#let's apply some critique to it where it deserves it

[sonofapunk]

I think what a lot of Damian and Tim fans forget is that Damian and Tim's fights in their early days were just... not as big deals as fanon made them out to be. They are so frequently blown completely out of proportion, when in reality, these are the types of fights that siblings recover from in a matter of hours, or, at most, a matter of days. And sure, they didn't see each other as siblings back then, but they didn't see each other as enemies, either. They were two people who sometimes butted heads because of their respective troubles at the time. It really isn't a bigger deal than that.

[hamliet]

Do you have any thoughts on how RWBY handled the white fang storyline?

Unpopular opinion: it's decent?

Now, now, before people come at me with pitchforks: yes, it's overly simplified. The entire story is a fairy tale, though, so that's not out of place. It also complements the rest of the story thematically, and manages to incorporate nuance and complexity in despite the simplification of issues.

I think it's a mistake to look at the White Fang as a 1=1 of the real life struggles of marginalized groups. That said, there obviously are parallels, and so people aren't mistaken to note those. I just think it's not meant to be an instructional manual and shouldn't necessarily be viewed as one, but rather a conversation starter in some ways. And yes, those conversations can and should include critiques.

So I'll go over the points that I think it did well and how those ties into real life, but also specifically how they work for RWBY's overall story. This does not negate criticisms, especially those by marginalized groups.

In contrast to some other fictional depictions, RWBY actually is better as well because it avoids the number one pitfall of such issues: the X-Men fallacy. I've talked about this in terms of Attack on Titan before, but essentially it's the idea that the problem with depicting discrimination against superpowered people is that, well, there is a logical reason for people to be concerned about superpowers; hence, it almost justifies that very discrimination it seeks to condemn. This isn't present in the faunus/human divide. They are both capable of superpowers.

It also doesn't fall into another common pitfall: the idea that people have to be perfect to be victims of discrimination. The White Fang... has senselessly and cruelly murdered people; doesn't mean faunus discrimination isn't also cruel and senseless and doesn't justify it. And this is something that we do see in real life too--people trying to either completely whitewash the actions of radical anti-oppression movements, which can do awful things, or trying to use these awful things as evidence that these people deserve discrimination when really it's a result of rage and desperation at a society that refuses to give them anything. That doesn't justify the pain of the victims of the awful things (see, Weiss) but nor does it negate the righteousness of that anger.

It does portray the faunus as a fairly diverse group too, when fiction often portrays marginalized groups as a monolith. That's not true. People from one group have very different ideas about what liberation looks like, and what they want to achieve. People in marginalized groups are people, and they can be motivated by a variety of selfless principles and egotistical validation, and neither negate the other. See, Sienna vs. Ghira vs. Adam.

Now, of course within RWBY Ghira's more nonviolent principles more or less win out. That's because RWBY is again a fairy tale where you have to fight to live, but that also doesn't endorse violence. If you expected otherwise, wrong genre. Of course the real world is far more complex, but it's not as if there is no real world basis for this either. Peacemakers exist, and nonviolence has accomplished a lot before. Whether or not that's the be-all-end-all of the faunus struggle in RWBY isn't even clear, so I don't think it's intended to be the be-all-end-all preached moral as it applies to the real world either.

Story-wise, the White Fang functions as a Jungian shadow of society. If you do not take charge of your own life, you are letting others decide for you. The faunus who disagree with the White Fang take it back, because they have to acknowledge it to move forward in society. They have to integrate with it, and accept their own humanity: capable of good and what they might rather deny.

This faction--the faunus who don't like the White Fang--are represented in Ghira, who becomes passive and steps back from aspects of the movement. However, when Blake arrives in Menagerie, this changes, because Blake's entire arc is about integration. Ghira then becomes active, working for the rights of the faunus and for the White Fang to be better rather than simply disavowing the White Fang in an attempt to be a good person, because doing nothing isn't exactly good.

On a more character level, the White Fang exists for Blake's arc. Her Jungian archetype is the Shadow. Like, it's literally her semblance's name. Hence, the idea of the shadow is gonna be important. If you want more on this, @aspoonofsugar has written a meta on it here and another here.

So, for Blake, on a personal level the White Fang (especially under Adam) represents the parts of herself she doesn't like. The part that ran from her family. The part that is violent. And yet, she cannot abandon it or simply disavow it. No, the answer is instead:

We’re not going to destroy the White Fang. We’re going to take it back.

She has to integrate with it, take the good--the righteous anger, the focus on justice and equality.

The White Fang also comments on the microcosm/macrocosm of alchemy.

For the unaware, RWBY is an alchemical story, and the principles of alchemy are represented in the symbol for the philosopher's stone, as seen above. Microcosm: the smaller circle enclosing two people in the center who come together (hence chemical weddings). The square is the four elements: water, earth, fire, air. The triangle is body, heart, and mind. The larger circle is the macrocosm.

The Shadows for Blake on a personal level--microcosm--is Adam. The Shadow on a worldwide, big picture scale--the macrocosm--is the White Fang. Integrating with the shadow isn't only an individualistic endeavor, but also one that benefits society as a whole and brings life to the entire world. The main point of alchemy's philosopher's stone, which Blake, along with the rest of RWBY, are symbolically being transformed into.

I think the main issue with the White Fang, by the way, is its handling of Adam. Typically you don't kill the shadow, though I do think Blake kinda had no choice. Still, I don't think the show fully explored him.

Yet what does work with what we have is that Yang has to face Adam, Blake's shadow, to be with Blake. Yang losing her arm to Adam parallels her being upset about losing Blake to fear, because symbolically Blake can hurt her deeply in the way only a lover can. Blake has to stop running from her shadow and allow herself ot be known and seen by Yang to be with her.

[transmutationisms]

last ask i meant key points instead of bulletpoints lolol :/ english isnt really my first language, sorry !!! and yeah, specifically those lens. sorry if it wasn't clarifying at first

nothing to be sorry for! but yes i have thought about succession in relation to fisher's capitalist realism a lot lol.

first of all, there's fisher's point about how "all that is real melts into pr"—ie, capitalism reduces the real into appearance. waystar is kind of the exemplar of this trend insofar as it's a media company, and we see logan make this type of argument a few times: it doesn't matter what's real, it matters how things look, and he can control appearances (like when he plants tabloid stories or alters public opinion on the president).

there's also the way fisher talks about neoliberal subjectivity, which i see as applying particularly to kendall (ideologically flexible in the way that capitalism is, and driven by the logic of constant pointless self-improvement ie auto-exploitation). i've sketched out an attempt to theorise kendall's drug use in particular using deleuze's remarks on control societies and fisher's discussion of the 'debtor-addict' as the figure of such societies.

although fisher makes gestures toward uncovering a more general subjectivity under capitalism, i do think a lot of 'capitalist realism' is very specifically engaging with the british middle class, and you can see this for example in the section on 'depressive anhedonia' lol. which is not necessarily a bad thing; the book clearly has certain roots in affect theory / psychology, and it's possible for it to be saying something useful and interesting about middle-class affect without necessarily being a totalising manifesto. i would argue that marx's paris manuscripts often move into similar territory in regards to an imagined (and largely imaginary) proletarian.

but that brings me to i think the central issue with both succession and 'capitalist realism,' which is, uh, the capitalist realism of it all lol. like, the main thrust of fisher's critique here is to point out the ways in which capitalist political-economy is presented as the only viable such system. and obviously, fisher disagreed, and the book is like 80 pages long and is more about explaining what capitalist realism is than refuting it, which is fine. but it bears saying that there is a certain strain of leftist (sometimes not even leftist) thought that leans heavily into the nihilism and cynicism that some people pick up from this text.

which is not really something i want to litigate in regards to fisher in this post lol, but i do feel like it's something worth chewing on in regards to succession. in a show that is driven by character studies of murdoch pastiches, what would a leftist or liberatory ending look like? these characters and their real-world analogues are trapped in their capitalist microcosms, which are located within larger capitalist structures; if there's no escape for them, is the show inherently endorsing the idea that capitalism is inescapable and omnipotent in general?

i will show my hand here and say i think an ending where the roys 'escaped' in any way would suck, honestly. this is not because i think they 'deserve' to suffer or be punished (i don't do that kind of carceral logic) but because i think it would feel saccharine and insipid to end on a note of, like, individual liberation for this one family whilst capitalism marches on or whatever. but this doesn't necessarily mean that any ending where they're trapped is good, or compatible with liberatory leftist politics, or narratively satisfying.

ultimately i also think this gets at some other issues fisher was interested in throughout his work: like, when art is made under capitalism, that limits both the meanings intended by the creators and the meanings audiences read from it. ie, what type of genuinely liberatory art is possible if it's doubling as a commodity? i don't ask that to let succession's writers off the hook lol, and if the ending is bad and unimaginative then it's bad and unimaginative. like, i'm not going to sit here pretending otherwise. but i do also wonder what ending is possible that would not be read as somewhat cynical regarding the possibility of escape from capitalism.

anyway i don't have a developed aesthetic theory here and i also don't yet have the succession ending, so like.... i reserve judgment until then lol.

[nonbinarykai]

Ok since two people asked

Why Lloyd is my least favorite ninja and how I rewrite him

Notes:// you know the rodeo by now, long post so it’s going to be under a read more, and I’m not gonna tag this with Lloyd because of the criticisms I have against his character, if you don’t want to hear Lloyd be critiqued then don’t reas the post

Why I don’t like Lloyd

Maybe it’s because I’m a Kai kinnie or maybe it’s because I have a bias agaisnt the younger sibling but Lloyd has never really been a favorite of mine

He was enjoyable in s1 but after that he kinda lost all personality for me and I stopped enjoying him

I think this is mostly for two reasons:

1. His screen time

2. His “character arcs”

I’ll go ahead and knock out his screentime here because it pretty much speaks for himself

Lloyd takes up so much screentime in the show that it’s actually jarring, he’s the character with the most seasons, having s1-2, s4, s8-11, and finally s14 ((the island special)). Which I think makes lloyds writing flaws all the more noticable

A big reason, albeit a bit of a petty one, for why I don’t like him is because he constant hyjacks other characters plots and makes them about him, this happened with Kai in both s4 and s11

Even if he’s not the main focus of a season, he always has a side plot focusing on him like in s3 and s12

The writers need to include Lloyd in other seasons is making it harder for the other main characters to actually have enough screentime to grow and develop on there own

And as a side effect of this, Lloyd gets to become the most important character in every season he is, taking roles from other characters who needed them

My best example is Cole being leader, he was set up and established as leader in the pilots and s1, and he did pretty good in it! Cole being a leader is a interesting concept that I would have loved to see been developed

But after Lloyd grew up they threw that plot point into the trash so they could have the mystical green ninja be leader even though throughout s1-7 he hardly actually talks to the main cast and him being leader doesn’t add any interesting dynamic like cole and kais rivalry despite Kai being a sort of right hand man to Coles leadership.

And in s1-s7 especially everything literally revolves around Lloyd to the point where his existence is more important than everyone else’s, and everyone’s motivations are to protect him.

Again I understand he is important, he’s the green ninja, but you have to let your other characters grow and develop, Lloyd is not the only main character in your show

Like for fuck sakes I don’t need 3 arcs about Lloyd and his dad, can I finally have another Kai season

Lloyds character arcs honestly kinda suck

Im going to be honest with you

Lloyds kinda an ass

The reason I like jay more then Lloyd even though jay has been way more mean spirited then Lloyd throughout the entire series is because you can atleast make the argument that jay doesn’t know when his jokes can hurt. And the show doesn’t portray jay as in the right, he gets what he deserves for some of the meanier things he says.

The same can’t be said about Lloyd

Lloyd says things to the other ninja that is honestly so mean spirited it’s jarring to hear it from him

Best example being when Lloyd told Kai to get over his shit when Kai was grieving in s4

But what makes it so frustrating is that the show always portrays Lloyd like he’s in the right which is why a lot of his character arcs feel flat or uninteresting

The only time this doesn’t apply is in s2 and in s3, in s2 the show paints Lloyd as being unfair to Misako when he RIGHTFULLY gets mad at her for abandoning him, I’ll get back to this later

The second time in s3 is when he’s traveling with Garmadon and having to be taught to balance his powers, which is actually one part of s3 I really liked, it was nice to see these two bond and have Garmadon teach Lloyd something that wu would other wise not teach him. And it’s a real shame the season cut it short AGAIN

The biggest example of the show making Lloyd seem in the right no matter what is in s4, Lloyds whole arc there was to learn how to view things from a different perspective and appreciate the things others have done for him. And this is would work if the show decided to do the same.

Again back to that scene with Lloyd and Kai in s4, the show treats Lloyd as if he’s in the right and it’s never addressed after this. Even though this is supposed to be the beginning of lloyds arc where he’s supposed to learn to view things from a different perspective

This scene would have worked if

1. The show didn’t paint him in the right for this, either by having Lloyd apologize or having the show acknowledged how it might have hurt Kai

2. If the plot Lloyd has remained a side plot instead of taking up the entire focus

Seriously, s4 could have been the ONE season where you can have a Lloyd side plot thats not forced and yet they fucked it up and made it the entire focus of the season thanks a lot.

To quote what I said in my Nya anayalsis awhile back

“I’m not upset that he has a flaw, just that it’s not recognized as one”

Lloyd would work way better as a character if the show just let him have consequences for his actions

Ever since he grew up and got the green ninja role he’s been treated like he can’t do no wrong which is clearly not true

But since we’re already on this topic

Hurting Lloyd doesn’t make him a good character

I feel like Tommy ((and sometimes the fandom)) really misunderstand what the use of suffering for in a story

There atleast 3 reasons writers make there characters suffer

1. To undergo a arc and realize where they have been wrong or to give a character a lot more depth to expand upon

2. If the story is a fallen hero one and the character suffers because of his Huberius

3. If the story is a tragedy

Ninjago is neither a fallen hero story or a tragedy and his pain doesn’t develop him as a character

A lot of writers don’t understand that suffering isn’t what makes a character good, it’s what pushes them to become good, you can’t just throw a character at the wall and expect them to instantly be a well written fleshed out character

A lot of the suffering Lloyd has to endure is mostly for no reason and it’s really mean spirited because it adds nothing to the plot, it’s just there to hurt him

Let’s bring up s11 as an example, Lloyd didn’t HAVE to fight the ice emperor from a writing standpoint, if anything it should have been kais battle because his lose of power and Zane going evil would have been a perfect reflection of s4 and tie it up after it ended kais character a bit open ended

But no let’s have Lloyd do it instead because haha isn’t trauma COOL and HIP

Now to be clear, I’m not saying that all of your stories have to end on a happy ending or anything like that, if your a writer then your allowed to do whatever you want with your personal writing

What I am saying is that ninjago is an actual SHOW made by PROFESSIONAL writers and they can’t understand the concept of a story structure

And the lack of actually addressing his trauma is really bringing down Lloyd as a character

Because it comes to a point where you understand why Lloyd is sometimes mean or distrustful of other people and it’s frustrating because you know that it’s flaws of him that are never going to be fixed because there writers want there trauma baby

How I would rewrite him

I’ve seen a lot of people suggest Lloyd become a villain in a future season and you know what, I sort of agree

But not in the way you think

I feel like it would be way more compelling if Lloyd was a villain but is still a ninja, instead of Lloyd switching sides, the show is switching perspectives

More or less I want Lloyd to be a reflection of the “true” villain, which is how wu ((and subsequently Lloyd)) put small Victories as more important then the ninjas life, passion, and desire, and how there black and white thinking of good and evil ends up to a lot of problems because there’s a lot of grey area there choosing to ignore

I want Lloyd to start of being loyal to wu’s philosophy and the protagonist, for random example let’s say Kai, sudden turn on these ideas in order to look outside the box to find if there truly is a better way to protect people without harming himself

I want Lloyd to be upset over what he thinks is a turn to the dark side when in reality, it would make his motivations make sense and not make his turn to “villainy” be out of character.

And over the course of the season he starts to realize how wus and subsequently his leadership has hurt the others and himself, and have him reflect on if all the pain they suffer through just to clean up wus mistakes is really worth it like wu says, or if there’s a better way like kai says

As for Lloyds actual character himself, I’d like for his flaws to be more noticeable

Have Lloyd be a gifted kid who gets praise when he doesn’t deserve it but still kinda acts like a brat because he’s still mentally like 10

Have him be a control freak who follows the rules way to strictly and is all serious when they have to do missions

Have his idealization of wu be realized and critiqued because honestly wu sucks ass

Would this make his character less like able? Maybe, but then he’d actually have depth and something to improve on

He can still have his s3 and s4 arcs, it’s just now they’re more important because he’s actually learning to be better

AND BEFORE ANYONE SAYS IM PURPOSEFULLY MAKING LLOYD WORSE SO THAT KAI LOOKS BETTER

ILL HAVE YOU KNOW AWHILE BACK I MADE A POST SAYING THE EXACT SAME THING ABOUT KAI AND HIS FLAWS SO THERE (/hj /lh)

[galemalio]

3 Examples of Racial Bias in Animation Storytelling

It’s not hard to grasp that a white person, while not explicitly or consciously racist in the sense we might usually imagine, is still inherently racially biased because they benefit from and grow up used to white supremacy.” - Scottishwobbly, Tumblr

This is nothing new. This is something POC (People of Color) have been talking about in separate fandoms. Nevertheless, it needs to be acknowledged by those unaware.

This article is not made to say that some of the animations that I will use as examples are bad. But in the hopes that we, as consumers and creators, will do better in the future in handling characters that are POC. 

Most often, racial bias in storytelling is when the narrative treats white or light skin toned characters better than darker skin toned characters. The darker skin toned characters are often POC-coded or actual POC.

White creators often do not notice their racial bias in their storytelling as they benefit from and grow up with white privileges and white supremacy. This can also apply to light-skinned POC who have light skin priviliges. 

Some of us don’t often see it but real people who relate to the characters of color do. Especially when it reflects from their experiences with racial bias, microaggressions, colorism and flat out racism.

So when they speak up, it’s important to listen to them to unlearn the racial bias we may have in ourselves. 

I will be emphasizing “the narrative” for I am criticizing how the story treats its dark-skinned characters and not because I am criticizing the characters themselves.

This article is critiqued by @visibilityofcolor​ as a sensitivity reader once and then additions were made before publishing. If you’re looking for a Black sensitivity reader, you can contact her. 

This article is a 14-minute read at average speed so buckle up. Unless you want to skip to your show mentioned below. External Tumblr Resources will be put in the reblog.

Here are three examples that I was made aware of. 

Example #1: The Narrative Treats the Light-Skinned Character at the Expense of the Dark-Skinned Character

Steven Universe was one of the animations that pushed lgbt+ representation in cartoon media. However, there are narratives here and there that showed racial bias. 

SU creator Rebecca Sugar was raised with "Jewish sensibilities" and both siblings observe the lighting of Hanukkah candles with their parents through Skype.[1] Rebecca Sugar also talked about being non-binary.[2] 

But as a white person, she (and the rest of the SU crew) is not aware of the inherently biased values from growing up and benefiting from white privilege. 

One example is the human zoo. There are people that have spoken up about this such as @jellyfax​​ of Tumblr who pointed out that the Crewniverse mishandled a loaded topic and reinforced a white colonist propaganda where the captive humans of mostly black/brown people are naive, docile and childlike in order to subjugate the people that they colonized. .

What I’m here is how a character of color from the main cast is more obligated to the lighter-skinned character. 

In the episode, Friend Ship, one fan had spoken out about how Garnet, who had been validly angry at Pearl, was compelled by a dangerous situation to forgive Pearl. Garnet is a Black-coded character. While Pearl is a light-skinned character.  

Garnet was mad at Pearl for tricking her into always fusing with her. Then they were trapped in a chamber that was going to crush them. In this situation, they have to fuse in order to save themselves but Garnet refuses to because she was still angry at her. 

In the end, they were forced to talk it out, for Garnet to understand Pearl’s reason for wanting to fuse with her and everything worked out well.

The narrative focused so much on Pearl’s self-worth issues at the expense of Garnet’s right to be angry. 

Yes, it showed that Pearl is trying her best to make up for it but Garnet should have been allowed to work at her own anger at her own pace instead of being obligated to consider Pearl’s feelings over her own. 

I wouldn’t have noticed it until someone had mentioned it. Because it was never my experience. 

But it’s there, continuing the message that it’s okay to put the emotional labor on Black people and disregard their own feelings for the sake of the non-Black people who have hurt them -particularly light-skinned women. 

White Fragility and Being Silenced White Woman Tears

Again, racial bias in animation storytelling is often not intentional because white creators do not experience it due to white privilege. 

Without meaning to, that scene alone shows Garnet as the Angry Black woman trope that is ungrateful and rude to Pearl who then ends up in tears. Without meaning to, Pearl with her light skin, became the tearful white girl trope that had to be sympathized over.

The Angry Black Woman trope is a combination of the worst negative stereotypes of a Black woman: overly aggressive, domineering, emasculating, loud, disagreeable and uppity.[13] 

The Tearful white girl trope comes from the combination of the stereotypes of white women being morally upstanding and delicate and therefore should be protected.[13] 

Which, unfortunately, many white women have taken advantage of.

These two tropes are harmful to WOC (Women of Color) because they experience the "weary weaponizing of white women's tears". This tactic employed by many white women incites sympathy and avoids accountability for their actions, turning the tables to their accuser and forcing their accuser to understand them instead.

(Image by Виктория Бородинова from Pixabay)

In "Weapon of lass destruction: The tears of a white woman", Author Shay described that white tears turns a white woman into the priority of whatever space she's in. "It doesn't matter if you're right, once her tears are activated, you cease to exist." [11] 

White woman tears have gotten Black people beaten and lynched such as Emmett Till. Carolyn Bryant who had accused 14 year old Emmett Till of sexually harassing her in 1955, admitted she lied about those claims years later in 2007.[15]

In Awesomely Luvvie's "About the Weary Weaponizing of White Women Tears", she states that the innocent white woman is a caricature many subconsciously embrace because it hides them from consequences. [10]

In The Guardian’s article, "How White Women Use Strategic Tears to Silence Women of Colour", Ruby Hamad shares her experience:

"Often, when I have attempted to speak to or confront a white woman about something she has said or done that has impacted me adversely, I am met with tearful denials and indignant accusations that I am hurting her. My confidence diminished and second-guessing myself, I either flare up in frustration at not being heard (which only seems to prove her point) or I back down immediately, apologising and consoling the very person causing me harm."[4]

This is not to say that all crying white women are insincere. But as activist Rachel Cargle said:

“I refuse to listen to white women cry about something. When women have come up to me crying, I say, ‘Let me know when you feel a little better, then maybe we can talk.’”[3]

One of the most quoted words in “White Fragility: Why It’s So Hard for White People to Talk About Racism.” is this:

“It is white people’s responsibility to be less fragile; people of color don’t need to twist themselves into knots trying to navigate us as painlessly as possible.”[3]  

When white women cry in defense, instead of taking accountability, People of Color are then gaslighted into thinking they’re the bad guy. This is emotional abuse and a manipulation tactic. 

People of Color shouldn’t have to bend backwards to accommodate discomfited white or light-skinned people who have hurt them. 

How She-Ra and the Princesses of Power (SPOP) Did It Right

Despite SPOP having good lgbtq+ representations, there are other biases in the show. Such as Mara, a WOC whose only purpose was to sacrifice herself for the white protagonist. There was also the insensitive joke in their stream regarding Bow’s sibling that perpetuated an Anti-Black stereotype which Noelle Stevenson has apologized for.[14]

But the scene I have encountered where the Black character was validly angry and his feelings were treated well by the narrative, came from SPOP.

Bow, a black character, was validly angry at Glimmer, a lighter skinned character. Glimmer made a lot of bad decisions, one of them was using Adora and their friends as bait, without their knowledge, to lure out and capture Catra.  

Glimmer tearfully apologized in Season 5, Episode 4. Adora readily forgave her. But Bow didn't. 

They faced dangers along the way but the story didn't put them in a dangerous situation where Bow has to forgive Glimmer in order to get out of it. 

This was Glimmer's words of apology:

"Look, I know you're still mad at me. Maybe you'll be mad at me for a really long time. I deserved it. And maybe... maybe we'll never be friends like we used to be. But I'm not going to stop trying to make it better. I made a mistake with the heart of Etheria. I should've listened to you and I'm sorry. You get to be mad. For as long as you need to be. But I'm not going anywhere. And when you're ready, I'll be here."

In short, Bow was allowed to take the time to be mad and not just get over it for someone else’s sake. The story validates his feelings and he was allowed to take his own pace. That is emotional respect the story gave to him.

Example #2: The Narrative Gives Better Endings or Portrayals to Colonizers than Their Victims

Avatar: The Last Airbender has handled dark themes well such as genocide, war, PTSD, disability and redemption with great worldbuilding.

However, I never noticed the racial bias in ATLA until people spoke up of the double standards in ATLA’s treatment of light-skinned colonizers compared to their dark-skinned victims-turned-villains.

The characters in question -Iroh, Azula, Jet and Hama- are all flawed and well-rounded in a believable way. But how the narrative treats them is unequal.

General Iroh is an ex-colonizer who gets to redeem himself and not answer for his past war crimes, living a peaceful life as a tea shop owner. The only reason Iroh changed was when he was personally affected by the negativity of their military subjugation -his son’s death. It wasn’t the harm of the Fire nation ravaging Earth kingdom villages or cities and affecting millions of people that opened his eyes.

Azula, the tyrannical daughter, had closure of her mother's rejection when she was a child and was able to escape imprisonment.

Jet and Hama, victims of colonization who have done bad things, did not get similar conclusions to their stories OR compensation for what they have gone through from the Fire Nation's colonization. 

Jet was given a second chance but was arrested for trying to expose Zuko and Iroh being firebenders -firebenders who were their enemies for conquering their villages. Then he died from the injuries of the person who had brainwashed and mind-controlled him. 

Hama was imprisoned for life. 

Compared to the sins of the light-skinned colonizers, the narrative didn’t give Jet and Hama the development where they could heal from their trauma, receive compensation for what happened to them and really have a chance in life. 

The dark-skinned victims of colonization just became a lesson to the viewers how they shouldn’t hold grudges for being colonized. The end. They have received consequences for their actions but there is no continuation to their stories after that. 

It almost seems like the narrative is saying that because they have harmed colonizers who have no part in their trauma (and in Jet’s case, some Earth kingdom villagers), they are therefore unworthy to be given an actual chance in life. 

While Azula and Iroh, who have actively participated in conquering, colonizing and attacking the Earth Kingdom itself, were.   

Someone once said that if indigenous people have control over Hama’s story, it would have been done differently. But the ATLA crew are white, non-indigenous people who prioritized redeeming colonizers instead.

The narrative has also affected how the ATLA fandom thinks. If most fans are asked who they would want to be redeemed, the popular option would be Azula over Jet or Hama.

Once again, I don’t think the ATLA crew noticed it due to their racial bias. But still, the harm is done and the racially biased message is continued: 

The colonizers and their descendants don’t have to make amends for the colonizers’ crimes. Or if they do, only lightly since it’s in the past (no matter how recent that past is). 

The colonized who rebel will tend to hurt innocent people and then get a grisly end for getting in way over their heads.  

I would venture as far as to say that the narrative may have the  added subconscious desire to quiet their white anxiety on the vengeance of the colonized. As I have learned when writing about Vodou stereotypes and how they have stemmed from the history of white anxiety of Black vengeance, of Black fetishization and of dissolution of the white race through intermarriages.

In @visibilityofcolor’s blog, someone asked:

 “So I saw some of the really heated debates on here and on twitter about how if Iroh and Azula can be portrayed sympathetically despite their actions then characters like Jet and Hama should've been given a chance too. Do you think that the writers understood the implications of only redeeming characters from the colonizer/fascist nation but not giving the characters who suffered because of their fascism a second chance too?”

To which VisibilityOfColor replied:

“No, because at the end of the day, the writers are white. When it comes to stuff like this, it’s no surprise when we see white writers redeem problematic characters before they actually redeem victims of those racist problematic characters. For instance, Dave Filioni, who worked on both avatar and star wars rebels, did the same thing when redeeming agent kallus who was an soldiers in the imperial army and took credit for a genocide. where as victims of the empire were still painted in negative lights. i really don’t think they understand.

They have this ‘be the better person’ view on things, which is what a lot of white people tend to emulate when it comes to people of color standing up to their oppressors. and unfortunately, these are ideas passed on to children, esp minorities. that they should forgive people and communities who hurt them and ‘be the better person’. this is why white ppl don’t need to write narratives for people of color.”

Example #3: The Narrative Favors the Light Skinned Character Than Dark Skinned Character in Similar Situations

I would like to reiterate that racial bias in storytelling is often not intentional. I am not saying the creators and the people who support them are bad people. No.

However, I encourage that once a racial bias is made known in our work, it is our responsibility to change them to stop the perpetuation of its harmful message.

Hazbin Hotel is a popular cartoon with whimsical designs and its concept opens the conversation about redemption. The creator, Vivziepop may not have noticed the racial bias in her cartoon as a white Latina [5] that grew up with and benefits from white privileges, along with the Hazbin crew. 

In the Youtbe video, "Hazbin Hotel - How Art took over Writing", Staxlotl states:

“I understand that there was a lot of time and effort put into this pilot, almost three years worth of effort. But I think most of that time was spent into the art and visuals when it should’ve gone into polishing the writing in the characters.”[6]

Once again, I’m not here to critique the characters but how the narrative treats its dark-skinned characters.

The story treats Charlie, the white-skinned, “Disney-esque” protagonist princess differently from how it treats Vaggie, the dark-skinned, more outspoken and protective Latina girlfriend of Charlie who supports the princess’ cause. 

In its pilot episode, both girls experience humiliation. While Charlie is portrayed by the story as someone the viewers have to feel sorry for...

...Vaggie is portrayed in her humiliation as the butt of the joke for the viewers.

While they both didn’t like what Angel Dust did, Charlie was sympathized over in the narrative as a moment... 

...while Vaggie’s angry but valid callouts were dismissed and ignored as part of the comedy.

While Charlie was someone that needs to be protected in the narrative... 

...Vaggie is left to fend for herself. 

Again, I don’t think the creators noticed the racial bias of their cartoon. However, this racial bias is reflected in the harmful perceptions that dark-skinned women, particularly Black women and Black girls, are more mature, tougher and need less protection at a young age.[7] 

This adultification bias perceives them as challenging authority when they express strong or contrary views and are then given harsher discipline than white girls who misbehave.[8] And this continues when they grow up.

In a 2017 study, Black women and girls aged 12-60 years old confirmed they are treated harsher by their white peers and are accused of being aggressive when they would defend themselves or explain their point of view to authority figures.[8] 

This bias also coincides with the Spicy Latina trope of a brown-skinned, hot-blooded, quick-tempered and passionate woman.

Everyday Feminism described this trope as "Although objects of desire for many, the spicy Latina may have too much personality to handle. So much so that she is often viewed as domineering or emasculating." [16]

Sounds familiar? (Look at Angry Black Woman trope above.)

Why is it that a light-skinned character, Charlie, is allowed to be vulnerable and be sympathized while the dark-skinned Latina character, Vaggie, is mocked, dismissed and expected to tough it out?

Severina Ware had to remind the world in her article that relates to the bias against dark skinned characters:

“Black women are not offered the protection and gentleness of our white counterparts. We are not given permission to be soft and delicate. We are required to exhibit strength and fortitude not only because our lives depend on it, but because so many others depend on us. Black women should not be charged with the responsibility of saving everyone when nobody is here to save us.”[12] 

As @cullenvhenan​ of Tumblr has said in her post:

“if you're a white creator and your brown/black characters are always sassy, reckless, aggressive or cold and your white characters are always soft, demure, shy and introverted you should think about maybe why you did that”

(Image above from Iowa Law Reviews’ “Aggressive Encounters & White Fragility: Deconstructing the Trope of the Angry Black Woman”)

Detecting Your Own Racial Bias

It would be hard. No matter how much you edit and create, you may miss it because it was never your experience. 

So how do we prevent our racial bias from creeping into our creations?

Listen to POC and their feedback.

As @charishjb from Instagram has shared, here is one of the things that we can do (tumblr link here) [9]:

Consider POC voices. Listen to their experiences. Hire sensitivity POC readers. Put multiple POC voices in positions of leadership in creative projects.

Then we can stop the racial bias that perpetuates again and again in the media. I hope for that future.

[low-budget-korra]

Comments on The L Word gen Q s01e05

- I will go to the important part: I don't hate this plot they gave to Angie, but I'm hatting it how they were working on that.

Angie is a teenager and it's normal that they want to discover their origins because it's a phase were we wanted to know more about yourselfs. But let's breakdown this arc

1. The donor doesn't want to know Angie and just didn't wanted to get involved in Bette and Tina family business. Angie don't respect that.

2. Angie is forcing the donor in her family business. And i don't think I need to elaborate on how terrible this is right? wlw already suffer lots of shit because society thinks you need a man to raise a kid.

3.Angie didn't even met this guy and she is already wanting to give her kidney to him. Bruh?

Angie is so fucking spoiled. She doesn't even understand what she is asking her moms and she is pressuring them to agree with her.

And Bette must be rightfully thinking she is a terrible parent just because she didn't have a dick between her legs, Angie didn't even know the donor and already is up to give him a kidney, meanwhile when she talk with Bette and she didn't agree on spot, Angie gets mad at her mom and just leave her talking alone(typical teenager shit).

No seriously, I'm sure Bette and Tina gave everything to Angie, everything she needed and wanted. Just for know Angie start to be all loving and caring towards a fucking donor. I can't.

-Yes Finley, go after someone who knows your worth.

-Did you guys agree that this Angie and Bette conversation is important and all, but it could be done without add the donor right?

Dude, put a scene where they were at dinner in a restaurant, Bette came first and was already waiting for her daughter and some white asshole working on staff didn't let Angie enter because she is black. And Bette saw this and demolish the asshole. You really can do social racial critiques and commentaries without having to invalidate wlw families. And maybe that could be something that instigate Angie to go after her donor, giving more weigh in that decision and not something outta nowhere just because she is a teenager and teenagers are like this. Or even have her sneak on Bette's eye and get out of that social privileged bubble she is in and go to meet other black people that sadly are facing a real different reality. It just didn't have to put the donor drama and even if they wanted to put it, it could be way more serious and important than just cheesy drama to add at he story.

And may be seem beautiful she is giving up her kidney for a donor just because he's also black but I'm fact that is really impulsive

You know what this sound? They saw the BLM and wanted to insert that in the show just because it was trending. Because if they wanted to do because is fucking important, they would to a better writing on it. Giving real purpose and the weight it deserves and not only to crate family drama

- And shut the fuck up Carrie. Tina and Bette are the mothers, so if Bette don't agree with what you're saying, or if she doesn't think your life experience apply here doesn't need to act like Bette is the bad guy. If you really are empathic and not just acting empathic, you will understand that this whole situation is difficult for Bette and she would be stress and defensive about it

-Bette isn't being selfish, she is being reasonable . Angie is the reason why I never want to have kids. Teenage years sucks for both the teens and the parents gz

-Sophie watching Finley just living life and having a good time sex with another woman hahaha karma is a bitch. What, you think Finley was gonna be available every time you wanted? Fuck no. But i think they gonna end the season together though

-Jordi and Angie having some issues. It sucks when we are talking about something that's is important to us and the other person ish listening

-Im hoping the writers not screw Dani and Gigi, their relationship is being so well written to the patterns of this show.

-Give us Carmen and Helena please. I'm begging you

[thecaffeinebookwarrior]

The Importance of Antiheroes

By Brooksie C. Fontaine (me) and Sara R. McKearney 

Few tropes are as ubiquitous as that of the hero. He takes the form of Superman, ethically and non-lethally thwarting Lex Luthor. Of Luke Skywalker, gazing wistfully at twin suns and waiting for his adventure to begin. In pre-Eastwood era films, a white Stetson made the law-abiding hero easily distinguishable from his black-hatted antagonists. He is Harry Potter, Jon Snow, T’Challa, Simba. He is of many incarnations, he is virtually inescapable, and he serves a necessary function: he reminds us of what we can achieve, and that regardless of circumstance, we can choose to be good. We need our heroes, and always will.

But equally vital to the life-blood of any culture is his more nebulous and difficult to define counterpart: the antihero. Whereas the hero is defined, more or less, by his morality and exceptionalism, the antihero doesn’t cleanly meet these criteria. Where the hero tends to be confident and self-assured, the antihero may have justifiable insecurities. While the hero has faith in the goodness of humanity, the anthero knows from experience how vile humans can be. While the hero typically respects and adheres to authority figures and social norms, the antihero may rail against them for any number of reasons. While the hero always embraces good and rejects evil, the antihero may do either. And though the hero might always be buff, physically capable, and mentally astute, the antihero may be average or below.  The antihero scoffs at the obligation to be perfect, and our culture's demand for martyrdom. And somehow, he is at least as timeless and enduring as his sparklingly heroic peers. 

Which begs the question: where did the antihero come from, and why do we need him?

The Birth of the Anti-Hero:

It is worth noting that many of the oldest and most enduring heroes would now be considered antiheroes. The Greek Heracles was driven to madness, murdered his family, and upon recovering had to complete a series of tasks to atone for his actions. Theseus, son of Poseidon and slayer of the Minotaur, straight-up abandoned the woman who helped him do it. And we all know what happened to Oedipus, whose life was so messed up he got a complex named after him. 

And this isn’t just limited to Ancient Greece: before he became a god, the Mesoamerican Quetzalcoatl committed suicide after drunkenly sleeping with his sister. The Mesopotamian Gilgamesh – arguably the first hero in literature – began his journey as a slovenly, hedonistic tyrant. Shakespearian heroes were denoted with an equal number of gifts and flaws – the cunning but paranoid Hamlet, the honorable but gullible Othello, the humble but power-hungry MacBeth – which were just as likely to lead to their downfall as to their apotheosis.

There’s probably a definitive cause for our current definition of hero as someone who’s squeaky clean: censorship. With the birth of television and film as we know it, it was, for a time, illegal to depict criminals as protagonists, and law enforcement as antagonists. The perceived morality of mainstream cinema was also strictly monitored, limiting what could be portrayed. Bonnie and Clyde, The Good the Bad and the Ugly, Scarface, The Godfather, Goodfellas, and countless other cinematic staples prove that such policies did not endure, but these censorship laws divorced us, culturally, from the moral complexity of our most resonant heroes. 

Perhaps because of the nature of the medium, literature arguably has never been as infatuated with moral purity as its early cinematic and T.V. counterparts. From the Byronic male love interests of the Bronte sisters, to “Doctor” Frankenstein (that little college dropout never got a PhD), to Dorian Grey, to Anna Karenina, to Scarlett O’Hara, to Holden Caulfield, literature seems to thrive on morally and emotionally complex individuals and situations. Superman punching a villain and saving Lois Lane is compelling television, but doesn’t make for a particularly thought-provoking read. 

It is also worth noting, however, that what we now consider to be universal moral standards were once met with controversy: Superman’s story and real name – Kal El – are distinctly Jewish, in which his doomed parents were forced to send him to an uncertain future in a foreign culture. Captain America punching Nazis now seems like a no-brainer, but at the time it was not a popular opinion, and earned his Jewish creators a great deal of controversy. So in a manner of speaking, some of the most morally upstanding heroes are also antiheroes, in that they defied society’s rules. 

This brings us to our concluding point: that anti-heroes can be morally good. The complex and sometimes tragic heroes of old, and today’s antiheroes, are not necessarily immoral, but must often make difficult choices, compromises, and sacrifices. They are flawed, fallible, and can sometimes lead to their own downfall. But sometimes, they triumph, and we can cheer them for it. This is what makes their stories so powerful, so relatable, and so necessary to the fabric of our culture. So without further ado, let’s have a look at some of pop-culture’s most interesting antiheroes, and what makes them so damn compelling. 

Note:  For the purposes of this essay, we will only be looking at male antiheroes. Because the hero’s journey is traditionally so male-oriented, different standards of subversiveness, morality, and heroism apply to female protagonists, and the antiheroine deserves an article all her own.

Antiheroes show us the negative effects of systematic inequalities (and what they can do to gifted people.) 

As demonstrated by: Tommy Shelby from Peaky Blinders.

Why he could be a hero: He’s incredibly charismatic, intelligent, and courageous. He deeply cares for his loved ones, has a strict code of honor, reacts violently to the mistreatment of innocents, and demonstrates surprisingly high levels of empathy. 

Why he’s an antihero: He also happens to be a ruthless, incredibly violent crime lord who regularly slashes out his enemies’ eyes. 

What he can teach us: From the moment Tommy Shelby makes his entrance, it becomes apparent that Peaky Blinders will not unfold like the archetypical crime drama. Evocative of the outlaw mythos of the Old West, Tommy rides across a smoky, industrialized landscape. He is immaculately dressed, bareback, on a magnificent black horse. A rogue element, his presence carries immediate power, causing pedestrians to hurriedly clear a path. You get the sense that he does not conform to this time or era, nor does he abide by the rules of society.

The ONLY acceptable way to introduce a protagonist.

Set in the decades between World War I and II, Peaky Blinders differentiates itself from its peers, not just because of its distinctive, almost Shakespearian style of storytelling, powerful visual style, and use of contemporary music, but also in the manner in which it shows that society provokes the very criminality it attempts to vanquish. Moreover, it dedicates time to demonstrating why this form of criminality is sometimes the only option for success in an unfair system. When the law wants to keep you relegated to the station in which you were born, success almost inevitably means breaking the rules. Tommy is considered one of the most influential characters of the decade because of the manner in which he embodies this phenomenon, and the reason why antiheroes pervade folklore across the decades.

Peaky Blinders engenders a unique level of empathy within its first episodes, in which we are not just immersed in the glamour of the gangster lifestyle, but we understand the background that provoked it. Tommy, who grew up impoverished and discriminated against due to his “didicoy” Romany background, volunteered to fight for his country, and went to war as a highly intelligent, empathetic young man. He returned with the knowledge that the country he had served had essentially used him and others like him as canon fodder, with no regard for their lives, well-being, or future. Such veterans were often looked down upon or disregarded by a society eager to forget the war. Having served as a tunneler – regarded to be the worst possible position in a war already beset by unprecedented brutality – Tommy’s constant proximity to death not only destroyed his faith in authority, but also his fear of mortality. This absence of fear and deference, coupled with his incredible intelligence, ambition, ruthlessness, and strategic abilities, makes him a dangerous weapon, now pointed at the very society that constructed him to begin with. 

It is also difficult to critique Tommy’s criminality, when we take into account that society would have completely stifled him if he had abided by its rules. As someone of Romany heritage, he was raised in abject poverty, and never would have been admitted into situations of higher social class. Even at his most powerful, we see the disdain his colleagues have at being obligated to treat him as an equal. In one particularly powerful scene, he begins shoveling horse manure, explaining that, “I’m reminding myself of what I’d be if I wasn’t who I am.” If he hadn’t left behind society’s rules, his brilliant mind would be occupied only with cleaning stables.

However, the necessity of criminality isn’t depicted as positive: it is one of the greatest tragedies of the narrative that society does not naturally reward the most intelligent or gifted, but instead rewards those born into positions of unjust privilege, and those who are willing to break the rules with intelligence and ruthlessness. Each year, the trauma of killing, nearly being killed, and losing loved ones makes Tommy’s PTSD increasingly worse, to the point at which he regularly contemplates suicide. Cillian Murphy has remarked that Tommy gets little enjoyment out of his wealth and power, doing what he does only for his family and “because he can.” Steven Knight cites the philosophy of Francis Bacon as a driving force behind Tommy’s psychology: “Since it’s all so meaningless, we might as well be extraordinary.” 

This is further complicated when it becomes apparent that the upper class he’s worked so arduously to join is not only ruthlessly exclusionary, but also more corrupt than he’s ever been. There are no easy answers, no easy to pinpoint sources of societal or personal issues, no easy divisibility of positive and negative. This duality is something embraced by the narrative, and embodied by its protagonist. An intriguingly androgynous figure, Tommy emulated the strength and tenacity of the women in his life, particularly his mother; however, he also internalized her application of violence, even laughing about how she used to beat him with a frying pan. His family is his greatest source of strength and his greatest weakness, often exploited by his enemies who realize they cannot fall back on his fear of mortality. He feels emotions more strongly than the other characters, and ironically must numb himself to the world around him in order to cope with it.

However, all hope is not lost. Creator Steven Knight has stated that his hope is ultimately to redeem Tommy, so by the show’s end he is “a good man doing good things.” There are already whispers of what this may look like: as an MP, Tommy cares for Birmingham and its citizens far more than any “legitimate” politicians, meeting with them personally to ensure their needs are met; as of last season, he attempted a Sinatra-style assassination of a rising fascist simply because it was the right thing to do. “Goodness” is an option in the world of Peaky Blinders; the only question is what form it will take on a landscape plagued by corruption at every turn. 

Regardless of what form his “redemption” might take, it’s negligible that Tommy will ever meet all the criteria of an archetypal hero as we understand it today. He is far more evocative of the heroes of Ancient Greece, of the Old West, of the Golden Age of Piracy, of Feudal Japan – ferocious, magnitudinous figures who move and make the earth turn with them, who navigate the ever-changing landscapes of society and refuse to abide by its rules, simultaneously destructive and life-affirming. And that’s what makes him so damn compelling.

Who needs traditional morality, when you look this damn good?

Other examples: 

Alfie Solomons from Peaky Blinders. Tommy’s friend and sometimes mortal enemy, the two develop an intriguing, almost romantic connection due to their shared experiences of oppression and powerful intellects. Steven Knight has referred to Alfie as “the only person Tommy can really talk to,” possibly because he is Tommy’s only intellectual equal, resulting in a strange form of spiritual matrimony between the two.

Omar Little from The Wire, an oftentimes tender and compassionate man who cares deeply for his loved ones, and does his best to promote morality and idealism in a society which offers him few viable methods of doing so. He may rob drug dealers at gunpoint, but he also refuses to harm innocents, dislikes swearing, and views his actions as a method of decreasing crime in the area. 

Chiron from Moonlight, a sensitive and empathetic young man who became a drug dealer because society had provided him with virtually no other options for self-sustenance. The same could be said for Chiron’s mentor and father figure, Juan, a kind and nurturing man who is also a drug dealer. 

To a lesser extent, Tony from The Sopranos, and other fictional Italian American gangsters. The Sopranos often negotiates the roots of mob culture as a response to  inequalities, while also holding its characters accountable for their actions by pointing out that Tony and his ilk are now rich and privileged and face little systematic discrimination.

Walter White from Breaking Bad – an underpaid, chronically disrespected teacher who has to work two jobs and still can’t afford to pay for medical treatment. More on him on the next page. 

Antiheroes show us how we can be the villains. 

As demonstrated by: Walter White from Breaking Bad. 

Why he could be a hero: He’s a brilliant, underappreciated chemist whose work contributed to the winning of a Nobel Prize. He’s also forging his own path in the face of incredible adversity, and attempting to provide for his family in the event of his death.

Why he’s an antihero: In his pre-meth days, Walt failed to meet the exceptionalism associated with heroes, as a moral but socially passive underachiever living an unremarkable life. At the end of his transformation, he is exceptional at what he does, but has completely lost his moral standards.

What he can teach us: G.K. Chesterton wrote, “Fairy tales do not tell children that the dragons exist. Children already know that dragons exist. Fairy tales tell children the dragons can be killed.” Following this analogy, it is equally important that our stories show us we, ourselves, can be the dragon. Or the villain, to be more specific, because being a dragon sounds strangely awesome.

Walter White of Breaking Bad is a paragon of antiheroism for a reason: he subverts almost every traditional aspect of heroism. From the opening shots of Walt careening along in an RV, clad in tighty whities and a gas mask, we recognize that he is neither physically capable, nor competent in the manner we’ve come to expect from our heroes. He is not especially conventionally attractive, nor are women particularly drawn to him. He does not excel at his career or garner respect. As the series progresses, Walt does develop the competence, confidence, courage, and resilience we expect of heroes, but he is no longer the moral protagonist: he is self-motivated, vindictive, and callous. And somehow, he still remains identifiable, which is integral to his efficacy.

But let us return to the beginning of the series, and talk about how, exactly, Walt subverts our expectations from the get-go. Walt is the epitome of an everyman: he’s fifty years old, middle class, passive, and worried about identifiable problems – his health, his bills, his physically disabled son, and his unborn baby. Whereas Tommy Shelby’s angelic looks, courage, and intellect subvert our preconceptions about what a criminal can be, Walt’s initial unremarkability subverts our preconceptions about who can be a criminal. The hook of the series is the idea that a man so chronically average could make and distribute meth.

Just because an audience is hooked by a concept, however, does not mean that they’ll necessarily continue watching. Breaking Bad could have easily veered into ludicrosity, if it weren’t for another important factor: character. Walt is immediately and intensely relatable, and he somehow retains our empathy for the entirety of the series, even at his least forgivable.

When we first meet Walt, his talents are underappreciated, he’s overqualified for his menial jobs, chronically disrespected by everyone around him, underpaid, and trapped in a joyless, passionless life in which the highlight of his day is a halfhearted handjob from his distracted wife. And to top it all off? He has terminal lung cancer. Happy birthday, Walt.

We root for him for the same reason we root for Dumbo, Rudolph, Harry Potter: he’s an underdog. The odds are stacked against him, and we want to see him triumph. Which is why it’s cathartic, for us and for Walt, when he finally finds a profession in which he can excel – even if that profession is the ability to manufacture incredibly high-quality meth. His former student Jesse Pinkman – a character so interesting that there’s a genuine risk he’ll hijack this essay – appreciates his skill, and this early appreciation is what makes his relationship with Jesse feel so much more genuine than Walt’s relationship with his family, even as their dynamic becomes increasingly unhealthy and Walt uses Jesse to bolster his meth business and his ego. This deeply dysfunctional but heartfelt father-son connection is Walt’s tether to humanity as he becomes increasingly inhumane, while also demonstrating his descent from morality. It has been pointed out that one can gauge how far-gone Walt is from his moral ideals by how much Jesse is suffering.

But to return to the initial point, it is imperative that we first empathize with Walt in order to adequately understand his descent. Aside from the fact that almost all characters are more interesting if the audience can or wants to empathize with them, Walt’s relatability makes it easy to understand our own potential for toxic and destructive behaviors. We are the protagonist of our own story, but we aren’t necessarily its hero.

Similarly, we understand how easily we can justify destructive actions, and how quickly reasonable feelings of anger and injustice swerve into self-indulgent vindication and entitlement. Walt claims to be cooking meth to provide for his family, and this may be partially true; but he also denies financial help from his rich friends out of spite, and admits later to his wife Skylar that he primarily did it for himself because he was good at it and “it made (him) feel alive.”

This also forces us to examine our preconceptions, and essentially do Walt’s introspections for him: whereas Peaky Blinders emphasize the fact that Tommy and his family would never have been able to achieve prosperity by obeying society’s laws, Walt feels jilted out of success he was promised by a meritocratic system that doesn’t currently exist. He has essentially achieved our current understanding of the American dream – a house with a pool, a beautiful wife and family, an honest job – but it left him unable to provide for his wife and children or even pay for his cancer treatment. He’s also unhappy and alienated from his passions and fellow human beings. With this in mind, it’s understandable – if absurd – that the only way he can attain genuine happiness and excel is through becoming a meth cook. In this way, Breaking Bad is both a scathing critique of our current society, and a haunting reminder that there’s not as much standing between ourselves and villainy as we might like to believe.  

So are we all slaves to this system of entitlement and resentment, of shattered and unfulfilling dreams? No, because Breaking Bad provides us with an intriguing and vital counterpoint: Jesse Pinkman. Whereas Walt was bolstered with promises that he was gifted and had a bright future ahead of him, Jesse was assured by every authority figure in his life that he would never amount to anything. However, Jesse proves himself skilled at what he’s passionate about: art, carpentry, and of course, cooking meth. Whereas Walt perpetually rationalizes and shirks responsibility, Jesse compulsively takes responsibility, even for things that weren’t his fault. Whereas Walt found it increasingly acceptable to endanger or harm bystanders, Jesse continuously worked to protect innocents – especially children – from getting hurt. Though Jesse suffered immensely throughout the course of the show – and the subsequent movie, El Camino – the creators say that he successfully made it to Alaska and started a carpentry business. Some theorists have supposed that Jesse might be a Jesus allegory – a carpenter who suffers for the sins of others. Regardless of whether this is true, it is interesting, and amusing to imagine Jesus using the word “bitch” so often. Though he didn’t get the instant gratification of immediate success that Walt got, he was able to carve (no pun intended ��� carpentry, you know) a place for himself in the world. 

Jesse isn’t a perfect person, but he reminds us that improving ourselves and creating a better life is an option, even if Walt’s rise to power was more initially thrilling. So take heart: there’s a bit of Heisenberg in all of us, but there’s also a bit of Jesse Pinkman. 

The savior we all need, but don’t deserve.

Other examples:

Bojack from Bojack Horseman. Like Walt, the audience can’t help but empathize with Bojack, understand his decision-making, and even see ourselves in him. However, the narrative ruthlessly demonstrates the consequences of his actions, and shows us how negatively his selfishness and self-destructive qualities impact others.   

Again, Tony Soprano. Tony, even at his very worst, is easy to like and empathize with. Despite his position as a mafia Godfather, he’s unfailingly human. Which makes the destruction caused by his actions all the more resonant.

Antiheroes emphasize the absurdity of contemporary culture (and how we must operate in it.)

As demonstrated by: Marty Byrde from Ozark.

Why he could be a hero: He’s a loving father who ultimately just wants to provide for and ensure the safety of his family. He’s also fiercely intelligent, with excellent negotiative, interpersonal, and strategic skills that allows him to talk his way out of almost any situation without the use of violence.

Why he’s an antihero: He launders money for a ruthless drug cartel, and has no issue dipping his toes into various illegal activities.

Why he’s compelling: Marty is an antihero of the modern era. He has a remarkable ability to talk his way into or out of any situation, and he’s also a master of using a pre-constructed system of rules and privileges to his benefit.

In the very first episode, he goes from literally selling the American Dream, to avoiding murder at the hands of a ruthless drug cartel by planning to launder money for them in the titular Ozarks. Despite his long history of dabbling in illegality, Marty has no firearms – a questionable choice for someone on the run from violent drug kingpins, but a testament to his ability to rely on his oratory skills and nothing else. He doesn’t hesitate to engage an apparently violent group of hillbillies to request the return of his stolen cash, because he knows he can talk them into giving it back to him. The only time he engages other characters in physical violence, he immediately gets pummeled, because physical altercation has never been his form of currency. Not that he’s subjected to physical violence particularly often, either: Marty is a master of the corporate landscape, which makes him a master of the criminal landscape. He is brilliant at avoiding the consequences of his actions. 

It’s easy to like and admire Marty for his cleverness, for being able to escape from apparently impermeable situations with words as his only weapon. He’s got a reassuring, dad-ly sort of charisma that immediately endears the viewer, and offers respite from the seemingly endless threats coming from every direction. He unquestionably loves his family, including his adulterous wife. As such, it’s easy to forget that Marty is being exploited by the same system that exploits all of us: crony capitalism. The polar opposite of meritocratic capitalism – in which success is based on hard work, ingenuity, and, hence the name, merit – crony capitalism benefits only the conglomerates that plague the global landscape like cancerous warts, siphoning money off of workers and natural capital, keeping them indentured with basic necessities and the idle promise of success.

Marty isn’t benefiting from his hard work in the Ozarks. Everything he makes goes right back to the drug cartel who continuously threatens the life of him and his family. He is rewarded for his efforts with a picturesque house, a boat, and the appearance of success, but he is not allowed to keep the fruits of his labor. Marty may be an expert at navigating the corporate and criminal landscape, but it still exploits him. In this manner, Marty embodies both the American business, the American worker, and a sort of inversion of the American dream.

In this same manner, Marty, the other characters, and even the Ozarks themselves embody the modern dissonance between appearance and reality. Marty’s family looks like something you’d respect to see on a Christmas card from your DILF-y, successful coworker, but it’s bubbling with dysfunctionality. His wife is cheating on him with a much-older man, and instead of confronting her about it, he first hired a private investigator and then spent weeks rewatching the footage, paralyzed with options and debating what to do. The problem somewhat solves itself when his wife’s lover is unceremoniously murdered by the cartel, and Wendy and Marty are driven into a sort of matrimonial business partnership motivated by the shared interest of protecting their children, but this also further demonstrates how corporate even their family dealings have become. His children, though precocious, are forced to contend with age-inappropriate levels of responsibility and the trauma of sudden relocation, juxtaposed with a childhood of complete privilege up until this point.

Conversely, the shadow of the Byrde family is arguably the Langmores. Precocious teenagers Ruth and Wyatt can initially be shrugged off as local hillbillies and budding con-artists, but much like the Shelby family of the Peaky Blinders, they prove to be extremely intelligent individuals suffering beneath a society that doesn’t care about their stifled potential. Systemic poverty is a bushfire that spreads from one generation to the next, stoked by the prejudices of authority figures and abusive parental figures who refuse to embrace change out of a misguided sense of class-loyalty. 

Almost every other character we meet eventually inverts our expectations of them: from the folksy, salt-of-the-earth farmers who grow poppies for opium and murder more remorselessly than the cartel itself, to the cookie-cutter FBI agent whose behavior becomes increasingly volatile and chaotic, to the heroin-filled Bibles handed out by an unknowing preacher, to the secrets hidden by the lake itself, every detail conveys corruption hidden behind a postcard-pretty picture of tranquility and success.

Marty’s awareness of this illusion, and what lurks behind it, is perhaps the greatest subversion of all. Marty knows that the world of appearance and the world of reality coexist, and he was blessed with a natural talent for navigating within the two. Like Walter White, Marty makes us question our assumptions about who a criminal can be – despite the fact that many successful, attractive, middle-aged family men launder money and juggle criminal activities, it’s still jarring to witness, which tells us something about how image informs our understanding of reality. Socially privileged, white-collar criminals simply have more control over how they’re portrayed than an inner-city gang, or impoverished teenagers. However, unlike Walt, Marty’s criminal activities are not any kind of middle-aged catharsis: they’re a way of life, firmly ingrained in the corporate landscape. They were present long before he arrived on the scene, and he knows it. He just has to navigate them. 

Just like our shining, messianic heroes can teach us about truth, justice, and the American way, so too does each antihero have something to teach us: they teach us that society doesn’t reward those who follow its instructions, nor does it often provide an avenue of morality. Even if you live a life devoid of apparent sin, every privilege is paid for by someone else’s sacrifice. But the best antiheroes are not beacons of nihilism – they show us the beauty that can emerge from even the ugliest of situations. Peaky Blinders is, at its core, a love story between Tommy Shelby and the family he crawled out of his grave for, just as Breaking Bad is ultimately a deeply dysfunctional tale of a father figure and son. Ozark, like its predecessors, is about family – the only authenticity in a society that operates on deception, illusion, and corruption. They teach us that even in the worst times and situations, love can compel us, redeem us, bind us closer together. Only then can we face the dragons of life, and feel just a bit more heroic.

Other examples:

Don Draper from Mad Men. A similarly Shakespearian figure for the modern era, Don is a man who appears to have everything – perfect looks, a beautiful wife and children, a prestigious job. He could have stepped out of an ad for the American Dream. And yet, he feels disconnected from his life, isolated from others by the very societal rules he, as a member of the ad agency, helps to propagate. It helps that he’s literally leading a borrowed life, inherited from the stolen identity of his deceased fellow soldier, and was actually an impoverished, illegitimate farmboy whose childhood abuse permanently damaged his ability to form relationships. The Hopper-esque alienation evoked by the world of Mad Men really deserves an essay all it’s own, and his wife Betty – whose Stepford-level mask of cheerful subservience hides seething unhappiness and unfulfilled potential – is a particularly intriguing figure to explore. Maybe in my next essay, on the importance of the antiheroine.

[elizabeth-mitchells]

Sam Fraser Has a Good Day

Chapters: 1/1 Fandom: Fear Street Trilogy (TV) Rating: General Audiences Warnings: No Archive Warnings Apply Relationships: Samantha "Sam" Fraser/Deena Johnson Characters: Samantha "Sam" Fraser (Fear Street), Deena Johnson Additional Tags: Post-Canon, Not Canon Compliant, Everyone Is Alive, Nightmares, Breakfast, Mild Hurt/Comfort, Napping, Dancing, Late Night Conversations, Making Out, Kissing, Fluff without Plot, Domestic Fluff, Romantic Fluff, Tooth-Rotting Fluff, Fluff, literally what the title says Words: 2401

In the span of a couple of days, Sam Fraser was: in a car crash, chased by several undead killers, used as bait, almost overdosed, drowned, possessed, tied up in the trunk of a car, hit in the head several times... and somehow she survived.

She deserves a good day. She deserves to: stay in her girlfriend's house and steal her sweaters, sleep until noon, have a good breakfast, eat jello in peace, get clean bandages, play video games, eat ice cream, take a nap, dance to her favorite songs, go on a late-night drive for cheeseburgers, and cuddle and kiss her girlfriend the entire day.

Sam wakes up startled, as usual. She is gasping for air and sitting up hastily. Was she having a nightmare? Is she stepping into a nightmare now? Because she can tell she’s wearing one of Deena’s t-shirts. But what if her mom sees her? Is she going to catch her? Should she start running from something, or keep herself from running toward something? 

“Sam?”

That soft voice is the one that breaks the spell.

“Deena,” Sam sighs. 

“Hey, it’s okay, you’re okay,” Deena whispers, tentatively wrapping her arms around her girlfriend. Instantly, she feels Sam relax in her embrace.

“Sorry,” Sam mumbles, tucking her face on the crook of Deena’s neck. “Just a nightmare.”

“I got you,” Deena says softly. She places a kiss on Sam’s forehead and carefully guides them to lay down again. “It’s early. Why don’t you go back to sleep?” Deena asks, realizing right after that Sam fell asleep before answering at all.

--

A couple of hours later, Sam wakes up again. This time there are no nightmares, no screams of terror caught in her throat, no reaching out blindly for air or a weapon. She wakes up slowly, clutching the heavy blanket that covers her body, yawning without restrain, and eventually opening her eyes slowly. The first thing she does is look for her girlfriend, and she finds her sitting at the foot of the bed, sketching on a notebook with an endearing frown of concentration on her face.

“Good morning,” Sam says through a new yawn.

“Well,” Deena smirks fondly at her, “it is closer to noon now, but good morning to you too, baby.”

“What? Noon?” Sam frowns and attempts to rub the sleep off her eyes. “Since when do I sleep longer than you?” Sam asks, and puts on a pout on her lips for her next question, “And why are you so far away?”

Deena chuckles affectionately at her and puts away her pencil and notebook. She crawls back to her girlfriend and playfully flops down beside her. “Hey,” Deena greets her with her signature raspy tone. She receives a dreamy “hi” and a soft peck on the lips in response. Afterward, she explains, “To answer your question, I just thought you deserved a day to sleep in.” When Sam gives her a look of pleased surprise, Deena adds, “In fact, I think you’ve earned a full day, just for you, to rest and enjoy.”

“Deena, you don’t have to do that,” Sam attempts to protest, right before her girlfriend interrupts her with a kiss that turns into two, and three, and four, and soon enough they simply lose count.

--

Deena’s plans encounter an obstacle as soon as they manage to leave the comfort of her room to go make breakfast. Sam was fresh out of the shower, wearing one of Deena’s t-shirts this time. Deena barely gets to open the fridge before Sam tries to intervene with a soft-spoken, “Let me.” It’s safe to say that Deena puts up quite a fight, though.

“I just wanted to take care of you for one day, okay?” She insists. “You fucking deserve it.”

“That’s sweet,” Sam replies, feeling absolutely endeared. She leans in and places a kiss on Deena’s forehead, and Deena tries and fails to keep up her frown. “Listen, I appreciate it, and I love you for it, okay?” Sam says, giving Deena’s lips a small kiss. “But consider this. One, you already took care of me at my worst. Two, a perfect day, for me, means that you get to enjoy it too, and I get to take care of you too, got it? And three… do you really want to burn my breakfast on my special day?”

Sam attempted to quickly kiss Deena’s cheek and run away, but the brunette was quick enough to reach out and take her in her arms, ticking her in revenge for the not-unfounded critique of her culinary skills.

--

After their meal, the two girls make their way to the living room’s couch, where they are free to cuddle and exchange lazy kisses for as long as they could possibly want. Eventually, though, Deena finds the strength to pull away long enough to have an actual conversation.

“So, while you were sleeping, Kate and Simon stopped by,” Deena says. “Everyone feels kind of bad about you, you know, getting possessed and shit.” Deena pauses with a grimace, not proud of her choice of words, but Sam quickly kisses her cheek to urge her to go on. Deena begrudgingly stands up from the couch, to look for a certain bag, and explains, “Josh, oh so generously, gave us the gift of privacy and he is staying the fuck away from home for the day. He’s sleeping at Simon’s house. Also, he says you can play his video games, if you want. And… Kate and Simon brought all this.”

Deena drops a bag from the Grab N’ Bag on the couch and Sam eagerly looks through its contents. She gasps, “Finally!” And pulls out one of many packets of jello. 

Deena’s love-sick laugh spills right out of her lips. “You’re adorable,” Deena says before kissing the top of Sam’s head and climbing back to the couch beside her. “There’s also popcorn, chips, ice cream is in the fridge, a couple of your favorite movies that I think were yours in the first place and they’re just returning, and a happy birthday card because they don’t exactly make cards for the shit we’ve lived,” Deena explains, content to watch her girlfriend smile and nod happily while enjoying her jello. Then she clears her throat and not so contentedly adds, “We also have a bunch of uh, fresh bandages and stuff.”

The two girls exchange a look and understand exactly what this means.

--

“This is not what I had in mind when I planned to give you a perfect day,” Deena says. She is sitting on the bathroom counter without a shirt on while Sam gives the final touches to the fresh bandage on Deena’s stomach. At the beginning, her hands were shaking with guilt, and fear, but she quickly got them under control and lovingly worked on the healing wound that a different version of herself caused.

“I told you,” Sam insists without looking away from her work. “I also want to take care of you, you know?” She is standing there without her shirt on, with an equally fresh bandage on her back.

When Sam iss done, Deena gently grabs her hands and moves them up to her lips to kiss them sweetly. “Thank you,” she whispers.

Sam turns breathless at the gesture. She feels butterflies in her stomach and decides to tell Deena how much she’s enjoying her day. Speechless as she is though, Sam only thinks to lean forward and connect their lips, determined to kiss her girlfriend until they lose track of time.

--

Some time later, Sam finds herself comfortably seated on her girlfriend’s lap, wearing her sweater again, and biting her lip in great concentration as she tries to succeed at one of Josh’s video games.

“You nerd, I can’t believe you’re into this,” Deena chuckles fondly behind her.

“Hush, I almost got it,” Sam mumbled.

As much as Deena wants Sam to win whatever game that is, she thinks it would be a crime to hold herself back in a position as convenient as this one. So she moves Sam’s blonde hair out of the way and starts placing feather-light kisses on her neck. At first, Sam tries to ignore her. Then, she squirms just a little. After a very effective bite from Deena, a small whimper escapes from Sam’s lips.

“Tell me,” Deena starts saying with a seductive whisper. “Do the other cheerleaders know you’re secretly a dork?”

That finally gets Sam to stop the game and turn around with a gasp. “Deena!” she protests, although she’s laughing. And she crashes her lips together. She would hate to let Deena win so easily, but she feels much more like a winner in this situation.

--

Sometime in the afternoon, Sam wakes up on the couch with her head on Deena’s chest. She’s so perfectly comfortable and warm and safe, that she starts to feel suspicious. She didn’t even have a bad dream at all. She starts to fearfully consider this might be nothing but a dream about to turn into a nightmare, but then she moves her head up to look at her girlfriend and her worries vanish all at once. Deena is still asleep, she’s frowning a little and her lips are slightly parted as she adorably mumbles in her sleep. The feeling of love and adoration in Sam’s chest is so strong and so real that she doesn’t have any doubt this has to be her reality. 

After all the pain, the fear, and the danger of it all, this is real, and they earned it. It’s not even just about those days of extreme violence when they ended the curse, it’s even bigger than that. It’s a moment of well-earned peace and happiness that’s been more than three hundred years in the making. They have been fighting for this moment their entire lives, and they were so close to losing hope forever, but they made it. Deena was right, they fucking deserve it.

So, Sam makes a couple of decisions. First, she decides it’s best if they go one day without watching a horror movie. As much as she loves them, they have had enough horror for a while. And two, she decides that continuing her nap is the perfect way to honor Deena’s wish of giving her a perfect day. She gets comfortable again on top of her girlfriend and drifts back to sleep.

--

Not too long later, Sam and Deena are in the middle of a tube of ice cream and halfway through watching Grease. Well, Deena is watching the movie. Sam is a little more focused on the extremely amusing sight of Deena trying to avoid smiling at the movie.

“Oh my God, you love it,” Sam keeps giggling whenever Deena slips up and grins at the movie on the television screen.

“No, I fucking don’t,” Deena rolls her eyes, makes no move to quit the movie, and adds through gritted teeth, “I just acknowledge that it’s a classic.”

Her words only make Sam smile even brighter as she continues to take spoonfuls of ice cream and marvel at the sight of her girlfriend.

--

A perfect day, of course, wouldn’t be complete without listening to the mixtape Deena made for Sam, and dancing in the middle of her bedroom without a care in the world.

Sam is the one that starts dancing, swinging her arms around, not very gracefully. And Deena shakes her head at her with extreme fondness. “You are a weirdo, Sam Fraser,” she says, making her girlfriend laugh, completely unaffected by the comment.

“Dance with me,” Sam replies with a carefree grin on her face. She steps forward and pulls on Deena’s arms until she convinces her to dance with her.

As usual, Deena tries to put up a fight that she loses as soon as she stares into precious blue eyes. There’s not a thing she wouldn’t do for Sam. They already had to do the most extreme things for each other. How could she refuse her girlfriend a dance?

It’s a perfect evening to a perfect day. The two of them dance to their favorite songs, laugh wholeheartedly, kiss without holding back, jump and spin and fall in each other's arms again and again, as if falling in love all over with every new song.

--

As comfortable as it would be to stay home for the last few hours of the day, the perfect dinner to complete the day means getting cheeseburgers. Not even Deena complains about the idea. After all, she always loved driving around town with Sam in the passenger seat, humming along to the songs on her mixtape, her blonde hair glowing under the streetlights they passed, completely comfortable silence between them, without a destination in mind. 

They park the car at a familiar spot. They eat their cheeseburgers, playfully feed fries to each other, and have a perfectly good time. Conversation flows easily between them, reminiscing of old memories or sharing dreams of a bright future that starts to feel more possible than ever before.

When Sam starts yawning, Deena is quick to point out, “You’re sleepy.”

“Am not,” Sam scoffs in that very particular way that tells Deena her girlfriend is blatantly lying.

“Don’t fall asleep on me, Fraser. How rude,” Deena teases her.

Sam giggles happily in response. She can’t deny she’s looking forward to returning home to Deena’s bed, but she genuinely loves to put up a fight against her girlfriend, no matter how often she ends up losing. 

“I’m very awake,” Sam insists, a knowing look on her face because she can easily predict Deena’s answer.

“Prove it,” Deena says.

Even before she’s done saying the words, Sam is leaning in to kiss her. They kiss, again and again, until Sam whispers against Deena’s lips, “Take me home.”

--

It’s well past midnight when Sam and Deena finally agree that even perfect days must come to an end. They lie in Deena’s bed, facing each other, legs tangled together, often exchanging kisses or sweet words that only exist in that vulnerable space between them.

“Thank you,” Sam whispers. She pushes a stray brown curl behind Deena’s ear, then her hand rests for a moment there on Deena’s cheek, her thumb lovingly caressing her skin.

“I told you,” Deena replies in an equally hushed tone even though they have the entire house for themselves. “You deserve it,” she adds, then she turns her head just enough to place a small kiss to the inside of Sam’s wrist, making the blonde smile timidly.

“I’m not talking about today,” Sam says. She considers explaining that she means she’s saying thank you for absolutely every moment they spent together since they met, but…

“I know,” Deena says. Her smile widens and she adds, “Just so you know, I also enjoyed today, a lot. So thank you too.”

Sam replies with a sweet kiss to Deena’s lips. Then the two of them cuddle closer and slowly, peacefully, happily drift off to a good and restful night of sleep.

[youwontlikethisblog]

Betty's New Look

Previously I talked about Armando's rivalry with Nicolas and how that also motivates him to continue the affair with Betty. I've also talked about how Armando displays signs of s. addiction. I felt it was important to break that down to really understand this post in particular.

By understanding what motivates Armando in his quest to have affairs and understand why the man is so obsessed with the beauty standards of women we can now understand his behavior towards Betty.

I mentioned in that post that I have an OC that is portrayed to have s. addiction and how much research I had to make so I could write it correctly. However I didn't mention or explain as much something vital that I see in Armando as well.

Seggs can many times not only be a form of escapism or control but many times for reasons of self-esteem/worth. If the person believes that the only way they can ever feel wanted or loved is by acts of s. than they will often participate in said behavior to feel that way.

With Armando he doesn't only do it to escape the chains of a pre-planned destiny by his parents and fiancé but because he also doesn't really feel loved and he uses these models as a from for him to feel that way or at least wanted,(I mean the only thing he has that keeps his relationship with Marcela together is their seggsual relationship.) he doesn't only do it to feel like he has control over that part of his life.

I mentioned in another post that women enter Armando through the eyes. He is a very physical man. He is superficial when it comes to the women he sleeps with. He grew up in the fashion world where the standard is tall and thin. The beauty of women can only be found in those types.

What does this have to do with Betty's new look?

Though we've established that Armando is attracted to her personality, he isn't of her physical appearance. Does that make him a bad person? No. Sometimes it happens. Sometimes we find someone's personality so much more attractive than their outer appearance but we still dare to date them. Women are often told "you're too pretty for that man" because of this.

Armando isn't a bad person for that and he accepts to a certain degree that he is attracted to her personality but because he is such a superficial and perfectionist with the body of a woman he denies this. He denies any and all attraction to her for this exact reason.

He finds it so hard to understand why he would still be attracted to Betty and why he likes her kisses when he doesn't look at her as a seggsual object like he does to all the women he has had affairs with and that's because unlike those women Betty isn't a seggsual object and that throws him off.

Lets considered the fact that when he repeated what Bertha told him about Nicolas, that he didn't even think of her with a bad thought(one could assume she meant a perversive thought.) as he tells this new piece of information to Mario he said so surprised and when Mario said that it made sense to not think of her in that way he agreed. In an instant he contradicted himself. In his tone he seemed surprised that a man wouldn't think of Betty so much even with a bad thought but that he understood that no one would? To some degree, to some far end distance, Armando does view Betty as a woman but not enough to actively desire her as one like he has in the past with the models.

(I'll talk more about this when we get to the B-Day episodes 😏)

In the past when Marcela got a new look he commented on it. It was the first thing he mentioned as he said she looked great(Betty was a witness to this). However when he see's Betty's new look he doesn't even comment on it. For one because he doesn't want to hurt her feelings and two because he doesn't want to lie so she keeps looking like that.

I think, in my very personal and humble opinion, that Betty looks fine. What ruins the fit is her hair but it is very 70's office chic. Like lets be honest if they took off the bangs, did a middle part, defined those curls, and didn't apply that much blush and lined her lips, she'd look so cute. Unibrow and braces with the glasses, Betty would slay. She'd look like a cute dorky person.

She IS very gorgeous to me!

I will fight anyone who disagrees with this and I will set up a time and date for it!

Now that we have established Armando's hesitation to accept Betty's physical appearance and why he doesn't want to comment on it lets begin.

In this episode Betty had just arrived to Eco Moda, her friends went to see her new look in her office as if she were the main attraction at the zoo and when leaving her office Armando over heard their commentary on it, once again being witness to the critique of Betty behind her back as none of them wanted to tell her how awful they thought she looked and they were her supposed close friends.

Marcela then enters his office and they talk about how Patty thought Marcela had caused those bruises on Armando, who tells her that the cuartel thinks the same and they start to flirt and then make out.

Just as they start to Betty exits her office.

Armando's reaction is a pissed off one. We see him roll his eyes and clench his teeth while he has his lips tight, even Marcela comments on it.

"My love you don't have to get so upset."

"No it's just embarrassing for all of us." He says and walks behind his desk and sits.

Betty struggles to speak for a second before grounding herself and saying that she just wanted to excuse herself to go to Marcela's office so she could sign the paper work for the loan they were giving Sofia.

Marcela only stared at her for a bit before she couldn't look at her without bursting into laughter right there and then.

Betty doesn't make eye contact with Armando he however stares at her with a concern look on his face, which is very different than his first reaction to Betty being in the room.

Now he watches Marcela sign the paper, he's got a crease between his brows that are furrowed, his eyes are saddened and his mouth slightly parted but still slightly tense.

This is a look of worry.

Betty excuses herself and Armando watches her leave while Marcela starts to laugh(Natalia really nailed the mean girl laugh).

As Marcela starts to make fun of her Armando asks her not to make fun of her and she tells him that whoever did her hair didn't curl it but stuck her into the electricity socket. Armando stares at her as she says these things with his lips pursed while squinting his eyes at her as she laughs.

He disapproves of what she's saying and it angers him that she is HOWEVER in a very classic manor he doesn't tell her any of this. Unlike the previous night that he literally started to hit the guys who were saying these awful things to her, saying that they had to respect her, here he stays silent. He doesn't even yell at her. Instead he turns around and goes to his computer.

I'm not saying that Armando should have hit Marcela lmbo! That would be bad and inexcusable! What I'm saying is that again we're shown the contrast and contradictions of Armando. While with complete strangers he demands for Betty to be respected and treated well he can't to that with Mario or Marcela. Not only because Marcela would get jealous and throw a fit about him telling her to be respectful but because he'd also give her cuerda(rope) to suspect and continue being controlling and with Mario because Mario would make him miserable if he shared even a fraction of his confusion or talked through his feelings about it all because he's tried it in the past but each time Mario makes a joke about it and he just shuts down. He's a coward to face the people in his life that really matter because he doesn't want to face the consequences of liking a woman like Betty.

The girls asked Betty if anything is wrong and she tells them no. Betty expressed her guilt and how she feels terrible whenever she sees Marcela and how she has walked in on them kissing and Armando making it obvious that he was angry that she interrupted them(It also explains his worried expression in the latter of said scene).

I've noticed many people just lump Betty as the insecure girl because of romance and that's really where her depth ends but Betty is a very complex individual here too(and I really want to make a more detailed post about it!).

She navigates a world that overall treats her poorly only because she's "ugly" but inside Eco Moda she navigates a world that actively prays for her downfall and who humiliate her in front of many only for the reward of laughing at her expense be their personal satisfaction. Yes she's dealt with bullying and people excluding her because they think she's ugly all her life but the cruelty that she faces in Eco Moda goes beyond and above.

These people are supposed to all be people of class, people she views as superior to her in all aspects. It isn't just humiliation that she faces for her physical appearance but she faces an over all humiliation for simply being a human existing and even then, even as she feels so terrible of herself, as she hates the way that they humiliate her, she still thinks of them superior to her and their opinion matters to her and because of this, despite their disgusting behavior, Betty still has some respect for them on the professional side. She still respects their authority inside Eco Moda and their vitality to the well being of the company.

Betty is such a sweet person at this stage of the novela that she still respect these people but it's so hurtful to see because she also does this because she thinks she deserves this.

Trauma affects a person in more than one way. Her life experience has been painful, isolated, grim, cruel, and lonely; add the traumatic relationship she had with Miguel to this, Betty doesn't have a self-esteem. She doesn't have a sense of self-worth. Betty, in such a terrible an awful way, believes that she isn't deserving of respect for simply existing, much less of voicing how it makes her feel when they treat her the way they do.

She doesn't understand why her father takes so much care of her. She doesn't understand why anyone would ever be nice to her. She's shy, timid, reserved, afraid. This is exactly why she was so impacted by Armando's behavior towards her. It wasn't just because she has no self-esteem. It's that someone treated her as a human being worthy of respect for simply doing her job and existing.

In the following scene, which is a parallel of a scene I previously talked about(post You Betrayed Me!) Armando's behavior is vastly different.

While in the past when he heard them making these crude jokes at the expense of her[Betty] boyfriend Armando seemed scared, angry, worried, and humiliated to a certain degree but this time his demeanor is different. This time he squints his eyes at Patty. He looks at Marcela with disapproval without hiding it. He visibly looks pissed.

"Did you see her clothes? No one would undress her with that!" Patty and Marcela laugh.

"Who would want to undress her?" Marcela says and they cackle, seriously, they cackle a lot. "I think Beatriz goes to the gyno and he tells her not to get undressed, that he'll examine her over her clothes."

"Obviously! She'd tell him "Doctor could I get undressed?" she mocks Betty's voice. " and the Doctor would tell her "No please, please! Don't do it! I beg of you!" she clasp her hands in front of her, pretending to be the Doctor begging. Armando had passed by her, squinting his eyes and now he's behind Marcela, far away, still hearing their conversation staring at them in disbelief and anger.

"Could you imagine what it must be with the boyfriend?" Patty says while Marcela laughs.

"No! See, she's so ugly that he doesn't kiss her, he hits her." they laugh. Armando stares at Marcela with disdain.

"Again with the jokes against Betty?" Marcela turns to him laughing.

"No. No they're not about Betty. They're about Betty's boyfriend." this time, unlike before, he doesn't change his emotions. He squints his eyes at Marcela once more. "and what he has to face tonight once he sees her." She covers her face laughing.

"Maybe he already saw her." to Marcela this line holds no meaning but to the audience it does and it isn't only for comical effects. Armando is now saying that her[Betty] boyfriend already saw her i.e. him. He is now out loud in his own way confronting the fact that he is her boyfriend to himself, while before he wasn't even able to say it to Betty or himself this time he's confronting himself about it.

Betty walks past Armando and he watches her as she walks towards Marcela and Patty who are still laughing, she bumps into Hugo who laughs at her, and they don't hold back at making it obvious that they are laughing at her and making jokes behind her back.

"Who is that creep?" Hugo voices loudly. Armando turns to glare at him. "Betty's cousin?"

"No Hugito that's the very same Betty but like a new version." Patty says.

"She went with the enemy so they could dress her and style her hair." Marcela says.

"What hairdresser? Because he didn't do highlights, he did lightning bolts." Hugo jokes.

The model and the rest laugh while Armando visibly controls his anger, but doesn't hide it or pretend to be unbothered as he shakes his head at Marcela and Patty and marches away from them.

Compare this to his previous reaction, while Marcela knew that Armando didn't like that she was making fun of Betty the other time he didn't actually voice his disapproval, he even laughed at one of the jokes that Patty made until he heard Marcela call him[Nic] a Multi-Millionaire. This time he finds no humor, he doesn't even feel offended that their making fun of Betty's boyfriend or hurt, he feels furious that they are.

However in the following scene all of that good behavior is squashed like a bug. He sits with Calderon talking bad about Betty's new look.

While Calderon tries to make him be a good boyfriend Armando scoffs and questions "praise her new look?"

"You haven't praised her new look?" Calderon whispers alarmed. "What are you? A beast? An animal? An ignorant!" he hisses. "Look there's nothing worse, nothing that humiliates a woman more, that tramples her ego, that ends her love for a man than you not praising her new look."

"What? Do I give her four hallelujahs for the hairdo? What?"

"No but Betty isn't the only woman that goes through that, my god. Almost all women are a disaster when they change their look but you still praise her new look! It's that simple." Armando sighs. "Look when a woman changes her look she changes it for A: her husband. B: the lover. In this case we have one true god." Armando purses his lips and rolls his eyes. "So then my dear god, praise the new look."

"She won't believe me. She won't believe me. The entire world has made fun of her for it. She'll think I feel pity for her, consoling her, or or worse that I'm making fun of her like the rest.

"Then the time for you to demonstrate to her that you're really serious[about this], that your love goes beyond the physical(goes on to list all of her physical flaws)" Armando looks pained to be the poor fool to have to "Accept" this. "well the list is long but if I were you I'd make love to her just as she is." Armando slowly, repeatedly blinking, turns to look at Mario. "well it's the only way for you to show her that you love her, that you desire her."

"Be very careful, Calderon, because with the simple fact that I already kiss her, with that fact alone, I'm paying in life what I should be paying in death." He whispers. "And besides I'mma tell something for me... to do that to her, never. Just thinking about it gives me goosebumps." He stands up.

"Well you better start to prepare yourself. Where do you have Adrianita's picture?"

Yes I've talked about how women enter Armando through the eyes but that doesn't justify his behavior, it merely explains it. The objectification he has on women as seggsual beings clouds his judgement and blinds him to see past that. While he doesn't like that people make fun of Betty, he does worse. He doesn't make fun of her, he verbally humiliates her by the mere fact that he compares kissing her to a punishment, that he finds her affection to be a torment only for the fact that she's "ugly".

Armando continuedly flip flops from caring about Betty and her best interest to only caring about his. We're barely starting to see him take notice of Betty's interest but he still focuses mostly on what he wants and what he feels comfortable with. He doesn't once wonder if Betty does.

He finds her kisses a punishment because she isn't pretty. He finds her affection a torment because she isn't pretty. If she had the body and face of AA and the personality of Betty mans would proclaim it to the four winds and the seven seas. He would dump Marcela on the spot for her.

People are allowed to have types, we all have them. When do we draw the line between types and actively dehumanizing a certain group of people? When it no longer is based on preference but hatred and fear of said group.

Armando to this point hates that Betty isn't society's beauty standard. He hates that she isn't his idea of woman perfection but he lives tormented by the fact that he still cares about her. That he doesn't like it when people treat her poorly or make fun of her. That he hates it when they dehumanize her, (except he's a hypocrite because he does the exact same thing and he allows his best friend to do that exact thing.) and that he secretly enjoys her kisses and her affection. He hates all of this which is what truthfully makes him a miserable piece of ish.

These episode however are meant to help Armando accept Betty's physical appearance to a certain degree(lol I'm saying that a lot). He is forced to accept that he can't control the way a woman looks and that he can't change it either(I'll talk about this in the next post) Here he is faced with Betty's new look and he's forced to think about her feelings first than his own. He's confronted within himself that he is Betty's boyfriend. He is forced to find a way to tell her that her new look isn't it without tearing her confidence to shreds.

In other words Armando is forced to accept that Betty isn't a seggsual object but just because of that it doesn't mean she should get treated horribly. That the respect she deserves isn't only because of how good she is at her job but because she's a human, a person with feelings and with struggles of her own and that he doesn't like it that people don't see that.

But it foreshadows as well that he also has to accept Betty's physical appearance as it is and be okay with the attraction he has towards her, or at least prepare himself to accept that attraction.

Now as Armando and Calderon talk about how hot AA is Betty interrupts and leaves the office but overhears Armando call AA a mamasita and say that if she ever showed up that he'd throw everything away and marry her on the spot.

She seems annoyed by that as she shakes her head and walks away from the double doors.

Obviously our girl is hurt because not once has Armando mentioned her new look, not once has he made the effort to say anything about her physical appearance but there he is talking about how he'd end all his relationships without care of consequence if AA showed up and he'd marry her for the simple fact that she's hot.

Men really only have the audacity!

Here Betty is trying to escape her comfort zone(though she didn't get far from it) for the sake of Armando's ego. She's willing to face humiliation and ridicule if Armando likes her new look, even if she feels uncomfortable and knows how people are insulting her behind her back, and he hasn't said a single thing, instead he comments about how hot AA is.

I do want to note that Armando is behaving more like a boyfriend now. While in the past whenever the subject of his crushes or infatuation on Models was brought up he didn't reserve himself to express how hot they were or how he wanted to look presentable for them except now he pretends to show no interest in them when she's in the room. Better yet he pretends to be offended that(when the two models went to ask for their paycheck and tickled him) they'd flirt with him or try to play with him. Except this time he pretends like he isn't even aware of how hot she is and only is interested in her in a professional matter but as soon as she leaves the office she over hears how he truthfully feels.

She knows him well and because of this it does hurt her.

[bnhasalt]

Long post time

Okay unpopular opinion I guess but I. Really don’t like the takes I’m seeing in the anti B*ku tag right now. Particularly about M*tsuki.And I know she’s a character I haven’t talked about extensively on this blog, because it’s true that depending on what way you choose to dissect mha as a piece of media,[either by judging it on the basis of the content in-universe (ex: character a’s actions were affected by character b’s) or by judging it based on the real life aspect of it (ex: the author did this because x)], M*tsuki really can be pretty divisive.  On one end you have people saying that M*tsuki being abusive is what caused B*kugo to turn out... like that.. And use that as a justification of his behavior.  Then on the other end you have people saying ‘hey- no! Her hitting him was clearly just a joke- it was slapstick! the author clearly didn’t intend her to be interpreted as abusive so you shouldn’t blame her character at all! B*kugo is the ONLY one at fault’ And see, I don’t find either of these opinions fully correct. But since my main criticisms of the series have to do with B*kugo , and a lot of people in the anti side of the fandom subscribe to the second idea, I DID turn a blind eye to it for a rather long time. However when I see people actively DEFENDING HER, and saying her actions aren’t abuse at all? That’s when I have to put my foot down.  So. Ahem. Let’s clear a couple things up.

𝙄 𝘿𝙊 𝙉𝙊𝙏 𝘾𝘼𝙍𝙀 𝙃𝙊𝙒 𝙔𝙊𝙐'𝙍𝙀 𝘾𝙃𝙊𝙊𝙎𝙄𝙉𝙂 𝙏𝙊 𝘼𝙉𝘼𝙇𝙔𝙕𝙀 𝙔𝙊𝙐𝙍 𝙈𝙀𝘿𝙄𝘼, 𝙃𝙄𝙏𝙏𝙄𝙉𝙂 𝘼 𝘾𝙃𝙄𝙇𝘿 𝙄𝙎 𝘼𝙇𝙒𝘼𝙔𝙎 𝘼𝘽𝙐𝙎𝙀, 𝙒𝙀𝙏𝙃𝙀𝙍 𝙏𝙃𝙀 𝘼𝙐𝙏𝙃𝙊𝙍 𝙄𝙉𝙏𝙀𝙉𝘿𝙀𝘿 𝙄𝙏 𝙊𝙍 𝙉𝙊𝙏. ’corporal punishment’ or whatever you want to call it is nothing but a shitty little scapegoat. Every single expert on the subject of child psychology (and psychology in general as well) - they’ve been screaming for ages how it’s a terrible way to raise a child, that only leads to trauma , the child becoming reclusive and -unlike what any abuser likes to claim- loosing respect for the perpetrator, either becoming hateful towards them or living in fear of them. (some sources: l. II. III.)

And if you’re still on the authorial intent intent train wondering just WHY I’m saying it shouldn’t be justified that way, let me phrase it like this:   H*rikoshi also intended for 𝙈*𝙣𝙚𝙩𝙖 to be just a comic relief character and nothing more, yet we still all seem to be in collective agreement that he’s actually a disgusting pervert and a danger to all the girls in ua.  Again: Authorial intent does NOT matter when the content itself is harmful. I’m hot telling you to crucify H*rikoshi over this, what I’m saying is that critical thought needs to be applied here.  If you think that the sexualization of the students,  M*neta’s entire existence, and scenes like the one where B*kugo throws the sharp bit at M-doriya and makes him bleed are bad/harmful even though they weren’t intended as such, there is no reason whatsoever to excuse M*tsuki from being judged the same way. If anything, it reads like this abusive behavior is being excused so the ‘’B*kugo is just a terrible person by himself, don’t bring anything/anyone else into it’’ narrative can be furthered. And because the abuse portrayed is ‘not bad/severe enough’ that’s apparently an acceptable take to make.  But not all abuse looks like the T-doroki family. Not all abusers are End*avors or Ov*rhauls. And just because the victim isn’t a Sh-to or an E-ri (see: a good person with the typical signs of trauma) , it doesn’t change the fact that they were abused. To imply otherwise is to undermine both the range of effects abuse has on real people, and those people’s experiences as a whole. So to sum up the first part of this post, say it with me kids: 

Good? good. So at this point you may be thinking ‘’so what then? If you do think that B*kugo was abused, does that mean you find his behavior justifiable?’’ And the answer to that is:

Haha, NO.

See, being abused doesn’t grant anyone saint status. Just how you can be abused and turn out an amazing person, you can also be abused an turn out an absolute sack of shit. At that point the abuse may explain the behavior, but it does not under any circumstances justify it.  (And no, young age doesn’t justify it either. Yes teenagers - young adults do get a bit more room for error generally speaking, but when they commit horrendous acts that doesn’t change jack shit about the magnitude of the act or how it affects others.) From a certain point on people are fully responsible for their own actions and you can’t pin their every error on something from their past (especially if they’re not even TRYING to correct said errors, or if the error itself is unforgivable). To conclude- The point of this post isn’t to show that either of these characters is morally ‘better’ or ‘worse’ than the other , but to point out that BOTH of them can be bad at the same time for different reasons, without using one’s behavior to justify the other’s, or ignoring one’s to attack the other. With the added secondary suggestion to analyze media from various angles for the most objective results in any critique. . . . Ps: i forgot to say anything about the couple of people i saw saying that B*ku deserves the beatings from his mom, so let me add it here. :) ahem. I do not CARE that the bastard is my most hated character of all time, I WILL manifest inside your house and drink your bone marrow like a fucking soup, FUCKING LISTEN TO WHAT YOU’RE SAYING FOR ONE DAMN SECOND P L E A S E-

[smp-live]

Was scrolling through c!Wilbur crit blogs again and it got me thinking about why exactly I argue in favour of him so much so here’s a random ramble (that got long) about it:

Most c!Wilbur critics (at least, in the tag, not directly post-lore stream. The ones that do actual analysis on him) are like... really reasonable about it, actually, lmao. Like it’s mostly just calling him a bad person because of power hunger/manipulation/being a bad dad/whatever else. (Not talking about antis. I mean people who are really critical of him, but recognize that he’s a well-crafted character with nuance.)

Which I agree with! I consider myself an apologist, my writing and analysis leans really sympathetic, and I still agree that he’s a shitty rat bastard that I would run far away from irl. Even at the beginning of the story, he’s very morally grey, sometimes using underhanded persuasion tactics, doing ehh things like stealing, and it only gets worse from there.

But on the other hand, he’s... not that bad. Like I saw one person say about c!Dream, “My reaction to most critique of him is... so what?” and that’s how I feel about c!Wilbur, I suppose. Yeah, he tried to rig an election - but it was a last-ditch effort at not going full dictator, he didn’t follow through, and later on he - in part - decided to blow it up because they couldn’t get it back while being democratic. And yeah, he manipulated people - all in all, it wasn’t really really bad things, mostly to paint himself in a better light because of his insecurities, and people sometimes fall into manipulative language without even outwardly realizing that it’s a shitty thing to do. Of course, that shows a bigger underlying problem in their mindset and the way they interpret relationships and possession, but then that’s a different discussion - and definitely one that applies to c!Wilbur.

(Not saying he doesn’t ever intentionally manipulate people. I think that a. sometimes it might be accidental, (”If you wanna be President you’re gonna have to get on my good side,” mans was Not thinking straight,) and b. other times he falls into old habits/coping mechanisms that happen to be manipulation, (Tommy at Las Nevadas.) Other than the election and maybe some times in the early founding of L’Manberg, I can’t think of any moments where I’m like, “Yeah, he is Purposefully Manipulating here.” And even then, it just doesn’t strike me as a terrible thing. People manipulate, it’s a thing they do. That’s it. A morally grey action.)

And I think the majority of the reason I make more posts painting him in a positive light and don’t really discuss my critique of him is because it feels like the fandom has an overwhelming bias of hatred/crit, even if a lot of that isn’t, y’know, proper analysis of his character. I instinctively want to balance it out for this character I love/relate to, because a lot of what I see straight-up ignores the lighter side of his moral-greyness.

Like, a while back, I posted a couple clips from late-election arc, of Wilbur talking about how he feels about Fundy siding with Quackity and against him. And the way I initially saw it while watching was, “Okay. He feels betrayed by his son who disagrees with his politics - and thus, him as a person, because your politics are a reflection of your identity, especially in Wilbur’s mind - and it’s perfectly understandable that he’d want to vent about that in private to a close friend. On the other hand, he should be able to recognize that Fundy’s allowed to be his own person and shouldn’t be babied. Fundy is in the right, here, but Wilbur’s feelings shouldn’t be dismissed.”

But then 90% of the tags were just straight-up hate for c!Wilbur, going as far as to say that he should die again. (And this was after we found out how bad the afterlife was for him.) That fucking floored me. I just couldn’t understand how they took this nuanced character aching for ‘the son he knew’ back (hm. very similar to c!Phil, actually) and turned it into ‘wow. This suicidal man sucks and should maybe die.’ I was so close to making a post defending him before realizing - I was letting fandom bias against a character push me further onto the sympathetic side.

And that’s such a fuckin’ weird thing to have happen, because you’d think that exposure to negativity about a character would make you feel more negative about them? But without fail, every time I scroll through the crit tag, or read a critical post about c!Wilbur/L’Manberg, I maybe lean a bit more towards that side for a few hours before swinging back hard onto the apologist side. Because a lot of the critique, to me, is really just, “so what?” after I let it stew a bit.

Then there’s the whole mental health issue. Obviously it doesn’t excuse the shit he did - I know people who have been in the middle of breakdowns and the stuff they say still fucking hurts, even if they didn’t truly mean it. But recognizing that he needs help? That for pretty much all his time on-screen, he was depressed and paranoid, which obviously affects the way he acts? That’s obvious. And were he in the position to get professional help - which he deserves - everything would be much better off. That’s the root of my apologism, I think: He deserves to get better. He’s not inherently evil, or bad, just a fucked up little man who’s ruined his own life and needs help. I want to see him, specifically him, get better.

Narratively, his punishment has been extreme and disproportionate. Every mistake, every choice - good or bad - has led to suffering, on his part. Start a fun little rebellion, maybe to gain some power? War and betrayal. Declare an election to consolidate said power? Lose, and get exiled. Blow up a nation? Die, and even in the afterlife, he can't catch a break. Purely as a sympathetic human, it feels like he deserves to rest. Deserves to heal.

But even medicated and less anxious, or going to therapy for his neuroticism and depression, or whatever, he still would be quite morally grey. A lot of his manipulation, his power hunger, comes from this neuroticism; from needing to feel safe and needed, (just like Quackity.) Not all of it, though. He’d still have his unhealthy ideals about relationships and possession, for example. Less prominent, sure, but still there. Some people, I feel, discount how tied up with his mental illness it is, while others don’t really recognize that it’s also a personality problem. Like, changing those beliefs is changing part of who he fundamentally is, as a person.

Actually, I think the c!Wilbur apologist community, in general, tends to scapegoat his mental illness a little too much? Not in that we explain his actions with it or ask people not to villainize it, (although sometimes I feel that what we call villainizing mental illness is a bit excessive, but it’s not my place to talk about that as someone who doesn’t really relate to Pogtopia!Wilbur,) but in that we use it in discussions a lot. Which is fair, because it permeates every single aspect of his character, but even without it he’d have toxic traits? Like his possessiveness is not purely a byproduct of his mental illness, imo. Nor is his treatment of Fundy. It’s amplified by it, surely, but that little seed of it is there in the first place. Just as c!Dream’s abuse needs to be addressed as a central part of his character, c!Wilbur’s possessiveness does too - and also outside of the context of their mental health, because they’re both brought on by an internal personality flaw, some fucked-up belief, if that makes sense.

As I said before: c!Wilbur is a mess of a human being that I would hate if I actually met. (irl I would’ve been a SWAG supporter, based on policies, but since this is fiction, I was POG.) But because he’s a character, that flies out the window, and I can love him - not even just as a character, in the sense that I appreciate he’s well-crafted, but in terms of personality and all that shit, while recognizing he’s a kinda crappy guy. Because he’s a character. That’s the fun of it.

[echodrops]

I’m obviously late to the tumble party... but I stumbled across your Notagami Essays posts and they are absolutely Fabulous! Love your writing and the amount of detail you go into :)

So I figured you may be a good person to ask - if you just had to guess (bc as far as I know it’s never been officially confirmed?) but if you had to take a guess or give a rough estimate, how old do you think Yato was when he first met Sakura? We know he’s estimated to be at least a thousand years old, we know he’s - from the start of the series to present - estimated to be somewhere between 18 and his early 20s (physically)... but I can’t find a single thing/discussion/post/stickynote/whatever where it talks about how old he might have been when he first met Sakura - let alone the emotional/psychological effects of Sakura coming into his life and introducing healthy mindset/morals/maternal-influence etc. etc. (obviously no mom and Father’s neglect played a big role in him not knowing how inappropriate it was for him to ‘accidentally touch’ and yell “boobs!” but you can also just say he was so young he didn’t know how inappropriate that was?) My point is: how old do you think Yato was (physically anyway) at the time of their meeting? and Do you know of any discussions or care to share your opinion on how being the no more than the age of blank affected his mental/emotional understanding of Sakura teaching him a new narrative?

Sorry this is a random out of the blue ask 😅😓 if I rambled on and you don’t feel like answering, I get it, just figured it was worth asking :)

I fell down a serious rabbit hole trying to see if I could figure out the answer to this question about Yato’s age but unfortunately I’m mostly coming up empty-handed.

The answer to this question actually depends on two different pieces of information which--as far as I can remember--we’ve never actually been given for certain.

1) We would need to know when Yato was actually born.

The manga has kind of hinted at a total (not physical) age for Yato in the flashbacks which showed him as a young child during the Heian era (putting him somewhere in the vicinity of a little over 1000 years old) and Father not making masks before ~1100 years ago, but the problem is we still don’t know how many years might have passed between this scene (the youngest we’ve ever seen Yato):

And the next flashback scene, where Yato meets Nora:

If gods age normally when they are children, these two scenes might be only a handful of years apart. But if gods don’t age normally, then these two scenes could be decades or centuries apart, which leads to the other missing piece of information (under the read more to save people’s dashes):

2) We would need to know the aging process for gods who are just born/reincarnate.

Up to this point in the manga, we’ve only seen two gods reincarnate--Ebisu (who reincarnated too recently to really help answer this question) and Takemikazuchi. The implication of Takemikazuchi’s backstory is that his shinki forced him to reincarnate and then hid his reincarnation from all of Heaven. The only way they could have kept other gods from noticing that Takemikazuchi had reincarnated would have been by not allowing him to go out at all until he had grown enough to match his previous reincarnation in appearance. This seems to suggest that gods probably do age normally when they are children--hiding Takemikazuchi away for ~20 years seems a lot more likely than being able to hide him away for centuries, after all... (I also feel like I have very vague recollection of some scene in the manga where someone comments on Takemikazuchi not having been around for a “few years,” but it’s been so long since I reread I can’t recall if this is a real moment from the manga or just me misremembering.) 

Overall, however, based on what we’ve seen in the manga, my guess would be that when they’re young, after just being born or being reincarnated, gods age pretty normally. This would suggest that, for the first few years at least, the physical and mental ages of reincarnated/newly born gods actually overlap; baby Ebisu acts like a little kid because he is, in fact, both mentally and physically a little kid.

That would mean that, for all intents and purposes, Yato’s physical and mental ages lined up when he was young and meeting Sakura, and he acted like a little kid because he really was just a little kid, god or not.

(Detour for a second though: 

This line always struck me as interesting in that it might, just might, give us a more specific timeframe for Yato’s “birth”: although the constellations, of course, are visible in the sky every single year, this particular combination of concepts (kanoto-tori, yin metal rooster) is known much more commonly as one of the sixty years on the cyclical Chinese calendar, also used in Japan. Counting back on the calendar, 961 A.D. was a yin metal rooster year and would align just about right for what we know about the timeframe in which Yato later met Sakura (~970ish). Just referencing constellations doesn’t mean Adachitoka was pointing to a specific year, but it might have been another hint as to the timeframe of the flashbacks.

Okay, detour over.)

Anyway, without 100% confirmation on either of those pieces of information--when Yato was born and whether gods age at the same rate as humans after reincarnating--I don’t think it’s really possible to pin down Yato’s “real” age (physically or mentally) at the time he met Sakura. We mostly just have to estimate. 

Personally, based on his size and behavior at the time, I’d put him somewhere between seven and maybe up to ten, but the way Adachitoka draws characters kind of makes it impossible to judge their ages by appearance; Yato is about the same size as Nora when he meets Sakura, implying that he and Nora were around the same physical “age” at that time; meanwhile, Nora is later portrayed as being roughly the same age as Yukine, suggesting she was maybe 12-13ish years old when she died. So, despite being drawn tiny, it’s possible Yato was meant to be anywhere from a little kiddo (6-7) to all the way up to Nora’s age by the time he met Sakura.

But all that said, I think what you were really asking about was more the mental state Yato would have been in when he met Sakura and how his young age would have impacted his ability to change his world views, right? The answer to that is... complicated and could be approached a lot of ways. Coming from a background of working with and educating social work students, there are several common psychological theories of child development that might apply here, for example. 

I’d recommend checking out Erik Erikson’s psychosocial stages of development, though. 

(Pulled from here.)

I don’t have time to explain the entire theory with the complexity it might deserve, but the basic idea is that, as children develop, they experience a series of crises or challenges that they must overcome. Successfully overcoming each challenge results in successful psychological and social development; failing to overcome a challenge in childhood will result in long-term negative impacts later in the child’s life. (There are plenty critiques of this theory too, so don’t take this as gospel or anything--just a theory worth thinking about!)  

Given Father’s lack of interest in teaching Yato basic concepts of humanity, I would put Yato at approximately the “Initiative vs. Guilt” stage when he met Sakura. At this level of Erikson’s theory, children struggle with asserting themselves and developing a healthy sense of how their personal desires might conflict with the expectations and rules set out by others. In this stage, giving a child positive feedback for their actions teaches the child that those actions are “right,” while giving negative feedback teaching the child that their actions are wrong. In order to overcome this particular challenge, children need to begin taking initiative and aligning their actions with social standards; the child acts, and the parental figure reacts--through this process, children learn “I can do X thing but I cannot do Y thing.” 

When you hear things like “Children are cruel,” most often what people are referring to is that it takes time for children to learn empathy and to experience guilt when they cause harm to others; children do not natively understand the repercussions of their actions. It’s only through a process of testing the boundaries, of receiving praise or punishment, that children define what is “right” versus “wrong,” and begin to feel bad when they do something deemed wrong.

And this is pretty much word-for-word what we see Sakura teaching Yato.

If they have healthy role models and caretakers during this phase, children develop successfully. Successful children in this phase get their first taste of personal responsibility; unsuccessful children are (supposedly) plagued for years afterward by a sense of guilt and shame when their actions produce disapproval from everyone around them.

Yato... doesn’t exactly make it through this development stage unscathed, because he receives conflicting definitions of right and wrong from his Father an Sakura:

Which ultimately results in, years later, the Yato we know and love who still does his Father’s bidding to kill humans even though it fills him with a horrific sense of guilt:

Through his time with Sakura, I think it could also be argued that Yato moves into the next stage of Erikson’s theory as well, getting into the “Industry versus Inferiority” crises. 

Meeting Sakura brings out Yato’s true, deep down desire as a god: to help people. (I think it’s important to note that this isn’t something Sakura teaches him--it’s a quality Yato already possessed; it was explicitly Yato’s desire to please people that led to him murdering in his father’s name.)

Once he learns what makes people happy, Yato immediately pursues that with intense focus:

The primary goal of this phase of psychosocial development is to experience a sense of confidence in one’s actions. When children practice their skills, pursue areas where they are praised, and gain new skills and aptitudes through mentoring from healthy role models, they gain confidence in their ability to excel, to fit in with peers their age, and to create meaningful things. By encouraging Yato to pursue positive behaviors--playing peacefully with other children, appreciating natural beauty, and creating useful things like boots for the needy--Sakura moved Yato toward successfully completing this phase and developing a sense of confidence in his actions and his ability to achieve positive things in the world. 

Of course, Father cannot have that (because confident children with a sense of self-worth are much more difficult to abuse), so he puts an immediate end to Sakura’s influence over Yato in the most insidious way possible: although he clearly manipulated the situation to achieve Sakura’s death, out loud, he blames Yato, implying that Sakura’s death was all Yato’s fault, the results of Yato taking unwanted action “industry” and yet failing--creating a sense of “inferiority” instead.

This, of course, haunts Yato all the way to the present, as he--again and again and again--blames himself for things outside his control or failing to live up to expectations that no one in his situation (still being manipulated) could possibly hope to get “right.” 

Finally, you could say that Sakura’s presence is Yato’s life is ultimately what sows the seeds of the manga’s main plot up to this point, with Yato’s quest to create an entirely new identity for himself as a god of fortune instead of a god of calamity. Personally, I would say that Yato is currently still in this phase of development, still working out how to define himself and who he will ultimately become once he is finally free to decide on his own path in life. It was Sakura’s gentle influence--his desire to become the kind of god who could make her smile--that eventually sparked his conflict and finally led Yato to the brink of catastrophe. If he wishes to become the god Sakura told him he could be, he can no longer suffer his father to live.

So, long story longer, I think it can be argued that Yato meeting Sakura at such a young age is EXACTLY what made it possible for him to change, and exactly what has led to his crisis in identifying himself and redefining his sense of right and wrong. 

Uhhhh... I hope that answers your question!

[mrcowboydeanwinchester]

hello! absolutely love that you’re holding an event for jo’s birthday but i just have some concerns about the prompts.

firstly idk if you should “encourage” sapphic content since not everyone views jo as sapphic, but since you’re not enforcing it its not a big deal. although it would be better to categorise “sapphic” as a point for the prompts instead of an encouragement. but my main concern is the “not like other girls” prompt. there have been a lot of situations where this phrase has been used in a misogynistic context where “girly girls” are being hated on and laughed at. the phrase has been used in situations where girls not liking makeup or shopping or not being boy infatuated etc. is seen as being superior to girls who do like these stuff. the phrase has been used to pit girls against each other and i really don’t want any content such as that coming out of this event. i suggest changing the prompt to “badass” or something similar. once again thank you for holding this event and i hope many people participate! it is what jo deserves :D

hi, thank you so much for your ask! you brought up some points i hadn't considered and are actually really good to address. I felt 'encouraging' sapphic jo content was nicer than putting it as a prompt as it felt a little less tokenising of her sexuality, if that makes sense? i know that sapphic jo is just one interpretation of her character but placing that in the prompts seemed to categorise it and place it second to a generally assumed norm (maybe's that just me reading into what prompts imply too much!) i also felt putting it the prompts would sound like i was enforcing it even more, which i didn't want to do. i'm primarily a sapphicnatural blog so i did want to mention it - but of course it's only an encouragement and as you say, there's no enforcement of that at all. the 'not like other girls' prompt is perhaps one that i should have explained more, now i think about it. there's been some brilliant content around jo's relationship to femininity in fandom, and so i intended the 'not like other girls' prompt to be a bit tongue-in-cheek, getting people to start thinking about jo's own internalised misogyny/relationship with gender (for example) coming to terms with being a girl/woman in the very masculine dominated hunter world. i totally understand your concerns, as without the context i'd applied in my head it can come across negatively. i was just assuming that the phrase has been critiqued enough recently that it's generally taken with a pinch of salt and not in a positive light. i'm not endorsing that mindset at all, and i definitely don't mean to make anyone uncomfortable. saying that, i don't think i'm going to change the prompt because there a lot of subtleties to 'not like other girls' that i don't think badass/an equivalent allows. that also wasn't what i intended to imply with the prompt - it's not a statement of how cool jo is, but more an opening to explore jo's internalised misogyny and of course any other complexities people can think of! i'm going to add a disclaimer to the original post highlighting that :) if it is taken in a misogynistic context and that kind of content pops up, it of course won't be tolerated and i won't be reblogging it. however, i think it's also important to note that the content doesn't necessarily mirror the views of the author, so if there is content which explores 'not like other girls' from jo's perspective in a negative light then i think that's different to perpetuating outright misogyny. i'm assuming that everyone in spnblr is able to approach the prompts with thoughtfulness and respect so that the line between fictional content and hateful misogyny isn't crossed. i hope that reassures you somewhat, but if there are still concerns let me know!! i want everyone to be able to enjoy the day and of course celebrate jo! thank you once again for you ask, you definitely brought up some important points <3

[quatregats]

I haven't read the Dawn of everything but I've been reading books about Prehistory as of late. Would you recommend it? 🤠

(I'm answering publicly because someone else was also wondering)

Okay so this book is definitely trying to do A Lot, and there's some things I really like about it and some things I REALLY don't.

PROS: Okay, well this book definitely has an ideological line that it's pushing but it happens to be one that I very much agree with (mostly just that at least one of the authors is a staunch anarcho-communist). So it's sort of looking at why traditional takes on government might be very, very wrong—specifically it takes a lot of much-deserved beef with Hobbes and Rousseau. I thought that the deconstruction of a lot of these ideas and how rampant they are in most academic thinking, as well as the damage that does, was very interesting, and I really appreciated that. The intellectual ideas behind the book are very juicy and there's a lot to sit with in them; I think this is where most of the book's strength lies. The authors kind of say that at the beginning, too—they want it to be a paradigm-shifting work, not something that goes into depth about their personal research interest.

CONS: When I say that the strength is in the ideas, the strength is literally ONLY in the ideas. It's a very ambitious work, and the authors are very clearly stepping outside of their comfort zone. As a linguistics person, I read a lot of the things that they said about languages and was just like ???? that's blatantly false but okay???? which sort of made me unsure how much of their other evidence I wanted to trust. The other big critique/problem I have with it is their obsession with the indigenous people of the Americas. There's a couple of problems I have with this. The first, and most glaringly Bad, is that they seem to rely exclusively on non-Native accounts of Native Americans, especially 19th-20th century anthropological works. I'm really not sure why it never occurred to them to double check any of this against the work of actual Native scholars??? but I really feel like that undermines what they're trying to say (the whole literature that they're drawing is very Eurocentric for a book that's trying not to be, to be quite honest). Sometimes I just wish they would talk to people from the cultures they're so clearly obsessed with and maybe they'd actually get some good evidence from that??? but whatever. The second problem I have with relying so much on the Americas is that it really starts feeling Othering and like we're falling into the trap of the ~Noble Savage~ that Rousseau was falling into, which they criticize a lot but don't seem to have the self-awareness to break away from. If they couldn't talk about the indigenous peoples of the Americas without doing that, there were definitely other arguments they could have followed; I've found a lot of more universal, non-culturally-specific lines of logic that lead to the exact same conclusions, let alone ones in cultures I'm personally more familiar with. I think this would be less of a problem if they fixed the first thing, though, and actually cited/were writing in conversation with Native scholars. Either way, that's my biggest problem with it, but I think that if you're in it for the ideas, you can kind of handwave those sections and still get the main conclusions.

tl;dr - I think that the book's deconstruction of Rousseau and Hobbes and how much their ideas have permeated our interpretation of the past is very interesting. I also think that I would not trust any of their re-constrcutions after that deconstruction, or super dive into any of their evidence. They decided to take on the whole of human history, so obviously there's only so much they can know; I would, however, be interested in reading how this framework can be applied by other scholars to their own fields of interest. In other words, it's interesting, but you have to be willing to put in a lot of intellectual work on your own part to make it work.

[chocopvffz]

My Problems with Fandom

It’s been a while since I’ve kinda just let out my thoughts and feelings on this stale hell site. It’s just now more than ever I’m having the weirdest realizations while I’m participating in any Fanbase. This topic may piss ppl off. But to that, I say fuck it, I’m gonna do it.

Around 2 years ago I took a backseat to actively participating in fandom. So I’d be more of an onlooker rather than someone who contributed. Just reblogging stuff rather than making my own content. Usually in fandom, things are said in the heat of the moment, with little thought and more emotions. Taking a step back I started to realize that while that’s fine in and of itself, You’re entitled to what you like and what’s interesting to you, but I’ve realized that people kinda settle for the bare minimum. Especially now that representation for marginalized groups is becoming the norm. Which is great, but there are still problems that plague us as a community.

I just finished watching Unicorn of War’s video on RWBY, and they delved into the absolutely garbage writing that surrounded The White Fang subplot. I highly recommend you watch the video, it’s about the bad representation of minority oppression and how it relates to RWBY as a whole. While this post doesn’t stem from that in particular. what did was though is how UoW confessed that they were guilty of completely ignoring how harmful the writing was for pocs, as well as downright silencing and downplaying poc that had a problem with the writing. Unicorn of War is not racist, the fact that they realized the type of systemic racism they’ve been inadvertently spreading is so harmful is a a step in the right direction. Here is where the problem lies. UoW said that they were a perpetrator of this because they were to focused on the representation the show did give the fans. They said that they lumped all of the genuine criticism of the problems with homophobes and bigots because they didn’t want to hear any of the criticism at all. RWBY has some pretty shit representation in ever field. UoW said that they were settling for the stuff they did get because they get so little, and their whiteness blinded them to listening and trying to understand why so man poc had an issue with the show.

Basically what I’m trying to say is that, a lot of the time In Fandom, ppl would rather settle for what they do have and what caters to them, rather than criticize a product of its faults and ask for more.

I’ve been scared to talk about She-Ra because the fandom is pretty scary. I liked the show. To me it wasn’t anything special. But it was a fine show, and I can’t wait for what the crew does next. But here’s where a lot of the issues come from for me. There are some problems both w/ the show, and the representation. Catra and Adora have been queercoded up until the very end where it does get revealed that they are in fact lesbians. Which is great and all but at the end of the day. They kiss at the very end of the last episode, nothing was explicit before then. But the thing is that Catra is an abusive manipulative person, that kinda just gets a pat on the back, and all is forgiven when she realizes she’s alone(both in the fandom and the show). I mean glimmer got more hate than Catra. The point I’m trying to make is that I’ve seen way to many ppl ignore the fact that they side stepped the development of Catra and Adora, and kinda get mad at the ppl that criticize that we could have gotten better rep. For a lot of the fans, at least from what I’ve seen, yall are okay with the problems the show has as long as you get some form of rep. Which is valid, but when that complacency spills over into silencing ppl with criticisms. This usually happens when someone has had another experience with the show where the thing that represents them isnt done as well. it rubs me the wrong way. Someone could see Catra’s behavior, liken her to a toxic person they knew, criticize how the show kinda ignores that. I can bet that some ppl would tell this person that they’re wrong, because she ended up where she did at the end.

This brings me to my last example, during my watch of Infinity Train, I started getting a little bit more involved in the fandom; reblogging, commenting. During the show I noticed a small amount (larger than I would have liked) making passive aggressive remarks toward Grace (the only black girl and protagonist of the season). They were all in regard to her having a redmeption arc. At first I was kinda in denial. Like most ppl are immediately after suffering an injustice, cuz despite her being an awful person at first. She gets better. And there are so little black women that are protagonists. I felt represented. But then I’d see ppl demeaning her in order to make her friend Simon (basically the antagonist) more sympathetic. Mind you he’s white. And after the show ended I had a weird encounter. There were many posts about how enthralling it was that Grace, a black women, telling Simon, a white man, that his problems were his own, and she doesn’t have to be the one to fix them. Most of the ppl that made these posts were woc. The show isn’t about race, but the fact that the character is black resonated with a lot of ppl.

Under ever single one of these posts, I saw multiple people, getting weirdly angry at them. Like “this has nothing to do with race, why are you bringing it up here.” Which I guess is fair, but no one says it as much to ppl when the post is about sexuality. So getting fed up, I responded to one of these ppl explaining how odd it is that the characters that get really popular are always of the same archetype. White Sad Boys, it’s the same with ships. Instead of critiquing the show or anything I wanted to call attention to subconscious biases in fandom. The person accuses me of calling them racist, tells me that race isn’t an issue in fandom, and tried to gaslight me into thinking that what I was talking about doesnt apply to how ppl choose who their favorite character is.

This issue here isn’t about the race, or the actual content in the show. It was about the person telling me that the empowerment I and other woc experienced while watching infinity train s3, doesn’t exist and we shouldn’t criticize ppl putting her down in order to uplift the antagonist.

Which leads back to the point I’m trying to make. So many ppl in fandom settle for whats there instead of trying to make things more representative of everyone. Representation can always get better, we just have to stop fighting ppl that give constructive criticism to the things we like.

And I’m completely guilty of this too, that’s why I took a step back. I don’t like silencing ppl when they try to criticize something that resonates with me. So I try to sit back and let them tell me what can be done better based on their experiences. I’m still struggling. I’m pretty sure I was ultra defensive with the person telling me that race doesn’t matter.

This happens a lot more with white ppl than it does with people of color. And this isn’t a dig on any white person at all. It’s just that white have a vastly different experience than a poc. A white LGBT person is going to have a completely different experience than a black lgbt person. Just like a cishet white person is going to have from a poc cishet person. And since we have different experiences, there are aspects of my life you won’t understand and vice versa. An abuse survivor is going to be more equip to tell us what works better than other things in a story that tackles those subjects. You see what I mean.

I just want everyone to take a step back and consider the criticism that is being made. And try to understand why this person may see it that way.

TLDR; We need to stop silencing marginalized ppl just because they criticize things we relate to, especially when it pertains to their experiences. It’s settling for the bare minimum when we deserve better. Just because we’ve got a gay character doesnt mean the show is perfect. It happens way more than we think. Especially now more than ever.

Sorry this is so long, and full of typos. I just needed to rant.

[norgestan]

Hello! I was wondering how would you have liked dani to be and how would you have liked the damira scenes to be ? (the changes you would have made to actually enjoy and ship damira)

okay quick bucket list:

recast dani with a muslim actor of color

rewrite the entire s4 script

done :)

with the funny answer out of the way... there’s simply no way that i could’ve shipped damira, i am sorry. it’s truly beyond me. nothing about their dynamic charms me or makes me think they’re better or any different than the superior option for a white/non-muslim love interest, aka amiris. i can even enjoy virihugo despite really disliking the way they got together and most of their clips anyway. (also this is a good post that explains why dani being amira’s endgame LI is a bit of a fucking joke)

however, there are a couple of ways in which i could’ve enjoyed damira narratively. and that requires heavily tweaking dani as a character as well of how their entire dynamic works. i’ve made plently of jokes of how i am Not an og purist but, if eskam had chosen at least one relationship to develop super closely as it was in og, then i would’ve wanted that relationship to be yousana. they’re my favorite pair in skam for a bunch of reasons and most of them have to do with yousef being so in contact with sana’s culture. one big example of that is the last clip of episode 9 where they go on that iconic date: it’s both a slideshow of their chemistry and sensual/romantic tension as a couple, and a showcase of the thing that makes me love them the most, which is their super long conversation about faith and their future. to me, those were the moments lacking in damira because they got too caught up on painting dani as this hyper-realized version of a LI which turned out to be a self-congratulatory asshole who disrespected amira in various ways. there were never instances in which they seriously discussed dani reverting to islam in the future, or actually conciliated their visions of their faith to really show where they were in sync and where they disagreed to start working on it. after watching the yousana date clip, i left with the impression that yousef reverting to islam was a real possibility, but i can’t say the same for dani. the damira ending in particular rewards dani for being the way he is, and the worst thing is that amira practically encourages him to never be a muslim because she loves him the way he is (what the fuck!). moreover, he never showed any interest in following amira’s conditions, never tried to familiarize himself with her culture and friends (he took her to a BAR to meet HIS friends but he’s never even shown bonding with las labass?), never really cared about anything that wasn’t to get amira to be physically intimate with him. see, when i think of the yousana dynamic i see the yousef as someone who can read the sana and therefore know what to say and do, not because he only wants to charm her but because he genuinely cares about her. even sofianne showed some of that on the earlier episodes of skamfr s4, but that’s completely lost on damira and dani in particular. and i’m not gonna pretend that this task is possible to do with a white, christian-raised love interest. for this to work, whoever sp!yousef is has to be way more in sync culturally with amira.

a way to partially solve that issue is to make dani be honest to amira throughout the season. i don’t doubt he’s genuinely into her but then he doesn’t communicate her his doubts about the relationships and lies to her about the whole “the only problem in our relationship is the haters <3″ bullshit that he spews out for three entire episodes. moreover, dani being honest from the start would’ve given amira enough hints (red flags) that dani didn’t really take any of her conditions seriously and he was just waiting for her to be less strict about the terms that he agreed on, and maybe there would’ve been a real critique to the character that 1) didn’t make amira look like an “annoying religious fanatic” (which she wasn’t at all lol) to most of the white audience who sided with dani when the relationship started falling apart, and 2) taught an actual lesson to amira about how would a relationship between a white dude who has no intentions to be muslim in the future would go like. i can understand why eskam still left the question pending on the air as they wanted to give amira an endgame and they probably didn’t want to make it seem like muslim/christian relationships don’t work in the slightest when this is the first mainstream show with a hijabi protagonist in spain... but eh. fucking cowards.

if it’s not obvious by now, to me, the ideal version of damira is the one where they’re not endgame by any means, even going to the point that i really dislike that dani even likes amira back. i would’ve really loved if dani stayed in amira’s daydreams throughout the season, where her idealized version of a childhood friends to lovers story is quickly replaced by a more realistic relationship with someone who actually makes efforts to be with her (cough cough bi!kasim anyone?). in that case, dani can be as douchebag-ey as he was for the entire season, idc, but now the show would really acknowledge that and drive the message that amira deserves someone who’s attentive and respectful and genuinely loving of her. and hopefully say that without making it seem like it’s impossible for muslims to date non-muslims: more like, it’s unlikely for amira to date dani in particular, and only because he clearly has no interest on following on the things that she values the most - which is a message that applies to every relationship, honestly.

if i had free reign on completely redesigning dani’s character and the damira dynamic, then i would make dani way more understanding and have his clumsiness be acknowledged and criticized instead of both the characters and the audience using it as a justification time and time again. he’d show genuine interest in islam, he’d thoroughly discuss boundaries with amira to assure that they’re both comfortable, he’d made sure to safely insert himself on her spaces and not just drag them to bars and basketball courts on every date, they’d have SO many conversations of faith that truly make him a nuanced character and also help flesh out the reasons of why amira loves being muslim. which i think are just ways of dani respecting amira’s agency and showing genuine interest on her besides his initual infatuation, as all the other endgame LIs of the show have done it. i’d completely erase the stupid “uwu islam won’t let me kiss dani/viceversa” plotpoint from existence, for SURE. with all of those changes i would be neutral on the existence of damira as i am with virihugo, i think. but also the thing that truly holds me back is that... just, the lack of characters of color in the show. with the way kasim was only used as a plot device and dounia was written out off her best friend role very early in, we truly don’t even have a significant presence of muslim people of color in amira’s season. whitewashing yousef is a big part in that too, and that’s why people were so eager to believe that kasim could’ve been amira’s endgame for this season.