#it's just so disingenuous to act like he was willing to let his people die and do nothing about it

[inanthesis]

There is little that annoys me more when people debate shit about Genshin than someone acting like Zhongli is a bad archon for what happened in Liyue when the entire point was testing to see if his people were strong enough to stand on their own with him watching from the sidelines ready to step in if it was necessary. He was literally so successful as a leader and protector that his people were able to grow and thrive and become strong and prosperous to the point they no longer need his immense power to back them against threats.

Zhongli haters don't deserve rights.

[eristic-kaleidoscope]

No Hard Feelings | Eri | Vote Results

This has nothing to do with Eri.

This trial was not about them, not when they hadn't killed. This trial was about Paisley - Marlene, if that's what she would want to be called - and her death. This trial was about Lapis, in the end, and the time now was for them, not Eri.

So the feelings hitting them, clawing at them with all possible might? None of it matters.

It doesn't matter how angry Eri feels, wondering how Ae-ra can choose to act as though her option won't lead somebody else to suffer. It's so understandable, but all that understanding does is fuel the flames. Eri's no less valuable, no less worthwhile, than any of those who carry the name Erika. No less valuable than an Ultimate. Considering Eri's conduct this trial, xe's probably better than most of them anyways.

So why does it feel like her life is that much less valuable? Why is the possibility of her being killed or hurt so much better? All for one person you would barely have time to know? Being so willing to cause that kind of pain, that kind of death, for something so small...

I see the vote for yourself up there speaks volumes to your commitment in trying to prevent blood on people's hands through not voting.

It's not about Eri though, so the bitter remark stays in xyr head. It'd be selfish to focus on that, to act like it was a personal attack when it was a desperate, poor defense. So no words leave xem as xe just stares.

Lapis - Erinys, something Eri already knew - has people he cares about, clearly. There are people offering comfort, including Arakiel of all people. Ae-ra is there, bawling her eyes out and offering comfort where possible. Kaguya, too, is clearly devastated, having offered comfort despite the pain she clearly had been in before.

There was so much care here. So much genuine love, even if they can't tell why or how it would grow in such a short span of time. It'd be disingenuous of Eri to speak, to act like they could muster the energy to care on the same level as everybody else around xem.

Lapis had been somebody they had talked to once, had seen around. That was it. Acting as though he truly left an impact...

He didn't deserve this, but anybody could tell that. Everybody was already expressing that. What Lapis deserved now, what Lapis should get, is genuine love and support instead of some hollow words.

No, more than that, Lapis deserved to not be here in the first place. He didn't deserve the burden of guilt, didn't deserve blood on his hands.

Paisley didn't deserve to die. Whatever happened, whatever had provoked this, never needed to end in violence. There should have been far more time to get to know her, to understand who she truly was.

Those platitudes are probably worthless and empty though. It's not truly about Lapis and Paisley, not in the way it should be. Not when they can't give the tears both parties deserve, not when Eri can't mourn Lapis's approaching cruel fate like others can.

So Eri just says nothing, just watching with tired eyes, not daring to move an inch.

Whatever happens, please just make it quick. Don't let him suffer badly, please.

[morsking]

is shirou a mary sue? the guy is universally well liked, cooks like a pro at 17, has the most op power from all fate (and arguably one of the most cool powers on media), nothing ever happens to him on the true/canon path of each route, he does many stupid things but no one cares 5 minutes later, other times like in salter vs rider he is just a tactical genius out of nowhere

he is not.

shirou is well-liked but he isn't particularly popular. he is known at school for being helpful and handy but otherwise not that many people are aching to get to know him or involve him in their lives. most people only know shirou very superficially. he is not sought after as a person, only as a handy man. there's a really neat scene at the beginning of hf1 where people are talking about shirou in the dojo and see that while he's earnest, hard-working, and talented, he's a bit odd and intense and that makes him a little difficult to approach casually. the only people who really like him are those who sit down and actually spend time with him. apart from the heroines of the story with whom he has time to develop a romantic bond, you don't see other girls falling head over heels for him. in fact, in hollow ataraxia the homurahara trio and mitsuzuri are quick to write him off as someone they are vehemently not interested in romantically whatsoever.

he only cooks like a pro because he had to teach himself to cook since he was 8. it's vital to understand that since kiritsugu became increasingly disabled and was utterly incapable of living as a normal human being, shirou was forced to grow up well before he was ready to take care of his adoptive father. he learned to cook, do the dishes, do the laundry, and clean the house because there were no other real adults in the house. shirou's domestic usefulness didn't come out of nowhere, it's a set of skills he took on out of necessity and came at the expense of his emotional growth.

shirou's power also isn't op. it's stated multiple times in the story how difficult it is for him to tap into it. he's not a natural mage with strong magical circuits, and neither does he have any real "useful" magical alignments that would make it easy for him to use conventional magecraft. every training session shirou has is a life-threatening act where he pushes his body and mind to the utmost limit for the low chance he might succeed at strengthening or projecting something. whenever he grabs hold of an ability that elevates his combat skills, it's either a) done with saber's help in the fate route, b) acquired as his soul inherits experience from his proximity to archer in ubw and receiving mana from rin, or c) obtained at the expense of the integrity of his mind and body as archer's arm starts to supplant his existence in heaven's feel. and even then, there's limits to what he can trace and project. he can't trace divine constructs normally as seen with ea, and his projections eat through his mana. think about what happens in heaven's feel too. every time he projects something with archer's arm he leaps closer to death because he can't handle the strain.

to say nothing ever happens to him in canon is also disingenuous. he doesn't die in a permanent sense, but take a moment to consider the amount of mental and physical pain he suffers that forces him to confront something about himself and change. did "nothing" happen when he faced gilgamesh and heracles with saber? is growing closer to her to find the best way to help her assert her personhood "nothing"? did "nothing" happen when he fought archer? is realizing the truth of your ideals and grasping the resolve to realize them anyway in a healthier and more self-aware manner "nothing"? did "nothing" happen when he fought heracles, saber alter, and kotomine? is saving your loved ones and claiming your life as your own after years of not seeing yourself as a human being to protect those dear to you so they too learn to love and accept themselves "nothing"?

take a moment to consider in what ways shirou is stupid that aren't contradicted by him being smart in others. shirou is socially inept and utterly incapable of asking for help because he is a traumatized teenager who doesn't know what a normal life is. he has few friends. he survived a fire. he is constantly trying to make up for being unable to rescue anyone in the calamity that destroyed his childhood. he constantly jumps in front of danger to save others for that very reason and refuses help because he doesn't want others to get hurt because of him until he learns to overcome that fear of being destroyed and seeing others be destroyed. he is dumb at being a person because he's never let himself be one. he is smart in a fight because he's at least been able to process his stress and trauma in a way that helps him rationalize his way out of a crisis.

i feel the need to stress that a protagonist having special qualities fit for the narrative isn't them being a mary sue. it's them simply being a main character with agency, a main character that is engaging and interesting. how boring do you think shirou and the story would be if he was really a shit-ass mcnobody with no talents, personality, qualities, or meaningful connections to the setting? he'd be no different from every other harem protag the cishet male audience can use as a self-insert. he is supposed to subvert ideas of masculinity by being domestic. he challenges conventional ideas of heroism by showing how his ideals are flawed and how important it is that he self-actualize.

shirou faces consequences for his inaction and inexperience multiple times too. saber gets frustrated because he won't (tell her why he really won't) fight and that causes a rift in their relationship he must fix with honesty and mutual understanding. shirou's inability to protect himself from hypnotic suggestion gets him kidnapped by caster and forces archer to rescue him, and in turn their shared stubbornness elevates their conflict to deadly levels until they're forced to fight to work out their differences. heaven's feel shows you how his unwillingness to forsake who he is to properly scold sakura and save her makes the situation worse when sakura loses faith that shirou will keep his promise to her until he decides he will fulfill it for both their sakes. people do care! saber cares when her master doesn't see eye to eye with her! rin cares that shirou is too willing to throw away his own life for others! archer cares that he is at risk of becoming that which archer can't forgive himself for being! sakura cares because seeing the man she loves come home bruised and bloodied every night is wrong! illya cares because he is her only true family! rider cares because if shirou can't be sakura's ally then she's as good as dead! everyone cares because shirou has to learn to care too, and he does!

i'm going to ask you to try to engage with media without trying to uncover flaws under rigid standards like this because all it does is keep you from properly understanding what is being shown to you. you cannot hope to judge a story and its characters for all their flaws or merits if this is how you approach things.

[fuchsiagrasshopper]

Contending the Flame XII

Author’s note: I’m back after this chapter kicking my butt, I must have rewritten it three times until I was satisfied because it introduces many characters from the show and I wanted to get them just right. Not sure I’m happy with the result still, but yep, here it is. Enjoy lovelies!

Masterlist

Pairing: Ivar x Reader

Word count: 5347

Warnings: The usual

King Harald's hall smelled like a fishmonger's home, and it was as inviting as a slave trader's ship. Sitting down to a meal with the man, Ivar tried to contain his displeasure at being there. It had been on Hvitserk's face since their ships had treaded through the carcasses of dead whales in the bay. Both the brothers managed to set aside their poor manners when they came face-to-face with Finehair, but it lingered in the backs of their minds, just like the bad smell.

Ivar was able to ignore the pleasantries and idle chatter that Harald was currently speaking. He was much more preoccupied with the dark-haired Queen on the throne adjacent to the King. Astrid, Lagertha's shieldmaiden and bed warmer, was sipping from her horn of mead while giving Harald loving looks. They were practiced and disingenuous, but they did not explain how she came to be here. Clearly not of her free will, but Harald was too besotted to notice her veiled contempt.

To Ivar's left sat Freydis, introduced as his personal thrall. He had gauged for any sort of inkling of familiarity to pass between her and Harald, but alas he only seemed to have eyes for his new Queen. Freydis was too cunning to give away anything on her part, and that left Ivar wondering if she was as great a deceiver as Loki, or that she hadn't been sent by Finehair to begin with.

That put his mind back on Lagertha and Kattegat. She must have been the one to send in a spy. She only cared for Bjorn, and she wanted all of the other sons of Ragnar to perish just like their mother. That was how he saw it anyhow, but he knew his brothers would disagree. They weren't as quick to take up arms against Ragnar's first wife as he was, and that made him feel bitterly alone.

Freydis continued to shower him with compliments and attention, and he lent into the treatment. He needed to keep her close until it was discovered who she was working with, but he was also missing you. She was a strange substitute for your place, holding none of the similarities that had endeared you to him. He was still frustrated by you revealing your name to Heahmund as well, and perhaps this was his way of acting out against you. It was a petty move considering you weren't even there to witness this ongoing dance with Freydis.

"If you were to help me conquer Kattegat," Harald said, catching Ivar's attention. "Would one of you want to be King?"

Hvitserk sent Ivar a look as if to say 'It's a trap'. Harald was looking for humble allies who wouldn't challenge his bid to be King of all Norway. He must not have understood the sons of Ragnar, or he was coming from a place that underestimated them.

"It is our home," Ivar replied vaguely.

"Of course, I understand your attachment. Your father was King before, and then your Queen mother. I respect your family, but Kattegat is also too important a location for trade. I would need it to fuel my war and feed my army. Whoever rules Kattegat must accept that his lead is to benefit me, a mutual working relationship."

"I'm sure that could be arranged," said Hvitserk.

Ivar nodded. "We would be accommodating to your plight."

"And what of Lagertha there now? Perhaps she could make me a better offer?"

If Harald had any sense, he would have noticed his Queen's false looks of adoration had ceased at the mention of Kattegat's current ruler. Ivar gave a smirk that was meant for Astrid.

"If she had anything to offer, she would have already done so," He said, reaching for more mead. "Our army has the numbers. Lagertha will die. She is a usurper and coward."

Astrid had to hide her foul look when Harald took her hand in his, but even through her blank stare could Ivar feel her loathing. Harald continued to stroke her fingers as he spoke. "And how will she die? I do not doubt your heart or courage Ivar, but Lagertha is a shieldmaiden worthy of Valhalla. You cannot achieve a victory hand-to-hand."

Freydis grabbed his hand beneath the table, and he wanted to smack it away. The frustration he felt at himself for not being able to challenge his mother's killer in single combat would always be his greatest failure. He could outwit the legendary shieldmaiden, but at the time of her death, he feared he would not be satisfied.

"I have my own way of getting to Lagertha, but first we need your answer. Will you fight alongside the sons of Ragnar?"

"I count only two of you," Astrid piped up. "Are the sons of Ragnar not of one mind? Where are Bjorn and Ubbe?"

Harald planted an obnoxious kiss on Astrid's mouth before she could turn. "My beautiful wife raises a good question. Where are your brothers?"

"Bjorn is our half-brother," Hvitserk said with a shrug, "And his intentions will always align with his mother."

"And Ubbe is a traitor. He sailed with a handful of our warriors to Kattegat," Ivar said, glad for the lie. His mind slipped to you for a moment, but he shook it away. He had refused to bring you here in person, but even in thought, it was dangerous. You were a distraction that could cause him to make a mistake or have poor judgement, through no fault of your own.

"Then I'm certain Lagertha will be anticipating our assault," Harald said with a frown.

"But she won't have an idea as to when. She knows we will bring the fight to her, but we have the advantage of time," Ivar pointed out, and he could feel Hvitserk's questioning look.

Harald let out a laugh. "You remind me of why I fought alongside your father. I cannot refuse the offer to join with the sons of Ragnar and their army now. Let us share a horn and thank the Gods we have this opportunity to become Kings."

The men each took a drink from Harald's own horn, and Ivar could feel Astrid's eyes following it as it was passed around the table. She was more cunning than he would have ever accredited her to be, which made her a threat to their plans moving forward.

"Tonight you shall sleep in my hall, and tomorrow we can discuss plans for our army."

'Our army'. He certainly wasted no time in claiming their men for his own. Ivar smiled through his irritation. Harald was watching for his reaction. He wasn't so distracted by his new Queen to have lost all sense when it came to a possible enemy.

"We'll take you up on that offer," Hvitserk piped up after the stretch of silence had grown uncomfortable.

"I will have my thralls prepare a room."

Ivar turned to Freydis. "You will assist them."

"Of course, Ivar." She stroked her hand lovingly down his arm.

The sensation shot a shiver down his spine, a reaction he couldn't help. He hated to think he was as weak-willed as his brothers when it came to blonde thralls, but his wavering resolve was laughing at him.

The table began to disband with Harald dragging the unfortunate Astrid back to his room. Ivar and Hvitserk returned outside and began to walk through the streets of Vestfold to return to their men. Hvitserk's mind was buzzing, and Ivar knew his brother had a word or two he wanted to get in.

"We can't go to war against Kattegat with Harald," He started at the moment they were alone. "We'd be betraying our own people, and Ubbe is there with our warriors."

"I know that."

Hvitserk didn't like how short of an answer he gave. "And (Y/N)'s there too. Have you forgotten that?"

"Of course I haven't," Ivar barked back. "But Lagertha is still my enemy, even if you've forgotten that. I can't allow her to live."

"She's my enemy too, brother. I know you loved mother, more than I did. But you also have to know she loved you more than any of us. If you say she didn't then you're either not as smart as I thought, or you're in denial."

Ivar knew it to be true. He knew it all too well when growing up. Ubbe and Hvitserk were closer in age and always together, leaving him alone. All he had to do was let out one small cry and mother would forget about Sigurd, the brother he should have been close to. It was something he exploited at the expense of the relationships with all of his brothers. He had a lot to make up for.

"If we can find a way to unseat Lagertha from the throne, then there would be no cause to go to war."

Hvitserk halted in his tracks as they made it to the docks. The boards were stained red and slick with the blood and oil from whales. Many of Harald's fishermen couldn't be bothered to spare the sons a second glance. They were preoccupied with loading their ships, huffing and puffing through the stink in the air that was not so foul out in the open.

"Please tell me you have a plan to do that," Hvitserk said in a hushed voice that was almost lost to the wind.

Ivar smirked back. "I didn't bring the Bishop along just to annoy you. We just have to get him to Kattegat to kill Lagertha before our army can arrive."

"You're willing to place all our hopes on that Christian?"

"He would do it for his freedom. What's one more dead heathen to him other than another purified soul gone from this earth?" Ivar said confidently. "Yes, brother, I am as certain he will do this as I am that Lagertha is the one to have sent Freydis to me."

Hvitserk was about to comment but was interrupted by an approaching presence that commanded the attention of the crowd. The previously busy workers stopped to part for her, but she was not flattered by the gesture. She marched with purpose, straight towards them, and Ivar gave a half bow in mocking as she arrived.

"Your majesty," He teased. "Not come to plead for mercy on Lagertha's behalf I hope. I have none."

Astrid's look was as dark as her hair, but she set aside her grievances to settle whatever she had come for. "No, Ivar. I have come in the hopes to make a deal with you."

"Really," He said, airing out his skepticism. "What do you want?"

She stepped closer, almost in a threatening display that had Hvitserk reaching for his knife. His concern wasn't unwarranted, as she was a shieldmaiden to Lagertha. Astrid eased her intensity while placing her hands up to signify no harm. "I want you to smuggle me back to Kattegat."

Both Ivar and Hvitserk shared a laugh, but she did not falter. She must be more miserable with Harald than Ivar had gleaned, but that wasn't his concern. "Why would we do that? There's great risk involved for us. Harald is obviously quite taken with you, and we'd be making an enemy of him because you have reservations about sharing his bed."

"I have information for you, regarding that woman by your side, the thrall."

Ivar's back straightened and he looked to Hvitserk with curiosity. This was the answer they had been searching for. "What do you know of Freydis?"

Astrid smirked. "She's a spy, but I'm sure you've already gathered that. I won't say anything more out here. Harald still doesn't trust me enough to not have me followed, and I won't give up what I know without a guarantee that you'll give me what I want."

"When then?" Hvitserk asked and he sounded as impatient as Ivar felt.

"Tonight, after Harald passes out from too much meat and drink. Make sure that thrall of yours is kept occupied as well. I shouldn't have to tell you not to trust a spy, but you're men, and I've seen the way you look at her," Astrid remarked while giving Ivar a pointed look. "Don't let me down sons of Ragnar. Your father lost many things towards his end, but never his integrity. I suspect the gods instilled the same in you."

Astrid departed and a group of guards followed after at a distance. It appeared she was correct about her limited freedom, and after saying much, Ivar wondered what else she was right about. She had given them much to think on at any rate, and he tried not to feel slighted at the comment about his apparent weakness for Freydis' beauty.

"Can we trust her?" Hvitserk asked at his side. They both took a seat on the ledge of the longship that had carried them in earlier that same day.

"She's desperate to return to Lagertha, and she knew Freydis was a spy without us feeding her that information. We'll have to hear her out first, but I suspect she's being honest about this."

"But not about her intentions once she's back in Kattegat," said Hvitserk. "Harald is being played by us and his Queen. Guess he isn't about to be King of all Norway any time soon."

"Thank the gods for that. I want to be in faraway lands when that happens," Ivar said with a smirk as his brother broke into a laugh.

"Then I'm coming with you. You'd be lost without me."

"I would," Ivar admitted, and it had a sobering effect on Hvitserk, who grew quiet beside him.

Truly, he didn't know where his fate would take him, but he knew it would be better if his brother was at his side. And you as well. Ivar closed his eyes and recalled your face, your laugh, and your kiss. You would be a free woman by now, and he hoped you wouldn't be too cross with him about that little stunt next time you met. He wanted to see you this very moment, but the distance made that impossible. For now, he would have to rely on his memories and hope that Niorun would bless him with dreams of you.

ooOOoo

You were alone again. This was nothing new since arriving in Kattegat. You wish you could say you knew more about the city, but all you had seen was the four walls of Audhild's cabin. She had left to take another trip into the market, and you had come close to begging her to take you with her. It seemed she and Ubbe were of the same mindset when it came to keeping you out of trouble, and you had no doubt it was Ivar's doing. Even an ocean away he was still in charge of your life and it was as endearing as it was infuriating.

The first thing Audhild had done for you was provide you with new clothes. The loose-fitted secondhand frocks no longer befitted your station as a free woman. You were given wool leggings and tunics, along with a belt that cinched around your waist. Ladies didn't wear trousers back in England, and it was taking getting used to. You often found yourself tugging and adjusting at the fabric, all while Audhild would shoot you queer looks.

As thanks for her setting you up with new garments, you would cook the meals for you both. It was a favor to both of you really, because, after the first night of eating her dry bread and burnt fish, you didn't think your stomach could handle the pain. You had even managed to learn how to properly butcher a rabbit, something you had never eaten back home.

Ubbe would pop around from time to time to see you, as well as keeping you both informed about the ongoing situation with Lagertha. For now the ruling Queen was content to let Ubbe stay among the people, though according to him she never passed up a chance to bring up questions about Ivar. That let him know her guard was still up, and she did not yet trust the elder son of Ragnar.

While you were glad for the updates, you couldn't shake the wavering disappointment about your newfound freedom. All of your knowledge about the people of Kattegat came from the words of Ubbe or your host, and you hadn't even met Ubbe's wife yet. So far being a free woman didn't feel any different than enslavement, and the growing loneliness was what pressed you to venture out on your own from the cabin.

You waited enough time to be sure Audhild hadn't turned back on her way into town before throwing on a pair of fur-lined boots and overcoat. You had no plan on where you were going, only that you wanted to see something of this new land that wasn't the inside of Audhild's cabin. England was all flat plains and rolling green hills, but Norway was jagged mountains and dark forests with cold rushing rivers. It had never crossed your mind that you would be interested in seeing new lands, probably because as a nun your only travels would have been to other cities and villages across England tending to the sick and spreading the word of God.

You headed out with Ivar's knife tucked into your belt and began to take the path eastward. You knew west would take you the way towards Kattegat, that was where Audhild had gone. As tempted as you were to see the market, you knew it could land you into trouble to meet more of the Northmen while alone for the first time. Your only mission today was to better acquaint yourself with the land.

The breeze felt wonderful on your face, and you had forgotten the taste of breathing fresh air. It was earthy and damp here, not like the iron and smoke of York. The bit of frost that was on the ground crunched beneath your boots. Winter came earlier this far north. You could see it in the grey of the sky that spelled snow. You hoped Ivar and Hvitserk would return before the waters froze over and that they would be bringing peace with them. Absurd! Letting out a breathy laugh, you remembered fondly that Ivar wasn't a peaceful being.

You missed him. At night after Audhild was snoring across the cabin, you would lie awake and stare at the ceiling, thinking of him. You didn’t understand what it meant, but your heart raced and your body grew restless at the mere thought of him. There was so much more that needed to be shared, and you were trying to compile everything in your mind so you would be ready for his return. You wouldn't call it love, not yet, but you knew you held affection for him and that put you at odds with your vows and God. In the eyes of the church, you were still a nun, though you hadn't thought of yourself as such for a while now. You still loved God, but you no longer wanted to be his bride.

"Oh!" You gasped in surprise when you realized you were somewhere new.

Your trekking had broken you out from the forest and out to a bank of the river. You could constantly hear it flowing back from the cabin, and you were excited about finding it. The water was crystal blue, and the surface current was slow and free over the rocks. A small house with a thatched roof sat by the shore, and there was a fire burning low in a pit outside. Someone was still nearby.

You started down the path towards the house while pondering who could want to live this far out from the town. You had thought Audhild was the furthest away. Hermits were common among the Saxons, so it wasn't unreasonable to assume the Northmen had their fair share. Not that you were judging them, in fact, it was for that reason that gave you the confidence to approach.

"Hello?' You called out as you rounded the fire. It was still warm, and you did the stranger a kindness by throwing a nearby log onto the pit. The flames immediately fed on the new fuel, spreading high into the air and sending a warmth through you that was welcome after your walk. You took another look around before kneeling down in the gravel to huddle closer to the fire. It seemed that no one was around for the moment, and that granted you the luxury of peace. Everything was so unfamiliar, every branch and rock different than what you had seen in England. You thought you would have missed home, or at least held a longing for it, but no. You couldn’t even summon a fondness for it now. What you missed wasn’t a place, but a person.

You became lost in the beauty of your surroundings that you didn't notice the stranger appearing from behind the home. He moved with impossibly quiet steps, and you weren't alerted to his presence until he was looming over you, blocking the light of the fire. You let out a yelp as you fell onto your backside in the gravel. The large man narrowed his eyes at you as you scrambled to your feet. If Ivar could see you now. He would be furious you had let your guard down enough to be snuck upon. Stay alive he'd said.

"Who are you?" The man asked, and his voice was softer than you expected.

"I'm Ólaug," You said, fighting the tremble in your voice. "I'm sorry, I didn't realize you were here."

His head tilted to the side, watching you with a keen stare that you had only felt from Ivar. "What do you want? Did Lagertha send you?"

"No, I don't know Lagertha."

"You don't know the Queen of Kattegat, shieldmaiden and first wife of Ragnar Lothbrok." You didn't answer and he let out an insouciant giggle. "You're a Christian."

The way he said it made it sound awful, and you hated the way it made you feel. "Is it that obvious?"

"Yes. It's your hair and the way you speak." The stranger started to sit down by the fire, a string of fish hanging over his shoulder. He dropped his catch at his side and pulled a knife from his belt, getting to work on cutting filets. "Sit down, betrothed woman," He pressed while pointing with his blade to the spot across from him.

"Excuse me?"

"What, are you deaf?"

You took a seat once more, but not because he had asked it of you. “Why did you call me that just now? Betrothed woman…”

“Your name, that’s what it means.” He continued to fling fish heads and bones into a pile, never giving you the courtesy of his attention.

Ivar had given you the name, and it suddenly clued in that it was made in jest. Bride of Christ was what he had first called you, and now 'betrothed woman'. You smiled to yourself, not entirely at odds with the moniker.

“How did you come here, Christian? You don’t look like a thrall.”

“I’m not,” You replied quickly, and you found that he had stopped his task of cleaning his fish to observe you. You did the same in return. He was older and battle-worn judging by his stiff movements when he had sat down. His light hair was wispy and tied back in one long braid, and his rangy frame was draped in a brown fur pelt. You thought his eyes were sad. “What’s your name?”

“Floki.”

You were sure Ivar had mentioned him in passing, but you couldn’t recall when. “Alright, Floki. I was a thrall, but I was freed recently. I came from York with Ubbe Ragnarsson.”

"Ubbe has returned? Then he has abandoned Ivar."

You didn't know what Floki's connection was to Lagertha, so you didn't correct him on his assumption about the brothers being apart. "You are close with the sons of Ragnar?"

"Of course. They are the offspring of the greatest man I've ever known and my brother. They are kin," He said and his face was alive with passion. "And you must be connected to them. Was it Ivar who also freed you after giving you that knife?"

You looked down at the weapon on your belt, feeling flustered. "How do you know about the knife?"

"I taught that crippled brat everything he knows. I recognize his skill and craft in that blade," said Floki shaking his head. "That boy, so much like his father."

"Don't call him a cripple."

Floki's eyes shot to you and there was that giggle again. "Oh, and you're defensive of him as well. Are you his betrothed woman?"

The fire you sat beside could never warm you as much of those words just then. You knew you were red up to your ears, but you tried to deny whatever he was implying regardless "I'm not his anything."

"Then why did he set you free?"

You hadn't even admitted to him that Ivar had done so, but he had already decided that was the truth. He was still as a tree, the fish forgotten in the long line of your conversation. You felt unnerved by him as if everything about you was exposed to him like a gaping wound, and you had never been so relieved to be interrupted when a voice called out from above the path.

"Floki!"

It was Ubbe, looking out of breath and panic-stricken as he dashed down towards you. A blonde woman was trailing behind him, appearing displeased to be dragged this far out into the bush. She must be the wife.

You and Floki both stood as Ubbe came to the fire. He turned to you first, and you anticipated a lecture. "Why did you leave Audhild's cabin? I'm supposed to keep you safe. You can't wander off when you don't know the land or its people well enough."

"I would if you let me," You retorted while feeling humiliation for being scolded in front of Floki.

"Don't fret Ólaug," Floki interjected while planting a firm hand on Ubbe's shoulder. "He's only concerned to find you here because he thinks I'll kill you like I did Athelstan."

Ragnar's monk. Your eyes widened with surprise and fear, all while the two men shared a grin and embraced.

"Thought you'd gone on to lands unknown," Ubbe said to Floki as they parted.

"The Gods brought me home. They have something for me to do here yet," He said while looking back at you. "She is Ivar's woman?"

Ubbe turned to you with a grin and you looked down, not liking the attention. "You'll have to ask him. He's in Vestfold with Harald."

"Planning on Lagertha's demise then."

"Is that a problem for you?" Ubbe asked, becoming serious.

"Lagertha has been my friend for a long time, but your mother was also. She had such a connection to the gods." Floki's head pulled up to the sky as if a string was attached tugging forth to some greater presence. "Neither of them should have ever suffered over Ragnar. A great King and a true Viking, but a poor husband. Something I hear Bjorn has inherited."

You noticed Ubbe's face flush, and he brushed his hand down his neck. "Well, I know Ivar is set on revenge, and I don't know if there's anything that can change his mind."

By then Ubbe's wife had caught up to their circle, and you got the impression she wasn't pleased to be left behind. She was dressed in a thick red robe with fur trim, and her long hair was twisted onto her head like a crown. You wondered if all the women of Kattegat were blonde and beautiful, and you ran your fingers through your short hair. Ivar had said it was ugly when you first met. Vanity had suddenly become a trouble for you and you didn't like it.

Ubbe must have noticed you staring at his woman, and he quickly brought an arm around her to introduce her into the group. "Ólaug, this is my wife, Margrethe."

"Hello," You greeted, and as you waited for her reply, she took one long surveying look at you that ended with her nose wrinkled and her mouth puckered.

"Hello," She said shortly.

You wouldn't be making a friend out of her anytime soon, and you weren't bothered by that. She was as unpleasant as she was gorgeous, and Ubbe sent you an apologetic shrug for her frosty demeanor.

"I need to get you back to Audhild's before she wonders where you are," Ubbe explained and you nodded.

You were ready to conclude your first adventure, but you decided that you would want to speak to Floki again. He seemed to know a great deal about the sons of Ragnar and everything else that went on in Kattegat, and you wanted to poke his brain for more information that could help you grow as a free woman. You turned to the older Viking and squared your shoulders.

"Can I come back to see you?"

Floki laughed at a dazed Ubbe. "See, she's curious. I expected that from any woman of Ivar's."

At the mention of him, Margrethe recoiled further into Ubbe's side and sent you a scathing glare. You stared back at her with vacant eyes until she became uncomfortable and craned her neck towards the woods. Her escape.

"Betrothed woman," Floki interrupted, taking your hands in his massive ones. "You are a Christian, and I hold no love for your God or people. I've killed hundreds of your kind, and one who held the love of my King. But you have sailed on our ships and left your lands, and came out free on the other side. Our gods favor you as much as my dear Ivar, and I will speak to you again."

"Thank you," You whispered.

He smiled back for a moment, and you thought the perpetual melancholy that surrounded him had lifted in a brief respite. It returned as he dropped your hands, and he started to flick his wrist back and forth in a waving motion. "Now leave me alone. All of you."

Ubbe tugged on your coat sleeve to get you moving, and when you turned to join him, you spotted Margrethe up ahead.

"Sorry, she's not always like that," He insisted as he noticed your look.

No Ubbe, you thought, she most certainly was always that way, but he was too besotted with her looks to realize. Whatever was going on in his marriage wasn't your business, and you kept quiet by his side as he led you back to Audhild's cabin. You were impressed that you could have remembered the way if Ubbe hadn't been at your side. Something about the nonlinear path had felt familiar, and you were already looking forward to walking it again.

Your last thoughts before you slept were of Ivar, an ocean between you and with so much more to say. You wanted to tell him about Floki and talk with him about his mother. You wanted to be back at his side. He was such a large part of where your life had turned, and now that he had left you alone in this strange place you felt brittle and forgotten.

You refused to be overlooked as another Christian brought into their midst or condemned for being Ivar's woman when you weren't even sure if that was your place. Whatever your feelings for him were, they meant nothing if you couldn't secure your own station among the Northmen. That night you vowed to God, their gods, and yourself that you would become strong of heart and embrace your new life alongside the heathens. All life came with sacrifice and war, and whatever nightmares you would be forced to face, you would conquer them.

Taglist

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[makeste]

tbh my whole read on 'is hawks a murderer' boils down to the fact that he honestly tried like hell to get Twice to back down and stop fighting, he absolutely did not want to have to kill him and gave him an out, but the fact is that Twice is still INCREDIBLY powerful and while he's not a serial killer like p much the rest of the League, he's still shockingly indifferent to the fact that their happiness involves committing mass murder, so Hawks made the best choice he thought available to him.

I think most people agree on this, for all that a lot of fans are still upset over it. Hawks did what he thought he had to do in order to protect the most people. the thing that gets me honestly is that he was going to have blood on his conscience no matter what, and there was no getting out of that for him. and that’s such a terrible thing for me to imagine, what that kind of decision must be like. no matter what action you take, you will be responsible for someone’s death. you either kill someone who trusted you and who you genuinely cared about, or you let him escape, and through your inaction you end up being responsible for every subsequent death that happens as a result of Twice being let loose. because those deaths are your responsibility too. if you have the ability to save someone and you don’t save them, you bear responsibility for that. especially as a hero, someone whose whole job is to save and protect people.

so that’s Hawks’s dilemma. it’s BnHA’s version of the trolley problem. do you save the many or the few. if you do nothing then an untold number of people will die. but if you take action, you become directly responsible for the death of a good man who was only acting out of loyalty to his friends. either way, someone dies. either way, someone dies because of you. and I don’t know about anyone else, but I’m pretty sure I wouldn’t be able to handle that. I’m pretty sure that choice would break me.

and Hawks tried. he really did. he didn’t want to kill Twice. he tried to reason with him, he tried to disable him, he knocked him out only to have him wake up and try to run. he put himself at great risk -- and we’re seeing the consequences of that now -- when he could have just ninja-killed him in an instant if he really wanted. (to be fair, he could have also ninja-KOed him, but clearly Horikoshi was not willing to write things out that way, so we’ll just assume that for whatever reason he wasn’t able to do that. honestly I still wish he had, but apparently the author had other plans.) but in the end this was the only avenue left to him that wouldn’t have resulted in a literal apocalypse. Twice was the most important player in the League other than Gigantomachia and Tomura himself. he singlehandedly would have turned the tide in the villains’ favor. they would have won, and we would have watched all of the kids die, and in the end Tomura would have gotten exactly what he wanted (which, as a reminder, is literally the destruction of everything; see: chapters 222, 245, etc.).

I guess you could argue that Hawks had no way of knowing that for sure, but that seems kind of disingenuous to me. we’ve all seen the League in action. we saw what happened to Deika City. we saw what was left of Deika City afterward.

we saw the death and destruction Twice was capable of, and more than willing to cause again if it was for the sake of his friends. and Hawks knew all of this better than anyone. I promise you Hawks spent countless nights lying awake thinking about nothing except this. about what was going to happen if his mission failed. about what he might have to do in order for it to succeed. about what he may have already done.

and the thing is, Hawks didn’t choose any of this. or rather, he was given a choice, but because of who he is, because he gives a shit, it was never really a choice at all. hey you, you’re special. you can learn how to use your quirk to help other people, or you can be selfish and let it go to waste. that’s not a fucking choice. hey you, you’re the number two hero and millions of people are depending on you. you can infiltrate the League of Villains and use your talents to root out their weaknesses, or you can be selfish and do nothing while we wait to see where and when they’ll strike next and how many people will die. I really cannot stress this enough: that isn’t a choice. it’s not a choice when you’re only given a single option that you’re actually able to live with.

so yeah. and then after all of this, he ends up having to kill someone anyway. it sucks that there was no “everyone gets to live and be happy” option on the table. it sucks that Twice, who in his own way had just as little choice as Hawks did (because from his perspective the thing he wouldn’t have been able to live with was letting down his friends), didn’t and couldn’t back down. looking back there’s such a profound inescapability about it all. objectively there were other ways this could have all played out. but because of who these characters are, and because of what’s important to them, the whole thing in hindsight feels to me like it could never have gone another way. and I hate that, I hate the tragedy of it, but at the same time it’s such good fucking writing though. the characters are guiding their own fates toward something inevitable.

anyway. so Hawks is a murderer, yes. and assuming he lives through all this, he now has to live with it. and I wouldn’t wish that on anyone, and certainly not on him. goddammit I always knew Horikoshi was going to torture the shit out of this poor kid. I’m sorry, Hawks.

[valsedelesruines]

I once told Will that I found this new ideology of privilege was equivalent to the Christian dogma that all people are born in sin. Of course a simplification and quick comparison, but it has often felt like that in my experience lately, both in academic and personal circles. I have noticed something change in my interactions and conversations with people I know the last few years. As soon as people bring up personal anecdotes about my life, such as my economic, ethnic, cultural, etc. background, I start to lose interest, because the conversation no longer becomes a debate rather than a competition of subjectivity under the guise that one opinion is true. There are a few issues I find with this. For one, as an archaeologist, I fully understand that context is key, but the context works for all participants. Any ideology held right now by anyone is not truth. For example, let’s take economic liberalism (instead of my usual default example of Marxism lol). Economic liberalism is a relatively new concept but one that has been largely accepted in many circles as a true basis for interpreting the interface between our economic and political systems. This is cool, and there are many cool, new ideologies, philosophies, and perspectives that have influenced our modern culture, but the key is that most of what makes up our modern culture is formulated on ideas that are often less than 300 years old. So, how can we rely on these new ideas as a true, objective foundation for how the world works? The answer is we can’t, but we often get wrapped up in it and do. People forget that something like politics is a social science with a basis on philosophy. There is no truth in politics, otherwise we would all believe in the same thing. Surely if these ideas were universally true their origins would be biologically inherent to our species or at least naturally reoccurring. In another 300 years, ideas such as post-colonialism will be obsolete. 

Another key axiom in archaeological theory, applicable here, is that our practice and interpretation is conducted in the social milieu we inhabit. Culture is a subjective and cumulative activity that we all partake in. So, often in discourse while my subjectivity is pointed out (of which I am almost always aware), it is never acknowledged the other way around. I think the problem is, while I enjoy being challenged on my worldviews, most people do not, and I have only recently become aware of that fact. To foster “good” discussion, I believe the aim is to strive towards total objectivity, whilst also acknowledging that it does not exist. True objectivity can only, maybe, be attained with the death of the ego, devoid of individual perception. But regardless, that’s not my issue. The issue is as I have started to follow a pursuit of challenging my own worldview, I have formed an opinion which promotes a lack of one; I don’t believe a true perception exists and therefore cannot have an opinion. This works well if you are a Zelig, questioning people you just meet on their beliefs out of genuine curiosity and lacking any form of judgement. But this does not work when you interact with people who you know very well, and who interpret your lack of opinion for a staunch opposition of theirs. So, the question is then, am I willing to forego my own perceptions for the sake of following the people I love’s dogma? Hard to say, and I’ve dwelled on this a lot, but the short answer is no. To acquiesce is to ultimately hold the view that you agree with theirs. Because I have been in this situation before, a long, long time ago, and ultimately the decision to keep on doing what I was doing, which is being true to my own interests, was what helped me in the long run. If I do not believe in an objective right or wrong, then why would I go against that to believe in someone’s perceived right and wrong? To do so would not only be disingenuous, but also an act of self-hatred (insecurity). So, following that, is the preference to follow self-interest an indication of a lack of empathy? Also, ultimately, no. Because the definition of empathy for most is also subjective, but tends to be formed around the idea that we can understand, and often relate, to other’s suffering. I don’t think we can do that. At most, I think empathy can only ever be the ability to forgive, because that forms a basis on the individual rather than on external experiences. 

There is a story of a young man on a boat who is about to die after getting injured in a rough fight. As he was dying, he hurriedly requested that all f his shipmates come to him, so that he could ask whether he had ever annoyed or insulted any of them. When they replied in the negative, he was greatly comforted. This story is interesting to me because it displays a truly absurd scene: to be so self-hating that you rely on external opinions to justify a virtuous and moral life. And then I think, what is the point in attaining a useless merit like virtue? Is the aim to be comfortable and to provide comfort to those around you? if it is, then why? I’d much rather enjoy my life, embrace my curiosity, try to understand my own discomfort, forgive others as I can, and not close myself off to the thousands of worldviews held besides mine. I think trying to strive for truth or meaning is somewhat boring, and almost a recursive task, so I would much rather continue on devoid and critical of strong dogmatic influences. For now, I have accepted that I have grown into the person I am today and that I will continue to change as I learn from self-study and from others. I will never favor stagnation over growth, and I do not believe that there are right or wrong ways to grow. Surely, in challenge to the truth, curiosity did not always kill the cat. 

[truthbeetoldmedia]

The 100 6x12 "Adjustment Protocol" Review

Hello friends, it’s good to see you all again! I’m happy to be sharing my thoughts with you in this form again. Tonight I’m reviewing episode 6x12 of The 100 “Adjustment Protocol”, written by Kim Shumway and directed by Antonio Negret. I found myself underwhelmed by the season’s lead-in to the finale episode and I’m detailing why below! 

The Good

1. Eliza’s Exceptional Encore

Eliza Taylor has been on it this season. She’s been given extremely meaty scenes and she keeps blowing them out of the water. Clarke has been through so much lately and I am always excited to see what Eliza brings to the material she’s been given. The last few episodes have perhaps been some of the most challenging in her career and she’s been phenomenal in each of them. This episode was particularly tough for her, having to vacillate between Clarke playing Josephine, to Clarke listening to her daughter’s crazed rants and having to hide her tears, to Clarke experiencing the grief of realizing that her mother is dead and having to camouflage it so that her Josephine cover remains intact — and her friends remain alive. I wanted to reach through the screen and hug her when she broke down, because the girl has been through it!

For several seasons it’s been easy to debate about Clarke being a “worthy” hero because her actions don’t often line up with what we’ve been trained to expect of heroes. She is always ready and willing to make the tough choices, to kill whoever needs to be killed to save her people, to reach into the darkest parts of her own soul to make sure that other people don’t have to. This season Clarke has been unwilling to compromise on the promise she made to Monty’s memory. The promise to “do better” is layered in everything that she does and everything that she says. If last season was about the development of Bellamy into a “fully realized” leader, this has been that season for Clarke and she is extraordinary. 

I do find myself concerned about what Abby’s death will mean for Clarke’s determination to be different. It would be so easy to fall back into her old patterns, to lash out and turn her rage to all of the inhabitants of Sanctum (including innocents) instead of just on Russell who rightly deserves it. I’m hoping that she turns to her friends for support in this moment (and in the future) because heaven only knows that she’ll need them to get through this and I believe that perhaps that will be one of the biggest pluses of this season. With all of the crimes her friends laid at her feet this season, after watching Clarke go through so much and consciously continue to “do better”, I hope that we come through this with them realizing how much Clarke has done for everyone, often at her own expense. She’s a hero and she deserves to be treated as such. 

The Bad

1. Men Ruin Everything (Especially Female Television Characters)

In a rather shocking (not!) development, Dr. Abigail Griffin has joined the ranks of deceased characters even as her body continues to walk among the living. It’s been clear to me since Season 4 that Abby and Kane didn’t have long for this world, with Kane’s Season 4 quote, ”The youth will inherit the Earth”, playing a huge part in my thought process. I expected Abby to die that season, due to the problems she was suffering post A.L.I.E., but thanks to Raven’s genius (and Kane’s unwillingness to let her walk out of the bunker) she lived to fight another season. I expected Kane to die in Season 5 after he was attacked mercilessly by the cannibal Vinson and yet he survived those wounds as well. For some, that was a relief but I personally found myself confused and after tonight’s episode (and, in all honesty, their treatment all season) that confusion continues. Instead of being treated with the gravity that main character deaths deserve, both felt unceremonious and rather rushed, but at least Kane received a hero’s death. 

Abby’s story has grated on my nerves from the moment she first appeared in Season 5 with a drug addiction that was second only to her addictive obsession to Kane. Prior to Season 5, Abby’s story involved Kane but did not revolve around him. After that, all bets were off and Abby was only capable of caring about one person and that person was Kane. Everything she did in Season 5 and Season 6 up to and until Kane’s death served one person: Marcus Kane. Abby, a mother, a grandmother and one of only two qualified doctors for all of the people aboard the Eligius ship, became nothing more than a pawn on a romantic chessboard. She, like so many women on this show once they become romantically involved, became nothing more than a support for the man in her life. Even her death, which should be a hugely pivotal moment for this season, as Abby is the only mother of the original 100 we have any connection with, became wrapped up in the irony of what she’d done only three episode prior to save Kane. 

I believe that it also says quite a bit about how this show (which features women quite heavily) understands feminism. It is tragically horrific to kill a woman only a few episodes after killing her male love interest. It sends a message, even if unintentional, that she is only worth keeping around as long as her man is there, too. Abby’s arc could have been finished well in the closing scenes of Season 4, it could even have worked in the mid-season finale of Season 5, but after giving her a drug addiction (which she had not completely conquered), showcasing the absolutely insane lengths she was willing to go to save Kane (which she was not given time to properly “learn” from), it was clear that Abby still had some growth left in her. Unfortunately, it’s a story we’ll never get to see. 

In addition, the lead in to Abby’s death was painfully obvious. They needed to make 6 hosts, they only had 5 bodies. After making herself an obvious threat to Russell, Abby made herself a nightblood (“Like mother, like daughter”, says Jackson in the background for additional foreshadowing) and she’s in just the right age range to be suitable to host a 50-year-old man’s wife — unlike Ash (aka: Echo). She makes up with Raven in a rushed moment and conveniently learns that Clarke isn’t as dead as she thought she was — all in an effort to “finish” her storyline. As she dies, we’re treated to Raven and Jackson sobbing through flashbacks of her loved ones. It’s a death and not one particularly suited to a character of Abby’s standing on the show. More, fans of Paige Turco are likely going to have to prepare to watch “Abby” die once more — just as they did with Kane. It’s been a rough season for fans of Kabby. May we meet again Abby Griffin, you deserved more than you were given. 

2. Forced Female Friendships are not Feminist (Say That 3 Times Fast)

This episode felt like a good reminder that most TV writers do not understand female friendships (yes, even if the writers identify as women themselves). In this episode we are treated to a moment that is still confusing me as I write this (after my second viewing of the episode): Clarke and Echo (and Gaia and Miller) are reunited and in a moment of relief, Echo hugs Clarke after realizing she’s managed to kill Josephine and that ...doesn't make sense. This season has felt like a huge attempt to retcon Clarke and Echo’s relationship into a friendship that does not exist; in fact Echo has been kinder to Clarke than people who have known Clarke for longer (albeit only by a few months) and that doesn’t work for me. 

In the Season 5 two-part finale, Echo literally threatens to kill Clarke, because she is enraged that she left Bellamy to die, in the Season 4 premiere she does the same, in Season 3 she is responsible (in part) for killing many of Clarke’s “people”; and yet, the show, in a strange attempt to portray “friendship” between two women who the audience largely believe to be romantic rivals (because that’s how they are written), would have us ignore all of these previous transgressions, pretend the characters don’t need to have at least a conversation about mending their relationship and have jumped onto the bridge of friendship together. Echo and Clarke honestly don’t even know each other. It’s disingenuous and another example of the horrible ways in which a show that primarily features women treats those women. 

Even worse is the fact that, after repeating Monty’s mantra all season long through many characters (but primarily Clarke), we watched Echo murder Ryker last episode in cold blood. (I have yet to come up with a reason his death makes sense. Yes he was going to wipe Echo, but Miller had him at gunpoint and he’d surrendered. It would have been easy enough to force him into the chair, tie the restraints and gag him — leaving him to be found later by the guards, or in this case Josephine.) What about Echo’s actions this season (in the small amount of screen time she’s been given) equate to “doing better”? We watched people castigate Clarke for killing people to save her people, but no one has anything to say to Echo for killing people to save….herself? It’s baffling that this show continues to have Echo act in ways that are antithetical to those of our confirmed heroes (Bellamy and Clarke) and suffer absolutely no negative pushback from anyone. At what point do we see the consequences of her actions? Especially with the messaging for this season? 

3. Plot Holes Big Enough to Sink a Ship In

As per usual, The 100 once again crafts a season that is perhaps too big for its season length. This problem has been consistent since Season 4 and it’s largely because, after Season 3, the show which once prided itself on the fact that “anyone could die” has now become afraid to kill even the most useless character, if at least one fan likes them. This episode attempted to wrap up several character and plot arcs and as a result it felt overcrowded and rushed. Between bringing the Flame into the plot, the nightblood, making new primes, Emori and Murphy becoming Primes and pretending to be Kaylee and Daniel, Gabriel returning to Sanctum, Russell bombing his people and forcing them to kill each other, Priya’s kidnapping, and Abby’s death it’s just too much for one episode to handle!

If they needed all of these things to happen before the end of the season they should have begun the wrap up sooner (and or gotten rid of two characters in Season 4 and 5 respectively as mentioned earlier) and this is one of the prime reasons I support and advocate for smaller casts. Because every character with even an ounce of screen time is given the “main” treatment, all of their storylines must somehow be wrapped up in the final two episodes and it has historically not worked. In fact, this particular episode’s issues are so glaring largely because this season seriously pared down the amount of time it spent with people who weren’t Bellamy and Clarke (much like Season 2), greatly alleviating the audience’s need to care about so many different characters and it worked! Season 6, up until this episode has been one of the best seasons (my current order being 2, 1, 6, 4, 3, 5) because it felt like they were returning to the heart of the show: Bellamy and Clarke and their relationship to one another (however you might describe that). With this disjointed episode I was again reminded that there are too many characters I don’t have enough time to care about and it sapped the joy out of an otherwise excellent season for me. 

But perhaps that’s my own fault. Perhaps I’m expecting too much from this show in its sixth season and of course I’ll wait to pass final judgement until the finale airs next week. I’ll be writing that review as well! I can’t wait to close out the season with you guys. See you soon!!!

April’s episode rating: 🐝🐝.5

The Season 6 finale of The 100 airs Tuesday, August 6 at 9/8c on the CW.

[xaoh-f-goon]

Denouements: A Spotter’s Guide

In this essay I shall be attempting to identify the distinguishing features of the Denouement siblings, and then theorising on what this means for their character and scene-to-scene motivation. Being just one person I will have biases and projections, so please do say if something doesn’t feel right. Also, a lot of what I will try to describe won’t be visible in screenshots, only in motion, so I encourage watching clips to help understand my angle.

I am taking as a starting point, which will be revised if it doesn’t bear out, the theory that the brothers embody their name: Frank is frank, and Ernest is earnest. Both words mean truthful, but in different ways. Frankness comes via bluntness, factual, to the point, brusque. It implies serious and businesslike, efficient, rooted in reality. Earnestness comes via (positive) emotional intensity, sincerity, enthusiasm and being willing to please. It implies personal conviction, being trustworthy, friendliness and passion for the subject at hand.

Both men are keeping up a controlled facade in order to catalogue and manipulate the hotel occupants, and I believe the word definitions characterise their respective approach to this. Remember, Frank is the fireFighter, ErneSt is the fireStarter. Let’s trust Kit Snicket’s words (and netflix’s intentions) and do some close observation. Here is a screenshot from when we know who is who.

So, the characterisation I am driving at here is that Frank is being impenetrable, relying on saying exactly the right thing, analysing the response and passing judgement to keep safe. Ernest is being quickly ingratiating, performing as a warm presence that you are more likely to trust, especially in the face of his brother’s apparent rudeness. Plus, Kit calls him out as an active liar (’Do not trust him, no matter what he says’) rather than Frank’s passive status as a person the Baudelaires need to behave right to gain access to.

This Denouement is secretly observing before making himself known. He is blunt with his sentences and his impassive face gives no indication of what he wants to hear in return. His rattling speed of speech implies efficiency. I am presuming he is Frank. 

He introduces himself in a position of power, having startled them. He wields his authority by assuming his orders are being followed, leaving sharply without checking to see if the kids are following. He speaks in a low flat monotone manner. He uses an air of disdain to keep himself distant and above those he is talking to, and his default position is to look down at you with narrowed eyes. These are things we have learnt about Frank. 

This Denouement lets the kids know he is coming, calling out to them softly and clearly. He is smiling and welcoming. His quick speed of speech implies enthusiasm. He sounds relieved to see them, thus initially giving the impression of power to the Baudelaires. His open manner invites openness in return. He is the only one to ask outright for vital information. I am presuming this is Ernest. 

He talks calmly and clearly, and emphasises important words that he wants the kids to pick up on and react to. He looks and sounds appropriately curious, worried, and pleading when he asks for information, hoping for an automatic sympathetic response or at least to evoke some sort of tell. When he gets an answer he doesn’t like, he signals being disappointed and hurt. However he still seems very distant from what he’s saying, and his expressions are switched between quickly and grandly, like a performer. It feels disingenuous and too symmetrical. His default position is looking up at you with an expression of concern. These are things we have learnt about Ernest. 

Now there is Dewey. He does not have the facade of his brothers. He alone has natural asymmetrical expressions that lend him a twinkle in the eye, as if about to wink, and an actual air of confidentiality. Incidentally, ‘dewy’ as a word doesn’t only mean moist, but also naive, innocent, unwary etc, implying a lack of artifice. He talks quietly and furtively, conveying information quickly because There’s Not Much Time.

So we have our potential players. Now lets prove the theory.

Who does Violet meet?

He remains impassive, does not speak until asked and considers his answer, he seems tired, aloof and critical as if he knows that he knows best. He speaks in a low voice and only in factual information. And, he is very blunt, for example saying very clearly that Not Doing This Would Be Suspicious and saying the name VFD out loud. He’s Frank.

Who does Klaus meet?

That’s Ernest.

Therefore Sunny...

There’s nothing to suggest this isn’t Dewey.

We have a Confirmed Ernest appearance, and he does superficially appear deadpan and stern, possibly throwing doubt on the definitions. However, he is no longer trying to be ingratiating, he is acting villainous and threatening and theatrical. Which is very much in line with what we presume to know of him.

In Part 2, we have a Confirmed Frank appearance, which I have documented here. I think you’ll agree Frank’s manner is perfectly in line with previous conclusions - the mask-like lack of reaction, the disdain in his comment to Poe, the looking-down-from-above posture, the unmoving mouth. Yet there is emotion in his eyes for the first time, staring hatred towards Olaf (and being rough with him) outside of his safe businessman persona. I think some of that is directed towards the Baudelaires too, as he approaches his gaze is fixed on them like a laser. But that could also be an unspoken question for them, or high emotions in general.

[Edit] Further analysis and other possibilities discussed here.

Supposing all of the above is correct, here’s how I see the courtroom scene.

Frank on the left, having had a terrible, horrible, no good, very bad day.

Ernest on the right, holding a tense but pretty unreadable expression of attentiveness.

Ernest is the one to let Olaf out of the closet. That’s his same thug stance and poise type from when he’s facing down Larry. It’s Ernest’s way of making himself look big - Frank’s way is to appear a superior authority. ....also, there’s the rope thing.

At the submission of the harpoon gun and mention of Dewey’s killing, Frank looks down and is visibly processing. Watch his mouth. Ernest remains an entirely emotionless mask and bows his head at the appropriate time.

Then the Baudelaires make their statement.

Ernest is showing a textbook expression of wonder and compassion, and immediately joins in when the clapping starts...

...and Frank is exasperated. He hates it. It’s fair to say he knows his brother and very clearly doesn’t believe a metaphorical word of it. And I don’t either. Because we’ve seen Dewey happy. We’ve seen Max Greenfield play genuinely happy. And this perfectly even grin does not reach his eyes in the slightest. There is no twinkle. And to my eye Frank’s reaction backs me up on that. 

Here, Count Olaf is listing shooting Dewey Denouement as one of the Baudelaire’s crimes. What Ernest is doing is visibly blinking back tears. I do not know whether they are real or fake or both. I do not know what Frank is thinking. It’s something, but I don’t know what it is.

Until finally, we end up here.

Why would the brothers appear to swap roles, Ernest supporting them and Frank condemning them? Here’s what I think.

Both brothers are feeling the loss of Dewey equally deeply. 

Frank has come to blame the Baudelaires, perhaps not directly but at least in the sense of them bringing their situation and causing unpredictability in the perfectly ordered hotel. Certainly in this moment, he blames them from an emotional standpoint and is incensed enough to argue with the kids almost on principle. Or, perhaps, he does in fact truly blame them. They weren’t very good at their job, they were indiscreet and didn’t know any codes, perhaps that made him suspicious of them and was already unsure about working with them before Dewey died. It certainly didn’t seem like the kids ever convinced him of anything, and it’s reliably reported in all the news that the Baudelaires are definitely there when firefighters die.

Ernest, while running on almost an autopilot of acting how he is expected to be seen, has come to blame Count Olaf. He knows first-hand that Olaf’s thirst for violence, specifically for the people in this hotel, is very real and dangerous. After all, he did just boil a man with him. Ernest may not care about the Baudelaires, but he very likely doesnt care for this nonsense of a court proceeding either, and wants eyes on Olaf as soon as possible. Or, perhaps, he does in fact truly believe them. Maybe Dewey’s death sent him reflecting on the probably unbelievable and definitely tragic series of events that got the triplets to where they are now. Maybe he is feeling the futility and wants even just a small revenge or point scored. Olaf was right, there is arguably a lot more truth on the firestarting side and Ernest knows, he knows with a certainty his brother cannot have, that the Baudelaires didn’t murder anyone.

[seasaltmemories]

To Live As Free Men and Women

Over and over again I hear the conflict of echoes summarized as “shifting from relying on gods to relying on humanity’s own accomplishments.”  And on the surface that makes perfect sense.  All the endgame quotes are about refusing to bow down to Duma and wanting to fight for their world.  

However this reading has always not sat well with me because of two things.  First this celebration of humanity’s individual strength is not brought up until the last moments of Act 5.  To call it the main theme when so much of the earlier conflict was about class feel disingenuous.  Second, this reading tends to pit Alm and Celica as opposites where Alm shows Celica the light.  Aside from disliking the convenient dismissive treatment of the female protagonist, my obvious bias aside, it just isn’t good storytelling to have one of your leads solely exist to be wrong.  Not to mention the game is going for a sort of dualism between the two of them, so to paint Celica’s route as just one mistake is short-sighted.

So the question remains, what is the main theme of Echoes?  Does it have a theme?  Regardless of your thoughts on the game, it still sends a message, every piece of art does, even if it is as banal as “good will always triumph,” that is still a theme.  So to examine echoes, thoroughly we have to find a thread that manages to link the entire game together.

The best place to start is obviously the beginning.  After the opening video.  We are given a little exposition dump about the state of Valentia.  Two countries and two gods, one emphasizing war and the other emphasizing peace.  Makes sense, it is pretty obvious which one we’re supposed to root for and what country we’ll be following.  Cue the prologue where after everyone was so excited to meet the knight in the woods, he turns out to be totally willing to murder children.  It would be so easy to write Slayde off as a bad apple but the narrative makes no attempts to try and act as if anything about him is non-standard.  If anything the start of Act 1 goes out of its way to detail just how rotten Zofia is.  It’s fitting that Alm joins a rebellion first and foremost, and it is not until Act 3 Rigel really becomes an antagonist.  And much of Act 1 is targeting Zofia’s own corruption, its bandits and power-hungry nobles.  Despite being massive problems, Alm rushes headlong into them, wanting nothing more than to protect people.

Act 2 starts similarly, Celica learning of just how horrible the pirates are, and how they have been allowed practically free reign of the seas.  She has even fewer reasons to get involved, considering her party is literally five people, but she can’t secure safe passage otherwise so let’s do this.  If it takes fighting necrodragons then she will fight necrodragons.

Despite both of their reckless behavior, they accomplish real change and make things for the better.  And so after growing up into the people they are today, Alm and Celica in an obviously heartwarming manner.  Except quickly things tilt sideways.  

Celica’s hypocritical behavior has been long-pointed out, wishing him to avoid bloodshed after just killing a pirate king, but things still stay civil until this moment.

“Alm: Nrgh… If I didn’t know any better, I’d swear I was speaking to a blue blood. My station doesn’t matter, Celica. I’m here because I was called. I have a duty to perform, and I’ll perform it. No more, and no less.

Celica: Oh, Alm…

Alm: Do you think I WANTED this fight? This all started because Lima IV went and angered the empire. If you wish to point fingers, point them at the ruler who failed his people. It’s his fault we’re in this mess.”

Alm points to Lima and the system that failed Zofia, and while he is not wrong, as the Zofian heir, Celica is just as much a part of that system.  And to have someone so important to her throw the failings of the state at her feet, when all her life she has simply tried to survive, feels like the worse betrayal.  And when Alm still expects her to hold responsibility for all those mistakes (even if he doesn’t directly ask it of her) she explodes.  Now obviously Alm didn’t know how his words would impact her, and Celica was the first to go on the offensive, but often this discussion gets characterized as just being about violence, when that discussion is just a footnote to the real conflict.

Starting with Alm, Act 3 opens with Alm finally meeting Berkut face to face, someone who represents all of Rigel’s teachings about power and strength.  While a fearsome opponent, he has an utter meltdown after Alm’s army beats him.  As they go on their way to face Desaix, even Clive starts to fail Alm by doubting him and questioning if it is worth it to try and save Delthea, and depending on how well you play the next few levels, he really might fail Alm such as when/if Mathilda dies and he blames Alm for her death.  While he still will eventually come around to believe in Alm once again, we see that even after retaking Zofia, the old order is still not completely gone.

Celica meanwhile has to confront another outlaw king, but this time Greith is more personal, aside from people in her army having been directly harmed by him, there’s this lingering thread of Greith only having been able to grow so powerful because of Lima’s negligence.  In-universe there is no reason she has to go and stop him, it is a significant detour from her pilgrimage, still she refuses to enable this injustice.  Greith warns her that there will always be another one like him, and when they arrive at the temple, Mila is gone and unable to fix everything like she wanted to do.  So Celica does what she has been running away from her entire life, she reveals her status as the lost princess and promises to protect Zofia and Mila.

However while this is a good choice both for her development and from a logical standpoint, we start to see that even it is not without consequences in the Act 4.  Determined to save Mila, Celica eventually comes into contact with Jedah, who says as long as she gives up her soul to Duma, he will return Mila.  Now while Celica is often lambasted for this choice, let’s look at how she sees this and why she doesn’t immediately distrust him.

While we have seen Jedah be a creep all game, this is the first time Celica has seen him, and while he is othered and marked evil with a lot of traits, such as his blue skin, how stupid would it be if in real life you refused to work with people because “they looked evil” not to mention he is the leader of a similar faith, it would be like if a protestant Christian talked with the Pope.  Jedah is a scumbag but Celica has no reason in her eyes to immediately distrust him/assume he is lying.

And having traced Celica’s actions up until now, how she hates the suffering of others and will do anything in her power to fix things, why would she not consider herself a worthy exchange for Zofia’s restoration?  With Conrad’s reappearance, there’s even another heir ready to take over.  All her life she’s been confronted with her father’s failure, and what kind of ruler would she be if she followed in his footsteps?  

Still despite this mindset, she does not go to Duma Tower to die.  She plans to see Mila and rescue her first and foremost.  But when it looks as if Mila is completely gone and impossible to recover, she decides she will at least try and protect those she loves.

Before we can look at how that decision go, we need to return back to Alm.  In Act 4, we learn that Rigel is pretty much as corrupt as Zofia.  People like Nuibaba and Jerome manipulate good people like Zeke and Tatiana purely for their own selfish gain.  Throughout all this Alm is treated as if he is already King of Zofia, which Alm never really confronts and very obviously chafes at the thought.  He stands poised to become a living legend, when horror of all horror he ends up being the one to kill his own father.  

While Rigel welcomes him with open arms as there prince, Alm finds no joy in the title and learns that all his hard work was just to fulfill Rudolf’s plans.  And the closer he gets to the climax the more and more trauma he suffers,  having to kill his only remaining family left, Berkut having gone mad from his failure to live up to Rigel’s ideals of power over everything.  In the end it culminates in Alm having to even kill the woman he loves.

The only thing that keeps this story from becoming the tragedy we first saw at the beginning of the game is the fact Mila takes pity on them and decides to release Falchion for Alm.  So to act as if the events of Echoes were purely fueled by human ingenuity is disingenuous.

So what was the point of this little recap?  Well when you look closely you see it is not just Duma and Mila who failed them, but the entire way their world was structured, the sins of their fathers who created/maintained a world where the weakest were always exploited the most.  A world where they were denied happiness and set up to fail.  Celica has her entire life defined by being a part of this system, less an individual person and more a title.  What use was she as an individual, if she didn’t give her all for a country her blood had left down?  And Alm was denied a family, and forced to kill them simply because of Rudolf’s plan, even if it was for the greater good.  The world Duma and Mila set-up centuries ago is not the type of world these people need anymore.  Killing them is not enough, they have to change the entire structure of society as they know it. It’s why they get rid of Rigel and Zofia in the end to create the One United Kingdom, because only then can they start fresh, free from the influences of before.

Now some might say, why explain make such a big deal over such a minor detail?  Gods, society, what’s the difference?  But like I said earlier a theme needs to encapsulate the entire work, not just the climax.  And society’s failing manifest in multiple ways in Echoes, from classism, to tragedy of Sonya’s family, to Valber’s loss.  From start to finish Echoes never lets you forget what a broken world Valentia is.  And to fix it you can’t just take Alm’s impulsive idealism or Celica’s country-bound devotion.  Sometimes you need both, and to attack the problem at the source of its roots.

[drippeddaily]

Album of the Year 2017 #03: BROCKHAMPTON - SATURATION

Album of the Year 2017 #03: BROCKHAMPTON - SATURATION

Artist: BROCKHAMPTON

Album: SATURATION

Listen:

Youtube

Apple Music/iTunes

Google Play Music

Tidal

Napster

Spotify

Album Background:

BROCKHAMPTON formed in 2015, largely as a rebirth of a group known as ASF (AliveSinceForever). Over the course of the next two years, they dropped a few singles, eventually releasing a mixtape by the name of “ALL AMERICAN TRASH” in the summer of 2016. That winter, frontman of the group Kevin Abstract released his sophomore album “American Boyfriend”, touring for the album and earning a following and notoriety for the larger group. Then, in the spring of 2017, the group returned with the first single from SATURATION, “FACE”. In the space of around a month, they reportedly created around 40 songs for their sophomore mixtape, which evolved into their debut album. Of those 40 songs, 14 made the cut, in addition to 3 skits, creating a 17 track album. With each single leading up to the album, they steadily built more and more hype, with one of the final songs to release before the project, “BOYS” premiering on Beats1 Radio on Apple Music. The group’s chemistry and their unique music videos quickly found a larger and larger audience, highlighting the talents of a diverse group of members, including rappers, singers, directors, visual artists, and producers. All members of the group (excluding singer Bearface who was in the UK until the day of the album's release) lived together in a house in Van Nuys, California for the creation of the album.

Review

When reading an album of the year writeup for BROCKHAMPTON’s debut album, SATURATION, given the state of this corner of the internet, most people would expect the reviewer to try as hard as possible to refute criticism of the music, and to argue that the group is something unique and special. The music isn’t perfect, but they are doing something special. There are valid criticisms: while rapper Dom McLennon impresses with his technical ability the content of his verses can at times be entirely abstract and unrelated to the song, and Merlyn Wood, while fun and energetic, is justly divisive in the vocal performances and style he can bring to a track. The oft repeated lines of “Kevin always raps about being gay” or “Ameer always raps about dealing” (and just where will Dom’s heart be put next?) while true, aren’t necessarily bad things, and the members of the group have responded within their own music in an adequate manner. This album isn’t necessarily even the best album of the year. An argument could be made that the sequel, SATURATION II is better, as well as projects such as who told you to think​?​?​!​!​?​!​?​!​?​! by Milo or 4:44 by Jay-Z. An album such as 4:44 will invariably go down in hip hop’s canon as a classic, a step in the right direction for the craft. So, given all of this, declaring SATURATION to be album of the year seems confusing.

A project has to be the most enjoyable music released within a year for it to be the defining album of that year. Let it not be taken, however, that this is saying that BROCKHAMPTON has made a genre-defining album: they’re simply too obscure at this point for that. But at a critical level, SATURATION does serve as an album that embodies the state of Hip-Hop in 2017. In fact, the album at times reads as a revue of hip-hop, opening up with a stretch of songs that switches from gritty and aggressive to smooth and danceable.

BROCKHAMPTON are something special. Not because they formed over the internet: of course groups like Odd Future have already done that more famously. While Odd Future tapped into this punk destructive energy that allowed them to set a fire with the youth of America, BROCKHAMPTON are tapping into a part of the genre often critically panned: pop rap. What BROCKHAMPTON is focused on is straddling a particular line: that between the poppy rap tunes of artists in the ilk of Recovery-era Eminem, and the aggressive offputting experimental hip hop of such groups as Death Grips. These aforementioned acts are direct influences on members of the group, as are such performers as M.I.A., Prince, Master P, Lil Wayne, Kid Cudi, Kanye, and the list goes on. These artists styles would seem to clash with each other and BROCKHAMPTON exists on that very point of conflict. Their music serves as an answer to the question of being both accessible and off putting, and they manage those two lanes beautifully.

BROCKHAMPTON crafts tunes that are both poppy and experimental. Even if your tastes are weirder than the music that the group produces, it’s disingenuous to suggest that their music isn’t weird to your average listener. Switching from distorted bass and manic rapping to a soft acoustic guitar and crooning simply (a la “BUMP”) isn’t something in a lot of rap that many people find accessible. People can’t be blamed for finding highly experimental music off putting, but it is a shame that people don’t listen to it because of that unease that it creates. SATURATION exists as an inbetween point: “FAKE” has quickly become a favourite for many from the project. And when you think about it, that is strange. The verses are pitch shifted, the beat is wonky (thriving from the same Pharrell influence that most of their production does), and the subject matter is deliberately off putting. But the hook is undeniably catchy. Tracks like “FAKE” are easy to listen to and yet have weirder depths to them.

“HEAT” is perhaps the best example of this. “HEAT” isn’t a purely political song. For many of the members it’s more personal than that, with rapper Matt Champion talking about his experience being cheated on, or Dom McLennon talking about his feeling unable to be around other people. But there certainly is a political bite to it: not too heavy handed at all, but there. The messages and themes in the song become available to anybody who wants to find them: a classic anti-cop rap sentiment, the politics of drug dealing, a sense of discontentment with the state of the world. They’re setting up a world for the viewer that while ultimately escapist, does remind the listener of the realities back home.

When BROCKHAMPTON keeps on rapping about how different they are, how special their music is, it can seem like the yuppie protagonists of a blockbuster film at times: i.e that these are people who exist in this idealised world that just isn’t real. Perfectly relatable, both broke and receiving riches, self-loathing and cocky, a nonexistent contradiction. But there is always that bite of home: the message that brings the group back to where they really are. While Ameer Vann can rap about dealing and make it sound cool, this showmanship also functions as an exploration of his real past. While so much of the album is concerned with dreaming of them in the spotlight, future kings of music, we are reminded every now and then of what they’re running away from, whether it be disappointed parents or the general weight of the world. There’s a sad beauty in their flights of fancy, and it comes across elegantly in their music.

You don’t have to like BROCKHAMPTON’s music to appreciate them, and they should be appreciated for what they’re doing. Artists shouldn’t have to live in a world in which they have a choice between making a living or making art. The viewer shouldn’t have to choose between self-obsessed works of auteurs and worldly but ultimately milquetoast mainstream pieces. Many shy away from this altogether: they just pick a side and they’re done with it: they’ll make their money and not care what the critics say, or they’ll make their original ideas flourish and not care about the money. Sometimes, creative people strike on something so good that people listen to it and support them anyways. The fact that BROCKHAMPTON are trying to create a roadmap to striking that gold, and are attempting to remove the fog of mystery that lies over the line between experimental and popular is commendable. They’re not there yet, but they’re certainly on to something. SATURATION is the starting point for it all.

Favorite Lyrics

“I’ve got pipe dreams of crack rocks and stripper poles”

“HEAT”

“I got a dream I'm willing to die for

I got a team I'll commit a crime for

Got some dead homies I ain't get to cry for

'Cause I'm working for my freedom, while the world cry war

Cry wolf when the shepherd finds a way to strike gold

'Cause the stocks gon' crash and the dollar gon' fold

You don't know that the poor eat the rich when there's no profit

They gave you the floor but you brought up the wrong topic”

“CASH”

“Was I more than it's worth

Or will you see my name and I'll fade?

Pitch my camp in your mind

Sat by the fire, behind your eyes

And I'll look through them just once or twice

But I might see something I don't like

Like your hands in his shirt

Entwined in cotton, his loving smirk”

“WASTE”

Discussion Questions

BROCKHAMPTON’s career is on an upwards trajectory in terms of popularity, and yet there’s still a raging debate over how relevant they truly are. At what point is an artist no longer a “nobody”? At what point is an artist “relevant”? Is BROCKHAMPTON relevant?

BROCKHAMPTON insist that they are not a rap group but in fact a “boy band”. What do you think of this? Do you agree with this statement? Why do you think they claim this?

Once the SATURATION trilogy ends, what direction should BROCKHAMPTON go next (who knows what's happening with that SATURATION III announcement)?

Thanks for reading!

Be sure to check out the other BROCKHAMPTON writeup for today, done by the great /u/snidelaughter, as well as tomorrow’s writeup for billy woods terrific album, “Known Unknowns”, done by the amazing /u/ReptiIe!

Artist: BROCKHAMPTONAlbum: SATURATIONListen:YoutubeApple Music/iTunesGoogle Play MusicTidalNapsterSpotifyAlbum Background:BROCKHAMPTON formed in 2015, largely as a rebirth of a group known as ASF (AliveSinceForever). Over the course of the next two years, they dropped a few singles, eventually releasing a mixtape by the name of “ALL AMERICAN TRASH” in the summer of 2016. That winter, frontman of the group Kevin Abstract released his sophomore album “American Boyfriend”, touring for the album and earning a following and notoriety for the larger group. Then, in the spring of 2017, the group returned with the first single from SATURATION, “FACE”. In the space of around a month, they reportedly created around 40 songs for their sophomore mixtape, which evolved into their debut album. Of those 40 songs, 14 made the cut, in addition to 3 skits, creating a 17 track album. With each single leading up to the album, they steadily built more and more hype, with one of the final songs to release before the project, “BOYS” premiering on Beats1 Radio on Apple Music. The group’s chemistry and their unique music videos quickly found a larger and larger audience, highlighting the talents of a diverse group of members, including rappers, singers, directors, visual artists, and producers. All members of the group (excluding singer Bearface who was in the UK until the day of the album's release) lived together in a house in Van Nuys, California for the creation of the album.ReviewWhen reading an album of the year writeup for BROCKHAMPTON’s debut album, SATURATION, given the state of this corner of the internet, most people would expect the reviewer to try as hard as possible to refute criticism of the music, and to argue that the group is something unique and special. The music isn’t perfect, but they are doing something special. There are valid criticisms: while rapper Dom McLennon impresses with his technical ability the content of his verses can at times be entirely abstract and unrelated to the song, and Merlyn Wood, while fun and energetic, is justly divisive in the vocal performances and style he can bring to a track. The oft repeated lines of “Kevin always raps about being gay” or “Ameer always raps about dealing” (and just where will Dom’s heart be put next?) while true, aren’t necessarily bad things, and the members of the group have responded within their own music in an adequate manner. This album isn’t necessarily even the best album of the year. An argument could be made that the sequel, SATURATION II is better, as well as projects such as who told you to think​?​?​!​!​?​!​?​!​?​! by Milo or 4:44 by Jay-Z. An album such as 4:44 will invariably go down in hip hop’s canon as a classic, a step in the right direction for the craft. So, given all of this, declaring SATURATION to be album of the year seems confusing.A project has to be the most enjoyable music released within a year for it to be the defining album of that year. Let it not be taken, however, that this is saying that BROCKHAMPTON has made a genre-defining album: they’re simply too obscure at this point for that. But at a critical level, SATURATION does serve as an album that embodies the state of Hip-Hop in 2017. In fact, the album at times reads as a revue of hip-hop, opening up with a stretch of songs that switches from gritty and aggressive to smooth and danceable.BROCKHAMPTON are something special. Not because they formed over the internet: of course groups like Odd Future have already done that more famously. While Odd Future tapped into this punk destructive energy that allowed them to set a fire with the youth of America, BROCKHAMPTON are tapping into a part of the genre often critically panned: pop rap. What BROCKHAMPTON is focused on is straddling a particular line: that between the poppy rap tunes of artists in the ilk of Recovery-era Eminem, and the aggressive offputting experimental hip hop of such groups as Death Grips. These aforementioned acts are direct influences on members of the group, as are such performers as M.I.A., Prince, Master P, Lil Wayne, Kid Cudi, Kanye, and the list goes on. These artists styles would seem to clash with each other and BROCKHAMPTON exists on that very point of conflict. Their music serves as an answer to the question of being both accessible and off putting, and they manage those two lanes beautifully.BROCKHAMPTON crafts tunes that are both poppy and experimental. Even if your tastes are weirder than the music that the group produces, it’s disingenuous to suggest that their music isn’t weird to your average listener. Switching from distorted bass and manic rapping to a soft acoustic guitar and crooning simply (a la “BUMP”) isn’t something in a lot of rap that many people find accessible. People can’t be blamed for finding highly experimental music off putting, but it is a shame that people don’t listen to it because of that unease that it creates. SATURATION exists as an inbetween point: “FAKE” has quickly become a favourite for many from the project. And when you think about it, that is strange. The verses are pitch shifted, the beat is wonky (thriving from the same Pharrell influence that most of their production does), and the subject matter is deliberately off putting. But the hook is undeniably catchy. Tracks like “FAKE” are easy to listen to and yet have weirder depths to them.“HEAT” is perhaps the best example of this. “HEAT” isn’t a purely political song. For many of the members it’s more personal than that, with rapper Matt Champion talking about his experience being cheated on, or Dom McLennon talking about his feeling unable to be around other people. But there certainly is a political bite to it: not too heavy handed at all, but there. The messages and themes in the song become available to anybody who wants to find them: a classic anti-cop rap sentiment, the politics of drug dealing, a sense of discontentment with the state of the world. They’re setting up a world for the viewer that while ultimately escapist, does remind the listener of the realities back home.When BROCKHAMPTON keeps on rapping about how different they are, how special their music is, it can seem like the yuppie protagonists of a blockbuster film at times: i.e that these are people who exist in this idealised world that just isn’t real. Perfectly relatable, both broke and receiving riches, self-loathing and cocky, a nonexistent contradiction. But there is always that bite of home: the message that brings the group back to where they really are. While Ameer Vann can rap about dealing and make it sound cool, this showmanship also functions as an exploration of his real past. While so much of the album is concerned with dreaming of them in the spotlight, future kings of music, we are reminded every now and then of what they’re running away from, whether it be disappointed parents or the general weight of the world. There’s a sad beauty in their flights of fancy, and it comes across elegantly in their music.You don’t have to like BROCKHAMPTON’s music to appreciate them, and they should be appreciated for what they’re doing. Artists shouldn’t have to live in a world in which they have a choice between making a living or making art. The viewer shouldn’t have to choose between self-obsessed works of auteurs and worldly but ultimately milquetoast mainstream pieces. Many shy away from this altogether: they just pick a side and they’re done with it: they’ll make their money and not care what the critics say, or they’ll make their original ideas flourish and not care about the money. Sometimes, creative people strike on something so good that people listen to it and support them anyways. The fact that BROCKHAMPTON are trying to create a roadmap to striking that gold, and are attempting to remove the fog of mystery that lies over the line between experimental and popular is commendable. They’re not there yet, but they’re certainly on to something. SATURATION is the starting point for it all.Favorite Lyrics“I’ve got pipe dreams of crack rocks and stripper poles”“HEAT”“I got a dream I'm willing to die forI got a team I'll commit a crime forGot some dead homies I ain't get to cry for'Cause I'm working for my freedom, while the world cry warCry wolf when the shepherd finds a way to strike gold'Cause the stocks gon' crash and the dollar gon' foldYou don't know that the poor eat the rich when there's no profitThey gave you the floor but you brought up the wrong topic”“CASH”“Was I more than it's worthOr will you see my name and I'll fade?Pitch my camp in your mindSat by the fire, behind your eyesAnd I'll look through them just once or twiceBut I might see something I don't likeLike your hands in his shirtEntwined in cotton, his loving smirk”“WASTE”Discussion QuestionsBROCKHAMPTON’s career is on an upwards trajectory in terms of popularity, and yet there’s still a raging debate over how relevant they truly are. At what point is an artist no longer a “nobody”? At what point is an artist “relevant”? Is BROCKHAMPTON relevant?BROCKHAMPTON insist that they are not a rap group but in fact a “boy band”. What do you think of this? Do you agree with this statement? Why do you think they claim this?Once the SATURATION trilogy ends, what direction should BROCKHAMPTON go next (who knows what's happening with that SATURATION III announcement)?Thanks for reading!Be sure to check out the other BROCKHAMPTON writeup for today, done by the great /u/snidelaughter, as well as tomorrow’s writeup for billy woods terrific album, “Known Unknowns”, done by the amazing /u/ReptiIe!

[yahoo-puck-daddy-blog]

What We Learned: Why you should stop freaking out about the Canadiens

It’s been a frustrating start to the season for Carey Price and the Montreal Canadiens. (Sean M. Haffey/Getty Images)

Montreal is a tough market even when times are good. And for the Canadiens right now, times are quite the opposite of good.

They have one win in six games and even that was in a shootout, so their opponents have taken 15 of a possible 16 points against them. This was a team many considered to be one of the best in the East, and instead they’re dead last in the conference, by a decent margin.

On the surface, the problem is easy to diagnose: They’re shooting 4 percent and getting .877 goaltending. That’ll lose you a lot of games. Pretty simple, right?

Because like any Claude Julien team, they’re very good at taking more shots than their opponents, and things just aren’t going well for them in terms of the outcomes of those shots. But if you watch a Canadiens game, you see that they’re doing things a little like the Kings used to: They’re just taking a lot of attempts, and they aren’t particularly picky about where those shots come from.

Some people — usually, the chronically wrong kind — call this “gaming corsi” and say coaches do it to make their underlying numbers look better than they actually are. That, in turn, gives them plausible deniability if the team sucks, which, hey, the Canadiens sure seem to right now. At 5-on-5, the Habs take the third-most attempts per 60 of any team in the league, but are only eighth in expected goals, meaning that the quality of those shots isn’t quite consistent with the rate at which they happen. Both numbers are elite, however.

Meanwhile, the revamped Habs defense is submediocre, conceding the 19th-most shots per hour and giving up some high-quality looks, to the tune of the sixth-worst xGA/60 in the league.

Certainly these are issues to work on, but they don’t lead to anything resembling the results the Canadiens have gotten to this point. In terms of expected-goal plus-minus, they’re minus-0.03 at 5-on-5 and minus-1.4 overall. That means they “should have” given up about a goal and a half more than they’ve scored, which should put them at roughly .500 for the season, instead of being off to the second-worst start in the league and already being minus-21 in goals. That is to say, they’ve allowed about 19 more goals than they should have. Which is a lot.

I’m not going to sit here and try to relitigate for the millionth time whether a particular team is going to have a PDO that starts with “91” or even “95” all season. They are self-evidently much better than this. You can think what you want about the long-term prospects for Carey Price’s brand new contract, but you don’t typically see a guy’s talents diminish to the point that you lose 50 points of save percentage in a single summer. Pretty sure that’s not how aging curves work.

Likewise, the Canadiens were likely to struggle a bit more offensively this season than last, simply because of some of the talent they lost, and Jonathan Drouin wasn’t going to paper over everything. But Max Pacioretty, who’s fourth in the league in goals and 21st in points since the start of 2013-14 didn’t suddenly become a guy who can only score one goal and no assists in eight games.

It is worth asking if, given how things went for the Bruins last season, a Claude Julien system ends up being a lot like a Darryl Sutter system in the modern NHL, where you control a big chunk of the possession but have a lot more trouble converting than the average team. Much like everything went wrong offensively for the Kings and Bruins for much of last season, maybe this is symptomatic. But as was the argument with Sutter before he got canned, all you can do is put your team in a position to succeed as much as possible.

You cannot understate the role Marc Bergevin has played in making the Canadiens worse over the last few years, and anyway, it’s not like Julien is coaching for his job. He just signed a five-year deal, so he’s doing what any coach should do: Putting his team in the best position to win. Whether guys have the talent and luck to execute is another story entirely.

The other thing to keep in mind here is that these are the worst games of Price’s career since an 11-game stretch in the lockout-shortened season, when he went .865 over nine games right before the playoffs started. The next season he went .927 and the one after that he was the MVP. The point is, yeah, Price is in a slump right now and no one can score, but how long can you reasonably expect either of those conditions to last? You have Price, who, granted, is 30 at this point, playing his worst hockey in almost five years sandwiching the best 200 or so games any goalie has had in modern hockey (.928 from 2013-14 to 2016-17).

That’s the issue about that expected-goals number, too. Price isn’t a league-average goalie or really anything close, so he should consistently outperform his team’s xGA number. So why are we assuming this is going to last, unless we’re actively choosing to be disingenuous.

You can maybe think the Canadiens were overhyped going into the season and you can think they’re gonna struggle to score all year. But if you think this is one of the two worst teams in the league, and think using only The Eye Test from less than 10 percent of the season to make these determinations, you’re kidding yourself.

That thing about Montreal being a tough market? A stretch like this would make it a nightmare to deal with the media and fans in January. But the fact that it’s happening now, in the first eight games to start off the year, is cranking things to their current absurd, unrealistic level. It would be overblown then, just as it’s overblown now.

This is still realistically a playoff team, especially in a division with this many weak clubs, and a comfortable one at that (and by the by, anyone who thought the Bruins were right to fire Julien might want to check out their performance so far this year). They’re probably not going to clear 100 points like many expected, but by the end of the season, I hate to tell you, their PDO is gonna be back in the 98, 99 range and gee whiz they’ll probably still have like 97 points.

People are literally only freaking out about this because it’s Oct. 23 and they have just three points. Understandable to an extent, but people also forget that they also have 74 games left on the schedule.

That, actually, is a lot of time to make up their current six point deficit against the … Red Wings? Man, I guess it really is early.

What We Learned

Anaheim Ducks: Cam Fowler get well soon we miss you!

Arizona Coyotes: The Canadiens being bad is stealing from us the joy of marveling over how the Coyotes are much, much worse.

Boston Bruins: This might be the most humiliating thing that ever happened to the Bruins. And I’ve seen the Behind the B episode about trading Seguin.

Buffalo Sabres: I bet Eichel is feeling great about that extension now.

Calgary Flames: Don’t take Jagr. Take me instead!

Carolina Hurricanes: Despite this most recent loss, the ‘Canes look pretty good so far!

Chicago Blackhawks: I, too, love to trade a veteran defenseman for an expensive project and then healthy-scratch him repeatedly.

Colorado Avalanche: When it rains it pours for like five years in a row.

Columbus Blue Jackets: Fun one against the Kings, but Bobrovsky has to be better than this.

Dallas Stars: Weird how a good coach makes a team with a lot of talent good.

Detroit Red Wings: I love the implications HYPERLINK “http://www.freep.com/story/sports/nhl/red-wings/2017/10/22/riley-sheahan-pittsburgh-penguins-detroit-red-wings/788588001/”behind this headline.

Edmonton Oilers: Man, when you can’t even win with Connor McDavid…

Florida Panthers: James Reimer, pretty good goalie. Wonder when people start to act like that’s been the case for some time now.

Los Angeles Kings: All those goals Anze Kopitar didn’t score last year? He’s scoring them now.

Minnesota Wild: Nice little third period for the Wild. But they still only have six points.

Montreal Canadiens: I actually heard it’s really important for them to panic now, a week before Halloween.

Nashville Predators: “Is that a lot?”

New Jersey Devils: Well, that’s wonderful news.

New York Islanders: Hey, if a guy worth nine figures rides the train with you as a publicity stunt, it’s actually fine that he is not a good owner.

New York Rangers: Man, this is a capital-T Take.

Ottawa Senators: Let’s not go nuts.

Philadelphia Flyers: Oh my god: “While we’ve appropriately focused on the Flyers team speed in their own spirited start to the season, it’s a little sobering to see them outhit, at home, over the last three games.” Guess which team won this game.

Pittsburgh Penguins: Due to the Penguins’ necessity, people are going to act like Riley Sheahan is a No. 3 center. He absolutely is not.

San Jose Sharks: Okay but who fills the Hertl void?

St. Louis Blues: This is one of those things that sounds good but isn’t that good.

Tampa Bay Lightning: What if, even though they missed the playoffs last year, the Lightning are good?

Toronto Maple Leafs: One thing I think we’re overlooking with the Sens these days is that Erik Karlsson has six points in three games on an ankle that’s partly missing.

Vancouver Canucks: Sorry but there’s no good choice.

Vegas Golden Knights: Oh, maybe this is why you get more than two goalies.

Washington Capitals: (A million thinking guy emoji.) (The plural of emoji is emoji and this is a hill I am 100000 percent willing to die on.)

Winnipeg Jets: My big son.

Play of the weekend

Ryan O’Reilly makes like four low-key incredible plays in this sequence. C’mon dawg!

Gold Star Award

Erik Karlsson made what was no joke a 100-foot indirect pass on this Derick Brassard goal and it’s honestly the best secondary assist I have ever seen in my entire dumb life.

Minus of the Weekend

It is with a heavy heart that I must announce, Kris Russell is at it again.

Perfect HFBoards Trade Proposal of the Year

User “russ4king” has his head on straight.

Who says no? 

Draisaitl for ROR straight up?

Signoff

If this is anyone other than Steve Allen you’re stealing my bit.

Ryan Lambert is a Puck Daddy columnist. His email is here and his Twitter is here. (All stats via Corsica unless otherwise noted.)