#it's not like she showed romantic interest in them

[dark-konohagakure2]

INDRA YOU SAY?!?!??!

indra with an arranged marriage, and he is nice at the start, not wanting to scare his pretty darling but then she does smth that pisses him of and then it goes all down hill from there, he turns into a pretty abusive husband, forced breeding, noncon, coercion, ALL OF THAT

SENDING YOU MY LOVE 🫂

tw: noncon, marital noncon, arranged marriage, abuse, breeding, coercion, manipulation, misogyny, power imbalance, jealousy, rough sex

All characters depicted are 18+

Indra isn't very interested in women or dating, much less a commitment like marriage, but the Otsutsuki clan needs two heirs around the same age, and Ashura has recently gotten married himself, so pressure falls onto Indra to find a suitable mate, but unlike Ashura, Indra is yet to find anyone he's interested in, so instead he has a bride chosen for him.

While not in his nature, Indra will at least try to be kind to the woman selected for him, he can't go scaring her away before he even gets a baby or two out of her, so he'll speak to her in soft tones, keeping his distance from her both physically and emotionally, even partaking in small niceties such as pulling her chair out and walking beside her instead of in front of her like he does with most people who are beneath him.

This honeymoon phase doesn't last very long however. Indra isn't incredibly quick to anger, that is unless it involves his idiotic younger brother. So Indra won't take very kindly to his wife talking to his brother so politely, even if its just her trying to be nice to her brother in law. Indra has to restrain himself from dragging her away right then and there, but he can't lash out just yet. He's going to wait until he gets her alone.

The very moment the two of them are alone, he'll drag her back to their shared bedroom, his Sharingan active out of anger. His sudden change in demeanor will come as a shock to his new bride, who is used to her husband being distant, yet stoic and calm, never raising his voice or laying hands on her, but now he's dragging her away while angrily letting her know exactly what she did to evoke his anger.

"You forget yourself, woman! Fraternizing so shamelessly with my own brother?! Don't forget you're only here for one purpose, and fulfill that purpose you shall..."

He's not gentle with her anymore, she's lost that privilege, he'll throw her down onto the bed hard enough to disorient her before getting on top or her, hissing angry words into her ear as he begins to pull down her bottoms, making it clear that he's finally going to force her to make herself useful to both him and the clan.

Indra is not only rough with his words, but with his movements too, thrusting into her unprepared cunt with ruthless abandon. He's disappointed really, he wanted the consummation of their marriage to be special and romantic even, but she just had to go and ruin it. She angered him into this state, she should have known the consequences, she brought this upon herself, or at least that's what Indra will tell her as he's bullying her womb with his cock.

Indra is going to cum inside of her, that fact is obvious given how he's made it clear that this marriage is mainly for reproductive purposes, and as such he's not going to stop after just one orgasm, he's going to cum inside of her as much as possible. Indra isn't one hundred percent human, so he has better stamina than most men, which means he can be fucking her for hours straight and hardly break a sweat, much less grow tired, even as her walls are overflowing and leaking with his cum whilst she begs him to show some mercy to her poor overused pussy.

But alas, all good things must come to an end at some point, but that will only be when Indra it's completely certain that he's impregnated his wifey with at least one child, leaving her cunt leaking and stomach slightly distended from all the seed pumped into her. This session of theirs had two purposes; to get her thoroughly bred, and to assert who's really in charge in this marriage.

"There... You've finally atoned for that bratty behavior of yours, hopefully our children don't inherent your disobedience, because I utterly loathe obstinate children..."

Indra hopes that this lesson was sufficient, because there will be much more just like it in the future. He's not going to coddle or spoil his wife anymore, she lost that privilege the very moment she decided to speak to a man that wasn't him, and now she'll never get to speak to anyone else ever again, at least not until they've had their beautiful children that is.

[joejhang]

my aftg hot takes

most of these are pretty lukewarm but i'm gonna get flamed for them anyway but whatever. spoilers ??? ahead ??? idk read at ur own risk

i don't think andreil ever say i love you to each other; i feel like the discourse about this is virtually endless ever since nora said it but honestly her explanation was so valid??? they're such a show not tell couple it just makes so much sense for them to show the "i love you" in their actions than ever saying the words out loud. esp bc neither of them have ever really heard those words and have them mean anything real or true or actually loving. personally i think their little percentages and the "i hate you"'s and kisses and keys mean more to them than an "i love you" ever could. i'm not a purist on this tho i do think i could visualise it happening maybe somewhere along the road i just think nora's explanation for this is very very in line with canon andreil.

i don't hate thea muldani; i've made a post abt this but basically my thoughts around her are literally just: she's a human being, and she's never gonna be perfect. i also find it very...interesting how the fandom likes to flame thea (an explicitly stated woman of colour) for being "problematic" and a "terrible person/character" when she doesn't act all that different from andrew, neil and kevin (white men) ??? idk it seems a little strange to me bc she seems pretty on par with them on whatever moral compass this batshit crazy fandom has decided to impose on these fictional and very much morally ambiguous characters. anyway go check out my post i go a lot deeper into thea's character and why she does a lot of things wrong but i don't rlly think she's deserving of the insane amounts of hate she gets in the fandom.

i don't think andreil ever get married; this MIGHT be me projecting bc the idea of marriage is just a very complicated and rough concept in my mind but also just i feel like there's something so beautiful about andreil never really putting a label on their relationship??? like they never define it by calling the other their "boyfriend" or "husband" they just are. they have nothing "concrete" binding them like a marriage certificate but they choose to stay with each other through everything. idk it's real to me but again i'm not a purist people can do whatever they want.

i've said it before but i'll keep saying it till enough people hear me: the aftg fandom mischaracterises literally the main fucking characters; i'm mostly talking about andrew and ESPECIALLY neil here bc neil is not a sweet, sunshiney, oblivious, blushy softboy and andrew is not a cold, unemotional, stoic, "conceal don't feel" stone. since i've already bitched on and on about neil's mischaracterisation let's just talk about andrew for a sec. i think andrew is actually a deeply emotional person and is fully aware of the feelings he experiences. does he vocalise or express them often? no but more often than not they show themselves anyway. him crashing out after neil was kidnapped, letting himself get walked like a dog by neil for three books straight, choking allison for slapping aaron, idk i could go on. but yeah you get it.

i don't actually think neil is that oblivious; before people come at me like "but nora said!" or whatever yeah, i know she said he's as dense as a brick when it comes to people flirting with him. considering how much of the ec the aftg fandom likes to disregard allow me to disregard this little bit of it, yeah? this isn't me tryna impose my own projections onto nora's characters, this is lit just me tryna explain how i understand neil josten (he's my bsf btw). he literally clocks his feelings for andrew in trk (after his deep convo™ with nicky) but he just files it away for later bc he doesn't consider attraction or romantic interest anything to be thinking about considering he's got the mafia and his serial killer dad on his tail. i also don't really blame him for not catching onto andrew's feelings earlier (tho doesn't he get pretty fucking close during that one convo they have in exites in trk???? someone correct me if i'm wrong but) bc dude andrew was out here sending fucking mixed ass signals like bro was saying "you are a pipe dream" and "i hate you" in the same fucking conversations like??? neil has always taken andrew at face value and he's not about to question him now. he's also never confused or uncertain about nicky or marissa and what their comments about him meant, he just genuinely does not gaf about them so he doesn't acknowledge them or pay them any attention in his narration. i truly truly think his dismissal of all the advances made upon him in aftg were borne out of indifference, not obliviousness.

have already said this in detail but i don't think andrew's actually a misogynist; the wording doesn't feel right. i'd probably describe andrew's distrust of women (esp. those in motherly/mother roles) as a similar ingrained wariness that neil has for older men. this is something borne out of trauma and shitty experiences that takes time and trust to unlearn. nora says a lot of things the fandom disregards and for me, this is one of those things i'm a little iffy about. misogyny actually isn't reflected in andrew's actions at all, i'd say. does he respect women? no. but he doesn't respect anyone unless they've actually earned it. and among the people he does respect and care for there are women (renee, bee). he doesn't treat women any differently and obv doesn't think they're any weaker than men are (considering renee wipes the floor w him their first sparring sesh). andrew's an equal opportunity hater and i don't think he actually has any sexist or even misogynistic tendencies. i think what is there is just a slightly biased worldview of disliking/mistrusting mother figures, given his bad experiences w tilda and cass (they've left him w more long-term emotional damage that's probably rlly difficult and complicated for him to work through esp considering cass did love??? him and he did want her enough to be willing to suffer dr*ke to be close to her; there's more to it but for the sake of word count i won't go into it) but honestly it doesn't actually show that much??? if people wanna say he hates women, sure, but for one, he doesn't hate a lot of things he's just very indifferent to them and two, he holds a pretty similar apathetic distaste for most people and things, so it's not like a very big distinction. i also think the whole "no girls" thing w aaron was very much a personal thing, and his mistrust of katelyn probably came from aaron's past (apparently negative) experiences w other girlfriends and friendships in general. and if i remember correctly the deal wasn't even "no girls" it was just "family only" which is why aaron didn't make friends w the rest of the foxes either. i digress but i don't think saying "andrew isn't a misogynist" is robbing him of any nuance as a character.

i like nicky and honestly feel similarly towards him as i do about thea; he isn't perfect and never will be and i think while the way he acts towards neil and others (see: matt, kevin) is pretty untoward and inappropriate, i also do see where he's coming from, esp after aaron's explanation of it. that it's a defence mechanism coming from someone who's experienced a lot of prejudice and harm because of his sexuality. obv i think everyone can agree his assault on neil was fucked up but i think nora was right in saying that nicky was high and drunk and not rlly in his right mind at the time, and he does apologise and i'm pretty sure she also said he and neil work it out privately anyway. he's a messy character and definitely not perfect queer rep but again, he's pretty realistic, and i think he's honestly a rlly well-written and complex character.

[yousaucygirl]

So I watched Ride the Cyclone over the weekend, and OOOOUUUUUUGGGGGHHHH I gotta yap about these characters. (spoiler alerts for people who haven't seen it)

I'll start with Ocean. I feel like almost everyone either knew someone like Ocean or was Ocean. She comes off as overly ambitious, goal oriented, and selfish. And she IS. She starts out as someone you're meant to hate. I mean, she literally sings a song about how she's better than everyone else in the group, even standing on top of them in a human pyramid to show her superiority. But I loved Ocean in the end. Yes, she pressured the others (especially Constance) to vote for her because she wanted to be brought back to life, but she ended up sacrificing a second chance of life in the end. Because Karnak changed the rules, she won the game. Ocean could've easily taken her chance at life, but she realized that she had something she wanted to go back to. They all did except for Jane Doe. As badly as she wanted to live, death taught her to be happy with what she had in the end. She would rather something over nothing.

Noel is an ICON. He's a romantic. In his fantasy, he's a French prostitute in the post-war era. Monique is a tortured woman. She is slapped, thrown to the ground, and her heart is played with until she ends up playing with hearts hearts herself. Noel romanticizes this life. It's shown that he's always had a flair for the dramatic, but Monique is a direct manifestation of Noel's tortured heart. I also LIVE for his friendship with Mischa. Noel could never really fit in, and I don't think he ever wanted to. He mentioned how his mother always wanted him to be more like the other kids, but he's too passionate for that and he knows it.

Mischa is another very interesting character, and not because he's from Ukraine. His adopted parents literally locked him in the basement and only provided basic necessities. It's also clear that he wanted to go back to his home in Ukraine. He understands why his mother had to send him away, but that doesn't mean he didn't miss his home. His desire to go back only got stronger when he was dating Talia long-distance. We only get glimpses into the character's lives, but Talia was Mischa's light. She was the love of his life. Mischa is a genuinely kind person despite his gangster persona, and though he misses Talia, singing her name over and over, is willing to not vote for himself.

Now THE swinging space age bachelor man, Ricky. I think death was the best thing for him. In death, he can speak. He can walk without crutches. All of the effects of his disease are reversed. I only say it's the best thing for him because he most likely thinks the same thing. After his song he takes his name out of consideration for voting. Part of that is because he can't vote for himself and believes that the others are more deserving of a second chance, but he also enjoys the freedom that death gave him. I love you Ricky Potts.

Jane Doe is the most mysterious character of the play and also my personal favorite. She has a lot of funny moments, but everything about her has an undertone of sadness. The others avoid her in the beginning. They don't really view her as a person (Ocean literally refers to her as a super freaky monster). She's a walking existential crisis. She has no memory of her life. Everything about her was gone once she lost her head. To me, the doll head she wears is a representation of what she's longing for. She wants a face of her own. She wants her identity. Until her song, the others avoid her because she's a reminder of what they could have lost in addition to their lives, plus she's creepy (having no head literally took away her balance, so her movements add to the horrifying nature of her character). After her song, the others realize just how much she lost. She knows how she died, but not who she was. The New Birthday Song is one of my favorite scenes in the show. It shows the others reaching out to her. They're trying to console her. Even Ricky lets her have the name Savanah (with the greenest eyes). We find out she's Penny Lamb in the end, but her name is really all we directly learn about her.

Constance is also a deep character. On the outside, she's the nice girl. She loves her friends, family, and has pride in her town. This stuff is true. But she also has a passionate side. She wants a lover and wanted to lose her virginity, which she ended up losing to a carnie. She tried to blend in, hiding her love and the things she was passionate about. She was made to feel ashamed for so much in her life. She was so self-conscious in life, to a point where a lot of viewers could find it relatable. It took death for her to accept that she loved her life, that she loved her family and her town. She misses all of the small things, but she's glad she had them in the first place.

Anyways this is what my brain is fixating on right now.

[torchwood-99]

One of the key reasons why I despise Sir Phillip and TSPWL is that the reasons Phillip gives for "loving" Eloise makes it seem like that if any other somewhat attractive woman with a cheerful attitude came into his life and took over housekeeping for him, he'd feel pretty much the same for her as he would Eloise.

He likes Eloise raises his kid and runs the house for him, freeing him to do "important things" (like faff about with plants.

He likes that she's pretty and up for sex.

He likes that she isn't depressed like Marina.

That's the sum of his "love" for her.

Eloise's letters that reveal her thoughts and feelings? He threw them away.

Eloise's attempt to reach out to him and speak to him to on serious matters? He tells her to shut it and put her mouth to better use.

You would think that a match that was formed on a pen-pal relationship would be one where everything is founded on an intellectual, emotional meeting of minds. You would think that that strength of this trope is that before they set eyes on each other they would be attracted to each other's inner qualities, but Phillip shows the regard he has for Eloise's thoughts and interests when he bins her letters.

Before Eloise turns up, his attitude is pretty much that "she will do". Nothing she has written gives him any cause for attraction or love. Even though she's been pouring her heart out to him, he doesn't view her in an attractive or romantic light until he knows she's pretty. He doesn't give a damn about her thoughts and feelings, only the functions she can fulfil.

When she arrives and turns out to be pretty, the only thing he cares about is palming his kids and house off onto her, and having sex with her.

Those are the functions in his life, those are the reasons he gives for "loving" her.

Running a house, raising kids and being pretty and up for sex are not unique or distinguishing features. Nothing about this match suggests that Phillip loves Eloise for anything that makes her Eloise. When Eloise tries to show him Eloise, he stifles her or outright emotionally manipulates her into silencing herself.

This is Eloise's great love story. This is the romance Eloise is lumbered with. A passionate, funny, bold woman filled with dreams, gets stuck with a man who could have been equally happy with a million other women who ticked off the same boxes.

I can't love Philoise because Sir Phillip doesn't love Eloise, he just loves the woman who keeps house and gives him sex and isn't depressed. There's not strength, no resilience, no intimacy to that love, just Phillip's satisfaction that he now gets everything he wants, without having to work for it.

[queerwritersingerdramaqueen]

Oh. My. Fucking. GODS BITCHES.

There is so much fucking hurt coming this way. 

But! You all know the drill! SPOILERS FOR THE VENGEANCE SAGA PAST THIS POINT. IF YOU HAVE NOT LISTENED TO IT, DON’T SPOIL IT FOR YOURSELF IT’S FUCKING INSANE AND THE SURPRISE FACTOR MAKES IT SO MUCH BETTER. 

FIRST OF ALL, HOLY FUCK SHIT WENT SIDEWAYS SO FUCKING QUICK. BETWEEN THE WIND BAG AND THE SIX HUNDRED STRIKE. I’M QUAKING IN MY BOOTS.

This saga is the long awaited conclusion to the Mycroft vs William debacle and it requires a LOT of backstory so bear with me. 

So, at some point before the Vengeance saga (can be in between then and the wisdom saga, or even earlier than that) Mycroft and Albert hooked up. This very funny idea is brought to you by Steven Rodriguez’s “Like You Mean It” and “The Devil Wears Lace” and it’s basically brought up by a very drunk Karaoke session and one thing leads to another. Anyway, the short relationship doesn’t end well since Mycroft has a bit of a “Fuck, I slept with the enemy” moment (he’s still very much on the defense when it comes to Sherlock) AND IT GETS A LITTLE MESSY. Mycroft doesn’t completely ghost Albert but he does sort of step back when Albert starts showing genuine affection for him (oh boy, I’ve never written Alcroft angst centred around Mycroft before, Albert is usually the one who needs to get his shit together). Regardless, William is now doubly pissed at Mycroft, Albert’s sad and Sherlock is just shaking his head in disappointment because if he’s the only one who pulled his head out of his ass, then they're all doomed. The OTHER really big thing to remember during this saga is that Mycroft didn’t know ANYTHING about Sherlock and William leading up to the performance. He and Sherlock (especially since the Ruthlessness fiasco) haven’t talked heaps and Mycroft hasn’t been on set since then either. Sherlock does appreciate his brother looking out for him; he does NOT appreciate Mycroft threatening him through song. 

Most of the rest of the cast are kind of just chilling watching this all go down on the side with a bucket of popcorn. They know better than to get involved with the Lord of Crime and the Government when they’re fighting. 

So this saga summed up: the in-laws are FIGHTING

But without further ado, let's get into it

The Vengeance Saga: 

Not Sorry for Loving you - I’m going to preface this one that I am entirely open to any kind of criticisms that may be had about my approach to this song. I’ve never been in that kind of situation and I’m interpreting the song as sung by someone who hasn’t actively kept their “partner” prisoner for seven years. When I listen to “Not Sorry for Loving You” and put it in the perspective of Albert, it sounds much less like an abusers half-assed apology (when it comes from Calypso, then I can hear the bullshit). So with that in mind, feel free to make suggestions and criticisms, I’m completely open to that. Hell, I even ewncourage them because I don't want to be an asshole here.

So, Albert’s rendition of this song obviously doesn’t come from a place of (romantic) love for William but he’s projecting onto him big time. To further emphasise this point, Albert’s not looking at him throughout the song. He could be doing that fourth-wall break again but this time with trying to make the audience sympathetic (god, outside of the AU, that would be such an interesting way of doing Calypso, with her always trying to present herself as a loving, poor girl trapped on an island, making even those who know how wrong she is sympathetic). That first part where he says “That you’re not mine to save” ties in really fucking well to that chapter where Albert blames himself for being the reason William fell. I also can’t believe I managed to kind of catch that in the wisdom saga during Love in Paradise. The thing I’m trying to go for here is letting Albert get some of his frustration out, because he hasn’t had the best luck with family or dating and even friends, so when he meets Mycroft and he finds all those things in him, it’s amazing. This probably would not come across in the actual performance (he does still have a role to play) but counteractive to Calypso deflecting her actions during the Pre-chorus, Albert is owning up to his faults, even when they’re not actually that bad. Mycroft’s guilt over the whole Sherlock/William thing is to blame, not Albert; but he blames himself anyway. A very large portion of this would rely on the writer’s (AKA. my own) ability to get that message across and I totally understand if I haven’t made it make sense. During the bridge part, “I’m angry and tired and restless and sad” the frustration hits a peak and Albert’s venting a little bit on wanting Mycroft to let go of his little (kinda petty) feud with William (and maybe still being kind of pissed at William for doing what he did (Albert and Sherlock are besties and you can fight me on that, you won’t win)). William’s “I love you/but not in the way you want me too” is less about being the object of Albert’s anger/affection and more like “This song isn’t for me, but I do love you brother and you’ll get through this.” And the damn kind of just breaks from there as Albert watches William “sail” away. 

Dangerous - THE BOY IS BACK!!!!! HERMESSSSSSS! JAMESSSSSSSS! You don’t understand how actually HYPED I am that James is back in this AU! Dangerous is such a fucking bop :D But before I get into it, production is a thing and it sucks to work out. Maybe Von Herder really should be just a guy out back cause I need his help figuring out how to do the raft?! For now, I’d assume it’s just on wheels and maybe actors in those dark jumpsuits are pushing it around (Like with the Cyclops puppet and what will eventually happen with Charybdis). IF they’re already on stage that's probably good too, they can pretend to be the monsters along the way and it’ll be an easy transition. AND A COUPLE OF THEM CAN BE WINIONS So plot wise, James is trying to reel William in because this man is gonna lose his shit on Mycroft in a second. The whiplash of how disco-esque Dangerous is helps in being a sort of calming factor (until the “NO” that is) for James to help William take a breath. The wind bag, once more, serves its purpose of being all the bottled up shit William (and even Mycroft to some extent, since it’s HIS storm after all) is holding onto. Most of this song is kind of just a dance break but once we get to the windbag, we get some more plot. This is William’s chance to prove he won’t let anything get in the way of him and Sherlock, his last chance to prove to Mycroft that he won’t hurt his baby brother again (and trust me, William absolutely recognises the GALL of it coming from Mycroft). It’s also his chance to show how he’s “healed,” though that’s more implied through the metaphor of the wind bag. If he has to be ruthless and give Mycroft the what for, he’s gonna do it. I’m also going to make another disclaimer that YES, I know Mycroft now sounds like an asshole. If this were a properly written fic where I could dive into nuance, I could explain the intricacies of both William and Mycroft in a probably more understanding way. As stands however *bangs pots over my head* THIS IS A WORK OF FICTION, ANY ACTIONS WITHIN ARE NOT TO BE TAKEN WITH THE SERIOUSNESS OF REAL LIFE. 

(also, the “I’m not the one who fought for you” knowing it was Sherlock/Athena who fought with William through most of the hardship is fucking amazing)

Charybdis - This number requires us to look less at what’s on the stage and what’s happening backstage. Musical wise, we’ve got big puppet Charybdis. I think that style of the dragon dance would be a good way of doing it, or with the long poles to make it go really high. This piece would need some serious production work because I don’t know quite enough about that side of theatre. I’m just good at the literary stuff (in case it wasn’t obvious). We could even simulate waves with fabric being fwiped around by actors. But back on the plot stuff, William is determined. Mycroft sees this and is like, “oh we are both fucked here.” The actual emotional things happening are weird. Mycroft knows that he’s not much better than William (Though he was absolutely more direct with Albert, his reasoning was a little bullshit even to Sherlock, the guy he was doing it for). He’s feeling guilty and sad for giving up what he had and angry at William because he understands on an even more personal level how the whole situation hurts someone else. But Mycroft is seeing this determination and is deeply conflicted on how he should feel (Albert’s crying in the corner after his number and Sherlock’s stealing popcorn waiting for his boyfriend and brother to duke it out because there is no way in hell he’s defending either of them, they can work out their own shit and grovel at his feet afterwards). When William “reaches Ithaca” and is dragged back (that “NO” fucking hurt man) it’s Mycroft being like, “alright fucker, prove it” (which was the original story idea until I heard all of the vengeance saga and proceeded to lose my marbles with a subplot)

(I feel like this is a good juncture to clarify and remind everyone what actually happened. William and Sherlock had a fight because William wasn’t taking care of himself. They go through a sort of “soft-lock” breakup where they consider it all done but they never actually talk about it, so when Sherlock tries to make amends and either fix or end the relationship, William ghosts him and it’s not until the Ocean Saga that he realises how badly that hurt Sherlock. After those events (when Mycroft isn’t around to witness), William chooses to get help and he and Sherlock are slowly trying to at least repair their friendship. This is a mutual choice that they both want. Mycroft and Albert go through something different. It eventually dawns on Mycroft that Albert is in fact William’s brother and he feels like he might be betraying Sherlock by having a connection with the Moriarty’s at all. Because he’s only been in the musical for one instant, he doesn’t know about them and the developments they've made. He and Albert are not quite in an established relationship and more like sleeping together and sticking around to cuddle afterward. *bangs the pot again* FICTION PEOPLE, FEEL THE FLUFF, DROP THE STUFF. DON’T DO THIS IN REAL LIFE, LIVE VICARIOUSLY THROUGH THEM WORKING OUT THEIR ISSUES.)

Get in the Water - WHEN I TELL YOU I HAD BEEN WAITING FOR THIS MOMENT I’ve been actually fucking obsessed with how this would go and it’s the “I can’t…” that inspired a lot of what’s about to happen. So, the original plot, as mentioned above, was going to be just William getting his resolve tested by Mycroft, a test to see if he’d actually built up the courage and strength to stick with Sherlock. Now it’s a looooot more with the sub plot. “Get in the water” is now less about William not bending on getting what he wants, and more about Mycroft just wanting William to go away so 1) Sherlock can’t be hurt again (he’s clueless, remember?) and 2) so he can stop feeling guilt about pushing Albert away. He is also warring with himself somewhat and somewhere inside him he really wants William to prove him wrong. They are also playing parts so please keep that in mind with some of what they’re saying; it’s the intent and emotion behind how they're singing it that implies what they're really trying to say to each other. I also think that, while having the trident is really cool, I like the way this one animatic portrays a stage adaptation with him using long pieces of fabric coloured like the sea to throw him around a bit, tied with the other actors throwing “water” at him. The aerials are also still an option I’d like to use for the gods and the dead, and they’ll play in really well later.  William does extend an olive branch at one point, he’s not beyond the point of forgiveness yet. Maybe they can forgive each other and themselves for hurting those closest to them. That “I can’t…” though takes. Me. out. Mycroft forgiving William means forgiving himself and trying to make things right between him and Albert. He wants too but he’s fucking STUBBORN. So we get the “Ruthlessness is Mercy Upon Ourselves” bit thrown back at him again, because he truly believes that he has to be a bit self-destructive and let Albert move on without him, that he has to protect Sherlock from William. Pair that with the fact that (at least the way I write them) they never do truly “like” each other and he’s just really fucking angry at himself and William. (weird segue but I genuinely do think that, in canon post-timeskip, Mycroft wouldn’t like William for being the reason Sherlock jumped off the bridge and disappeared for three years, for making him dance in his hand, or completely overtaking his life with these cases to the point that Sherlock killed someone just to cut the strings. Kind of like the Louis/Sherlock situation, but with just an ounce more respect towards the other party, because Mycroft does understand it was still Sherlock’s choice. So in my writing at least, they usually don’t like each other all that much but they stay out of it.) Now, the last breath. I came to the really sad realisation the other day that Anticlea, Eurylochus and Polities actually make up the three original group members we meet at the start of the manga, so I’m just going to go *sobs really fucking loudly around the corner.* You don’t understand how badly this fucks me up, that this whole time, I’ve unintentionally had Fred, Moran and Louis, the first three of the crime gang to enact the plan, also be the voices he remembers whenever he’s in a tough spot. So please picture for me, William on his knees in blue light, arms raised like he’s drowning, then Fred pops up, then Moran (They make up this saga! YAY! :D), then Louis and they’re sort of cradling him until the “Ohh wahh ohoh, Odysseus” where the crew of Odysseus’ ship (portraying the majority that were drowned) lift him up off the stage and into the air (he looks like he has drowned by this point, limp and everything), showing how they will support him through this too. Then the good shit happens after the lights go out.

Six Hundred Strike - Obviously, Mycroft didn’t drown six hundred men, nor would he talk shit about William to his friends. That part is all for show so please keep that in mind. 

BUT IMAGINE PLEASE, RED SPOTLIGHT ON WHERE THEY’RE ALL LIFTING WILLIAM UP, THE WINDBAG GLOWING BLUE AS IT TRAVELS ACROSS THE CROWD TO HIM AND WHEN HE GETS A HOLD OF IT AND RELEASES IT, HE GRABS AN AERIAL ROPE AND GETS TO FLY BECAUSE HE IS USING THE POWER OF THE GODS, ER GO, HE IS FLYING LIKE THE GODS DO. PLEASE TELL ME YOU SEE THE SYMBOLISM???

All the men crowd around the stage while Mycroft and William are overhead doing some cool aerial tricks and circling each other, light now turned gold. Once shatter the ocean is dispelled, I’m tossing up if they come back down onto the stage so the men can attack or if they remain in the air and William attacks while the men goad him on. If they come back down and the men rush him, they can get backstage fairly easily, but we’d lose that sense of Odysseus using god powers. Thoughts welcome on that. After the attack, they “fal”l back onto the stage, the middle portion is raised (if you’ve ever seen & Juliet, the stage during “de Bois Bands back” is what I’m going for.) and there are white lights pointing upwards, so you can see William and Mycroft’s silhouettes. “You released my storm” is kind of Mycroft (in all his emotionally repressed idiocy) owning up that they both just lost their shit and proved they’re not “great” people.  And William, in all his “I’ve been to therapy for the last several months what the fuck do you mean I’m a bad person for feeling emotions?” decides that maybe he should just let Mycroft have it so he finally understands a thing or two. The silhouettes are important because William will be stabby for like a whole minute (speaking of that, does anyone else feel like this is the most violent and real it’s gotten since just a man? Like, yes there has been violence but it’s been a sort of mythical violence, the cyclops, the storms and the god games have been sort of disconnected from real, human malice. Little Wolf had like a taste of it but just the act of Odysseus stabbing the shit out of Poseidon, while he’s down nonetheless, just feels so much more horrifying than anything that’s already happened. It’s terrifyingly human). Also, there would be no way of making it look like he’s bleeding on stage unless he had like, fake blood packs under his clothes and I don’t know how he’d keep them there. The act of putting it in shadow, much like Gwendy’s animatic from the livestream, makes it more sinister. You can’t see it but you can definitely hear it. 

“How does it feel to be helpless? How does it feel to know pain?” Because William, during everything that had happened, had been in pain. He’d been hurting for a long time, long before the musical even started production, long before he even met Sherlock or lost his eye. “I watched my men die in Horror - Calling their captain in vain.” He’ll make Mycroft understand that he’s seen some horrible things. “Look what you turned me into, look what we’ve become.” Mycroft made this angry side in him come out, and now they’re fighting over something that could be so fixable, because if William/Odysseus had to get over his pride to move on, then Mycroft/Posieden is gonna learn the same fucking lesson. “All of the pain that I’ve been through, haven’t I suffered enough?!” When will Mycroft realise that William learnt this lesson, it’s now him who needs to get off his high horse and see what ruthlessness can do to a person? “You didn’t stop when I begged you, told me to close my heart. You said the world was dark,” William knows that what he did was wrong and he cannot make up for it, that it’ll probably scar for a while. He does not need to keep being told that, doesn’t need to be continuously told that he can’t make amends, especially when Sherlock wants him to. “Didn’t you say that ruthlessness is mercy upon our-” See what his ruthlessness bred? See what William choosing to be ruthless and telling Mycroft everything did? The stabbing stops. William goes to walk away backstage when Mycroft gives that final question. William answers truthfully, then walks away, leaving Mycroft to ruminate on his own attitude towards everything that’s happened. 

AND THAT’S IT, THAT'S THE VENGEANCE SAGA!!! These two have gotten ALL their pent up aggression out, they’ve gotten to have a little fight and whatnot, and now, they can have a proper adult conversation after the show about what’s happened and Mycroft can make up with Albert already because fucking hell, Albert’s been waiting for weeks for Mycroft to realise (or be told by Sherlock literal minutes before the show) that he’s making a lot of assumptions of the situation. 

At this juncture, I think it’s a good time to bring up Moran and William’s reconciliation because it can play really nicely into the olive branch moment. It’s probably a pretty simple moment, Moran apologises for getting angry and William apologises for not being as readily available. I think that moment where he’s trying to connect with Mycroft is a moment a bit like that, where they can acknowledge each other’s mistakes and make an attempt for peace (Mycroft just wasn’t ready to accept that forgiveness).

Again, some of the things that happen in this particular sketch of the narrative may make it seem like Mycroft and William are just assholes to each other but there is supposed to be nuance to their relationship and the relationships they have to each other’s brother. Mycroft needs to learn that he can’t be getting all up in Sherlock’s business and, though his protectiveness is appreciated and was at one point nice, fighting battles for him that he wasn’t even having. William, though being “rightfully” judged in this scenario, is still the bigger person until Mycroft pushes him enough. These two will be having a long and thoughtful talk (with Sherlock and Albert sitting in to make sure they hit all the targets, Louis on the side to make sure neither of them start fighting again) in which they will explain themselves and get over it all like adults. They will probably never truly like each other but they can be civil. 

I’d also like to point out, on some character development traits, Mycroft never talks shit about William, never insults his character to anyone (except maybe to Sherlock when they first break up and he’s humouring his tirades). Where he has to interact with the rest of the cast, William’s friends included, he is polite and tolerates any William talk until he can steer the topic in a different direction. It might be the fact that he had to hold in that anger that makes this outburst so bad. William, as well, doesn’t think Mycroft is a bad person for being a protective older brother (he’d be the Hypocrite then), nor is he upset that Albert and Mycroft were ever having a fling. It is the sheer similarities in their situations and the uncanny repeating of history that really drives William up the wall because he knows how you can fix or prevent this. 

The TL;DR: Louis is so fucking done with all their shit. 

I feel as though this AU may be slightly spiralling out of my control, so any thoughts on if I should reel it in or if the sub-plot is in a bit of a weird spot or even if I just have to add more on the sub-plot in the other sagas, all those thoughts would be greatly appreciated. I do feel like I might be giving these two a bit to much wiggle room for their mistakes but that could just be me. I am trying to be careful. Adding all I did definitely pleases the brainworms but the writer in me is questioning if I threw a bit too much in here.

This is a massive story at this point and I’m going to have to construct some sort of timeline or synopsis to get all my bases hit on where I am. 

As always, thank you to @aka-no-ken for listening to my ramblings and having something super helpful to say or just fangirling with me about someone’s voice. You’re a great friend!

TUMBLR, I WILL MAKE YOU POST THIS

PREVIEW: 

AKA-NO-KEN YOU ACTUAL PHSCHIC HOW THE FUCK DID YOU GUESS ALL MY GOD CASTINGS CORRECTLY???

AGAIN, WISDOM SAGA SPOILERS SO READ AT YOUR OWN RISK. ALSO MAYBE A TRIGGER WARNING FOR LOVE IN PARADISE CAUSE THAT WAS MORE THAN I WAS FUCKING EXPECTING.

THIS IS SHERLOCK AND BILL'S FUCKING SAGA NOW BITCHES BROS AND NON-BINARY HOES. AND AGAIN, I'M FANGIRLING AS I GO.

So, with where we left off, William's having a minor relapse in his mental state but it won't become too much of a plot point/serious thing. He and Moran are on funky terms but if there is no "reconciliation" in later sagas then We'll figure that out when we get there. Anyway, this saga ain't about him.

(ALSO, I MISSED A FUCKING OPPOURTUNITY

VON HERDER AS TIRESIAS, IM A FOOL)

Anyway, lets get started.

The Wisdom Saga:

Legendary - BILL IS HERE FUCKERS. SHERLIAM'S ADPOTED SON IS GONNA BE LEGENDARY. I really like how this parallels with Canon when Bill only knew William as a genius professor and Sherlock's actually the one who introduces them in a way. It'll set up nicely for when we get to "I can't help but wonder" and Telemachus/Bill has to toss up with the fact that his Dad just removed the twenty year problem but he did also kill a bunch of people (you know, like in canon.). So this starts out with the lights slowly coming in and Bill's "room" has a chair and a few other easily moveable props. This is a very dancey number I'm finding so these props are probably gonna get taken off stage so there can be actors milling around for Telemachus to interact with, I think he'd be mostly weaving between them trying to avoid them while they keep swiping at him. The majority of suitors can be off the stage but Antinous and a few others are up there ready for the "Whatcha gonna do about it, champ?" The lights would change on Boy to a red colour. It would be so cute seeing Billy fight for Sherlock's Honour. I think something really cool that could happen is when Telemachus sings "somebody help me" the lights flash blue for a second like Athena has heard his plea. and at the very end of the song, he punches Milverton square on the nose (in the fake way of course).

Little Wolf - My big idea for this that would absolutely not transfer over to a regular production of Epic the musical would be that Antinous/Milverton is not the one fighting Telemachus/Bill. I cannot really see Milverton fighting for himself and would definitely have lackey's doing it for him; but outside of this AU Antinous absolutely fights for himself. But yeah, Milverton mocks the shit out of Bill while he's fighting somebody. The lights stay red while the suitors and Milverton are doing their thing. When Athena appears the lights turn blue like fighting of the panic of being in a fight. I think this is one of those moments where its so fun having Sherlock as Athena and Penelope cause it's like "Don't worry baby, Mama's here to help." But, onto the super cool crossover intertexuality talk I can't seem to do right now, Sherlock as Athena fits very nicely cause he, alongside William, helps Bill get into the university; so Sherlock being the one helping in this fight reminds me of that. And Athena's "I've no respect for bullies" reminds me of his disdain for Milverton and his methods of blackmail. ALSO, HER PIANO IN THAT PART IS SO FUCKING GOOD I FUCKING ASCENDED. PAIRING IT WITHT HE DRUMS THAT WAY, WHO DOES JORGE THINK HE IS. In a way, this is like showing how Penelope would like to react to her suitors beating up her son (it just popped into my head but kind of like a batman meme, Penelope dressing up as the goddess of wisdom to fuck up her son's bullies). Athena's whole solo there sounds a lot like Sherlock when he was talking to Irene. And when the fight ends and Antinous says Penelope needs to pick a suitor, Athena/Sherlock is very disturbed before he helps Bill up.

We'll be Fine - The thing I love the absolute most about this musical is exploring Sherlock's side of this whole fiasco they were in and giving him a chance to vent some of this frustrations. Because it wasn't easy on him either and he might blame himself a little bit for not being able to help more. Bill knows a little bit about it from gossip and rumour and being a part of the Epic cast for a little while, not too much but between the two of them, Bill understands that Sherlock is letting out a bit of his frustration with the previous problem and the repeat that seems to be occurring, because he's super smart like that (I say seems because in real life, it won't last that long and William is probably gonna be ok and reconciled with Moran by the time we get there. It'll hopefully make sense once we get to the next saga but I just can't keep knocking this dude over he needs to start healing and giving him a less self-jeopardising problem to fight). Even though he and William have worked through a fair bit of what happened and their still going really strong, Sherlock is still worried. Sherlock's super soft on Bill because he's so similar to William. Bill, while sticking to the script, is just subtly reassuring him that it's ok, they'll get through this rough patch and they'll be fine. Sherlock doesn't need to be the first responder. A little bit of it probably comes out as Bill saying "William wouldn't want you to beat yourself up over this," especially when he mentions Athena's friend (William and Bill are also probably really close friends at this point, don't tell me William wouldn't take him under his wing immediately after they're introduced). When Athena calls him a good kid, Sherlock ruffles his hair and then Bill makes a move like someone's calling him and runs off, leaving him for the next part.

ALRIGHT I'M HAVING FUCKING ISSUES WITH TUMBLR RIGHT NOW SO STAY TUNED FOR PART TWO BECAUSE ANYTHING LONGER THAN THIS WONT FUCKING POST OR SAVE AS A DRAFT.

@aka-no-ken I'M COMING SWEETIE AND I'M BRINGING MY WORK WITH ME JUST BEAR WITH ME

[erisolkat]

lord save me from cis lesbians

[hauntingofhouses]

Thinking about the crazy love triangle situation in Blue Eye Samurai and debating heavily with myself on how I'd like to see it conclude. And yeah this discussion can be thought of purely as shipping, headcanons, and fandom fun. But when analysing the show and engaging with it in a more in-depth, almost-literary level, it's impossible to dismiss who Mizu's potential love interests are and how different endgame romances would affect her character arc and the overall story and themes.

So in this post I'd like to look at the love triangle a bit more closely, and speculate on where the story will take this.

DISCLAIMER: It is my personal interpretation of the text that Mizu is non-binary—I use this as an umbrella term denoting any gender that does not adhere to the binary restrictions, norms, and expectations of what it means to be either a man or woman in a particular society; it's not just an androgynous "third gender" that exclusively uses they/them pronouns. Thus, while I personally believe Mizu is not strictly a cis woman, she does still identify with womanhood, despite definitely feeling a level of detachment from it due to living as a man for so long. With that being said, I will be using she/her pronouns for Mizu in this post, but please note that this is purely personal preference. Everyone is free to interpret the text the way they like. That's the fun of fiction. Now, without further ado, let's proceed.

Okay so, thinking about the pairings on a purely surface level, and even before i got into the show, I was pinning my hopes on some lesbianism going on between Mizu and Akemi, and the show does hint at this; in Ep1, during their first encounter in Kyoto, there is the famous slow-mo shot of their eyes meeting, Mizu's lips slightly parted as she is unable to tear her gaze away from Akemi, while sweet string music plays in the background. This is clear romantic framing, and a marker of attraction. If Mizu was a cishet man, there would be no question that this is a potential love interest.

But then, in the same episode, we meet Taigen, who is introduced to us firstly from hearing Akemi's father describe him as "a fierce and undefeated young samurai", the "best swordsman in the best school" and "a fisherman's son from Kohama [...] whose rise reminds [him] of [his] own."

In the next scene, we meet him in person as Akemi's fiance, and he seems sweet enough. He even gives her sweets! In exchange, Akemi gives him gold, and he feels a bit ashamed that he doesn't have anything better to offer her. But Akemi accepts him and his gift wholeheartedly and flirts with him a little, which makes him smile kinda shyly.

When Akemi confirms their engagement, Taigen is in disbelief because he has no status or noble background, but Akemi reassures him.

So from these first few scenes, we're introduced to Taigen as an honourable and strong samurai, but also as a man who is sweet and gentle with the woman he is about to marry, as well as aware of his own inferiority when compared to Akemi's high station.

Our view of him then changes as his true self is revealed: he is an arrogant and smug bastard among his peers, but more importantly, he is the terrible bully from Mizu's childhood.

And it is this side of Taigen--pompous jerk and unrepentant xenophobic bully--that we continue to see as the show goes on, and it's safe to say that this is his real self, sans any pretense of humility and modesty. Around anyone who isn't an outright superior in terms of class and power (ie. Akemi's father, the shogun), Taigen never hesitates to assert his own authority and "greatness."

But as the show goes on, he gets caught by Heiji Shindo's men, and then tortured. And that's when we see, okay, turns out he's not that bad. He's honourable; "honour" is not just meaningless and superficial pedantry for him, but an internalised, guiding principle.

He was a cruel asshat throughout Mizu's childhood, but in a prejudiced and xenophobic society, he was just playing by the rules. As a child, he knew he was at the bottom of society, but when met with someone even lower ranked than him (Mizu), he can project all those prejudices and insecurities onto someone else. This way of thinking--"if you can't beat 'em, join em"--is what allowed him to climb up the ranks despite being some dirt poor kid from an abusive household*.

*Well, that combined with his cismale privilege of course, because this would not be an option for a woman in similar circumstances.

Thus, his upholding of honour also exemplifies how Taigen embodies the ideals and rules of his society. His insistence on duelling Mizu is another more blatant example of this. He doesn't want revenge like Mizu does. He wants to be accepted by society, within the bounds that society has placed, and that means that his only two options following his defeat at the Shindo dojo were to either chase Mizu down and get his damn duel, or kill himself for his humiliating defeat.

Now! Moving on from Taigen, let's go back to the other end of this little love triangle: Akemi.

Mizu and Akemi only properly meet in Ep4. During their first meeting, when Akemi tries to poison Mizu in Madame Kaji's brothel, she compliments Mizu's eyes, calling them "beautiful."

This seems to genuinely take mizu off-guard for a second before she coolly plays along. We know that Mizu recognises Akemi from the get-go, and thus sees through Akemi's ploy from a mile away. It's also safe to assume she'd expected false flattery, because Mizu understands full well that this tactic is how women get what they want: by using their 'feminine wiles' and playing up their naivety and innocence. But even so, it's interesting that Mizu actually seems surprised by Akemi's compliment.

Then, after Mizu subtly taunts Akemi by lying about Taigen's death, she and Akemi have a bit of a scuffle, and then we get to Mizu saying this:

"Women in our world don't have a single good option. Except you, like some magical forest creature. You could have anything you want, but then you beg to eat trash."

(no screenshot because it's quite a long line but you get it)

Here we see Mizu's opinions on the marginalisation of (mostly poor and under-privileged) women stated outright, and underlying her words is also resentment. Because even though she and Akemi have shared experiences of female oppression, Mizu, unlike Akemi, was also poor, from a rural village, and is a racial minority. Mizu is triply oppressed, while Akemi only faces one primary form of oppression, and to someone as embittered by the world as Mizu is, to see Akemi "beg to eat trash" is a slap in the face, practically tone-deaf to the other injustices around her--injustices which Akemi has not shown much, or any, acknowledgement for at this point.

Then, after this scene, Mizu kills Kinuyo, and this unsettles her to a degree we've never seen from her before. She is visibly distraught, and the entire sequence hammers the theme of this episode (and arguably, a large portion of the show) into our heads: women in this world suffer. And even though Mizu is well aware of this fact, to commit this act is so visceral that is shakes her to her core, and it's what ultimately leads to the ambush of the Thousand Fangs.

But before the ambush, Mizu and Akemi talk a little again, and during this time Akemi taunts Mizu some more.

Right now, Mizu is exhausted to the point where (I believe) she even downs some sake, despite not usually drinking. Thus, worn down, she cuts Akemi's ropes and tells her, "Just go." Akemi recovers from her initial fear of Mizu's blade and taunts her some more, accurately seeing through Mizu's facade of coldness, recognising the raw anger there, and says this:

"I thought you had to be something special. Your face isn't even so scary. You're just... angry."

At this, Mizu is amused and compares Akemi to Taigen ("I see why he likes you. You're just like Taigen when we were children. A fucking brat.")

The reveal that Mizu and Taigen knew each other in childhood surprises Akemi, but before either of them can say more, everything goes to shit.

That's when we get to Ep5. This episode focuses primarily on Mizu, the central piece of this love triangle, and does the most out of all the episodes to shed some light on her character and goals, fleshing her out to be more than just the vengeful, highly proficient samurai we've seen thus far (symbolised by The Ronin), but also a person who is capable of love, domesticity and gentleness (symbolised by The Bride). But in the end, Mizu rejects both these ideals, instead becoming an Onryo, who is neither guided by pride/honour, nor love.

By 'reincarnating' into an Onryo, Mizu is able to win the day and save the women in the brothel. However, as she has now fully embraced her status as an Onryo, and is exhausted physically, mentally, and emotionally, she lets the Tokunobu clansmen take Akemi away while Akemi's screams echo in her ear.

Mizu says this choice is for Akemi's own good, that Akemi's better off; because Mizu is jaded and weary, and cannot afford the luxury of idealism, and thus must always be strictly practical and realistic. So of course that's why, in her view, yes, Akemi should not be wasting her time in a brothel where women are exploited and abused, nor should Akemi be so naive to think that her marriage with Taigen is even still possible. However, regardless of Mizu's views, it is not for her to decide, because though Akemi is privileged in some sense, she is still trapped and voiceless, and deserves the right to choose her own destiny.

But as it happens, in the end, though Akemi did not choose who she gets to marry, she DOES get to choose her next move when Edo burns down.

"I want to be great."

This one line is the key to her entire arc, which is only just beginning. We see she quickly has acquired the affection and good graces of the shogun's son after their wedding night and consummation, and with Madame Kaji and the girls now serving her, Akemi will only grow to become a prominent political player.

NOW, only after analysing the characters as they are within this season, only can we speculate how their arcs will continue as the show progresses.

First and foremost, I will reassert the popular opinion that Mizu and Akemi are foils. The climax (pun intended) of Ep7 illustrates this as it parallels the turning points in both Mizu's and Akemi's arcs:

Mizu melts the steel of all her loves and shames, the people she's collected: the broken blade wielded by both Chiaki and Taigen, Akemi's knife, Ringo's bell, Master Eiji's tongs - this symbolises her beginning to accept herself, and in doing so, also accepting the help of others;

Akemi consummates her marriage with Takayoshi Itoh, gains his affection, and cements her position as a woman in the shogun's palace - this symbolises her taking charge of her situation, no longer playing the damsel, but using her position to her advantage, empowering both herself and the underprivileged women around her.

These are thus two directly contrasting, diverging journeys:

Mizu's arc moves inward (yin). It is an internal path of self-love and self-discovery, focused on finding peace and tranquility inside herself, and this involves allowing herself to let others into her life, opening herself up to friendship and empathy once more.

Akemi's arc moves outward (yang), it is an external path of growth, transforming from a naive, caged princess to a powerful woman and a force to be reckoned with.

Akemi is always dressed in red, even her eyes are a bit of a reddish-brown rather than brown-black like most other characters, and in her penultimate scene she stands against a backdrop of flames. She is fire: quick-tempered, passionate, full of energy. Red is powerful, authoritative, and in eastern cultures, it is associated with prosperity.

Mizu is blue: her eyes, her sword, her clothes. She is also named after water; it's where she goes to recover, reflect and meditate. Water is fluid like a brook weaving around a stone in its path, always changing and adapting, it is graceful, it is beautiful and ruthless, tranquil yet swift.

Thus, in the future, I expect we will see plenty of political manoeuvring and intrigue in Akemi's plotline, where she fully embraces control of her life, and begins to take action to help others as well, realising that her own oppression is just one piece in a much larger picture. Her main conflict is with society.

In direct contrast, Mizu's main conflict is with herself. She must realise that her desire for vengeance is a projection of her own deep-rooted self-hatred. Her arc must move towards unpacking her feelings and trauma so she can be at peace with herself and allow space for love in her heart. Because as we saw in Ep5, Mizu had come extremely close to achieving peace and joy, as she had not only loved Mikio, but also had briefly believed that Mikio had loved her (and accepted her for who she is) as well.

Thus, assuming the story is not planned as a tragedy, Mizu will likely end up getting her vengeance, but it will not satisfy her, because it is not what she needs. What she needs is to let go of the Onryo within her and to reconcile both The Ronin and The Bride within herself, as she is both a fighter and a lover, but not a monster.

(Edit: I recommend checking out this post by @stylographic-blue-rhapsody for a much clearer analysis about Mizu'a symbolism as Ronin, Bride and Onryo!)

And now that we've mostly covered each of the characters individually, we can finally get to the main point of this post: the love triangle.

--

Let's talk about Option A: Akemi.

As I covered extensively earlier, Mizu and Akemi are foils, a yin-yang pair. But while they play off each other very well in a thematic sense, I personally believe that a serious romance between them will be more complicated if they become endgame. This is because Akemi's natural resolution is to embrace a position of power and influence, where she has both freedom and control over herself and to make much-needed changes in a prejudiced society. Meanwhile, Mizu's natural resolution is the opposite; her happy ending would to find a peaceful life where she is safe and free from prying eyes, and able to be her true self.

Thus, it would make very little sense for Akemi to forfeit power and run away with Mizu and start a humble life together. Akemi wants to be great, and that is absolutely what she deserves. On the other end of the spectrum, it would also make little sense for Mizu to dedicate her life in service of Akemi, such as acting as a bodyguard or something similar, because a life in a palace full of court intrigue and conspiracies is far from what Mizu needs to be happy.

With that being said, if Mizu/Akemi is endgame, and assuming their overarching character arcs do not shift directions, their love story would likely be either tragic, doomed, or bittersweet. I do absolutely love this type of story because personally I'm a sucker for catharsis, so it would be very interesting if the writers do decide to take this route.

Also, as a note, please do not take this as me dunking on this pairing. This is just my personal opinion and analysis and I completely understand if you disagree!

--

Then, of course, we have Option B: Taigen.

Between Akemi and Mizu, Taigen is a bit of a free-floater here, because Season 1 leaves off at a point where his arc is very ambiguous as to where it's headed. While Akemi climbs for greatness and Mizu goes on a journey across the ocean to (presumably) discover more about her heritage, we have little clues about where Taigen is headed. And if I'm being honest, I'm sure he has no idea either! He still hasn't reclaimed his honour, so he would be unable to rejoin the Shindo Dojo; he's been rejected by Akemi; and while he showed loyalty to the shogun, the shogun is now dead, and all the shogun's men who had witnessed his "humiliating" death were left to die by Lady Itoh, who is now pulling the strings within the palace.

Therefore, Taigen has very few options here.

And when considering his role in the story is as Mizu's begrudging ally, his arc will undoubtedly be focused on unlearning his xenophobia and misogyny, the latter of which we have not seen yet, but is surely present. Now, whether he will do this in Mizu's presence or absence will be unknown until we see Season 2. Following the Season 1 finale, he might return to Kohama and wait for Mizu there as he learns humility and remorse over his past cruelty; or maybe he will follow Mizu to London, and the two of them will continue to butt heads until he finally admits to himself that he cares for Mizu more than he would like to admit. There is no room for doubt that his growing feelings for Mizu are more-than-platonic, because we all saw him get turned on by sparring with her in Ep7 lol. Thus, regardless of the exact choice he makes, I am sure that his overall arc will be focused on redeeming his character.

Now, when it comes go redeeming him, I know there are many who simply don't want him redeemed because he was such a jerk to Mizu, and while yes I agree he was awful, I do believe there is also nuance to his character.

Previously I've discussed in great detail the colour and elemental symbolism with Mizu and Akemi, but have yet to touch on how they relate to Taigen. So, let's talk about that for a second.

While Akemi is red and Mizu is blue, Taigen is green.

Green is a complementary colour to Akemi's red. Complementary colours are directly opposite each other in the colour wheel; when mixed, they neutralise each other, but when put side-by-side, they form a pleasing and impactful contrast that boosts the brightness and prominence of both colours. This mirrors Taigen and Akemi's relationship. They are an "ideal" pair because they complement each other very well, and bring out each other's most prominent traits. Mizu's comment about their similar "brattiness" comes to mind here.

Green is also an analogous colour with Mizu's blue. These colours are sitting right next to each other on the colour wheel; their natural similarity makes it easy for them to form a cohesive overall appearance, but using both in equal amounts will make a design overwhelming and too busy. Thus, the best way to use analogous colours is to make one the dominant colour, while the other will serve as an accent. I feel this also speaks to the dynamic in Taigen and Mizu's relationship. They came from the space place, both from nothing; they're both strong fighters who love the sport, and work well together when fighting side-by-side; however, they butt heads too easily, mirroring how analogous colours can be too overwhelming when used in equal amounts. Thus, to work together in harmony, one has to be the dominant colour, while the other serves as the accent. In this case, the dominant force would be Mizu, as she is the protagonist of the story, while the accent would be Taigen.

By fulfilling this role as an "accent" to Mizu, Taigen's character would easily be slotted in as a the love interest. This is in contrast with a Mizu/Akemi relationship, whereby Akemi is Mizu's foil before she is Mizu's love interest. This is because, by being a love interest, a character usually takes a backseat in the story, serving the plot and the themes by playing a purely supportive role, and this is not possible in Akemi's case because her character exists to parallel and contrast Mizu (red and blue), and not to support her.

It is possible to serve as a supporting love interest in Taigen's case however. And this is because he, unlike the other characters, does not currently have a definitive place within the story. He initially served the plot as an antagonistic force, but now as he is slowly unlearning his prejudices and becoming a better person, he can no longer serve the story by acting purely as a rival.

Instead, he will serve the story by literally supporting Mizu. And this relates to Taigen being earth, which is steady, firm and reliable, unwavering in loyalty and principles, hardworking and rooted in stability, which is seen in Taigen's staunch and inflexible obedience to the traditions and rules of society. These traits are what make him a perfect samurai, but not a good man. However, unlike most people in their world, Taigen is still capable of change and redemption, which is why Mizu says that he has the potential to be great. Not great by way of power or glory, but great in character. Already, he is honourable to a fault, and does not betray Mizu even after she technically robbed him of everything he was striving towards. And when he was shot by an arrow in the chasm, he did not hesitate a second to tell Mizu to use him as a human shield and save herself.

The trigger for his redemption is Mizu. If she had never beat him in that duel, Taigen would live on to become a man like Akemi's father. Cruel, power-hungry, controlling, conservative. But through Mizu, Taigen's sharp edges are ground down, much like water that wears down the stones in a river.

Where Mizu and Akemi's possible love story would be a clash of wills, full of passion and even heartbreak, a possible love story between Mizu and Taigen would be the wearing down of souls. Mizu would make Taigen a better person, and in turn Taigen would dedicate his full respect and support to Mizu as his equal, thus getting her to slowly open up and love herself. Already, Taigen has grown enough to admit (begrudgingly, and in his own Taigen way) that Mizu is better than him; though, clearly, he still has a long way to go, as he still calls Mizu a demon shortly after that.

But basically, Taigen is a very simple man (his main goal now is "to be happy"), and Mizu has great depths that he cannot yet fathom. For this love story to work, it has to begin with Taigen changing for the better. If he succeeds in that, and is able to accept Mizu for all her complexities, I believe that they will make a formidable pair. And though he'd likely still throw a jab or snarky remark at Mizu every now and then, I think he'd come tl wholeheartedly admire Mizu as a brilliant swordsman and a kind soul. Thus, should things work out and this be endgame, Taigen would be able to provide Mizu with what Mikio could not: an idyllic life that is not built on a lie, but mutual trust, respect, admiration, and equality.

Or hey, maybe they could both make their own dojo together! I don't know.

(Edit: This post by @rinandsketches does a great job at delving into Taigen's character and a potential Mizu/Taigen relationship if you'd like to read more about this angle!)

--

Now, as I move on from Taigen, there are a couple more options on how to resolve this love triangle and that includes Option C: Ringo.

In this option, Mizu does not have an endgame romance with either Akemi or Taigen. In this route, she finds peace and love through friendship, solidarity, and a found family between herself, Ringo and Master Eiji—a bunch of outcasts in society who make a strong trifecta of sword-makers.

Also, as an aside while I'm talking about Ringo, I'd like to point out that I believe his element is air and his colour is a neutral grey; he is talkative, easy-going, wise, curious, light on his feet (stealthy) and free-spirited, which are all traits linked to air, and traits that complement Mizu nicely, as he is capable of getting Mizu to open up and trust others again, while Mizu helps him reach his true potential for greatness.

--

And finally, there's Option D: Polyamory.

This is basically an "all of the above" option, in which everyone wins and it's a super duper happy ending. It would also be awesome to get some polyamorous representation, and seeing the dynamic between Akemi/Mizu/Taigen play out would be very entertaining and refreshing. So, you never know, this just might be the true endgame!

--

AAAAND with that, I close my extremely long analysis of what is essentially Mizu's love life. Whatever the final outcome of this love triangle though, I just hope it will be well-written and satisfying to all the characters' respective arcs. (Also I just want Mizu to be HAPPY goddamn it because she deserves the world and her coochie eaten out)

Now, I highly doubt anyone will read any of this (especially not until the end!) but that's fine. I just have so many thoughts and feelings about this show and I just needed to get this out of my system lol! But if by some miracle you did read this far, I wholeheartedly welcome any sharing of thoughts and ideas because man am I obsessed with this show! But of course, if we have an opposing opinions, please be respectful when letting me know; I am very open to friendly discussions.

[dariusaurs]

i think dinostar is such an interesting ship right now even if i've kind of turned away from it after this season. the problem is that it's complicated, and fandoms historically don't like nuanced situations or takes. i don't think it's fair to say darius is putting brooklynn on a pedestal, since from his perspective, she hasn't done anything wrong, and kenji has been framed as this unfair partner to her. it does feel like his feelings are very immature and more of an infatuation right now ("if he loved you half as much.."/"unless?"), especially when you compare them to kenji's own feelings for brooklynn - his girlfriend who he's loved for 6 years - but that isn't a horrible thing, it's just different. i do completely understand if people dislike the ship right now, and even criticize darius' way of handling the accidental confession, but i just think people have been way too harsh on all three of them without being willing to see that all of their perspectives are different

[maingh0st]

@belabellissima's tags on this post deserve a post of their own, i—

[repurposedmeatlocker]

If you had to eradicate one B&BH ship from existence, which one would it be?

UMMMMM probably Butt-Head x Daria 🫣

I guess whatever floats your boat. I'm in no position to judge in regards to fictional ships. There isn't anything inherently WRONG with it, but I just find it EXTREMELY out of character on both ends. Daria doesn't give af about Butt-Head or Beavis. At most she tolerates them or sees them doing bullshit like "woah! That's crazy guys. Get well soon!" Butt-Head is much the same. At no point in the run of the show do I see a smidge of chemistry between them that would suggest something romantic. When it comes to indulging in fan content for things like this, I tend to have a preference for sticking somewhat close to canon. I just can't see it as something that works whereas something like Butt-Head and Beavis is implied enough in the show as a joke to build off a legitimate interpretation.

[lovesickeros]

putting my thoughts under the cut in case people dont want to spoil themself on arle voicelines

currently obsessed with the view our current harbingers have of the Tsaritsa. both childe and arlecchino greatly respect her even if arlecchino is dubiously loyal to the Tsaritsa at best. they both talk about her as a figure who is gentle and compassionate, completely at odds with both the organization she allows to commit horrible acts (dottore. its a lot of dottore. he canonically took children from the hoth under the old knave if they were no longer considered "useful" and used as test subjects). shes described as someone with no love left for her people yet the harbingers we've heard talk about her never seem to describe her in such a manner. of course, childe mentions she had to harden herself to complete her goal, but he still notes that shes too gentle. the more we learn about her the more i want to meet her purely because she is contradictions all the way down and its great!!! taking whatever scraps i can get and its perfectly in line with my characterization too so i stay winning

[pianapplez]

Hello there 👋👀,

So I just found your blog and had a lot of fun scrolling through all the pjo show crit😂 I couldn't help but notice that one tag you left on a post where you said you had some beef with Annabeth's portrayal in the books 👀 Would you mind elaborating on that if you're comfortable with it🙈? Because I absolutely share that sentiment, but it's sooo veeeery rare that I see other people express anything like it... I've found that trying to be a part of the fandom can be pretty alienating most of the time, if you're not exactly the biggest most devoted Percabeth shipper...😅 And often any criticism leveled at Annabeth just gets you a smack with the "internalized-misogyny" hammer... it's even worse in the tv show now due to... obvious reasons...

Again just if you're comfortable with answering of course🙈 There is a reason I stayed on anon after all...😅😂

Really glad you asked because i finally get to ramble about this heheheh (going forward, know that i skimmed over The Last Olympian to have a clearer sense of what I meant because that's the book where Rick fumbles her character more than the others)

i'm gonna try to make as much sense as possible but short answer would be, she's underdeveloped. Long answer:

She really got on my nerves in the last two books, with the whole Rachel debacle and then the Battle of New York. I can't really remember a single moment in those books where she and Percy aren't bickering or having heated discussions, which really made me question their friendship status. Of course, it's not like friends can't fight and it obviously builds up the (romantic) tension between them, but it got unbearable at one point.

I understand she's a teenager in an incredibly stressful situation that didn't even get to have a normal upbringing- she grew up way too fast (run away at 7, head counselor at 12) while also not really maturing, which is not a problem for a character, if it is handled properly. Given the fact that I am writing this, Riordan did not.

On the surface, my biggest beef is that Annabeth is not exactly held accountable for her actions (ie. treating Rachel a bit like shit and going off on Percy for a bunch of stuff.) I know Percy is to blame a bit here: as far as we know, in TLO he basically cuts the greek world out of his life as much as he can as a coping mechanism. And while yes, he never apologizes either, he doesn't give her nearly half the hard time she gives him: always either giving him the cold shoulder (there must be at least one example of this in the entire series but i cant be bothered to look it up sorry) or starting an argument only to then storm off (see the "you're a coward, Percy Jackson!" scene, which is not the fairest example since she was confronting Percy about ignoring camp but also was a bit too harsh about it) (especially after finally reading the prophecy and being under the impression that he was absolutely going to die when he turned 16 lmao) or just straight up storming off (see, Annabeth reacting when Rachel shows up for the first time during the battle of new york). While most of these feel, at least to some degree, fairly justified given how the entire situation does an absolute number on her emotions, she comes off a bit brattish and like she's trying to rile Percy up, especially when it comes to Rachel, which in the context of a battle that could mean the destruction of the world.... Well, it reads as a bit childish to me, and i wouldn't exactly have that much of a problem with it if it was dealt with in some way (a two-way apology would be nice).

After that first impression, i realized that Annabeth is barely ever anything else other than a plot device (when relating to Luke) or a love interest (when relating to Percy). This might be because the books are on Percy's POV. Hell, on the third book he's even conflicted when Annabeth is considering joining the Hunters of Artemis, aka, when making a choice for herself would mean he loses her (which is fine and dandy but it feels like Percy is more upset about her choosing her own path rather than being sad about not seeing her as often); we really only get a few glimpses of her, as in, actually her when she's on her own.

Obviously it's impossible to talk about Annabeth without touching on percabeth, which also is, in my opinion, what hinders Annabeth's character the most. On paper they sound great. The guy whose fatal flaw is loyalty falls in love with a girl whose been let down by people over and over, and she decides to never give up on the boy whose always had people give up on him (can't find one of the million posts that talks about this right now but it always goes something like that) And yeah, the bickering is really well written! But that's literally as far as it ever goes: they don't ever seem to have fun together, because 8 times out of 10 the bickering ends up being passive aggressive, and mostly done by Annabeth. My biggest gripe about percabeth is that their friendship seems to be based off... shared trauma. Literally. Other than going on quests together we are given no examples of them hanging out, nor a reason why they would want to spend time together in the first place, not even a shared hobby. Yes, in the fourth book they had a movie "date" planned but of course they didn't even get to it, and surprise surprise, they had a minor discussion, and surprise surprise, Annabeth was passive aggressive again. It's hard to picture them having fun together when even the author doesn't write in any scenes in which they get along smoothly (and before you say anything, a scene in which they get along where neither of them is about to die, and they're not talking about previous adventures. Gets a bit hard then, doesn't it?) It's even harder to picture them as a couple when the moment she gets upset about something, she starts coming off as emotionally manipulative (see, again, literally any conversation with Rachel or about Rachel)

To be fair, the books are relatively short and don't allow many "filler" chapters, if you will; there's always something happening to keep the main plot or a minor plot point moving forward, but it's not like there is no room to develop the characters' relationships, especially when we're talking about the main char and what is essentially his endgame. As an example we have Percy and Clarisse, or Percy and Beckendorf. Their interactions are brief but still hold so much weight.

Worst of all, Annabeth could be one hell of a character; what's most interesting of all is how being a daughter of Athena she is still incredibly emotionally driven, which is displayed very clearly with her fatal flaw being pride: her telling the Sphynx that her questions were too easy was not smart nor strategic: it was completely impulsive. I seriously think she wasn't far from being the best character in the series had she been given more time.

I guess i have as much beef with Annabeth as i have with Rick for doing her dirty. I really could sum this up with: while her emotions are justified, she acts upon them quite poorly. And this is what i mean when i say she's underdeveloped, because it would've been nice to see her come to her senses a bit.

Would love to read anyone's opinions on her character though, feel free to comment, even (or especially) if you don't agree with me!

[yunmeng-jiang]

workin on my first scum villain fic!!

[aroaessidhe]

2024 reads / storygraph

The Loudest Silence

YA contemporary

a newly Deaf-Hard of hearing girl moves across the country and starts a new school, struggling with navigating her disability and love for singing and lost friendships - determined to not make any new friends for the year she’s in Florida

and a boy struggling with family expectations and anxiety, after being made the fútbal captain even though he secretly ways to be on broadway, who quickly befriends her

bi & aroace-coded MCs

[fitzrove]

Started watching a "problem with greek myth retellings" video and it began with a blurb montage like "Condemned by the misogynist guys of history, this is the true girlboss feminist story of [A WOMAN]" and like. brb writing one of those about crown prince rudolf. It's ok he's like a misunderstood girlboss to me<3

[froggods]

still thinking about how pike is a way better love interest than angel (and spike) and should have followed buffy to sunnydale.... mentally rewriting buffy season 1