#me when the mistreated woman puts herself back in the narrative:

[greenhoodiegremlin-blog]

oooooh you know what. fucking. misako man.

bc i was going through my wips and realized “huh, misakos involved in all the plots even when the story isnt supposed to be about her, lmao funny right my girl putting herself in the narrative” BUT THEN I REALIZED THATS LITERALLY WHAT SHE DID IN CANON THATS HER WHOLE CHARACTER like in the grande scheme of things she was objectively a nobody she didnt have to be involved she could have lived her life, the story worked so hard to exclude her BUT SHE PUSHED HER WAY IN. she worked so hard to make a change and not just be a bystander to destiny and sometimes she made mistakes, big and small, but shes just. not a passive character she works so hard to be involved in the making and shaping of of history and and and. idk i like her.

[girl4music]

So… I really like Catra. It’s been a while since a character impacted me emotionally the way she does. So I wanted to do a bit of a deep dive into who she is, why she is, and, as always, what I’m most interested in: what she can tell us about ourselves. So, let’s cut to the core of it. Catra is an abused child and this is a story about trauma. When we talk about trauma, we often associate it with a single life-shattering event but trauma itself is more broad and somewhat Universal in basic terms: the damage to the mind caused by any distressing event that overwhelms our ability to process it in the moment. When this happens to children in developmental stages the damage becomes even greater. As a child everything’s already overwhelming. Every crisis is the end of the world. Every new discovery is the most exciting thing ever, and we’re incredibly vulnerable to the stimuli around us. Internalizing each new experience as the way the world is. 

Catra is traumatized by a childhood characterized by intimidation, manipulation, and verbal and physical abuse. In Catra’s case, her trauma isn’t some anecdote to her fraught relationship with Adora. It’s directly related to it. The traumatized mind is predicated on safety and when Adora leaves, Catra’s sense of safety is shattered. What we see for 4 seasons is her attempt to recapture that safety using the dysfunctional tools she picked up from her abuser. So really the first place to start is understanding the most formative relationship in her life: Shadow Weaver. 

Shadow Weaver tells us she sees herself in Catra but she specifically sees the parts she doesn’t like. Catra who isn’t born with some inherent power to exploit, Catra who struggles for recognition. Shadow Weaver tries to prove herself too and is rejected by Mysticore and Catra becomes the outlet for that shame. She doesn’t get to be a person. She’s a child made to be an adult woman’s receptacle for her own self-hate and the narrative frequently posits the 2 of them as mirrors. In ‘Promise’ we see Shadow Weaver reluctantly acknowledge her mistreatment of Catra but amends it immediately with…

SHADOW WEAVER: “And I won’t apologize!”

And in the same episode…

CATRA: “What do you want, an apology? You’re not getting one!”

I wonder where she learned that…

Catra does in fact learn a great deal from Shadow Weaver because, well, she was the one with the power. It’s this idea of: “if you can have the power, maybe she can’t hurt you anymore.” She picked up her patterns as an abused kid would as a way to both predict her and protect herself and in doing so, she absorbs Shadow Weaver’s distorted view of the world. One in which love makes you weak and weakness is not allowed. If Catra’s arc is driven by a need to protect this wounded child, we might understand her arc best by looking at that very childhood. Let’s look at the flashbacks in ‘Promise’ and in ‘Corridors’, the 2 that bookend Catra’s way in and out of her spiral. We’ll get to them both, but let’s start with ‘Promise’. 

‘Promise’ gives us a detailed microcosm of the kind of dynamics that inform why Catra is the way she is. Adora and Catra are playing. They both, as curious children, go into Shadow Weaver’s chamber. They both break in but it’s Catra Shadow Weaver tortures. Immobilizing her before threatening her life. She tells Catra the only thing keeping her alive is Adora’s fondness for her. So as we peel back the layers of Catra and Adora’s relationship, we see that their conflict is one that exists by design. As a tactic of divide and conquer of abuse victims. 

CATRA: “What is your problem with me?” 

ADORA: “I mean, you are kind of disrespectful.” 

CATRA: “You never protected me! Not in any way that would put you on Shadow Weaver’s bad side.”

If Catra and Adora blame each other or themselves, it takes some of the focus off of Shadow Weaver. So from here we learn first that Catra is taught that she has no value if Adora doesn’t want her. Second, that something innate in her deserves more punishment for the same transgression. But for all the grief Shadow Weaver seems to give her, her best friend still wants her around. And so... for the time being… it’s okay. The world is a mess but they have each other.

And so… the weight of ‘The Promise’. 

So when Catra believes Adora breaks it, that’s why her entire world crashes down. She’s no longer safe and the Horde kids seem to know it too. 

LONNIE: “Easy Catra, Adora’s not here to protect you anymore.”

While Adora was right to leave, it’s also the perfectly placed stab to the wounds inflicted on her as a child and before making her choice to turn on Adora, Catra’s gaze lingers on that child. Everything she does from this point on is to protect it. So why didn’t she just leave with Adora in the first place? Surely, it would have saved a lot of time and trouble. Well, it would mean accepting that Adora left on the word of two strangers. In the defensive state she was in, Adora’s offer to go with her would have felt like even more of a betrayal. An afterthought to the best friend she didn’t care enough to actually go back for. So Catra works overtime to prove her independence. If she never needed Adora in the first place, her betrayal can’t hurt anymore. So now, any other offer of closeness is one she can’t afford. This informs her other relationships going forward. Notably, that with Scorpia. 

Coming out of the biggest abandonment in her life, Scorpia approaches Catra with an incredibly eager and unsolicited offer at closeness. Certainly, Catra is cold at best and cruel at worst to Scorpia, excluding their time in the Crimson Waste, but her discomfort makes sense. We’re told and shown Catra asking for boundaries and personal space, which Scorpia repeatedly encroaches on. 

CATRA: “Scorpia, remember that little talk we had about personal space?”

Physical touch which seems to make Catra particularly jumpy is also something that Scorpia does a lot. Catra’s behaviour towards Scorpia is still hurtful and wrong but this is a relationship between 2 people misreading each other and needing very opposite things. It’s just a bad place in time for them both. In her relationship with Scorpia and beyond, Catra continues to behave more and more erratically. Her abuse makes her a walking paradox, craving connection as any lonely kid would but also learning to see connection as the precursor to pain. Pushing it away harshly the closer it gets. What Catra’s doing is recreating the cycles of unstable attachment not because they’re good, but because they’re familiar. And in her fearful mind, familiar is synonymous with safe. 

I talked in another She-Ra video about the authentic self and the traumatized mind survival mode may well be the inverse of that. It’s not making choices that honour wants, personalities, aspirations. It’s being stuck in a state of nervous system hyper-vigilance. 

CATRA: “How dare they take best friends and turn them into giant sword ladies-”

Not only does Adora leave but in doing so she gains magical power and popular adoration. This gives us an idea of how Catra views She-Ra. As the thing who took her one safe person and turned her into something unrecognizable. She-Ra as the very proof of everything she was threatened with as a child. Adora��s greatness and her meaninglessness. This all ties to the fact that Catra believes that love is finite. This idea isn’t just explored through Catra. In what seemed like almost throw-away lines in ‘Princess Prom’, Catra’s thoughts are parroted by Glimmer. They had very different upbringings - certainly Glimmer had status and privilege Catra never did - but they’re similar in their isolation and that respective isolation leads them to see their value and relationships as zero sum, and inherently unstable. Bow makes new friends and Glimmer’s response recalls Catra. 

BOW: “Glimmer, I’m allowed to hang out with other people.” 

GLIMMER: “But don’t you see? That’s how it starts. Then suddenly everyone has new friends and nobody needs me anymore and then… I’m all alone.” 

But Catra’s also been abused so finite love doesn’t just make her anxious. It sends her into a tailspin. So she tries to re-establish control the way she’s been shown how. Power and influence so she might be safe. From mimicking her, she literally becomes Shadow Weaver. Ascending to her position in a move that she thinks will grant her the safety she needs but it doesn’t help. 

So she goes to Shadow Weaver for help and here we see the complexity of trauma bonds. Shadow Weaver may well be the cause of Catra’s pain and pathologies, but in that twisted way, she’s also the person who knows her best, and thus someone who can give to Catra the recognition she craves. In a scene that makes me want to reach out and hug her, Catra asks: 

CATRA: “I was a child when you took me in. What could I have possibly done to deserve the way you treated me?”

And I was reminded of…

ZUKO (From ‘Avatar: The Last Airbender’): “My father, who challenged me, a 13 year old boy to an agnikai. How can you possibly justify a duel with a child?”

She knows Shadow Weaver is a terrible person but in the moment she gives her the appearance of kindness, we see how much Catra needs it. But then Shadow Weaver leaves too. Playing at being Shadow Weaver stops working and the only other authority figure in her life tortures her, then sends her to die. But in the Crimson Waste where Hordak expects Catra’s pathetic life to come to an end, something happens. Mere days out of the Horde and Catra’s patterns start to change. She’s more open, playful. She’s still an ex-Horde soldier picking fights but it’s different. She’s kinder, warmer towards Scorpia as she toasts her to a crowd. But that old wound is still raw and it’s pushed HARD. 

ADORA: “Catra,… Shadow Weaver is in Brightmoon.”

CATRA: “Shadow Weaver left me.”

With five words a heel turn. In seconds from cocky and confident to complete tunnel vision. This is a person having a panic attack. At Catra’s most broken yet, we see her despair at what’s been done to her. 

CATRA: “You made me this way and you get to be the good guy?!”

There’s nothing but the need to win now. And barely a year after Adora leaves Catra’s despair spirals into something even more tragic. 

CATRA: “Threats only work on someone who has something to lose… but me? I’ve already lost it all.”

There have been hints in Season 2’s Crimson Waste episode of Catra being indifferent to or actively seeking the end of her life. Let’s look at what happens contextually around the time that Catra pulls the lever. She’s been suffocated and potentially killed by Hordak then sent to die in the Waste. However she might have been healing, hearing that Shadow Weaver chose Adora rips that progress open. She’s back in panic mode and Hordak and Entrapta have built just the thing extreme enough to match that feeling. What she does know is that Hordak has a way to win and it involves pulling the lever. She also knows that the lever will significantly change the world somehow. Catra isn’t attached to this world because as she’s told us: 

CATRA: “I’ve already lost it all.”

So she pulls the lever and the world changes. And it looks like it always should. She’s not in charge. She’s not Force Captain. She and Adora are together like they said they would be, and Shadow Weaver is kind to her. Until the ruse falls apart. Adora has taken that brief peace from her, leaving their life behind all over again. So she antagonizes She-Ra’s heroism because, to her, it’d feel like hypocrisy. Adora praised as a hero when she couldn’t even be bothered to stick by the one person she promised to help. And again, we see how distinct Adora and She-Ra are in Catra’s mind. She’s friendly to Adora in the alternate Universe because that’s her friend in the life they once had. But when Adora wakes up, she’s She-Ra again. She-Ra who has to save the world and who, once again, leaves her behind to do it. So there’s nothing left but to let all of it and herself… burn. In Season 4 she reverts to her old self-defence state full force. Easier to retreat behind it than to confront the grief of what she’s lost. She falls back on old patterns, seeking approval from the next authority figure she sees. She fully embraces the Big Bad villain mantle as the only script left for her to follow. She’s become what Shadow Weaver wanted. Strong. She should feel safe now. But the wounds inside her have not healed. 

CATRA: “Just leave… like everybody else.”

Now this could seem ridiculously hypocritical. “Of course they left, Catra. You pushed them away.” If Catra’s so lonely and wants connection, why not just ask? Well, that’s the ironic bit, right? Because if love comes too easily, it can’t be worth something. This isn’t logical but trauma brain doesn’t operate with logical, it operates on habit. And this is what Catra was conditioned to believe. Recognition only has value if it is earned. And that’s why we see Catra so preoccupied with proving. And the most insidious thing about these cycles is that they’re almost entirely unconscious. Now this isn’t to say that Catra isn’t aware of what’s happening but Catra the person is very much in the backseat to what are an addictive set of behaviours that are as harmful to her as anyone else, and living like this is exhausting. We see it take its toll on her mind and her health. By the end of season four she just wants it to stop. Trauma brain, addictive cycles. These things all work together to tell us that the world is predictable, and thus, so are we. We are pain. We cause pain. We will never change. So the most significant piece of Catra’s arc is just that: change. 

And here we have the second significant insight into her childhood. Not memories projected by Light Hope to manipulate them into separating, but Catra’s own choice to reflect. The impetus of the show is Catra’s perceived betrayal. We got some insight into why that is in ‘Promise’ and ‘Corridors’ shows her processing the how. Catra believes that Adora becoming friends with Lonnie is going to threaten her value. See the way she frames it: 

“You’re supposed to be my friend.” 

As if Adora can only have one friend at a time. 

“Love is finite.”

This is the world of absolutes that she inherits from Shadow Weaver. At the same time that she’s processing these memories, she starts to connect with Glimmer. Glimmer who shares her burden of an impulsive choice that almost ended the world. Glimmer who has shared her same insecurities. Catra listens to her talk about her friendship with Adora and relates back with stories of her own. Maybe Adora didn’t leave for power and glory. Maybe Adora loves Glimmer. And maybe,… she really did love Catra too. Maybe it’s too late but she’s here now with this new clarity. So Catra does one good thing. And she expects to die and she’s okay with that because, after all, there’s nothing left for her. No forgiveness she deserves. No chance at a different life. But she survives. Adora comes back for her and it doesn’t make sense. And in this act of kindness, one she doesn’t think she deserves, she’s offered a choice: 

Accept Adora’s forgiveness, not as an eraser of the past, but a nod towards the future

OR 

Define herself by her lowest points, set out for some planet alone, and let her story end

I think Adora’s forgiveness cuts through because Adora has a vantage point no one else does. Having seen up close both her pain and the person beneath it. We see how impactful a change of environment is to Catra as she starts to heal. It’s certainly not linear. She retreats to old patterns when she’s scared, pushing Adora away because it’s easier to expect hate than to accept love that could be taken away. But she’s also vulnerable around people who have every reason to hate and punish her, like she thinks she deserves. And she’s still met with kindness. And she tries to help. She apologizes to Entrapta when Entrapta is content to let it be. She uses her connection to the chip Hive Mind to help the Rebellion when it causes her incredible pain. She recognizes her outbursts of anger and takes immediate steps to control it. She confronts her abuser and sticks up for both Adora and herself. After years spent in fear, she starts to find herself again. And eventually she returns the kindness Adora showed her on the ship back to her, asking her what she wants and trying to protect her from her own self-destruction: questioning Shadow Weaver’s motives when Adora is ready to sacrifice herself without hesitation. And finally, with no guarantee of reciprocation, she stays with Adora and tells her that she is loved. It’s love that Catra doesn’t believe is reciprocated and she doesn’t need it to be. When she lets go of expectations, she’s able to give love freely. And when it’s given freely, Adora is able to accept it. And so they traverse the biggest gulf in their separate arcs.

So why does Catra matter?

What Catra’s story shows us is a realistic depiction of a traumatized child. Trauma isn’t always romanticized and pretty. A shy meek victim. It can be ugly, violent and messy. And still deserving of compassion. So as with any destructive cycle, the solution is deceptively simple: doing anything different. In my ‘Corridors’ video I talked about the symbolism flip of “light” and “dark” in that episode. Catra hypothetically choosing the “dark” corridor. As some people in the comments pointed out, this could also symbolize the “dark” as the unknown, and that makes perfect sense to me. Survival mode thrives on unconscious pattern and predictability. The “dark” corridor might be the unknown of a new decision. Scary maybe, but the only way out. With fiction we show each other what’s possible. People aren’t obligated to forgive us, but they do, sometimes. However we might feel we do or don’t deserve it, it’s theirs to give. 

Or as one of my favourite shows puts it…

GILES (From ‘Buffy the Vampire Slayer’): “To forgive is an act of compassion, Buffy. It’s not done because people deserve it, it’s done because they need it.”

I think our ability to extend forgiveness to characters that don’t exist directly relates to our ability to forgive ourselves. If we forgive ourselves and let ourselves become better people because of it, we might see how that’s possible for others. Now does this mean we’re excusing harm as long as someone’s backstory is sad enough? Certainly not. But there’s a difference between the calculated repeated offences of an adult and the dysregulated self-defence behaviours of a traumatized teenager. If Catra were raised in a loving and stable home and just lashed out for no reason, this would be a different conversation. Understanding the impact of severe trauma means understanding that there’s a way out and seeing the person beneath the defence mechanisms of the child they’re still trying to protect. It’s a footnote to most episodes but Catra’s bond with Melog narratively connects the 2 as abuse survivors learning to trust and manage their emotions. And Melog’s behaviour mirrors Catra’s own: defensive and reactive from being attacked, calming down when reassured that they are safe. There’s a neat little microcosm of this in the episode ‘Hero’: A wild boar is charging at Mara and Mara - a product of the First Ones - instantly reaches to her sword to attack. The beast only grows angrier until Madam Razz steps in and offers it only gentleness. It was just scared. In this situation, some of us might forgive. Some of us might not. But Adora chooses to. Adora, who’s seen the routine abuse that made Catra the way she is. And Adora who still saw her best friend beneath it and decided to reach out. On what this all means to me, there’s a ‘Good Place’ quote that comes back to me often…

MICHAEL (From ’The Good Place’): “The point is people improve when the get external love and support. How can we hold it against them when they don’t?”

So I find Catra’s story to be a kindness to those whose experiences might resemble hers. When we lose ourselves in old survival mechanisms and harm the people we love. We might believe we could change but fear we won’t be given the chance. That chance isn��t owed and it’s not expected… but it’s still possible. Simply, sometimes if you need forgiveness and want to change, someone might give it to you. And sometimes, if you believe in someone, they might not let you down. And when trying to keep that hope that the world can be kinder, that we and those around us can change for the better, maybe sometimes is enough.”

I think the only thing I have to say in response to this absolutely exceptional character study video on Catra and her significant abuse and trauma arc by Five By Five Takes is REPRESENTATION MATTERS and if you don’t provide authentic storytelling and representation in fiction of characters that go through these situations and have to face these circumstances, why are you in the visual art/entertainment field at all? Storytelling and representation go hand-in-hand and the most compelling visual art/entertainment media or content always makes sure that they do go hand-in hand. 

This is just a children’s TV show and it provides a perfect thematic narrative on the dark and serious impacts of abusive trauma, psychological conditioning and genocide that most adult TV shows will never ever even attempt to touch because they’re so afraid of pulling their audience base in a direction that they may not want to go in but may very much NEED to go in.

‘She-Ra and the Princesses of Power’ pulls no punches on providing substantial storytelling and representation to its majorly young audience base and they have succeeded extremely well in that endeavour. I’ve said this before in past Tumblr posts of mine, but it really does go to show you what is possible and what can be achieved when you’re brave and adamant enough to go against the grain of censorship. Nate Stevenson and his entire phenomenal creative team behind the production of this children’s TV show achieved an incredible feat enough that this JUST AS phenomenal YouTube creator (Five By Five Takes) could provide an incredible character study and commentary on which makes you love the initial content it’s based on all the more. The insight in this one character study video has done wonders for my understanding of and reception to the character Catra as well as my appreciation for the production of ‘She-Ra and the Princesses of Power’ as a whole as I have only seen it all the way through once. 

This is what it’s all about for me. This is what I am here for as an enthusiast of art/entertainment of any medium and in any format. Visual or otherwise. And if more recent TV show/film creators were able to provide this level of substantial storytelling and representation in one total creative product, I would watch more recent TV art/entertainment and discover more wonderful characters and themes and narratives instead of fall back on re-runs of my most beloved TV shows and films of all-time. I could join in the hype of talking about it with everyone else if that was the case. 

But, unfortunately, it’s not. The fact I found this level of substantial storytelling and representation in a children’s TV show made in 2018-2020 speaks volumes to me about how afraid TV show/film creators are these days to go this hard, this deep and this intense with their storytelling and representation and I am deeply saddened that this is the way that it is right now. I sincerely hope next year that there is an improvement in TV art/entertainment because we really NEED it because it isn’t just about being entertained. It’s about being educated and the learning process is the point!

[ozziyo]

please tell me your doctor who thoughts xx

I assume this is about my human nature/family of blood thoughts specifically, and I am aLL TOO READY TO TALK.

I might miss some things because I only watched those episodes once about eight years ago and got so angry because of their missed potential and poor treatment of Martha that I could never bring myself to watch them again 🩷

I’m also DEAD certain I’m not the only person who thinks this and I’m sure other people have said it before!! But anyway. My Thoughts are that John (ten’s humansona) should have fallen in love with Martha during these two episodes. He just should have.

What they give us as it stands is “the doctor has a little romp around in 1913 England and gets a little crush (tehe) and then he goes batshit later on. Martha is belittled, subjected to racist bullshit, and is just generally mistreated by the people around her, including her friend/the man she loves and the woman he’s got a big fat crush on!!”

Like what do these episodes do for Martha, as a character? What do they show us about her that we didn’t already know?? Sure her bones of the hand scene shows us how smart she is and how she doesn’t take any guff but we already know these things about her, and that moment didn’t need to come about through the object of John’s affections speaking down to her and disparaging her. (And on another note like. we’re supposed to feel bad that Joan and John can’t live happily ever after?? After that display??? I don’t care about you bitch, you disrespected Martha. Die sad you crusty racist.)

Martha has a shit time, being treated like garbage while she’s looking after John and protecting him and just waiting for him to turn back into the Doctor so they can run off together again. It’s a miserable experience!! And frankly the entire thing adds nothing to her character or to the overall narrative.

If John had fallen in love with Martha, it would’ve been an entirely different experience. Because here’s the Doctor — not the Doctor, not her Doctor, but almost him — smitten with her. Looking at her adoringly. Wanting the same things she wants and has wanted for months at this point. And that’s a MASSIVE ball of moral and ethical and emotional mess. And of course, OF COURSE, because she’s Martha Jones, the best of them all, she would still tell him who he is when the time comes. Because that’s who SHE is. She’s selfless and brave and loving. She puts everything else before herself.

Like. We could’ve had Martha doing her best to keep her distance while simultaneously having to protect him and keep him safe, we could’ve had John making romantic gestures that she would LOVE to enjoy but can’t because she knows it’s not right and it’s not him and it’s not fair, we could’ve had the aBSOLUTE AGONY of John’s “falling in love didn’t even occur to him?” speech but without it being accusatory against Martha. Like picture that for a moment. Picture that instead of “you watched this happen and that makes you as bad as him and I am so sad!!! hold me, racist gf”, we got a heart wrenching, pleading speech to the tune of “I love you and I want to stay here with you, like this, forever”

That would have HIT. It would have hit so hard. It would have said so much about Martha as a person, it would have shown her character and her morality and her selflessness, and it would have made those episodes SO good. We didn’t need some random woman inserted into the plot, we had Martha right there!! An intelligent, beautiful, kind woman who the Doctor cares about already, and who John sometimes dreams of. Literally why would he NOT fall in love with her if he woke up human, with no memory of anything??

And then we’d have everything that comes after. Ten remembering, all of it, being in love with her, with MARTHA, with this woman who put him before her own feelings. We’d have the potential fallout of that — does he develop feelings as himself and keep them secret, or does he not develop feelings and it’s simply a layer of guilt and tension for the rest of the series? And whatever the answer is, it just makes it all the more painful when she leaves. Maybe it even changes the way she leaves!! Whatever the case, fUCKING OUCH!!!

This is not at all coherent but if you read this far, bless you. I hope you’re also mad about these episodes now because I will be for the rest of my life.

[crunchyroll-official]

Skip Beat suffers because there’s no core philosophy that guides the narrative or character arcs even though a bunch of symbolism is thrown in the mix. and there’s so much set up like there’s going to be a philosophy to it. The “love me” section? Living your life for yourself or for someone else - ultimately, “acting” your life as someone else? But then it strays away from Kyoko and her happiness to ??? I don’t even know? Weird side character drama and too much sho fuwa. No hate to the character, I think he’s actually a really unique and enjoyable villain, until it’s him watching TV and I’m supposed to care about his emotional state. I could put up with this, though, if there was a philosophy to the whole manga tying even weird side character appearances and too much sho fuwa into alignment. Also, two other wishes. 1) I wish Ren wasn’t a long-lost childhood companion. I feel like this conflicts with the idea that Kyoko can grow without repeating the script of her younger years; the idea that her present self is lovable without have experienced her (literally) more servile younger self. Like, yes, she was more compassionate and gentler. But because her love interest liked her when she was this feminine ideal, it’s like whatever Kyoko does to grow is actually that she’s being shaped back into someone else’s image of her rather than what I THOUGHT the manga was telling me it was about: a young woman finding herself and stubbornly choosing the harder path of happiness that comes from not complying with societal pressures. And 2) I wish that Kyoko’s evil miasma and willpower was more of a thing. like, keep it as a joke because I don’t think seriously associating witchcraft with women is subversive at all but I do think that making a woman’s willpower into an actual force that protects and doles out punishment for mistreatment does fuck, actually. Thanks.

[clarythericebot]

“Say No to This” has 2 different stories

This is probably due to my perception (both metaphorically because it’s been years since I first watched Hamilton and also literally because now I’m watching a clearer version) but this time around, I perceived Maria differently. 

 Before, she seemed more liked a device--she served to make me mad at Hamilton. And believe me, I was mad. (He cheated on Eliza!)  

That’s really all the relevance I gave Miss Maria Reynolds. I think I low-key believed the set-up idea - she and her husband planned all this so they can profit off of Alexander - but either way I didn’t give much thought to it.

But look at her.

This is her movement at the line I’m so sorry to bother you at home. 

I’d registered that line as seductive. Listening to the soundtrack, I’d reimagined her putting her hand to her chest, or looking forlorn, or something. But what does she do in the actual play? This juvenile little bop, like, It’s not really a big deal that I’m bothering you at home, right? It reminds me of a mischievous kid trying to get out of trouble.

This is mind, when she actually asks for help (My husband’s doing me wrong--beating me, cheating me, mistreating me) it registers as shameful and embarrassing. As if she were a fiercely independent latchkey kid ashamed at not being able to get out of this one by herself. 

Her act of seduction is portrayed like this by Hamilton: I said, “Well I should head back home” / She turned red / she led me to her bed / let her legs spread / and said “Stay...”

When I was listening to the soundtrack, I was picturing, well, exactly that. What was Maria actually doing in the musical?

1) She gazes up at her house, not looking at Alexander at all.

2) Exactly when he says he should probably head back home, she stiffens, and her hands slowly starts to clench around her skirts,

3) She whirls around suddenly and desperately, and begs, “Stay!”

Do you know what that looks like? A person, a young person, who’s been abused and alone, and who’s latched on to the first semi-trustworthy authority figure she spots. He helped her, didn’t he? He actually did, and no one’s helped her in such a long time. And he was so nice, offering to walk her home like that. But now he’s leaving, and what if her husband comes back? What if she’s all alone again? 

So she asks him to stay.

And she convinces him, it looks like, with the only way she knows how.

Notice her blocking during Hamilton’s internal monologue as he prays for the strength to not break his marriage vows to his wonderful wife and extols how helpless and hot Maria looks. She approaches him purposefully, and then a tad nervously (it looks like she swallows for a second), looks at his lips, edges closer, and then turns away at the last minute. 

I remembered this blocking, actually. Vaguely. I remembered it as seductive, an attempt to lure Hamilton in and delay gratification, leave him wanting more, as she sings her quintessential waoaoaoh. 

What it actually looks like? Her working up the courage to seduce Alexander (to get him to stay) and then backing out at the last minute. She moves away, looks out onto the street, and makes a decision. (Who would you rather contend with, Maria? The nice man who lent you thirty dollars or the husband that beat you?)

Look at that resolute tilt of her chin. She makes a decision.

The next face she takes on shows what decision she’s made:

She strides to him, all purpose now, and kisses him determinedly. 

Her expression right after it’s over?

It looks more than being startled by Alexander letting go of her so quickly. Does this look like a woman who wants to seduce? Honestly, it seems more like a young person who had been relying on Alexander to say no. Who had been hoping for the authority figure to have helped her because he was kind, and not because she could seduce him. She was disappointed.

(Another observation during this sequence: Alexander’s Lord, show me how to say no to this begins when Maria is walking towards him aggravatingly slowly. It begins again when Maria backs out of the kiss, walks away from him, and looks out onto the street, and then it becomes in my mind I’m trying to go [go go go]. Aside from her actions, we really don’t have insight to what her thoughts are, but here’s a thought experiment: What if she’s thinking the exact same thing?

Lord, show me how to say no to this. I don’t know how to say no to this.)

This characterization that I missed the first time around - that she really is younger and less experienced than him - marks how insidious Hamilton’s adultery really was beyond the surface. He doesn’t just cheat on Eliza--he fetishizes Maria. He infantalizes and and sexualizes her at once. (My God, she looks so helpless. And her body’s saying hell yes.) 

Now that I’m paying attention, it’s not even just her blocking. It comes out in the lyrics, too. The whole time, she’s addressing him as sir. No other woman in the play addresses Alexander like this. Yes, it’s kinky - we hear it’s kinky because we’re in Alexander’s perspective. Take that lens away and what we actually hear is a young woman addressing an authority figure.

What the hell, Alexander.

“I don’t know about any letter!”

I had forgotten that she screams this line, not sings it.

Look at Alexander’s reply and what he’s reinforcing here. Look at their priorities. 

It’s obvious that Alexander’s being selfish. He’s thinking about himself, his reputation, how he’s ruined. And Maria’s concern?

Please don’t leave me.

It still comes down to that. She doesn’t want to be alone. She doesn’t want to be left to fend for herself from her brute of a husband. The man of honor who’d helped her is yelling now, and threatening to leave, but Maria has one more trick up her sleeve, and it’s not even a surprise. It’s the only trick up her sleeve she’s got. It’s the only way she can get men around her to treat her with even a smidgen of dignity. 

This also adds another layer to Hamilton. Unlike pretty much every other song, this one doesn’t quite line up with the narrator’s version of events. One could claim that the lyrics and the actions onstage don’t exactly match because that’s how it works--I mean, it’s not as if they could’ve shown the entire affair onstage. I might agree (and I do agree in part--I’m sure some of it is symbolism due to the medium), except all the other songs move in tandem with onstage events. In Alexander Hamilton, we hear moved in with a cousin / the cousin committed suicide and then we literally see the cousin hang himself, as well as Hamilton’s emotional reaction. Even more glaring, we hear Eliza’s then you look back at me and see Alexander glance at her. We listen to Angelica’s the conversation lasted two minutes, maybe three minutes and are witness to the important parts of that conversation.

Say No to This is different, and perhaps one of the reasons I didn’t catch what was happening was because there are two similar-looking, but but ultimately disparate stories. We hear about a temptress trying to trick Alexander out of money. We are shown a girl giving an authority figure what he wants so that he would help her.

Maria doesn’t get to frame her narrative--we already know that from the soundtrack. What we don’t realize is how much of the narrative we hear is falsified, skewed by Alexander’s perception. What we don’t see is a young woman doing what it takes to survive, someone not unlike Alexander himself. We don’t see that because Alexander doesn’t bring himself to try.

If there’s one thing we learn from the musical, it’s that we don’t get to control who tells our story. Maria Reynolds, who gets almost no voice, knows and exemplifies this most of all.

[nonfayth]

a deep dive into the home life of bern’s royal family, and why zephiel became the man he does when he grows up. whilst some headcanons are made here, it’s mostly just me extrapolating what we already know in canon.

tw: emotional abuse and toxic parenting under the cut.

king desmond and queen hellene were wed out of an entirely political marriage, and although hellene was excited at the prospect of having the opportunity to be a good wife and mother, she would never have the chance to truly be seen as the former due to the fact that desmond harbored affections for his actual paramour, a bernese woman of common birth. he would never be able to marry the love of his life due to both status reasons as well as how bern sought out the advantages of linking themselves with one of etruria’s most noble families, thus giving them a link to another major power in the continent. it would be foolish, in the bernese court’s eyes, to refuse the marriage offer from hellene’s family then.

though he could not officially be with his paramour, king desmond was allowed to host her within the bernese royal palace, and so he did, making quite public displays of affection with her while electing to not spend more time with his wife than necessary. it was quite obvious who he favored of the two, and desmond was never really a subtle man who kept his emotions close to his chest. servants could describe his behavior towards his lover as amorous to the point of being sickeningly sweet and his behavior towards his wife were dismissive at best, outright hateful at its worst.

desmond’s nasty nature against his wife is what leads hellene’s own dreams to turn away from that of love to one of power. when she bears desmond’s heir in the form of zephiel, she immediately expresses hope for the day that zephiel will take the throne away from desmond. being the mother of the future king, she assumes she will be given more respect around the palace and have a more secure future. zephiel is seen less as her beloved son and more as her winning piece to get back at desmond; zephiel is the constant reminder that desmond’s days in power are limited, and that one day it will be hellene’s own blood taking over.

desmond, upon first seeing zephiel, hates him for the mere fact he is hellene’s son. zephiel is living proof of their a marriage forced onto him, and he cannot stand the living reminder of it, especially if people were going to come and congratulate him on the birth of a healthy heir and then speak about the son frequently now. to avoid the nuisance of being forced to see his newborn child, he banishes both zephiel and hellene to an off-site manse under the guise of claiming that hellene needs more time to be able to relax with the baby. this further enrages hellene, motivating her to make zephiel into a project to spite desmond.

she will make it so desmond must acknowledge their son.

hellene from a young age is both strict and neglectful with her son. zephiel is afforded every tutor he can be given with her own personal funds ( funds that desmond is obligated to give her every month but no more ) and is sent to lessons as soon as he can walk and talk. he is drilled in military arts, history, etiquette, the arts, and all manner of topics to groom him into the perfect heir. luckily for her, zephiel proves to be a prodigy and excels in everything quickly. she spreads this like wildfire, telling every and anyone of how perfect her son is so as to make the general populace enamored with him.

the lessons zephiel devotes himself to is scheduled in such a way as to not afford him much free time if any at all, and when he is given the chance to breathe, he is encouraged to spend it on pursuits that will make him look either handsome or intelligent such as learning to play an instrument or falconry. when he gets the chance to speak with his mother, usually only at meal times, she is quick to ask him of his studies and nothing else before excusing herself. if things are going well, she praises him and finds new topics and limits to push onto him. if things are going poorly, she goes to discuss things with his tutors.

zephiel does not know love, but if he does not know it, then he cannot be sad to be missing it.

these days of aiming to become the perfect heir continue, and when he is old enough, hellene tries to show him off to desmond. hellene waits until she is positive that zephiel is in top form, and she stresses upon zephiel to make sure he impresses his father.

he performs spectacularly. he is polite, he is well-learned, and he endears the knights with both his charisma as well as his talent in martial arts despite his young age.

the sight of everyone surrounding desmond, people devoted to him, being taken by the prince enrages him. hellene’s smug smirk in the corner does no favors either. desmond realizes that the people love the person he has resolved to hate, and he looks bad for not welcoming zephiel into the palace as a result.

stubborn to a fault and envious over how his son is better than him in every degree, especially given how desmond himself is a mediocre man, desmond takes to publicly shaming zephiel. desmond is unable to quell his own ire in order to remain civil, and so he sharpens his words in order to try and chase the boy away. the less time zephiel spends in the palace, the less he can charm the people around him.

desmond also goes on the offensive, calling out zephiel’s behaviors as manipulative. he tries to warp the narrative, claiming zephiel’s attempts to get in his father’s good graces are in actuality calculated moves to make him look bad in contrast, and that zephiel is merely a power-hungry prince who needs to learn respect. desmond is convinced this seemingly perfect son of his is just like the woman who conceived him, and he cannot see zephiel as anything other than someone who plots against him and wishes to see his downfall.

zephiel, confused and distraught by this callousness, struggles to cope with it. his mother and the tutors ensure he is wonderful, but his father openly bashes his character and disapproves of him so vehemently. though hellene is upset by this turn of events, she insists that zephiel continue his studies and attempts to make desmond recognize him as his rightful son.

being treated to verbal abuse every time he visits the palace but encouraged to desire approval from his father, zephiel’s brain attempts to make the reality easier to stomach by twisting his perception of his father’s words as right. if he is to keep trying to curry favor with his father, then it would be difficult to do so while believing he is being unreasonable.

every time desmond scolds him and tells him that he is not worthy of his love nor his position as crown prince, zephiel begins to believe it more and more. the problem lies with him, and he must earn his father’s love. the burden lies on him. he begins to pray to st. elimine every day for this, but his prayers go unanswered as the abuse remains the same.

if even st. elimine won’t help him, then this is proof that zephiel is simply not working hard enough and is not deserving of such a gift as familial love. st. elimine isn’t wrong to not grant his wishes. st. elimine is a beloved religious icon.

the desire for love grows as does the mistreatment when zephiel meets desmond’s second child. she is a little girl named guinivere, born from desmond’s mistress. though desmond attempted to keep guinivere and zephiel from ever properly meeting, guinivere is a bit of a rebellious girl in her youth and desmond is helpless to stop her, too doting and weak to her as the product of his healthier romance.

guinivere instantly loves zephiel, and she begins asking every day to see him again and play with him. she is open with her adoration, and this is the first time zephiel experiences actual love from anyone. he, in turn, loves her too in the purest way a half-brother can, starved for genuine affection all his life, and the two prove difficult to separate.

desmond grows paranoid that zephiel aims to kill guinivere to try and get him where his greatest weakness lies, still convinced that zephiel is as conniving and out to get him as hellene is. desmond grows physically violent now, destroying and killing any gifts that zephiel brings with him as he is unable to physically harm zephiel himself without being criticized even more by the royal court of bern. he shuts zephiel down even more each conversation they have, and his vitriol is even worse than before.

desmond hates his son for not only being the perfect heir but also for being the person guinivere loves the most in the world, even moreso than her own father.

zephiel is given even less leave to be able to visit the royal palace now, giving him more time to reflect upon his perceived mistakes in conduct and more time to prepare for the next time he shall meet his father only to not even be given a chance to impress the man. the more effort he puts in, the more he despairs at the inevitable failures. the more love he receives from guinivere, the more he wishes he could be with her always, and the more he longs for similar affection from his father and mother.

he yearns for a loving, happy family. he tells himself he has not earned the right to have it.

this self loathing and lack of confidence in himself rises to such a point that zephiel refuses to believe other people when they compliment him. he sees praise as ultimately unhelpful to his quest to get his father to approve of him, and he convinces himself that his father’s insults and critiques of his character are his father’s way of trying to groom into someone worthy of his attention. the only correct person, the only person worth listening to, is desmond.

his belief in his father is unshakeable. even when his father hires assassins to get rid of him on the eve of his coming-of-age ceremony, zephiel does not suspect for even a second that it was him who had sent the hitmen in the first place. zephiel merely sees the incident as the universe testing him, seeing whether or not he can weather through what might come for him one day as a royal. it is merely expected of him to be able to fend off such attempts, and anyone could be out to get him.

when his mother goes through an unexpected shift in demeanor after the incident, even telling him that she will try and support his wishes to move back into the palace and live as a family, he believes he has taken a step forward towards his goals.

this would not be true, for desmond would merely wait for another opportunity to strike.

when zephiel grows to be of an age similar to when desmond himself became king, desmond invites zephiel to have a drink with him. zephiel is excited at the prospect; after over two decades of working for this outcome, it looks as if he has finally become a man worthy of love.

it turns out “love” tastes like poison.

for the next ten days, zephiel hangs on the cusp of life and death. he is unable to run away from the truth this time: his father wished to kill him. it was his father who knowingly served him poison, and it was his father who smiled as he was writhing in pain after taking a sip from the goblet. it was no ordinary poison either, but rather a poison meant to incur agony upon its victim as they remained aware of it for more than a week.

desmond wanted him to not only die, but to be suffering a slow death too.

zephiel is only able to survive the incident due to his vassal murdock’s dutiful attempts to filter the poison out of his system, but when zephiel is able to regain his strength, he is completely changed by the experience.

his previous unshakeable faith in his father being the type of man who is secretly looking out for zephiel and trying to make him the best man he could be is unable to cope with the damage and betrayal of trust displayed. the only way for zephiel to stay sane after the experience is to believe that it is human’s nature to be bad people. as zephiel ruminates during his recovery period, he looks back on all the years he had wasted trying to win the favor of a man who would never give it to him, and he evaluates the kind of man king desmond really is.

he looks at the envy, the open love for another other than his wife, and the paranoia. zephiel realizes desmond’s attempts to kill zephiel were all founded on ugly emotions, and in order to accept that the man he looked up to the most secretly had a dark heart, zephiel must then believe everyone can and will succumb to such emotions as well. after all, if desmond was supposed to be the best of them, then what could be said for people zephiel held in less regard?

he turns his personal tragedy into something he believes must be a universal one, and when he kills his own father a few days later, that marks the death of the zephiel who believed in the absolute good of people’s intentions.

it also marks the birth of a zephiel who believes the world would be better off without humans, for if they are all fated to become horrible people, then why bother with them at all?

[musical-chick-13]

And Theon bc I love him

WHAT A COINCIDENCE I LOVE HIM TOO (this answer is gonna be a combination of books and show)

Send me a character and I’ll tell you the following:

• Did they live up to their potential? / In what ways was their potential unachieved?

-I would say yes. The only negative I have about his general arc is his death (which, see below). But Theon from the very beginning was, though not a particularly nice person, still relatable. Feeling othered, wanting to be accepted by an immediate environment that doesn’t accept you, isolated from and ostracized by your family, and the tension that comes between serving the different types of familial relationships in your life. Theon has no idea who he is, tossed aside by his blood family for not growing up with them and being “soft,” aka sort-of moral and having emotions that aren’t selfish rage or smugness (which, yep, that second part is a mood, see: my entire childhood and how no one wanted to be around an “emotional” “soft” child). And from there, he spirals out of control in a way that, while certainly not admirable by any stretch of the imagination, is still understandable in the context of the narrative and his characterization. And from there, after going through hell and quite literally losing himself (even to the point of straight-up denying rescue), he builds himself back up gradually, to the point where he expressed extreme regret for what he’s done, helps an innocent woman escape a truly horrifying situation, acknowledges that his family is generally garbage, and (in-show b/c again books aren’t finished), helping to restore his sister to power, rescuing her after his PTSD relapses while confronting Euron, and ultimately opting to protect the Starks come hell or high water in order to genuinely atone for what he’s done. He is no longer conflicted because he wants to do the right thing, and that right thing is defending the kingdom from the White Walkers and making sure Sansa and Bran are safe. And it’s no longer about fulfilling a duty or finding a family to fill the void. Because now he has found himself. I will contend that Theon has one of the best, most nuanced, most organic redemption arcs of all time. I will forever be grateful that I got to see that piece of storytelling unfold.

Although, I would love to know what he thought of Dany. A missed opportunity, that.

• How they negatively and positively affected the story.

-Positive: His arc of identity and finding where your loyalties lie ties into the overall theme of “How do you find yourself in a world where goodness, authenticity, and honesty are often punished and increasingly rare?” And it proves that governmental politics aren’t the only defining factors in decisions: familial politics can be just as difficult and dangerous, which adds yet another rich, complicated layer to the overall story. He has a genuine, honest-to-Drowned-God redemption arc, which is...not really present anywhere else in the story (no, Jaime is not on a Redemption Quest, I will die on this hill). But I think the biggest draw of Theon’s presence is that it deconstructs the whole “Character Revenge Fantasy” idea. He does bad things. We want him to be punished. But not like that. No one deserves that. How far is too far? What does retribution really look like? Given how easily that idea can be abused and go off the rails, is retribution even something to strive for? What is the point of using extreme violence/torture/mutilation/breaking someone’s psyche when it doesn’t really accomplish anything? Isn’t atonement and genuine justice a better option? It certainly was for Theon. He could only piece himself back together and do anything meaningful once he was out of his abusive environment. All of these are imporant questions that are posed by his existence in the narrative.

-Negative: Idk if I have much to say here. My biggest problem is his death (see below), but that’s not really a negative story effect so much as...being disappointing and narratively irrelevant. I gotta say, his introduction via his sister was...really weird. I genuinely have no idea why GRRM wrote that. It never came up again or had any kind of narrative ramifications and kind of cast a strange, uncomfortable light on his relationship with Asha/Yara for the remainder of the story. I can ignore and enjoy their later relationship it if I don’t think about it too hard, though, so I guess I’ll chalk it up to GRRM having a Bad Idea.

• What my favorite arc for them is.

-All of it?? Theon’s journey is kind of...one big arc, which is why I think it works so well. He has this overarching redemption plot which spans the entire series and informs every decision he makes (for good or for bad, depending on where in the aforementioned journey he is). The redemption arc isn’t bogged down with side plots or other pieces of narrative clutter, meaning it has time to grow and, thus, be gradual and realistic. If I had to choose a specific point, it’s probably when he tries to reintegrate back into society via supporting Yara. Gaining the Iron Islands’ support for her ruling, spiriting away with Euron’s fleet, and ultimately rescuing his sister after her capture. He can’t just go back into society. He’s scared. He has really bad PTSD. But he recognizes that putting his home in good hands is something bigger than just him because it’s Yara’s home, too. I just...I really love family relationships, y’all.

• What I think of their ending.

-I’m not really sure how I feel about this one. I get that the series is GrimDark™ and that people who make the right choice and fight for good die all the time, but Theon dying just felt...wrong. To me.

And, like...I get it. It makes sense to parallel his original descent into villainy (cemented by executing those two boys and pretending they were Bran and Rickon) with him dying to protect Bran himself. It ties into the whole very common trope of completing a full redemption arc by committing a completely selfless act at great personal cost. It’s kind of like the whole Missy thing in Doctor Who (which...hoo boy, that post is coming, make no mistake), where selfishness is directly opposed by making the ultimate sacrifice with no motivation for personal gain. And the fact that the last words he ever heard were “You’re a good man?” I cannot even begin to describe how much that makes me sob. But...honestly, I’m really tired of this idea that redemption has to end in death in order to be achieved or “complete.” I think it’s much more poignant to have a redeemed character live to help build a better world. Because what’s the point of telling people to be better if the “reward” is death? No one’s going to want to reform themselves if they think that’ll be the result.

I think the thing that Bugs Me™ the most is that Theon never really got to have a moment of peace when he was alive. Sansa gained the North’s love and at least had a secure childhood. Ned and Cat were happily married for years. Arya had parents who loved her and a good relationship with Jon. Jon fell in love with Ygritte and found his Night Watch Bros, and Robb (in show verse) had some very happy moments with Talisa. Davos put great stock in what he considered fulfilling friendships with Stannis and Shireen; Brienne was treated respectfully by Renly, Catelyn, and Sansa; Missandei and Grey Worm had each other and their friendship with Dany, who herself had many personal successes in her quest for the Iron Throne and saw the death of her abusive brother. Cersei even had moments with Jaime (who himself had several notable military victories and at least some time with Myrcella, as well as being gladly and deeply in love, however dysfunctional that love was), times when she successfully fought off enemies (including her dad), and some sweet moments with Tommen, as well as a huge victory via blown-up sept at the end of season 6. Theon was treated as a second-class family member by the Starks his whole life by being “traded” to them as a condition of war resolution AS A BABY, is immediately disparaged and mistreated by his immediate family when he tries to return to them, makes terrible decisions that almost cost him his conscience completely, is brutally tortured by Ramsay, is on the run with his sister from Euron almost immediately after, and has a PTSD attack that ultimatly results in him having to launch a rescue mission. And then he fights ice zombies. And then he dies. He never really...got to be happy at all? There was never any kind of “win” for him. Not even survival. The narrative couldn’t even give him that.

TLDR: Theon’s death seemed less shock-value-y than others (like, for example, Shireen or Missandei or, heck, Melisandre even), and it isn’t the worst thing I’ve ever seen. It’s narratively-informed and it makes sense as an emotional through-line, but, ultimately, Redemption Cemented By Selfless Death is a tired trope, and I honestly thought this story (which...you know...serves as a deconstruction of common fantasy tropes/book tropes in general) was better than that.

• When I wish they had died. / If I think they should’ve died.

-So here’s where we get personal™ kids.

So, it’s no secret that I am...severely mentally ill. I’ve talked about expression/presentation of mental illness in regard to Cersei a lot on this blog, and how that (as paradoxical as it may seem) helped bring a sense of comfort and emotional resonance to me. Theon, post-Ramsay, has, I think, a very clear case of PTSD. Theon is one of the few characters I’ve seen where his mental illness isn’t the cause of the bad, violent, dangerous choices he makes. It only takes root after he has made the decision and conscious effort to better himself, and it, rather than demonizing him, serve to humanize him. His trauma didn’t define him. And although a PTSD attack led to him unintentionally losing Yara to Euron’s capture, he makes every effort to rescue her, a goal he does end up achieving. It is so rare I get to see a character who goes through these things, successfully fight them and come out with positive qualities at the end. Like...switching topics a bit here, Jaime going back to King’s Landing to (try to) escape and ultimately die with Cersei made sense to me because, as Jaime says, he is a hateful man. He never made much of an honest effort to be anything else. And he never truly wanted to be good; he just wanted to be liked. He wanted to adopt some personality that would make him feel less disconnected from the rest of the world. But Theon...genuinely feels remorse for everything he’s done. He makes a concerted effort to do everything in his power to improve the lives of people he believes are good and deserve to be safe. So, just...killing him off in a Completely Selfless Sacrifice (like...you know how a lot of mentally ill people put themselves through suffering-like OCD rituals, bottling feelings, self-harm, even suicide-in a misplaced attempt to “help” or “protect other people”) seemed antithetical to everything we saw of his arc.

Ultimately, with such a humanizing, empathetic portrayal of trauma and mental health struggles, seeing Theon be killed off just...pissed me off. I am so tired of seeing mentally ill characters die. I really want to believe that I can live through and thrive in spite of the things that afflict me, and I get example after example of characters not being allowed to do that. It feels awful, quite frankly. And it makes hope that much harder. 

I also just feel like...there was nothing the story gained from his death? I get the thematic parallels as mentioned earlier, but it didn’t really move the story forward in any significant way. It didn’t motivate other characters to do anything, it had no political ramifications, it didn’t serve to contribute to any kind of happy ending or commentary on society, it just...was sad. Again, I thought this story was better than that.

[hamliet]

Reflections of Su XiYan in Scum Villain’s Female Characters

I did not realize it was MXTX ladies week until yesterday. :( So I want to do a post/meta on the amazing women in each novel (not without critique), so let’s start with MXTX’s first one!

Scum Villain’s Self-Saving System, which while it may have more obvious narrative flaws than TGCF or MDZS (it sets up some plot points it kinda drops later, whereas TGCF and MDZS pretty much maximize every single aspect of potential), I actually think is just as rich, clever, and coherent thematically as MXTX’s latter two novels.

The plot points that are dropped, though, are actually almost entirely related to the set up the female characters as deconstructing the idea that they were just things for Original!Luo BingHe to collect. While it does do this to an extent with Su XiYan, Ning YingYing, and Sha HuaLing, it kinda… dropped the arcs halfway through for Ning YingYing and Sha HuaLing, and sets up but never really begins Liu MingYan’s and Qin WanYue’s. 

Su XiYan’s arc, though, despite it taking place in the past and being told to us, is entirely about refuting the role the men in her life ascribe to her... and all of the other female characters--all members of Original!Luo BingHe’s harem--represent a part of her. You could get, like, really Oedipal if you wanted to, but I’d rather not beyond simply saying it’s a pattern in stories that is definitely present here. Aspects of her story and character are reflected in each of the women who are love interests in Proud Immortal Demon Way. 

Our first refutation of how men treat and categorize Su XiYan is through her foiling with Ning YingYing. 

Shen Yuan notes that Shen Jiu sexually harassed Ning YingYing:

the original Shen Qingqiu had designs on Ning Yingying... [he] had dirty thoughts towards his lively and well-behaved disciples. Several times he tried to lay hands on them and almost succeeded at that.

Which is what the Old Palace Master did to Su XiYan:

He turned to focus his stare on Luo Binghe’s quietly sleeping face... nThe Old Palace Master gazed at him for a long while then sighed: “When you close your eyes, you resemble her the most. And also when you’re being cold.”

His eyes traveled over Luo Binghe’s face greedily. If he still had hands, he would have reached out to fondle as well.

However, the Old Palace Master never got anywhere with Su XiYan, because she fell in love with someone else and thereby refutes the idea that she’s his tool. In the original, Ning YingYing is rescued by Luo BingHe in the original. In the novel, Ning YingYing’s arc is about her discovering self-sufficiency. She doesn’t need rescuing from Luo BingHe; she can rescue herself, as is shown when she leads Ming Fan and the other disciples into a fight to protect Shen QingQiu’s honor after his arrest. When someone slaps her, she slaps back, twice--but Shen QingQiu gives her the energy. I would have liked (and think her arc was heading towards) her to grow to be competent on her own as well. 

Next, Sha HuaLing.  

Sha HuaLing represents TianLang-Jun’s assumptions about Su XiYan: that she was a deceptive seductress who would betray him for her own desires. However, in reality, like Sha HuaLing does in Proud Immortal Demon Way, Su XiYan betrays her race (for her, humanity, for Sha HuaLing, demons) for love. 

Sha Hualing was a pure-blooded demon, cruel and ruthless, cunning and artful, but fell irrevocably for Luo Binghe. After getting together with Luo Binghe, don’t even speak about killing for him; she even dared to do an outrageous thing like betraying the demons for him. 

Su XiYan, however, was never given the chance to fight back. In the actual novel, Sha HuaLing does much the same (betrays the demons), but Luo BingHe does not love her and she knows it. I think this is a good ending place for Sha HuaLing, assigned to fight against her father in the final battle (which she does), but we’re told rather than shown her development and we’re not told what led to this decision, which is a shame. 

Sha HuaLing is perhaps most directly foiled both in Proud Immortal Demon Way and in SVSSS by Qin WanYue. 

Qin WanYue, much like Su XiYan, is considered the perfect disciple of the Huan Hua Palace. Regarding Su XiYan, it’s noted: 

“That woman had shocking talent, was intelligent and sensitive when making decisions, and she had the aura of a tyrant. The Old Palace Master loved and cared for this private disciple. He thought of her as a pearl that should be protected in his hands and trained her to be the next Palace Master of Huan Hua Palace. No matter where he went, he would bring Su Xiyan along with him. The importance that he placed in her was abnormal.”

Qin WanYue’s symbol is a pearl that lights the way.

Luo Binghe picked up Qin Wanyue’s Night Pearl that had fallen to the ground and raised it high, as though it were a beacon. It awakened those who had frozen in place.

Not to mention in the original novel Qin WanYue loses a child in a miscarriage caused by someone else (Sha HuaLing) much like Su XiYan almost lost Luo BingHe when pregnant with him. Qin WanYue clings to Luo BingHe after the loss of her sister as something who might be able to offer her happiness. She’s not much different than Luo BingHe growing up parents and clinging to ShiZun: she who lost her sister and then clings to the person who saved her. But in her case, Luo BingHe does not return her affection, and I really had hoped/ expected her arc to end with her finding her own path.

Qin WanYue is also tasked with an action beneath her (much like Sha HuaLing): taking care of the Little Palace Mistress, the Old Palace Master’s literal daughter and hence another foil to Su XiYan. Her defining trait is her pettiness and cruelty, the latter of which Su XiYan is also said to have been capable of, as she began spending time with TianLang-Jun in an attempt to bring him down.

However, the mistress isn’t really set up with the potential for an arc like Qin WanYue is. 

From time to time [Qin WanYue] would cast a teary glance at Luo Binghe, as if expecting something...

[Sha HuaLing:] “how many times have you failed to seduce the lord yet still refuse to leave? If you don’t leave that’s fine, but you’re incapable of looking after even a single person. Her cultivation isn’t even as high as yours. You’re her senior martial sister. You didn’t stop her early and didn’t stop her late. All you did was to let her make this unreasonable scene in front of the lord. Who are you putting on this pitiful and wronged appearance for?”

Qin WanYue isn’t weak at all, but she puts on a weak act for Luo BingHe, hoping to attract a rescuer like she needed back then. I initially expected her arc to end with her accepting her strength and moving on form Luo BingHe (and from the little palace mistress). I still think it should have. 

And then we have Qiu HaiTang, whom I don’t think is set up as much for development as the others despite having more backstory on her. 

Still, Qiu HaiTang she was a woman mistreated and shamed by what had happened with her fiance Shen Jiu--just like Su XiYan was shamed for what happened with TianLang-Jun. 

“That’s right, if she hadn’t been so ill-fated as to fall for Tianlang-Jun’s wiles, she would have had such a bright and promising future and be a person of great renown today.”

“I don’t care what fantastic rewards are promised to me━having an affair with a demon and getting knocked up with a monster child is just plain disgusting. This kind of merit, I wouldn’t accept even if it was served to me on a silver platter.”

“Su Xiyan was probably too ashamed to remain, and thus ran away from the sect master.”

The thing is, all these roles--perfect disciple with great potential, brave enough to betray everything for love, endearing and caring, mistreated--none of these really capture the complexity and beauty of who Su XiYan really was... which is represented in Liu MingYan, the noted female counterpart to Luo BingHe, the main female lead. Liu MingYan conceals her face, which is too beautiful to be seen. 

Liu MingYan, like Si XiYan, remains mysterious; Shen QingQiu never sees her face uncovered, and the audience never really gets a clue as to what is going on in her head besides the mention that she cares deeply for her brother. Again, this is something I think could have and should have been developed more; she has the set-up for an arc with her conflict with Sha HuaLing being dazzled by her beauty and with her loyalty to her sect and brother, but it doesn’t go anywhere. She said to be “the number one female lead!” after all, and I think it’s entirely possible for her to maintain her aura of mystery and still... have an arc. Su XiYan did, after all, and she was dead before the novel began.

In the end, no one really can define whom Su XiYan was exactly, because she’s dead. What ultimately mattered, what defined Su XiYan’s legacy, was her final choice to save her son (and yes, it’s fair to critique that it’s again about a man, but it’s her choice). That’s why the story, in its penultimate chapter, has Shen QingQiu telling Luo BingHe: 

“Su Xiyan risked her life to give birth to you... 

“If I were in her shoes, I would not hesitate to drink [the poison for a fetus] regardless of how lethal it is. Then, after escaping from the water prison, I would absorb it all into my own body. Regardless of how agonizing and horrifying the process is, regardless of the price to be paid, regardless of whether it would be a painful death, I would never let this child suffer any harm.

“This is how I see it. You can take it as just an interpretation because there is no one who can tell you what Su Xiyan was thinking before she breathed her last. But if she really saw you as a disgrace, she didn’t need to do anything more. She could have just lowered you into the Luo River, on the coldest days of the year, in a harsh and frozen landscape━how could you possibly survive?... she also need not use the last of her strength and energy to put you in a wooden basin and push you away to safety…… You don’t even need to wait for someone to save you at all since you would have already become a wandering soul who met his freezing end in Luo River.

He’s healed, and he no longer needs to try to recreate his mother figure in over a thousand beautiful women like he did in the past. He can heal. 

Imo, it would have been even more powerful if the women then stepped out of these roles more completely, and became their own people. But I really do like all four of the main women I discussed here, and someday I’ll write more for them. 

[thespiralgrimoire]

So just realized that all of the female cast members (and probably some of the male ones) are based on fairytales Grey is Cinderella, Noelle is Snow White, Vanessa is rapunzal, Yuno might be Peter Pan or at least Sylph is tinkerbell

I got an ask similar to this quite a while ago, but it was a little more cumbersome and I wasn't sure how to respond to it....

I think this is an interesting take but personally I think it's a little reductive. There are definitely some similarities between the BC ladies and the Disney princesses, but I think to say that any of them are based on Disney princesses is a disservice to them as characters. While the BC universe is definitely loosely based in a European fantasy setting, I would think that the fact that it's written from a Japanese perspective would mean that the similarities to our classic Western fairytails can't be taken for granted.

HOWEVER, there is also the point to be made that the Disney Princess stories are based in tropes that show up in a LOT of traditions and stories, so maybe it would be more accurate to say that these characters' stories contain a lot of the same elements that appear in folklore all around the world?

That being said, I think it's fun to play with what we know, and I don't know a lot of Japanese fairytales. So let's take a look at some of the ones you listed, because I spent $75,000 on a Bachelor's degree in English literature and I don't get to use it much.

☘️ Of all of these, Grey is DEFINITELY the most obvious one. Like, it’s every element of Cinderella... The step sisters, the mistreatment, the false identity. But I think that’s is very important how it differs from the classic tale to play on Grey’s sense of self.

The classic Cinderella story doesn’t paint Cinderella as a self pitying damsel who needs to be rescued. She is upset with her situation, she knows it’s not fair, and she knows she’s entitled to a nice night out, especially after she puts in the work in to make an outfit appropriate for the occasion. Her step sisters’ vindictive nature ruins this for her, not any fault of her own, which is why her fairy godmother steps in to right the wrongs of her situation.

Grey doesn’t have the sense of self that Cinderella has. Be it through abuse or quirks of her own personality, she’s a rather passive victim to her step sisters’ bullying, and instead of doing what she does despite of them like Cinderella, she does everything she can to please them. The ending result is more or less the same: they can’t be pleased. In both cases the step sisters retaliate violently: in Cinderella’s case, they destroy the dress she’s made for herself, and in Grey’s case, they drive Grey into the woods, taking her attempt to please them as a personal insult.

Grey gets no fairy godmother, and no ball. And unlike Cinderella, she gets rescued by a “prince” character (as much as I loathe to call Gauche that, but an analogy does exist there, so let’s acknowledge it.) Gauche saves Grey in the literal sense, and he also gives her the courage to better her situation, which eventually leads her to develop a sense of self that is not “her step family’s doormat.” She varies from Cinderella in this way because Cinderella never had to make this personal jump in her narrative; she started her narrative already there. Whereas Grey was desperately trying to become something that someone would respect, Cinderella knew from the start that she was worthy of more than the world had given her.

But the nice thing about Grey’s narrative is that she IS working to be this person! She’s got to put in the work to get to where Cinderella is, but who knows? Maybe by the time she isn’t afraid to be her authentic self, she’ll get some help from an exterior source (a metaphorical fairy godmother character) or maybe that power will come from within (with this new magic she’s using to save Gauche?). If we stick with the fairytale princess narrative, her reward would be Gauche. Just like Cinderella was rewarded for her strength during an adverse time in her life, Grey will be rewarded for overcoming her insecurities.

☘️ I... gotta come clean here, I read “Snow White” but my brain went “Sleeping Beauty”, and I was all ready to talk about THAT fascinating analogy. So apologies if this one is a little lackluster while I get my fairytales straight.

I think this one is a little flimsy, but again, I prepared to talk about the wrong fairytale. Would we paint Magicula as the evil queen, wanting Noelle dead because she’s “fairer”? Or would her siblings be an abstract reading of the “evil queen” because Noelle looks too much like their mother, and therefore is the bane of their existance, like Snow White was for the evil queen? The Black Bulls as the seven dwarves is the one part of this I’m really digging, because it’s hilarious. But I think this one is a hard sell. Noelle has failed to be a victim to any serious threat for more than a few minutes because she’s always surrounded by people who fight tooth and nail for her, and she’s fighting every second to be stronger. Of course, that furthers the “Black bulls = seven dwarves” thing, which is just. So great. Snow White never had to do anything but housework. She doesn’t get stronger because strength was never a part of her equation.

☘️ Vanessa as Rapuzal is eh. She’s a classic princess trapped in a castle, but she’s the second one of those in the series (Charlotte being the other). In both cases, Yami saves them with a strange mix accidental concern and casual heroism. I think this says more about Yami as an accidental prince charming than it does about either of them as Disney princesses.

I haven’t seen Tangled, but from what I’ve gathered, there’s an analogy to be made here between Vanessa and Tangled Rapunzal being trapped by their mothers under the guise of caring for them. Hell yeah, can’t deny that connection! But it’s far from a sign of a fairytale princess. It’s just shitty parenting. Unfortunately, it’s rampant across all cultures, and therefore appears in all forms of media.

Charlotte’s case is, I believe, supposed to be a parody of a “strong independent woman” (which is a big problem I have with how she’s written but that’s a different conversation). There very well could be a specific fairytale that fits Charlotte’s case (Sh. Shrek?) but I think it’s meant to be more of a parody of the false persona she puts out than anything else.

Yami is really the one to look at here, since it’s not a coincidence that he’s rescued TWO of these fairytale-princess-knockoffs over the course of the story, and they both have unrequited crushes on him (although Vanessa’s is mostly for show). While Charlotte is a parody of a strong independent princess, Yami is a parody of Prince Charming. He doesn’t want the role, he didn’t ask for the role, he’s not looking for the role... He’s just doing what he’s doing and if he happens to rescue some ladies in peril, it’s just part of his day of wandering around busting through walls like the Koolaid man. That’s not a jab at Yami’s character. It doesn’t mean that he’s not a hero. Yami’s whole shtick is that you don’t have to be a conventionally handsome dude in a cape with a winning smile to be a hero. That’s the mantra he’s built the Black Bulls around. His whole character is a counterpoint to the traditional hero stereotype with Fuegoleon (and to a lesser degree, Nozel) as the point he’s countering.

Yami and the Black Bulls exist to make the point that there is more than one way to be right, to be strong, to be brave, to be heroic. You don’t have to look, act, think, or feel a certain way to be on the right side of things.

☘️ Okay so Yuno as Peter Pan is the one I’ve really been chomping at the bit to talk about because while I don’t think you’re right, I can’t decide if you’re wrong???

I don’t know what other stories and traditions could influence Bell’s design, so based on what I know, she’s a dead ringer for Tinkerbell. Moving past that.

Yuno as Peter Pan has me WILDING because he’s literally the host for an unborn baby. I don’t know how much harder you can drill in the “Never grow up” theme.

Does it really hold up past that though? I kind of want it to, just because the very premise of Yuno as Licht’s baby screams it so hard. But I don’t think it does.Which is a shame, because it could.

Yuno was a crybaby as a kid, which is a very infantile trait, but when he and Asta made their pact to be the wizard king, he went the opposite direction of “never grow up” and rapidly matured in order to accomplish this dream. We don’t really know how else Yuno may have changed besides “he doesn’t cry anymore”, but from the way he acts and the way he’s treated at the orphanage, it seems to me that a lot was placed on him. And that carries into his magic knight career. Because of his talent and his resolve, he was made to face some very adult problems at a very young age.

Major manga spoilers ahead!

This carries into the current events we’re seeing, too. There is no semblance of “never grow up” in the way that Yuno acts or is being treated as a member of the Golden Dawn. He’s the vice captain at... what, 16? 17? and he’s just found out that he’s also the next heir of a kingdom that he does not call his home-- that’s he’s considered the enemy for his entire career. Then he’s forced to handle the violent deaths of half his squad, the severe injury of the other half, and the kidnapping of his captain, which leaves him in charge. We see him give a big old holler about all this, but I what’s really interesting to me is that he doesn’t cry. The most infantile part of his identity, which he abandoned to get where he is now, does not come back to him in a moment of weakness, at a time where he very much has every write to feel like a helpless child. Whether he wants to or not, Yuno is no longer allowed to be a child, and he will never get the opportunity to be one again.

I guess you could say that this may mean that we’ll see him want to be Peter Pan, that he’ll grow nostalgic for the days where everything was simpler and he had the time to cry, the freedom to be scared and confused and feel sorry for himself. I would love to see that explored in his character, but I really don’t think that we’ll see it happen. In both the meta and the story universe, there’s no time for Yuno to have that breakdown and regression. It wouldn’t fit the pacing and Yuno’s got shit to do. Yuno isn’t Peter Pan. He’s lost the chance to be.

So in conclusion, I can see why a lot of people want to assign fairytale roles to characters in Black Clover, and I do think that the creators play with the concept themselves, but I think to boil any of the Black Clover characters down to a single character or fit them into a single fairytale is a disservice to the characters themselves, and overlooks everything else going on with them. None of the black clover characters are “based” on a fairytale character. Their stories may take inspiration from them, but there is far more going on with each and every one of them to ever take such similarities at face value.

[smokeybrandreviews]

Binary

This started out as a whole thing about Brie Larson. She’s started a YouTube channel and i figured I'd follow it just for kicks. I’m not a huge fan of massive Hollywood stars invading more accessible spaces but, technically, they’re the “You” in YouTube, too. I can’t be too mad at that. Of course Google is going to cater more to their brand, mostly because they bring in the duckets and understand PR so they know ho not to cause an ADpocolypse, but it’s still mad sh*tty. Larson’s first post was just her being goofy, trying to figure out how to even be a YouTuber. You kind of see a side of her that i figured was there, but never really was able to confirm. Brie Larson is the poster child for Millennial geekdom and i find that adorable as f*ck. Which is why i don’t understand the MASSIVE waves of hate she’s getting from the community. Cats are reveling in her perceived failure, it’s actually insane.

Now, before we go any further, i just want to be clear; I am a fan of Brie Larson. I think she is excellent at her craft. Ma is from my hometown and it’s always great to see someone make it out of this cowtown. I believe she has every right to her opinions and the fact that she voices them from such a visible platform, makes her one of the most endearing and real celebrities in an industry maligned by the phony. Brie ain’t quite Russell Brand but she is very vocal about the unjust sh*t she sees and will totally let you know it. That, i think, is why she garners such vitriol. Look, I'm a black dude living in the US. If she gets on TV and says f*ck white dudes, I'm inclined to agree. But she didn’t say that. What she said was there needs to be more voices making film, different perspectives in the arts. White dudes dominate the industry and she’s tired of seeing that movie. I don’t understand how that’s a controversial statement. It’s true. We need more dynamic, more diverse, storytellers making films out in the wild. The thing is, that one statement earned her the ire of every entitled white boy with time and and the internet. These motherf*cker decided to take that personally and we were off to the races.

When Brie Larson was announced as Captain Marvel, i was okay with it. I thought Charlize Theron or Katee Sackhoff would have been a better look but i get it. Larson is young and can portray the character for years to come. Kind of how Florence Pugh is going to take over Black Widow duties from Scarlett Johansson. Pugh can be that character for close to a decade, as can Larson. Once again, however, the interwebs were set asunder with rage and malcontent over the Cap Marvel announcement. It was f*cking ridiculous to me. Sure, she didn’t look the part going into this but neither did Gal Gadot, the latter turned out to be the best thing going in that trainwreck DCEU. Larson grew into the part, put in the work to look the part, and is committed to the role. She did her research, consuming massive amounts of the comics, trying to find Carol’s head space, which was a goddamn feat. Captain Marvel is as controversial as Brie Larson, herself. And it’s just as stupid.

Look, i adore Captain Marvel. She’s my fifth favorite Marvel character after Spider-Man, Doctor Doom, Laura Kinney, and Illyana Rasputin. In that order. Captain Marvel grew on me during the whole Mighty Avengers and Disassembled story lines from years ago. I have no love-loss for Bendis but that cat did wonders for building up more obscure characters, Carol being one of them. I also like what he did for Luke Cage, too, but that’s not what this essay is about. I’ve been a fan of this character since the early 00s and have rode this Carol train for years. I jumped on bored when she was rocking her leotard, which i miss terribly, took my time to dig up the back issues where she was in the original red and blue digs and moonlighted as Warbird for a bit. Then, Marvel Now happened and f*cked it all up. Carol went from this attractive, uber-powered, mess of a woman to a cold, manly, aggressively stupid caricature of herself. The Carol Danvers i had grown to love, with all of her faults and trauma, became some sort of butch nightmare and the poster child for why Woke Marvel was failing. I don’t think that’s fair.

Comic Carol was on her way to becoming a real force in the Marvel universe. She had learned there was worth in her strength, one she had to drag out through deep introspection and an understanding of who she really is. No longer was she just a gender-swapped, copyright placeholder that no one knew what to do with. Now she had agency. Now she was a force. Now she was relevant. Now tore all of that away. After Marvel Now, all of that growth and nuance was thrown out of the window. She became the idealized version of what the SJWs thought a “Strong Woman” should be. Marvel gave her a massive push in an effort to  cater to this burgeoning Tumblr dynamic and it failed miserably. Marvel wanted that Steven Universe crowd and they tried real hard to get it but that sh*t did not work. The changes to the universe weren’t extreme or feminist or PC enough. Courting a fanbase that had no longevity, Carol was sabotaged and thrown to the wolves. That’s the environment we were saturated in when Disney announced Larson as Carol for the MCU. It was a perfect storm of Nerdrage, one that has not died down in any capacity all these years later for either Brie or Carol.

I don’t think the feminist slant given to the Captain Marvel movie was actually such a big deal. I think the vitriol that flick faces stems from the combined maliciousness both the new version of Carol in the comics and Brie Larson, herself, garnered. It’s kind of crazy the massive tantrum everyone decided to throw over this movie. Cats were looking for this thing to fail as some sort of petulant schadenfreude ignoring the fact that this movie wasn’t made for them. As frustrated as i was with the ludicrous discourse, i knew this movie wasn't for me. his wasn’t my Carol and i was good with that. Unlike Marvel who pandered to the trend of PC nonsense, the MCU had a clear vision in mind for the audience they wanted; Young girls. They wanted a character who was strong enough to hang with Thor, stand equally with Iron Man, and have the respect of Captain America. Captain Marvel was the best option. She would be the tentpole hero of the MCU going forward and i accepted that. I went into the film with that understanding and, on my way out, i saw, firsthand, what this movie meant to the target audience. There was a little girl, about nine or so, gushing abut how cool Captain Marvel was. She as ecstatic to see a girl like her, kicking so much butt. In the face of that, every entitled argument you have against the character falls apart in my eyes. Captain Marvel is to young girls and woman, as Black Panther was to us black folk. It’s the same energy.

Do i think the film could have been better? F*ck yea, i do. I think the script should have had one more revision and the directors definitely felt out of place. They’re good at their jobs, they mostly make A24-esque fare, but a massive, multi-million dollar, space epic connected to the most popular film franchise in history? Nah, these cats were way out of their depth. I think Feige dropped the ball on this one, a rare miss. I think Kathryn Bigelow, Patty Jenkins, Lynne Ramsay, Claire Dennis, or  Lorene Scafaria would have constructed a much better film, both visually and narrative wise. I think if the movie was better as a whole, a lot of the controversy and vitriol would have been neutered. Carol is written quite wooden and a little pretentious. The interactions between the supporting cast feels forced. The overall narrative is fine but definitely could have been embellished at parts. Captain Marvel is boring and i don’t know how that happened. You have one of the strongest characters in comics, with a distinct, visually appealing powerset, and you make her movie boring? Really? More than anything, though, is the absolute mistreatment of Sam Jackson and Nick Fury.

The writing reduces Nick Fury, the mind behind the entirety of the Avengers Initiative, to lap boy sidekick in an effort to up Carol’s own stature. That sh*t is poor writing and it’s mad frustrating to see. I hate narratives that have to job established characters, in an effort to push new additions. I just wrote a whole goddamn thing about that with Punchline, Joker’s new “partner”. It’s bogus, cheapening the character and opens up an avenue for bad-faith complaints. Rey Palpatine is another great example. Her entire character is built on the slow, methodical, violent, destruction of the Skywalker legacy. Interestingly enough, that character was launched in the same environment as New Carol so i understand why the movie is the way that it is. I don’t agree with it, but i know why. It was an incredibly poor choice to introduce Captain Marvel in this way, however, and she’s never recovered. Brie has never recovered. You want a 90s buddy-cop space opera? Lethal Weapon with Skrulls and starships? You need your Murtaugh and Riggs to stand on equal footing. That was not the case with this flick. Having Nick Fury job to Carol Danvers for two hours was the wrong way to go about all of this and i think a different creative team could have made something truly excellent.

It’s nuts to me that this is even a thing though. Brie’s personal controversy is so f*cking stupid, i choke every time i think about it. How are you mad she stand up for herself, her gender, and everyone else in a position of persecution? Don’t you want though with a platform speaking up about the inequities of our country? I feel like the same people who hate Brie for her vocal advocacy, are the same people who stan “All Lives Matter” when ever someone says Black Lives Matter. That sh*t feels like the same energy to me. I feel like the criticisms launched at comic Carol have real validity, even if most of them are just whiny man-children who miss the leotard. I miss the leotard, too, but come on? We’re passed that now. I do think, when written well, Carol can be a force in the books. Her run as part of the new Ultimates was pretty chill I think she needs that in order to be her true self, until we establish a true self for the character. It’s weird to say but Captain Marvel, Ms. Marvel previously, has been around for fifty years, and no one has any idea who she is as a character. I think Captain Marvel in the MCU, both the character and film, are hated for the wrong reasons. The fact that no one has any idea who this character is, makes for a lousy cinematic experience. The team put together in an effort to flesh this character out, didn’t have the creative capacity to do so and we were left with little more than PC tropes and Feminist agenda. The MCU let both Brie and Carol down in that regard.

Brie Larson isn’t a terrible person and she deserves more respect put on her name. She an accomplished actress with a bevy of awards and accolades to her name. She’s been in great films like Room and Scott Pilgrim, never once garnering a controversy. The fact that she speaks her truth, a truth the establishment doesn’t want to hear, should not disqualify her talent or the fact that she seems like a really chill person. Carol Danvers is a dope ass character with an amazing amount of potential. When she’s written well and not traded upon for trends, she can have real staying power. Her abilities open up a plethora of interesting, creatively fertile narratives yet to be written. Disregarding her just because Marvel decided to gamble on the pretentious third-wave feminism wave is shortsighted and makes you look like a childish brat. You’re entitled to feel however you want but let’s be clear; Brie Larson and Carol Danvers deserve so much better.

[achingforthestars]

some things i liked and did not like about the rise of skywalker ***spoilers***

now having seen it and having had the time to sit and talk and collect my thoughts, i have a list of the things i didn’t enjoy and, amongst all this negativity, the things i did. 

contains spoilers of course!

things i did not enjoy:

finding out about palpatine off-screen

so stupid! this was one of the things i disliked the most because of what a cheap, lazy writing choice it was. i wanted to see the characters have to put it together, have to work for it and then when facing palpatine, have it be on their terms instead of his? instead we get him announcing his presence and kylo meeting him in the first 3 minutes. 

treatment of characters

i made a post about this. just so much wrong, so many deserved better, most of all rose, rey and ben. a lot of the characters were treated as afterthoughts. 

implied finn having feelings for rey

dumb. overdone. tired.

knights of ren

felt cheap and underused. learned nothing about them, it was something i was waiting 3 movies for and the final chance to show them was wasted. 

the resistance is back to perfect! 

i understand that this was due to the timeskip, which i guess was necessary, but i felt that it was kind of cheap to not show any sort of struggle. a year has passed and BAM they’re right where they were in TFA. the losses faced in TLJ very much felt erased. 

the pacing

awful. just awful. things felt too rushed or too slow pretty much through the entire movie. 

the visuals

much less well-done than TLJ. the use of colour and light was much weaker in my opinion, the locations more generic, and the imagery lacking. that said, palpatine’s lair was so fittingly creepy, and the reylo moment on kijimi/kylo’s ship with the black and white juxtaposition - those were nice. 

irrelevant or convenient plot elements

zorii bliss was not a necessary character. chewie was conveniently on another transport. d-0, while super cute and funny, was also just a deus ex machina. hux being a spy - could have been entirely removed but oh, finn and poe need to get off the ship somehow. rey’s return to ahch-to was rushed, her interactions with luke could have been on any other planet. she did not need to pilot luke’s x-wing specifically but they forced it. lando - lando was basically a consolation prize for chewie with little relevance. pryde literally could have been replaced with hux and made for a more interesting narrative. 

snoke clones

what the fuck was that?

the fleet

somehow the entirety of the fleet was magically stored, 100% operational and with fully functioning crew, under the crust of some random planet? and every single one of those ships has planet-destroying capabilities? 

the other “fleet”

where the fuck were these allies in TLJ, huh? i get that it’s the last stand and maybe more people showed up because of that but damn. 

leia’s absence was felt

i understand this was not in the control of the creators but truly, i felt like there was a gaping hole where leia should have been. 

the Trio

i enjoyed their banter but it felt inconsistent through the movie. rey and poe didn’t get along one minute, the next they’re fine. if this had been introduced and pushed in previous films, it would have made more sense and felt less hollow. as it stands, it felt like a forced attempt to call back the OT vibes that just fell flat.

rey palpatine

ugh. let’s reduce strength to a bloodline and in the process ignore what was set up in the last movie. yay! also, palpatine fucked someone at some point and that is utterly disgusting. 

rey skywalker

felt forced. she did not need to take the skywalker name.

kylo’s transition to ben.

before anyone jumps on me, i want to clarify that specifically i am referring to the speed of his transition from ruthless supreme leader to full on ben. i loved his redemption, i just wish i could have seen him do it more gradually and with a bit more struggle? he just goes from “i will find you rey and turn you dark like me” to “i am ben solo” so quickly that i found it a bit jarring? 

palpatine’s constantly changing plans. 

kill rey, no wait, take the throne rey, no wait, let me kill you both and take the throne myself. pick one you crusty fuck. 

force dyad

honestly why establish it if you’re going to ignore it in about 2 seconds?

inadequate expression of star wars main themes

the ideas of hope, of redemption, of love and of family - all central to star wars, and none properly delivered on. 

ben’s death. 

heartbreaking. he deserved love and happiness and a life. that’s all i can say about that. however, in a transition to things i liked: if he had to die, i’m really pleased that it was with an act of love. he chose to make a sacrifice, the ultimate sacrifice, for his soulmate. i don’t like that he had to die, but i can find peace in the way it happened - on his terms, on the light side, in the arms of the woman he loved.

things i did enjoy (a lot actually):

babu frik

was so fucking funny. that is all. 

c-3po.

also surprisingly funny for a droid i’m usually annoyed by?

jannah

i surprisingly really loved her character. i thought she might be an addition like zorii bliss, but i enjoyed naomi ackie’s acting a lot. she felt much more genuine. however i do think there was a missed opportunity in working on her and finn’s shared background as ex-stromtroopers.

force healing abilities

i thought were super cool! i really liked healing the serpent, it was a nice subversion of the expectation to be trapped and outrunning a monster through a labyrinth of corridors. loved how when rey healed kylo, she healed his scar too. just also it’s always nice to see new things being done with the force.

force fighting. 

it was lovely to see force techniques being used in the lightsaber battles (as compared, for instance, to the throne room fight of TLJ); and also to see force-aided physical feats like jumps that don’t look like naruto-style ninja backflips. definitely felt more real.

poe’s moment in the x-wing

taking in the damage and destruction all around him. i felt the weight he was feeling in that moment.

rey picking herself off the ground

after palpatine drains her and kylo’s life force. i loved her moment of peace and centering, gathering the strength to do what comes next. while i didn’t love the voices of the previous jedi, it made for a lovely sequence of “i’m not done with you yet” and showcases her strength.

the moment with ben and han

gorgeous scene echoing han and ben’s last interaction in TFA. just an amazing callback with such different emotion and the final turning of ben back to the light. i really loved this bit.

adam driver’s acting performance in general.

absolutely the best, the most amazing, performance of the film. if nothing else, the switch from kylo to ben, despite having zero dialogue, should speak for itself. he managed to convey a completely different personality through his mannerisms, physicality and visuals alone. oh, and the death/ressurrection scene! the absolute desperation with which he crawls to the woman he loves. the infinite depth of emotion adam manages to transmit through only his eyes and his facial expressiveness. he deserves an oscar nomination for this in my opinion. 

reylo kiss

i don’t even need to explain this. the smile. the pure happiness, the tender touch, the moment of just love and joy and letting themselves be together, finally. i could not have asked for more of a beautiful first kiss. we’re ignoring what comes after. 

overall impression

tros fell flat. i lived for ben’s redemption and reylo, but this was not enough to make up for the mistreatment of most of the characters, the poorly coordinated and frankly rushed structure, and most importantly, the failure to deliver on its themes of family and hope. i felt like it tried to do too much and achieved too little. 

[forgenotes-archived]

VERONICA    ROSE    SAWYER    AND    THE    MUSIC    OF    ST    VINCENT    .    

word    count    :        3,006    . trigger    warnings    for    :        child    abuse    /    neglect    ,        depression    ,        self    harm    ,        suicide    ,        murder    .

there    are    a    few    points    that    i    will    be    ignoring    -        namely    ,        clarke’s    music    does    have    a    heavy    focus    on    catholicism    that    ronnie    ,        as    a    jewish    woman    ,        won’t    relate    to    necessarily    on    a    literal    level    .        i    might    purposely    misinterpret    some    of    the    more    catholic    songs    ,        but    for    the    most    part    ,        i’ll    just    .    .    .        skip    over    that    shit    ,        lol    .        

of    course    ,        not    every    song    of    hers    makes    perfect    sense    with    veronica    ,        but    there    are    a    substantial    amount    that    really    hit    home    for    characterization    purposes    .        i’ll    be    pretty    brief    about    them    mostly    due    to    the    fact    that    this    is    going    to    be    long    enough    but    !        

please    enjoy    a    massive    post    about    veronica’s    most    influential    muse    inspiration    ,        st    vincent    ,        and    how    each    song    sparks    a    different    facet    of    her    characterization    ,        personality    ,        and    history    .

  ALBUM    ONE    -        MARRY    ME    .

*** NOW ,  NOW .       this    song    is    one    of    five    songs    that    truly    cuts    to    the    very    core    of    veronica’s    persona    .        it    is    written    as    a    cutting    dismantlement    of    preconceived    notions    ;        and    while    that    in    a    general    sense    does    apply    to    her    ,        it    pulls    apart    as    a    particularly    embittered    attack    on    heather    chandler    .        with    the    deconstruction    of    her    worth    to    her    (    i’m    not    your    mother’s    favourite    dog    /    i’m    not    the    carpet    you    walk    on    /    i’m    not    the    feather    at    your    feet    /    i’m    not    the    paw    to    your    king    /    i’m    not    anyone    you’ll    beat    )    ,        it    harkens    to    her    rebellion    and    powerful    nature    that’s    been    crushed    under    heather’s    heel    .        the    chorus    and    final    lines    of    the    song    draw    perfect    parallels    to    her    and    heather’s    fight    at    the    party    ,        and    the    inevitable    death    -        you    don’t    mean    that    ,        say    you’re    sorry    /    i’ll    make    you    sorry    .    this    track    is    desperately    dramatically    perfectly    attached    to    my    interpretation    of    ronnie    .

*** YOUR LIPS ARE RED .        this    goes    along    almost    chronologically    with    above    -        this    song    is    about    murder    ,        explicitly    ;        and    by    god    does    that    ever    track    !        particular    lyrics    of    note    are    :        this    city’s    red    from    riding    us    into    the    ground    /    your    face    is    drawn    from    drawing    words    right    from    my    lips    /    my    hands    are    red    from    sealing    your    red    lips    /    your    skin’s    so    fair    ,        it’s    not    fair    .        the    narrative    of    the    song    leads    towards    a    crime    of    passion    ;        anger    and    hate    towards    someone    with    some    sort    of    power    over    them    ,        and    the    eventual    revenge    for    their    (    perceived    )    mistreatment    .        veronica    doesn’t    feel    as    bad    as    she    should    that    heather’s    gone    ;        a    part    of    her    feels    satisfied    ,        and    that’s    the    part    that    this    song    exemplifies    .

THE APOCALYPSE SONG .        embracing    the    carnal    nature    of    life    and    cutting    away    from    those    who    refuse    to    (    or    are    too    afraid    to    )    join    you    -        in    a    more    subdued    sense    ,        it’s    similar    to    what    veronica    does    in    cutting    loose    from    her    friends    ;        and    further    still    ,        ostracizing    herself    from    her    family    to    build    a    more    spectacular    life    for    herself    and    jason    .        important    lyrics    to    note    :        you’ll    awake    with    the    stitches    over    both    of    your    eyes    ,        and    deny    me    my    body    and    all    earthly    delights    /    i    guess    you    are    afraid    of    what    everyone    is    made    of    /    your    devotion    has    the    look    of    a    lunatic’s    gaze    .

LANDMINES .        in    terms    of    the    tragedy    of    the    beginnings    of    her    and    jason’s    relationship    -        when    he    spirals    into    the    worst    parts    of    his    plans    ,        she    is    desperate    to    try    and    lure    him    back    to    the    better    side    .        it’s    sadness    ,        it’s    hope    without    reason    ,        it’s    painful    .        important    lyrics    to    note    :        i’m    crawling    through    landmines    just    to    know    where    you    are    /    there’s    smoke    in    my    eyes    ,        ‘cause    you’re    burning    the    ground    /    i’m    crawling    through    landmines    -        i    know    ,        ‘cause    i    planted    them    /    under    cover    of    night    ,        i    put    my    heart    in    the    ground    /    where’d    you    go    ?    please    don’t    go    /    i    found    your    glove    with    the    leather    torn    ,        five    fingers    that    i’m    counting    on    ,        smoke    signals    to    call    you    right    here    .

  ALBUM    TWO    -        ACTOR    .

THE STRANGERS .        clarke    said    she’d    written    this    song    about    a    woman    who’s    spoiled    by    decadence    and    leisure    ,        but    is    desperately    sad    by    her    situation    .        which    ,        in    all    honesty    ,        fits    veronica    to    a    t    -        exhausted    by    the    picturesque    garden    ,        and    unwilling    to    continue    being    trimmed    to    fit    in    paradise    .        important    lyrics    to    note    :        lover    ,        i    don’t    play    to    win    ,        but    for    the    thrill    ‘till    i’m    spent    /    you    showed    up    with    a    black    eye    ,        ready    to    go    start    a    fight    /    desperate    don’t    look    good    on    you    ,        neither    does    your    virtue    /    paint    the    black    hole    blacker    .

THE NEIGHBOURS .        the    song    paints    a    picture    of    a    hatred    of    suburban    sedentary    lifestyles    ;        partial    arson    ,        partial    alcoholism    ,        all    very    accurate    to    the    way    ronnie    feels    being    stuck    in    sherwood    ohio    .        important    lyrics    to    note    :        let’s    pour    wine    in    coffee    cups    and    drive    around    the    neighbourhood    /    i    won’t    believe    not    a    word    you    speak    just    make    it    sweet    to    hear    /    these    kids    are    foaming    at    the    mouths    ,        psychotropic    capricorns    /    how    can    monday    be    alright    ,        then    on    tuesday    lose    my    mind    ? 

* BLACK RAINBOW .        this    is    a    portrait    of    one    person    in    their    isolation    of    an    elevated    comprehension    above    the    brainwashed    masses    of    average    american    life    -        the    loneliness    in    their    own    self    -    aggrandizing    thought    processes    ,        but    also    the    pangs    of    hopelessness    when    they    know    that    they’re    still    right    .        veronica    is    allowed    an    understanding    that    her    parents    and    these    remington    assholes    have    chosen    to    ignore    .        important    lyrics    to    note    :        think    i’m    glass    ,        think    i’m    breaking    it    /    let    the    children    act    like    furniture    for    the    ladies    of    the    lawn    /    unkissed    boys    and    girls    of    paradise    lining    up    around    the    block    /    back    pocket    full    of    dynamite    while    the    neighbours    talk    and    talk    /    bird    outside    the    kitchen    ,        fighting    his    reflection    ,        what’s    he    gonna    win    when    he    wins    ?    /    if    you    want    the    neighbours    woke    ,        you’ll    have    to    shout    even    louder    .

* LAUGHING WITH A MOUTH OF BLOOD .        clarke    has    described    this    song    as    a    balancing    act    between    the    pain    of    the    past    and    the    uncertainty    of    the    future    ,        and    the    desperation    that’s    found    when    those    two    roads    meet    .        ronnie’s    got    scars    she’s    healing    from    ,        but    she’s    also    got    no    idea    why    and    how    to    keep    on    living    afterwards    .        important    lyrics    to    note    :        just    like    an    amnesiac    ,        trying    to    get    my    senses    back    /    laughing    with    a    mouth    of    blood    from    a    little    spill    i    took    /    all    my    old    friends    aren’t    so    friendly    ,        and    all    my    old    haunts    are    now    haunting    me    /    i    can’t    see    the    future    but    i    know    it’s    watching    me    .

MARROW .        a    vague    song    ,        but    one    that    resonates    deeper    with    ronnie    than    she    expected    through    its    undertones    of    feeling    as    though    she’s    not    in    control    of    her    body    .        important    lyrics    to    note    :        i    wish    i    had    a    gentle    mind    and    spine    made    up    of    iron    /    mouth    connects    to    the    teeth    and    teeth    to    the    loves    and    the    curses    /    so    i    pretend    there    aren’t    ten    strings    tied    to    all    ten    of    my    fingers    .

THE PARTY .        a    dreamscape    of    a    song    that    touches    on    her    subtle    alcoholism    and    desperation    for    connections    that    never    come    .        veronica’s    coping    mechanisms    lead    her    into    bad    habits    in    order    to    make    connections    ,        but    ultimately    leave    her    completely    floundering    after    everything’s    over    .        important    lyrics    to    note    :        i’d    pay    anything    to    keep    my    conscience    clean    /    there    aren’t    enough    hands    to    point    all    the    fingers    /    i    lick    the    ice    cube    from    your    empty    glass    /    honey    ,        the    party    ,        you    went    away    quickly    /    i’ve    said    much    too    much    and    they’re    trying    to    sweep    up    .

* JUST THE SAME BUT BRAND NEW .        this    song    is    a    floating    heartbreak    ,        following    the    descent    into    depression    st    vincent    falls    into    after    losing    somebody    she    loves    -        did    she    do    something    wrong    ?        where    do    i    go    from    now    ?        how    do    i    fill    this    hole    in    my    heart    ?        veronica    feels    this    on    a    lesser    level    towards    her    friends    ,        however    few    she    may    have    had    ;        but    in    its    fullest    extent    after    jd    ,        because    despite    everything    (    fear    ,        pain    ,        abuse    )    ,        she    still    loves    him    for    what    she    thought    she    had    .        important    lyrics    to    note    :        so    i    walked    away    all    perfumed    ,        felt    just    the    same    but    brand    new    /    and    anything    you    wrote    i    checked    for    codes    and    clues    /    i    changed    my    ‘a’s    and    ‘i’s    to    yours    /    i    do    my    best    impression    of    weightlessness    now    too    /    i    might    be    wrong    ,        i    might    be    wrong    ,        i    might    be    wrong    ,        but    honey    i    believed    i    could    just    float    away    ,        dangling    .

  ALBUM    THREE    -        STRANGE    MERCY    .

* CHEERLEADER .        a    determined    cry    to    reject    the    role    being    forced    upon    her    ;        a    final    stand    to    shed    the    expectations    thrown    over    her    ,        while    also    reminiscing    on    how    these    constraints    have    forced    veronica    to    become    afraid    of    being    vulnerable    .           important    lyrics    to    note    :        i’ve    had    good    times    with    some    bad    guys    /    i’ve    told    whole    lies    with    a    half    smile    /    i    don’t    know    what    good    it    serves    ,        pouring    my    purse    in    the    dirt    /    i’ve    played    dumb    when    i    knew    better    /    i    don’t    know    what    i    deserve    ,        but    your    you    i    could    work    /    i    don’t    wanna    be    a    cheerleader    no    more    ,        i    don’t    wanna    be    a    dirt    eater    no    more    .

DILETTANTE .        a    brutal    cutting    slice    of    her    and    jason    dean’s    relationship    -        a    desire    to    stay    ,        but    a    desperation    to    bring    their    passion    back    down    to    earth    .        partially    a    love    song    ,        trying    to    preserve    their    fire    without    burning    up    ;        partially    a    lament    about    overcoming    the    fear    of    stagnation    .        important    lyrics    to    note    :        nobody’s    winning    ,        the    sharks    are    swimming    in    the    red    /    while    you    are    sleeping    ,        my    mind    goes    creaking    down    the    wall    /    slow    down    dilettante    so    i    can    limp    beside    you    ,        i’m    following    your    houndstooth    /    street    savant    ,        my    bank    in    my    back    pocket    ,        how    far   you    think    it’d    take    us    ?    /     but    let’s    not    forget    why    we    crawled    here    .

  ALBUM    FOUR    -        ST    VINCENT    .

* PRINCE JOHNNY .        this    is    the    second    song    in    a    trilogy    about    an    archetype    of    a    friend    clarke    has    named    “    johnny    ”    -        this    particular    angle    focuses    on    the    helpless    desperation    to    stop    someone    you    care    about    from    falling    down    a    dangerous    ,        self    -    destructive    path    .        in    veronica’s    eyes    ,        jason    is    her    prince    johnny    .        important    lyrics    to    note    :        prince    johnny    ,        you’re    kind    but    you’re    not    simple    ,        by    now    ,        i    think    i    know    the    difference    /    saw    you    pray    to    all    to    make    you    a    real    boy    /    prince    johnny    ,        you’re    kind    ,        but    do    be    careful    /    don’t    mistake    my    affection    for    another    spit    -    and    -    penny    style    redemption    /    i    wanna    mean    more    than    i    mean    to    you    .

DIGITAL WITNESS .        a    cutting    dialogue    on    the    desperation    for    popularity    ;        in    modern    day    ,        it’s    a    critique    of    social    media    and    societal    pressures    ,        but    in    terms    of    veronica’s    timeline    ,        it    doubles    as    a    light    on    westerburg’s    obsession    with    their    queen    bees    .        important    lyrics    to    note    :        i    want    all    of    your    mind    /    if    i    can’t    show    it    ,        if    you    can’t    see    me    ,        what’s    the    point    of    doing    anything    ?    /    this    is    no    time    for    confessing    /    if    you    can’t    see    me    ,        watch    me    jump    right    off    the    london    bridge    /    get    back    to    your    stare    ,        i    care    ,        but    i    don’t    care    /    what’s    the    point    of    even    sleeping    ?        so    i    stop    sleeping    /    won’t    somebody    sell    me    back    to    me    ?

REGRET .        a    self    -    explanatory    song    ,        in    all    reality    ;        you    are    afraid    to    move    ,        and    your    anxiety    keeps    you    away    from    opportunity    -        before    you    even    realize    you’ve    wasted    your    potential    ,        you’re    doomed    .        veronica    is    trapped    in    a    vicious    cycle    that    won’t    allow    her    to    spread    her    wings    ;        fear    begets    fear    ,        and    life    moves    on    without    her    .        important    lyrics    to    note    :        memories    so    bright    i    gotta    squint    just    to    recall    /    regret    the    words    i’ve    bitten    more    than    the    ones    i    ever    said    /    i’m    afraid    of    heaven    because    i    can’t    stand    the    heights    /    i’m    afraid    of    you    because    i    can’t    be    left    behind    /    oh    well    ,        there’s    a    red    moon    rising    /    the    door    slammed    and    it    felt    like    a    cannonball    .

  ALBUM    FIVE    -        MASSEDUCTION    .

SUGARBOY .        a    mashup    of    a    love    song    and    an    ode    to    vicious    bisexuality    ;        a    heart    that    is    sharp    and    easy    to    slice    yourself    open    on    ,        but    a    reciprocal    appreciation    of    the    danger    that    comes    with    falling    for    someone    .        ronnie’s    sugarboy    is    jason    ;        but    she    also    learns    to    acknowledge    that    she    wouldn’t    have    minded    finding    a    sugargirl    ,        either    .    important    lyrics    to    note    :        sugarboy    ,    i    am    weak    ,        got    a    crush    on    tragedy    /    oh    here    i    go    -        a    tragedy    ,        hanging    off    from    the    balcony    /    making    a    scene    ,        oh    here    i    am    ,        your    pain    machine    /    sugargirl    ,        dissolve    in    me    ,        got    a    crush    from    kicked    -    in    teeth    /    pledge    all    your    allegiance    to    me    /    i    am    a    lot    like    you    ,        i    am    alone    like    you    .

* LOS AGELESS .        again    -        a    mashup    of    a    love    song    ,        and    a    loss    of    all    autonomy    .        what    have    you    lost    ;        a    lover    ,        or    your    sense    of    self    ?        veronica’s    lost    both    ,        and    she    doesn’t    know    what    else    to    do    but    fall    into    the    ease    of    her    prison    position    ,        following    the    orders    of    someone    who    claims    to    know    better    than    she    does    .        important    lyrics    to    note    :        burn    the    pages    of    unwritten    memoires    ,        but    i    can    keep    running    /    but    how    can    i    leave    ?        i    just    follow    the    hood    of    my    car    /    how    can    anybody    have    you    and    lose    you    and    not    lose    their    mind    ,        too    ?    /    i    guess    that’s    just    me    ,        honey    -        i    guess    that’s    how    i’m    built    /    i    try    to    tell    you    i    love    you    ,        but    it    comes    out    all    sick    /    i    try    to    write    you    a    love    song    ,        but    it    comes    out    a    lament    .

SLOW DISCO .        finding    yourself    in    the    crowd    of    a    party    ,        but    not    liking    who    you    see    -        a    contrast    between    the    life    you    should    be    living    ,        and    the    life    you’re    actually    living    .        veronica    falls    to    one    side    more    than    the    other    ,        and    by    trying    to    find    herself    in    other    people    ,        she’s    doing    herself    a    grave    disservice    that    leaves    her    feeling    almost    as    if    she’s    a    ghost    .        important    lyrics    to    note    :        am    i    thinking    what    everybody    else    is    thinking    ?        i’m    so    glad    i    came    but    i    can’t    wait    to    leave    /    slip    my    hand    from    your    hand    ,        leave    you    dancing    with    a    ghost    /    there’s    blood    in    my    ears    and    a    fool    in    the    mirror    /    the    bay    of    mistakes    can’t    get    any    clearer    /    don’t    it    beat    a    slow    dance    to    death    ?

* SMOKING SECTION .        self    -    destruction    .        self    harm    .        the    call    of    the    void    .        suicidal    urges    .        it’s    a    song    about    trying    to    overcome    these    feelings    by    giving    them    a    name    ,        and    remembering    that    they’re    thoughts    you    can    work    through    .        veronica’s    felt    them    her    entire    life    .        important    lyrics    to    note    :        sometimes    i    sit    in    the    smoking    section    ,        hoping    one    rogue    spark    will    land    in    my    direction    /    and    when    you    stomp    me    out    i’ll    scream    and    i’ll    shout    “    let    it    happen    ,        let    it    happen    ,        let    it    happen    ”    /    sometimes    i    stand    with    a    pistol    in    hand    /    sometimes    i    stand    on    the    edge    of    my    roof    ,        and    i    think    i’ll    jump    just    to    punish    you    /    and    then    i    think    ,        what    could    be    better    than    love    ?    /    it’s    not    the    end    ,        it’s    not    the    end    ,        it’s    not    the    end    ,        it’s    not    the    end    .

  BONUS    LEVEL    -        LOVE    THIS    GIANT    .

* ICE AGE .        written    as    a    prequel    of    sorts    to    cheerleader    off    her    album    strange    mercy    ,        clarke    has    said    it’s    a    get    it    together    song    of    sorts    .        veronica’s    in    her    own    ice    age    ;        she’s    frozen    over    to    protect    herself    ,        but    in    doing    so    ,        she’s    deprived    herself    of    the    experience    of    living    .        important    lyrics    to    note    :        oh    ,        diamond    ,        it’s    such    a    shame    to    see    you    this    way    ,        your    own    little    ice    age    /    seams    are    showing    ,        and    you’re    freaking    me    out    /    we    don’t    know    how    much    we’ve    lost    until    the    winter    thaws    /    it’s    close    to    your    bones    ,        it’s    far    from    your    shell    /    feel    it    away    ,        reason    it    out    .   

[mentosmorii]

“How does one describe Artemis Fowl?” Artemis Fowl, Book 1, Page 1.

Although this quote from the first series sets the tone of Artemis being a character who is loath to be understood, what with how he “delights in not talking” about how it is he perceives himself to truly be, I want to attempt to answer this rhetorical question. After all, the quote serves as a bookend for the series — both the first and final book contain it.

In answering this question, I want to not answer “how does one describe Artemis Fowl?” but rather, “what is Artemis Fowl?” — the series, that is. I think now is a good time to answer this question, what with the first cycle of the series, the Artemis Fowl saga, being complete and the second cycle, the Fowl twins saga, beginning. In short, I want to ask: what context surrounds the book series being published? What are some important themes to the series? And what gives the book series its spark?

I first have to start this video essay by admitting that I was wrong in another essay: “A look into the role of Irish mythology as inspiration for Colfer's depiction of the People: an essay”. You can find this on fanfiction.net or on archive of our own under works by mentosmorii, by the way. The synopsis I provided for the essay is as follows: “Although Colfer has stated before that he has drawn from his knowledge of Irish mythology, he has never stated specifically which myths informed his writing. As someone with a bit of a background in Irish mythology, I have made a guess at some of the sources of inspiration, explained a couple of references within the series, and analyzed a few characters as having connections to Irish history/mythology.”

A lot of the content in that essay is correct, I feel I should say. However, an area where I misstep is here: “ Eoin Colfer has been asked about the influence of Irish mythology on his writing during various interviews, and his response is usually a sort of permutation of the above answer — ‘I grew up reading Irish myths and legends, [and] I… put… a spin on them’” (Colfer). He admits that he was influenced by Irish mythology, and this admission of influence is usually enough to get interviewers to move along to the next question. I’ve looked through many of the interviews that he’s done, and I think I can say with confidence that there is not currently any interview available in which an interviewer presses him to be more specific and point to the myths and legends in question by which he was influenced. In all likelihood, I think that this is because once Colfer confirms that he did, in fact, take inspiration from Irish mythology, the interviewers think of pop culture Celtic mythology and move on”.

The assertion that I made that was incorrect is about the interviewer moving on due to a lack of visibility of Irish myths. However, you also have to look at when the first book was published, which was in 2001. During the 90s to the early 2000s, Ireland was going through something called the “Celtic tiger”, which essentially means that there was an international market that was becoming quite interested in Irish culture, leading to the development of a new, commercially successful Celticism. Cormac MacRaois (pronounced: Cormick Mccreesh) estimated, at the time of writing in 1997, that there were at least thirty books dedicated to the retellings of mythological tales on the children’s shelves of Irish bookshops, alongside a burgeoning quantity of contemporary fantasy drawing upon mythological sources for its characters and themes” (Irish Children’s Literature and Culture: New perspectives). 

Furthermore, in Mary Donohue’s unpublished 2003 MA thesis entitled “From Wexford to the arctic circle, a cultural journey”, she remarks that in a video interview, Colfer mentions that he had initially planned to publish a collection of Irish myths and legends, but that he abandoned this plan when he realized how many good collections were already in print (Donohoe, 2003, p. 24).

What I want to point out is that although the series was published at a time when there was increased interest in Irish mythology, it is interesting that Colfer deviates from the fairy tale and leans into the futuristic. What do I mean by this?

In many ways, the Artemis Fowl series, at least up until book 8, is more of a sci-fi than it is a fantasy. Which is a bold claim for me to make, I know!

A quote from book one in which Root is talking to Foaly as the LEP tries to plan how to get Holly back summarizes this analysis of the series quite nicely: “Science is taking the magic out of everything”.

As Anna Bugajska (pronounced: ah-na boo-guy-ska) states in her essay "Human Magic", "Fairy Technology": The Place of the Supernatural in the Age of Cyberculture: “Fairies deprived of natural wings use their artificial counterparts. Dwarves are practically walking machines. Invisibility is achieved by ‘shielding’. Artemis uses ‘human magic’ to heal a fairy [the sprite in Ho Chi Minh whom he gives a serum to help her alcohol dependence], but must rack his brains to escape ‘fairy technology’. The convergence point comes at the search for a Booke of Magick and at a failed Ritual performance…  In the world where fairies rely on blasters and bio-bombs to take out their enemies, is there any place for good ol’ magic? Or is it by any chance homogenous with “man-made magic”, that is technology?”.

The fact that the book series seems to be more of a sci-fi than a fantasy is important for two reasons, the first reason of which is discussed in Elizabeth Parsons’ essay “Fowl Play: Artemis Fowl, Sitting Ducks, and politics for children” and the second of which is discussed by Anna Bugajska. The first perspective, Parsons’, is that the book brings up parallels between the People and humanity that suggest that the fairies are just as guilty of the environmental issues and social injustice that they like to critique humans for. The second perspective is that the emphasis on the blending of science and magic in the narrative helps explore the themes of moral evolution within the series.

Let’s first address Parsons’ argument. Parsons argues that there is no discernible difference between the two worlds that share the planet — “Technological advances drive humanity’s destruction of the earth’s surface as much as they [drive] the spread of fairy civilization underground” (Parsons). In fact, Parsons points to the enormous sum of gold at the center of the conflict in book one as evidence that the People are not as innocent of this kind of environmental destruction as they would like to think. After all, you cannot mine gold from the earth without having some kind of negative impact on the planet. Whether it’s from how you might destabilize the ground as you mine, or the pollutants you may release, or even the effect that comes with removing the gold from its natural place in the earth, you cannot escape the fact that Faeries likely also have a history of troubling environmental impacts to answer for. There is also the fact that fairy society is *extremely* industrialized. Just as how the presence of gold presents the question of how the People acquired that wealth, the technology the people have presents the question of how did they develop said tech. You can’t go from a building the wheel to building a neutrino gun — there was likely an industrial revolution in which the People engaged in unclean energy practices as they developed their understanding of how to engineer. And this concern is supported by the text!

In book one, Holly is talking about two mechanical wing types that the LEP uses — the older models called the Dragonflies and the newer models called the Hummingbirds. The book says the following: “Holly unhooked a set of wings from their bracket... Dragonflies. She hated that model. Gas engine, if you believe it... Now the Hummingbird Z7, that was transport. Whisper silent, with a satellite-bounced solar battery that would fly you twice around the world. But there were budget cuts again.” (pp. 50-51).

Perhaps the People may like to argue that they are more environmentally evolved than humanity, and sure, they are, but they’re far from being as innocent in the exploitation of earth than they’d like to think — they still use gas engines, after all!

But that’s just from an environmental point of view. Socially, there is also little difference between the progress of the People and humanity. Honestly, in some aspects, the people are farther behind, what with how Holly mentions being the first woman to be hired to her position even though the book opens at the start of the 21st century. And although Holly understands that others assuming she is less capable on the basis of her gender is both illogical and prejudiced, she herself falls into similar lines of thinking in books 1 and 2. She certainly makes some unkind assumptions regarding how she thinks her coworker Lili, an attractive woman, was hired because the recruiter fancied Lili. Which, knowing the rather old-fashioned beliefs the LEP higher-ups have regarding women, could be the case! Yet the way she specifically talks about Lili makes it clear she does not see a potential ally against mistreatment in the office — Lili is someone who, in unkind moments, Holly privately sort of sees as an acceptable target of workplace gossip. And Holly, to be fair, grows out of this mindset by the final book — she still doesn’t like Lili, but she’s matured past the point of engaging in making harmful assumptions about her coworker.

And beyond this, Holly also in book one falls into patterns of making assumptions about the various different groups of fairies in Haven. For example, she implies in her first encounter with Mulch that his rapscallion behavior and petty crimes are kind of linked to the fact he’s dwarf. And she certainly doesn’t treat him well in book 1 — she zaps him when he makes a move to pick-pocket despite the fact the situation could have been de-escalated with initial action other than violence. Again, she moves beyond this way thinking by the final book. Yet the society she lived in, no matter how much she values things like justice and equality, still influenced her to make judgment calls that either are solely about another person’s identity, such as her comments about Lili, or that tie someone’s behavior to their identity, such as how she links Mulch’s behavior to the fact he is a dwarf. Holly isn’t the problem — the society is.

This is why you have Mulch’s later quote that “I’d rather trust a bunch of humans not to hunt a species to extinction than trust an LEP consultant” (177). Here, the first book kind of hits you over the head with the message: both of the societies, human and fairy, have issues of inequality and environmental abuse built into them.

Holly, I think wakes up to this fact at the end of book 4 following the fact that Sool and the council valued money and power over bringing Opal to justice for her murder of Root. After this, she has a more nuanced perspective on ideas of justice and what means to want justice. A line that sticks out to me is from book 8 when she’s thinking about what she wants for Opal. She brings up the fact that at one point, she would have wanted Opal to suffer as she had. However, what Holly wants by the 8th book is for the suffering to stop, period. She doesn’t want to seek justice by humiliating or hurting Opal, what she wants is Opal to no longer be capable of hurting others. And this doesn’t mean that Holly no longer hates Opal, because she unequivocally does. But the cycle of Opal hurting others, the LEP hurting Opal, and then Opal coming back to enact vengeance again, and again, and again, is something that Holly wants to end. She no longer wants to engage in this cycle.

To circle back to my original point, this is why the series relying on sci-fi more than the more magical elements of fairy society is important: by showing us fairies that evolved past the role they would fill in myths, which is more nature-based, Colfer is able to talk about technology in human society, both good and bad, and human society itself, both good and bad.

The second point, that the series uses technology and sci-fi to explore philosophical topics, is also part of the appeal to the series. 

One particular example that comes to mind is how the series (maybe unintentionally) engages with Gilbert Ryle, who was a British philosopher, and his concept of ‘mind-body-dualism’; Ryle wrote on the idea of human existence being the tale of ‘a ghost within a machine’, or our sense of self-existing in a separate, physical shell. To simplify, this essentially points out the fact that what we view as being our “us”, our personalities, our inner thoughts, our perception of ourselves, is often separate from our bodies — such as how when I think of who “I” am, I think of my “mind” rather than “body”. Often, sci-fi seeks to explore what if this barrier dissolved — such as what if with the evolution of the mind, there was also an evolution of the body, and whether this could be achieved through things like AI, cyborgs, and so on. To go back to Anna Bugajska’s work, she wrote an essay entitled “Artemis Fowl: Posthumanism for teens” that tackles this within the series.

To go back to the idea of transformation and Artemis Fowl, the series deals with this theme quite a bit. To quote Bugajska: “What naturally could develop into a coming-of-age cycle, swerves into the direction of a transformation, calling into question human nature and individual identity in the age of the morphological freedom, mind uploads, bioengineering, and hybronauts…[the series explores ideas of transformation as a result of a desire to seek previously unaccessible power, but it also explores the idea in the context of the mind and body becoming one in how an impact one must result in an impact of the other].

“A prominent example of those who went too far in their quest for [transformative] perfection are Briar Cudgeon, an LEP officer, and Opal Koboi, a genius pixie inventor. Cudgeon, embittered by professional conflict, sought the cognitive enhancement through the use of drugs. As a result, “the tranquilizer had reacted badly with some banned mind- accelerating substances the former acting-commander had been experimenting with. Cudgeon was left with a forehead like melted tar... Ugly and demoted, not a great combination” (Colfer 2003a: 77). [In this case, his desire for power causes his downfall, such as how he tried to enhance his abilities past his limit with the mind-accelerating drug that ended up reacting with the tranquilizer. However, this is also an example of the barrier between the body and the mind dissolving, as Cudgeon’s internal ‘ugliness’, such as his hunger for power, deceitfulness, and disregard for others’, is reflected in his physical form through his overindulgence in substances he uses to try to get around his natural limits.]

“In the case of Opal Koboi, we can observe a conscious attempt to transform from one being to another. She has her pointy ears operated upon to give them human shape. What is more, she implants in her brain a human pituitary gland to provoke the secretion of the growth hormone (Colfer 2005: 173–174). She even goes as far as extracting substances from various animals to enhance her magic (Colfer 2011a: 263, 270). All these attempts in the end cost her her sanity (Colfer 2012: 36) and her magic powers, which is especially well visible in the fourth book of the cycle, the Opal Deception (Colfer 2005: 329).

“On the other hand, the changes in identity must necessarily be reflected in the alterations of at least some parts of the body... “Artemis himself, as he grows from a calculating rationalist to a globally-responsible, empathic man, earns a few body modifications. And although he does not seek them, he does not attempt to get rid of them, instinctively hoarding as much of the “fairness” as he can get. For instance, in The Lost Colony, where Artemis and his friend Holly Short of the LEP travel through a time-tunnel, first his fingers are switched, then he swaps an eye with Holly, and finally he steals some of the fairy magic, which grants him limited healing and regeneration powers. He also gains three years during the travel: in his own time he has to pose as a seventeen-year-old (Colfer 2007: 371)” (Bugajska).

In essence, you have both people seeking to perfect the body in order to match the goals of mind, such as Opal trying to steal new types of magic or Cudgeon using mind accelerating drugs, and then you have Artemis switching eyes with Holly, representing a more benign example of the body changing to match the mind, as switching eyes represents that he has literally switched perspectives and can see things through her eyes as a result of their friendship. And in the end of the series, you also have Artemis being reborn into a clone — he has changed so much from his self at the beginning of the series, it is like his past self is dead, and his moral rebirth is reflected literally in him being given a new body free of the constraints of the mistakes he made before his passing, such as kidnapping Holly or endangering Butler on multiple occasions.

I don’t know if answered my original question of “what is Artemis Fowl?” — I think I’ll always have something to say about the series. But this puts words to a lot of thoughts I’ve had, and it’s nice to at least have it all there, I suppose. Thanks for listening, and if you have questions, leave me a comment or send me an ask!

[ghostofbambifanfiction]

Can you be more specific on why you like Arya and Sansa? So many people like Arya for being strong and fierce, but for some reasons so many hate Sansa for what she was like in the earlier seasons. Can you give specific instances why you like both of them? And why not Daenerys? Thanks! (I'm just really curious, please indulge me :) )

I’m going to talk about Dany first (and I’m sticking to the show here, though I have read the books, but they’re never getting finished, let’s be real), and then I'll put my thoughts on Sansa and Arya in another post (hey, you asked, so I’m delivering) because otherwise this will go on forever and it’s cleaner this way. Putting a ‘read more’ here because this is long (lol I’m at work I should be working)

To preface, I would not dislike Daenerys as much as I do if she didn’t want to be queen. I’ll touch on this when I talk about Arya, but I appreciate characters who have the self-awareness required to know who and what they are. Since Daenerys does want to rule Westeros, I have so many issues.

I also think the eighth season is going to see her turning on most of the people she’s currently allied with and I think the catalyst for that is the discovery that Jon is the legitimate child of Rhaegar and Lyanna, and therefore his claim to the throne supersedes hers. I’ll gladly admit that I’m wrong if I am, but right now I don’t think I am. Here’s why.

1) She is an ineffective ruler

After Dany liberated the slave cities of Astapor, Yunkai and Meereen, she stayed to rule and did a terrible job of it. Nobody in particular was better off, the majority of the slaves she freed were homeless and scraping for food in mess halls, and she killed elders who had spoken out against slavery without even listening to what any of them had to say. She has the mind for conquering, not for ruling.

(side note: why does she even want to be queen? It’s something she just seemed to jump on in season two without ever reasoning it out, and from there on in it’s like an obsession that has grown inside her. Now she says she wants to make the world a better place but she hasn’t the skills to do it. It should be enough for her to liberate oppressed societies and allow somebody qualified to fix them. But it’s not.)

The truth is, Meereen saw no real improvement until after Dany skipped town on Drogon, because Tyrion had the idea to replace the slave trade with actual trade. He made changes that impacted the city’s economy and allowed its residents to start supporting themselves, so of course, the slavers attacked just as Dany came back, at which point her bright idea was to decimate an entire armada when she needed ships. Tyrion had to talk her out of it. Which brings me to her next point.

2) She requires constant babysitting

It’s ironic to me that Tyrion told Cersei that “the difference” between Cersei and Daenerys is that Dany knows herself well enough to hire advisors who tell her not to do dumb, impulsive things, firstly because that is such a low bar, Tyrion! There are people out there (Sansa) who do not require that kind of monitoring! Secondly because Cersei is far more self-aware than Dany.

Cersei knows that the things she does are bad and does them anyway because fuck it, she knows she wants power for power’s sake. Dany has such a narrow view of justice that actually thinks she’s being righteous when she burns people to death (more on that later) and that is the most dangerous mindset a leader can have. Compare that, if you will, to Sansa, who quite sensibly told Arya that chopping off heads might feel good but that’s not the way to make people work together. Jorah, Tyrion and Jon have all had to speak out against Dany’s more violent predilections and she’s fast running out of people she wants to listen to. She and Tyrion are certainly hanging on by a thread. Which brings me to my next point.

3) She mistreats her own Hand

The relationship between Dany and Tyrion absolutely reeks of Aerys and Tywin, their respective fathers, who were the best of friends until Aerys’ jealousy and paranoia forced them to opposite sides of a bloody war. Dany is all too happy to take credit for Tyrion’s best ideas when they work (and he is happy to let her) but as soon as one of his plans go wrong she whirls on him and berates him like he’s a piece of trash. Everything’s his fault when a plan goes wrong.

When he brought up the matter of the succession she accused him of plotting her death with his brother, which not only is batshit insane but proves that Daenerys gives far less of a shit about the future of Westeros than she claims to, because if she cared that much, she’d care about planning to carry on the legacy she wants to build. She can’t seem to forgive Tyrion for the heinous crime of…loving his siblings? Trying to broker the most peaceful end to the war? Not wanting his brother to die?

Honestly, her treatment of Tyrion is one of the most telling aspects of her character and I am aghast that nobody seems to be talking about it.

4) Like all of the maddest Targaryens before her, she gets off on burning people

This one isn’t subtle at all. Sorry to drop the intellectual veneer for a moment but she fucking loves that shit. It doesn’t bother her a whit to watch people scream as they’re being burned alive. She takes pleasure in burning people, you can see the satisfaction on her face, and a good leader should never take pleasure in something like that.

(FYI people like to mention how Sansa smiled when Ramsay’s dogs ate him when I make this point and to that I blow a raspberry. That was her personal moment of justice against her rapist and abuser, not the lord of some house who wouldn’t submit to her, there is no fair comparison)

Dany was smiling like a satisfied cat when she burned down the temple of the Dosh Khaleen and killed everybody inside it, which was something she did to seize power, by the way. She didn’t do it to stick it to a bunch of misogynists, though I’m sure that was an added bonus. She did the exact same thing Cersei did to the Sept of Baelor and for the exact same reasons, yet only one of them is painted as a villain by the viewing public even though you can argue that Cersei was also sticking it to misogynists when she killed the High Sparrow. The only reason for that is that Dany was given humble origins while the narrative told us that Cersei was bad from the very beginning.

Theon is still beating himself up for killing and burning those two farm boys — as he should. Stannis burned his daughter and everyone was horrified. Jon was so repulsed to watch Mance Rayder burn that he defied Stannis and shot him in the heart. How many times is the show going to have to tell us that burning people alive is a terrible act of evil before people stop cheering Dany on for it? When Ned Stark was Lord of Winterfell, he understood and felt the weight of executing a man. Jon feels the weight of it, too, as we’ve seen on a couple of occasions. Sansa clearly thought long and hard about executing Petyr — that’s what her moment of reflection on the battlements was meant to show us. Dany just… doesn’t care. I think she cared a bit when she had Daario execute Mossador, but I can’t think of any other occasion where she has been directly responsible for a death and been remotely bothered by it.

So. yes.

I think the reason a lot of people – and in particular a lot of women – support Daenerys is because she has a girl power narrative. She does have a girl power narrative, it’s true, but that is not a good enough reason to support a character who on so many occasions has proven herself to be unqualified for the job she wants, not to mention bordering on dangerously unhinged and increasingly paranoid. In that sense I think her season 1 narrative was genius, because her origins and the way in which she started to gain power (as well as her gender) has granted her a kind of automatic forgiveness for behaviours that several male characters – and Cersei, most importantly, because she also has a girl power narrative (and she and Dany are two peas in a pod) but the show told us she was a baddie from episode one – would be dragged through the mud for. And I’m sorry, but it’s not good enough for me. I’m not going to support a powerful female character just because she’s a powerful female character who did some good things once. Powerful women can be good or bad.

Some other points re: Daenerys

The dragons are weapons of mass destruction and need to be killed. They’re nukes with wings. She’s burned her own people with those monsters because fire doesn’t fucking differentiate. Sorry not sorry.

The Targaryens are literally GRRM’s interpretation of the Aryan race. It’s practically in their name.

“I have tried to make it explicit in the novels that the dragons are destructive forces, and Dany has found that out as the tried to rule the city of Meereen and be queen there. She has the power to destroy, she can wipe out entire cities, and we certainly see that in Fire and Blood, we see the dragons wiping out entire armies, wiping out towns and cities, destroying them, but that doesn’t necessarily enable you to rule – it just enables you to destroy.” – George R R Martin, folks.

One of the show’s directors, Jack Bender, made a reference to Hitler when talking about her. He said we should be “horrified” by her. No shit, Jack. No shit.

“Do you wonder if the gods ever get lonely?” Just… this line. Get a grip, woman.

[marshmallowgoop]

Ryuko: Senketsu, if I go too far, I’ll need you to stop me.

Senketsu: I cannot promise that. It is you who is wearing me.

Ryuko: Sheesh, you’re an outfit that doesn’t have much give, you know that?

Senketsu: But when you were out of control, you did stop. Using your own willpower. That is why I am not frightened in the least.

Ryuko: Gotcha. We’re all responsible for our own actions.

I’ve written pretty extensively on Ryuko and Senketsu’s relationship and why I think it’s so healthy, positive, and commendable (to put it mildly). But I don’t think I’ve focused enough attention on the above scene from episode 13, “Crazy For You,” which is a particularly strong example of the merits of Ryuko and Senketsu’s partnership.

On a surface level, the moment emphasizes and is utterly dedicated to the importance of good and proper communication---something especially noteworthy in a series that even describes itself as having a “lightning pace” (episode 16). By focusing so heavily on Ryuko and Senketsu’s conversation, there’s a considerable significance placed on talking to and being honest with a friend; the message is clearly and unambiguously that in any close relationship, it’s absolutely crucial to be open and truthful with one another. Otherwise, you’re not going to get along well. As Mako puts it earlier in the episode, you’ll just be “glarin’ at each other.”

Of course, a scene devoted to the positive effects of strong interpersonal skills probably doesn’t seem all that groundbreaking, but in an action-comedy anime, I love the inclusion of such a thing. It would have been so easy to gloss over emotions and provide viewers with over-the-top battles and little else, but Kill la Kill decided to breathe some real life and soul into Ryuko and Senketsu’s teamwork. The two of them have to endure hardships and struggles just like any real relationship, and just like in any real relationship, they have to work through those hardships and struggles to come back together.

More on that line, the moment is also remarkably humanizing---and sweet---for Ryuko. Throughout the episode, Ryuko hides her guilt and self-hatred behind flimsy assurances that she’s all right and explosive anger and rage. She smiles reassuringly at Mako’s mother, Sukuyo, and she yells fiercely at Shinjiro Nagita, but in the end, she finally, finally reveals everything on her mind to Senketsu. We’re then left with a character who is far more than an infallible hero or the “straight-up punk” that she describes herself as (episode 8); Ryuko is a flawed, complicated human being whom viewers can readily empathize with, and, as a result, it’s incredibly endearing to see her let down her walls and allow someone into her heart. 

Kill la Kill comes off as a strangely affecting and memorable series due to all this narrative weight placed on real-life emotions and feelings while the characters inhabit a world that’s one of the most ridiculous to ever be put on screen, and when it comes to the included scene at the top of this post, I think that’s a phenomenal thing. Because that scene? It’s also wonderful when you consider the history of how relationships have been portrayed in fiction.

While Ryuko and Senketsu are far from the “norm,” it’s not at all uncommon for a fictional story to imply that it’s essentially one person’s “responsibility” to keep another person in line. In the article “The Vulnerability of the Relational Self: The Implications of Ideals of Gender and Romance for Female Survivors of Intimate Partner Violence,” author Elizabeth McManaman Grosz discusses this topic at length, arguing that “the notion that a special woman can tame the beast” and “is thus, in a way, responsible for controlling his beastly nature” is one of the widespread cultural discourses that effectively “primes” women to accept and brush off instances of abuse (81, 88). 

Again, of course, I recognize that, in many ways, Ryuko and Senketsu really don’t have any place in Grosz’s argument. For one, Grosz exclusively utilizes the work of Western authors and philosophers to support her position, and entire other books have been written concerning Japan’s ideals of gender and romance and their implications and effects (believe me, I’m in the midst of reading through just some of said books). On top of that, the fact that Ryuko would be taking the place of the “man” in the situation I screenshotted for this post does question the applicability of Grosz’s article here.

But I find Grosz’s thesis compelling in regards to Kill la Kill because, in a lot of ways, Ryuko and Senketsu do rather embody typical positions of men and women in fictional stories both East and West... except, the roles are reversed. Ryuko is the unruly, aggressive, and hot-blooded protagonist just as a man often is, and Senketsu exhibits many traits that are traditionally associated with women; he’s sensitive, emotional, and a considerable worrywart. Further, while I find the term “love interest” both degrading and unfitting for Senketsu in a series that Word of God denies any romantic intention for, I have to admit that he fits many of the conventions. In an anime with a cast primarily composed of women, the fact that Senketsu is arguably coded as male makes him, just as the standard heteronormative “love interest,” the most narratively significant character of another gender in the show (for just a few other examples, see Ran from Detective Conan, Sam from Danny Phantom, Katara from Avatar: The Last Airbender, and Tuxedo Mask from Sailor Moon). Whether I’m watching an anime or an American cartoon, I don’t think I’d be too surprised to see a scenario like the one from the end of Kill la Kill’s thirteenth episode, where a man tells a woman that he’s afraid of losing control and needs her to be there for him so that he doesn’t.

What makes Kill la Kill different is more than the simple reversal of roles, though; Kill la Kill also reverses the harmful implications of this standard set-up. Instead of it being Senketsu’s “job” to “lead [Ryuko] to ‘moral decency,’” as philosopher Immanuel Kant noted a woman must do for a man in the late eighteenth century and of which Grosz argues is an ideal continued on even to this day (such as in sports culture, as elaborated upon in Susan Bordo’s The Male Body: A New Look at Men in Public and Private), Senketsu outright tells Ryuko that she must be in control of herself (qtd. in Grosz 87). It’s not Senketsu’s responsibility to keep Ryuko from abusing him, and the fact that both understand and acknowledge this is, well, good. Senketsu is not going to write off or blame himself for any mistreatment he receives from Ryuko because he feels he failed in “pleasing” her, and Ryuko’s ending sentiment that “[w]e’re all responsible for our own actions” indicates that she feels the same way towards him. Both Ryuko and Senketsu are cognizant of each other’s emotions and needs, and they will not allow abuse to continue without a word about it, as is sadly often the case in reality (Grosz 95).

It would still be nice to have an actual situation in which a man is in the standard “man” position, but I’m happy to see anything like this at all. Abuse and mistreatment are seriously discussed, the responsibility for poor behavior is placed solely on the actor rather than the receiver, and the fact that this kind of moment receives so much focus in the first place absolutely signifies the importance and power of proper communication with a loved one. Ryuko and Senketsu are my most favored relationship in all of fiction, and it’s scenes like this that really emphasize why.

Sources

Bordo, Susan. The Male Body: A New Look at Men in Public and in Private. Farrar, Straus and Giroux, 1999.

Grosz, Elizabeth McManaman. “The Vulnerability of the Relational Self: The Implications of Ideals of Gender and Romance for Female Survivors of Intimate Partner Violence.” Women's Studies, vol. 47, no. 1, 2018, pp. 80-97. 

Kant, Immanuel. Anthropology from a Pragmatic Point of View. Translated by Victor Lyle Dowdell. Southern Illinois UP, 1978.

Kant, Immanuel. Observations on the Feeling of the Beautiful and the Sublime and Other Writings. Edited by Patrick Frierson and Paul Guyer. Cambridge UP, 2011. 

[kichimiangra]

Random thing I occasionally think about that still bugs me # 57811

If I had any say in the behind the scenes of the animated film “Strange Magic” I would have played a few scenes differently.

-While singing and collecting flowers for her corsage thing Marianne accidentally flies into the dark forest where Bog King is overseeing the removal of the Primroses by his minions.  Thinking she’s here to steal the Primrose petal for a love potion he attacks her.  She puts up a decent fight with a stick (showing visually that she could be a great sword fighter if she stopped to hone her skill) but Bog still overpowers her.  In the film Marianne and Bog don’t ever encounter each other until the 40 minute mark.

-Having her pinned to the ground Bog realizes that she was making the corsage thing and she’s wearing a wedding dress and steps away from her, telling her to get up, go to her wedding, and never return to the dark forest or he’ll tear her wings off. (Because he may have banned love like a dick in HIS kingdom but he still has a tiny soft spot and isn’t going to just kill her on her wedding day).  She quickly leaves.

-She encounters Roland and tries to tell him she was just in the dark forest.  While he freaks out about superficial things like how she could have gotten an unattractive scratch she says that after she’s queen she’s going to try and make peace between the two kingdoms because clearly the Bog King isn’t completely unreasonable considering she did trespass yet he let her go.  She mentions an interest in being a warrior queen and Roland takes his sword away and tells her it’ll never come to that because he’ll be king and totally protect her with his awesome army and just ‘Liberate’ the forest from the Bog Kings ‘Tyranny’.  (He means ‘take over’.  There is no way Roland wasn’t looking to be a conqueror. He seemed less bothered about not being a king and more about not getting an army.)

-When the audience is introduced to Dawn and Marianne asks if she thinks Roland loves her and much as she loves him instead of saying “Who wouldn’t love you!  You’re so...Totally... LOVABLE!”  She says “Who wouldn’t love you!  You’re so...totally... DIFFERENT!”  setting up a precedent for Marianne being tomboyish prior to the wedding, and that she just downplays it to be more ‘feminine’ for Roland.  This makes her completely uprooting her so-far-seen on screen ditzy love sick personality to become a badass during “Never fall in love again” look less shallow, as if she is embracing her true nature and hobbies that she suppresses to be a more ‘girly girl’.  As it is without knowing much of Marianne prior to the plot starting it somewhat reads that she was more like Dawn, and Rolands infidelity caused her to reject her previous persona and craft a new badass one out of spite or fear of being hurt again, rather than rejecting a focus on finding and attracting Love and more putting a focus on embracing herself, who she is, and what she likes to do.  Bog likes her for the character that she is for most of the movie but if that ‘character’ is just a persona she made to spite Roland or to ward off other suitors to avoid finding love again and isn’t her ‘true self’ it sadly makes the romance of the Main OTP of the movie look less authentic.  There are a few pre-’Never fall in love again’ hints: Marianne swinging a stick like a sword when talking to Roland, her character model having tattered edges to her wings, etc. but they’re kinda missable.

-Now we can do a short reprise of “can’t help falling in love” duet with Roland.  Not the whole song just like one verse and a chorus. Keep it short.

-We now see Dawn and Sunny together for the first time.  The conversation is mostly the same but I wish Dawn would give us a better sense of how much time has passed between Mariannes wedding and now.

-Later at the spring ball add a small bit of dialogue from the Fairy King to make it more clear that he has no clue what happened between Marianne and Roland.  He refers to it as the “Misunderstanding” but how much does he know?

-Change the Dialogue between Roland and Sunny.  As it is in the film Sunny was too quick to give into Rolands sweet talk of a love potion.  His first concern after being prompted was that it was a great idea to use a love potion but that only the Sugar Plum Fairy can make them.  If the dialogue was changed to make Roland more convincing like “A love potion?! But... but that love wouldn’t be real...” “What are you TALKING ABOUT?  Of COURSE it will be! Love is about being HAPPY and if a love potion makes her LOVE you then SHE’LL find her ‘Somebody’ and be HAPPY and she’ll love you so YOU’LL be happy!”  LOVE is about making each other HAPPY!”  For someone who is supposed to be Dawns friend he is very quick to think something to take away free will was a good plan to use on her.  He didn’t falter on the idea.  He only truly has regrets after she gets kidnapped by Bog as a RESULT of getting the potion, rather than of using it on her.  He didn’t have much of a character arc.

-Pear?  Pare?  Y’know that big guy?  He joins Sunny later to retrieve the potion from the imp.  Afterwords he pretty much vanishes.  He does really nothing for the story outside of singing a few lines of “Crazy little thing called love” and that’s it.  He is expendable.  Either remove him from the plot or expand his character usage.  Have him be the opposite to Roland in relation to Sunnys character arc.  Whereas Roland says “Go use a love potion!”  Have Pear just be like “So why don’t you just go and tell her you like her?”  Have Pear be this older married guy who tries to give Sunny love advice and Sunny being this young guy is like “You just don’t get it Pear.  No offense man but you married an elf who runs a bakery.  I’m in love with a FAIRY PRINCESS!  She’ll never see anything like that in me. She’s way out of my league!” “Relationships are built on trust Sunny... maaaaybe using a love potion is a little.... distrustful?”

-The imp was a big deal for a little while.  It’s only motivation seems to be using the love potion on people and then when caught is done with that and joins Sunnys party.  It’s a plot device and nothing else.  It could be downgraded in importance to the plot and lose basically nothing.  Change how the love potion gets lost and it just happens to bounce around the wilderness dusting people randomly before hitting the ground.  Sunny and Pear go looking for it and fined it pretty easily, but the imp shows for maybe the first time and takes it and runs.  They chase and collect randomly dusted animals like the large lizard and a few others before the imp ends up dusting himself and joins the party of funny animals, Sunny and Pear.  Maybe keep his role as Sunnys guide to Sugar Plum but then let him fall back.

-Sugar Plum Fairy. Why does she look like a little ghost and not a Fairy?  I mean I know that in the Ye Olde days Fairy was an umbrella term for like.... basically every fantasy creature but this narrative has set up that Elves are little people, Fairies have moth/butterfly wings, and the things in the Dark forest are Goblins.  Why does the Sugar Plum Fairy look like a ghost?  Maybe keep her base design but change it so that she follows the same standard set by other fairies? Like with legs? I don’t hate it it just pulls me out of the story to wonder why she’s the only one who looks like that?

-At the Elf dance Bog shows up to retrieve the potion and takes Dawn captive as a bargaining chip.  Marianne and the King are immediately held down during the song “Mistreated”.  As much as I don’t doubt that the larger goblins could effectively hold a Fairy Marianne's size down, she is supposed to be sorta a badass swords woman who can go toe to toe against Bog himself.  I’m not asking her to be able to easily break out of the Goblins hold, but maybe have a little fight choreography during the song.  Marianne tries to fly to Dawns rescue but the goblins on Dragon flies keep knocking into her, keeping her low and making it a no fly zone.  She has to fight her way on foot to the stage and does well right up until she gets Flanked by the large goblins and held down screaming for the return of her sister.  Bog notices her and nochalantly asks uf they’ve met (Referencing the earlier change of them meeting on the wedding day).  The rest of the scene plays out normally.

-Marianne enters the forest to go after Dawn.  She sees some spooky stuff.  Could be done Spookier though.  The ferns that unravel could get her tangled like they’re reaching to grab her.  The spider web she could get caught in for a moment and the sight of the spider scare her enough to struggle out.  Just more visual scary stuff could be done.

-”I’m coming Straight on for you” that Tazmanian devil bullshit in the choreography.  Make it stop and actually animate them fighting instead of spinning around.

-Dawn knows something about love and wants to sing about it..... despite the fact she’s spent a huge chunk of the movie dusted and the other chunk of the movie not knowing who she liked.  Also Sunny didn’t earn the conclusion to his story arc. At least that’s my opinion.

-That Kaleidoscope thing at the end of “Wild Thing”.  It just felt like something weird to go out on.

-I wish I knew more about this world created for the movie because there was some elf racism coming from the Fairy King at the end there. Like Marianne and Bog are shocking but A-OK, but Sunny and Dawn are faint worthy.  I know I just said Sunny didn’t earn his ending and the King has every right to be like “THAT GUY STARTED THIS WHOLE MESS NOOOOOO!!!!?!?!” But he didn’t say “Sunny!?!?”  he didn’t say “The elf?!”  He said “An Elf?!”