY killed that guy and let the evil dude go. He did that. I know he did. And my boy's outfit looks so similar to that evil red swordsmen who is fighting on behalf of that weak ass red bitch because he can't fight himself, it's ridiculous (Someone needs to slash that evil red dude's face and his tires).

Everyone is going to die, and there is no hope.

*eats some naan*

Okay, maybe there is some hope in the other FORTY EPISODES! FD's brother could take in the illegitimate son, and they could live happily ever after. Right? RIGHT?!

[bunnakit]

last twilight episode 6 thoughts, feelings, etc.

it's that time again and i've decided to be very extra for this episode because, well, it deserves it. what a ride that was. fair warning i was feeling fucking romantic and wistful for this.

we have August showing up, trying to integrate himself into their daily routine, and then disrupting that routine entirely. and when he suggests running with Day Mhok seems defensive, jealous and probably concerned that August has seemed unreliable before - and currently is operating with more information than Day, leaving them on unequal footing. August knows about Day's feelings for him, but Day has no idea August knows, and that's not really fair. but Mhok doesn't want to say anything because maybe, just maybe, August could make Day happy. maybe Day could finally get what he wants for the first time in a long while.

so Mhok watches. because Mhok will never put himself first, it's not who he is.

Day clings to these broken and battered shoes, a connection to a past life he thought he had to leave behind. he clings to familiarity and comfort. all things Mhok has become to him.

and so maybe Mhok sees himself in these battered, rough around the edges shoes. maybe Mhok believes he can be fixed, just like the splitting sole. maybe Day is fixing him every day, not in a stupid fucking 'he saved me' bullshit like the crying guy at the interview, but in a genuine, he's changed my outlook on life, my perspective, my everything, and made me a better person. maybe these scuffed shoes can be better if someone helps them.

and so he fixes the shoes, just as he's been fixing himself ever since he walked through Day's front door, and he gives Day the sunflower he couldn't give him before. Day asks him what it is but again Mhok doesn't have the heart to say. he doesn't elaborate, doesn't explain, only moves past the moment because this isn't for him, isn't about him, this is about Day reclaiming something he thought he lost.

How can I throw them away? I love them so much.

Maybe if he loves these broken and scuffed shoes he could love me too.

and here's where we have a story narrating for us again, my absolute favorite thing about this entire series. i love the narration from the books they read - and i love that the boys are both simultaneously the character represented. the words always have a way of applying to both of them and it's fucking gorgeous.

and with this narration we've been so seamlessly slotted into Mhok's POV. everything up until now has focused pretty strongly on Day's struggles and adjustments, we've seen everything from the lens of Day and what he's facing, but suddenly we're so perfectly slotted into Mhok's body, something we haven't focused too hard on yet. sure, we've seen his pain and his grief, but we're seeing so much more now, so many little intricacies and inner thoughts. i absolutely love how this was done.

Do you think I fell in love with him without realizing it?

and as he has this love blooming in his chest, this realization of the magnitude of his feelings - that he doesn't just want Day to be happy but wants to be the source of that happiness - Mhok begins to become invisible again. it's a place he's familiar with and it doesn't come as a surprise. just with a mournful resignation. this is how it always is, and how it was always going to be.

and just like with Porjai he decides to step back. it's worth it as long as the people he loves are happy; even if that means he's not by their side.

like the scuffed shoes, Mhok is replaced with something better. Day put in his eye drops and no longer looks to Mhok but to August instead.

and as Mee and Day's fear grows smaller Mhok's grows larger. the fear of being left behind and the fear of being forgotten. the fear that Day no longer needs him, will no longer look to him for help or seek him out. the fear that he's lost his place as Day's friend, slid back into the role of only a caretaker, and perhaps even further back still into a stranger.

Mhok's shirt reads: IF LOST, DROP IN ANY MAILBOX. Return Postage Guaranteed.

because Mhok is lost. he doesn't know where he stands anymore, where he fits into Day's life. but he knows he'll always return to Day's side for as long as he needs him.

the scuffed shoes are left on the shelf, just as Mhok has tucked away his feelings for Day. they'll always be there, familiar and reliable, and maybe someday Day will need them again. maybe someday.

and then we learn that Night smokes, and maybe Day never hated the smell of cigarettes.

I think his voice is like the scent of cigarettes.

maybe Day just hated the way the smell reminded him of Night.

and we learn Day had fully resigned himself to spending his birthday alone.

his mother would be out of town, spending it with Night is out of the question, August has practice, and it's Mhok's day off. as if Mhok would rather be anywhere else. Day is used to not being a priority.

as Day peers at Mhok's chest maybe it feels like he can see into him. Mhok has always felt invisible, but somehow Day saw him in spite of all of that. maybe he wonders if Day can see into his chest, see that his heart is made of sunflowers, tucked away and kept in secret as to not inconvenience Day. and maybe Mhok wonders: can you see them? can you see the way they bloom and turn towards your light?

and for a moment Mhok is weak. he takes Day's hand and places it back on his chest as if to say: my heart is here and it belongs to you, can't you feel it?

and here is where i will begin to cry and not stop crying until the end of the episode - so if you're crying don't worry, i'm here with you.

because Day sprays Mhok with Tiwa cologne. fucking Tiwa cologne.

Tiwa means day time. the cologne was created to mimic the atmosphere of the Thai countryside during the day.

suddenly, Mhok is bathed in the scent of Day. both the concept and the man.

it's Day's favorite scent.

It smells both like toughness and aggression.

At first, you want to flee from it.

But after you scent it for a while, it makes you feel warm.

and Mhok's face falls at first because is that how Day sees him? he thought Day saw him, he thought Day understood that he's not all the things people say he is and - oh.

oh.

you can see the palpable relief across Mhok's face because Day does see him, does understand him.

(the cologne also shows us once again Day's privilege. Tiwa costs $140 a bottle, or ฿‎4884)

again Day asks what Mhok is going to this dinner as, and then asks why Mhok is so secretive.

and maybe for a moment, for just those fleeting few minutes they spent getting ready together, Mhok was able to pretend this was real. he was able to pretend Day was going to dinner with him, would stay by his side and enjoy his birthday with him, create new memories with him.

but that's not for him. it's just another sunflower he tucks away in his chest.

they arrive at the party and there's no place for Mhok; not at Day's side, not at the table, not anywhere. he's never acknowledged again by anyone there, no one offers him a spot because he's an outsider, this place isn't for him. when the sun no longer shines on Mhok he is invisible once again.

suddenly, Mhok is back in his own fish tank - because it's not only Little Day that freed himself of the cloying miasma of his environment but Big Mhok had as well. his tank was clean, he could breathe and see clearly again.

but now he's back there, as smoke fills his lungs and regret tastes like ash on his tongue. he can't smell the jasmine blooms anymore.

Day still looks for him, still seeks him out because Mhok has always stayed, has always been around even when Day didn't know he needed him. Mhok's been there at every step of this journey and now suddenly Day is adrift on his own. what do you do when the person that has always been there is suddenly gone?

it probably feels as if Day has been robbed of yet another one of his senses.

and we see Day get overwhelmed again, the narrative has shifted away from Mhok now and we're nestled back in Day's body where things are so loud and so much, too much, and he doesn't have the one person he can find comfort in there. everyone is trying too hard, treating him like glass, and he's still a fucking human being, he's still an adult man, he's not a fucking child -

and so he escapes. he finds a moment of peace and collects himself. he hears someone approach and who else could it be but Mhok? it's always Mhok, it's always been Mhok.

but Mhok's not here.

August is.

and suddenly August is kissing him but it's not right, it doesn't feel like he thought it would, and maybe he realizes he liked the idea of August more than August himself. maybe he clung to memories made fond and soft with time.

because this? this is not the kiss of a man full of hope and love. if Bad Buddy taught me anything, this is a kiss goodbye.

the hero is coming and it's time for the villain to go.

Mhok knows better than anyone that the one thing Day doesn't want from anyone, the one thing he fears the most in all of this, is receiving pity. he's never wanted to be pitied for any of this, but August has just pitied him in the worst possible way. and of course Mhok is here to see it.

of course Mhok would come back, now of all times.

and we see Mhok speak in a way we haven't before. his rage becomes incandescent, beyond the limits of just shouting, and it's the quiet of his rage that becomes far more terrifying. it's the quiet calm before the storm. Day has never seen Mhok enraged, not really, he's never been there when Mhok has hit someone, but he must hear the control slipping from Mhok's voice.

because August held everything Mhok had ever wanted in his hands and played with it, pitied it, and tossed it away. how can he be anything but full of bitter fury?

but as Day holds Mhok's hand he stops. he reluctantly releases his hold and curls his fingers around Day's hand. he'd do anything for Day, now more than ever.

Mhok speaks softly to Day and holds him close, the hug as much for Day as it is for him. they're both broken, both trying to hold on to the withered petals of their hearts. if they hold on tight enough maybe they can hold each other together.

and now we're to my absolute favorite recurring thing Mhok does.

Mhok takes Day away, he doesn't let him retreat into that tiny fish tank. Mhok brings Day out into the world, to breathe the fresh air.

and each time he's brought Day somewhere he can enjoy without his sight - yes, even this rooftop.

on the porch, Day could smell the jasmine blossoms.

Day could smell the flowers at the market, was surrounded by their scent.

now he's bathed in the light of the rising sun, in the warmth it has to offer.

the world feels different in the early hours of the morning. the air is a little colder, a little thinner, everything is more quiet and subdued. you can feel the sun start to thaw out the Earth, can feel as it glides over your face and warms your cheeks.

this place is special to Mhok, a small sanctuary he's tucked away for himself, and now he's sharing it - and a shard of his past - with Day. in exchange, Day opens up. he explains that no one really liked him before, that each person (Gee not withstanding) at that party pitied him and were only there as some sort of act of charity.

I'm just so damn lucky to be blind.

because people are looking at him now, right? he has everyone's attention now. he got to kiss his crush. people would fall at his feet to help him.

but it's all wrong, tainted with pity and charity. he has their pity but not their affection.

Is there anyone else in this world who doesn't feel pity for me?

Do you still think I feel pity for you? Mhok asks after kissing Day in the light of the rising sun, because Mhok has never pitied Day, not for a single moment in time. it's not pity that he feels housed in his chest but love, overwhelming and all consuming.

just as the moon represented the hearts of Moonlight Chicken so does the sun represent the hearts of Last Twilight. this is the dawn of something new for both of them, fragile but hopeful.

I'M JUST FEELING SO FUCKING MUCH. do you think p'aof will be my best friend? if you've read this far i'm smooching you and also here's a dumb little surprise.

tag loves: @benkaaoi @callipigio @lookwhatihave

[fantastic-nonsense]

obviously I'd be thrilled to just get the whole PJO series adapted and then end it there. However: Heroes of Olympus as a story can be cleaned up sooooooo much in a way that PJO just doesn't need to be, and a tv adaptation offers the perfect opportunity to do so

like honestly my hottake is that I think Disney could solve both the problem of adapting a long, convoluted sequel series and a lot of the problems HOO as a story has if they a) do The Lost Hero and Son of Neptune in the same season and b) deliberately wait until the PJO actors are in their 20s to do it

Just thinking about this a bit more:

three 12-14 episode seasons, with TLH/SoN in S1, a modified MoA in S2 that deals with some of the Argo crews' HoH subplots, and then HoH/BoO in S3

Percy and Annabeth are in their 20s and newly engaged when he disappears. This sets up the arc of Percy dreaming about settling down with Annabeth in New Rome in a more organic, functional way and also gives us as viewers a chance to see that the aftermath of the Titan War has resulted in tangible, lasting change for the demigods of Camp Half-Blood

Grover replaces Coach Hedge as the Seven's collective Protector+chaperone, which solves the series' problem of Grover's absence and the absence of the PJO Trio's friendship

the whole show/story takes place over ~6 months instead of the year it did in the books, and Percy+Jason's individual quests happen concurrently (simply not letting Percy sleep for 8 months and making an episode where he establishes himself at the Roman camp for awhile before he's forced on the quest with Frank and Hazel would solve about half of the problems on the Roman side of the series)

Season-wise, things mostly sort themselves out:

The first season starts off introducing the Lost Hero trio and we find out that Percy's missing at the end of the first episode. The second episode opens with Percy waking up at the Wolf House and starting his journey to New Rome. We get one episode entirely devoted to amnesiac Jason and Percy integrating into the new camps, making friends, and learning about their missing counterpart before the quest plots start up.

The season then alternates between Jason, Piper, and Leo's "Find Hera" quest and Percy, Hazel, and Frank's Alaska quest, with intermittent jumps to the Greek and Roman efforts to find Percy and Jason. It ends with Percy and Jason regaining their memories and each camp realizing their leader is on the other side of the country in "enemy" territory.

The second season opens around a month later as the Argo II docks in New Rome. Percy and Jason have both been given time to make friends, integrate themselves into the opposing camp, and become adjusted to a different way of life with all of their memories intact. They haven't physically returned to their home camps as they've both independently come to the conclusion that Hera switched them to initiate inter-camp unity and are wary of doing anything that would disrupt that goal. However, Percy and Jason have both managed to get messages to Annabeth and Reyna respectively at some point in that month, so everyone knows everyone is safe when the Greeks finally arrive in New Rome.

Cue MoA's various plotlines, which would be cleaned up and streamlined significantly while also integrating in some of the HoH arcs like Hazel learning how to manipulate the Mist, Frank learning how to use his shapeshifting powers, Piper coming into her own as a daughter of Aphrodite, Leo's seventh wheel arc and the Calypso subplot, Jason struggling to figure out what his place is, the Jason-Nico friendship, etc. Also set up the Greek v. Roman dispute and Reyna following them to Greece. Season ends with the Annabeth-Arachne confrontation and Tartarus fall.

The third season combines HoH and BOO; the season alternates between Percy and Annabeth's journey through Tartarus while the rest of the Seven finish their various character arcs via gathering the elements for the Physicians' Cure and journeying to the Doors of Death. After they rescue Percy and Annabeth and close the Doors, they plan to head straight to Athens to take on Gaea. Reyna reaches them just after, and Annabeth sends her and Nico off with the Athena Parthenos with Grover as their Protector.

The final battle switches between The Seven+Gods vs. Gaea+The Giants at the Acropolis and the Greeks vs. Romans at Camp Half-Blood. The Gaea plotline is resolved at the Acropolis, the Greek-Roman plotline is resolved as Nico and Reyna triumphantly arrive at Camp Half-Blood with the statue, a functional Greek-Roman working relationship, and the gods' blessing. This helps streamline the mess that was Blood of Olympus and actually provides a workable story resolution.

We get a final aftermath/epilogue episode that sorts out and ties up all remaining plot threads, teases Solangelo, and ends with Percy returning home to see his mom and planning out how to move to New Rome after he and Annabeth get married.

Obviously this is the roughest possible sketch of how it could be done, but I genuinely believe doing something like that could fix some of the biggest issues HOO has conceptually while streamlining all of the quest bloat. It'd be interesting to see them try, anyway.

[demonslayedher]

Something I really loved about this past episode (and I loved a lot of things about this episode) is that I got to enjoy Himejima at his dweebiest.

I've been on the meta side of enjoying Himejima so long now that I feel like I went straight from "ugh, crying is this guy's personality" to "Himejima is deeply jaded but that has nothing to do with how deeply everyone respects him." This episode is that wonderful space in between where Himejima is an even bigger dork than most of the rest of the Hashira. Like, you could expect that this is going to be his role for the rest of the series and still be just as happy with seeing another side of him, like "haha, of course he cries about trash. OMG, he loves cats. HAHAHAHA LOOK AT HIM HE THINKS HE IS HIDDEN BEHIND THAT SKINNY TREE" because he's just such an adorable oaf.

Also, I startled myself a bit when I thought that, because often when I say that I love oni (of the red- and blue-skinned cartoony kinds), I say its because they are such big, silly oafs. My apologies, Himejima, I know you would make a terrifying oni.

But that's the beautiful of this episode. People only following the story in the anime don't know that yet.

I'm so happy we got the silliest of Himejima Taisho Secrets animated, both the way he is goo when holding a cat, and how seamlessly they integrated Himejima smacking Inosuke face first into the ground with the flippancy of a cat knocking a cup off a countertop. That is one of my favorite Gotouge doodles ever.

Anyway, that is my happy, cheerful, "yay, Himejima is so cute and silly" ramble. I really hope to see his flashback get the same dramatic treatment that Muichiro's did (which would be especially satisfying after showing this light side of his character so we get that contrast), and I'm very excited for the next episode. But man, we don't *truly* get Himejima until he's facing off against Kokushibo, do we?

[starlight-bread-blog]

My Interpetation of The Southern Raiders: Part 3 – Katara

Part 1 Part 2

Hello! Welcome to the final part of my series navigating through the discourse surrounding The Southern Raiders. In the first part I discuss A\ang and in the second part I discussed Zuko. Now that we've understood the people around Katara, I can discuss how they affected her and her choices. So, without further ado, let's begin!

——————

1. Where did this side of Katara come from?

Katara didn’t just become more intense and angry for an episode out of nowhere. It came from years of fury and grief simmering in her.

Kya’s death was a very defining moment for her. As opposed to her brother, whose defining moment was his father leaving him, it molded her as a character. It’s who she sees at the swamp, whereas Sokka just sees Yue. It’s how she connected with Jet, Haru, Hama and even Zuko.

Ever since that dark day, her mother’s death was looming over her, while also being an integral part of her. She lived her life knowing that incredible injustice had been done, and she was furious. At the same time, she wanted to be like her mother, taking care of everyone’s needs. But her anger festered inside of her, and her grief didn’t let go. This anger is what we see in The Southern Raiders.

Additionally, some of the anger she displayed during her arguments with Aang and Sokka can be traced back to Aang’s insensitive behavior I discussed in part 1. Katara is notorious for her maternal emotional labor, especially for Aang. In The Desert she puts herself in danger in order to pull him out of the avatar state, and she always offers her help when needed.

Now she wants to do something that goes against his personal beliefs and that’s how he’s treating her. Still, she doesn’t insult him. “I knew you wouldn’t understand” is what she said. His disapproval is to be expected. Then, her brother, who suffered the same loss, backs him up. And when combined with her anger at Yon Rha, she lashed out.

——————

2. Why did she spare Yon Rha?

Because it was never in her to kill in the first place. That’s not who she is. The anger was in her all along, but murder wasn’t. She was given a choice, and she chose not to. Zuko’s offer sounds bad, but there was never any danger of Katara killing Yon Rah in the first place, she simply wouldn’t do it.The only things that were on the cards were seeing him. The supposed dangers of it weren’t actually going to come to fruition, and in the end, Katara is in a better place after the trip.

But I do think it goes deeper than that. Katara is an idealist, often to the point of naivety. It’s why she trusted Jet over her brother, it’s why she was going to use the spirit water on Zuko back in the crystal catacombs and it’s why she thought blowing up the factory in The Painted Lady was a good idea.

For years the ideal of the perfect revenge on the Fire Nation who took her mother burned inside her. Suddenly she has a chance to execute this ideal, but reality smacks her in the head.

Katara: I always wondered what kind of person could do such a thing, but now that I see you, I think I understand. There's just nothing inside you, nothing at all. You're pathetic and sad and empty.

The man isn’t some scary boogeyman, and she will not kill him.

——————

3. How did her trip affect her?

Katara: [Rises from boardwalk.] But I didn't forgive him. I'll never forgive him. [Smiles at Zuko and walks up to him.] But I am ready to forgive you.

As I previously established, seeing Yon Rha was somewhat a reality check for her. It was her final step in her arc of becoming less naive. With this final ideal gone, she no longer holds this pent up anger at the Fire Nation. Thus, her arc is concluded, and she is ready to accept that the Prince of the Fire Nation can be her friend. (None of this would’ve happened if Zuko hadn’t made the offer. And that’s why ultimately, their trip was a good thing).

——————

In conclusion, Katara's anger stemmed both from years of it building up and a lack of support from her peers. But when it came down to go through with murdering Yon Rha, she couldn't do it. Because even if she forgot it, he is a person. She had a reality check and lets go of black and white notions of the world. Thus, she could forgive Zuko.

[floridaboiler]

On October 3, 1955, Captain Kangaroo premiered. It aired weekday mornings on CBS for nearly 30 years, from October 3, 1955 until December 8, 1984, making it the longest-running nationally broadcast children's television program of its day. In 1986, the American Program Service (now American Public Television, Boston) integrated some newly produced segments into reruns of past episodes, distributing the newer version of the series until 1993.

The show was conceived and the title character played by Bob Keeshan, who based the show on "the warm relationship between grandparents and children". Keeshan had portrayed the original Clarabell the Clown on The Howdy Doody Show when it aired on NBC. Captain Kangaroo had a loose structure, built around life in the "Treasure House" (later known as "The Captain's Place") where the Captain (the name "kangaroo" came from the big pockets in his coat) would tell stories, meet guests, and indulge in silly stunts with regular characters, both humans and puppets. Keeshan performed as Captain Kangaroo more than 9000 times over the nearly 30 year run of the show.

The show was telecast live to the East Coast and the Midwest for its first four years and broadcast on kinescope for the West Coast, as Keeshan would not perform the show live three times a day, and was in black-and-white until 1967. The May 17, 1971 episode saw two major changes on the show: The Treasure House was renovated and renamed "The Captain's Place" and the Captain replaced his navy blue coat with a red coat. In September 1981, CBS shortened the hour-long show to a half-hour, briefly retitled it Wake Up with the Captain, and moved it to an earlier time slot; it was later moved to weekends in September 1982, and returned to an hour-long format. It was canceled by CBS at the end of 1984.