#it’s literally a form of showing love and care for someone without explicitly saying it because

[bagsbyler]

saw this on twitter and IMMEDIATELY thought of byler

[heliza24]

Wilhelm closing the curtains

I know people have varying opinions on the moment when Wilhelm closes the curtains in 2.5, but to me it’s always felt really special, in a way that goes beyond a reaction to past trauma. There is something about that action that feels really sacred to me, but I was struggling to articulate what until I started talking with @bluedalahorse about it. She said something so great that it sparked a bunch of ideas in my head: what if we thought about Hillerska, not just as a school deeply entrenched in the class system, but as a panopticon?

A panopticon is “a disciplinary concept brought to life in the form of a central observation tower placed within a circle of prison cells. From the tower, a guard can see every cell and inmate but the inmates can't see into the tower. Prisoners will never know whether or not they are being watched.” Basically, it’s a conceptual prison where because  you could be observed at any moment, you behave as if you are always being observed.

Now obviously Hillerska isn’t a literal prison; this is a metaphor more than anything. But I think it’s a useful way of examining the dynamics in the school.  Because the adults at Hillerska aren’t the only ones enforcing upper class values and hierarchy. The students are also policing each other  as well. That means that any student could be observed “breaking the rules” established for upper class kids at any time. An important part of the unspoken rules you agree to at Hillerska are to follow the traditions set out for you, and to keep the authentic, vulnerable version of yourself hidden. It’s very important that you only show vulnerability in sanctioned ways, and to the correct people.

There are a lot of tangible ways this system of self-policing manifests. There’s the “get on the table” tradition, which allows the Forest Ridge boys to monitor each other’s hookups to make sure that everyone is picking appropriate partners. There’s the pledge that August makes Wilhelm take after his initiation, to “never betray the proud traditions of Forest Ridge House”. And there’s the system of prefects, where one student is elected to explicitly control and discipline the other students. 

I would say that the royal family and the court operate in much the same way. The members of the royal family are always policing each other for good behavior, and the apparatus of the court and the royal staff works to cover up any deviant acts and reinforce the status quo. The royal family is always being observed by the public and the media, so they are always careful to act with propriety. So between the palace and Hillerska, Wilhelm has lived his whole life being observed. He’s never been free of the panopticon. 

Thinking about Hillerska in this way can really help us understand August’s actions in season 1. When August records and posts the video, he’s acting in the way that he’s been trained to do. Wilhelm has broken the rules in a few ways: by having sex with another boy, by falling in love outside of his class, and maybe most importantly, by being intimate with someone who lives largely outside of the panopticon and can therefore not be controlled by it. As Nils tells us in season 2, the rules about who you can be intimate with are very image-dependent. You can have gay sex as long as the person you’re sleeping with will be discreet. But Simon is an outsider. His ties to his family and Marieberg mean that he’s immune to the Hillerska panopticon in a lot of ways. So it makes total sense that August would act almost without thinking (he’s intoxicated when he records the video) to reinforce the rules and punish Wilhelm for stepping out of line like this. 

To return to the royal family for a minute, I am continuously fascinated by the way that Kristina reacts to Wilhelm threatening to post on social media that he is stepping down as Crown Prince. The most powerful threat that Wilhelm can make is to remove the power of his immediate observers (the royal family and of the court) by exposing his true self to the general public. The panopticon relies on your close circle observing and controlling you, but as soon as you reveal your authentic self publicly, the power of that circle disappears. When Kristina tells Wilhelm “you have to realize that there will be reactions when you threaten us” in 2.2, she basically draws a line between Wilhelm the Person and Wilhelm the Prince. Wilhelm the Person was threatening Wilhelm the Prince, and by extension the whole royal family and circle of observation. 

Because of that I think it’s important to remember that Kristina leverages therapy not as a genuine solution for Wilhelm’s mental health struggles, but as a tool of the panopticon. Therapy is supposed to teach Wilhelm how to better control and suppress his emotions, so that he can act more controlled while he is being observed. I know some people like to speculate that Erik was also struggling under the weight of the crown before his death, and that may be true. But I also think it’s important to recognize that Erik was using coping skills that were explicitly approved by the panopticon system. Wilhelm never knew he went to therapy, which meant he was likely using it as Kristina intended, as a way to help him maintain a perfect princely image. He was having hookups with sex workers, who could certainly be controlled and paid off enough to ensure that they never threatened his image. And he was (at least) casually drinking, a form of self medicating that might be seen as more acceptable by his family and the court than relying on actual pharmaceuticals. (There’s certainly a longer tradition of princes and kings drinking than taking antidepressants). I think that if Erik had lived, he would be sympathetic to Wilhelm’s plight. But I also think that he would have encouraged Wilhelm to deal with his problems through officially sanctioned methods, which ultimately wouldn’t have been enough to help Wilhelm.

So now let’s finally return to the window and the curtain. The idea of a window through which the prisoner is observed is crucial to the concept of the panopticon, and I think it’s really interesting to contrast the way that August and Wilhelm react to it. August takes the call from the palace, where Jan-Olaf maps out his future to him, standing naked in front of the window. August is comfortable with this system of observation and control; he’s consenting to Jan-Olaf’s demands without argument and is unafraid to be seen while doing so. He’s a part of and protected by the system, so it doesn’t matter if anyone sees him.

When Wilhelm closes the curtain for him and Simon though, he’s effectively taking himself out of the panopticon. He’s taking away the pressures that come with being observed and freeing them both to behave genuinely. I think that’s a really big deal for Wilhelm, who was raised in the royal system of control and is now living in the social hierarchy of Hillerska. As much as closing the curtains is a reaction to what August did, it’s also a revolutionary act. Claiming privacy in that way is a really big step in Wilhelm’s journey, and I think it’s something he had to do first before he was ready to publicly claim his queerness and relationship with Simon at the end of Season 2. 

[alovelyburn]

do you think guts would still forgive griffith even after everything he did? and for 'everything' I mean casca's rape too

I said what I said!

Longer answer: I mean, yeah. I've written somewhat extensively about my belief that Guts would absolutely forgive Griffith if given a decent reason to (by which I mean validation and remorse). Obviously when I wrote those things I was aware of the full events of the Eclipse, and aware that Guts is aware of them, so yeah, I do. That doesn't mean he will, that's all down to plot turns.

If you're tripping over "but what about the rape' then I'm not sure I can really bridge that gap for you, but...

Guts' level of anger is never linked to moral outrage, it's linked to how hurt he feels, and that can be very variable. We've already seen that he's capable of letting go of it because that was literally his first instinct upon seeing Griffith in his humanesque form, he just talked himself back into being mad. But even then when Griffith showed up he spent half the time trying to wring remorse out of him. We also know via Miura's comment that the Eclipse would eventually lose its sting for him if Casca weren't around, point being we also know he can and would let go of it if the wound weren't constantly being kept open. Which brings me to the next point, which is...

A large part of the reason he holds onto Casca is explicitly about his not wanting to let go of Griffith. This already lays out pretty clearly that Griffith is ultimately his priority. Not to say he doesn't care about Casca, but what I'm saying is that if his investment in her and holding onto his anger about her and the Hawks is largely about not wanting to let go of Griffith, then obviously if he had Griffith that reduces his motivation to hold onto those things. Also...

He came very close to repeating the assault on her himself (and worsening since he apparently was driven to follow it up by biting her head off) specifically so that he would feel closer to/more deeply connected to Griffith. Literally repeated since both physically and mentally he was copying Femto's specific actions. Did he hate it about himself and take steps to prevent it from recurring? Absolutely, but it doesn't change that this is something about him that exists to be hated and controlled to begin with.

A lot of this just comes down to the way Guts reaches his point of outrage - it's all about how he feels about the person doing the thing and the person having the thing done to them. Guts has a hierarchy of value associated with people in his head - he'll let hundreds die to save someone he likes, and then let that person die to save someone he likes more than them. Does anyone doubt that he'd throw most of his current companions under the bus if it meant say bringing the Hawks back or saving Casca's life? Hierarchy of value. And at the top of the value pack is, and has always been, Griffith. Finally...

You can see how much his level of investment in people colors his reactions to what they do just by looking at the way he reacts to Gambino. This man abused him for years, sold him out to be raped and then tried to kill him and Guts still was never able to hate him, or stop loving him, or forgive himself for accidentally killing him. I submit that the only person he has ever valued as much as or more than Gambino... is Griffith.

That third one is huge to me, though. Because Guts isn't someone who casually goes around sexually assaulting people - even when he gets out of hand with Casca, he pulls back as soon as she reacts negatively. Yet there he was. And I'm not saying people can't be mad at other people for doing things they did, my point is the entire reason for the assault was to feel closer to/more tied to Griffith. In other words, he was willing to destroy her in order to be closer to him. That being the case, I can't fathom that he wouldn't be willing to get closer to Griffith without destroying her if given the opportunity to do so.

[bushfulofbirds]

3/

More twisting on Neptune and Yang. Sure the language M&K use in meta around the characters is 😬😬😬 majorly bad but this also ignores the actual DIEGETIC manifestation of the two CHARACTERS' interactions in the show in favour of distilling it to "Kerry Shawcross creepy guy." Hyperfocus to twist a narrative.

[Skips over the whole Mountain Glenn EXPOSITION] to focus on Ruby falling into the underground part.

I do still agree with what he says in terms of needing to maybe at least hint that an underground part of the city exists beforehand more explicitly since that could be really useful.

"Surprise working rail network" and it's not like people were there and could have serviced that off-screen. Sure SHOWING that would have helped but that still creates a distilled image a lot.

"Neo SAVED by having NO DIALOGUE more at 10." A lot of the appeal does come from the way she is handled while being mute, but the language choice is so harsh man.

"JEFF WILLIAMS STEALS MUSIC ZOOMYGOSH!!!! ALSO HOW DARE RT COPYRIGHT THEIR IP!!!!!!" But dw I'm not about to call it plagiarism I'm sowwy 😋 [he will and does accuse him of plagiarism exactly 2 minutes later]

TWICE???? ARE YOU FUCKING KIDDING ME????

Interesting choice adding "Beta leftist destroyed" to that youtube layout gag too mate

This section about CFVY dropping in could have been easily summed as "a single line of dialogue and making it into a co-op between the teams would have fixed this" and we could have moved on with our lives but we just have to use this opportunity to dunk on everyone involved in making this in the process too

Also. I love that any and all forms of flaws he attributes to Monty here get treaded over and glossed over so lightly while taking every possible step to make sure M&K have to take the whole load of it. If it were Kerry or Miles pointing out that "we don't wanna show the weapon yet" that caption wouldn't be "oh that's so cool" it would be more like "well of course not because you have NO IDEA what you're doing you fucking sad man"

"This fight is technically really cool-looking and I really enjoy this animation" great then it does what it's supposed to. This is Cool Fight Lord getting free reign after all, as the video took so much care to demonstrate earlier.

I like that this is the 2nd or 3rd time Gurenn Lagann has been brought up as a comparison point when Monty has cited this as one of the inspirations for RW,BY in the first place Great news guys homages and tributes equal plagiarism oh my gawdd!!!

I think the main point here SHOULD have been "this weakness of Ruby's could have been explicitly introduced in v1 so her reliance on Crescent Rose is seen as both a really cool aspect of her fighting style but also a fatal flaw."

BUT REMEMBER Y'ALL!!! EVEN THOUGH I MADE A VERY LOUD IN-YOUR FACE GAG ABOUT AN ACTION LAWSUIT BY COWBOY BEBOP I AM NOT TRYING TO CALL THIS PLAGIARISM!!!!

"Because this scene doesn't really serve as a well-constructed homage or characterisation it offers zero contribution to the plot" (you've literally covered other aspects of this scene before)

"It's impossible to critique an artefact without direct comparison to other artefacts" (these comparisons will be loose and misused 90% of the time)

As someone who DID watch ATLA a few times... eh. I see the similarities and many have noted the Sokka/Jaune comparisons but also wouldn't exactly jump to call it ATLA fanfiction, either.

Bro I loved FLCL, Cowboy Bebop and ATLA for what they are but I also love RW,BY a lot for what it is dammit. Your subjective point lies in vain upon my ears.

Inventor nerd Ruby is an interesting premise. I don't think it would remove her too much from the premise that was set up for her character either (she's already a huge tech nerd and goes overboard w her personal weapon design. I do think it would be a lot MORE unique tho if most other characters didn't also have crazy weapon designs that are standard fare of going to a hunstman prep school- which is something that's also introduced in the first episode RAAAH).

Again removing the contexts of the ATLA and RW,BY forging scenes to prove a point (Sokka forged his sword out of the meteor the gaang found because he had it to hand and the story needed a use for it- as a whole, the sword symbolises his growth into his own fighter while still showing off his inventive and goofy attitude. Jaune forged Pyrrha's headband into his armour as a symbolic gesture of carrying her with him in his battles and remembering her and what she taught him, which is how the show shows his move into a new phase of growth as a fighter. Same general outcomes, different backgrounds and reasons).

He makes a statement about the show having had the POTENTIAL to become something amazing without the oversight of corporate but refusing to do so in favour of references to anything but. The RT references, the homages to other shows or works etc. are all present, but when you focus on just the comedic and homage aspects of v1 and 2 on their own you ignore their connections and what the wider picture of the buildup is, esp w volume 3 being glossed over so fast and early on in the video.

AAHHH yes, Faunus time

One WIDER point in this video that I and others generally seem to agree on is that the faunus/White Fang plot was severely mishandled actually- from my angle though this stems from a mix of partly just M&K being two white dudes and also amateur and tackling subjects way bigger than what they can chew because Monty was interested in having that. But I don't see the need to tie that back to merch etc. This just boils down to having the wrong panel of people on board for writing this particular plotline. Not to say that makes the execution justified or better at all.

There was no need to talk about the demographic like that when it very obviously does not tie in w the wider RT or YA demographic which is something he also explicitly talks about before. You're essentially framing those who enjoy the series as whiney babies who will take anything you put on their plates no questions asked and that's just mean.

I think a lot of his arguments about Adam as an individual entity would be absolved if his scar reveal would've been done much earlier in the story (oh Adam face reveal teasing era I don't miss you XD), or if the "fringe group" he forms by v5 was his affiliation to begin with, rather than something that was revealed later down the line.

He uses Sun as an argument to say that "oh he should know all this background already" when he very clearly only refers to their current reputation of terrorism wo any mention of their past or anything. Sure that could have been more smooth but damn this is also super selective clip choice.

There's no respect in this criticism which is something I have a problem with. You can say Miles and Kerry were the wrong people to handle this job but that doesn't give you an excuse to use the term "deeply stupid" in your argument. That way it devalues not only the integrity of the argument itself as a criticism but also any and all claims you made earlier in the video shouting about doing this from a "well-meaning" or any sort of respectful point of view (as if that wasn't challenged already). More usage of extreme buzzwords to get people listening passively to agree with the title of the video and string together the most in-your-face gags that it offers. If I were watching this online and for the sake of curiousity on its own, this is where I would stop giving it the benefit of the doubt and click off.

Tired RW,BY fan braves hbomb video after three years (he finally downloaded it of Internet Archive), more at 12

[delicrieux]

—MAKE YOU SAY “OH” EXTRAS: TINDER

extra meaning non-canonical occurrence; can be placed anywhere in the “make you say oh” timeline after couple (cha. 14) and before the final “oh”. 

pairing—corpse husband x f!reader warnings—tinder profiles, tw: men, swearing.  word count—2.6k. format— written. ─── ❥ req by nonnie​:  y/n makes a youtube vid/live stream where she's just swiping through her tinder acc and corpse literally blocks her lmao

author’s note—akldsljfs this was such a funny idea i could not not write it lmao

ultimate masterlist. myso masterlist

You have pulled the biggest brain move by setting up both a facecam and a screen recorder on your phone. All is beautifully displayed and visible during the stream. Your fanbase is particularly intrigued on what exactly are you planning on doing today, seeing as your tweet of “strea” had been a bit vague, if not downright ominous. No emojis. No elaboration. You couldn’t even be bothered to finish the word. Truly, a mystery. Everyone tuned in and are currently waiting with bated breath.

A few of your fans must sense upcoming doom because the overall mood in the chat turns from optimistically intrigued to...evil. It’s an entity all on it’s own now, clawing at you through the screen with various renditions of laughter and devil emojis. A few eggplants thrown in there for good measure, accompanied, naturally, by the scandalous water drops. At first the common consensus is that you’re biting the bullet and going through your camera roll on stream. Definitely an idea worth considering, though you frankly don’t know what lies at the start of the 11k photograph journey, and you are afraid to check in public. Could be a harmless meme, could be a salacious pic you had saved of an OF star. It’s really a gamble. Either way, you would definitely get banned. You might still get banned. Why do you insist on doing shit like this?

Because it’s funny. Because you’re kinda stupid. Because it’s just so absolutely laughably easy to do.

A smile quirks your lips, and while it is not explicitly smug, the look in your eyes sure is, “Greetings,” You utter lowly, dimming the lights--the budget for this stream! Ugh, you went all out, “my children.”

mother i crave violence

sensing evil energy rn!!

i do not claim the energy in this video for myself or anyone else watching this 💖💖

^with peace and love shut the fuck up

“I know y’all lowkey hoes-” Upon your words the chat splits into two: one side eagerly agrees (even shares a few OF accounts! How helpful, supporting small businesses!), whilst the other feverishly insists on innocence. You make a face stuck somewhere between offended and bewildered, “Now c'mon now-I know you. I know you all. We’re the same, don’t-what was that?”

You try to scroll back to the comment but it’s loss in the sea of incoming messages, “I swear to God I just saw-”

Corpse_Husband: i love late night streams it’s not like i have anything better to do.

“COOOOOOOOOOOOOOOOOOOORPSE!!!!” 

rip headphone users

i cant feel my face when im with you by the weeknd but instead of face its my fucking ears

yall think full vol on pc is better?my parents woke up 😭😭😭😭

To think he’s spending his last waking moments for today with watching you (he probably still would have anyway, because you do not posses an ounce of shame or self-control and pester him relentlessly)! It makes your heart sing, and suddenly, a traitorous, fun hating idea barges it’s way through the crowd of incoherent buzzing and states: don’t do this. For some reason it also has the voice of Rae. As if that would work in guilt-tripping you- Rae never succeed, and her fictitious rendition in mind won’t fare much better either.

Still, you thought about it. That must count for something. Corpse will understand, won’t he? Why don’t you want to upset it in the first place? Men look so funny when they lose their shit, like hello, don’t you have anything better to do? But the image of Corpse just sitting there, hurt, distraught, leaving you on seen because he’s in his sad boy hours leaves a sour taste in your mouth. 

queen rly went from  🥺😊 to 😕 u ok bbgirl?

Corpse_Husband: no pouts cutie

akjdjoeijdfse cUTIE??? deadass boutta r.i.p.

Well that succeeded in eliminating everything from mind, doubts included. If this was an anime, the scenery would shift into something roseate, with flowers and bubbles and sparkles all around you along with a halo or two. Alas, not an anime, rather reality. The led-lights, however, seemingly possessing a will of their own, slowly turn from deep violet to pink. You smile brightly, like the absolute dumbass you are, and you are met with a ray of heart and blushing emojis. You are just so cute, a real cutie! Still in your disguise adorable state, you swipe your finger on your phone screen, the grin never leaving your lips.

There, among the plethora of apps, nestled sits a red square with a white fire plastered on it. The delicate calligraphy on the bottom reads: TINDER.

The mood changes once again- you’re giving the roaches emotional instability by how quickly everything flips over- and the chat spams eggplants vigorously; some, of course, bravely fight against the thirst.

nooooooo i thought y/n is gonna stream in a god honoring way!!!

^pack it up girl defined

“So, Charlie and I-” You note a few awfully curious comments and squint, “-yes, we talk a lot. Charlie is a really good friend of mine. We’re best friends. Brothers. Sisters. Cousins. The whole fucking family tree-no, that sounds weird. Delete. Anyway, Charlie, being the absolute fucker he is, said, hey, you know what would be funny? And I was like, nooo, what would be funny, Charlie? And he says to me, he says, says, making fun of men on Tinder. And if y’all need any more proof that Charlie and I are platonic soulmates, then dunno, my children, my roaches, I dunno-I dunno what more to give you.”

You can’t be bothered reading the comments, there’s too damn many. You also need to save your reading comprehension for the actual bios. It has a time limit, that darn thing. 

“Okay, so I made a profile earlier, but I hadn’t swiped on anyone yet-” Despite the fact, Tinder helpfully informs you that already 99+ people have swiped right on you, “So, this is me,” You show the pictures you have of yourself, and damn, not to be a conceited narcissist, but you look really good. Like if you saw yourself on Tinder, you’d super like instantly. “Uhm, so, my bio-my bio says: let’s sauce in the tub together, ya dig? splishy splashy, giggle giggle.” 

i cant believe we are witnessing y/n trying to form a coherent sentence live 

shes trying give her time

ya dig??? y not capeesh

what scene from the godfather is this lol?

“My anthem, is,” You laugh, covering your lips with your hand, “Corpsie, this is form you-” Proudly, you show that indeed, Corpse’s E-GIRLS ARE RUINING MY FUCKING LIFE is listed as your anthem on Spotify, “Hehe.” Yes, you say that aloud.

Corpse_Husband: you’re killing me Corpse_Husband: thanks baby Corpse_Husband: now delete tinder ❤︎

You ignore his last quip, deciding it’s finally time to get this show on the road, “Right, let’s do this shit. I’m not actually going to swipe on any guys that look, uh, decent? Yuck, can’t believe I just said that, uhm, because I-because I feel like some actually deserve a chance with someone? I don’t wanna get anyone’s hopes up, as I am currently in a long distance relationship with Chrollo. So I’m just gonna swipe on, like, frat boy assholes. Because I don’t care if I hurt their feelings. Quite frankly I don’t think they possess them in the first place.”

The chat voices their agreements. With the ground rules set, you, giddy, click on the first profile.

Does Tinder know what you’re doing, your plan? The FBI agent watching you through your phone must be working overtime, bless his heart. They must, because the the first guy to meet you is named Jason, and there he is, blond hair and blue eyes, holding up a fish the size of his torso. Marginally adequate in looks, pretty good muscles. A solid 7 bordering on 8. He’s the same age as you, 15 miles away, and he studies at some college you don’t care enough to look up. Bio reads:

I like to drive fast. Fishing is my passion, but if you can’t catch me by the ocean, you’ll catch me catching waves, bro! Love a good gym date. You do squats, and I’ll keep a close eye to make sure you’re doing it correctly ;) You probably saw me at a party. Leader of the The Phi Kappa Psi. I’m a Gemini, if that matters lol.

You, of course, read it aloud, dramatically; provide some constructive criticism-he seems nice, but he’s a Gemini, so naturally, you can’t trust him at all! Also, that gym date session leaves little to be desired. With your rant done, you swipe right, and shocker! (not), it’s an instant match.

“Okie, I still wanna swipe of some profiles, so I’ll see what he’ll text later-” For a second you wonder the legalities of this stream, but you’re having too much fun to think of it further, “guys, I won't get sued, right?”

NOW she considers it

well....

if you do, we’ll kickstart your lawyer dw <3

Onto the next profile. Kevin, 25, is seen fixing his car- or, you assume he’s mid-fixing it, you don’t really know why else he’d hold a wrench and be covered in oil. He’s shirtless, and the caveman part of your brain echoes something closely resembling AWOOOGA!, but...but!...blonde hair, blue eyes. You pout again, “I don’t...I don’t really like blond boys, ya know? With the blue eyes and all, it’s just not my thing, uhm, unless it’s like-like...Armin from Attack on Titan. Else I don’t care.”

Onto the bio:

You have to treat a car like you treat a woman: go on long rides, take the lead, but most importantly, keep her oiled up 😜 

“What the fuck did I just read?”

The chat is equally confused. You swipe right anyway- another match. Too easy.

The stream continues without incident for a solid thirty minutes- all of your matches, expect a few that genuinely looked like normal dudes that really couldn’t write a decent bio to save their lives, had been blond hair blue eyed gym rats with ranging forms of misogyny. Some opened with asking for nudes out right, some asked about your day first before asking for nudes. You prefer the former. Straight to the point! You admire the gall. 

But then, down the forty-five minute mark a profile popped up that made you still by your phone, your smile dying as your eyes bulged. Dear God. Lord in heaven. Who is this demonspiit lookalike and why is he so fucking hot? The neck tats, the skateboard, the clothes- holy shit, you gotta close your mouth before some drool dribbles out.

No bio, just his name, Tyler, and that he’s 23.

“He boutta be 23 in me.” You mutter, swiping right with lightning speed.

WHAT DID SHE SAYYYYY?????????

tyler is y/ns karma for relentlessly mocking that one guy that had a whole ass list on what his “female” partner should be

^he deserved it and also tyler seems like a typical fuckboi y/n grow a braincell

look at mom 🥺 her eyes are sparkling

It wasn’t a match right away. You somehow expected as much, but it still upset you. Simp behavior, pathetic. The stream continued bravely, and when Tyler messaged you a simple “yo” you totally didn’t sequel. You didn’t manage to text him back on stream: texting all those guys that you didn’t really find all that attractive was easy, but this...You’re a sucker for a man who radiates red flag energy. His whole profile is a red flag. He might just be a red flag himself.

What can you do? Suddenly becoming color blind is not easy. Once the stream ends, you unmatch with everyone expect Tyler. He you chat with for a bit, but a sudden craving for different company makes you abandon him, too. You don’t feel too heartbroken for him- you’re certain there’s already too many girls in his dms. You wish them luck.

Happily, you delete Tinder. You go to Twitter, notice you’re trending again- look at you go! Queen shit- and as you compose a thank you tweet, something strange happens. You go to text Corpse, but when you click on his profile you grow cold.

YOU’RE BLOCKED. You can’t follow or see @/Corpse_Husband ‘s Tweets. 

...Pardon? You hop onto Instragram and-also blocked. Seriously? And you thought you’re one petty bitch. Corpse is seriously prissy about everything. Damn, if he didn’t like your stream, he could’ve just said so. Didn’t need to, like, block you from his internet existence. So not cool.

You try texting him but no text go through. Well how will you let him know you deleted Tinder just like he asked? You relieve your frustrations by punching your pillow a few times. Later, you apologize to her, you didn’t mean to hurt her, it’s not her, it’s you. Fuck, 5 minutes of exile and you’re already loosing your mind.

“Raeeeeeeeeeeee!” You whine loudly. It’s roughly 2am now, but you don’t care. You’re too heartbroken to care. There’s a thump from her room, but nothing else, “Raeeeeeeeee!!!” You wail, wallowing in self-pity on your bed. You hear a very loud, very annoyed sigh from her room, followed by angry marching. Your door is abruptly thrown open, and in the dim, colorful light you see her scowl.

“What?” She grits.

“Can you please tell Corpse to unblock me from everything?”

“What did you do now?”

“I made fun of men on Tinder.”

She pauses, “...That doesn’t sound so bad.” She surmises, voice laced with suspicion, “What else?”

“...There was one really hot guy that I kinda sorta talked to after--”

“Y/n.”

“-But I totally deleted Tinder and honestly he was pretty boring, so, like, uhm, please?”

She sighs, the servery of which implies she is holding the weight of the world on her shoulders, and instantly you know that you won. She taps away at her phone, “You owe me one.” She states, and before you can reply, she exits your room and slams the door behind her.

Grinning, you text his phone again. The message goes through, oh gosh, you’re so relieved you feel like crying. This has been, officially, the worst five minutes of your life.

You Y DID U BLOCK ME LOSER!!! MAJOR LOSER ALERT!! I DELETED EVERYTHING IT WAS A JOKE r u still mad at me? y u always mad at me i never do anything:(

my husband You’re my baby, how do you think I’ll react when I see you publicly simping for some asshole on Tinder?

Oh no, he used the words, he delivered the killing blow. You’re finished. Your heart can’t take such a workout. 

Not that you would ever admit it to him, though!

You hehe ur jellyyyy u always dis jealous hehe?

my husband Not jealous.

Yeah, you might not be the brightest tool in the shed, but even you know that’s a lie. You send him an array of kissy emojis that he doesn’t have the decency to reply to. Then, completely unprompted and dead serious, you send him a simple voice memo, saying: “You really have nothing to worry about, you know? You’re my favorite, Corpsie.”

He responds via text, reiterating that he’s not fucking jealous and that he just doesn’t like when you show such outward interest in anyone but it’s not like he cares or anything. It’s just really, like, weeeeird to see his baby simping for another man like that totally ruins the whole dynamic!!! It was only natural that he should block you on every social media platform, including his personal number (which, like, was completely necessary! Doesn’t matter that his viewers can’t see it, it’s gotta be super believable!), and inform his followers of that, because it’s all a joke, like, for the dynamic, that Youtube grind, you know? Ya dig? No personal feelings were involved at all. He totally wasn’t upset that you found someone else cute, no way!

my husband I’m not jealous. Lol.

You ik u repeated tht like 50 times  u trynna convince me or??? lmao

my husband No comment. ...You don’t actually talk to anyone else like we’re talking, right?

You no one else calls me their baby if thts wat ur wondering at least not to my knowledge lol im all urs

my husband That makes me very happy to hear:)

Yeah, it makes you very happy, too.

hope you liked it!! xx

[springmagpies]

What should I say to a person who said that Peeta is a weakling and useless because they only watched the movie and refused to read the novel?

@curiouspeetamellark

Hi! Thanks for the question! First of all, I would tell them to read the books because they’re amazing! And then I would point out that strength comes in many forms and Peeta has a multitude of strengths. And I would give examples from the movies because that’s what they’ve seen before going on a rant of what’s in the book. This is a long freaking ramble so I heartily apologize.

First of all, the movies make a particular point of showcasing Peeta’s strength. Katniss tells Haymitch during their impromptu compliment competition how strong Peeta is, a skill that Haymitch then tells Peeta not to showcase until his private session because it’s such a vital skill to have. He also throws Cato off of Katniss during their fight at the end and is skilled enough to be taken seriously by the Career Pack. In the Quarter Quell Peeta also takes down countless monkey mutts and even saves Katniss when she is being drowned by one of them. He does a similar thing in Mockingjay part 2 when they’re fighting the scary mutts in the sewer. Without a weapon, I would like to clarify, Peeta literally pulls the mutt off of Katniss and holds it back with just his hand restraints. Also, along with physical strength, Peeta gets hit a lot in the films. He literally nearly dies in the Quarter Quell and once revived proceeds to comfort Katniss and make a little joke to lighten the mood and then keeps freaking moving. Also in the movie, he often takes the hit so someone else doesn’t. Then there is also his skill in painting and camouflage that is also useful in survival situations.

Second of all, I would also point out that Peeta’s strengths in speaking and sponsor getting saves them multiple times. Haymitch, king of strategy, continually points out how useful Peeta’s quick wit is and how vital it is that he has the ability to sway not only the people in the Capitol and Panem, but also fellow victors. The skill also comes from Peeta’s genuine goodness and sweetness which just makes it even better, because it shows how trustworthy he is. The only time where Peeta uses deception is when he is acting directly against the Capitol. He does everything in his power to only hurt the likes of Snow and the Gamemakers and not the innocent. Johanna points out that everyone in the Capitol loves Peeta, a fact that can’t be overlooked in terms of strategic importance. Of all the Victors, he is the one that whole ass causes riots in the Capitol after the Quarter Quell interviews when he drops the baby bomb. Because it is a joined effort. While Katniss provides a spark of rebellion in the Districts with her mockingjay dress, Peeta sparks unrest in the Capitol itself, forcing Snow to be bombarded with riots on all fronts and making it so no one, not even the most devoted Hunger Games watcher, is on board with the Games anymore.

Thirdly, Peeta’s goodness is a rare strength that can’t be looked over. It is his reassurance and comfort that keeps Katniss going when she is overwhelmed, but also others like Finnick and Prim. He is there for people and cares about keeping innocent people safe from the Capitol just as much as Katniss does. He also looks for good in others and is excellent and making alliances and being a good judge of character. Lack of toxic masculinity is a prime strength and that’s a fact.

And to those that say he is weak because he gets captured by the Capitol and is used for their propos, it is explicitly said that he is undergoing torture in an attempt to keep the people he loves safe. It is also mentioned in the books that he does some of the propos because other people who have been captured are being actively threatened if he doesn’t cooperate. He also risks his life, risks everything, to warn Katniss and District 13 that the Capitol is going to attack, giving them vital additional minutes of evacuation time. As Katniss says, he is still playing the game. And once he is free from the Capitol and has healed somewhat, he agrees to be a part of the rebellion’s propos and continue the fight.

That brings me to one of Peeta’s biggest strengths: his ability to bring about hope. Anger is a completely valid emotion especially given everything the Capitol has done. Anger and sadness and grief are all a part of the aftermath and every single character in The Hunger Games goes through severe trauma. So, it is completely understandable that many of them remain angry. Though Peeta also has severe PTSD and went through incredible trauma, it is just his nature to remain hopeful. Everyone experiences and processes trauma in different ways and struggling is not a sign of weakness in any way shape or form. In my opinion, it is unfair to say there is any sort of weakness in the face of trauma. So what I mean by hope being a strength is not that to be strong one must always be hopeful, but more that it is a special strength of Peea's that he provides hope to others when things feel hopeless and he does it without judgement or force. His patience and understanding is a strength that I think is important highlight.

[lightrises]

"Only in allowing her to pass..." — Hornet, The Radiance, and the means by which Hallownest turned its victims against each other

A quick note: I read Hollow Knight as an anti-colonialist text. As such I'll be touching on topics related to colonialism as it's depicted in the world of the game, and said analysis will reflect both a sympathetic take on The Radiance and a critique of The Pale King that won't pull its punches. If this sounds up your alley, hello and thank you for the read! Let us be sad about these bugs together.

———

So!! A while back I realized something about pre-canon that felt rather... "curious" is one way to put it, I think. To wit: for all the effort and scheming and determination The Pale King poured into trying to get rid of The Radiance, neither of his plans involved directly killing her.

Was that his long game? Well, sure, that seems clear enough. His tack changed from luring the moths away from their god and creator to a more literal form of incarceration once the infection became a factor, but at its core the end goal never really changed—The Pale King very sincerely wished to destroy Radiance via obsolescence. The Seer lends us foreshadowing to confirm as much:

[Image descriptions: Two screenshots from Hollow Knight, showing the Seer and Ghost in the Seer's alcove at the Resting Grounds. Across both screenshots, the Seer tells Ghost the following: "None of us can live forever, and so we ask those who survive to remember us. Hold something in your mind and it lives on with you, but forget it and you seal it away forever. That is the only death that matters." End description.]

(Which, by the way and given the context, talk about an extremely unsubtle allusion to cultural genocide huh!!! Whew.)

In any case, we're left with a whole bunch of machinations which build up to... well, two very roundabout attempts at committing deicide. That's kind of weird, all things considered! Why not just do the deed in one fell swoop and get it over with?

This could be for any number of reasons. Maybe the king was devoid of the means to instantly kill another higher being. Maybe his personal sense of scruples stopped him short of signing off on MURDER murder (although, y'know, the aforementioned genocide + eternal imprisonment = still cool and copasectic apparently!). Maybe the long drawn-out cruelty was the point. Maybe the idea of playing fuckign 4D chess with the circumstances was too delicious for him to pass up—that man did love to tinker and stick his claws where they sure as hell didn't belong—or maybe it was a little bit of All The Things. Who knows!!

But interrogating The Pale King's methodology on this count isn't what I'm here for, at least not really. The main reason I raise this question at all is that in her own way, Hornet did too.

"I'd urge you to take that harder path... "

See, going by The Pale King's actions and what The White Lady explicitly says, they both foresaw two outcomes wrt the infection: it can be allowed to spread, or it can be contained. At Teacher's Archives, Quirrel acknowledges the fact that Ghost is expected to do... something about this, but he doesn't elaborate on what HE thinks that's supposed to be apart from the obvious "Gotta bust into Black Egg Temple first". Hornet is the one person who presents to us—to Ghost—what's framed as a third option: confront and destroy the infection at its source.

And she doesn't bring it up like it's just another tactic for Ghost to consider, prim and indifferent to what they would do. She nudges them towards it, actively, up to the point where she throws herself into the fray against Hollow at a juncture that's uniquely dangerous to her and her alone just to make that option feasible.

Even when she's couching it in disclaimers that this is still Ghost's decision to make (and let's be fair, she's extremely not wrong about that lol), no one can pretend Hornet is unbiased. It's obvious in that buttoned-down Hornet kind of way that she is way the hell done with the increasingly tenuous stalemate that's kept Hallownest's desiccated corpse from collapsing in on itself. Personally it's hard for me not to read some Toriel Undertale-esque "My father was too entrenched in his own foolishness to pursue any course of action that would have DEFINITIVELY ended this" shade into her stance here, regardless of whether that's strictly true in canon.

And that bit—Hornet's hopes for an end to Hallownest's stasis, moreover her grim calculation of what needs to be done to get there—that's the bit I find super interesting but likewise tragic and depressing as shit, on multiple levels. In no small part because a) canon itself gestures towards Hornet feeling conflicted about the very plan she's pushing, and moreover b) she has at least two (2) damn good reasons to feel that way.

So, what do I mean by that? Let's look here first:

[Image description: A screenshot from Hollow Knight, of Hornet and Ghost inside the Temple of the Black Egg, standing in front of the unsealed egg itself. Hornet has been struck by the Dream Nail and her dialogue is displayed as follows: "... Could it achieve that impossible thing? Should it?" End description.]

As the curtain is about to drop on things one way or another, Hornet thinks,

... Could it achieve that impossible thing? Should it?

Now, looking at that last bit it's easy to go "Oh no, Hornet's worried that Ghost won't survive killing The Radiance!" And I do think that's part of it: Hornet is, categorically, not her father. By endgame it's clear she's not content to view her Void-borne siblings as tools to be used then disposed of. She's also well aware that as a healthy autonomous Vessel amongst the countless dead, Ghost is the only person left alive who has a fighting chance against The Radiance. Knowing someone is the only qualified candidate for the job doesn't make encouraging them to embrace a probable death sentence any less of a bitter pill to swallow, though. And odds are on that this sentiment extends to Hollow too, who IS going to die no matter what happens here. To put it bluntly, it's more than reasonable to conclude that Hornet hates the absolute fuck out of this.

But I don't think that's all there is to it either. Remember what I said earlier about The Pale King's bids for genocide? Well, it's not like the man deigned to limit his efforts to just the moth tribe.

"We do not choose our mothers... "

On top of everything else—an infected Hallownest being all she's ever known, the fact that she only exists because of the infection, the list goes on—Hornet has spent her life wedged into a position that's been uncomfortable and terminally unglamorous at best: she is both a daughter of her father's kingdom and of Deepnest.

Deepnest, which like the moths and many others was here long before the wyrm and his lady wife swanned onto the scene and the God Become Bug laid claim to everything the Light touched plus a considerable amount of change. THAT Deepnest, which has fought claw and thread to retain its sovereignty against same-said settler king, and for which Herrah not only surrendered her life but also agreed to bed her worst enemy, all in hopes of securing a viable future for her people (put a pin in that last part by the way, I'll come back to it soon).

Two Worlds, One Family (Ft. An Indigenous Woman Trying Her Damndest To Work With What She's Got Versus An Imperialist Who Only Signed Up For This Because He Needed The Political Favor THAT Badly, So It's The Height Of Dysfunctional Actually). Fun times!!!!

The baggage this entails for Hornet is gnarly enough without implications made by The White Lady and the pre-canon timeline of events and even Team Cherry's dev notes that the king may well have looked at baby Hornet, gone "YOINK", then ensured she spent the lion's share of her childhood reared within the pearly auspices of his Pale Court*. That would be rather advantageous for Him Specifically after all, the potential to mold a born foe into a future ally and even have her trained in combat under the same tutelage as her doomed sibling. And far be it from him to stop a grown Hornet—his own flesh and blood too!—from making Deepnest her forever home if she so pleased. He totally wouldn't be reneging on his "fair bargain made" by doing this one simple thing until Hornet came of age, not t e c h nic c a l l y.

If that is indeed the case, there's a non-zero chance Hornet's formative years were a hot mess of cultural alienation and being a good deal more privy than most to just how much of a bastard her father could be. There's an equally non-zero chance that at some point she stood or sat within earshot as The Pale King finally, finally dropped all pretense and euphemism to name the Light for precisely what (for who) it was.

See, in conjunction with the question that started this whole dang train of thought I've been asking this one too: Does Hornet know? When she speaks of confronting "the heart of [the] infection" does she know she's talking about not just a literal person but someone very specific? The Radiance, who god though she may be shares skin in the game alongside Hornet as a native woman screwed over by the same settler king, likewise deprived of her kin and saddled with a life gone horrendously pear-shaped?

I'll assume for the sake of exploring the possibility and because I think it's a likely one anyway that yes, Hornet does know. She knows, and despite everything can't help empathizing. She might even look at Radiance and see bits and pieces both reflected and slightly inversed in her own mother: Radiance was forced to the sidelines while her people—her children, the brood she was meant to lead and care for—died out under The Pale King's rule, and it's no stretch to assume she's at least as upset about that as she has been about everything else; Herrah too took drastic measures for her people's sake, trying to head off annihilation by relegating herself to the sidelines in an act that was as much calculated risk as an attempt to find wiggle room and leverage in the face of a nasty proposition.

A calculated risk that, if things continue as they are, might well amount to nothing as the rest of Deepnest gets eaten alive by the infection. It survived The Pale King's advances for so so long, only to fall here. Herrah's sacrifice would be for naught; the other tribes—themselves the king's victims—would keep succumbing to the infection too.

And this is where things fall apart.

"... or the circumstance into which we are born."

Let's be clear: I think Hornet is wise enough to know what's what here, that all the carnage and suffering falls on her father's head for starting this slow-motion trainwreck in the first place. Hallownest wasn't always Hallownest. This domain was Radiance's home first, along with many others. It was the worm-turned-king who rolled up on the scene unsolicited and decided this was a ""'problem""" that had to be """solved""".

But the fact of the matter is that he's gone and The Radiance is here, raging, seemingly inconsolable. Above and beyond being Deepnest's rightful heir, Hornet isn't in a position to countenance more splash damage even if the grief and fury fueling it makes perfect sense. She can understand without ever bringing herself to love Radiance, and she can bend her knee to practicality even if she hates the everloving shit out of it because the fact that it "has" to end this way isn't fair.

This lends itself to one last awful conclusion: that Hornet has probably considered and (rightly or wrongly) discarded the possibility that Radiance can be saved, at least not without dragging more collateral along for the ride. If even her mother and every other enemy to the king seemed to dismiss talking Radiance down as an option way back when... well. Why should Hornet hope for any better after things have escalated so far?

Again, it's practical. A practical net good is what Hornet strives for. And again, it fucking sucks.

For extra tragedy points, this makes Hornet's extended crypticness around Ghost followed by her last minute casting about for a reason to tell them "Wait, don't; not just yet" that she never voices even more of a gut punch. She can't bring herself to burden Ghost with the context that haunts her so, least of all when it might weaken their resolve to go through with what (she thinks) needs doing.

It's the "same song, different verse" which led to the mantis tribe and Deepnest being pitted against each other: Hallownest rigged the game so that two women who could have been powerful allies—who have a mutual vested interest in driving out settler rule—wound up poised as enemies instead. And how awful is that? The king for all his being extremely fucking dead still gets the last laugh, because outside of a miracle the game never manifests Hornet can salvage what her mother started and look forward to a future where Deepnest pulls itself back from the brink if and only if The Radiance dies.

Resolution comes at the price of a completed genocide. Add two more dead siblings to the unconscionable pile thereof, while we're at it. That's what it boils down to whether or not Hornet can bear to articulate it as such, and there's no grace or even a properly bittersweet ending to wring from this clusterfuck. And that is rough.

———

* This has been better explained elsewhere, but a quick rundown: The White Lady tells Ghost that Hornet and Herrah "were permitted little time together." On its surface this can be taken to mean that Hornet was still very young when Herrah was shipped off to Eternal Dreamland—except this doesn't jive with the fact that we meet Hornet as an adult. If the stasis kicked in once the Dreamers went to their rest, which in turn halted the aging process for every living bug in Hallownest, AND before all this Hornet experienced little by the way of quality time with her birth mother... I think you can see where I'm going with this.

To top it off we've got Team Cherry weighing in ominously from their dev notes on Herrah: "As part of the agreement for her alliance and her role as a dreamer, King gave her a child (Hornet). Was she allowed to keep this child or was she taken away?" This isn't confirmation by itself of course, but given additional canon details (see above): Can I get a "yikes" in the chat fellas.

[army-of-mai-lovers]

Jet and Yue’s Deaths: Were They Necessary?

Two of the most common ideas I see for aus in this fandom are the Jet lives au, and the Yue lives au. I’ve written both of these myself, and I’ve seen many others write them. And while yes, fanfiction can be a great way to explore ideas that didn’t necessarily have to be explored in canon (I’m mad at bryke for a lot of things, but not including a Toph and Bumi I friendship is not one of them, even though I wrote a fic about it), it seems to me that people are mad that Yue and Jet are dead, to varying degrees. There’s a lot to talk about regarding their deaths from a sociopolitical perspective (the fact that two of the darker-skinned characters in the show are the ones that died, and all the light-skinned characters lived, is ah... an interesting choice), but I don’t want to look at it that way, at least for right now. I want to look at it as a writer, and discuss whether these deaths were a) necessary for the plot and themes of ATLA in any way whatsoever and b) whether it was necessary for them to unfold in the way that they did, or if they would have been more impactful had they occurred in a different way. 

(meta under the cut, this got really, really, really long)

Death in Children’s Media

When I first started thinking about this meta, I had this idea to compare Jet and Yue’s deaths to deaths in an animated children’s show that I found satisfying. And in theory, that was a great idea. Problem is: there aren’t very many permanent deaths in children’s animation, and the ones that do exist aren’t especially well-written. This may be an odd thing to say in what is ostensibly a piece of atla crit, but Yue’s death is probably the best written death in a piece of children’s animation that I can think of. That’s not a compliment. Rather, it’s a condemnation of the way other pieces of children’s animation featuring permanent character death have handled their storylines. 

I’ve talked about this before, but my favorite show growing up was Young Justice, and my favorite character on that show was far and away Mr. Wally West. So when he died at the end of season 2, it broke me emotionally. Shortly thereafter, Cartoon Network canceled the show, and I started getting on fan forums to mourn. Everybody on these fan forums was convinced that had Cartoon Network not canceled the show, Wally would have been brought back. And that is a narrative that I internalized for years. Eventually, the show was brought back via DC’s new streaming service, and I tuned in, waiting for Wally to also be brought back, only to discover that that wasn’t in the cards. Wally was dead. Permanently. 

So now that I know that, I can talk about why killing him off was fucking stupid. Wally’s death occurs at the end of season 2, after the main s2 conflict, the Reach, has been defeated, save for these pods that they set up all over the world to destroy Earth. Our heroes split up in teams of two to destroy the pods, and they destroy all of them, except for a secret one in Antartica. It can only be neutralized by speedsters, so Wally, Bart, and Barry team up to destroy it. It’s established in canon that Wally is slower than Bart and Barry, and it’s been played for laughs earlier in the season, but for reasons unexplained, the pod is better able to target Wally because he’s slower than Bart and Barry, and it kills him. After the emotional arc of the season has wrapped up, a literal main character dies. There’s some indication at the end of that season that his death is going to cause Artemis to spiral and become a villain, but when season 3 picks up, she’s doing the right thing, with seemingly no qualms about her position in life as a hero. In the comics, something like this happens to Wally, but then he goes into the Speed Force and becomes faster and stronger even than Barry, in which case, yes, this would have advanced the plot, but that’s probably not in the cards either. 

In summary, Wally’s death doesn’t work as a story beat, not because it made me mad, but because it doesn’t advance the plot, nor does it develop character. Only including things that advance plot or develop character is one of the golden rules of writing. Like most golden rules of writing, however, it’s not absolute. There is a lot of fun to be had in jokey little one off adventures (in atla, Sokka’s haiku competition) or in fun worldbuilding threads that add depth to your setting but don’t really come up (in atla, the existence of Whaletail Island, which is described in really juicy ways, even though the characters never go there.) But in general, when it comes to things like character death, events should happen to develop the plot or advance character. Avatar, for all of its flaws, is really well structured, and a lot of its story beats advance plot and develop character at the same time. However, the show also bears the burden of being a show directed at children, and thus needing to be appropriate for children. And as we know, Nickelodeon and bryke butted heads over this: the death scene that we see for Jet is a compromise, one that implicitly confirms his death without explicitly showing it. So bryke tasked themselves with creating a show about imperialism and war that would do those themes justice while also being appropriate for American children and palatable to their parents. 

The Themes of Avatar vs. Its Audience

So, Avatar is a show about a lone survivor of genocide stopping an imperialist patriarchal society from decimating the rest of the world. It’s also a show about found family and staying true to yourself and doing your best to improve the world. These don’t necessarily conflict with each other, and it is possible for children to understand and enjoy shows about complex themes. And in a lot of cases, bryke doesn’t hold back in showing what the costs of war against an imperialist nation are: losing loved ones, losing yourself, prison, etc. But when it comes to death, the show is incredibly hesitant. None of the main characters that we’ve spent a lot of time getting to know die (not even Iroh, even though he was old and it would have made sense and his VA died before the show was over--but that’s a topic for another day.) This makes sense. I can totally imagine a seven year-old watching Avatar as it was coming out and feeling really sad or scared if a major character died. I was six years older than that when Wally died, and it’s still sad and terrifying to me to this day. However, in a show about war, it would be unrealistic to have no one die. Bryke’s stated reason for killing off Jet is to show the costs of war. I’ve seen a lot of posts about Jet’s death that reiterate some version of this same point--that the great tragedy of his character is that he spent his life fighting the Fire Nation, only to die at the hands of his own country. Similarly, I’ve seen people argue in favor of Yue’s death by saying that it was a great tragedy, but it showed the sacrifices that must be made in a war effort. 

Yue

When we first meet Yue, she is a somewhat reserved, kind individual held back by the rigid social structures of the NWT*. She and Sokka have an immediate attraction to one another, but Yue reveals that she is engaged to Hahn. The Fire Nation invasion happens, Zhao kills Tui, and Yue gives up her life to save her people and the world, and to restore balance. Since we didn’t have a lot of time to get to know Yue, this is framed less as Yue’s sacrifice and more as Sokka’s loss. Sokka is the one who cares for Yue, Sokka is the only one of the gaang who really interacts a lot with Yue on screen, and Sokka is the one we’ve spent a whole season getting to know. While I wouldn’t go so far as to call Yue a prop character (i.e. a character who could be replaced by an object with little change to the narrative), she is certainly underdeveloped. She exists to be unambiguously likable and good, so we can root for her and Sokka, and feel Sokka’s pain when she dies. In my opinion, this is probably also why a lot of fic that features Yue depicts her as a Mary Sue--because as she is depicted in the show, she kind of is. We don’t get to see her hidden depths because she is written to die. 

In light of what we’ve established earlier in this meta, this makes sense. Killing off a fully-realized character whom the audience has really gotten to know and care about on their own terms, rather than through the eyes of another character, could be really sad and scary for the kids watching, but not killing anyone off would be an unrealistic depiction of war and imperialism. On the face of it, killing off an underdeveloped, unambiguously likable and good character, whom one of our MCs has a deep but short connection with, is the perfect compromise. 

But let’s go back to the golden rule for a second. Does Yue’s death a) advance the plot, and/or b) develop character? The answer to the first is yes: Yue’s death prompts Aang to use the Avatar State to fight off the Fire navy, which has implications for his ability to control the Avatar State that form one of the major arcs of book 2. The answer to the second? A little more ambiguous. You would think that Yue’s death would have some lasting impact on Sokka that is explored as part of his character arc in book 2, that he may be more afraid to trust, more scared of losing the people he loves, but outside of a few episodes (really, just one I can think of, “The Swamp”) it doesn’t seem to affect him that much. He even asks about Suki in a way that is clearly romantically motivated in “Avatar Day.” I don’t know about you, but if someone I loved sacrificed herself to become the moon, I don’t think I would be seeking out another romantic entanglement a few weeks after her death. Of course, everybody processes grief differently, and one could argue that Sokka has already lost important people in his life, and thus would be accustomed to moving on from that loss and not letting himself dwell on it. But to that, I’d say that moving on by throwing himself into protecting others has already shown itself to be an unhealthy coping mechanism. Remember, Sokka’s misogyny at the beginning of b1 is in part motivated by the fact that his mother died at the hands of the Fire Nation and his father left shortly thereafter to fight the Fire Nation, and he responds to those things by throwing himself into the role of being the “man” of the village and protecting the people he loves who are still with him. Like with Yue, he doesn’t allow himself to dwell on his mother’s death. This could have been the beginning of a really interesting b2 arc for Sokka, in which he throws himself into being the Avatar’s companion to get away from the grief of losing Yue, but this time, through the events of the show, he’s forced to acknowledge that this is an unhealthy coping mechanism. And maybe this is what bryke was going for with “The Swamp”, but this confines his whole process of grief to one episode, where it could have been a season-long arc that really emphasized the effect Yue’s had on his life. 

In the case of Yue, I do lean toward saying that her death was necessary for the story that they wanted to tell (although, I will never turn down a good old-fashioned Yue lives au that really gets into her dynamism as a character, those are awesome.) However, the way they wrote Sokka following Yue’s death reduced her significance. The fact that Yue seemed to have so little impact on Sokka is precisely what makes her death feel unnecessary, even if it isn’t. 

Jet

Okay. Here we go. 

If you know my blog, you know I love Jet. You know I love Jet lives aus. Perhaps you know that I’m in the process of writing a multichapter Jet fic in which he lives after Lake Laogai. So it’s reasonable to assume that, in a discussion of whether or not Jet’s death was necessary, I’m gonna be mega-biased. And yeah, that’s probably true. But up until recently, I wasn’t really all that mad about Jet dying, at least conceptually. As I said earlier, bryke says that in the case of Jet’s death, they wanted to kill a character off that people knew and would care about, so that they could further show the tragedies of war and imperialism. Okay. That is not, in and of itself, a bad idea. 

My issue lies with the execution of said idea. First of all, the framing of Jet’s original episode is so bad. Jet is part of a long line of cartoon villains who resist imperialism and other forms of oppression through violence and are punished for it. This is actually a really common sort of villain for atla/lok, as we see this play out again with Hama, Amon, and the Red Lotus. To paraphrase hbomberguy’s description of this type of villain, basically liberal white creators are saying, “yeah, oppression is bad, but have you tried writing to your Congressman about it?” With Jet, since we have so little information about the village he’s trying to flood, there are a number of different angles that would explain his actions and give them more nuance. My preferred hc is that the citizens of Gaipan are a mix of Earth civilians, Fire citizens, and FN soldiers, and that the Earth citizens refused to feed or house Jet and the other Freedom Fighters because they were orphans and, as we see in the Kyoshi Novels, Earth families stick to their own. Thus, when Jet decides to flood Gaipan, he’s focused on ridding the valley of Fire Nation, but he doesn’t really care about what happens to the Earth citizens of Gaipan because they actively wronged him when he was a kid. That’s just one interpretation, and there have been others: Gaipan was fully Fire Nation, Gaipan was both Earth Kingdom and Fire Nation but Jet decided that the benefits of flooding the valley and getting rid of the Fire Nation outweighed the costs of losing the EK families, etc, etc. There are ways to rewrite that scenario so that Jet is not framed as an unambiguously bloodthirsty monster. In the context of Jet’s death, this initial framing reduces the possible impact that his death could have. Where Yue was unambiguously good, Jet is at the very least morally gray when we see him again in the ferry. And where we are connected to Yue through Sokka, the gaang’s active hatred of Jet hinders our ability to connect with him. This isn’t impossible to overcome--the gaang hates Zuko, and yet to an extent the audience roots for him--but Jet’s lack of screentime and nuanced framing (both of which Zuko gets in all three seasons) makes overcoming his initially flawed framing really difficult. 

So how much can it really be said, that by the time we get to Jet’s death, he’s a character that we know and care about? So much about him is still unknown (what happened to the Freedom Fighters? what prompted Jet’s offscreen redemption? who knows, fam, who knows.) Moreover, most of what we see of him in Ba Sing Se is him actively opposing Zuko and Iroh. These are both characters that at the very least the show wants us to care about. At this point, we know almost everything there is to know about them, we’ve been following them and to an extent rooting for them for two seasons, and who have had nuanced and often sympathetic framing a number of times. So much of the argument I’ve seen regarding Jet centers around the fact that he was right to expose Zuko and Iroh as Firebenders, but the reason we have to have that argument in the first place is because it’s not framed in Jet’s favor. In terms of who the audience cares about more, who the audience has more of an emotional attachment towards, Zuko and Iroh win every time. Whether Jet’s actually in the right or not is irrelevant, because emotionally speaking, we’re primed to root for Zuko and Iroh. In terms of who the framing is biased towards, Jet may as well be Zhao. So when he’s taken by the Dai Li and brainwashed, the audience isn’t necessarily going to see this as a bad thing, because it means Zuko and Iroh are safe.

The only real bit of sympathetic framing Jet gets are those initial moments on the ferry, and the moments after he and the gaang meet again. So about five, ten minutes of the show, total. And then, he sacrifices himself for the gaang. And just like Yue, his death has little to no impact on the characters in the episodes following. Katara is shown crying for four frames immediately following his death, and they bring him up once in “The Southern Raiders” to call him a monster, and once in “The Ember Island Players”, a joke episode in which his death is a joke. 

So, let’s ask again. Does this a) advance the plot, and/or b) develop character? The answer to both is no. It shows that the Dai Li is super evil and cruel, which we already knew and which basically becomes irrelevant in book 3, and that is really the only plot-significant thing I can think of. As far as character, well, it could have been a really interesting moment in Katara’s development in forgiving someone who hurt her in the past, which could have foreshadowed her forgiving Zuko in b3, but considering she calls Jet a monster in TSR, that doesn’t track. There could have been something with Sokka realizing that his snap judgment of Jet in b1 was wrong, but considering that he brings up Jet to criticize Katara in TSR, that also does not track. And honestly, neither of these possible character arcs require Jet to die. What requires Jet to die is the ~themes~. 

Let’s look at this theme again, shall we? The cost of war. We already covered it with Yue, but it’s clearly something that bryke wants to return to and shed new light on. The obvious angle they’re going for is that sometimes, you don’t know who your real enemy is. Jet thought that his enemy was the Fire Nation, but in the end, he was taken down by his own countryman. Wow. So deep. Except, while it’s clear that Jet was always fighting against the Fire Nation, I never got the sense that Jet was fighting for the Earth Kingdom. After all, isn’t the whole bad thing about him in the beginning is that he wants to kill civilians, some of whom we assume to be Earth Kingdom? Why would it matter then that he got killed by an EK leader, when he didn’t seem to ever be too hot on those dudes? But okay, maybe the angle is not that he was killed by someone from the Earth Kingdom, but that he wasn’t killed by someone from the Fire Nation. Okay, but we’ve already seen him be diametrically opposed to the only living Air Nomad and people from the Water Tribes. Jet fighting with and losing to people who aren’t Fire Nation is not a new and exciting development for him. Jet has been enemies with non-FN characters for most of the show’s run at this point. There is no thematic level on which the execution of this holds any water. 

The reason I got to thinking about this, really analyzing what Jet’s death means (and doesn’t mean) for the show, was this conversation I was having with @the-hot-zone in discord dms. We were talking about book 2 and ways it could have been better, and Zone said that they thought that Jet would have been a stronger character to parallel with Zuko’s redemption than Iroh and that seeing more of the narrative from Jet’s perspective could have strengthened the show’s themes. And when it came to the question of Jet’s death, they said, “And if we are going with Jet dying, then I want it to hurt. I want it to hurt just as much as if a main character like Sokka had died. I want the viewer to see Jet's struggles, his triumphs, the facets of Jet that make him compelling and important to the show.” And all of that just hit me. Because we don’t get that, do we? Jet’s death barely leaves a mark. Jet himself barely leaves a mark. His death isn’t plot-significant, doesn’t inspire character growth in any of our MCs, and doesn’t even accomplish the thematic relevance that it claims to. So what was the point? 

Conclusion

Much as I dislike it, Yue’s death actually added something to atla. It could have added much, much more, in the hands of writers who gave more of a shit about their Brown female characters and were less intent on seeing them suffer and knocking them down a peg, but, in my opinion, it did work for what it was trying to do. Jet? Jet? Nah, fam. Jet never got the chance to really develop into a likable character because he was always put at odds with characters we already liked, and the framing skewed their way, not his. The dude never really had a chance.        

*multiple people have spoken about how the NWT as depicted in atla is not reminiscent of real life Inuit and Yupik people and culture. I am not the person to go into detail about this, but I encourage you to check out Native-run blogs for more info!

[harukamitsuki]

I don't think Lance should have swapped to the Red Lion.

TL;DR at the end.

Lance's connection to Blue was the first connection shown in the series, which makes it all the more meaningful, and it made no sense to the series own rules. Red is temperamental and difficult to control, which is why Keith was her paladin. I have defended Lance's piloting skills in a previous post, but he is not as good as Keith and does not suit the Red Lion. His affinity is water - as emphasised by the start of season 2. Red is aligned with water.

Plus, if he stayed in Blue he would have gotten a proper character arc by living by his own rules and standards and not in Keith's shadow. I know it was supposed to be symbolism - him accepting Keith as leader and not being selfish about it made him qualify as the right-hand man, but the others accepted him as well, despite ribbing Keith about it earlier.

If anyone should have gotten the role as the Red Paladin, it should have been Allura.

Allura as the Red Paladin would, not only make sense narratively, but would also seem right. Colour-wise, she's closer to Red's hue than Blue's, but honestly, I didn't really care about the colour match-up. What is important, is that it would seem like a much bigger deal than Lance accepting Keith as the leader. Lance hates Keith, but that's probably due to being constantly in his shadow and being compared to him, consistently reminded at the Garrison that he was only moved up because Keith was expelled.

Allura, however, has a deeper reason. (Lance's reason is still valid, btw, just not as big as Allura's). She hated Keith for a good portion of Season 2 because he is half-Galra. Obviously, to us, this is a shitty reason to hate someone. It's racism and the show doesn't handle this well. It doesn't handle a lot of stuff well, but whatever. She gives Keith the cold shoulder and Keith knows she hates him. He says so himself to Hunk and doesn't listen to his reassurances. Then again, Hunk was making jokes about something Keith was clearly sensitive about, so that may have had a hand in it too.

Now, I am not condoning her actions. She made Keith feel unwelcome in a team - a family - while he already has abandonment issues, (not that they knew that), and hated him for something he cannot control. Keith probably hated himself for being born. Both of them disregarded the fact that he is still a person with feeling and blood doesn't change that. Hunk too, as much as I love him, was also wrong in his 'Galra Keith' jokes, as if Keith was someone else entirely, when nothing changed apart from their knowledge.

However, what I am saying, is that Allura's reaction was, somewhat, believable and had a genuine reason - and a good one. The Galra Empire completely annihilated her species (as far as she's aware), betrayed the people she loved, and has monopolized entire planets and controlled them - forced them to work and even fight to the death for their entertainment. Apart from Ulaz, she hadn't a single good interaction with the Galra. One good person is not enough to change your opinion about entire races. I know people who are racist, proper racist, to their own race, no joke.

Allura's reaction was actually rather tame, especially compared to how extreme racism can be in the world, even now. She never rose a hand to Keith and kept it passive-aggressive. She gave him the cold shoulder and genuinely hated him, but she never hit him and she never deliberately sent him on a death mission. The Weblum mission was dangerous, but it was also a requirement and she didn't send him in alone. She may have refused to acknowledge his achievements, but she didn't blame him or accuse him of anything. It's likely that, when she saw him, all she saw was Galra. That being said, she wasn't a bad person, simply badly written. There are many people who hurt others for no reason - people who haven't been wronged in any way, but rate a community simply because they exist or they think they're lower than them or less human, which is wrong on so many levels. Allura, at least, had a good reason, though it should have been built on and written better.

In the end, Allura acknowledged her toxic attitude and apologised to Keith. This in and of itself does not make everything okay, but it's more than what Lance did, (virtually nothing except telling Keith that he has to be the leader). Allura knows she was wrong and sets out to make it right, and this development would have been solidified by her becoming the Red Paladin. Like, let's be honest. Lance does not treat Keith right and it's never explained why, in and outside of the show. He's the one antagonising Keith, even during their first proper meeting, and he's the only starting all the arguments, especially in season 2. Keith has been volatile too, I will admit, but he stops his behaviour in the second season. Lance is the one starting everything. Allura, however, stops her behaviour before it takes extreme lengths and becomes a better person and a better friend as a result. It's then that she calls Keith family for the first time, and becoming his right-hand would have shown how serious she was and how far they've come.

Seeing Allura, who, just the season prior, hated Keith's guts, accept Keith as her leader, the Black Paladin, become his right-hand, would have meant so much more. The symbolism goes even deeper. Red's first paladin was Altean and Black's was Galran. Need I say more? (No, but I will). Many of us were incredibly disappointed with the ending of Voltron, especially with Allura dying. The reason she died was to complete the circle, so to speak. The war against the Galra Empire truly started with the death of Allura's father, Alfor, and the entire species of Altea, and the war is finally ending with Allura and Honerva's death. That being said, it was just so insulting and pointless and nobody was happy. Instead of dying to complete the circle, Allura should have survived and broken the chain, for both herself and Red's own paladin tragedy. It was just a huge slap in the face for people who actually powered through seasons 7 and 8 and trusted the show to pull through and get its head together. I know that Shiro was supposed to get Black back, Keith goes back to Red and Allura controls the Atlas, but if that wasn't the plan, then Allura in Red would have made much more sense.

Additionally, the fight in that realm would have been more emotional if Allura was forced to fight her father and bring him back. Lance had no emotional attachment to Alfor, and I know that was the case with Hunk and Pidge, and Allura had attachment to all of the previous paladins, but still. Think about how heart wrenching it would have been for her to face her father, whom she loves dearly. he wouldn't have even recognised her and would have fought her with the intent to kill after his soul was trapped for 10,003 decapheobs/years. (I know they're different, but Allura says 10,000 years even when she didn't know what years were, so I didn't know if that was a mistake or not). Allura would not have been able to fight as well as she did against the Blue Paladin of Old.

Let's not forget that Allura was the one to convince Keith to take up the role of the Black Paladin. Of all the paladins, it was Allura who knew what to say; who knew why Keith was acting the way he was in season 3. Lance saw Shiro as his idol, Pidge as a legend, and Hunk as a mentor. Keith's relationship with Shiro is so much deeper than that. Shiro wasn't the youngest man to be sent into space. He wasn't someone to look up to. He didn't go to the Garrison because Shiro went there - he went there because Shiro convinced him. He doesn't see Takashi Shirogane, piloting prodigy, idol for all. He sees Takashi Shirogane, his best friend and brother, a man he can trust and how can trust him. Nobody else realises how deep this goes. Nobody but Allura. She's the only one to see how much Shiro meant to Keith. She's the one to call him 'irreplaceable' and she's the only one even by the end of the series, who isn't Keith, who has sacrificed something for him. Allura gave up her freedom for him by allowing herself to be captured, and then she gave up the crystal for his arm. Keith has saved Shiro many times, even his clone, and literally gave up his place in Voltron for Shiro. Allura trusts Keith and Keith allowed himself to trust her. She understands his pain when nobody else saw it.

Finally, Allura would have been inheriting Red from her father. Coran has explicitly said that Allura wanted to pilot Red due to her father piloting her. The Lions clearly have some amount of sentience, Red and Black especially. Black only opens themselves to Keith because he of Shiro. The first time, it's to save Shiro from death. The second, it's because Shiro wanted him to become the leader. Red only accepted Keith because he proved himself to her and has saved Keith many times while he's floating in space. She's described as temperamental, which suggest levels of sentience. Obviously, Red would have more of a soft spot for Allura, the daughter of her previous paladin, than she would for Lance, whom she only opens up to well into season 3 and is someone antagonised and even bullied Keith, her current/transitioning paladin. Allura also shows that she's fiercely loyal and is willing to give one up for the team.

Allura has sacrificed her only contact to her father, she has allowed herself to be kidnapped for Shiro, she has constantly exhausted herself for both her friends and strangers such as the Balmerans, she has given up the crystal in her crown for Shiro without hesitation, and she even dated Lance despite not showing any form of romantic attraction previously. (That last one was joke, obviously).

TL;DR - Lance has literally no reason to have become the Red Paladin outside of a rubbish character arc, and Allura has all the reasons. It would have marked an excellent character arc mid-point and would have set up a great ending, if handled well.

I have nothing but respect for the writers of Voltron for their work, especially after all the intervening of their higher-ups that caused many issues, especially regarding Shiro, Keith, Lance and Allura, who were all robbed of excellent character arcs. That doesn't mean I can't hate what came of it.

[itsclydebitches]

PFFFF The newest Witcher trailes LITERALLY throws shade! They have the 'Geralt, but you've been such lone wofl so long, what change' and deadass show JASKIER before later shoving Geralt saying 'Yennefer' like a cheap 'no homo!' excuse. I can't. xD Whoever edited it knows what's on. xD

I feel so conflicted about the Jaskier-Geralt relationship in the show because on the one hand, yeah, they're definitely leaning into this non-romance in a way that can get uncomfortable for some, how shall I put this... jaded viewers lol. We know they'll never be canon. No matter what else we might say about Netflix's inability to accurately adapt the books, Geralt/Yennefer has always and will always be endgame, so getting intimacy between Geralt and Jaskier in these particular ways (flirty jokes, bath scene, argument staged like a breakup), while not explicitly queerbaiting, can make viewers feel... icky about it all. Especially for any show-only fans who might not know that Geralt/Yennefer is endgame. Many viewers, particularly American viewers, approach shows as malleable forms of entertainment that can provide them with the representation they crave, provided the fanbase is vocal enough about wanting it. And the more talk that surfaces about major, crucial changes to the plot that reinterpret huge swaths of the books' purpose and intent, the more it can feel like they might just change Geralt's love life too! Even though they (obviously) won't. And frankly shouldn't given that this is supposed to be a faithful adaptation.

Yet on the flipside, the Netflix versions of Jaskier and Geralt don't feel intimate to me at all. Their hostile introduction, Geralt outright punching him, the continued performance of 'I'm a big strong manly man who can't admit that he cares about others,' reducing decades of their bonding to a surprising, throwaway line, that argument when Geralt blames Jaskier for all his problems... it's terrible and I've never liked this dynamic for them (even as I, somewhat hypocritically, play with it in fic). So I'm like, you're intimate enough that fans are starting to side-eye the creators' intentions and yet simultaneously not intimate in any of the ways you should be if you were actually faithful adaptations of the book. And these problems, I believe, go hand-in-hand. By ignoring the actual friendship of the books, Netflix has been forced to "prove" that they care for one another by falling back on tired buddy tropes that, historically, fans have used as evidence for a potential romantic relationship. By not writing Geralt and Jaskier as having the open, witty, philosophical, caring-but-also-taking-no-shit relationship they had in the books, Netflix has fallen back on a dynamic that isn't doing their show any favors. Fans either hate it, or love it to the point where they expect something of the show that the show can never deliver.

So it's a mess! And that mess hasn't done Yennefer any favors either. I'm really not in a position to be defending that pairing - I've never hid that I'm not a Geralt/Yen fan - but whatever the books did that made others love their relationship... I don't think Netflix is capitalizing on that either. In that other ask I brought up how in the games their relationship seems to revolve entirely around Ciri and sex. If they're not talking about their daughter (or if Yen isn't being cruel) their relationship is just about how horny they are for each other, which... isn't really a relationship to me. Or at least, not the deep, "We belong together forever, we're basically soulmates" relationship that the franchise is going for. Same with Netflix. I never liked the foundation of their relationship being an ambiguous wish that tethered them irrevocably and a quickie in the rubble as a replacement for actually getting to know one another... but Netflix takes those aspects and emphasizes them to a disappointing degree.

"You spent a lifetime alone. What changed?"

"Yennefer of Vengerberg."

Yet when it comes time for the trailer to show us what this deep, insightful relationship is that changed a man after an entire lifetime of wandering alone... it's just sex. That's literally all Netflix is able to show us because that's the only meaningful interactions Geralt and Yen have had together. Here's a clip of them falling into bed together and Geralt, without any of that emotional work shown to the viewer, professes that he loves Yennefer the way she's always wanted to be loved.

Here's a clip of the joke we got where Jaskier is gaping over them having sex on the floor post-Yen nearly killing the lot of them.

I'm like... what out of any of this is meant to be appealing to me? Besides the fact that they're both hot as hell? (The casting does make my little bi heart happy lol.) For me, Geralt and Yen are a classic case of a story insisting they're meant for each other because That's Just How Stories Work, without doing any of the actual, you know, work to show us why they like each other, or how they got there, or why these superficial things (the sex is great!) trump the huge hurdles they should be working through. The games might have their flaws, but god bless 'em for letting the characters point out, "Hey... how do we even know this love is real and not just a byproduct of the djinn's wish?"

Geralt and Jaskier, as established, absolutely have their problems in the show, but I can understand why so many fans ship them over Geralt/Yen. And no, though bigotry can play a part, we also can't demonize the entirety of its popularity with, "You just hate women/are racist/creepily obsessed with queer men/whatever the latest accusation is." Rather, the popularity exists because, whatever their faults, it feels like they actually have a relationship in the show. We see them developing together in a way we simply don't get with Yennefer/Geralt and because that development isn't largely reduced to sex scenes—the narrative trying to pass every bonding moment off as True Love, with True Love equaling physical attraction—it comes across (at least to me) as more realistic and believable, especially given Geralt's character, someone who is emotionally closed off. If Vesemir (I think it's Vesemir) asked what changed and we deliberately cut to that moment of Jaskier leaving after Geralt drove him away... I'd more easily believe that yeah, this relationship is causing Geralt to rethink things in a way he hasn't for an entire lifetime. We've seen them travel together, become (begrudging) comrades, defend one another, do favors for each other, tease each other, have a major fight that they'll inevitably make up from, Jaskier is presented as Geralt's first friend, and none of this is tied to a questionable wish, or passed off as the totality of Geralt's development.

The fact that Netflix would include those lines, cut to a legitimately heart-wrenching moment between Geralt and Jaskier, but when it comes times to show his relationship with Yennefer, the most powerful moments are her without him (smashing the mirror, undergoing her transformation, stepping out in her new body for the first time, etc.) and their moments together are just sex—one of which is used partially for comedy—well... that just illustrates the problem for me. What relationship? The one that supposedly exists simply because the story says it's there? I don't think I'll ever be a Geralt/Yen shipper, but I'm perfectly capable of separating my personal preferences from subpar writing choices. Netflix is far into the latter. The way that they're adapting the story is, imo, hurting both fans of the book material and fans who are on the fence about book material. Because so few of these changes are working well, we've lost all the good the books contained and are now stuck with so much new bad. Basically, "No one liked that."

Except, of course, for the Geralt/Jaskier shippers riding the coattails of those tropes... though many will likely be disappointed and hurt by the series' end when they're not made canonical, with others growing frustrated with how the fandom has turned on them simply for liking what they were given. It's really turning into a lose-lose for everyone involved.

[trensu]

Hearing the news about supernatural really makes me appreciate shows like the untamed and guardian. Censorship doesn't stop them. Really love cdrama.

see, the thing is that there’s SO MANY WAYS someone can express their love without having to say the words “i love you.”

Dean and Cas got up in each other’s space just as much as wangxian or weilan did. They gave each other gifts of one kind or another, just like wangxian and weilan did. They had moments of prolonged, intimate eye contact just like wangxian and weilan. They sacrificed a lot and bled and endured pain for one another like wangxian and weilan But each time that happened, a “no homo” moment IMMEDIATELY followed. It’s the no homo-ing that ruined it. The show runners turned it into a joke. Bc god forbid male characters express any form of tenderness or affection to anybody ever. 

The Untamed and Guardian never once no homo’d anything.  It was very up front that these two protagonists cared very deeply for one another. They never explicitly say they’re in queer love with each other but they didn’t have to bc the sincerity of their regard for one another burst out in technicolor from every scene they shared. The showrunners didn’t treat it as a joke. They didn’t shove in a rando 2 dimensional female character into their lives to disrupt their dynamic. They didn’t cheapen any of their emotional scenes for fear of appearing gay. They let those scenes happen and simply did not add any make-out scene or have anyone say “i love you” out loud. This way they avoid violating censorship laws without diminishing the integrity of the scene’s emotional impact.

I think there’s something to be said here about how sexualized romantic love is forced to be in media, and how that impacts the interpretation of the characters’ relationships and how that can be used to avoid censorship or make queerbait. But i don’t really know how to articulate it right now and honestly that should probably be a different post entirely.

All this to say, that YES I AGREE. I am eternally grateful for The Untamed and Guardian bc they really know how to tell a great love story and completely raised the bar. Bc if these shows could demonstrate how much the queer characters loved each other without getting slapped with censorship charges, western media has literally NO EXCUSE to treat queer love stories the way they do.

[thedeadflag]

I’m so confused! I know it’s not your responsibility to educate me but in your post bringing awareness to the negative aspects of g!p fanfic you say

“Why do these g!p characters rarely if ever involve experiences reflective of trans/intersex women? Why are they so utterly cis and perisex-washed? Why do nearly all writers have zero idea that tucking is a thing? “

Doesn’t that answer your original question? The reason they don’t reflect those groups of ppl is bc g!p isn’t trying to represent those groups of people or else it WOULD be transphobic to limit them to one specific fetish right? it just refers to a canonically female character with the addition of a penis (I don’t argue the name “g!p” should be changed bc that’s a no brainer why that could be offensive). But the fanfic in general, how could it be harmful? I’ve noticed in my time reading it as a non binary person it’s given me great gender euphoria reading a reader insert where reader has a penis while being a femme representing person just bc that’s a reflection of my personal experience. I don’t see anywhere where g!p fanfic ever references or tries to emulate the experiences of trans or intersex people so how could it be offensive?

Sorry this is way too long I’m just very confused

I'm going to try and lay this out as politely as I can. It's after 3:30 in the morning here, so this could be a bit disjointed and rambling. More under the cut:

In real life, ~99.999999% of women with penises are trans women. Which puts us in a tricky situation of (A) being the only women with penises around for media involving women with penises to reflect back on, and (B) being in the lovely position of precious few people actually having had meaningful real life exposure to trans women, meaning (C.) all those stigmas and all that misinformation are going to purely affect us and it’s going to be uncritically gobbled up by the masses, since they don’t have any meaningful information to fill in the blanks with instead.

When we peer into the depths of femslash fandoms and see all these folks who aren't trans women writing about women with penises, and using cis women’s bodies as platforms for these penises, it’s the simplest thing.

I mean, some of those folks might actually be struggling and confused about why they’re into it, what the real appeal is, why they get off on it, why they might have some feelings about wanting a penis of their own…

…but from our vantage point, it’s really easy to gauge 99.99% of the time. We can generally see valid, legitimate yearning to have a penis pretty damn easily in a piece of art/writing, and we can also see when people who create this media are just hung up on a boatload of baggage and fetishization.

And 99.9% of the time, the creators are just hung up on a boatload of baggage and fetishization, and see trans women’s bodies as a perfect vehicle to tap into that, generally due to deeply held cissexist views that link us and our bodies and genitals directly to cis men, to maleness. As if penises are rooted in maleness and masculinity (which is absolutely not true).

And I have sympathy for NB folks (certainly TME ones who have reached out to me in the past about this) who might be struggling with that, but just because they’re non-binary, it doesn’t mean they get to appropriate our bodies and reproduce transmisogyny and trans fetishization in their attempts at feeling better. Shit doesn't work like that.

Because again, the only women with penises in this world, essentially, are trans women. Meaning any woman with a penis in media is a trans woman, implicitly or explicitly. Meaning that when people who aren’t us want to write us, intent doesn’t matter, it doesn’t matter if it’s just the writer’s fantasy, it’s still going to attach a variety of messages directly onto us.

And more often than not, due to cissexism, those messages are linking us to maleness, to toxic masculinity, etc..

While I do want to believe they're a fairly small minority, a lot of NB folks in fandom spaces like g!p characters in part because they see penises as male and the rest of the body as female and think that duality is interesting and would be comfortable, and is a nice balance of “both worlds” or a nice position “between male and female”, but that’s a wholly cissexist, transmisogynistic view to have, and it’s one that absolutely cannot be supported without directing sexual violence against trans women and invalidating our entire existence. Certainly not all NB folks into g!p like it for that reason, but holy shit a fair bit of them do and it’s weird and wrong and fetishistic.

g!p emerged from the idea that women can't have penises, and drew on the transmisogyny and cissexism of tr*nny porn to structure that frame of desire and the core patterns and trends within these works. It's always been trans women's bodies being used as a vehicle, whether or not the writers of these fics are explicitly aware of it, because the trope itself still holds true to its original patterns and cissexism. It's not the name that's the problem, it's the content; changing the name would be a surface level change that wouldn't affect anything.

g!p objectifies women with penises (trans women). A woman with a penis is more than just a woman with a penis, but the use of the term and trope is literally to (A) remind people that women don't have penises, otherwise the g!p term wouldn't be needed if people actually accepted women with penises as women, and that (B) this is a story centered on a scenario where there's a woman with a penis, with key focus on that genitalia specifically. it's the drawing point, it's the lure, it's what everything is centered on. It is a means for folks to write lesbian sex while also writing about penis in vagina and getting off to it. It's also no surprise that the penises so clearly emulate cis men's penises in these works, that is by design.

As I’ve said many times before, if you’re only writing trans women’s bodies to showcase cis men’s penises, you’re not respecting the womanhood of trans women, and this ultimately has nothing inherent to do with penis-owning women, it has to do with (cis) men and their penises, because trans women are just being used as a vehicle to emulate them. When NB folks do the same thing, and imagining themselves as those g!p characters, they are ultimately embodying cis men, their maleness, and often toxic masculinity, in a way that feels safe and distanced enough for them, a shell that they often code as cisnormative due to their own unprocessed cissexism.

And trans women don’t deserve that.

You seem caught in the idea that if something doesn't directly perfectly reflect trans women, that it can't be linked to us., which ignores the long long history of media being used to misrepresent marginalized peoples and cast us in insulting, dehumanizing lights. You show a lack of understanding of the g!p trope and the long history of its usage across a few other names, even if the content and patterns remained the same. It shows a lack of understanding of tr*nny porn and transmisogynistic stigmas, which the trope draws heavily from.

I think we can all recognize that most 'lesbian' prn that's made does not represent actual lesbians, it's overwhelmingly catered to the male gaze. We can also recognize that this category of porn has led to a lot of harassment towards lesbians from cis men who at the very least want to believe lesbians are just like they are in the porn he watches, that lesbians just need the right man. Lesbians are being used as a vehicle for a fantasy that was created externally to them, and doesn't represent their realities.

It's the same kind of situation here. The way g!p fics play out overwhelmingly doesn't reflect trans women's realities, but they are inherently linked to us regardless, as we're the vehicles for those fantasies, as unrealistic and harmful as they may be.

g!p characters are built in our fetishized image that’s based on a deeply cissexist misunderstanding of us, of the gender binary, and of bodies in general.

I mean, when 99% of cis folks don’t understand how trans women tend to be sexually intimate… when they don’t understand what dysphoria is and how it works and how it can affect us physically and emotionally…when they don’t understand almost any of our lived experiences…then they’re not going to be able to accurately portray us even if they wanted to.

And I’ve read enough g!p fics where authors wrote those as a means of trying to add trans rep, but because they didn’t understand us at all, it wasn’t remotely representative, and it was ultimately fetishistic, even if there was an undercurrent of sympathy and a lack of following certain common g!p patterns there that differentiated it from the norm.

If g!p fics were at all about reducing dysphoria or finding euphoria, then it wouldn’t be explicitly tied up in the performance of very specific sex acts, very specific forms of misogyny and toxic masculinity, very specific forms of sexual violence and exertion of sexual power, etc.

But it is.

So the notion that creating g!p fics helps NB folks? Nope. It CAN certainly prevent/delay those folks from facing a whole boatload of shit they’ve internalized, and coddle them at the expense of trans women.

Because if it was really about bodies and dysphoria/euphoria, there would be a considerable push (allying with out own) to end our fetishization and to represent us in and out of sexual contexts with accuracy, respect, and care. Because they wouldn’t care what sex acts were performed and what smut beats were hit, they’d just want to see someone with a body like their ideal being loved, being sexual, connecting, being authentic, etc. Which very much is not the case in the overwhelming majority of g!p fics. That's what we want, and it's not what g!p writers want, it's nothing they give a shit about.

Like, a ways back I started doing random pulls of g!p fics from various fandoms and assessing them for certain elements to provide some quantitative clarity. I started on The 100 here, and did OuaT here. Never finished the 100 one since the results leveled out and stayed pretty consistent as the sample size grew, so I didn't really see the point in continuing any further after about 140 fics when the data wasn't really changing much at all.

Lastly, media influences people. I've read countless posts and comments from people who use fanfiction as a sex ed guide, in essence. Which is ridiculous, but I also know sex ed curricula often isn't very accurate or extensive in a lot of areas, so people take what they can get. Representation in media can be powerful, and when it overwhelmingly misrepresents people, that's also powerful. Just because fandom is a bit smaller than televised media, it doesn't make that impact any lesser, certainly not for those whose primary media intake is within fandom.

Virtually all trans representation in f/f fanfiction is misrepresentative of us. That has a cost in how people understand us, how people react to us, and how people treat us. Not just online, but in physical spaces, and in intimate settings.

I invite you to read that post you referenced again, or perhaps this longer one which is a response to a trans guy who seemed to feel something similar to you with this trope.

All I can do is lay it out there and try to explain this. It's up to you how you handle this. All I know is whenever there's a big surge in g!p in a fandom, trans women generally leave it en masse, because it's a very clear and consistent message that we're not valued, respected, and that people value getting off on us over finding community with us.

[opaljm]

not gonna lie, but i liked you better when you were just doing your own little thing on tumblr. youre hybrid stories were so good and your hades!taehyung story was so promising. but now instead of writing and posting fics- literally where is eye of the tiger it's been more than a year since you teased it and where is turbulent part three?! your becoming a shooter for people that dont even like you as much as you like them. why do you hype up hantaev and chateautae when they never hype you up naia. i dont think they've ever read a single thing by you either. naia their never gonna become your bsfs and its pathetic to see you keep trying 💀 you should just write and post your fics (you know the ones that we ACTUALLY WANT) why did you even release yours truly. just give us eott youve had more than a year to work on it i dont get it. the more you draw it out the less people will care when you finally post it.

Um wow. Okay so, my readers know I have a policy of not answering hate asks and in general the treatment I get from my readers is so good and so pure and I'm always grateful for it but it seems like this motherfucker wants to ruin that relationship, but you know what? I have thick skin and I don't even know if you're actually one of my readers or you're one of those toxic anons that @hantaev and @chateautae have, that decided to come over here and bother me now.

The reasons why I'm suspicious whether or not you're even one of my followers or just fine combed my blog to find ways to hurt me is because I have actually explicitly stated why there is no Turbulent part 3 yet (It's a drabble series that I work on when I have inspiration for it or when I am not working on other works. But I literally have so many WIPs right now. All my readers know that Turbulent is the least of my priorities and they're so respectful of that).

And when it comes to Eye of the Tiger, I've literally stated that I've lost over 20k words of the fic when the file got corrupted and that actually put me into a slump and not want to write that fic anymore. Since then I've decided to completely rework the plot into something that I would want to write again. I had made it into a chaptered form before changing it back to a one-shot. It's even on my list of WIPs for this year. But let's assume for a second that you actually have read my stories and you're not a random anon from the depths of hell. Congratulations! You have delayed Eye of the Tiger for everyone. I was going to work on it next month but now it looks like everyone is going to have to wait until August at earliest. I also don't care if you think that Eye of the Tiger's anticipation is going to die down and no one ends up reading it when I finally do post it. It's not like you have clairvoyance and can see the future.

Now moving onto you insulting Yours, Truly and saying no one wants it. Anon, just because you love Taehyung to the alarming degree that you keep harassing creators for their Taehyung fics just cuz it's not set to your specification or whatever the fuck does not mean that everyone else is such a rabid crazy Taehyung stan. It literally makes no sense for me to put more importance onto your opinion of Yours, Truly over the hundreds of people who have reblogged and hearted it and even asked to be on the tag list. Not to toot my own horn but I really like Yours, Truly and I wish you would open your eyes so you could enjoy it like everyone else. Except I don't know that I want someone like you on my page so 🤷🏻‍♀️ maybe it's a blessing in disguise that you don't like Yours, Truly and won't be able to bother me about it in the future.

I left this for last because it's literally so stupid that I even have to address this. Anon, I don't think you realize this but Hads and Sammy are friends in real life, they are the type of friends that talk every day, facetime and text, and send each other presents. Not only that but they are also the same age. IN contrast, I am... get this... their online friend. I am not as deeply involved in their lives as they are in each others lives. And you know what that's perfectly fine and I'm okay with it, maybe one day it'll turn into something IRL maybe not, it's cool we're chilling either way. Also, I can't believe I even have to say this but anon do you realize that Sammy and Hads are both 19 and I am 23? I'm actually rubbing my forehead right now because there is literally no situation where it's normal or acceptable for a 23 year old to be jealous of a relationship that two 19 year olds have with each other. I just treat them like my little babies that I'm so so proud of.

If you think I'm trying too hard to be their friends, I feel like you genuinely have never seen people act kindly towards others without expecting anything in return. It literally costs me nothing to interact with them and brighten up their days. Also maybe it's my age but I'm not insecure about whether or not my mutuals read my fics or constantly reblog and promote it. We are all so busy I'm never going to ever demand that from someone. Sammy and Hads don't demand anything from me either. How can you say Hads as never read anything by me when she's listed as the beta reader of Yours, Truly (yet another reason why I think you have never read it but are just insulting it because you can)? Sammy has given me private updates of how much she's enjoyed my work. Just because she or Hads never posted a review for YOU to see on multiple works doesn't mean that they don't read and support my stuff. And it's so weird that you're claiming that about them but you're not holding me to the same standard? The last time I reviewed one of Sammy's Maybe I Do chapters was probably for chapter 4 but I've privately been keeping her updated on my progress with reading her fic. I haven't even read Hads' Before Dawn yet. But you know what? It's fine. We're all okay with it and we don't have insecurities like that, we understand that we will all read and support each other's fics when we can and when we're free. I feel like as you get older you realize that friendship is not just what you can physically show off to others its more so all the ways you can be there for someone. I thank Allah that Sammy, Hads, and I are all so much more understanding than you are and that there is not even an ounce of toxicity in our relationship.

Lastly, maybe I'm not jealous of Sammy and Hadiyah being best friends because I have my own best friends? @vivian146 is literally the light of my life and we're going on strong for almost 7 years 😭😭😭

[projectjasper]

my thoughts and opinions on "lovely writer": criticizing the critic

tw for discussions of age gaps, rape, and sex

before i turn into the mean and constantly dissatisfied archer that we all know and hate, i just want to say that i liked this show. i think it's great, actually! gene and sib are appropriately cute, the premise is nice, and the attempt at criticizing the industry is... well, an attempt, which is better than nothing. moreover, "lovely writer" came with gifts because it gave me my new favorite character, so you can't go telling me i'm trying to completely obliterate it or something.

besides, this specific post isn't going to get into analyzing the show as a whole anyway. i won't be talking about any irrelevant plot points, cinematography, sound design, or anything like that, though i could probably write a post just as long as this one about that side of things as well. however, i am here to specifically look at the problematic things that were both criticized by the show and included in the show without any criticism. i'm going to talk about the more serious side of things here, which means i'm going to get serious. and i'm going to be harsh. very harsh.

gene and nubsib: yes's and no's

overall, the relationship between gene and sib was a fair attempt at showing something complex, yet ultimately quite healthy, which i appreciate. there were some things i was especially glad about. the fact that sib dated other people before settling on getting together with gene, for example, makes the whole situation a little less codependent. however, as much as this show prides itself on not wanting to romanticize problematic relationships, there are at least two major problems with genesib.

the age gap (and why it was not needed)

i've tried my very best to give this entire concept the benefit of the doubt. at first, i was convincing myself that they were simply close childhood friends, then i was trying my best to believe that even though sib did have a sort of crush on gene (which sometimes happens to little children), gene only saw him as his younger brother, but eventually, the show gave me no choice, but to deem the entire storyline problematic, because they did their best to romanticize that relationship - from gene's dad seeing the "early signs" to the counting and kissing the cheek turning to counting and full-on lip-locking in the last episode.

i could go into how this could all easily be mended if little sib was shown as kind of obsessed with his older friend, but gene was shown as not being anywhere near interested in the kid. but the real question is - why was the age gap needed at all?

i've researched the age of the boys during the flashbacks to the best of my ability and it seems that gene is 11 and sib is 6 or 7. if sib was the same age as gene (or maybe just one year younger, but not any more than that), not only would none of it feel weird, it would also be quite appropriate to explore that first glimpse of romantic feelings some of us experience exactly around that age. i don't think it's necessary for sib to be much younger than gene (children can be just as impressionable at 11 as they are at 7, and as for gene being surprisingly nice and helpful and the other kids not wanting to play with sib, he could have easily been - for example - bullied by his peers instead, which would have the same effect).

moving forward to the present, i don't think the lack of an age gap would affect the storyline that much either. even if they desperately needed sib to be a university student, they could have that one-year difference i've talked about before, which is not as significant. sib could be in his last year of uni, while gene could have easily written his very first novel during his university years, which would actually make more sense (since that guaranteed him employment and freedom to write after he finished uni; and i would rather believe that he had time to write his first novel in-between classes than in-between shifts at work, which he would surely need to have if he started writing after finishing university).

so that brings me back to my initial question - why was it needed? and much like the show often does, i will leave this one up for your interpretation because i do not have any sensible answers myself.

the issue with sex and consent

"but archer!" - i hear you exclaim - "lovely writer is known for explicitly denouncing rape romanticization in bls, how could there possibly be any problems with consent here?" and i hear you, my dear reader. and you aren't incorrect, "lovely writer" is indeed very explicit at calling out bls for having rape scenes (and i do appreciate that). however, as i'm sure you know, there are different ways in which consent can be taken from a person, and there are different non-consensual acts that someone might perform. for example, there are many different forms of coercion, such as the person being persuaded until they feel like they have no other choice, but to say yes. touching someone or kissing someone without asking for permission are also non-consensual acts. i can go on and on, there are many examples outside of what so many people consider rape.

now, what if i tell you that though there (thank the gods) has been no rape present in "lovely writer", not all scenes with gene and sib are consensual? well, that's what i'm telling you because it's the truth. both the first kissing scene and the scene where gene and sib "try out different poses" have clear coercion in them. the entire "joke" of the scene before gene and sib's first time is literally built upon the concept of "a person is trying to run away from someone, who wants to have sex with them" and it is NOT funny. the later reveal of gene actually looking up how to have sex seems to be there on purpose, to show that everything that's happened is "ok" because gene was thinking about it. as a sensible person, i will only accept actual enthusiastic consent and not someone possibly maybe probably considering it. not to mention that right before having sex, sib asks gene one last time if he is sure, which is great, except it is immediately followed by "i'm not going to let you change your mind anymore", which - daily reminder - you are allowed to stop having sex at any point during the act if you start feeling uncomfortable with it. that's absolutely normal.

now the problem that we seem to run into here is that "lovely writer" appears to think that it's ok to push someone to the limit until they either finally agree or confidently and loudly disagree. the drama has repeatedly shown us that actually forcing someone to have sex is not ok; however, persuading and otherwise coercing someone, as well as taking an approximate guess of them wanting to have sex based on some marginally related factors, is ok. i would like to once again remind everyone that all of that is not ok.

one more issue i want to bring up in connection with sex is something i wish was common knowledge: it is NOT supposed to hurt during your first time. whether you are planning to have vaginal or anal sex for the first time, it should not hurt. and if it does, something has definitely gone wrong and you need to stop. you are not supposed to experience any pain or discomfort during sex, including your first time (outside of desired and therefore intentionally inflicted pain, but that's not what i'm talking about here). i have seen this misconception brought up many times in bls along with the other person "thanking the person who got hurt for bearing the pain to bring them pleasure" and absolutely none of that is normal. stop. please, just... stop.

criticism of the BL industry

there are certainly quite a few things i liked about the way "lovely writer" criticized the many problems that surround bls. i think they dealt especially well with the fan aspect. the breaches of privacy that are considered normal, the toxicity of social media that encourages people to comment on other people's personal life, harass and stalk them - all of that was shown in its full glory (or rather horror) and clearly condemned. it was also interesting to see how easily everyone around sib fell into the routine of having to hide genesib's relationship, just because "that's what's supposed to be done in these situations" - even tum did that without thinking twice.

however, i have not spent the past three years hating gmm for a show trying to criticize the industry not to focus on criticizing the production company and everyone professionally involved with the making of bls. don't get me wrong - they didn't completely overlook that side of things, but i found the way they approached it dissatisfying.

like yes, tum fights with his sister (aka sib's manager) and calls her out for her terrible actions, and the publisher (bua) eventually apologizes for what she did, but all of that feels a bit too... personal. i do not care about these individual stories. i care about you saying that the whole system is broken because it very much is. i wanted manner of death but with the bl industry, and instead, i got an "uwu the fans are demanding we do this, and our hands our tied" (which is a lie) and "uwu i'm just trying to make money" (which i mean... if you feel ok milking even more money than you already have by doing something unethical and immoral, then be my guest, but also go fuck yourself). besides that, i didn't see any criticism of tabloids or exploitative celebrities either (both of which we had examples of in the show), and that was kind of disappointing.

coming back to the fans for a moment, i also think that the criticism of real people shipping was entirely unsuccessful. we basically mostly got an "oh, what if this person's partner thinks they are actually dating", which... if a bunch of people on the internet who do not know your boyfriend personally and make all their judgments from screenshots and their imagination can convince you that your boyfriend is cheating, i've got some bad news for you and also a number for a therapist. partly i know why it was so complicated for them to get into it properly - the issue with real people shipping is an issue of privacy, boundaries, the perception of celebrities, acceptable interests, and many other complex topics. however, it's better to not criticize something than to criticize it badly and inaccurately (because the latter usually leads to even more encouragement of whatever you were attempting to criticize).

aey: the flamboyant villain

aey certainly starts as a promisingly complex character, but the farther we go from his backstory and his family, the less complex and the more evil he gets. eventually, the trauma he goes through is no longer enough to give him a get-out-of-jail-free card, and he loses all remaining sympathy after sexually harassing gene and pretending to drug sib. and i did start this post by saying that i am not to analyze any plot points or characters from the show here; however, i'm saying all this to prove a point that aey is a clear villain in the show. this is further cemented by the fact that by the end of the show he loses the only two people who cared about him, and the very last moment with him in the show is literally just him crying for about 3 minutes. there was no redemption arc, no pity, no revenge - he was left alone and broken, clearly punished by the narrative. and i've got a bone to pick here as well.

one of the first things that we find out about aey is that he is gay, and quite openly so. he is repeatedly described as very feminine by many characters, he flirts with men, he talks about being good in bed, and his entire character is built upon being gay (half of it directly, and the other half due to the fact that his entire backstory and therefore personality is also built upon the fact that he is gay). he is - for the lack of a better term - the gayest character in the show and the only one who is loud about being gay not because he is in love but simply because it is a part of him and he doesn't want to hide it. and he is the villain. not the disgusting publisher or the terrible manager - no, this guy was specifically chosen to ruin everyone's lives. and i can't say i'm particularly happy about that. *british voice* seems a bit homophobic love

not quite queer enough

as i said, aey is openly gay. gene and sib also eventually say that they are gay, gene's father teep is queer, so are tiffy and mhok. but it just doesn't seem to come up as much as it would in real life. the only time anyone has a problem with any of the characters being queer is when we deal with the parents. but knowing actual queer thai actors in real life, we are all aware how hard it can be for them, but it has not come up even once for aey, gene or sib (with genesib only being a problem because they are a "non-shippable couple"). being queer is far from being a non-issue in the industry, and i found it incredibly weird that it was never brought up (and i would also prefer if they brought that up instead of showing the unaccepting parents plot for the millionth time).

same goes for the lack of conversation around queer people on set. i think we all have a wonderful example of how much better a bl can get simply when it involves a queer director and/or screenwriter (gods bless p'aof), gay actors, etc. i also thought it was a missed opportunity that gene being a gay man writing a bl novel was never highlighted. if anything, everyone made a big deal out of him being a man writing a bl - never mind that he is a gay man that is far more qualified to write bls than a straight woman.

in conclusion, there are simply not enough queer issues talked about here for a show that is about queer people facing difficulties while making a queer drama.

tiffy and tum: the good, the bad, and the ugly

overall, tiffy and tum are quite cool. outside of my own personal feelings, i really liked the clear reversal of gender roles they have going on: he knows lots about make-up, she knows nothing about it, he knows how to sew, she knows how to repair a car, etc.

tiffy is also a nice addition to the precious few queer girls we have in bls. however, the way her being bi is executed... it isn't great. when she first talks about dating girls to tum, she says things like "even though i look like this" (implying queer girls have a certain look?) and "maybe it seemed normal because i was at an all-girls school" (which wtf does that even mean?). i think the worst thing, though, was when she assumed tum was gay. my best guess is she thought so because she initially thought that tum and gene were a couple; however, she should be the first person to know that just because he likes men, it doesn't mean that he doesn't like women or any other gender. even though there was nothing explicitly leading me to make this conclusion, this whole thing did kind of feel like the old "flipping the switch" stereotype (meaning, she used to like women, but now she likes men, and both of them can't happen simultaneously).

make it make sense

i think i've never been more confused in my entire life than when i found out that the director of "lovely writer" also happens to be the director of "th*arnt*pe". and if at first, i was asking a lot of questions about this peculiar individual, who went from working on the worst rape-romanticizing show we have ever had to a show that explicitly states that rape is not normal. but the more i thought about it, the less i was interested in him, and the more i was interested in whoever made the decision to hire him. there are dozens of different directors that have worked specifically on bls, and even more that haven't. yet out of all those, you decided to choose this one. the dude, who before your show has only directed the show with the biggest rape-y vibes. that casts a particular kind of shade on the entire show that i simply do not like.

conclusion

at the end of the day, i think what "lovely writer" tried to do was very interesting. it succeeded in some ways and failed in others. frankly, i think this show could have easily been made better if someone queer was involved in making it. that's always true, but especially so, when we try to talk about the issues of making a queer drama. either way, it's certainly a good start to this conversation; however - as i said - i'm still waiting for my manner of death but with the bl industry. this was unfortunately not it.

[beatriceeagle]

I'm more of a fantasy than sci-fi person, but consider my interest piqued. Why should I watch farscape?

Okay, the thing is, every Farscape fan’s pitch on Why You, Yes You, Should Watch Farscape ends up sounding very similar, and that’s because Farscape is a black hole that sucks you in and does things to your brain, and after you’ve watched it you are never, ever the same, which incidentally is basically the plot of Farscape.

I would summarize the basic plot for you, but that’s work, and luckily, the show’s credits sequence includes a handy summary that I will provide instead of doing that work: “My name is John Crichton, an astronaut. A radiation wave hit, and I got shot through a wormhole. Now I’m lost in some distant part of the universe on a ship, a living ship, full of strange alien life forms. Help me. Listen, please. Is there anybody out there who can hear me? I’m being hunted by an insane military commander. Doing everything I can. I’m just looking for a way home.“

So let me break down that monologue into its component reasons you should watch Farscape.

1) Some of the strange alien life forms are Muppets.

Farscape a co-production with the Jim Henson Company, and while there are many aliens played by humans in make-up, there are also a considerable number (including two of the regular crew) who are Muppets. By which I do not mean Kermit. I mean really gorgeous, elaborate works of art.

Also, even a lot of the humans-in-makeup aliens just look cool, and incredibly weird. Here’s an alien who appears in a single episode of season 1:

Not that there aren’t, you know, occasional Star Trek-style “these guys are just humans with weird hair,” or whatever, but in general, the aliens on Farscape look really alien. And that’s more than an aesthetic choice; it’s Farscape’s driving narrative principle. The aliens look alien, they act alien, they have alien values.

You know how a lot of sci-fi shows will have a stand-in for “fuck,” like Battlestar Galactica has “frak”? Well, Farscape has “frell.” And also “dren.” And yotz, hezmana, mivonks, loomas, tralk, snurch, eema, drannit, dench, biznak, arn, drad, fahrbot, narl. Some of those are swear words, but some of them are just words, never explicitly translated, that the alien characters will pepper into their speech, because, well, why should translator microbes be able to completely translate all the nuances of an alien culture? You’ll pick it up from context. One time, in passing, a character mentions that he’s familiar with the concept of suicide, but there’s no word for it in his language. I cannot emphasize to you enough how fleeting this moment is; the episode is not about suicide, we’re not having a great exchange of cultural ideas—at the time, the characters are running down a corridor in a crisis, as they are about 70 percent of the time—it’s just that the subject got brought up, and this character needed to talk around the fact that he literally didn’t have a word, in that moment. Things like that happen all the time, on Farscape.

Because more than anything else, Farscape is a show about culture shock. John Crichton is this straight, white Southern guy, at the top of his game—he’s an astronaut! he’s incredibly high status!—and then he ends up on the other side of the galaxy, where none of his cultural markers of privilege hold any meaning, where he doesn’t know the rules, where he literally can’t even open the doors. And he has to unlearn the idea that humanity is central, that he is the norm.

2) John Crichton, an astronaut, is pretty great.

A show that’s about a straight white guy with high status having to learn that he’s not the center of the universe could easily be centered around a really insufferable person, but one of the subtle things that makes Farscape so wonderful is that Crichton is, for the most part, pretty excellent. He has a lot of presumptions to unlearn because almost anyone in his cultural position would, but he’s also just a stand-up guy: compassionate, intelligent, open-minded, decent, forgiving, brave, hopeful.

And the galaxy tries to kick a whole lot of that out of him. It doesn’t succeed, mostly, but if Farscape is about anything other than culture shock, it’s about the lasting effects of trauma. How you can go through a wormhole one person, and experience things that turn you into someone you don’t recognize.

That’s kind of grim-sounding, but ultimately, what I’m trying to say is that Farscape is almost fanatically devoted to character work. Crichton is not the only character who sounds like he should be one thing and ends up being another. All of the characters—all of them, all of them, even the annoying ones—are complicated wonders. And you don’t have to wonder whether the events of the episode you’re watching are going to matter. They will. Everything that happens to the characters leaves a mark. Everything leaves them forever changed. Whether it’s mentioned explicitly or not—and often enough, it’s not explicit—the characters remember what has happened to them.

3) The living ship houses a lot of excellent women, among them the ship itself.

Ah, the women of Farscape, thou art the loves of my fucking life.

There’s Aeryn Sun, former Peacekeeper (that’s the military that the “insane military commander” hails from) now fugitive, currently learning the meaning of the word “compassion” (literally). She will break your fingers and also your heart. John/Aeryn is the main canon romantic ship.

There’s Pa’u Zhoto Zhaan, a priestess of the ninth level, current pacifist, former anarchist. Sorry, leading anarchist. She orgasms in bright light! (Oh my god, Farscape.)

There’s Chiana, my fucking bestie, a teenage(ish? ages in Farscape are weird) fugitive on the run from a repressive authoritarian state. Chiana is like a seductress con artist grifter thief who mostly just wants to survive so that she can have fun, damn it. Characters on Farscape do not really discuss sexualities (sex, yes, sexualities, no) and it would be fair to say that several of them do not fall along human sexuality lines generally, but I’m gonna go ahead and say that Chiana is canonically not straight.

Then there’s Moya, the ship herself, and it’s hard to get a straight read on Moya’s personality, since she mostly can’t speak. But she definitely has opinions, and things and people she cares about. And she moves the plot, though that gets into spoiler territory.

Past first season, further excellent women show up: Jool (controversial, but I like her), Sikozu (I once saw a Tumblr meme where someone had marked down that Sikozu would lose her shit when someone pronounced “gif” wrong, and that’s absolutely correct, and it’s why I love her), and Noranti (who is incredibly weird, and incredibly hard to summarize, but man, you gotta love her willingness to just show up and do her thing). Plus, there’s a recurring female villain, Grayza, who I could write probably multiple essays about. (I don’t know how you will feel about Grayza, as not everyone loves her, but I think she’s fucking fascinating, especially because she’s not actually the only recurring female villain. We also get Ahkna!)

(Side note: I should mention, here, that the cast of Farscape is really, really white. There is one cast member of color, Lani Tupu, but he pretty much represents the entirety of even, like, incidental diversity in casting for the series.)

Anyway, Farscape is full of awesome women, and also awesome and unexpected men, and it really enjoys playing with audience expectations of gender roles, generally. Literal entire books have been written about the way that Farscape fucks around with sex, sexuality, and gender. It’s a little weird because it was the late 90s/early 2000s, and sometimes that does come through, but Farscape’s guiding principle was always to try not to present American culture of the time as the norm, so like. It is not.

(An aside on Farscape and sex: Literally every character on Farscape has sexual tension with every other character. If you are a shipper, this is a Good Show, because no matter who you ship, there will not only be subtext, you will get a Moment of some kind. Multiple characters kiss the Muppet. Farscape is dedicated to getting into the nitty-gritty of the galaxy—I like to think of it as showing the guts of the universe—so a lot of the show is kind of squishy. They live on a biomechanoid ship, instead of androids there are “bioloids,” there’s a lot of focus on strange alien biologies, and lots of weird glowing fluids and things. I think the sex thing is kind of part and parcel of the larger biology focus: Farscape is really fascinated with how we all eat and evolve and live and die and, well, fuck. Which is in turn, kind of part of its focus on making everything really alien.)

4) Other stuff you should know.

Farscape as a whole is excellent, but it was kind of the product of creative anarchy—an Australian/American coproduction (oh yeah, everyone except Crichton speaks with an Australian accent) that was also partnered with the Henson company, whose showrunners were based in America but whose actual production all took place in Australia, and who was just constantly trying new things. So individual episodes can vary wildly in quality. It really takes off in the back half of season one, but no season is without a few off episodes.

It is extraordinarily funny, and I really think I haven’t stressed that enough. It’s one of the shows I want to quote the most in my daily life, but almost all of its humor is really context-dependent, and if you just wander around going, “Hey Stark? What’s black and white, and black and white, and black and white?” people look at you really funny.

It’s very conversant with pop culture generally (although obviously sci-fi  specifically, and Star Trek most specifically of all) and really enjoys deconstructing tropes, often to the effect of, “Well, Crichton really does not know what to do here, does he?” but sometimes just to be interesting.

There are also a lot of themes about science, and its uses and misuses.

The whole thing is fucking epic, and if you get invested at all, will take you on an emotional ride.

This show is weird. I know that that’s probably come across by now, but I think it’s worth reiterating as its own point: Farscape is so weird. Like, proudly, unabashedly, trying its hardest, weird. An amazing kind of weird.

If you’re into fantasy, you should know that there’s a recurring villain who’s just a wizard. Like, they don’t bother to explain it any more than that, he’s just a fucking wizard.

In summary: You should watch Farscape because it is a weird, wild, emotional, epic romance/drama/action/allegory full of Muppets and leather and one-liners and emotional gut punches and love, and if you let it, it will worm its way into you and never let go, which, now that I think of it, is another Farscape plot.

Send me meta prompts to distract me from my migraine!

[qqueenofhades]

The photo set you reblogged of Yusuf and Niccolo helping throughout time just filled me with so many happy feels and it made me realize that it seems so common in media with immortal couples that they take breaks from each other and reconnect after a few decades. Which is a great trope but seeing these two that seems to have been attached at the hip since the day they met just fills me with all the heart eyes.

(I haven't read your fanfics for them yet. I know I'm a bad fan but if it helps I havent been able to read anything since all this started but while writing this ask I got the feeling that all this rambling I spewed out is a big theme)

Hush. Bad fan nothing. We all are coping with this stupid, awful year in different ways, some of us by escaping into fandom and some of us being unable to engage with it and some of us doing both or anything else. You certainly don’t owe me or anyone any obligation to interact with our content, fic or otherwise. So just to have that there on the top. You’re good, hun. :)

ANYWAY, thank you for giving me a chance to meta a bit on the boys and their relationship and to have a window into what my brain looks like pretty much 24/7 these days. (I blame them.) I keep thinking about all the ways this couple is depicted in the TOG film and how lovely it was and how unusual it is for me to have an OTP where I actually love them in canon and don’t need to violently disavow it in order to create AU fan content with just the characters. (See: Timeless, Game of Thrones, pretty much any show I’ve hyperfixated on at some point.) I love AUs anyway, because that’s the way my brain works, but the fact that I can also enjoy canon just as much is rare for me and for a lot of us. I saw a post somewhere remarking on how the fanfic for Joe/Nicky isn’t fixing anything, which is usually the point of transformative fanworks: we take something that canon atrociously fucked up and fix it. But in this case, all our interpretations are based on actually appreciating the way they’re presented in canon and wanting to enjoy that and uphold it, and that -- especially with a couple like this one -- is shocking??

Like. Despite my historian gripes about the occasionally incongruous details for their graphic-novel backstories (which are the only things I HAVE fixed in my fics), I’m just... deeply appreciative of the care which everyone, writers and actors and all else, put into depicting Joe and Nicky and their relationship. And god YES, one of the things I love the absolute MOST is that they’re a loving, faithful, committed, happy married queer couple over centuries, and that seems to be the case for as long as they’ve known each other/ever since they got together. (See Booker’s “you and Nicky always had each other.”) These fools can’t sleep apart from each other even when they’re stuck on a freight train in the middle of nowhere, they flirt like teenagers at dinnertime and even when they’re strapped to gurneys in a mad-scientist laboratory, they make out to enrage bad guys and also because they’re just still that goddamn into each other after all this time.

I think it was Marwan Kenzari who pointed out that there’s simply no way to truly state the depth of their knowledge and devotion and commitment to each other. They’re 950 years old. They have known each other since they were in their thirties; they’ve been husbands for literal centuries. There is no way anyone else in the world could possibly come close to replicating the kind of bond they have with each other, and neither of them have ever had any inclination to look, because why would they? Especially with the fact that queer couples in media, even otherwise sympathetically portrayed ones, often have Drama and Third Parties and Promiscuity and whatever else (because of the tiresome old canard that Gays Equal Hypersexualized!), and Joe and Nicky don’t need or want ANY of that. There’s no urge to make their relationship a cheap source of soap-opera conflict. It’s the rock and the center and the core of both of their lives, and everything they do stems from that.

There have been some great metas/comments on how neither Joe and Nicky are sexualized, they dress like stay-at-home dads during quarantine (Marwan Kenzari and Luca Marinelli are both objectively gorgeous men, and they’re out there looking like that, god bless), and the viewer is never invited to goggle at or fetishize their relationship. There are no leering or exploitative camera angles on anyone, and their expressions of love aren’t posed or intended to titillate the audience, they’re just solidly embodied and natural and lived in. It’s never bothered to be stated clunkily in dialogue that they’re a couple; we just see them exchanging looks and smiles in the early part of the film, and then we see them spooning on the train after the mission in Sudan, which confirms it.

At every turn, the narrative celebrates the kindness and love shared by the Immortal Family, the individual characters, and Joe and Nicky, especially and explicitly in queer form. The villains of the film are also defined by how they react negatively to that love. @viridianpanther​ had a great meta on how Keane as a villain is especially set up to menace Joe and Nicky as the narrative representation of toxic masculinity, aggressive heterosexuality, and the usual “Kill Your Gays” trope that we’ve all come to wearily expect. But instead, after that scene where Joe and Nicky fight Keane, Nicky is shot and comes back to life in Joe’s arms rather than dying permanently like we probably all momentarily expected, and then Joe gets to FUCKIN’ BREAK THE NECK of the guy who enacted that violence.... good GOD. The first time I watched it, I almost couldn’t believe it was happening. (This goes for the whole film, but especially that scene.) Like... when do we get that?? When do we EVER get that???

Obviously, there are so many stereotypes, whether visually or in behavior or character traits, that could have been assigned to a gay Italian character (excessively dramatic, effeminate, fashionable, etc) or a gay Arabic/Muslim character (explicitly announcing He’s Not Like Those Muslims, having to actively reject his heritage to make him more palatable to westerners, being tormented over being gay, etc) and Joe and Nicky subscribe to none of those. I get very emotional about Joe referring to Nicky as the moon when he is lost during the truck scene partly because it’s SUCH a common motif in Arabic love poetry. To call someone your “moon” is a beautiful way to say they’re the light of your life, and since the Islamic calendar is obviously lunar and the holidays, months, and observances, are set by the phases of the moon, this also has a deeper religious significance.

I don’t know for sure if they did that on purpose, but it it’s a lovely and subtle way of showing us how Joe clearly doesn’t have an issue with being both queer AND Muslim, and is able to draw on both facets of that identity in a way that a lesser narrative would have denied him. And that is just really wonderful. Yes, we’re seeing these characters when they’ve had centuries to settle into themselves, but there are plenty of writers who would have forced those conflicts artificially to the surface, rather than letting them be long in the past. It’s the same way when you watch a film set in the medieval era, it wants you to know that it Is Set In The Medieval Era. Cue the filth, misogyny, racism, violence, etc! Rather than it being a lived-in reality, it has to be jarringly drawn attention to, and I’m just so glad they didn’t do that with Joe and Nicky. And for them to have met in the crusades and fallen in love??! Come on. That’s just rude. Rude to me, personally.

Anyway, this was a rather long-winded and feelsy way of saying that these characters are constructed, acted, and written organically in such a way that you hate to even THINK of them being separated, and it’s not because they can’t function without each other, but because they are two halves of a whole. We also see that the characters themselves can’t stand being forced apart: Joe’s freakout in the truck scene when Nicky briefly won’t wake up, Nicky making sure to tell Joe that he’s glad he’s awake in the lab, the whole post-Keane fight scene that I talked about above, the way Nicky fights ferociously to get to Joe when Merrick’s stabbing him, etc. For that to be given to the queer couple, where the strength of their love and devotion is reinforced as one of the emotional goals of the story, and for that queer couple to be written in the way that Joe and Nicky are, both individually and as a unit, is just so very rare.

Because yes, there’s plenty of drama and angst and pain in their lives, but there’s none at all in their relationship, and that’s what fans keep telling TV writers the whole time: they WANT to see the couple confront things as a unit, rather than being kept on tenterhooks the whole time and forced to go through manufactured or artificial drama. It would feel especially wrong for Joe and Nicky, who have known and loved each other for 900 years. The fact that their respective actors also put so much care and love into them is very obvious, and makes me feel even luckier that they’re played by people who clearly get them and honor them and know what they’re doing.

Basically: of course Joe and Nicky have been with each other the whole time, and of course we’re all drowning in feelings over it, and I feel very blessed that this ship exists, and I very much need the sequel ASAP. Thanks.