#master meta

[thirddoctor]

The thing with the Master is that they are constantly performing in some way, playing a part, putting on a facade. I think a lot of misinterpretations of the character come from simply taking them at face value. Not everything they do is actually representative of who they are, but the reason they're doing it can tell you a lot about them.

[whoisthemaster]

Why does no one ask, Master Who?: (#1 - Koschei)

Why does no one ask, Master Who?: A Character Study Series

This was one subject I was excited to cover, especially after just recently getting into Russian folklore. And of course since this is technically the first master (as according to the fandom, EU content, and The Sound of Drums ), this had to be the one to cover first (especially because of the symbolism present here that I feel is so important to beginning our journey exploring who the Master is.)

Though the young first Master’s name is never revealed to us in the show, how did we get the name Koschei? Let me direct you to the way of the Extended Universe.

May I introduce you to a series of wonderful books? 

Let’s start with the one that introduced the name Koschei for the Master:

1. The Dark Path by David A. McIntee (published March 1997)

A wonderful novel that features one of the earliest encounters with the Master and the Doctor, greatly expanding on their personal histories on Gallifrey. This story in particular is iconic because it’s one of the many origin stories explaining how/why he became the Master. I honestly don’t wanna spoil it for those who have yet to read it, but I did leave a spoiler review on my main blog awhile back. 

This book is important, however, because this is where the Koschei name began. As the book states, this is the name he was going by before he decided to take the title; The Master, by the end of the book. 

2. Divided Loyalties by Gary Russell (published October 1999)

2 years later, this book was released. It’s another fantastic novel which is iconic for showing the begins of the Deca and giving us a glimpse into the childhood’s of the Doctor, the Master, the Rani, and so on. I also don’t want to spoil this for those who haven’t read it. Honestly, it’s an experience, and I’ve posted about it a lot on my main. 

However, it also features the Master using the name ‘Koschei’, but in the Academy! And when alluding to the characters fates at the end, it even mentions what happens in McIntee’s ‘The Dark Path’. 

Bonus: It is also the book that gives us the Master’s house as being Oakdown, hence most of the fandom calling the young Master; Koschei Oakdown. 

So, still....Why the name, Koschei? 

What is the significance of it? Where did it even come from?

The answers lie in a character from Russian Folklore...

Koschei the Deathless (aka the Immortal)

As the wiki describes: “He is an archetypal male antagonist in Russian folklore. The most common feature of tales involving Koschei is a spell which prevents him from being killed. He hides his soul inside nested objects to protect it. For example, the soul (or in the tales, it is usually called "death") may be hidden in a needle that is hidden inside an egg, the egg is in a duck, the duck is in a hare, the hare is in a chest, the chest is buried or chained up on a far island. Usually he takes the role of a malevolent rival father figure, who competes for (or entraps) a male hero's love interest.”

Sounds kind of familiar, right?

It’s very symbolic to who the Master becomes:

Someone always managing to cheat death, and never being really killed off.

Being the constant rival of the Doctor, sometimes abducting his companions.

In some tales, Koschei can cast a sleep spell, almost like how the Master hypnotizes others.

Not to mention, having a fascination with the Russian culture as shown especially in Dhawan’s era. 

[rearranging-deck-chairs]

excuse me i have to say something obscene (which is the point) the master definitely masturbated in the matrix chamber. the heart of gallifrey (”but hes the president. kill him and gallifrey could be yours”), the room he found out about the timeless child in, panopticon right over there, watched but unwatched, witnessed by the dead, the bodies he desecrated, torture room in the cellar, turning his own body, which has been used as a tool so many times by the timelords, back into a base physical thing whichs only purpose is his own pleasure, an agressive retraction of his plea to rassilon in end of time to take him with them in their journey to become beings of consciousness, while turning those same powerful timelords he once begged for acceptance into a perversion of that same ideal, and doing it by doing something that Time Lords Do Not Do; sex. something timelords do not do because of their robbing the timeless child of her regeneration.

a kind of self-love that is 100% spiteful and ironic and painfully self-aware on his part but at the same time a genuine expression of his anger (in a way that 13 is unable to access) and in that somehow looping back to a kind of, if not self-love really, a renewed self-loyalty (contrasted with 13‘s continual self-abandonment), a negation of missys self-betrayal in the doctor falls, the pyrrhic victory that created (not to say birthed) him.

[gffa]

One thing I did appreciate is that The Acolyte did not hold back on that Osha went full dark side, that Sol's kyber crystal was crushed by her anger and hate to the point that it bled into a red saber. She straight up murdered someone who was not fighting back. She killed him because she was hurt and angry, not because he was a threat. Osha's feelings of betrayal and rage were valid, her actions were not. She murdered an unarmed man who was not fighting back, who had no intention of fighting back, who literally forgave her as she choked the life out of him, and nothing of her actions were justified. She wasn't even regretful about it. The dark side can be humanized to a degree, it always has been in Star Wars, that's nothing new. Anakin's everything ever, Maul's pain and desperation for a connection through an apprentice, Dooku's clinging to his care for people like Yaddle or Asajj, the dark side has never been about detached or unsympathetic anger. It's always come from a very human place, that's why the Jedi constantly caution that no one is beyond it. But Osha embraced it here, she stepped over the line and murdered a defenseless man because of her rage, not because it was in any way justified as a killing, and the kyber crystal screamed and bled because of it. You don't get a red saber by being justified, you get it by crossing the line into an act of evil. And props to The Acolyte for not shying away from that, as human as Osha is and will continue to be, her actions were over the line of evil.

[aletterinthenameofsanity]

Alright, I'll say it: Jack Harkness and the Doctor's relationship is possibly the most fleshed out/complicated dynamic in Doctor Who and that is INCLUDING the master/doctor relationship. Seriously, think about it:

the fact that when they meet jack is presented as sleazy con man and the doctor makes him brave- makes him good

but that they are both willing to die for rose as long as she is safe

and then she comes back and dooms them both to live (even though jack has already died for her and the doctor WILL die for her)

(ninerosejack is canon and you cannot convince me otherwise)

but then the doctor sees jack as immortal as someone he COULD spend the rest of his life with

and instead of embracing it like you'd think he would because he is so wrecked by people leaving him/being left by him the doctor RUNS bc the Doctor is so scared of jack of what he means of what he is

jack ends up abandoned in dalek dust goes back in time to find the doctor suffers a hundred years alone/being tortured but STILL WAITS

(screw amy being the girl who waited or rory being the boy who waited- Jack Harkness is the boy who waited and he did it FIRST)

Jack finds out that he was abandoned. that the man that he loves HATES the sight of him. that the doctor would rather have a genocidal murderer than have him

and so Jack gets the hell out of dodge to go to a man who DOES love him

and don't get me wrong Jack loves Ianto and Jack DOES remember Ianto until he dies as the Face of Boe don't forget that (protecting Novice Hame from the virus as he couldn't Ianto

BUT AFTER EVERYTHING THE DOCTOR HAS DONE TO JACK JACK STILL LOVES THEM

Jack still considers five billion years cursed to never die to be BETTER than the alternative: dying a young time-agent-turned-con-man

Jack has more reason than any other companion save maybe Amy to hate the Doctor & yet spends 20 years in jail to rescue Thirteen still LOVES HER

AND AFTER FIVE BILLION YEARS HE ORGANIZES THAT FIRST MEETING ON SATELLITE FIVE HE ORGANIZES 9/ROSE'S FIRST DATE

jack harkness is a living ghost a reminder of the doctor's failures a physical fixed point and yet he still loves the girl who cursed him and the time lord that turned him into the kind of person that would give his dying breaths to protect the last of humanity in a dying city and tell the doctor that he is not alone

because fuck it, YANA was a warning but also a reminder a final gift

jack had been there all along, a ghost an echo a PROMISE

there is no more human character than jack harkness

[dandelionjack]

missy doesn’t understand that she’s in the wrong genre. she believes she’s in a darkly alluring gothic romance instead of an optimistic sci-fi show. in her genre, gifting your estranged ex/enemy/lover/best friend/twin flame an indestructible undead army to prove to him that your will to power is identical is the most romantic gesture imaginable. it’s victory via surrender, it’s control through abdication. all her scheming to “corrupt” him, to demonstrate that they’re the same deep down, that his sanctimonious morality is nothing but a method of keeping his own conscience clean, that’s the hannibal gene, the lestat gene (*obviously the dynamics aren’t 1-to-1 similar, but… close enough) and missy’s tragedy in death in heaven is in that, within the narrative format she’s trapped in, she can never succeed

[bolithesenate]

What happens when a Jedi Initiate dies?

It cannot always be prevented, the galaxy is a dangerous place, especially for children, and the Jedi are still only mortal.

Accidents happen. Illnesses exist.

Tragedies do too.

The Crèchemasters are highly trained to prevent that, of course, but they too are only mortal. They too can fail.

The death of an Initiate is a heavy burden, for the entire Temple. It doesn't happen often, but when it does it is a heavy burden. It is from that burden that one of the Order's most sacred traditions stems from.

They may die an Initiate, but they will not join the Force without guidance.

When an Initiate dies, they automatically gain the rank of Padawan – no matter their age. They will posthumously be taken in by a Master and be gifted a braid and a lineage. If they already found their crystal and built their saber, these too will be taken care of by their new Master.

Some Masters of such Ghost-Padawans, especially those who had a bond before their passing, will live the following years as if they had a living student. They will not take on another until the Force or they themselves deems them ready, at which point the High Council will hold a honorary Knighting.

Because while the Order might lose an Initiate, no Initiate will ever be left alone.

[metamatronic]

I really like the "Champions get Resurrected" idea! I hope to see more of it in the future!

how to piss of the Bird™ (any % speedrun)

(this was my practice pass on how to draw Rito, so forgive the inconsistencies, loll)

[allgirlsareprincesses]

Choosing the Beast: Modern Folklore Heroines Embrace the Animal Husband

“I choose the bear.” The refrain rang out across the web, with many a woman nodding in agreement or at least understanding, and certain men huffing with indignant outrage. Just a meme, really, but did it speak to a deeper truth? Is it merely age-old mistrust of patriarchy talking, or a true desire for the beastly, the wild, the untame?

I’m no sociologist, of course, but I have noticed an emerging trend in fem-gaze media that seems to reflect this view. In movies like I Am Dragon (2015) and recent shows like My Lady Jane and The Acolyte, the heroine chooses the beast, loving her animal husband in his wild form rather than requiring him to transform back into a mundane man to earn her affection. This is such a departure from the typical folktale pattern that it’s difficult to even find an historic example where this occurs.

Commonly thought to reveal the desire to tame a dangerous mate in a patriarchal society, most animal husband tales (ATU 425a) feature a hero who ultimately transforms permanently into a human. This is viewed not only as freeing him from the maddening effect of his wild form, but also saving his bride from committing the sin of bestiality. In these tales, the animal mate’s transformation is necessary for the salvation of both.

Is the modern heroine then damned by choosing her husband’s beastly form? Or does she actually free them both from the yoke of patriarchal expectations?

Bathing: Discovering the Wild Masculine

The first motif that stands out in these modern screen examples is bathing. In animal spouse tales, there is often a dynamic of the hunter and the hunted, and thus a moment when the hunter comes upon their would-be lover unawares. Perhaps they find the animal spouse sleeping, or they cast a light on them unexpectedly, see them without their animal skin or disguise, and so on. And of course, they often come upon the lover at their bath.

There is an implied eroticism in this discovery, finding one’s quarry not only undressed, but also in the most private of activities. Water of course symbolizes fertility, but bathing is also purifying, symbolically washing away all that might make a mate undesirable. And this, perhaps, is the reason that historically this motif is used almost exclusively for animal brides, not animal husbands.

For the animal husband, he either actively chooses to reveal himself to the bride (perhaps on their wedding night), or she violently strips away his disguise, often armed with “flame and steel” like Psyche and her many avatars. Animal brides on the other hand are nearly always discovered at a body of water, bathing. The hunter will then capture her either by stealing her animal skin or cloak, or by placing his own clothing on her. What does it mean, then, when it is the husband who is discovered bathing in a body of water, held as an erotic object in the feminine gaze?

In The Acolyte, Osha follows Qimir to a pool where he slowly undresses, in full knowledge that she is watching. On the shore, she steals his lightsaber, just like the hunter who steals the animal skin, symbolically claiming him. When he emerges, Qimir dons new clothes, as if acknowledging that he is a different person than before he entered the water, almost purified in a way. Osha is forced to confront that there is more to the murderer in the mask than she realized.

Similarly, in My Lady Jane, our heroine goes looking for Guildford just before sunrise on their ill-fated wedding night, only to discover him bathing in the stables. The scene is gratuitously filmed from Jane’s (very horny) perspective, flipping the script on the countless scenes in screen history shot with the masculine gaze. Immediately after she discovers and confronts him, Guildford transforms against his will into a horse, and Jane realizes that he is an Ethian, a creature she has been taught is demonic and unnatural.

And in I Am Dragon, Mira makes several discoveries in quick succession: first, she deduces that Arman is actually the dragon. In the next moment, she slips from the island’s peak and falls, saved only when Arman transforms at the last moment and breaks her fall with his dragon form. The water begins to wash over his unconscious body, and at first Mira thinks that she will allow him to drown. But the sight of Arman in his human form after he rescued her, worried over by his animal familiar, stirs her to pity and she wraps him in a sail and drags him to safety. In this way, she clothes him, claiming him as her own.

Each of these heroines discovered a new aspect of her husband at the bath, finding him unexpectedly alluring, and ultimately choosing to begrudgingly claim him. Each animal husband tried to wash away his beastly form, to separate himself from the wild masculine. These men feel a sense of disassociation from a part of themselves, but now that their brides have discovered it, there will be no more hiding. Further, the bride now holds the power in the relationship, evidenced by how her husband needs her: Qimir needs Osha to be his apprentice, Guildford needs Jane to help him “break the curse,” and Arman needs Mira to heal him from his wounds.

Playing House: The Half-Husband

The second feature of these stories is a period of domesticity for the couple. For a brief time after the husband’s beastly nature is revealed, the lovers “play house” like children. While sexual tension is present, they typically do not consummate their union during this time, but instead cook, eat, rest, and care for one another. What’s more, they ignore or even attempt to actively destroy the husband’s animal form. They deny that this is part of him and therefore part of their relationship.

In I Am Dragon, Mira heals Arman, and wakes the next morning to find he has left food for her (dragonfruit, appropriately). Together they begin building a home out of shipwreck debris they find scattered around the island. A cheery montage shows them decorating a living space, choosing clothes, playing music, and dancing. But the specter of Arman’s monstrous form lurks on the edge of their idyllic life. Mira has nightmares, and tells Arman how much she fears “the dragon,” notably not referring to them as the same person. And eventually, it emerges that Mira has been planning to escape, rejecting Arman’s dragon form entirely.

After he sheds the helmet and robes of The Stranger, Qimir turns his attention to caring for Osha: he heals her, lets her sleep in his bed, provides clothes, and cooks for her. In turn, after some lightsaber-wielding, Osha becomes more comfortable in his home and accepts the food he offers, eventually even trying on his helmet. Later, they bicker amiably on their way to Brendok, like an old married couple on a road trip. When not facing down Jedi, Qimir leaves his menacing persona behind and transforms into an empathetic, protective, and alluring partner.

Jane Grey, meanwhile, finds herself using her honeymoon sequestered away in a private cottage to try to cure Guildford of his Ethianism. With her knowledge of medicine, she concocts various potions and magical cures, but none of them succeed. Guildford often checks in on her after these disappointments, making sure she’s getting enough sleep and taking care of herself. It’s also clear that they’ve been regularly dining together when Jane suddenly dashes off to rescue her friend. Guildford follows her and the two protect one another, followed by an almost-tryst. Even when they move into the palace, their day-to-day (or rather night-to-night) life is one of comfortable domesticity, although they continue to deny Guildford’s horse form.

In each of these cases (although less so in The Acolyte without Season 2 to continue the story), playing house can only last for so long while the husband’s animal nature is denied. There is a part of him that is suppressed, rejected, and this leads to him being incomplete, a half-husband. Each hero is unable or unwilling to accept and celebrate his whole self with his bride. Eventually, it is that denial that leads to a rift between the couple, which can only be healed not with the transformation of the husband, but with the embrace of his animal form.

Enforcing Patriarchy: The Rival

Each of these relationships exists in direct opposition to the dominant culture in the story: Arman as the Dragon is the literal enemy of Mira’s people, Qimir as Sith is the enemy of Osha’s Jedi masters, and in My Lady Jane, intermarriage between humans and Ethians is punishable by death. By choosing to stay with their animal husbands, even for a brief time, our heroines are openly defying the patriarchal norms of their societies. But no oppressive society is about to take that transgression lying down. In each story, a rival emerges to enforce the patriarchal order, kill the beastly husband, and retrieve the bride.

In I Am Dragon, Mira’s betrothed and descendent of the dragon-slayer, Igor, journeys to rescue her from the dragon. Over the course of the story, it becomes clear that Igor cares nothing for Mira herself, and merely feels entitled to her as his bride. Dragon-slaying is his heritage, so he must find her, kill the dragon, and take his place as the hero of his people. Even the marriage ceremony illustrates his ownership of her: he takes hold of a rope tied to her boat and reels her in, thus binding her to the patriarchal order. Contrast that to Arman, who offers her the power of flight, a symbol for freedom.

In Osha’s case, Qimir’s rival for her loyalty is clearly Master Sol, who wants to keep his former pupil dependent on him and the Jedi. Sol takes patronizing fatherliness to an extreme, constantly rescuing Osha rather than letting her stand for herself, teaching her to deny her feelings and instincts, and lying to her to “protect” her. The Jedi refuse to allow that there might be any other way to access the Force than their own, thus invading the home of the Brendok witches and ultimately orphaning the twins. Sol continues to press this dominance to the end, challenging Qimir and insisting to Osha that his own lies were justified.

In My Lady Jane, there are two rivals, both women. Lady Frances attempts throughout the show to dominate her daughters and crush their wills, forcing them into unwanted marriages, applying political pressure, and even counseling Jane to abandon Guildford to save herself. The other rival is Mary Tudor, who is determined not only to emulate her father’s violent, oppressive, and misogynistic reign, but to crush anyone she considers “unnatural” or who poses a threat to her rule. These characters stand as clear examples of how women can enforce patriarchy, too.

In each story, there is a moment when the rival briefly recaptures or “rescues” the bride from her beastly husband, bringing her to a moment of decision: will she stay within the bounds of patriarchy like a good little girl? Or will she make an act of defiance to choose her own path?

Marriage: Choosing the Beast

The bride’s choice will ultimately decide not only her fate, but that of her mate as well. As an independent character, the wild masculine is deeply wounded, separated from himself and thus from his bride. He longs to transform not into a greater, more whole person, but into a lesser, half-person. Alone, without the embrace of his anima, he cannot see the value of his beastly form. Instead of healing, he faces annihilation.

As a part of the bride’s psyche, the beastly husband represents her innermost desires, the truth of her heart, and a spirit freed from the expectations of her society. He is her animus, her missing wild masculine. If she transforms him into a man, then she will tame his wild nature, bringing him to heel under the boot of the patriarchy. Choosing the human form and rejecting the beast means rejecting her own psychological needs. It would be just another form of psychic dismemberment.

Fortunately and unusually, each of these modern brides chooses her beastly husband without demanding he transform. When Osha finally agrees to become Qimir’s apprentice, she takes his hand under the willow tree, clasping the newly-bled lightsaber between them. A few scenes later, this wedding imagery is repeated when they hold hands over the saber again, this time looking into a sunrise/set. Notably, at the moment they “marry” under the willow tree, Qimir is wearing his beastly helmet with rows of menacing, wolfish teeth. He has not come to the light side or shed his Dark Side persona, but Osha has embraced him anyway without fear. And while they might not both be healed (yet), they are more whole together than they were apart.

When her efforts to cure Guildford of his Ethianism repeatedly fail, Jane begins to suspect that his “condition” cannot be cured at all. But listening to her Ethian friends Susanna and Archer finally convinces her that the truth is Guildford doesn’t NEED to be healed - being an Ethian is who he is, and it’s nothing to fear. Unfortunately, Guildford still associates his beastly form with his mother’s death, so he is unable to accept it as Jane encourages, and flees. After a near-death experience, he uses his equine speed to return to the castle just as Jane is deposed and captured. As our heroes battle toward the end, Guildford comes to learn that there are many other proud Ethians, and that his family loves and accepts him in any form.

Still, he’s unable to transform at will, and when Mary captures him and sentences both husband and wife to death, it seems their story may end in tragedy. But as Guildford has been struggling to accept himself, Jane too has been battling with her own conscience. Does she renounce Guildford to save herself? Use her wits to kill the guard and escape? Bend to her mother’s manipulation? Jane confronts each temptation, and ultimately chooses to face death rather than betray Guildford or herself. But when her Ethian friends (the wild instinct) appear to disrupt the execution, our heroine seizes the opportunity to rescue Guildford. Unable to free him from the burning pyre, she confesses her love for him, and they kiss amid the flames.

Fire is often a herald of transformation, burning away illusions to reveal the truth. And when Jane and Guildford exchange their vows in this symbolic marriage ceremony, Guildford’s fears and illusions are finally burned away. Now that his bride has accepted his beastly form, he can accept it too, and so he at last transforms at will into a horse so that they can escape. Their story ends with them married and whole before the sunrise.

Among our modern heroines, Mira is the boldest in her embrace of the beastly husband. Offered yet again as a bride to Igor, she realizes that this is not what she wants, and casts off the tether from her boat. She declares “I love the Dragon!” using the name of her husband’s animal form rather than his human name. Then, she sings the song that will call the dragon to her, and he appears to carry her away again.

But their story is not over yet! Earlier in the story, Arman told Mira of how he loses control when in dragon form, and that dragons are compelled to reproduce by burning maidens to death and retrieving their offspring from the ashes. Returning to the island with her a second time, the dragon drops her on the altar and prepares to spew fire, but Mira lunges up and kisses him. This act of love, even when he is a monster, stuns the beastly husband. Again, Mira declares her love and kneels before him, saying she does not wish to be parted. We might expect the animal husband to transform in this moment, but instead he lays his fearsome head in her lap as a lover. Their story ends with a child and a flight in the sky, silhouetted by the sun just like the other couples.

Each bride, when confronted with the option to return to the patriarchal limits of her childhood, chose instead an act of love and acceptance for her wild masculine. This embrace helped the beastly husband to accept his whole self, and he is healed without having to cut off the wild parts of himself.

What Does It Mean?

Again, this story is so rare in world folklore that it’s difficult to even find examples. On fleeting occasions that the woman chooses an untransformed beast, it is presented as a cautionary tale. These women are framed as a danger to the community for their bestial impulses and abandonment of the social order, much like witches who were said to consort with the devil. It was certainly never presented as a happy ending, insofar as we can tell from written accounts.

So what does the emergence of this tale mean for our culture? I would argue that this is just the latest step in our ongoing reckoning with historic gender roles, as well as renegotiating with other forms of systemic oppression. People of all genders are pressured to reject a part of ourselves, cutting us off from our own truth and desires that run counter to the enforced social order. We must not challenge patriarchy, must not embrace different gender expressions, must not blur established hierarchies of power, must not find joy and power in our identities, and so on.

This enforced denial does tremendous damage to everyone caught in the system, and so through story, we dream our way to escape. We dream of embracing the dark, wild parts of ourselves, of flying free on a spaceship or a dragon or enchanted horseback, and of being totally loved for who we are.

It’s clear patriarchy is still fighting back against this emancipation of the wild feminine and wild masculine, given that both The Acolyte and My Lady Jane were canceled not long after their release. In the case of The Acolyte in particular, there was a sustained campaign from its announcement to harass and silence the creators. Demoralizing as this phenomenon may be, it’s important to remember WHO ultimately owns these stories:

“Fanfiction is a way of the culture repairing the damage done in a system where contemporary myths are owned by corporations instead of owned by the folk.

-Henry Jenkins, NYT 1997

Ah, an oldie-but-goodie. But Dr. Jenkins is right. Corporations may greenlight, film, release, and then cancel these stories, but ultimately they belong to the people. We take from these tales what speaks to us, leave what does not, and then retell them ourselves in fanfiction, in art inspired by the stories, and in lessons we pass on to our friends and families. If the embrace of the wild masculine speaks to you, let the story take root in your own life. Do you know someone who needs to be embraced, just as they are? Do you need to accept the parts of yourself that society tells you to hate? Do you want to be free, healed, and whole?

If so, then let these stories show you how, and tell more like them. Embrace the beast, and find your joy.

Sources:

Beauty and the Beast Tales From Around the World by Heidi Anne Heiner

In Search of the Swan Maiden: A Narrative on Folklore and Gender by Barbara Fass Leavy

And a relevant song for you, as a treat:

Women Who Run With the Wolves: Myths and Stories of the Wild Woman Archetype by Clarissa Pinkola Estés, Ph.D.

[anna-scribbles]

chapter cards for thirteen: november - april

read on ao3

[ennn]

Let's appreciate how complex Agatha's relationship with Billy is

GIF credit to @isagrimorie

The genuine emotion brimming from Agatha in this moment is very interesting and I really want to break down all the layers of how Agatha is relating to Billy—because it is truly not as simple as Agatha feeling sentimental or motherly to Billy.

There are a few layers at work here (and I also want to give a shout-out to @trickofthelights for her excellent recap points):

Billy reminds Agatha (enough) of herself

There are two driving forces at the core of Agatha as a character. We know this because her characterisation has been incredibly consistent throughout the show and Schaeffer has talked about them, which is: (a) Agatha is self-serving and (b) Agatha loves powerful witchcraft.

Billy is a powerful witch who did a horrifying thing in order to survive. He's been lying to these wonderful parents. He also just tried murdering three people in a fit of rage, provoked by Agatha no less.

Would Agatha care if he was less powerful? Would Agatha care if he didn't have a dark side? If he hadn't shown to be duplicitous and dangerous and subject to his darker impulses?

If he wasn't alone and without a coven, a possible outcast even among witches because of his unusual origins and power?

I'm pretty sure the answer is no, she would not. She would have dismissed him the same way she did his "Teen" persona. Agatha doesn't care about witches, Agatha cares about powerful witches –because that's who Agatha is and what drives her.

And we also got hints of this with Agatha and Wanda (hello consistent characterisation). In Schaeffer's words:

There is respect and almost affection inherent in [Agatha's interest in enormously powerful witchcraft], as indicated by how she felt about Wanda. She was mean to Wanda, but really she was fascinated by Wanda and admired her and wanted to hang out with her. 

And if this wasn't clear enough, what Agatha tells Billy shortly later about breaking the rules and being a true witch just screams projection (more on that in my next point).

I was delighted that Agatha really did bounce back from the attempted murder – but it's not because she's forgiving. Oh no, I think, Agatha was testing her theory by poking the bear (calculated move, bad at math) and she's glad she was proven right.

I mean, she not happy about the attempted murder but her curiosity wins out. You see her poking at Billy and trying to figure him out in the rest of this scene.

Agatha also hates self-righteous moralising and searches out for the darkness in people – delights in it even – because she knows people and she knows her own darkness.

Billy is different but also not so different from Agatha, as much as Billy or his mom would hate to admit.

Agatha is dealing with her childhood trauma

Yes, Agatha is projecting on Billy, but she makes a choice about it. We hear her telling him what she would have wanted someone to tell her: that they shouldn't be afraid or ashamed of who they are or what they did to survive, that they are part of a community.

Don't you dare feel guilty about your talent. ... That's what kept you alive. That's what makes you special. That's what makes you a witch.

She's trying to be the person she needed when she was a child, because she simply doesn't want someone else – particularly a younger witch – going through what she did.

She doesn't want anyone to go through what her mother put her through. And that's a choice.

Because there are a number of ways a character can deal with trauma: they can lash out and bring others down, wanting others to experience to the pain they went through, or they can realise that what happened to them shouldn't happen to anyone else in their position.

There's something beautifully self-serving but also selfless in that, because this is a way for Agatha to heal from her trauma. She can tell Billy things she may not be able to tell herself.

And it's interesting because as a self-serving villain, Agatha could just be jealous of Billy's power. But in this moment at least, Agatha's empathy and compassion – as buried as they usually are – prevail.

And yes, Agatha was fond of kid Billy

This is what Schaeffer touched on in her interview answer and it makes sense, with the insight that Agatha – like any good actor – does invest a bit of herself in every role she plays.

Agatha does have feelings (as much as they might make her vomit) and I do believe she has a soft spot when it comes to kids, given her experience with her son and her own childhood trauma. And that kids don't have the level of hypocrisy and darkness that adults do.

It makes sense that Agatha would have some level of care about the Scarlet Witch's magical kid Billy. And that is a fondness that has carried onto teenage Billy – who is powerful and a survivor and has a potential for darkness in a way she can relate to.

There are layers and they intersect and it all ties back to how Agatha is incredibly complex and yet consistent as a character.

[thirddoctor]

got any good ainley! master gheadcanons (currently watching 5s era hes so fun?? underrated master honestly)

I'm a huge Ainley fan. Kinda weird that he can be considered underrated now, because he used to be one of the top three (alongside Delgado and Simm), but now that Gomez and Dhawan have come along he's sort of been relegated to the side which is sad.

I mean my whole conception of him as a character weaves in a lot of headcanon because while the version of him that we get onscreen is very fun, I feel like it's possible to read in a lot more depth than was probably intended.

I think there's a fascinating paradox to his character in that he both loves and hates the fact that he's alive. He spent years wanting nothing more than to survive and get a new body, but he specifically wanted a Time Lord body. He wanted more regenerations. He wanted to be restored to his former glory, and instead he's reduced to pilfering the body of an old man, some inferior life form, and making do with that. It's a step up from being Crispy, sure, and he does rejuvenate himself somewhat, but it's not the same. He can't control people the way he used to (note that Ainley never hypnotises anyone without some sort of aid, unlike Delgado who could do it simply through the force of his own will), he's lost his status as a Time Lord, and he's still only bought himself time, because this body won't last forever and then he'll be right back to square one.

Survival is when it really all comes to a head, and I think that story is a very fitting ending for his character because he comes full circle and this time he chooses death (as long as he can take the Doctor down with him) over prolonging his life at the expense of his self. It's all just really interesting to me and I hope one day some EU writer explores that potential more.

[whoisthemaster]

Why does no one ask, Master Who?: (#3 - Oh No, He’s Crispy!)

Why does no one ask, Master Who?: A Character Study Series Masterlist

Our next topic to cover in the subject of the Master is his Anakin Skywalker---er, I mean, sudden change in appearance and re-appearance when he surprises us all in the Fourth Doctor’s era. I think this is where his now signature long running gag for ‘coming back from the dead’ without any explanation truly began. 

So, because of the tragedy that happened to Roger Delgado, the Master as a character was kept out of stories for quite awhile until the 4th Doctor’s era in 1976′s episode, “The Deadly Assassin.” An episode not only remarkable for bringing back the Master in a MUCH darker state, nearing the end of his regeneration cycle, but the fact this episode began a lot of the mythos of the Time Lords and Gallifrey as we know it. Played by two different actors for two different episodes years apart, the fandom has dubbed the Peter Pratt and Geoffrey Beevers Master’s as the Crispy Master or Decayed Master, due to his decaying form looking like he was fighting with a Jedi for control of the high ground and lost (Still too soon? Okay.) 

In ‘The Deadly Assassin,’ the Master’s disappearance is explained to us when he comes up with a clever plot, sending the Doctor back home to Gallifrey in order to uncover a mystery into the future premotionions of the Lord President’s death (and of course he’s behind it.) This Master is FAR more dark than his previous self, hell-bent on only his survival, even if it means taking the rest of Gallifrey with him to achieve it. Only his hate and need for revenge keeps him going. Although it may seem the Master has finally lost, this is only when we start to realize how great of a survivor he can be when it comes to death.

Making a return in ‘The Keeper of Traken,’ he’s still focused on attaining a body that can handle the presence of a Time Lord. Although he isn’t able to obtain the Doctor’s, using his cunning, the Master ends up stealing the body of Tremas of Traken, finding a way to extend his life a little longer.

Important Character Traits for Crispy!Master:

High sense of Self-Preservation. He doesn’t care what it takes to stay alive. This is the first time we see it with the Master, even if he’s going completely against the Doctor to do so.

Known for being the most ruthless of the Master’s incarnations (and that’s saying something.)

His physical state of being rotten and decayed can be used as a metaphor for how evil he is as an individual. As Geoffrey Beevers remarked; this is what the Master is like without his smooth looks and charm: as he put it, "the essence of the creature.”

However, in Big Finish, thanks to Beevers himself, and the writers, Crispy gets more of a development. Despite being just ruthless because of his current situation, ‘being faced with his own mortality also gives him plenty of poetic and calm moments.’ 

The Many Explanations for his Crispy State:

Geoffrey Beevers remarked that this is what the Master is like without his smooth looks and charm: as he put it, "the essence of the creature". This seems to be a running theme with this Master. The first Crispy Master is the ugliest and cruellest of all, while the second Crispy seems to have "healed" a little and is a step back towards Delgado behaviour (how much of the "healed" appearance is intentional and how much of it is due to the limitations of Beevers' makeup compared to Pratt's mask is unknown).

There are also many more explanations of how the Master became decayed on the TARDIS Wiki. 

[rearranging-deck-chairs]

im not sure if it makes sense but i like the idea that when the master says "i can see through to all our ends" he did actually like predict with help of the cyberium exactly what ended up happening. it's similar to how i like to imagine dhawan!master showing up in the vault and missy understanding what her future will look like and it not changing anything about her choices in s10

like, knowing this ends badly because it always ends badly for them. but it's about the journey not the destination. and at some point maybe the inevitable defeat has become a kind of comfort. old familiar. what else would they do but be defeated by the doctor. thats their place. thats where theyre supposed to be. like what would they even do if they won?? the cosmos without the doctor scarcely bears thinking about

it's not about winning, it's about playing

and if he knows how it ends it's like the exact opposite of what i imagine for missy. missy striving for hope even when she knows thats now where her story ends, just because it's worth it in the moment. and the master going through the motions of like this entire scheme, this whole game, gleefully, knowing it ends in like his failure and death. purposeful slowburn self-destruction vs purposeful defiant self-actualisation.

[gffa]

In this house we stan Jedi Master Indara. She was absolutely on point in this episode, she was compassionate and gentle with the girls, she was so warm and friendly with Mae when she needed it, she was firm in how they couldn't overstep if the girls' mother didn't want them to leave, how they couldn't just barge into the witches' lives, she warned everyone to be cautious and that they were overstepping their bounds, she warned Sol to not confuse his own wants with Osha's wants, her ultimate priority was Osha's wellbeing in the end, that she was willing to not tell the full truth, even if it wouldn't have gotten them in that much trouble with the Council, it would have possibly crushed Osha's dream, so she made that hard choice, she came in like a goddamned wrecking ball when Kelnacca was under the witches' influence, there must have been at least twenty of them in his head, and JEDI MASTER INDARA TOLD THEM TO GET THE FUCK OUT and she blasted them the hell out of Kelnacca's mind BY HERSELF, she was right that they needed to be more careful, because she understood how things could go bad, she was teasing Sol and laughing with him about not having a Padawan yet, clearly it was a joke and used to lighten his mood, like Master Indara the Jedi that you are, we stan.

[prncssguya]

“it doesn’t make sense for osha to forgive qimir so quickly. its terrible writing.”

who said she forgave him? we can have complex feelings for people. stop being so boring. she realized the jedi and the man she considered a father had been lying to her for sixteen years. the man who framed her sister and was complicit in the destruction of her coven. he did not once apologize but instead tried to justify his actions. after having her entire belief system shattered, she lashed out in anger.

she joined qimir in exchange for her sister’s life and because she’s curious about the other side of the force. from amandla’s recent interview, osha has never been manipulated in the choices she’s made. her decisions are hers and hers alone