#like yes i get the foreshadowing for the sea monster thing that needs to have consequences if you dont actually pay your toll

[daylightisviolent]

Just finished s1 of Nancy Drew and I liked it a lot!! But I will not forgive the writers for making me believe for a brief second that bess is actually aroace when she rejects ace in the first episode

[drconstellation]

Come Back When You Can Make A Whale

This is going to contain some speculation for S3, so you know what to do! Or not do!

SITIS: What did God say? JOB: Um... I'm not sure. I didn't understand much. Things too wonderful for me. Ostriches came into it. SITIS: Ostriches? JOB: And whales. God's very proud of the whale. Went into some detail about... how great whales are. SITIS: But did They explain? JOB: [shakes head] I think the point was, if you want answers, come back when you can make a whale.

Whales, huh?

If you aren't well read, this could be quite the misdirection. It should be reasonably obvious, given who is doing the talking - Job - what he is actually referring to, then we can join a couple of dots to make some speculative leaps.

You still with me?

No? Then let us start with how do you make a whale?

By giving it another name.

Leviathan.

Chapter 41 of the Book of Job is all about the Leviathan, a great sinuous sea serpent with impenetrable scales and breath like fire. It sleeps beneath the sea until the end of days. Over time it came to be associated with any sea monster, then anything large, and what is the largest animal ever known to have lived? The whale.

The top of the matchbox is also worth a look. We have a skull and crossbones, which is classic Memento mori symbolism, fitting in with the resurrection theme of the Second Coming - but look at the way the address of the pub is spelt! Now, this not the same way it is spelt on the record single Maggie gives to Aziraphale; Goatgate is spelt as one word, not two. A little bit of searching reveals the meaning behind this fictional address that backs up and reinforces the quote on the side of the matchbox.

Strong's Concordance for 66 gives us "wild, savage, fierce." Goatgate is an interesting one, because it turns out to be a relatively modern term from the urban dictionary, and I'm just going to refer to the polite version of it here - it's another word for "mouth." So 66 Goatgate is a "fierce and savage mouth." Yes, that does sound about right - in more ways than one, once you know who it is. (If you want to look up the impolite version, go ahead - I'm sure you will still find the connotations very amusing.)

Our metaphorical Leviathan is Crowley. He gave the game away at the end of S1 during the appearance-swap.

This also means Aziraphale is his counterpart, Behemoth. Why - well, I made a bit of joke in my post here that he was playing at being a "river horse" while he wallowed in the bath of holy water during his part of the appearance-swap scene. Modern day scholars think the description of Behemoth in the Bible may be that of a hippopotamus in real life history. If that is so, I'd still be betting this is what the "dark horse" comment from Nina in S2E1 is foreshadowing.

Maybe none of this new to you if you've been hanging around the the fandom for a while. That's fine, I'm just trying to establish the scene. And the next bit we need to talk about is this one, where Job gets a lecture from God.

During this sequence, we hear lines that come from Job 38 and 39.

GOD: Job, if you have questions for me, I have questions for you. Do you know how I created the earth? Where were you when I laid the foundations of the earth, Job? Were you there when all the morning stars sang together and all the Angels shouted for joy?

These lines are paraphrasing some of the beginning of Job 38.

Then we have:

GOD: Do you know the rules of the heavens? Did you set the constellations in the sky? Can you send lightning bolts and get them to report back to you? Did you give wings to peacocks, Job, or teach the ostrich to run?

These lines are again, paraphrasing Job, half from 38 and half from 39.

So then, we need to ask, why highlight these lines in particular?

Job 38 is mainly about setting the boundaries of the universe around us. The Earth might seem impossibly huge to a human, but it started with a single stone at its foundation. Earth and the other planets obey certain laws as they move around the Sun. The patterns of the stars in the sky take so long to change that it seems like they are set and inconstant. Even the chaotic form of lightning respects its Creator and returns to its point of origin.

From the last part of Chapter 38 to the end of 39 God challenges Job with a list of animals. The theme here is about freedom and wildness. Whether it is a noble lion, a loathsome crow, a nimble mountain goat, the head-strong wild ox or the willing war horse, they all flourish upon the Earth under the sight of the Almighty. Even the mightiest and most fierce beasts of all, Behemoth and Leviathan, have a place, although only God has the means to control those two.

None of this needs a human to be involved. We are so often the center of our own universe, and try so hard to control every aspect of the world around us that we lose sight of the bigger picture. Shit happens. Some things are out of our control. That doesn't mean its your fault and you're wicked and damned to go to Hell because of it. And that was the point God was trying to make to Job. The world is a far bigger, wilder and chaotic than you can imagine, but its also incredibly beautiful, and it runs itself within the rules and limits that seem to be set by invisible forces you can't see.

So back to the script from the show.

The first set of questions from God could apply to both of the duo. They were both around when Earth was created and were more than likely there when the "morning stars" (the highest angels, such as Lucifer, Gabriel, Michael and angel!Beelzebub) sang together.

The second set of questions are the ones that seem to have got the most attention so far, with ops cross-matching them to things Crowley does in S2.

Do you know the rules of the heavens?

Did you set the constellations in the sky?

Can you send lightning bolts and get them to report back to you?

Did you give wings to peacocks, Job...

(I make a suggestion this has something to do with Michael, but also see comments below)

...or teach the ostrich to run?

The first three of those questions are fairly straight forward, and I doubt many would dispute what they are referring to. But the reference to the peacock and the ostrich are more subtle and curious, and I would like to take a moment to look at the actual verse - because it is only one verse that is providing both questions - that is being paraphrased here.

Job 39:13 Gavest thou the goodly wings unto the peacocks? or wings and feathers unto the ostrich?

Did you realize that the King James Version of the Bible is the only one that mentions peacocks in this particular verse? All the other versions mentions the first sentence of that verse in relation to the wings of ostriches: "The wings of the ostrich wave proudly." The ostrich is considered a cruel and witless bird in the Bible, pleased with the way it looks, and seemingly careless about its young.

Why does that sound familiar...

Shax thinks this ostrich feather-clad angel in disguise isn't too smart either.

So using the peacock line is a curious choice in the script. Other than the "eyes" in the tail of the peacock having a connection to Michael's many watchful eyes on the world, it's still not clear how Crowley helped them upwards. Unless both lines are supposed to refer to Gabriel, and how the vain peacock was helped to both fly and run to a distant location in the stars.

Edit: Since I first wrote this, @beebopboom pointed me to some more peacock lore, and this helped me delve a bit deeper into them. Peacocks were associated with wealth and royalty, but they were also associated with immortality in early Christian beliefs. There was a belief that the flesh of the peacock did not decay after its death. The bright colours in its tail came from its eating venomous snakes, which reminded people of Christ becoming sin for humanity's sake (think of Crowley downing the laudanum to save Elspeth from Hell in the crypt in 1827, its a similar action.) The "eyes" on the males tail also represented the all-seeing eye of God. So we have a connection with both royalty and resurrection here.

(Oh - just as an interesting connection here - a number of the newer versions of the Bible not only don't mention the peacock in this verse, they compare the ostrich to the stork! The meaning is meant to be that the stork cares more for their young than the ostrich, but if you read the words at face value, you could take a double meaning away...)

Let us return to questions, answers, and whales.

Questions. Always questions. It's like the proverbial toddler who's always asking a never-ending string of "but, why?" for funsies and you just want them to shut up for a moment and think about the last thing you said first. They, too, are a bit like Job. They are the center of their own universe at that age, having not had much experience of the world. They have no grasp of how far it extends beyond them, and how little even we as adults know.

If at this point you're going "oh, no, no, no, no, op, please don't tell me the point of this meta is it's all ineffable," relax. I'm not.

The point was to set you up for some nice, juicy, awesomely sweet S3 speculation.

Because I believe Crowley will finally get to ask his questions of God.

(oh lordy, I made the mistake of taking a break to have a shower before trying to finish this off, because I was having trouble seeing how to finish this in a tidy way, and that caused me to have "shower thoughts" and now the nice sweet simple speculation has turned into a slightly bat-shit crazy kind-of one, although still on the same track as what I was originally thinking. Here goes...)

We have this three card spread from waaay back at the beginning of S1. We all think its something to do with the three babies.

What if its not?

Because we need something like this to happen again - Aziraphale and Crowley either side of a third protagonist. What if it's the King of Kings, Love personified, Jesus, in the middle? (Or Adam again, I wouldn't discount that option either...)

If you would look at the GIF and the screenshot together again and go, well that makes, sense, white for the angel on the right, and green for the demon on the left, I would jump up and shout at you - NO!

Look at the cards again! In the Tarot, that's the Ace of Swords on the right - it belongs to Aziraphale. It's a very powerful card, about new beginnings and change.* Lets call the one of the left Knight of Wands, which also represents the element of Fire. Knights are all about movement and journeys. Who owns the Bentley? And look what Gabriel has instinctively done with his hands - he has held his screen-left hand out to Aziraphale, the Sword, the angel who wears green, and his right hand out to Crowley, the Knight of Fire. The yin and yang qualities are actually swapped. That was what I was trying to tell you in this post. They aren't as obvious as they seem at first glance.

And love is the answer, it turns out. Did you see my comment the other day on another post? In Strong's Concordance 25 = to love.

Anyway, we should get a third parallel scene somewhat like this, and like when Aziraphale and Crowley took Adam out of time to talk to him in S1.

Only this time the three of them (with who ever is in the middle) should be having a talk with God about what is or isn't supposed to happen.

JOB: I think the point was, if you want answers, come back when you can make a whale.

Crowley could be a literal serpent (though I would be very surprised if he did manifest that way) but it should be a metaphorical Leviathan that stands before the Almighty to ask his questions and get his answers. And it will be that he has earned the right to be there, because he finally understands the lessons of Job.

@makewayforbigcrossducks I hope this answers one of your questions

*The Ace of Swords speaks of new beginnings, but it is a two-edged sword that can cut both ways. It is strength in adversity, victory out of struggle, good out of evil, a change in the old order on the way.

[horizon-verizon]

Why do you think Rhaenyra had Visenya only after 9 years of her marriage? I mean she have birth to Viserys in 122 and paused. And then tried again in 128. She wanted a daughter but waited.

Disclaimer: I have never been pregnant.

Watsonian Answer(s): 

In between the years 122 A.C. and 129 A.C. there was: the Driftmark claim and Vaemond incidents; Viserys getting his hand cut to lose two of his fingers to save his life and the subsequent faster decline; Rhaenyra’s conflict with Alicent over the new grandmaester to be chosen; the faux-amicable dinner where the greens and blacks wore each other colors and the women faux-kissed and all the sniping, malignant looks and tension in the air/awakened rivalry against Alicent and the rest of the greens . This is a lot, and she could have been worrying over her father while feuding with the greens in all their moments of contact. Mid-to-high stress. Then we would know that Rhaenyra was also busy on Dragonstone, ruling it. While she can do it pregnant, not being pregnant does lift a literal weight and pressure off of you while doing it. It’s very possible she just wanted to focus on that, as much as she obviously liked and wanted children. Also focus on enjoying her and Daemon’s children, as sgain she enjoyed having kids and loved her children.

I don't think there's anything wrong or strange with her taking a break between babies and giving birth. Labor and childbirth are more dangerous for persons living before the times when better healthcare was available, and no one knew about microbes. And she is in her late 20s,-early 30s, which is fine and fertile enough ages to have children. She had time enough to have kids and safely. She didn't need to be pregnant again and again like Alysanne. No women needs to. Aside from that, she seems to just choose this herself, probably because of the reasons I listed above. I mean, I think it's reasonable to want your body to yourself for a while before getting back into it, you know?

Doylist Answer(s):

Timing and timeline-wise:

For the dramatic effect/writing of her loss of Visenya and the stillbirth. 

To highlight the cruelty of the greens and repeat their tendency to hurt children (my headcanon).

Foreshadows more innocent blood spilled, esp. the young’s and children’s. Yes, including the greens’ own children.

Visenya, as a girl, is not allowed to live as her mother is not allowed to come into power. (My headcanon)

“Dramatic” not as in “excessive”. I mean as in “like a play” and as a plot point to further emotionally motivate Rhaenyra and Daemon to take back the throne:

On Dragonstone, no cheers were heard. Instead, screams echoed through the halls and stairwells of Sea Dragon Tower, down from the queen’s apartments where Rhaenyra Targaryen strained and shuddered in her third day of labor. The child had not been due for another turn of the moon, but the tidings from King’s Landing had driven the princess into a black fury, and her rage seemed to bring on the birth, as if the babe inside her were angry too, and fighting to get out. The princess shrieked curses all through her labor, calling down the wrath of the gods upon her half-brothers and their mother, the queen, and detailing the torments she would inflict upon them before she would let them die. She cursed the child inside her too, Mushroom tells us, clawing at her swollen belly as Maester Gerardys and her midwife tried to restrain her and shouting, “Monster, monster, get out, get out, GET OUT!”

When the babe at last came forth, she proved indeed a monster: a stillborn girl, twisted and malformed, with a hole in her chest where her heart should have been, and a stubby, scaled tail. Or so Mushroom describes her. The dwarf tells us that it was he who carried the little thing to the yard for burning. The dead girl had been named Visenya, Princess Rhaenyra announced the next day, when milk of the poppy had blunted the edge of her pain. “She was my only daughter, and they killed her. They stole my crown and murdered my daughter, and they shall answer for it.”

(“The Blacks and the Greens”)

[wyvernseeker]

Analysis - 4Kids And One Small Detail They Added To Yugi and Joey's Duelist Kingdom Match

4Kids, for all of their numerous, meme-able faults did try to make the shows they imported from Japan enjoyable for their audience. In several cases, they actually managed to make edits that improved upon the original, such as Yugi and Mai's duel and the reason for the former struggling against her early on. Another would be Kaiba legitimately beating Gozaburo in chess without cheating (which would be easily spotted by an expert player). And a change they did to the episode where Yugi and Joey duke it out in the Duelist Kingdom finals is one more thing they did to try and make a good product even better.

In the original dub, after Yugi uses Magical Hats to protect Dark Magician and keep Joey's Black Skull Dragon at bay, their friends do a recap of the duel up to this point, which admittedly feels rather pointless, especially given how they give commentary throughout the duel spanning 2 episodes. In the 4Kids dub, this scene is replaced by an internal monologue from Pegasus, which needs to be added in all it's glory:

"That's the way life goes, Joey. Never as you planned! The world is a very arbitrary place, isn't it? It's a place where you can be locked in battle with your dearest friend for stakes neither can afford to lose. Oh, I know you'd like to think that your friendship would be enough to sustain you through any mishap or misfortune... but that's not the way the world works.

No, the world is a place where fate intervenes when you least expect it, with consequences that can turn your world upside down. Just when you think you've etched the perfect portrait of your future, and your life couldn't get any better. Just when you let down your guard at last and open your heart—when, against all odds, you've found that one special person in all the world that fills your heart with joy! The person you know you're destined to spend the rest of your life with...

That's when tragedy strikes. When fate hits you with the cold slap of reality and shows you who's boss. Yes, the world has taught me that only the strong and the ruthless survive. In memory of all I have lost, I fight on with all I possess—and I intend to win!"

Here, we get some foreshadowing of what Pegasus truly desires and what made him into the suave and somewhat sadistic bastard in the present day. We were given hints from Kaiba's interaction with him in the dungeon of his castle as well as the scene with that cult of his where he mentions how the power of life over death is still beyond his grasp (another 4Kids element that better conncts story elements). Enough but not all the details on what exactly happened to his wife Cecelia in that scene (no, she literally did not turn into a flower and explode), and for observant viewers not just blinded by the magic and monsters can piece together that losing her utterly broke him. Unlike him, Yugi and Joey had their friends there to catch them when life knocked them down. When Pegasus became a widow, no one was there and his heart turned bitter and cold. While we still want Pegasus to get his just desserts, this helps let more observant members of the audience know how much of a broken man Maximillion J. Pegasus truly is.

Another thing this scene accomplishes is serving as a borderline Harsher In Hindsight moment for Battle City. In that saga, Marik forces Yugi to duel a mind-controlled Joey, with Téa's life hanging in the balance should the former choose not to duel at all (or possibly resulting in a draw) In that duel, the fate of the loser in this bout between friends is to be dragged to the bottom of the sea to drown. The stakes are so high neither the mind-controlled Joey or Yugi can afford to lose.

[the-king-andthe-lionheart]

So this is definitely in response to that certain dark section of our fandom (you know exactly who you are) who are throwing a fit about the Arya and Daenerys fandoms enjoying the possibility of a canon Daenarya friendship in the future.  So let’s look at all the quotes that possibly foreshadow a future Arya and Dany friendship and put it into context.

It was very dark right now, she realized. She hugged her bare knees tight against her chest and shivered. She would wait quietly and count to ten thousand. By then it would be safe for her to come creeping back out and find her way home.

By the time she had reached eighty-seven, the room had begun to lighten as her eyes adjusted to the blackness. Slowly the shapes around her took on form. Huge empty eyes stared at her hungrily through the gloom, and dimly she saw the jagged shadows of long teeth. She had lost the count. She closed her eyes and bit her lip and sent the fear away. When she looked again, the monsters would be gone. Would never have been. She pretended that Syrio was beside her in the dark, whispering in her ear. Calm as still water, she told herself. Strong as a bear. Fierce as a wolverine. She opened her eyes again.

The monsters were still there, but the fear was gone.

Arya got to her feet, moving warily. The heads were all around her. She touched one, curious, wondering if it was real. Her fingertips brushed a massive jaw. It felt real enough. The bone was smooth beneath her hand, cold and hard to the touch. She ran her fingers down a tooth, black and sharp, a dagger made of darkness. It made her shiver.

"It's dead," she said aloud. "It's just a skull, it can't hurt me." Yet somehow the monster seemed to know she was there. She could feel its empty eyes watching her through the gloom, and there was something in that dim, cavernous room that did not love her. She edged away from the skull and backed into a second, larger than the first. For an instant she could feel its teeth digging into her shoulder, as if it wanted a bite of her flesh. Arya whirled, felt leather catch and tear as a huge fang nipped at her jerkin, and then she was running. Another skull loomed ahead, the biggest monster of all, but Arya did not even slow. She leapt over a ridge of black teeth as tall as swords, dashed through hungry jaws, and threw herself against the door. - Arya III AGOT

Here is the initial passage that has to do with dragons in Arya’s story.  She comes across the dragon skulls in the dark and feels afraid of them.  She feels as if the eyes of the skulls were watching her and did not like her. She also doesn’t recognize them for what they are.  She initially refers to them as monsters, but later she comes to realize they are dragons: 

This time the monsters did not frighten her. They seemed almost old friends. Arya held the candle over her head. With each step she took, the shadows moved against the walls, as if they were turning to watch her pass. "Dragons," she whispered. She slid Needle out from under her cloak. The slender blade seemed very small and the dragons very big, yet somehow Arya felt better with steel in her hand. - Arya IV AGOT

Now admittedly the first quote does sound like the foreshadowing could suggest antagonism between Arya and Dany, but the second quote doesn’t suggest this.  Arya thinks of them as if they are old friends.  That is the most notable sentence of the paragraph, not the fact that she slid Needle out.  But when you actually look at this paragraph you actually see a duality here.  The monsters did not frighten her.  They seemed almost old friends.  Yet she slides her blade out and feels better?  So for me this quote just seems to foreshadow that Dany will be Arya’s friend, yet Arya will remain wary of her dragons like anyone naturally would be.

So putting these two quotes into context, it tells us that if Arya and Dany will meet they will initially be antagonistic and wary of each other (most Daenarya fans I’ve seen acknowledge this will likely be the case).  However it also suggests that this wariness will eventually fade and they will become friends.  Arya doesn’t need to think she is wholly safe from the dragons to have a friendship with Dany.  EVERYONE is wary about the dragons, just like most people would be unsure and most likely afraid if they were in the same room as a large cat or a bear. 

But this isn’t Arya’s only dragon connections in the narrative.  Arya’s closest relationship is with Jon, who is half Targaryen.  In Braavos Arya is fascinated by the courtesans and the Black Pearl in particular:

"The Black Pearl," she told them. Merry claimed the Black Pearl was the most famous courtesan of all. "She's descended from the dragons, that one," the woman had told Cat. "The first Black Pearl was a pirate queen. A Westerosi prince took her for a lover and got a daughter on her, who grew up to be a courtesan. Her own daughter followed her, and her daughter after her, until you get to this one [...] - Cat of the Canals AFFC

The woman with him could not have been more than a third his age. She was so lovely that the lamps seemed to burn brighter when she passed. She had dressed in a low-cut gown of pale yellow silk, startling against the light brown of her skin. Her black hair was bound up in a net of spun gold, and a jet-and-gold necklace brushed against the top of her full breasts. As they watched, she leaned close to the envoy and whispered something in his ear that made him laugh. "They should call her the Brown Pearl," Mercy said to Daena. "She's more brown than black."

"The first Black Pearl was black as a pot of ink," said Daena. "She was a pirate queen, fathered by a Sealord's son on a princess from the Summer Isles. A dragon king from Westeros took her for his lover."

"I would like to see a dragon," Mercy said wistfully. - Mercy TWOW

There is even foreshadowing that Arya will form a closer relationship with the Black Pearl in the future by becoming an apprentice for her so Arya can refine her highborn manners so it’s easier for the FM to place her into highborn society to do their work, because why not utilize a highborn girl in this way?

But also notice that Arya/Mercy is friends with a girl named “Daena” which is ridiculously close to the name Daenerys.  And in the same conversation with Daena (Daenerys) Arya/Mercy also said she wished to see a dragon.  And no this isn’t “Mercy’s” wish, this is Arya’s wish:

As Arya crossed the yard to the bathhouse, she spied a raven circling down toward the rookery, and wondered where it had come from and what message it carried. Might be it's from Robb, come to say it wasn't true about Bran and Rickon. She chewed on her lip, hoping. If I had wings I could fly back to Winterfell and see for myself. And if it was true, I'd just fly away, fly up past the moon and the shining stars, and see all the things in Old Nan's stories, dragons and sea monsters and the Titan of Braavos, and maybe I wouldn't ever fly back unless I wanted to. - Arya X ACOK

Doesn’t really sound like Arya hates dragons or have any issues regarding them.  She wants to see them irregardless of any fear they may inspire within her that everyone would naturally have upon seeing a dragon.

Arya also expresses a wish to fly throughout her narrative and she also has wing symbolism in her arc:

If I was a crow I could fly down and peck off his stupid fat pouty lips. - Arya X ACOK

If I had wings I could fly back to Winterfell and see for myself.  And if it was true, I'd just fly away, fly up past the moon and the shining stars, and see all the things in Old Nan's stories, dragons and sea monsters and the Titan of Braavos, and maybe I wouldn't ever fly back unless I wanted to. - Arya X ACOK

I wish I could change into a wolf and grow wings and fly away. - Arya XIII ASOS

She might be bald and skinny, but Mercy had a pretty smile, and a certain grace. Even Izembaro agreed that she was graceful. She was not far from the Gate as the crows flies, but for girls with feet instead of wings the way was longer. - Mercy TWOW

Also lets not forget how similar Arya and Dany are to each other and how many parallels they share.  They are both lost princesses exiled and sent to Essos, specifically Braavos, after their father's deaths at the hands of Lannister's.  They each know what it's like to be bought and sold and to be enslaved – Dany as a child bride and Arya as a child soldier.  And they both have pretenders trying to take their claims.  Both have been forced into becoming smallfolk, living in poverty and starved.  And they both know what it's like to be hunted and scared.  They adapt exceedingly well into other environments and cultures, and their morality and sense of justice are very attuned, as they seek to protect those that can not protect themselves.  Very protective, they are both empathetic and maternal and care for the sick, ailing, and dying.  Both of them are survivors and have both suffered abuse and sexual assault (more so for Dany, but it's still there).  They are both clever and know how to manipulate people.  They are both polyglots and both of their deepest desires are for home and family/pack.  They both try to live up to the image of their older siblings (ie Sansa and Rhaegar).  Arya is said to look and act like Lyanna and Daenerys is compared to Rhaegar by the people that knew him.   They are both very close to their house sigils and even dream about them and the mystical beasts they both own.  They both love horseback riding and they both have encountered mystical prophets.  Wanted/considered becoming sailors and they both have fantastic people skills.  Not to mention that it was Arya who said that the slaves should have killed the masters, while Dany is leading a slave uprising to overthrow and yes, execute the masters.

Dany is also not some “mad queen” and she does listen to the people who knew her father and Rhaegar.  She is learning the truth about the monster her father was and learning to accept that.  So there is no reason why Dany should continue to feel antagonistic towards the next generation of Stark’s for something they didn’t do.  

I’ve also seen comments about how the fire devastation that is within Arya’s story must clearly mean “Dark Dany” and that Arya and Dany will be antagonistic towards each other in canon when they meet.  I’m assuming these people are referring to the burning barn scene:

"You take her!" she yelled. "You get her out! You do it!" The fire beat at her back with hot red wings as she fled the burning barn. It felt blessedly cool outside, but men were dying all around her. She saw Koss throw down his blade to yield, and she saw them kill him where he stood. Smoke was everywhere. There was no sign of Yoren, but the axe was where Gendry had left it, by the woodpile outside the haven. As she wrenched it free, a mailed hand grabbed her arm. Spinning, Arya drove the head of the axe hard between his legs. She never saw his face, only the dark blood seeping between the links of his hauberk. Going back into that barn was the hardest thing she ever did. Smoke was pouring out the open door like a writhing black snake, and she could hear the screams of the poor animals inside, donkeys and horses and men. She chewed her lip, and darted through the doors, crouched low where the smoke wasn't quite so thick.

A donkey was caught in a ring of fire, shrieking in terror and pain. She could smell the stench of burning hair. The roof was gone up too, and things were falling down, pieces of flaming wood and bits of straw and hay. Arya put a hand over her mouth and nose. She couldn't see the wagon for the smoke, but she could still hear Biter screaming. She crawled toward the sound. - Arya IV ACOK

Arya rolled headfirst into the tunnel and dropped five feet. She got dirt in her mouth but she didn't care, the taste was fine, the taste was mud and water and worms and life. Under the earth the air was cool and dark. Above was nothing but blood and roaring red and choking smoke and the screams of dying horses. She moved her belt around so Needle would not be in her way, and began to crawl. A dozen feet down the tunnel she heard the sound, like the roar of some monstrous beast, and a cloud of hot smoke and black dust came billowing up behind her, smelling of hell. Arya held her breath and kissed the mud on the floor of the tunnel and cried. For whom, she could not say. - Arya IV ACOK

This chapter does not mean that Dany is going to go “evil” or “mad” and start burning stuff to the ground.  You guys do remember that Dany has three dragons right?  And that Dany is only the dragonrider to Drogon?  That leaves two other possible dragons that could be stolen from Dany.  We have Euron/Victarion who has the dragon binder horn and then we have Aegon who may or may not be able to claim one of those dragons for himself.  There is also the possibility that Euron dies or Aegon dies and someone else will take their places as dragonriders via Targaryen blood or use of that horn.  So besides Dany we have Aegon, Jon, Euron, and Tyrion who may all ride dragons within the story as they all have the proper set-up and foreshadowing for it to be a possibility.  So why is it the automatic assumption that it will be Dany burning shit down?   

Not to mention, wildfire has the same types of language used as the two quotes above:

And then some vast beast had let out a roar, and green flames were all around them: wildfire, pyromancer's piss, the jade demon [...] From bank to bank there was nothing but burning ships and wildfire. The sight of it seemed to stop his heart for a moment, and he could still remember the sound of it, the crackle of flames, the hiss of steam, the shrieks of dying men, and the beat of that terrible heat against his face as the current swept him down toward hell. - Davos I ASOS

So considering there not only is there a ton of foreshadowing that it will be Cersei who destroys King’s Landing with wildfire, but also there is foreshadowing that Jon Connington will do something incredibly drastic to win and keep the Iron Throne for Aegon.  And may I remind the audience that the fires Arya went through and experienced in the Riverlands had zero to do with Dany.  They were the direct result of the Lannisters.

So if Arya IV ACOK is foreshadowing a future fire she is stuck in, there is no evidence that the fire will be caused by Dany nor that the fire is dragonfire.  And if you are going to point out the show as evidence, let me tell you something, go to the youtuber The Dragon Demands and watch his videos dissecting everything about the scene of Dany burning King’s Landing by using the script, listening to BtS content, looking at the storyboards, actually noting that a scene of Cersei looking out the window, depicting her watching people put barrels of wildfire on the battlements, etc.  Because the compilation he makes proves that Dany burning KL the way that she did in 8x05 was a last minute change.  It was supposed to be an accidental wildfire explosion before they changed it so they could justify Jon killing her.  But I’m sure even with the evidence you’ll still cling to the idea of Dark!Dany because you are incredibly insecure about your fictitious ship and your blatant mischaracterization of your favorite “pure as the driven snow /s” character, because there is literally nothing in the books that foreshadows Dany going “mad” or “dark”.  So why don’t you take your jealousies about Daenerys and Arya and the very possible Daenarya friendship somewhere else.

[nerajaana]

In regards to the qitn theories. It's okay if Arya isn't a queen. It doesnt mean there is something lacking in her, it just means that she doesnt want the position. She herself says 'thats not me' when her father says she'll marry and have sons who will be kings. She enjoys her freedom and probably wants to travel the world.

Disclaimer: My tolerance for repeating my opinions about issues that have been extensively discussed before is pretty low and the the ask comes off quite condescending for my tastes so if my answer comes off as rude, feel free to take offense and block me.

At least the ask wasn’t about trident so small mercies I guess lol

Did it ever occur to you that Arya was rejecting the idea of conformity, that she’d be set up for failure if she were to be in that situation? Because she’s never known that she could be a lady in more than one way, not just what the septa and Sannsa represented. That cow of a septa was quite instrumental in beating down Arya’s sense of self esteem, it doesn’t take a fucking genius to figure things out as they are so explicitly laid out in the text. And her mother. If you could read in between the lines a bit, you’d see Catelyn was an unconventional lady but ofc she didn’t reinforce those standards when it came to teaching her daughters. Seemed like a case of “do what I say, not what I do” tbh. Maybe I’m wrong, but that’s my interpretation. And yes, Arya did say *that’s not me, that’s sansa*. She was betrothed to the crown prince, the future King, and look how things turned out. Robb was supposed to be the Warden in the North, the Lord of Winterfell. He died, and now Brandon’s the lord stark. He said something similar, how he’d never be a lord, that it’s for Robb and his Frey sons when maester luwin commented on how he’d make a good Lord of Winterfell someday.

You’d think after reading five whole books the main characters always tend to end up in a radically different position than what they’d have expected with the adults around them spewing almost-prophetic things. But if you wanna stick to the point that everyone’s endgames Centre around what they’d thought they wanted in the beginning of the series, kudos to you. Knock yourself out mate, the last two haven’t come out yet. Speculate away💫

And pray tell, who the flying fuck ever said anything about Arya being inadequate if she doesn’t end up as the qitn? First of all, bran erasure. Secondly, she’s already hella powerful, and a princess. Heck, she’s the Lady of Winterfell, by proxy. What are you really trying to convey?

“I don’t care. I want to go home.” Arya, ACoK

She dreamt of home; not Riverrun, but Winterfell. Arya, ASoS

There were no more Starks but her. Arya, ASoS

And she was so tired of running. She'd run when Ser Meryn came for her, and again when they killed her father. Arya, ACoK

For half a heartbeat she let herself pretend that it was her home ahead.

.....She told the captain as much, but even the iron coin did not sway him. Arya never seemed to find the places she set out to reach........... Braavos might not be so bad. Arya, AFFC

She always is missing home. Constantly. The writer couldn’t have made it more obvious, he laid it pretty thick tbh. But I s’pose the practice of selective reading might’ve blinded you to the facts. I mean, honestly, it makes no bleeding sense for her character to finally get home and take off again. D&D’s moronic bs is not considered canon nonnie, if no one took the time to spell it out for you, well I just did I guess. You’re welcome :)

The one time she truly considers going away from it all is when she hears about bran and rickon’s supposed deaths:

She chewed on her lip, hoping. If I had wings I could fly back to Winterfell and see for myself. And if it was true, I’d just fly away, fly up past the moon and the shining stars, and see all the things in Old Nan’s stories, dragons and sea monsters and the Titan of Braavos, and maybe I wouldn’t ever fly back unless I wanted to.  Arya, ACoK

Really, you’d think basic comprehensive skills are all that is needed to understand the fairly simple language used in the books.

And honestly, Bran’s the one who’s gonna rule the north, and his wife will be the qitn. Arya’s leadership foreshadowing imo indicates the possibility of holding a position/seat of power in her own right, rather than a consort. And all that building up of a character over five massive books only to make her pull off a motherfucking Ferdinand Magallen (or in twoiaf’s context, an Elissa Farman) would be outright dumb af and for all his faults, the author is quite good at story telling. The only way I see her setting off on a voyage is her leading a host of ships carrying her people in search of lands to seek refuge, a lá Nymeria of Ny Sar.

enJOys hER frEeDom aNd wAnTs tO tRaVEL child go read the books before embarrassing yourself like this jfc

All it takes is using a brain cell once in a motherfucking blue moon and basic comprehension gods above why do we, as a fandom, keep going in circles like this?

[theolympusfiles]

rereading the PJO and HoO - part one: the lightning thief

before i start, all italicized parts are from the lightning thief by rick riordan. they're not my words and these are not my characters. my thoughts are the only thing that are mine :)

• "mom, you're coming too." her face was pale, her eyes as sad as when she looked at the ocean. "no!" i shouted, you are coming with me. help me carry grover". - the first(ish) appearance of percy's fatal flaw! i love the early establisment, especially because it helps foreshadow to the sea of monsters when fatal flaws are formally introduced.

• "that's -" "pasiphae's son," my mother said. "i wish i'd known how badly they wanted to kill you." - sally is underappreciated. she's smart as hell and clearly took the time to research demigods. yes, she was a little bit selfish with keeping percy out of the loop and not sending him to camp. but can you blame her? she lost all of her family and if she sent percy to CHB at an early age, that most nearly means she won't see him often (he'll attract monsters because he's aware of his status as a demigod and will most likely be at camp full-time). but sally ensured that she knew enough about the demigod world to protect percy because she knew that her selfishness would come with consequences. best mom.

• i was crying, calling for my mother, but i held on to grover - i wasn't going to let him go. - percy's first loss as a demigod and i am broken. honestly, so sad to think of, especially knowing all the losses he'll face in the future books. this line is also his fatal flaw showing once again (refer to first bulletpoint)

• "it (america) is the great power of the west. and so olympus is here. and we are here." - if olympus follows the west, where would the next location be? obviously, america is still a big powerhouse in terms of western civilization but that's not going to last. my bet is south korea but who knows? would love a fanfic on this tbh

• "the truth is, i can't be dead. you see, eons ago the gods granted my wish. i could continue the work i loved. i could be a teacher of heroes as long as humanity needed me. i gained so much from that wish... and i gave up so much. but i'm still here, so i can only assume i'm still needed." - how will it be decided that he's not needed? honestly, can't imagine CHB without him but chiron also deserves retirement

• i started to understand luke's bitterness and how he seemed to resent his father, hermes so okay, maybe gods had important things to do. but couldn't they call once in a while, or thunder or something? - percy has always showed some hesitance when accepting the demigod world, so i wasn't really surprised to see doubts like this pop up, especially with luke's influence. i'd think most demigods feel this way, luke and percy are just the ones who exhibit it the most in the series. i'm really interested in the parallels between the two and i'm looking forward to reading more and examining them

• "during the winter solstice, at the last council of the gods, zeus and poseidon had an argument. the usual nonsense: 'mother rhea always liked you best', 'air disasters are more spectacular than sea disasters', etc. - despite the fact that the gods are all-powerful beings, i appreciate the petty sibling spats that are mentioned briefly

• "so let me get this straight," i said. "i'm supposed to go to the underworld and confront the world of the dead." "check," chiron said. "find the most powerful weapon in the universe." "check." "and get it back to olympus before the summer solstice in ten days." "that's about right." i looked at grover, who gulped down the ace of heaers. "did i mention that maine is very nice this time of year?" he asked weakly. - this would be perfect for those 30 second trailers

• "gee," i said feigning surprise. "who else would be stupid enough to volunteer for a q uest like this?" the air shimmered behind chiron. annabeth became visible, stuffing her yankees cap into her back pocket. - the way he knows her pretty well already, i-

• the truth was, i didn't care about retrieving zeus' lightning bolt, or saving the world, or even helping my father out of trouble. - early on, we see from the get go that percy has a dislike for the gods. it's small mentions like this that really gets me thinking. he never really showed any dislike of the gods when he first arrived at camp (understandable) but he was hopeful for his father. it wasn't until luke planted the seed into his head that these thoughts came to light. i love this little detail, especially as we know that towards the end, luke does seem to think he can turn percy against the gods. his plan backfired a little bit on him in the end but like i said before, the parallels between luke and percy are so glaring. riordan definitely thought it out extensively

• do not be a pawn of the olympians, my dear. you would be better off as a statue - this is said to percy by medusa and again, feeds into his dislike of the gods. i wonder if monsters have some opinion on this. most would probably hate the gods but i wonder what their stance is on demigods. we know that they work with them (see kronos' army). the real enemy for monsters are the gods, the demigods killing them are just pawns to the gods so maybe that's how some monsters see them

• "so, what's your status?" luke asked me. "chiron will be sorry he missed you." i told him pretty much everything, including my dreams. it felt so good to see him, to feel like i was back at camp even for a few minutes, that i didn't even realize how long i had talked to him until the beeper went off on the spray machine. - there's no doubt that percy really considered luke a friend. he wasn't hesitant to tell luke about his dreams, something that he didn't share with annabeth or grover until later on the book. luke was a sort of mentor to percy and it was conveyed pretty well through their interactions, which makes his betrayal even more heartbreaking

• "you think you'll ever try living with your dad again?" she wouldn't meet my eyes. "please. i'm not into self-inflicted pain." - my heart breaks for annabeth and her relationship with her father. i've read most of the riordanverse books and the growth in annabeth's relationship with her family is definitely something i'm looking forward to watch grow as i make my way through the books again

• i looked over at the desk and saw a girl sitting there, also wearing a straitjacket - so i never paid the dreams any mind but now that i think about it, they're really good for analysis. for example, the straitjacket could mean something like the gods are keeping them restrained. maybe i'm overthinking it or have been analyzing text too much in AP english but i think that the dreams are worth some deeper thinking

• i pretended not to see annabeth wipe a tear from her cheek as she listened to the mournful keening of cerberus in the distance, longing for his new friend - i need to see annabeth play with cerberus again D:

• i turned and faced my mother. i desperately wanted to sacrifice myself and the last pearl on her, but i knew what she would say. she would never allow it. i had to get the bolt back to olympus and tell zeus the truth. i had to stop the war. - percy's growth as a character really shines through here. the lightning thief is a pretty short book and the journey they took was less than 2 weeks but despite that percy's grown immensely as a character. his goal was always to save his mother but in the end, he sacrificed her because he knew it was his duty to save olympus and i respect that

• "you have made an enemy, godling," he told me. "you have sealed your fate. every time you raise your blade in battle, everytime you hope for success, you will feel my curse. beware, perseus jackson. beware." - ares cursed percy to be unsuccesful in battle but does his curse ever take effect? i don't recall any mention of this curse later on the series. obviously, percy is the main character and a really good swordfighter but the curse might have affected some battles right? but then again riordan has a lot of plotholes so i wouldn't put too much thought in it

• i knew dionysus must've filled it out, because he stubbornly insisted on getting my name wrong. - i've always accepted the fact that dionysus called the demigods by their wrong name for humor. but what if it's deeper? what if it's a way to put some space between him and the demigods, just as an extra precaution so he won't get attached. or it could be a ploy to showcase that he's more powerful than them and that they are beneath him, which is why he doesn't need to know their name. i like the former headcanon more though :P

• i opened my eyes. i was propped up in bed in the sickroom of the big house, my right hand bandaged like a club. argus stood guard in the corner. annabeth sat next to me, holding my nectar glass and dabbing a washcloth on my forehead. "here we are again," i said. - the parallel

well, that's everything i had notes on. overall, i liked rereading it. i really do miss this series and i'm finding my love for it be rekindled by rereading. i miss the humor of the early books (i could literally make a whole post of underrated lines). the last time i read the series in its whole was when i was 7 and now that i'm 16, i have more thoughts and can analyze the story better. also loved seeing baby percabeth as they're my OTP. i'm excited to continue with the series. to the sea of monsters!

[airgetlamhh]

Thoughts on Lostbelt 2

Longpost ahead.

So.

Lostbelt 2. Finally played it after so long, and this will contain spoilers.

To make sure everyone knows what they’re getting into, I’ll give the thesis statement right here: Lostbelt 2 is bad. 

The entire time I played through the story, I kept waiting for it to pick up. I kept waiting for it to shrug off the poor pacing, the deus ex machinas, the random things just happening for the convenience of the plot. I kept waiting for it to shrug off the poor characterization, the constant telling instead of showing, the moral myopia. It never did. 

From nearly the very start to finish, Lostbelt 2 is bad. 

We start off fairly fine! A desperate ploy to sneak through the Lostbelt to meet up with the allies we’ve learned about, the Wandering Sea, interrupted by a Lostbelt Servant attacking us with the intent of stealing the Paper Moon that allows us to perform Zero Sails. All of that is a decent setup!

And then we’re told how strong this Saber is. How incredible they are. How their swordplay surpasses anything else they’ve ever seen, how they desperately wish that Musashi was there, how no no, he didn’t use his sword, he only parried! Things that Sherlock Holmes observes, not Mashu, not the one who’s actually been fighting for two years now, so Mashu seems borderline useless. Holmes figures out it’s Sigurd because...he uses a sword in a Scandinavian Lostbelt, and he figured out that Holmes used magic because Holmes fire magic lasers at him. From this, Holmes is able to pinpoint Sigurd’s identity, and that’s just the setup for the rest of the chapter, really. 

To be specific, what I mean is that we will constantly be told how incredible someone is with very little evidence, and the plot will bend and warp to make certain things happen. 

The scene does exactly one good thing, which is the foreshadowing of Surtr. Coming into it knowing that aspect allowed me to appreciate little bits like Surtr talking about Heroic Spirits like he wasn’t one, and Surtr not being able to kill Mashu because Sigurd resisted it. But that’s about all that was good in the scene, and all it really does is set up a consistent thing of Surtr being one of the only good parts - until he isn’t, of course.

I’m going to shift here from specifics to characters, because otherwise I’d be rehashing the entire story and I don’t have the time or effort required for that. That being said, it is difficult to decide where to start, so I’ll go right to the very building blocks of the story, the themes. 

Lostbelt 2 is, very obviously, attempting to have a theme of different kinds of love throughout the story. Part of this is because it’s very much set up like an otome game that the author Hikaru Sakurai would write, with Ophelia in the center, but it’s a more general theme too, with Skadi and the others all building up towards it. Now, love is an absolutely wonderful thing to build your themes around, exploring and examining it can be great for stories. Beasts themselves do that, examining different varieties of genuine, but toxic love that allow them to be well-meaning monsters.

The problem is that Lostbelt 2 does not engage with these themes on anything but a surface level. Skadi represents maternal love, so she constantly talks about how everyone is her children and how she’s their mother. No examination of the desire to see her children grow, the pain she feels when they fight, the struggle of forcing herself to cling so tightly knowing that it’s suffocating them and going to kill them before they reach 26. 

Napoleon represents passionate love, so he flirts with every woman he sees. No examination of why he’s so passionate or what drives him to burn so brightly, beyond a token mention that for some reason when he’s summoned he’s driven to seek out a lover, another aspect of things happening to serve the plot. 

Sigurd and Brynhildr represent true, romantic love, so they act mushy the entire chapter from the moment the real Sigurd appears. Now, don’t get me wrong, I liked their scenes a lot and I’m happy that they chose that portrayal instead of the one I was afraid of where it was yandere jokes day in day out. But there’s no engagement with the fundamentals of their love, nothing that tests it, even the existing complications with Brynhildr’s tragic summoning are swept away with a single line of “I can resist them better now maybe because my saint graph is broken”, so ultimately there’s no conflict whatsoever. And sure, that’s nice, but it’s not very good if you’re trying to build your story around a theme of love. 

Next, Surtr, who represents obsessive, dangerous love. I honestly actually think Surtr’s done well, even if the love he happens to represent is the least positive one. Surtr is capable of only one thing, destruction, and when he fell for Ophelia in that moment where she saw him and he saw her, he decided that if he ever had the chance, he would repay her the only way he knew how: allowing her to watch as he destroyed everything. When he’s summoned, he acts basically like the possessive one in an otome game, constantly talking about how Ophelia is his woman, getting angry when Napoleon flirts with her, spending most of his time pushing things between them as far as they can go etc. etc. I’m not particularly a fan of how his desire to repay Ophelia battling against his singular purpose transformed him into a typical possessive bastard boyfriend, but it’s at least engaged with on a deeper level.

Finally, Ophelia. She’s the otome game protagonist here, born into an controlling family and finally freed, hiding a secret special power, beloved by almost all the men involved in the chapter while she’s harboring feelings for someone else, even has the typical friendship route with Mashu going on. Her love is a love that she doesn’t acknowledge, but that’s all it is. It’s never engaged with beyond the fact that she clearly loves Kirschtaria but insists she doesn’t, and her final scene as she dies is Mashu telling her that yes, she did love Kirschtaria. That’s all. 

For a theme of love that’s supposedly woven into the Lostbelt, it’s barely examined at all. It’s not well written, and in comparison to Lostbelt 1′s theme of what it means to live in a world where the strong devour the weak and how deeply it examined and engaged with that, it’s a genuine disappointment.

Now, to move onto the plot, it’s...in the abstract, it’s fine. Chaldea is intercepted and forced to fight in the Lostbelt and ends up dragged into the overarching ploy by Surtr to release himself and burn everything. That’s a perfectly fine story, but the problem is that when you get to the moment-to-moment stuff, it falls apart completely. 

Skadi is constantly talked up as this incredibly powerful true goddess, not merely a Divine Spirit, and we know she can see and hear our every move because of her snow. How does the story work around this borderline omniscience within her Lostbelt? Skadi just decides not to do anything about Chaldea with zero rhyme or reason. We need to sneak into the palace and avoid alerting the guards, except Skadi already knows exactly where we are, except that doesn’t matter because we need to sneak in for some reason. We get captured with no plan to escape, and it just so happens that not only was Skadi keeping a Divine Spirit amalgamation locked in the dungeons too, but that she can piggyback on you making a contract with Napoleon (pure dumb luck you hadn’t done it before) and force a connection with you too, and then cast spells to hide you while you escape. Skadi knows we’re trying to free Brynhildr, who is the sole threat to Sigurd and Skadi’s own Valkyries in the entire Lostbelt? She just decides to do nothing at all. 

So much of the plot happens because either Skadi makes terrible decisions to do nothing, even though she knows Chaldea is there to destroy her entire world, or it happens because random shit goes on that couldn’t have been planned for like Sitonai. Shit like Surtr suddenly becoming Fafnir and being able to use the Evil Dragon Phenomenon to brainwash Ophelia somehow, like Ophelia’s Mystic Eye being able to do anything the plot demands, even when it explicitly goes against its existing capabilities like rewinding time on Sigurd’s wounds, like Bryn and Surtr somehow being able to resist the effects of her eye with no buildup or explanation. It’s poorly written in terms of the exact events that happen, and that all culminates in Skadi’s one cool moment, where she declares she’s going to kill the seven billion we fight for for the sake of her ten thousand...and then right after, it reveals that Skadi was going easy on us and refused to use her runes of instant death for no reason even though she was fighting for the survival of her entire world. The moment to moment plot is not good, and neither is what comes next, the worldbuilding.

In Skadi’s Lostbelt, half the world is covered in Surtr’s flames, while the other half is blanketed in Skadi’s snow. Where the two areas meet are the only places where life can grow, and so Skadi set up villages there. Unfortunately, there isn’t enough food for everyone, so she enforces strict population control: if you are not the mother or father of a child by 15, you are sent away to be killed by the giants. If you are the mother or father of a child, you are sent away to be killed at 25 instead. Through this tragic method, Skadi enforces a limit of 100 villages with 100 people, a total population of 10000. This is all fine. 

But take a closer look at what we actually see, and this falls apart. First, the giants. The giants are immortal and never need to eat. They do nothing but sleep all day and attack any human that comes close to them. Later, it’s revealed that they’ll attack any heat source including Valkyries, except we know that’s not true. Giants never attack each other, they never attack and destroy any of the plant life around them, they never attack the Lostbelt tree seeds, they even fight alongside mass-produced Valkyries before it’s revealed that Skadi and the three originals can mind-control them! They exist only to destroy, but Skadi can control them with her masks and indeed uses them as labour, keeping them chained up in her castle to be brought out and controlled as needed, or using them to guard Brynhildr’s castle. 

Worst of all, the first time we meet anyone in the chapter, it’s Gerda, who is sneaking out of her village to go to the massive liveable area close to Village 23. This area happens to be the only place she can go to get medicinal herbs that she needs or one of the people in her village will die in childbirth. This area is also full of giants, who have not destroyed it despite being fertile and full of life and heat, and who are allowed to take this place that could be used to grow more food for humans who need it, and simply stay there doing nothing. 

Now, this is where I thought the game would engage with things. How Skadi, in professing her love for all her children, is actually being cruel and unfair. They certainly set it up in the conversations she has, where she casually mentions how humans must die for her coexistence to continue. Skadi chooses to keep the giants alive despite the fact that they are all braindead and can do nothing but kill and destroy the moment their masks are removed. She chooses to keep them alive even though it comes at the expense of the humans who must die when the giants never make that same sacrifice. She chooses to allow them fertile land even though they cannot farm nor do they need food, and in doing so deprive the humans of potentially living longer, having more supplies to do so. She makes these strange choices and then later reveals she can control the giants to do her bidding, and it all seems to fall into place. 

What we see from how she’s characterized early on is that the system is unfair and Skadi is unwilling to change, because it benefits her tremendously. Gerda’s village didn’t have enough herbs to save the children forced to breed by 15, and despite Skadi’s omniscience letting her know that Gerda had snuck out and was trying to save a life, she did nothing. There was no system in place to beg a Valkyrie to get these herbs, and no indication whatsoever that Skadi would use her powers to control the giants to save Gerda’s life. The picture painted is someone who cares about humanity not out of true care, but simply out of obligation. Those who disobey her rules, even for good reasons, are left to die by the engines of destruction she keeps alive.

That’s not the story it tells later on, though. Skadi, portrayed from the start as this all-powerful goddess with complete control over everything, is revealed to be far weaker than we thought, and far less monstrous. Ignore all the times she did control the giants, she actually can’t do it all that well. Ignore all the times she declared she would not allow anyone she loved to be killed, but chose not to act to tell her Valkyries or her giants or anything else to save either Chaldea or Gerda. Ignore the evidence we see on screen that there’s more land that’s simply taken over by the giants, Skadi can only make those initial 100 villages and can’t make any more. Skadi is not bad. Skadi did the best she could. Skadi is morally right. 

Please love Skadi, there’s no complicated moral quandary here, she’s just Good.

Comparisons to Lostbelt 1 are impossible to avoid. Both have the same basic cause, a calamity that was impossible to predict and impossible to avert. The stagnation that dooms a Lostbelt created by the kings in question in their desperation to survive. Ivan turned humanity into the Yaga and created a world of strength, where progress is impossible because everyone in his new world was too busy devouring each other to work together. Skadi created a world of weakness, where progress is impossible because she limited the population to avoid everyone dying out. There is, however, one crucial difference between the two. Not in terms of story, not in terms of characters, not in terms of themes. 

“Your existence itself has already become a grave sin.”

That one line, spoken to Ivan, is the biggest difference between how the story engages things. In both Lostbelts, Ivan and Skadi did horrible things and made horrible choices because they had to, for the sake of survival. Ivan twisted humanity into monsters that lost capacity for mercy or empathy, while Skadi forced brutal population control and careless death on humanity because of her refusal to allow the giants to be destroyed. Both of them did horrible things, but only one is held to account by the story.

What Ivan did was evil, and the story recognises it. It doesn’t accept the excuse that it was all necessary for survival, because that’s irrelevant. It’s evil regardless. This same sentiment should have been expressed with Skadi, but it’s not. Ivan is condemned, but Skadi is absolved. She had no choice. She did the best she could. After building her up as all-powerful, the end of the story instead destroys her agency and power in its haste to prevent any kind of responsibility falling on Skadi’s head. Even to the very end, where she declares that she’ll kill all seven billion lives we fight for for the sake of her ten thousand, she holds back and allows us to win, despite how it butchers her character.

The biggest irony in all this is that Ivan’s world was worse than hers in ways. There was no way for the blizzards to stop, no meat besides for the demonic beasts. Crops couldn’t grow, and instead of living in peace, the Yaga were constantly tormented and killed by the Oprichniki. There were no liveable areas like there are in Lostbelt 2, no merciful ruler that sees all, and controls the greatest threats, no peaceful villages where food can be grown. There’s far more justification for Ivan to claim he had no choice and that he did all he did for survival, because it’s hard to see what his choices were. But Skadi? Skadi intentionally does not act and intentionally allows suffering and pain to come to her children, both actively by not saving Gerda, and passively by allowing the giants to take land they don’t need. Despite this, Skadi is absolved, because the story desperately wants her to be a tragic waifu that you love.

There’s lots more I could talk about. How Sitonai was pointless and existed only for a pathetic FSN reference. How Gerda was a cowardly and manipulative piece of writing compared to Patxi. How Ophelia’s story of always being told what to do is resolved not by her taking the step to freedom herself, but being told to free herself by someone else. The constant repetition that plagues the chapter, the weirdly prevalent sexism that everyone gets in on when it comes to Ophelia’s love life, the nonsense of the final battle itself, the absolute nonsense of Skadi being Scáthach-Skadi. I could even talk about how I’d fix the chapter, because boy howdy there’s a lot there. 

There’s lots more I could talk about, but this is already very long, and I think it speaks for itself. Obviously asks are available if anyone wants me to examine them in more detail, but for now, I’ll finish off with one last reminder.

Lostbelt 2 is bad.  

[hei-ch0u]

Oh boy. Here goes... Shingeki no Kyojin Final chapter (139) thoughts and analysis ✰

Well, where do I even begin to accumulate my thoughts on the final chapter of Shingeki no Kyojin? Even after some time to reflect and read the chapter many times, over and over - I’m still going to struggle to form this analysis. But, alas I shall try my best despite this.

I appreciate anyone who takes the time to read this and understand my own views of the final chapter. Proceed with caution - ⚠️ spoilers ahead ⚠️

This chapter and ending overall has left me with a love/hate relationship with the overall tale in full. I’d even go as far as saying it has tainted my view slightly of the entire series in one way or another and I will never look at it the same way I did - as much as I wish I could. My reasoning for the love/hate relationship I have will come, but, I want to start off by saying that despite it’s ending I will always appreciate this story and Isayama for his work, even if I myself don’t approve of his steering towards the ending.

It is just like I said in my theory, the thing we all need to recognise with this story is that the characters we love and have cherished, were never going to get exactly what they desired and if anything this chapter is a clear indication of that fact. It has been a story that was paved for a bitter, somewhat ‘bittersweet’ ending (yes, I hoped it wouldn’t be in the form of ‘that’, but it was). It is just as Mikasa said - “The world is cruel and merciless, but it is also beautiful”. This tale became the typical embodiment of humanity and how ruthless it can be.

Again, like I said in my theory, it was heavily foreshadowed that Eren was playing devil’s advocate and might have to sacrifice his freedom in this life to save the ones who meant the most to him. We heard hints in OST’s such as My War, Red Swan, Vogel Im Kafig, among others…

“Angel playing disguise with Devil’s face”

“I’ll cry for you in a dream”

“All of my kingdom, for your return, I’d let it burn!”

“Spread your wings, which are dreaded in blood”

“And eternity as you, fly to heaven”

“Like a fallen angel”

“Looking down from above I feel awful”

“Every living being dies someday, whether we are ready to die or not”

“Is that the angel who flew down from the twilight sky?”

“Is that the devil who crawled out from the crevice?”

“Tears, anger, compassion, cruelty, peace, chaos, faith, betrayal.”

It was foreshadowed, all of those things in the last example is humanity in a nutshell. The use of birds to symbolise the dead was shown on multiple occasions. Hell, even in the Levi ova, his friends are shown as 2 birds above him as he continues forward. It didn’t shock me that Eren’s soul was represented or “reincarnated” in the form of a bird - simply because birds are the most free creatures on our planet, they can fly over land, sea and maintain the air around them. Realistically, we should’ve analysed the birds presence more (it was even implied in the opening trailer for season 4. Falco awoke to a bird flying above him, we saw the bird present many times in even past seasons and don’t get me started on how many times it was present in the manga). Our Angel was Eren. He was a fallen angel - a slave to the story and what it means to be human, to feel deeply and make sacrifices. He was never a monster, just a pawn in a wicked game.

For a split moment of initial shock, I let the “judging a book by its cover” ideal kick in. After calming down and having access to proper translations, again I can’t say I love this ending or hate it - it has the bittersweet notion that was intended, but it was also lukewarm. It is not perfect by any means, there are some plot holes and loose ends that could have been tied up by extension. However, Isayama maybe intended for it to remain open for interpretation. Something of which, I’ll reveal what I personally took from the ending.

One thing I am surely certain of, is that I can hold my hands above my head and say this chapter 100% embodied my love for my favourite character - Eren Jaeger. He had such a tragic outcome, he did it all for his friends and loved ones. He was never free, not in life and partially not in death. He was a broken child, in a broken world with a broken fate of shouldering mass amounts of responsibility with no idea of how to change or control the past, present and future. To witness your best friend talking of all the things he was going to see, yet knowing you wouldn’t be there to see it yourself. To know the girl who was there for him forever and always, could never be his to cherish. He had no freedom to do so. To live the life he wanted to, he would have died anyway. If he had ran off with Mikasa, he would have damned his friends. The life he wanted was not feasible, therefore he chose to sacrifice his desires so his friends could live long lives, unlike the one he was damned to. He was a character who was torn along all sides of the coin. Torn between his desires, his duty and his self - all while experiencing memories from all angles. He was not a monster or a psychopath and I won’t let others spit on his name due to their lack of analysis and empathy. He is human. He is allowed to feel. He isn’t pathetic for wanting to live, for wanting to be with his friends or the girl he loves. He is 19. Can you really say you wouldn’t feel the same? It is natural to be frustrated at your life being ripped from under your feet at such a young age. He was damned if he did, damned if he didn’t. Look at his face in paths when he talks with Armin, he is devastated and he had no solution.

However, I do believe he will be reunited with his friends once more. After all, the scouts were reunited in death, so why shouldn’t he? His friends will not live in vain, his sacrifice will mean something. They will live their life to the fullest and find peace in life and then in death - they have Eren to thank for that. Another misconception I want to pick out of the fandom is that they did not condone genocide, they did not thank Eren for ridding the population of 80%. Armin states it as an “error”. What they did do, was acknowledge Eren’s sacrifice for them to live and that they understood it’s not what he wanted himself, but that due to unseen forces. - did he really have a choice? It is not by any means perfect, but it gives them freedom to live out with the walls - was this not Eren’s dream? To be free, not confined within the walls by Titans. He did exterminate all titans, that is one goal Eren Jaeger accomplished. We don’t know the full extent of the power of the attack titan or the founding titan, this is one of the open plot holes. Eren himself explains this, he himself has no clue and his head is a mess - is it any shock that his head is a mess? People would go crazy over less. He was a pawn in a story with no happy ending. At least not for him.

Even in the bird reincarnation theory, I hope he is happy and free. Free to roam the skies, perch upon the tallest mountains, titter along the grass banks of the world and watch over his comrades, his friends, the ones he loves deeply… The tragic protagonist I will always remember. (Especially as one who was done so dirty by his author)

There was so many routes this manga could have taken, fan theories proved this and I do think the ending could have been executed better. We were not getting a happy ending, it is not happy by all means. Those characters left have to live in the aftermath, aware of their friends sacrifice and all he had to put himself through for them to live the lives they themselves desired. My favourite quote will always be:

“Don’t pity the dead. Pity the living”

Mikasa lost her family in more ways than one, she has to live a life where she didn’t get the one person she desired more than anything, but I believe she will move on and Eren will be by her side the entire time until they are reunited in death. Levi is the same, he lost everyone and whoever his love may have been - Erwin, Hanji, Petra (who knows). Either way, he didn’t have those loved ones around in the end. But, he no longer has to fight for survival and can spend the remainder of his time resting until the day in the future he can be reunited with his comrades, friends and even kick Eren a big one, ruffle his hair, tell him its okay and tell him all the things he wanted to tell him like he said. Armin lost his best friend, he held the burden above his head that he himself killed Eren and not Mikasa. However, he has an abundance of friends, he has Annie and he can travel the world like he desired - like Mikasa, he will have Eren by his side for the remainder of his time.

Jean can meet the woman of his dreams and have the children like he desired, knowing that even in their silly quarrels - Eren was loyal to him always. Connie can have his mother back, his family and move on. Reiner can live, not die like he once desired and live on knowing of Eren’s sacrifice, that he wasn’t a monster himself. He is free from the curse, as is Annie, Pieck and Falco. The warriors have their families back. Gabi and Falco can be together unlike their comparisons, sad, but fitting. They are in Paradis, a place we never expected them to be in the end, advocating for change alongside Onyakapon looking after their elder, Levi, alongside them. On Eren’s death anniversary, it is implied they all return to his grave to be together, none of them are alone like we initially thought. Mikasa is not alone in Paradis since it is implied that Levi, Onyankapon, Gabi, Falco, Historia even… still live amidst the walls - I think it would be wasteful to assume such a strong character secludes herself after the love of her life’s death. She does not have to love another man, she can choose to live her life for herself, a long one alongside her friends. This manga has never necessarily needed to have love stories, they are implied, but not needed. For life itself is the embodiment of their freedom.

This above is the rosy way of looking at it and it’s what I personally will take from it. I overall think it is terrible writing and use of dialogue - there’s no denying it. I myself as a writer and artist would have done it differently. Isayama has created a manga with a tragic story that reveals the raw, tainted feeling of what it’s like to be human. We all want things, we all have desires…but we don’t always get them, no matter how hard we try, some will slip from our grasps. That is life, no matter the universe. Yes. But, I do think in ways Isayama did taint and obliterate Eren as a character. This I am disappointed in. It is a typical author ideal of damning his protagonist and the sad thing about being a stories protagonist - you risk being ruined due to being written so complex initially that the author loses sight of how to conclude your arc respectfully. I believe from what we have been shown, he would not have accepted his death that easily and would fight for another way. Although, I cannot blame him as I myself would have felt defeated, suicidal and depressed at learning everything he did after his contact with Historia at such a young age. Remember, how you are brought up in an already cruel world is key - he didn’t stand a chance. But alas, I still feel he would’ve fought. This Eren is not the Eren we saw the majority of the manga, but then again he did change and I feel so sorry that the Titan power had that effect on him.

This is the character development true Eren stans are enraged with. TATAKAE! Fight the attack titan, fight the founding titan, fight against your cruel fate - don’t succumb to defeat. There is always another way. I don’t accept this version of Eren, due to the development we saw built by Isayama of his character, I can’t. It leaves so many gaps among other plot reveals. I don’t see what was accomplished. Eren’s being, his life, was a ploy to keep the other characters we care about alive, but at what cost ? If I was Eren’s friend, I would go forward like he wanted me to, but I could never forget the burden he bared and what he had to go through and what he did to achieve that outcome for me. I would forever be sad. I would be living in a world much like this one, lacking in peace and serenity and above all is that not what we all desire in one way or another? He did not necessarily know the Dina titan would go for his mother, but he had to direct it away from Bertholdt since in the timeline it was not his time to die. Always remember the theory of time, one thing changed, drastically changes the outcome. He did not want civilians or people within Paradis to die, it became collateral damage and no one would be able to fight for some time because of the 80% notion. He gave them time to live, time to change things to the best of their abilities and experience all they possibly could. They became the ‘heroes’, but again, at what cost?

Now, to the plot holes and answers I feel needed to be present for the story to knit together in a better way. This will be less “paragraph” based and more pointed, since…well these things were not explained. Majority of potential foreshadowing was swept under the rug like it meant nothing to bring about the lukewarm feeling I was talking about.

The alien like hallucigenia, what exactly was its purpose? It’s reason for being? It disappeared and ceased to exist. No mention of how it came to be. Even Ymir just vanished. Everything ceased to exist and Eren himself couldn’t understand Ymir’s reasoning other than being able to witness love. This seemed to be cop out on Isayama’s part.

Historia’s pregnancy was heavily implied and emphasised on within the manga, making readers think it meant something (when a creator zones in on these things, its usually for further plot reveal) Her character development was destroyed and she deserved better. She sidelined herself and stayed away till the final moment where it is implied she and Armin will become the negotiators of a new world, all while housing tyrants (Jaegerists). Again a further implication of Shonen manga and its poor interpretation of women.

The conclusion to Ymir and Eren’s particular character arcs was shocking and this can’t be dismissed. We needed both their sides of things to explain more. It lacked real conclusion and didn’t match up to past events or character development. This chapter should have purely been an Eren POV with the ending moments of how the scouts moved on. Of course this couldn’t have been done in 1 chapter, hence the recognition that this manga needed ‘more’ and it wasn’t enough to tie it all together. Another flaw in Isayama’s writing and continuity.

The Ackermans? Don’t get me started. My theory again will entail my rage about this one. Did the Ackerman power cease to exist like the titan curse? What is their origin story? To imply the Ackerman blood concept in all its parallels and foreshadowing to not even have the 2 remaining characters from said bloodline talk about their shared experience in thorough detail is such an abysmal hole in plot. Especially with it being heavily emphasised throughout the entire manga.

I barely saw any signs of Eren being in love with Mikasa? If this was the case, then it should have been shown in the manga and emphasised like isayama did with many other things that eventually had no meaning. I always viewed their relationship as very toxic to both sides and needed amending. So for Eren to suddenly turn round and say he doesn’t want her to be with another man....I find this a very bad continuation and completely disregards how Eren has been the past 138 chapters. Why was it so hard for him to say these things even before he made contact with historia and unravelled it all? Was it the power of the attack titan preventing him?.... (below)

The attack titan and founding titan, explain how it works. Why does Eren himself not fully understand yet he embodies them? Why could he not have flipped the switch? Why could he not ask for help? Explanation is needed.

All the time loop links diminished to nothing other than Eren’s past, present and future…yet its implied in many characters even in their childhoods mentions of things they could not be aware of. How can it merely be coincidence?

I wholeheartedly believe that this was not the initial ending of Shingeki no Kyojin, specifically because I and a few others I’ve seen noticed the shift in the story around 10 or so chapters ago. It seemed to be going in the route of a few particular fan theories and then suddenly (quite drastically I’ll add) shifted into this ending. I can only theorise that Isayama changed his original ending along the way to please editors and readers in different ways. In interviews past, he has completely contradicted things he has said about the manga and its ending with what he has produced in the final chapter. When you look at it from a marketing point of view as a selling point, if Isayama had killed certain characters like “Levi” for example or left the ending dark as it possibly could have been (something I wouldn’t have put past yams to do) it would be bad from a marketing point given the likes of Levi is the targeted favourite of the series (even with being a side character) and editors would heavily warn him of this.

People are saying that it’s Isayama’s story and editors won’t have influence - you’d be heavily surprised how much the editing team can have influence, especially when a story of this magnitude becomes so popular. I do think in ways, Isayama gave up. As an artist even myself, its very abundantly clear when a fellow creative loses drive and how the concept of something becoming popular can influence you to become bored and look for a way out. Hence, the clear signs of the story coming out as rushed, its all there, the loss of continuity, the holes in plot and even though Isayama’s art can be inconsistently coherent - some parts of the past few chapters weren’t at the full potential we saw previously. We watched him get better to suddenly somehow revert? That to me seems like a creator who had just had enough and maybe in the end chose to veer off his original plan.

Alas! As I said, I will always love Shingeki no Kyojin despite its ending and loose ties, it holds a place in my heart and has been a favourite of mine since my school days. Being an adult now In her 20’s and experiencing the many troubles of what its like to be human and a creative can sympathise with the struggles and stress Isayama would have been under all these years as his manga gradually became the phenomenon it is now. As it is our favourite characters time to rest and move on, it is his also. Although the story is not where I and many others hoped it would go, I still thank him massively for giving me characters like Eren Jaeger, Levi Ackerman, Mikasa Ackerman, Armin Arlert… the list goes on. Thank you for embodying why Eren was my first and last favourite character. Goodbye Shingeki no Kyojin.

[rachelbethhines]

Tangled Salt Marathon - Painter’s Block

Once again, we have a decent episode that winds up falling apart in context of the wider story arc. 

Summary:  Traumatized after the previous events, Rapunzel is feeling out of sorts, even having trouble painting again, and starts taking a class with a mysterious new art instructor. The other members of the class disappear one by one to a mysterious location by the sea, apparently painting an old, withered tree. The instructor is revealed to actually be an old witch serving Zhan Tiri (the monster who released the blizzard), released after the use of the weather machine and wishing to release her master as well. It’s up to Eugene and Cassandra to rescue Rapunzel. 

Tonal Dissonance Is a Problem

We start this episode with a recap of Queen for a Day and then we jump straight into yet another festival. 

Ok, ignoring that clearly a lot of time has past and no one hasn’t done anything to help Varian nor even mentions helping him; it’s just aggravating to switch from a serious storyline back to a supposedly low stakes situation without resolving the first arc properly. Yes, levity is needed to break up tension, but not in a way that distracts entirely from the narrative. 

Rapunzel Doesn’t Even Bother To Think About Varian When She’s Having Her PTSD Flashback  

Its a minor thing, but throughout the episode Rapunzel keeps having dissociative moments as she constantly hears voices in her head as she remembers the storm. Now I actually do appreciate what the writers are trying to do here. As some who also struggles with Complex-PTSD and dissociation, it's nice to see it represented here in some way. However, the fact that they leave out the key part of her trauma, letting down Varian, undermines these moments. Especially when they had no problem using Varian’s voice clip of “You promised!” earlier in the recap. It’s one of those things you may not notice it at first, but once you do it winds up distracting from the scene. 

What an Odd Place to Make This Reference 

Sugarby is quoting Ursula here, but I honestly don't know why. Ursula’s actual VA, Pat Carroll, does appear in this episode but she plays Old Lady Crowley instead. Sugarby’s VA is Ellen Greene, of Little Shop of Horrors fame. (and Rock-A-Doodle) You’d think a quote from that movie would be more apt. Also Rapunzel was admiring everyone elses work right before this, not talking about tough choices. 

Yet Again Cassandra Gains What She Wants, But the Narrative Refuses To Remember It

Cassandra’s beef in seasons two and three is apparently no one notices her or gives her credit for what she does, yet in season one she gets tons of recognition. Like here for instance, when her dad gives her a detective assignment on a missing persons case. To her specifically. He doesn’t ask anybody else first and isn’t running low on troops. 

You can’t have one of the main characters achieve their goal on screen several times and then act like they had never achieved it in later seasons. The audience isn’t dumb. We’re going to remember what happened and it’s insulting to the viewers for the narrative to pretend like what we’ve seen just didn’t happen. 

Friedborg is Wasted Here

I’ve talked about it before, but Friedborg is an unnecessary addition to the cast. However I bring it up again because this episode could have been the perfect set up for making her plot relevant. There’s tons of unintentional moments within the episode that could have easily served as foreshadowing that could have connected her to Zan Tiri, more so than any of the other characters. 

Trauma is an Explanation, Not an Excuse

This episode presents the idea that Rapunzel is procrastinating helping Varian because she’s reluctant to face her trauma. Which isn’t excusable. It gives reasons for her actions but those reasons are still ultimately selfish. 

Now, had the show owned up to this mistake, I would have no problem with using it as a point of conflict, yet the show constantly excuses Rapunzel’s behavior here. In fact the show excuses the behavior of several characters with the idea that so long that they had a traumatic backstory, they’re justified in their horrible actions. All but Varian, which a big double standard. 

However, and I can’t stress this enough, trauma is never an excuse for harming others. Especially people who've never done you wrong. 

Rapunzel spends several episodes ignoring Varian’s problem, long past the point of acceptability. And if viewed in the intended production order, the amount of episodes doubles. Varian is left alone for months, given the timeline of the show, and yet Rapunzel, the supposed adult in this situation, is never held accountable for neglecting a child.  

Xavier isn’t Tied Into the Plot Properly 

Xavier just so happens to have a convenient spell book that also just so happens to have all the exposition on the big bad that’s needed. It’s never explained how he got this book, why he has it, nor is it ever used outside of the first season. 

Xavier is plot important as the exposition fairy but the show never explorers him further than that and doesn’t tie him into the narrative properly, even though there’s plenty of reasons to do so. In fact Xavier will become just as useless as Monty by the time season three rolls around, even though he previously had the most connection to the ultimate villain. 

The Disciples Plot Goes Nowhere 

Ok, first off we get no real explanation as who these guys are, nor why they follow Zan Tiri to begin with. Why do they want Zan Tiri freed? What’s in it for them precisely? 

Second, what meminal backstory we get on these guys, contradicts what we’re told about them here. Xavier calls them evil spirits, but later we find out that they were actual real people who onced lived. You could call them ghosts if you want to, but that begs the original question of why they followed Zhan Tiri in the first place and why they continue to do so even in the afterlife. Simply being ‘evil’ no longer cuts it because real people aren’t just purely ‘evil’. They have goals and motivations. 

Finally, they accomplish nothing. They never wind up freeing their master. That happens through other means. They never connect back to Zhan Tiri’s own goals and motivations. They don’t add backstory to any of the other characters nor expand the mythos of the series. They’re just there to be a baddie of the week, and it’s is such a let down given what other hints we got for them. 

Sugarby Misgenders Her Master

So it’s clear that the writers did not fully figure out Zhan Tiri’s plot before they started making episodes. Given how animation works and how much pre-production time you’re given before you ever even start animating (which is several years btw), that’s a sign of mismanagement right there. 

Zhan Tiri is revealed to be a girl, but is referred to using male pronouns until that reveal, even by people who very well should know better, like her disciples. 

Also all these tree metaphors and hints come to nothing either, as Zhan Tiri is ultimately both freed and imprisoned without them. So what was the point here? 

Rapunzel Doesn’t Learn Her Lesson

This episode is suppose to be about Rapunzel learning to accept responsibility and owning up to her decisions even if it's hard. This should, sensibly, end with her taking upon her responsibility for Varian and following up with him. But no, we get a painting party instead. 

This isn’t Proper Foreshadowing 

So everyone acts like this painting of Cassandra in front of the moon is foreshadowing for her taking the moonstone, but it’s not. Not good foreshadowing, anyways. 

For starters, it’s not focused upon. Everyone is also painting stuff and crowding out what she’s doing so your eye isn’t lead to her

Nothing anybody else paints is a hint to anything later on, so why should the viewer pick up on this? It’s just a thing anybody could paint. If anything, Freidborg painting the void over there could have been some real foreshadowing cause that’s different and stands out, but it isn’t. 

It’s not on screen long enough to register for the audience. If you’re only going to notice something after the fact then it’s not a meaningful clue. Real foreshadowing has to be detectable and the audience needs to be able to plausibly figure out a twist before it happens or you’ve got a bad twist that’s not integrated into the story.   

There’s no other evidence to backup the twist. All we get is one framing shot of a mirror and that brief talk with Eugene in in the cell in Cassandra vs. Eugene. That’s not enough. And no, Chris claiming her ‘dress is blue’ as a hint is utter bullshit, cause there’s Freidborg right there wearing the exact same dress. 

If MoonCass was always a thing that the writers intended to happen, which we do have evidence for given released production artwork and Chris’s own discussions about the show’s development, then they needed to put more effort into establishing the character and setting up her arc. 

The very fact that viewers can easily pick out supposedly non-existent ‘hints’ with other characters like Freidborg and Varian, but not pick up on the actual twist, means that the writers failed to communicate clearly with their audience. That is on them and not the viewers, no matter what Chris says. 

Conclusion

This episode is frustrating. Much like the pilot, it offers up good ideas but then never properly follows up on them. To make matters worse, it winds up distracting from the plot that viewers actually care about rather than furthering. 

[verannaca]

f2

Major Frozen 2 Spoilers Below!

You’d never be able to tell by reading this that I’m a whole-ass adult, AND a writer :’)

HERE’S SOME THOUGHT BLURBS

• Vuelie smacked with nostalgia holy sHIT • Pretty snowflakes proves this movie is Frozen • BABY ANNA • "wait, what?" • baby anna with attitude • snuggles • iduna/ERW has an amazing voice?? • "you'll be drowned" foreshadowing?? • Elsa freezes the railing and just awkwardly leaves it?? a queen • ANNNAAA • Anna and Olaf • Olaf being poetic?? • poor sweet anna isnt lonely anymore :') • SOOMMEE THINGS NEVER CHANGE this was catchy as heck • "holding on tight to you" that kristanna twirl SENT ME • "irredeemable monster" "greatest mistake of your life" "WOULDNT EVEN KISS YOU" • AURORA • Kristoff getting prepared to spend a LONG time in that room, if u know what im saying ;;;))) • bedtime snuggles and it's now canon that EA call each other "Darling" • anna representing women who drool n snore, and elsas a FUCKING MOUTH BREATHER • elsa's grumpy face >:(      (she’s so cute what the heck) • INTO THE UNKNOOOWWNNNN ft aurora • uh oh kingdom's in danger again THANKSELSA • KA helping the citizens as a true Queen and King would (sPOILERS) • "youve been hearing this voice and u didnt think to tell me" the offence is beautiful • elsa's pouty hesitation before she tells anna what happened • ELSA'S FACE the entire time KA & Olaf plan to go with her on the adventure, she was NOT having any of it • olaf being annoying for x minutes straight • anna ready to get dicked up on a sleigh ride even tho her sis is sleeping 5 feet away from her lmao MOOD • "crazy? you didnt say i was crazy - you think im c R A Z Y?" HER FACE SENT ME • kristoff bumbling everything RIP • aurora is back • elsa runs in heels through rocky land and somehow doesnt break her ankles, 10/10 (i mean anna did the same but it’s expected of her lmao) • olaf being annoying pt2 (sorry, he’s cute ig) • anna getting mad at the mist • anna walking towards the cliff to view the dam and looking like an autumn goddess • sven is a terrible wingman • "WE WILL DIE" good job kristoff • elsa not caring about anna's worry • olaf had a song here i think?? • WIND • elsa looks good when messy idc idc • "THAT'S MY SISTER" that's an outtake line from Frozen!!!! • surprise statues • anna rips a sword out of ice with her bare hands n no one thinks anything of it • northuldra ppl • honeymaren eyefucking elsa (we see u) • olaf's funniest scene lmao • "one with power, and one powerless" ANNAS FACE OF OFFENCE HAHAHAHA IT'S OKAY BB YOU HAVE THE POWER OF LOVE • "oh, anna" oh mattias, we feel u • fire spirit • ANNA COUGHING • BRUNNIIIIIII • bruni & elsa head tilts • "they're all looking at us, arent they" yes elsa because ur talking to a fucking salamander • anna gets mad cuz elsa gets mad cuz anna ran into fire cuz elsa ran into fire • iduna was northuldra (neat) • vuelie but different??? • kristoff made a friend!! • insecure anna + a mutual lacking communication = :( • a sad failed proposal • A SHIPWRECK¿? • this is v dark for disney holy shi • the horror in elsa's voice "what were they doing in the dark sea?!" • they watch their parent's final moments • the horror in iduna's voice "the waves are too high" • this is a kid's movie, yes? • elsa flees, anna follows • THE GUILT ohmygosh poor elsa :( • anna tries v hard, but i can only imagine her own agony??? she's tryna take care of elsa but who's taking care of anna?? :(((( • elsa becomes manipulative?? JUST EXPLAIN THAT IT'S DANGEROUS AND REQUIRES MAGIC • elsa does the thing • anna and olaf are v angry (same) • anna loses her cloak & shows her beautiful jacket?? thank u anna • DARK SEA • elsa battles the ocean that swallowed her parents • Nokk tries to drown her?? dragging her through the water by her hand was INTENSE • i know she doesnt get cold n thats fine but damn homegirl must REALLY workout at home (the shoulders prove it) but she swam for how long and didn't lose energy??? • SHOW YOURSELF I CRIED • the ice was so beautiful and she looked so free n happy, loose hair n no shoes • the song was amazing holy heck • IDUNA WAS THE SIREN, I CALLED IT, HELLO THANK U • elsa's literally like "ok boomer" at her grandfather who's an ass • she goes too far into ahtohallen • inappropriate but ohmygod the ice detail on her skin when she was freezing was crazy??? her hair got whiter n all that BUT THE SNOWFLAKES ON HER SKIN, that was unbelievable • surprise surprise old white guy in power kills innocent poc • elsa freezes like anna did, cuz anna was frozen and elsa is frozen 2 (heh) • back to the cave with anna and olaf • anna knows what has to be done to set things right because she’s the hero and always has to make the painful sacrifices • anna sets off to do whats right but OLAF • rip olaf • anna sits in the cold ALL FUCKING NIGHT DID ANYONE ELSE NOTICE THAT, I AM NOT OKAY • the next right thing B R O K E me. kbell captures such agony so beautifully ohmygod, it was incredible. easily the best song in the franchise. • "SO I'LL WALK THROUGH THIS NIGHT, stumbling blindly towards the light" her voice • anna finds her courage to leave the cave • "when it's clear that everything will NEVER BE THE SAME AGAIN" CAN YOU HEAR ME SOBBING AT THE ABSOLUTE ANGUISH IN HER VOICE • this woman has lost everything and SHES STILL GOING, YES ANNA, GO • giants!!! • anna mimicking the behaviour she was against for most of the movie • "I'M HERE, WHAT DO YOU NEED?" this is so important • no questions asked, this is what's happening, kristoff is the real mvp • mattias lets anna destroy the dam • anna becomes suicidal?????? girl stop i- • the dam falls • ANNA ALMOST FALLS- • wait mattias has her • and kristoff has her!! • and she looks ready to keep crying now that the adrenalin is gone • ELSA THAWS but does she REALLY do the right thing??? idk i think she should've let the wave destroy whatever was in its path, otherwise whats the point? wouldve had better symbolism • the Northuldra people are free and happy but poor anna is still sad :( idk why people were saying she got over elsas death too quickly when homegirl was never gonna smile again • "i'm sorry i left you behind. i was just so desperate to protect her." • "it's okay. my love is not fragile." • anna tries to continue on, imagine what was going through her head AHHH • wait there she is • e l s a • on a horse • anna slides down the cliffside, elsa slides off that horse in a v godly manner • ANNA REPRESENTS WOMEN WHO UGLY CRY, THANK U ANNA • elsa is lowkey emotionless but honestly do we expect anything else from her by this point? (no shade hahahaha) • "a bridge has two sides, and mother has two daughters" yes thank u for making anna important • so is elsa a ghost now orrrr • WHO CARES, KRISTANNA PROPOSAL • we were v robbed of that kiss tho • anna's squeal of pure joy when asked • sven representing all of us • "do u wanna build a snowman" bitch it's been like 16 years, ur a bit late but OKAY • olaf is back • GROUP HUG • honeymaren wants elsa to stay "because it's where she belongs" ;;;;)))))) • elsa realises anna would be a better queen • QUEEN ANNA • Q U E E N  A N N A • YESSSSSS • we're robbed of the coronation but that's fine ig • kristoff in fancy clothes??? • "i prefer you in leather anyway" so anna is a top, nice to know • olaf's comment on kristoff probably not being able to "last an hour" ;;;))))) not if annas a top LMAO STOP • mattias found his person, congrats • anna is the people's queen • a statue is revealed, baby iduna is v cute • elsa is in the forest with bruni n everyone else • friday is gamenight • elsa rides off into the sunset i guess?? • THE END • oh and olaf has an ending scene • "elsa DEAD" • "olaf DEAD" • "anna cries" • everyone cries

okay thanks for reading lmao bye

[semper-legens]

137. The Sandman: World’s End, by Neil Gaiman

Owned?: Yes Page count: Unknown, not numbered My summary: At the inn between the worlds, those stranded by a reality storm sit and tell stories until the danger has passed. Jim, a cabin boy on a 1910s sailing ship; Cluracan, envoy of Faerie; Petrefax of Necropolis - they all have tales to tell, and tales that dance on the edge of the Endless... My rating: 4/5 My commentary:

This is one of the shortest volumes of the Sandman, and yet it’s my favourite of them all. I’m gonna look like a bit of a hypocrite here, as I’ve previously been dismissive of some of these volumes or stories because of their side-story nature. And yet, I love this one, which doesn’t have a whole lot to do with the main plot of the series. Go figure. This volume takes place in an inn between the worlds and consists of short stories the refugees of a reality storm are telling to each other, with the POV character being a man travelling for work who crashes his car and has to shelter with them. I’m not going to talk about every individual story, however, just the ones that interest me the most.

First of all, though, this volume is an excellent example of nested storytelling. See, there are so many stories told, and some within the others, that it gets mildly ridiculous if you stop and think about it. In the most extreme example, Peterefax tells a story, that contains a man telling a story about meeting Destruction, who tells him a story. And at the end, all of this is revealed to be a story that the narrator is telling a bartender. Stories within stories within stories, for what is Dream but another story? (The word ‘story’ has lost all meaning.)

Cluracan’s tale is a pretty standard swashbuckling adventure starring him, but it’s interesting because he admits to having made some of it up, calling into question if we can really trust him as a narrator - or indeed, if we can trust any of our narrators, given that their memories will be biased. Notably, Cluracan comes across as heroic in his tale, but still loses and fails at things and needs to be bailed out by Dream. He’s no perfect hero.

Jim’s tale is a reasonably standard seafaring monster tale, with cameo from Hob Gadling, though I feel I need to point out that Jim himself is of the ‘dressing up as a boy to go to sea’ type, and I’m a sucker for that kind of narrative.

The most bizarre tale in this one is of Prez, a teenager who becomes the best president the United States ever had, and then disappeared, dying mysteriously, eventually to end up in Dream’s realm. Prez was an already-existing character, a little-remembered comic book hero of I believe the 60s. His world is so weird, but it’s narrated in a very matter of fact way that only when the reader stops to think do they realise that yes, something is very off about this whole premise.

The Necropolis tale is my favourite, mostly because the idea of a society based around funeral customs and respect for the dead is so interesting to me. It’s also the one that has the most nested stories in it, and the one that is going to prove the most plot-centric, as we hear in passing of the requirements for a funeral of the Endless. But mostly, I love this society, I’d read a whole novel that was just about them.

Finally, some foreshadowing - at the end of the volume, we see a funeral procession across the sky, featuring some of the Endless and mystical characters we’ve grown to know, with nobody at the inn really knowing who this is for or what it’s all about. By now, the foreshadowing for what is going to happen to Dream is obvious enough that I’m not exactly keeping it secret, but it’s mysterious enough to be ominous and pique the reader’s interest for the next volume, so kudos.

Almost there, folks - join me tomorrow for volume 9, the Kindly Ones.

[kurogabae]

TSUBASA: TRAINWRECK CHRONICLES

And Why Bee Train Are Officially Being Labeled, By Me, As The Boomers Of Animation

PART 1 – PART 2 – PART 3 -- Part 4

[Slim Shady’s “Guess Who’s Back” plays in the distance, muffled but threatening]

Look, I know I usually have something to say at the start of these, but honestly? Let’s just go because we’re starting knee-deep in some bullshit. 

Tsarastora (yes... fucking AGAIN):

Well, it didn’t take long for us to return to the land of the walking Not Dead Anymore. Rumor has it that Bee Train was ordered to retcon the S1 finale immediately because who do you think you are to break one of CLAMP’s cardinal rules like that?!? But I’ve never seen any proof of exactly what went down about this plot. But I’m forced to believe Ohkawa materialized behind the director one day and threatened to eat his spine or some shit. 

Anyway. We’re here. Again. And for some reason this is where they decide to have Sakura give Yuuko her White Day gift? Instead of in Piffle? Where she made it? With Tomoyo?

Stop stealing my moments Bee Train. It’s like you’re the crew who edited CCS for America back in the day and tried to market it towards boys so you pushed Syaoran as the main character and tried to remove all romance. Let Sakura have friends! Let her interact with people and have a story! LET HER BE BI!!!

So Yuuko has a dress and Fai makes a joke about being in heaven because the place is so pretty and Kurogane says not to, quote, “say such unlucky things” and it’s moments like this that make you wonder if they Knew and just didn’t care about Fai’s past or if they really were just as in the dark as the rest of us. I flip flop a lot between the two. 

Either way, now the dads are talking about the kids and how brave Syaoran is (why the bullshit in Piffle prompted this I do not know but whatever I guess?) and basically just about how badly they want them to succeed but without just saying it. Meanwhile Sakura is telling Syaoran about her latest memory and I could not for the life of me tell you which one it was and I refuse to go check. The important thing here is that the lazy animation trick that has given Mokona the power of flight is back and she’s hovering around the gang now. Not sitting on shoulders or anything. Just... flying around like she’s Kero. This is fine. I guess.

And then, after what has to be like a solid half hour of just dicking around Mokona Very Suddenly senses a feather. Why so suddenly? Because they wanted to get everything else out of the way first and it was convenient. No other reason. The feather isn’t moving. Neither are they really. She just decides to turn her sensors on now? IDK. Maybe she needs a tune up.

They find the feather not far away just casually sitting inside a rock and everyone but Kurogane is like “Yay! Easy find! Go us!” because apparently no one can learn anything in this anime about what those fucking feathers do. Spoilers: it’s not a rock, it’s a dragon.

[Kurogane voice]: kin

The dragon fucks off and here we come to a Thing. Now, Kurogane is ready to slaughter this thing and wear its bones basically. He is Ready to Fight in a real way. I found that odd and really didn’t care for it. In Hanshin he seems in awe of Celes when it appears to him and even though it’s mostly fanon that Kurogane respects and likes dragons that makes sense. His family’s guardian was a dragon, his sword was modeled after a dragon. His whole motif is dragons! Why is he so ready to kill this one? Does it not count if it’s not a Nihon dragon? Does only Ginryuu get respect? It just feels bad???

But none of that matters because guess what! Dragon shaped as it might be, the thing is a demon? At least, that’s what they’re calling it. Sometimes. Fai says demon, Syaoran says dragon. They don’t.... agree on the term? Shut up. It’s a dragon.

So they soon realize that they are back in Should Be Very Dead-ville and oh no everyone is going to die again unless we get this OTHER feather because if one feather can buy us a month of living surely one more will fix our deaths forever right? ....right? (On a side note; Fai makes a comment about how weird it is that two feathers fell in the same world while he’s from Celes and knows damn well he found two and is unaware of a third!!!) 

Either way the family is gonna help because, you know. Feather. If memory serves, the dragon is hiding in a lake, so what does Kurogane (who is now in charge because of course) have them do? They set the lake on fucking fire. And it delights him. It do not, however, delight the dragon, who, understandably, goes apeshit. Luckily, no one dies and they just hack off the horn that the feather was stuck in. And then they... take it to God again because wow they really do think this will work. Sakura, honey, I know how sweet you are but it only got them one month last time. What good will this do?

The answer is no good!

God basically tells them it’s tough tits, the month long visitation was all they could manage and no matter how many super powered magic bird parts they bring the dead are dead and that’s that. Which sucks for those villagers but haha, bummer for FAi to have to hear. Again. After watching Sakura wish someone to life with a mere piece of her soul. Again. Wonder how that felt. (Short post about Kurogane and Fai’s possible feelings here.)

So to end the episode, Sakura gets her feather back and then the family leaves town but sticks around on the outskirts to watch everyone fucking die again like some sick ass fuckers!!!

I’m not even going to talk about the stupid memory she gets with papa!Clow and learning about how death is a Thing via her dead pet bunny. It happens. It’s inorganic. I hate it. Shut up Clow.

The episode is over and I’ll leave you with this to heal your souls.

I am a simple woman.

Portoria:

WE’RE ON A BOAT MOTHA FUCKER!

If you’re too young to recognize that joke, click the link for... an experience. Wear headphones. Everyone else, please join me in this not-a-Wind-Waker-AU. 

We’re gonna skip all of my bad sailor jokes and focus for a minute on Kurogane’s Sinbad cosplay here because yes good hello I am easily distracted. 

Anyway, the captain is this world’s version of Koryo’s shitty Ryanban and Kurogane and Fai have a moment to wax philosophical about whether or not souls are inherently good or evil, which is fine and I would hardly mention if, while they were doing this, the “camera” wasn’t stood still on an image of Syaoran and Sakura just... smiling at each other while the dads spoke. Like the kids aren’t even doing anything, they’re just smiling. It’s weird. It’s also almost like accidental foreshadowing because HAHA THOSE ARE CLONES! But I’m not gonna go into it for the sake of this joke.

On the ship everyone has to work, Kurogane is terrorizing his new shipmates into compliance under his leadership, Fai and Sakura are cooking fish, and Syaoran is in the engine room with a child version of Fujitaka AKA his father. Understandably, Syaoran is Feeling Emotions, not that the animation is any indicator of this. He also calls a ten year old daddy so things are going great. 

Now yes, Syaoran must miss his father terribly, not only has he been dead for who knows how long exactly (anywhere upwards of 5 years possibly) but Syaoran is far from home without any pictures or familiarity to remind him of Fujitaka, and now he’s got some savant elementary schooler who is an AU version of his dad basically sharing his deepest hopes and dreams.  It’s a weird episode. Oh, and there is no feather, but Mokona is sweet as can be and stays so Syaoran can get to know this version of Fujitaka. Which honestly seems more like a punishment than anything to me, but hey. 

Also, there’s a sea monster. And a haunted island. And something that sounds suspiciously like Piedmon from Digimon. 

Syaoran and Fujitaka get stranded on the island after getting yeeted overboard and the captain telling the rest of the family that his ancestors forbid people from going to the island is enough to stop a rescue mission? Like. Kurogane AND Sakura are sitting there, letting nothing happen. This is fine. Everything is fine. 

And it kinda is because the island if filled with old shit and Syaoran is geeking out like a kid surrounded by his special interest would be expected to. 

In the end, the creepy laughter was wind, the island isn’t haunted, the family tries to row out to save Syaoran and a sea monster is on screen for all of 30 seconds. This episode was boring. Dull. It wasn’t even particularly angsty because Bee Train has no concept of emotional DEPTH!! Their expressions and emotions are as flat as Fai’s ass and as dry as Clow’s deserts. This could have been a very moving and fascinating filler episode, but Bee Train remains in capable of doing ANYTHING AT ALL EVER! I’m bored. This is boring.

At least Sakura looked cute in her little sailor outfit. 

The next episode is “A Date With a Wizard” and that shitshow is getting its own post. Peace. 

PART 1 – PART 2 – PART 3 -- Part 4

[amandajoyce118]

Agents of SHIELD S6E06 “Inescapable” Easter Eggs And References

In this week’s episode, Fitz and Simmons find themselves reunited, but sharing a mindspace while the Chronocoms want them to work out time travel. It leads to some unexpectedly therapeutic tracking through old memories.

As usual, there are spoilers. Again, SPOILERS if you haven’t yet watched the episode. You’ve been warned.

Spoilers.

Seriously.

Last warning.

The White Room

This is probably unintentional, and the white room they end up in is likely just meant to look like the blank slate it is, but… it made me think of another white room from Marvel Comics. Specifically, the White Hot Room. That’s the name of the Purgatory like space that the Phoenix Force inhabits pretty often. It’s also where Jean Grey recharges and accesses all of her memories when she and the Phoenix re-merge. It’s just a very striking similarity since Dark Phoenix was just in theaters (and the movie doesn’t use that comic book aspect at all).

Fitz’s Proposal

If Fitz’s proposal sounds familiar, that’s because we’ve heard it before. Last season, when he found Jemma, she couldn’t hear him, but he gave her nearly the exact same speech. (Edited to add: She also answered him the same way he answered her when she proposed last season. Nice. And she knew exactly how his speech would end, which means she must have asked him at some point last season how he proposed when she couldn’t hear him. Also, right before Fitz proposes, you’ll spot his bad hand twitching a bit, a nervous tick Iain has kept using since his season two injury. Love the character consistency.)

Alice In Wonderland

A hole appearing in the white room that Jemma escapes through and Fitz following her into her own childhood bedroom feels like a very intentional nod to going “down the rabbit holt” and Alice’s Adventures in Wonderland.

Jemma’s Room

I know I’m going to miss some things in Jemma’s room, but there is so much going on in here. Obviously, the book about her and Fitz, but there’s more. We see she’s a Jane Goodall fan because that photograph features prominently. There are stars on her ceiling, likely a nod to the times she spent studying the stars while recovering from surgery as a kid. She has so many samples on her shelves that I wish I could actually see what they all are. There’s a Winnie the Pooh which doubles as a nod to the Disney parent company and it being one of those very English animated properties (edited to add it is technically Canadian) for kids. Not to mention fellow MCU alum Hayley Atwell starred in Christopher Robin. Right next to Winnie is a Paddington Bear, which is a nice touch. Also, the butterfly painting on her wall that looks like it’s a little mixed media with butterfly pieces on the bottom? That was in Jemma’s Hydra apartment in season two. (I remember that odd detail because I used it in a fic.)

Edited to add that Jemma has a serious thing for butterflies that makes me curious. In addition to the butterfly print from season two, there are framed butterflies on shelves, and sample vials of other butterflies in her collection, and even butterflies on the tea set that she and Fitz have in the white room. I wonder if it’s because they were easy for her to study as a kid, or if she was fascinated by their transformation, or something else. Is that something else, perchance, something to do with Sarge’s Snowflake? She does like to go on about how people become beautiful butterflies after she stabs them. Is this just a weird bit of foreshadowing? Showing a connection between them? Is Snowflake another’s world’s version of Jemma? Oh, that would be weird. But food for thought.

Also edited to add: the book doesn’t just feature Fitz as the prince in the stars and Simmons as the princess looking for him. It also features Mack as a strong bear and Daisy as a quick rabbit, which are interesting choices. I’m assuming it’s them only because they’re the friends they call later in the episode. I mean, it could be that the animals are Daisy and Piper since they went to space together, but that would make Davis the monkey? lol

Cuttlefish

Okay, I’m editing this one in because it struck me, but I wasn’t sure I wanted to include it until I looked up the sea creature. So, I initially thought this was a nod to Jemma talking about fish in the pod at the bottom of the ocean in season one. And maybe it is. But, the cuttlefish is actually from the same taxonomic class as squids... like the symbol for Hydra. Nice nod either way.

Fitz’s Academy Dorm

Hey, Bonus mention of Anne Weaver! I enjoy her. The show should try to get her back for a cameo or two.

Okay, I’ll admit I was too focused on them processing the memory to focus on everything in Fitz’s room, but I did spot that massive Manchester banner. Just a reminder that’s Fitz’s team and Hunter is not a fan, as we learned last season. I might catch more on a rewatch, but feel free to tell me what I missed in both of their rooms.

Edited to add: Fitz is wearing the “same” dark blue hoodie that Jemma wears around the base in season three when she returns from Maveth. It’s not actually the same, but we’re clearly meant to think it’s the same one that fits her because it is far too small for Iain to be wearing it over two more layers of clothing. Also, even before Jemma mentions Fitz being manic, you can actually seen hand drawn monkeys on the wall like what Fitz did in the prison cell. Only a few before they start discussing his state of mind and then show Jemma looking at them on the wall. Also, the tie that Fitz wears when they meet Coulson is hanging on his coat rack.

Side note: I found it interesting, though I loathe the term, that Jemma says she friendzoned Fitz in that scene. That means that Jemma at the Academy must have had some inkling that Fitz had a crush on her. Or, this is just Jemma looking back on it with the benefit of over a decade of experience with Fitz and realizing it. Either way, it confirms that Fitz always thought she was the coolest, even while he was busy arguing with her.

Jemma Needs Therapy

I love that Jemma’s problems locked in a box are an amalgam of all her traumas. (Also, it’s funny to me that she has a little pink safe on her dresser that she could have locked her troubles away in, but instead, it’s the easy to open jewelry box.) This version of Jemma looks like a monster, but she’s wearing her shirt from Maveth and shreds of her Kree-slave attire, carrying the shiv from Maveth, has gold paint on her forehead from her time in the future. (Edited to add: she’s also covered in dirt with a hoarse voice, and I’ve noticed some people think that’s a nod to her emerging from a grave in the Framework, which is a good catch. I thought it was simply to make her look more like a monster, but it makes sense that it’s a nod to what she discovered in the Framework now that I’ve watched the episode again, and this “monster” only emerges after they’re faced with the Doctor.) She’s the embodiment of all the bad things Jemma has gone through, and Fitz is right that she’d be better off with therapy instead of keeping the English stiff upper lip.

Meeting Coulson

The scene where the two of them meet and get recruited by Coulson makes me wonder if it happened immediately before we meet them in the pilot episode. Why? Because they’re wearing their pilot episode clothes, though the hair, of course, is not exactly accurate. (Edited to add: Simmons telling Fitz, “yes, I’ve heard the stories, don’t be weird” is a nod to Coulson’s death being on record. They weren’t at a high enough clearance level to actual know he was alive.)

Edited to add: can we talk about how significant it is that Fitz “fights” the demon version of Jemma on the part of the quinjet where he first thought he was going to lose Jemma? It’s where he couldn’t get his parachute on in “FZZT” and Ward went to save her instead. I just found that location choice interesting. It’s not the bus from season one. It’s definitely an updated quinjet, probably because they don’t have the same exact set pieces anymore, but it looks strikingly similar. Demon-demon asking Fitz if his lungs or bones will go first? That’s a nod to the scene of she and Daisy torturing an alien this season when they were looking for Fitz. Clearly, though she saw the intimidation and torture as necessary, it left it’s mark on her.

Also, I didn’t mention in when I initially posted this, but I think them choosing Daisy and Mack to save them speaks more to how they view them than just what cast was available. We’ve seen Hunter literally pull Fitz out of prison, yet he chooses Mack to save him from Jemma. Why? I feel like he might trust Mack with Jemma’s trauma more than he trusts Hunter. Because Mack was there for most of it, and because Mack was there for his own recovery in season two before he became closer to Hunter. Likewise, Jemma calling Daisy and not May, or Elena? That’s because Daisy has had her back for a year in space. She’s seen Daisy literally take out an entire room of badguys while drugged up on puffies, so of course, Daisy is her first choice. Daisy has also already had the Doctor in her own head when Fitz had his psychotic break last season, so it’s a bit of symmetry there too.

Trapped In A Pod

Okay, so it’s sweet that they realize they don’t just have to rely on one another and call Daisy and Mack for backup against the dark parts of their minds. I enjoy that, as well as the symmetry of them both getting to see each other’s worst parts. What I really love here though is that this is the angrier version of the season one pod scene. The two of them run away from their troubles only to be trapped together in an enclosed space, yet again, to yell at one another about all the things they haven’t had the chance to argue about before. Watching the scene, I literally said that the only thing that would make it better would be if it was actually at the bottom of the ocean. Of course, they realized that and it filled with water. Of course. The arguing in the middle of the water, just as it did in season one, leads to their confessing their feelings. It’s a lovely, symmetrical, story of their relationship, this episode.

That Makeout

Leopold and Demon Jemma going at it while Fitz and Simmons argue? This just further proves that all that bantering in the early seasons was really foreplay, right?

That’s all I’ve got, for now. I’m sure I missed some things just because of the nature of the episode. It’s taking us on a walk through memories, some we’ve seen, so there are likely more that are harder to spot. Let me know what I missed!

[mebongster87]

Varys will help Sansa in S8

The first time Sansa Stark is called “The Key to the North” is in Season 3 Episode 4 And Now His Watch Has Ended by Lord Varys during his conversation with Lady Olenna Tyrell.

https://www.youtube.com/watch?v=cFZen-XO5II

There are some key lines during this conversation which D&D have given to Lord Varys that makes me think that in Season 8, Lord Varys will switch sides and aid Sansa (and Jon) and thus save the realm from Daenerys “Queen of the Ashes” Stormborn.

Earlier in this episode, Varys first comes to know from Ros about Littlefinger’s plot to secrete Sansa away with him to the Eyrie. As a result, he proceeds to thwart Littlefinger’s plot by putting into motion another plot of his own making. His plan is to make a marriage alliance with the Tyrells (Ser Loras Tyrell) and that’s the premise of the conversation that he has with Olenna here. A few things stand out.

Varys agrees with Olenna that Sansa “sadly” has had a rather interesting childhood and says “I thought we shared certain hopes for her well-being”.

Varys then clarifies his stance on Sansa

Varys: “I choose my allies carefully and my enemies more carefully still”

Olenna: “Which is Sansa Stark?”

Varys: “Neither. A babe in the woods. I admired her father.”

Olenna: “Yes, Ned Stark had many admirers. But how many stepped forward when the executioner came for his head?”

Varys: “I could not help Lord Stark but perhaps I can help his daughter. You are not the only one who has taken an interest in her.”

Olenna: “That’s hardly surprising. She is a beautiful girl with a famous name.”

Varys: “Indeed, she would make a lovely match for the right suitor.”

Moments later Varys, after talking about the dangers of Littlefinger, says “If Robb Stark falls, Sansa Stark is the key to the North” to which Olenna replies that “if Littlefinger marries her, he will have the key in his pocket”.

And then Varys drops the big words...”He would see this country burn if he could be King of the ashes”.

Varys could not save Ned Stark because that would risk his own life. However, he still laments that fact and thus while his own motivation is to undermine LF’s efforts, he uses that as an opportunity to help Sansa out by brokering this marriage alliance with the Tyrells. The writers use this conversation to foreshadow Robb’s death which happens later in E09, and puts Sansa as the key to the North.... a moniker that makes her one of the biggest political pawns in the game of thrones. 

She is a beautiful girl with a famous name.

She would make a lovely match for the right suitor.

These two lines sum up Sansa’s USP in the political power play. 

When Tywin Lannister comes to know about Varys’s plot to wed Sansa to Loras, he actively puts a spanner into that by wedding Sansa to Tyrion instead.

From this point onwards, Sansa has been called “Key to the North” pretty much every single season. Her name, who she marries, and her ability to produce heirs is a continuous plot point of GOT.

“The King of Ashes” epitaph that Varys gives LF echoes with what Tyrion keeps reminding Daenerys not to be...”Queen of the Ashes”.

This makes me feel that in S8, when Varys finally becomes woke enough to realize that Daenerys is in fact on her way to becoming “Queen of the Ashes” and her “breaking the wheel” means destroying the realm, that he so ardently wishes to serve, Varys will switch sides. 

Varys will realize that Sansa Stark is no longer “a babe in the woods”, instead she has become the most astute player of the game. Her stewardship of the North and how she has been managing its resources to ensure that the smallfolk are fed and looked after will quite possibly endear her more to Varys. 

Remember Varys has been on the lookout for the “right ruler” for a while now. “The Seven Kingdoms needs someone stronger than Tommen but gentler than Stannis. A monarch who can inspire the people and intimidate the high lords. A ruler who is loved by millions with a powerful army and the right family name.” 

Jon and Sansa ruling as King and Queen of the 7Ks fulfills Varys’s criteria for the ruler that Westeros needs. 

Seeing Jon and Sansa together in S8, I believe, he will throw his weight behind them to see them ascend the Iron Throne. Varys has been instrumental in bringing Daenerys to Westeros and he was deeply perturbed by the events from Field of Fire 2.0. He regrets his inability to stop Mad King Aerys. And if his conversation with Tyrion in S7 is any indication, he is coming to have second thoughts about Daenerys and appears well on his way to regret the part he has played in Daenerys’s actions. In S8, I believe aiding Sansa and Jon to overthrow Daenerys and establish a just and peaceful rule over Westeros with the Starks at the helm will be his redemption arc. However, I personally feel that this will come at a cost to his life. When Daenerys finds out Varys has switched sides and betrayed her, she will burn him. They laid that foreshadowing in S7 Episode 2 Stormborn.

I believe D&D laid the groundwork for Varys helping Sansa in the future (S8) using this conversation with Olenna. This talk of Sansa making a beautiful bride for the right suitor becomes even more interesting because the scene that follows right after shows Sansa.

In this scene, we have Sansa praying, and then Margaery Tyrell shows up.

Sansa and Margaery’s conversation appears pretty inconsequential at the surface but there is a kernel of JonSa foreshadowing lurking here.

Margaery talks about her cousin Alanna.

Margaery: “My cousin, Alanna, was the most beautiful girl I’d ever seen. When I was 12, I was all elbows and knees, and Alanna looked like a goddess sent to torture me. Pig-face she’d call me.”

A couple lines later, Sansa, inquires “So what happened to Alanna?”

Margaery: “Oh she grew up to be the most beautiful woman and married a handsome lord

and they have darling children

and live in a castle by the sea.”

These two sets of scenes connect Sansa Stark, a beautiful girl with the right family name, who would make a lovely match for the right suitor, to this beautiful cousin (Alanna sounds similar to Alayne) from Margaery & Sansa’s conversation, a girl who marries a handsome lord and has his babies and lives next to a castle by the sea can only mean one thing.

JonSa is endgame.

Sansa then replies to Margaery:

“I’m sure she’s jealous of you now. You’ll be married here in the capital and she’ll have to come to watch and pretend to be happy that you’re queen.”

Later in S4E02, Sansa watching Margaery marry Joffrey in the Great Sept of Baelor...(pretending to be happy for Queen Margaery, though I wouldn’t call her jealous per se simply because she knows what an evil monster Joffrey is)

Sansa: “We have a new queen”

Tyrion: “Better her than you”

They actually connect Sansa to Alanna!!!!!

So Sansa, like Alanna, will get to marry a handsome lord and have darling children and live in a castle by the sea and reign as the Queen of the Seven Kingdoms!

It is known.

[cchellacat]

Game of Thrones Finale

Here be spoilers for the last season of GoT.  Turn back now or forever hold you peace.  Trust me, I am not holding my peace, I feel like going to war and breaking a bloody wheel over the back of D&D’s heads.

I knew going in, this wasn’t the ending I had been hoping for, or even expecting for nine years.  After the penultimate episode the writing was clearly on the wall, so I watched this final chapter, ready for crushing disappointment and grief. D&D did not let me down. 

They completed their character assassination of Daenerys with all the clumsy, lazy, pretension and dreadfully written dialogue as one might have come to expect, if they had been paying attention since the start of the season. 

When left to flounder in the seas of uncertainty without the masterfully crafted scaffolding of GRRM’s books to hold them afloat, the writers sunk the whole thing gleefully. I’m absolutely certain they took great pleasure in destroying every logical expectation.

This constant need to justify their own twisted ending and eradicate certain characters development and arcs, left me feeling bewildered and horrified.  The beautiful woven foreshadowing that had been building since season one seemed to be cast aside at the last and replaced with some Frankenstein monster, cobbled together from a need to be “different”  to “surprise”, to be “edgy”  and “subversive”.  

This isn’t how good writing is done.  You don’t change the track of a story just because it’s deemed predictable or because fans guessed the ending. 

The onus then, is on the writer, to follow through and complete the story while still making it enjoyable and intriguing.  It isn’t to upturn the apple-cart and refill with limes.  It’s to take the damn apples and make pie.  Make it interesting, draw the audience in, there is nothing wrong with giving the audience what they want. There is nothing wrong with delivering a satisfying and sensible conclusion.  There is nothing wrong with giving the main character/s a happy ending.

Their fear of cliche, lead them straight into trope hell.  The “face heel turn” of Daenerys from Liberator and Mother to Tyrant and Murderer was sloppy, poorly written and did not have a justifiable history to back it up. 

Do not even get me started on how they killed her.  JFC.  Could they have been anymore obvious about how that was gong to go down?  Talk about cliche. 

Murdered by the man she loves, who loves her and who is also her only family.  We’ll talk later about what they did to poor Jon.  Just for reminders sake though, here she is, held in the arms of the man she loves as he promises her she will always be his queen, kisses her and stabs her right in the heart.  **blood boiling**

Turing Sansa into Littlefinger 2.0 made my inner rage monster scream.  Her transformation from  the “The High Queen”  to “The Chess-master” makes me think the North isn’t in any better hands than it would have been with Littlefinger in charge.  How convenient that none of her siblings will be nearby to notice.  Bran in the south, Jon in the True North and for some inexplicable reason, the girl who spent eight season finding her way home, decides to go gallivanting off into the west on some LotR, knock off elf quest. 

Arya’s end is as unsatisfying as every other one.   She spent years growing stronger, learning to kill, striving to be No-one.  Her whole character arc was about her coming to terms with her loss and recognising that no matter how far she ran, she would always be Arya Stark. 

Then is was her journey home, learning that she could go back, that even changed by war and blood, family meant everything.  Her clarion call, that the “lone wolf dies but the pack survives” has been with her every step.  It’s the message her father taught her, one she held too.  Why on earth would she leave her pack behind? 

What even was the point of having her and Gendry meet again and come together if she was just going to walk away?  I’m not saying a character has to be defined by a romantic relationship, but why bother giving the fans a few crumbs just to spit on it an episode later?  This is clearly baiting of the worst kind.  I’d rather they met as friends and parted as friends than the shit show of having Gendry propose, only for her turn him down.  I mean, she could have learned another lesson with the Hound, that defining your life by revenge and forgetting to live only ends in death.  Her returning to Gendry after that would have made sense.  It would have made sense for her to go build a pack of her own.  But no, that would be too easy.  What shall we do with Arya?  Lets put her on a bus!

He did love her.  Jon was crazy about Dany.  She was crazy about him.  This is the man who puts family first, who lives by his honour.  He is his Uncle Ned come again.  Ned, who lived and died by his oaths.  The only time he broke them was to protect his sisters son, to protect Jon, his family. 

This is why they had to destroy Daenery’s character so completely.  They had to make her the worst villain imaginable to make it look even remotely plausible that Jon would;

1. Break his oath of fealty

2. Murder his own blood.

3. Betray the love of his life.

They had to preserve Jon’s good name, oh yes, because Jon wouldn’t kill her for power or because she lost her temper and disagreed with him.  No.  They destroyed both Jon and Dany with this plot. 

Jon is now Queen Slayer and Kin Slayer and he has broken his word, his oaths of loyalty, his unspoken oaths of love and protection, which she rightly expected from him as her blood and her lover and has been reduced to a shadow of the man he was meant to be, the king he could have been. 

He is cursed by the gods in the eyes of most Westerosi, or he would be if they knew the truth.  After all, look at how the nobility treated Jaimie after he killed the Mad King.  It didn’t matter to them that the King was evil, no, what mattered was that he broke his oath.

Oath breakers are anathema in Westeros. 

So much for a Targaryen Restoration.  Goodbye Iron Throne.  The whole point of Jon’s character was just erased.  Did he defeat some great evil?  No.  Did he overcome war and death and end triumphant on the throne as the last dragon?  No.  There was no point in bringing him back after his death in season six.  Anyone could have went to bargain with Dany and the outcome would have been the same.  Ugh!

Jaime and Brienne.  The love story/redemption arc I was so invested in.  One hand gives and the other takes away.  In the end it seems that Jaime learned nothing, according to the writers that is.  I call bullshit.  Jaime had redeemed himself.  If he had to die, it should have bee while killing Cersei.  The foreshadowing of him being Cersei’s death has been around for years. Cersi didn’t love Jaime, she loved controlling him.  Cersei loved no one but herself.  That was the lesson Jaime was meant to learn.  Thanks so much for taking away eight season of character development and self realisation.

Tyrion got shafted too.  His speech near the end, it was a load of cow dung.  In the end they left Tyrion to be Westeros’ own comic relief.  The Small Council was a bloody farce.  All that scene did was reinforce my belief that nothing in Westeros has really changed.  It doesn’t matter what title you give someone, power corrupts and absolute power corrupts absolutely.  Give it ten years and Bron will be the power in Westeros in all but name. 

Now who have I forgotten?  Ah yes.  My Special Mention.

Sandor went out the way he meant to, bringing an end to his brother.  But not before the writers gave him a brief moment with Sansa.  There you go Sansan fans, he called her little bird!  Now shut up and let us kill him in a fiery fall of doom. 

Death by fire, the worst death they could give this man.  He wasn’t a good man, it’s arguable that none of the characters were good people.  However, Sandor Clegane suffered more than most.  He spent his life, angry and bitter, seeking revenge for himself and his sister and father.  I think, if they had to kill him, they could have given the man a better exit than him tossing both himself and his brother into the flames.  It was cruel to make that the only way out, the only triumph he could claim.  I think Sandor should have lived.  He deserved to find a life of peace after all the fighting he did.   It is not poetic or clever to kill a character off with the object of their own fear.  It’s not clever when they do it to a villain, it’s doubly unfair to do it to a hero.  He was a hero by the end.  Sandor deserved better.

Now look, I‘m not saying that in a show like this, that everybody should live or necessarily get the end they deserve, but, they went too far in the name of shock value, leaving no one happy, well, virtually no one. I guess the rabid Sansa fans who loathed Dany are feeling pretty good about now. 

(Yes, okay that was mean, but I got sick of seeing it in my timeline and unfollowed a few people.) 

I was always very much of the belief that Sansa and Dany had more in common than would drive them apart.  I didn’t expect an easy friendship or alliance, but I did expect them to find common ground and be able to build a relationship over time.  Strong women supporting each other is what we need more of on TV.  Not this misogynistic desire to see two strong women fight over a man, which is essentially what they reduced Sansa and Dany too with poor Jon caught in the middle.  

In conclusion...

I feel as though the writers went into season eight with a clear idea of where they had been building and then someone get a bee in their bonnet and posed the question, “Who is the least likely to end up ruling Westeros?”

The answer of course is Bran.  Bran the Broken, how fucking ignorant is that?  How about Bran the Burdened or Bran the Broker or Bran the Benevolent, if you’ve really got such a hard on for alliteration?

So now Bran, who is so disconnected from feeling that he can’t love anyone, sits the Iron Throne and is somehow meant to be a good ruler. 

All that’s needed to achieve this happy ending for the writers?

Goodbye Character development and epic love stories, hello smear campaign, death, destruction and the end of one of my favourite canon ships to ever sail.

Rest in Peace Jonarys.  I believed in you.