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impostoradult · 4 years ago

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I finally figured out why it feels like Supernatural murdered a unicorn (AKA why you need to STOP telling me to watch Black Sails)

I’ll start by saying, everything everyone else has been saying CERTAINLY bothers me:

- the queer-baiting - the bury your queers - the undermining of Dean’s character arc - the wasted opportunity for a certain kind of overall narrative closure - the flat out disrespect to Misha Collins and Jensen Ackles

All of that bothers me tremendously.

But there has been something else rather ineffable about this that has left a horrible taste in my mouth that I couldn’t quite pin down until last night. Bear with me, if you will, because this will require some set-up.

*** This is not the first show to ever disappoint me in a spectacular fashion, nor will it be the last, I suspect. And one of the ways I’ve always coped with that disappointment was to remind myself that there will be other stories, other characters, other chances to get it right. (”It” being any number of things from just pure narrative emotional coherence to not burying your queers to not stringing along your queer audience and then yelling fuck you to them on the way out)

But somehow that assurance -- that there will be other stories, other characters, other chances to get it right -- has rung particularly hollow in this instance, and I couldn’t quite put my finger on why until yesterday.

I kept asking myself, why do I still have this feeling, deep in the pit of my stomach, like something was lost here that can never be recovered?

Because something was lost here that I am doubtful can ever be recovered, and I don’t think I’ve seen anyone else talking about this aspect of it at all.

***

A few months ago, TV critic Maureen Ryan did a great interview piece with Mike Schur (of Parks & Rec/The Good Place) discussing the death of long-form TV in the streaming era. They explore how the longer seasons and longer runs of traditional broadcast/cable TV provided an opportunity to tell particular kinds of stories that you simply can’t when seasons are 8-10 episodes and series typically run 2-4 seasons (thanks Netflix).

One key thing we’ve all lost in this new era of highly condensed TV storytelling (and of prestige TV narrative styles)? The traditional (several season’s long) slow-burn/will-they-won’t-they romance. Not only is there simply no longer the time or space to write such romances, it has also come to be seen as hacky, manipulative, cheap, artistically impoverished, low-brow, a embarrassing vestige of the era before TV became art™.

Everybody is trying to be Fleabag now. No one wants to be Frasier. (”It’s really more like a 10 hour movie” they all like to brag)

Obviously TV still has romances, even ‘drawn out’ romances. But ‘drawn out’ in 2020 is like 2-3 seasons, maybe. More commonly it’s like half a season. Take Schitt’s Creek. The number of episodes between when David and Patrick first meet and when they first kiss? Seven. Seven episodes. Half a season. If you watched it live, it took less than 2 months for them to move from introducing that dynamic to consummating it. And I’m not bagging on Schitt’s Creek; I think the David/Patrick’s story is very lovely and well-written.

But Niles & Daphne (Fraiser) had to wait 7 years and over 150 episodes before they finally got there. Josh & Donna (The West Wing) had to wait 6+ years, and 145 episodes. Mulder & Scully (The X-Files) had to wait 7 seasons and 143 episodes. Booth & Bones had to wait...you see where I am going with this.

And my point is (and I can’t believe I never realized this explicitly until now): there has NEVER been a queer slow-burn/will-they-won’t-they romance of that type on TV ever. EVER.

I’m going to say that again, because I think it bares repeating:

There has never been a queer, slow-burn/will-they-won’t-they romance that fits the 100-150 episode paradigm of delayed gratification on TV.

Not ever.

I can’t think of ONE example Not a single, solitary one. And I know queer TV pretty well. Arguably the closest we’ve ever come is Legend of Korra, and that ran 50 episodes, a THIRD of the length of old school will-they-won’t-theys like Booth & Bones or Josh & Donna.

Queer people have had a fair number of canonical romances on TV by now, even fairly long running ones. But we never got a primary/front-and-center romance that you had to root for for 100+ episodes before you got any kind of canonical consummation.

That is a particular kind of TV experience that queer people and queer characters were just 100% shut out of until it was too late. And because of how the TV landscape has changed in the last 10 years, I don’t know that that opportunity will ever come back around in our lifetimes.

***

Dean and Castiel are/were a legacy of an earlier era of TV, an era that still contained the possibility for a will-they-won’t-they of that particular mold. There were other shows that could have also filled this gap at one time - Rizzoli & Isles, OUAT, House MD, etc. But one by one all of them were killed off, their queer romances unrequited, until Supernatural was the only one of its’ generation left standing.

And they should have acknowledged that they were a species about to become extinct.

There are plenty of other valid and compelling reasons Supernatural should have gone full Destiel, don’t get me wrong.

A) It would have been the most emotionally satisfying ending to the series and to those characters (and that would have been reason enough).

B) It would have stopped the manipulative queer-baiting of the (disproportionately queer) fanbase (and that would have been reason enough).

C) It would have been queer representation of middle-aged men, of bi men, of queers who came to their queerness later in life (and any/all of those would have been reason enough).

D) It could have been a glorious subversion of the bury your queers trope, considering how often they’ve died and been resurrected (and that would have been reason enough).

But point E) on this list is the reason this one hurts in a singular way that no one even appears to be acknowledging.

Almost all of the other wrongs and missed opportunities contained in this Supernatural debacle have the possibility of being rectified (at least to a degree) elsewhere. I can and I likely will get more bi male characters from TV as time goes on. I can and likely will get more middle-aged queer characters. I can and likely will get more queer characters coming to their queerness later in life, and starting queer romances later in life. I can and likely will get more queer characters who aren’t killed cheaply and prematurely. I can and likely will get more genre TV shows with sprawling myth arc plots that are resolved in a coherent, satisfying way. I can and likely will get Misha Collins and Jensen Ackles involved in other projects that value their work and their talents.

All of those other things are at the very least POSSIBLE, and many are even likely.

But a queer 100-150 episode slow-burn romance a la Mulder & Scully or Niles & Daphne or Booth & Bones? That is the one baton Supernatural dropped spectacularly that no one else even has the possibility of picking up again for the foreseeable future. (They don’t even write those types of romances for heterosexuals anymore!)

Seriously. It was a TV unicorn. And rather than letting it run wild and free, they stabbed it with a rusty nail.

***

Given the monumental shifts in the TV landscape that have occurred in the last decade, I don’t know that TV will ever go back to the slow-burn/will-they-won’t-they romance spanning 100-150 episodes. Today it is a miracle if you can get ANY show to last longer than 50 episodes in the first place.

And that is the piece of this that makes it feel (to me) like they murdered a unicorn.

Because queer people have gotten a lot of things from TV, and they will get a lot more as time goes on. But that one? That one could very well be a totally extinct species.

That is the larger missed opportunity here that has left this feeling especially hollow and destructive. That is the thing that makes me balk when people tell me to go watch Black Sails or Pose or whatever other prestige TV show is doing this representation ‘better.’ Because that’s not really the loss I am mourning here. I KNOW there is ‘better’ representation elsewhere.

But the will-they-won’t-they/slow-burn romance is a qualitatively unique thing that queer people literally just never got. Ever. There is no substitute, no alternate, no other show I can turn to with that kind of build-up and pay-off for a queer couple, and there probably won’t be in my lifetime. Not unless the TV industry undergoes another monumental evolution similar to the streaming revolution that shifts the incentives back to telling those types of stories again.

All those shows you want me to displace Supernatural with? None of them can give me the one thing I uniquely wanted (and could have gotten) from Supernatural. THAT ALTERNATE SHOW DOESN’T EXIST. It doesn’t exist. And I have no reason to hope it will ever exist in my lifetime.

So stop telling me to look somewhere else; you don’t understand what made this one a unicorn.

***

Addendum: The only other possible show that could perhaps fill this gap is It’s Always Sunny in Philadelphia (re: Mac/Dennis). But I’m hesitant to say it exactly meets that criteria, for a number of reasons:

1 - It’s far less serialized relative to Supernatural and (except for a handful of stand-alone episodes) very little of the story is grounded specifically in Dennis/Mac’s romantic dynamic (unlike SPN, where it is absolutely central to much of the narrative)

2 - IASIP is fundamentally satirically in nature/tone which makes it much harder to have genuine romantic pathos (not impossible, but harder)

3 - All the characters on IASIP are fundamentally crummy people who you aren’t exactly supposed to root for. Which doesn’t mean a romance between two of them can’t have its value/charm/worth but it’s not the same as when it is between characters who unequivocally deserve nice things/happy endings

#Supernatural #Destiel #queer representation #sorry this is long

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pawpunkao3 · 4 years ago

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Why I Think Video!Bdubs has BPD

To be clear- I don’t think IRL!Bdubs has BPD, nor do I claim this analysis is at all accurate to his real-world behavior. Instead, I want to analyse the choices Bdubs and the other hermits make in their SE7 videos and how these suggest that Bdubs has Borderline Personality Disorder. Let’s look at the signs of BPD and how Bdubs relates to them under the cut:

(Trigger warnings for discussion of self-harm, death with respawn, unhealthy relationships, and mental illness)

1. Fear of Abandonment

Bdubs is very clingy to his friends. With Scar and Keralis, he sucks up to them during collaborations with excessive complements, physical gifts, and time put into their projects, or projects they work on together. An example of this is is Bdubs’ enderpearl trap during the Turf War arc, when he put a lot of effort into a complicated redstone device and fully decorated dungeon (with lava!) just for a few words of praise from Scar. In both these cases, Bdubs sees his friends’ other friends as threats- he puts tons of effort into keeping Keralis away from Doc, and Scar’s claiming Cub as the Employee of the Month in the mayor arc clearly upsets Bdubs.

Bdubs also tries to keep his friends by asserting dominance. When working with the Boomers, Bdubs keeps a clear “leader” role, telling Impulse and Tango what to do and praising or berating them for their work as well as organizing all the jobs. This could be seen as an effort to keep them around by making them feel like they need his guidance, although it doesn’t work.

2. Unstable Relationships

Over the course of SE7, Bdubs has had a lot of “relationships” with the hermits (referring to hermits he has collaborated with regularly. All the hermits are already friends). At the beginning of the season, he was closest with Keralis as he tried to steal him away from Doc’s casino. Then, he founded the Boomers and collaborated with Impulse and Tango. After that, he started Scar’s mayoral campaign for him and stayed with him as a mayoral advisor, and recently he’s started working for Etho at Shade-E-E’s and joined Grian and Impulse in making secret bases. These relationships aren’t just one-off collaborations, but often last for three or more episodes in a row.

During these collaborations, Bdubs seems to switch between idolizing and despising his “favorite hermits”. For example, in his episode “A HUGE Development :: Hermitcraft #46″, Bdubs came across a shop Scar had made to sell land (similar to an abandoned business Scar started with Bdubs). Bdubs clearly felt betrayed at this and built his own realty business as revenge, stating “So he wants to go out on his own? I can go out on my own as well!”. However, later in the video Bdubs expresses positivity for Scar, saying “that’s what he gets for trapping sweet Scar” to Cub flying into a wall. Similar interactions occurred during the mayoral arc: Scar would wrong Bdubs by breaking his bed, making him sit on a lower seat than him, or treating him as lesser, and Bdubs would get angry, but quickly go back to adoring him.

Bdubs’ other relationships are similar. Etho makes Bdubs wear a pink uniform and puts him in danger from endermites, but Bdubs still goes out of his way to make Etho proud, verbally denying to himself his fear. Keralis takes all of Bdubs’ diamonds, and all Bdubs cares about is not losing him to Doc. And after a while, Bdubs seems to forget about his best friend and move on to a different person. Bdubs’ relationships are short, unstable, and constantly flipping between love and hate.

3. Unclear or Shifting Self-Image

Bdubs frequently plays up his own ego, praising himself and his builds excessively. A prime example of this is his Redstone With Bdubs! segments, where the main humor comes from his excessive proclamations of his genius despite not being terribly good at redstone.

While Bdubs does have highs, he does not necessarily have the extreme lows also linked with BPD. His obsessive attachment to friends whom he seems to worship despite their poor treatment of him could hint that he has low self-esteem, though.

4. Impulsive or Self-Destructive Behavior

Bdubs makes frequent impulsive decisions. According to the Hermitcraft Wiki, he has seven shops, plus his not yet added reality business, and his former realty business with Scar (Season 7 Shopping District). Although some hermits have nearly as many shops, Bdubs is less involved with his, often building on a whim and abandoning them quickly or building them with someone else before abandoning them to do all the work. This could show that his business endeavors are more impulsive than thought out.

Bdubs also made impulsive decisions in his feud with Doc. While most pranks on the Hermitcraft server are small and easily fixable, this prank war ended when Bdubs pranked Doc by accidentally blowing up a statue he’d worked very hard on (he and Keralis had intended for Doc to blow up the statue with a redstone device, but Keralis accidentally triggered it first).

Sometimes, Bdubs’ impulsive decisions get him in danger. Bdubs founded the Boomers, a group for blowing things up. During Boomers jobs, Bdubs frequently dies or is harmed, and he often insists on doing jobs without the help of Impulse or Tango (resulting in further danger to himself and lower quality work). (The Boomers)

5. Self Harm

Bdubs does not display anything that could be considered active self harm in his videos, unless you count his devotion to Scar despite the man’s seeming lack of care for him.

6. Extreme Emotional Swings

Bdubs appears to switch between emotions frequently in his videos. One moment, he’s serenely calm, the next angry, then nervous, then happy again in the span of a few minutes. These emotions are also notably more intense than the other hermits. While his editing and performance does play this up, the fact that the other hermits could make the same edits to their videos but choose not to makes Bdubs’ character stand out as especially emotionally unstable.

7. Chronic Feelings of Emptiness

Although Bdubs does not outwardly demonstrate feelings of emptiness, his devotion to Scar, the mayoral campaign, and the HEP Agency could be seen as an attempt to fill a void with the praise of others.

8. Explosive Anger

Bdubs sometimes gets explosively angry when with others. He gets very defensive over his height, yelling at anyone who even implies he is short, and also gets very angry when people refuse to let him sleep the moment the sun goes down. He was also very temperamental while working with the Boomers. However, Bdubs is patient with issues not involving other people, so it could be argued he doesn’t demonstrate this trait.

9. Paranoia or Feeling Out Of Touch with Reality

Bdubs does not display anything that could be considered paranoia or dissociation in his videos.

In order to be diagnosed with BPD, someone needs five out of nine traits, and for these traits to negatively impact them. Video!Bdubs demonstrates a fear of abandonment, unstable relationships, impulsive behavior, and extreme emotional swings, and may also demonstrate explosive anger and an unclear self-image depending on how one interprets his character. Regardless of whether he has enough traits to be diagnosed, Video!Bdubs is clearly suffering for them: his collaborations usually are less equitable than other hermits’, as he tries to cling to people that use him or boss around others.

Of course, though, the most valid reason to headcanon Bdubs as having BPD is Because I Said So.

#hermitcraft #hermit craft #bdubs #BDoubleO100 #bdoubleO #suicide mention

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tatticstudio55 · 4 years ago

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Jon and Dany – both beyond the Wall at the end?

DAY SEVEN (Sunday, August 2nd) Leadership | Free Choice | DoS: Royal Retirement / Passing the Torch

This is less meta-ish and borders more on the speculative side, but I’d like to discuss a Jon and Dany (potential) ending I’ve never seen anyone talk about before: them ending both beyond the Wall, living with the free folks/as free folks. So, basically, the ending Jon got on the show, but with Dany by his side. I would even go as far as to say that the showrunners might have considered it.

This is not by any means “my ideal” Jonerys ending. That would be Jon and Dany settling on Dragonstone with a bunch of targlings and wild dragons. I do not, alas, think this is where the story is going. I do not expect either (or both) of them on the IT either. On the other hand, an ending with them both beyond the Wall seems to me like it could work with the overall story. There is already some book evidence/foreshadowing pointing to Jon’s endgame there, notably in ASOS when he (forgive my French) “finds himself” beyond the Wall:

“On the edge of the haunted forest, where the tents had been, Jon found an oakwood stump and sat.

Ygritte wanted me to be a wildling. Stannis wants me to be the Lord of Winterfell. But what do I want? The sun crept down the sky to dip behind the Wall where it curved through the western hills. Jon watched as that towering expanse of ice took on the reds and pinks of sunset.

[…]

He wanted it, Jon knew then. He wanted it as much as he had ever wanted anything. I have always wanted it, he thought, guiltily. May the gods forgive me. It was a hunger inside him, sharp as a dragonglass blade. A hunger . . . he could feel it. It was food he needed, prey, a red deer that stank of fear or a great elk proud and defiant. He needed to kill and fill his belly with fresh meat and hot dark blood. His mouth began to water with the thought.

It was a long moment before he understood what was happening. When he did, he bolted to his feet. "Ghost?" He turned toward the wood, and there he came, padding silently out of the green dusk, the breath coming warm and white from his open jaws. "Ghost!" he shouted, and the direwolf broke into a run.

[…]

He had his answer then.” Jon XII, ASOS

Dany is more of a wild card, but even the show gave us SOME reasons to believe that D&D played with the idea at some point: the pregnancy bait, Dany’s comment in 7x07 about King’s Landing and how “constrictive” the Dragonpit felt, Dany’s “we could stay here a thousand years. No one would find us” line in 8x01. Most importantly, back when I was watching season 7, this is the impression I was getting (from the showrunners):

Dany is a good person at heart, but she would not make a good queen nor would she like being queen.

I do not wholly agree with this, especially if we are talking about bookDany, who would make – and is – a much better queen than she is given credit for, but it looked to me like this is where the show was going with her. Or, at least, this is the message they were trying to communicate. They were not trying to “hide” Dany’s dark turn from the audience by making her or trying to make her bad-good-bad-good-bad-good, they simply had another endgame in mind for the character. I do not want to make this about the show but had to get this out of the way.

Now onto bookDany:

A while ago, I posted a meta where I discussed a pattern in Daenerys’s story: twice she succeeded at something magical, highly dangerous and related to dragons, and twice after she ended up in a desertic environment, thirsting, starving and nearly dying from exposition. Following the rule of 3 (which is especially predominant in her arc), it will probably happen again and – since there is no Great Grass Sea in Westeros – the “desertic environment” swallowing her afterward will be the frozen lands beyond the Wall. It could mean that she will die there, but it could also mean that she will simply disappear there. Her fate could also be revealed to the reader while remaining unknown to most characters. This would fit with Dany’s current representation in the story so far: she is an enigma, a rumor; nobody really knows her whereabouts, who she is, what she is, what she wants, what she has, if she is even real.

There are numerous parallels to be drawn between Daenerys and Mance Rayder, which I covered here. I would love the irony of Dany coming to Westeros thinking she is reclaiming her family’s lands, only to settle in the only part that was never conquered by the Targaryen. There is the (disputable, ok, but) fact that the only region in all of the continent where dragons could turn up useful for tree planting would be beyond the Wall (so frozen soil can be thawed and warmed up for plants to grow there again). Martin hung a pretty riffle on the metaphorical Wall when Silverwing refused to fly across in Fire and Blood. There is this pattern of wildling women making up Jon’s romantic prospects; first a wildling “commoner” (Ygritte), then a wildling “princess” (Val), then a wildling “queen” (Dany, eventually, if this theory proves to be correct). So of course, you will ask –

If this is Martin’s intended ending, why couldn’t the d’s just go with it?

Well, because the d’s never gave Dany any incentive to go beyond the Wall, apart from a brief rescue mission back in season 7. If Dany must end up there, something has got to bring her there and the show scrapped or discarded all of it : no Lands of Always Winter, no curtain of light, no this, no that, no nothing. And once she gets there in the books, because I am quite sure she will, she will not come back. The North is Dany’s ultimate destination. No yoyoing back and forth North and South like what the show did. That was just dumb. Travel time and distances should mean something, even if you have dragons (plus, Dany’s armies would have to travel on foot, horseback or by boat, like everybody else). The closest of yoyoing we have ever gotten in asoiaf was probably with Catelyn, it spanned three books, and she never made it back North anyway.

Did the d’s consider going with that ending? They might just. The clues were certainly there (see above…) but at some point, they must have realized that it would not work with the hole they had dug themselves in.

Now about the elephant in the room

I know some people will think that Dany ending beyond the Wall does not make much sense for her story, which technically (so far) does not have much to do with the lands beyond the Wall. In a way, I agree. Some people would also find such an ending anticlimactic to her arc and a waste after everything she has learned about leadership and politics in Meereen. I also agree. On a watsonian level, an ending with, say, Dany as a queen in Westeros – I think it works. Of course, I do. Where it does not work is on a doyalist level. Dany already had her arc of becoming queen. She achieved that by the end of book 3. Then she had to learn all the nit and gritty and dirty work of ruling over the rubble of a corrupt system while trying to make the lives better for everyone. If Dany becomes queen in Westeros, the same thing will happen again. Different setting, different people, same story. Some people have criticized the underlying message of Dany’s fight against slavery as “only a preparation” for what comes next in Westeros, saying it would undermine the real value of Dany’s work in Essos. I agree. However, the same problem applies if Dany becomes queen in Westeros: then her time in Essos is reduced to a prop up, a preparation, as if ruling Essos were somewhat less important than ruling Westeros. Furthermore, I cannot imagine an ending where Dany, still in possession of significant military forces – significant enough to secure her a crown, anyway – could choose to settle in Westeros without being plagued with guilt over leaving Essos’s slaves behind. I am sorry, I just cannot.

This is also, I think, where part of the “Dany is not a peace time queen” mentality comes from. Dany will never be a peace time queen, not because she prefers war, or because she does not want peace, but because what she is trying to achieve, in these times and places, means a lifetime of war. You cannot undo and rebuild an entire system that is rotten at its core in a single lifetime (heck, even show!Tyrion said this to her, for what the show is worth now…), much less in a few years. Dany is not a peace time queen because she is not a queen that is interested in maintaining the statue quo. At least that is how her time in Meereen revealed her. Arya would not be a peace time queen either. Jon would not be a peace time king. They could never be, less they abandoned their ideals and their ethics for a more comfortable life.

Then you might say that an ending where Dany goes back to Essos works too. It does – once again, on a watsonian level. What is the problem with this on a doyalist level? It turns Dany into a deus ex machina, coming to Westeros just in time to save it, then leaving it right after, as if neither the Others, nor her had ever been there.

The two remaining options are: either she dies a queen in Westeros, most likely during the Great War, or… the queen, Daenerys Targaryen, dies, while Dany lives.

That means that all reasonable possibilities, or choices, to keep on fighting as a queen are taken from her. Maybe her forces were severely depleted during the Great War. Maybe her dragons died. Maybe both. Maybe her function, not as an individual, but as a character in a specific story called A song of ice and fire, was to destroy an old system (AND to inspire others to follow in her footsteps, ensure that her efforts were not in vain, that the first steps will not go wasted, that the work she started will be taken up by other peoples, and others after them, and others after), not to rebuild the new one. There is nothing inherently wrong with that. Frodo Baggins’ role in The Lord of the Rings was to destroy something evil. His gardener Sam was the one who planted the trees and went on to become a mayor afterward. One was a destroyer and the other was a builder, but in the end, they were both heroes.

Not to mention that Frodo did not die at the end. You could say that he went on to live beyond the Wall too.

#ADOS speculation #jonerysweek2020 #jonerysweek #jon snow #daenerys targaryen #asoiaf #jonerys #bookjonerys

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carmen-berzattos · 5 years ago

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why do you not like jane the virgin season5?

Ah JTV season 5... where does one begin with JTV season 5? The utter disaster. The NERVE to call that flaming mess their best season in promotions. The insanity of thinking this the best that show has offered us when it was their worsT season.

Let’s break this down, shall we?

1. Michael’s return: I was against the idea of them bringing back Michael from the very start. One of the reasons for that was that I didn’t like the implication that the only way to validate Jafael would be by her choosing Raf over Michael in a parallel situation, ‘cause guess what, that’s a crappy message. And makes it seem like whatever relationship one enters into after the tragic loss of a partner is lesser because they didn’t choose that new relationship over the old one, which is not at all something that you want to send to any audience. But my main reason was that I didn’t think they could pull it off. And guess what? I was right. His amnesia happening and I was like okay, but what the fork are you gonna make Jane insist he remembers her only to be like but lol I love Raf so bye. And then she does exactly that but not once does she or anyone else question the rightness of such actions? Everyone is so blase about it? And speaking of memory loss, memories are such a weighty SL to take on and rarely do shows get it right. So I wasn’t expecting JtV to get it right, really. But they still royally forked it up. Because Michael with no memories = Michael is a dick and I’m like???????????? Why???? One’s personality is vastly complex???? It doesn’t hinge on specific memories and experiences only? And even in the absence of the ability to recall specific things you still can have a visceral reaction to things through simple cognition and internalization of certain habitual patterns which has nothing to do with memories?

But, okay, fine, he’s back. He has no memories. He’s kind of a jerk. Fine. Okay. But then he gets his memories back and it has absolutely no bearing on anyone who is not Jane? Rogelio loved him? He was a part of the family for over 3 years? HELLO? Does no one else care about the implications of this beyond the godawful (at this point) love triangle? Where are the emotional stakes? The drama? The fact that they lost but didn’t lose this person and now he’s back and he fits back in but also doesn’t fit in all the worst places and it hurts and no one knows what to do with it? Who the fork care about the love triangle, this person was family and he DIED and then got back and then lost his memories and now he has them back oh my god stop just standing there. DO SOMETHING.

But okay, fine. He’s back. He has no memories. He’s kind of a jerk. He got his memories back and no one cares about it meaning anything except about the triangle. Okay, fine, I’ll roll with it. Now give us some juicy delicious drama for the triangle. But they don’t? Michael doesn’t at all react to her being with Rafael. He doesn’t lose his sh*t in any way about the trauma that he had to go through. He doesn’t have feelings of anger or resentment that he lost years of his life and now he’s back only to find that the love of his life has moved on. And no one is saying that he’d be right in those emotions, but he’s a person, yes? And sometimes you feel things that aren’t right or aren’t fair because that what emotions are like and that’s where all the drama is and I’m just absolutely bAFFELD? that?? they?? missed????? such??? obviously??? ripe?? material??? for?? heartbreak???? that would have made even the most die hard Jafael shippers cry????? How?????? AM I SUPPOSED TO TELL THEM HOW TO DO THEIR JOB?? Do I have to do everything myself to get it right? Not once does Michael react in any recognizably human, non-angelic way. He acts not like a person but a cardboard cut of a man who can do nothing but tout “I just want you to be happy” and it’s like????????????????? why??????????? bring????????????????????? this?????????????? storyline????????? if you will not take full advantage of one of its most obvious emotional stakes???? whyyyyyyyyyyyyyyyy?

2. Rafael: Micheal’s return inevitably leads us to the utter garbage that was Rafael’s characterization in this season. Fork me did we get forked seven different ways with how this was handled. First and foremost, Jennie Urman kept saying that it was a huge sacrifice of Raf to bring Michael back to Jane’s life and basically, this is the act, this is the incredible sacrifice that we are supposed to hold as the criteria for everything romantic and that’ll lead us to believe that Raf is the one and I’m like????? dude??? that was basic decency? I know it must have been painful but like..... he absolutely had to tell her he had absolutely no choice???? But no, GREAT SACRIFICE. Said as such so must be taken as such.

But okay, fine, whatever. Great sacrifice. But then what? Then he gets insecure. Which makes sense considering the whole situation about Michael before. But it’s brought up in a way that just makes him.... how do I put this nicely? Makes him a dick, tbf. And I’m like Jennie wants me to root for you but you’re crying about your pain and about wanting to be engaged to the woman whose world just turned upside down and I’m like????????????? Hello?????? Can you calm tf down for twO seconds and let her figure out her way??????????

But okay, fine, whatever. Great sacrifice. Then he’s a dick. It’s fine it makes sense that he’s so insecure. The ghost of the past has crept back up and he’s so damn afraid to lose everything that he ever wanted when he was so close to having it all. And people aren’t perfect and they don’t always react in a perfect way and that’s fine. AND this is a great opportunity to explore his insecurity! And finally put him through therapy! And finally have him move on past his self destructive behavior! So they kind of do that but in the most laughable way possible. So the moment that he breaks up with Jane could have actually been a great character development moment. And it is. Kind of. It’s a moment where he acknowledges that, unlike the first time where he went as far as to try and sabotage Michael’s career to take him out of the competition and win Jane over, this time around he’s not willing to live through that charade. He’s putting his own self preservation and making it easy for Jane by taking himself out of the equation altogether. So, he breaks up with her and we seem to be on the right track, barring the whole Mateo walking in on them situation (we will get to Mateo in a second). Sure, he has that momentary relapse in the following episode where he wants her back but it’s quickly done and he starts to take anti-depressants., And I’m like YES finally, getting to the good stuff! But then... THE WHOLE STORYLINE HAPPENS OFF-SCREEN. Do you know how ENRAGING it is that something so essential to Rafael’s arc in the last season happens completely off-screen? Not once do we see him go through therapy. Not once do we see his perspective. NOT ONCE. Not to mention it happens off-screen in the span of one episode which is like 2 days at most and I’m like????????? (ALSO, an aside to writers: As a person who suffers from depression, the healing is not in the medication, the healing is in the therapy sessions. The medication is important to curb your symptoms and lift up your mood and help your brain cope with the chemical nightmare happening there. But it doesn’t address the root cause that’s made you depressed. THAT happens in the sessions. So you can’t simply throw pills at the issue. That’s only a half solution)

But OKAY, FINE. Great sacrifice. Then he’s a dick, but it sort of kind of makes sense. And then he breaks up with her our of self preservation, and then depression that happens off-screen. But then... but then NONE of his past behavior is acknowledges or talked through. Jane doesn’t confront him about it. And then, when that conversation does come up when they decide to get married in city hall, it’s half baked and doesn’t really delve into root issues.

(I could talk about Rafael’s career, too, but I Do Not Have the Strength)

3. Jafael: Which brings me to Jafael *screams into a pillow*. So like, they’re happy by the end of season 4, and it looks like they’ll make it. And they’re about to get engaged and all. And then Michael comes back to throw a wrench in the plans. Because as Jennie Urman would have us believe, conflict and choosing each other can only happen in the context of a triangle. Heaven forbid that we come up with new storylines. ANYWAY. So all of the problems of early season are discussed in Raf’s section. But then, okay, Jane chooses Raf, she tells him that he’s the one for her and leaves Michael behind. And he’s like lol, nope, I don’t trust you no more. Which, okay, makes sense. If he’s so insecure and has been spiraling, it makes sense that he wouldn’t want to be with her right now. So I go like, yeah, okay, fair. And you guys need to figure your stuff out before you can get back into this relationship. Jane understands that she needs to win him over again and that doesn’t work and I’m like, yeah, that’s not the problem. Let’s talk about the real problem. But then they don’t? We, once again, do not get to see Rafael’s perspective, not once managing to experience what’s happening in his head. So we’re kind of just left in the dark, wondering what he’s thinking and how he’s dealing.

But, okay, fine, I’ll accept that this is not what we will be experiencing. But then once they reunite, surely they will address his trust issues. Right? RIGHT? Well, guess what, I am the forking goddamned motherforking fool. Absolutely NOTHING gets acknowledged. Their reunion is not prompted by a change that Rafael feels about his issues of trust, but rather just him remembering that he loves her. Which we know. The lack of love was never the issue. The issue was, has been, is about his insecurity and there is no reason for me to believe that this has been cured by absolutely no acknowledgement.

But fine, okay, I’ll accept all of this. Fine okay, he remembered how much he’s loved her and doesn’t have the strong will to use his head anymore. He just wants her back. But, surely, once they get back together they will march their asses to couple’s counseling and figure that shirt out, yes? RIGHT? But once again I am the forking goddamned motherforking fool. It is absolutely NOT what happens. Instead, they hurtle head first into their previous arrangements, as if the past few months, ripe with trauma and emotional distress has not at all happened. And, guess what? It DOES, in fact, become an issue, when Raf wants to pressure her into a city hall marriage because he’s afraid he’ll lose her again. And I’m sitting here like...????????/ you think one conversation where she promises and swears that she’s committed to him will actually solve things? An offhanded conversation that you had like three episodes before the finale and will absolutely not acknowledge after???? And I’m supposed to believe that, what, they’re cured? Saying the right words was never the issue, it’s internalizing them??? And marriage is no guarantor of you not losing a person???? You not feeling secure in a relationship will not disappear once a wedding happens?????? hELLO????

All of what is mentioned above about Jafael is also compounded by two other bullshirt factors in their writing for season 5: Mateo and sparks/romance.

The heavy involvement of Mateo in Jafael’s relationship and storyline has got to be one of the most baffling writing decisions of this season. First, let me clarify that I understand that this would justifiably and understandably be hard for Mateo. But Mateo’s direct involvement in the emotional conflict is just... no. I cannot fathom why they had him walk in on Jane and Rafael’s break up. Having him there to heighten Jane’s heartbreak actually undercuts Jafael because it becomes more about the loss of traditional, nuclear family bliss than about the couple itself. And the continued use for him as the epitome of tragedy for this couple not reuniting only serves to reinforce the idea. Making this more of a case where Mateo is heartbroken but reassured that this doesn’t mean that they’re no longer family would have been a lot more effective, IMO.

The other thing: Sparks and romance. Usually, in big couple moments on JtV, there tends to be a big moment, a big realization before a decision is made. And that realization is usually the result of build up from that same episode if not several ones. But, this season, those moments fell short. Jane’s realization was... okay, but wasn’t caused by anything externally that happened between her and Raf. Which, I guess is fair but misses the epic romance factor. But the one that was truly anti climactic is Rafael’s moment of realization that led to their reunion. This is IT, JtV, this is your main couple reuniting. This is your main male character fINALLY ready to reunite with the titular character. No time to hold back now. But then they did? Him realizing he loves her and wants to be with ehr still is merely through a list of pros and cons that he makes about someone else only to realize that it doesn’t matter. This person is Jane. And I’m like... but what changed, really? What shift happened? What did Jane do that made those sparks fly again??? How did he make the leap to actually deciding it’s time to throw caution to the wind. A huge part of this problem is that we didn’t see any of Raf’s point of view. So it’s near impossible for us as audience members to really follow his logic.

4. Cordueva: Now, of course, talk of Jafael naturally brings us to Michael and Jane. I don’t have much to say in their regard except they were done such a huge disservice. One of the things that makes my blood boil is how not only Jane’s book about Michael had to flop, but they also had to make it so that she couldn’t at all get the deal for the book if it weren’t for regelio’s intervention. And it’s such an unnecessary extra dig at the couple? Like why do that? Why not leave it at Jane’s book being a commercial flop? Commercial flops in the book industry are very very very common for a variety of reasons, especially for young authors. In fact, debut authors especially are unlikely to earn back their advances so like, it’s not the end of the world. And it’s hardly ever an indication of the quality of the book if it doesn’t sell well. Just fucking let it be what the fuck Jennie?

(I don’t have it in me to rant more about this couple though there is more that I can just reeeeeel over I’m sure)

5. Petra/Petramos: I’m kind of lumping these together because I do not have the strength. When it comes to Petra’s characterization itself, I think they did.. fine, for the most part. I think she had really good character development and has seemed to finally find her way through life in a balanced way, which i very much enjoyed. And her relationship with Jane, Raf, and the rest of the VIllanuevas became one of my favorite things by the end. Just so heart warming. The thing that puzzles me most about the characterization is her reaction to the triangle. The writers made her the writers’ stand in for Jafael which was a little ... eh? I know that she’s friends with both of them so she has a vested interest in the whole conversation, but it felt disingenuous in its representation. More of a way for the writers to validate their own approach to the couple than anything that seemed to naturally come from the character. Though, again, this is not really a huge deal, I guess, in the grand scheme of things.

Petramos is the one that really hurts. From the moment that we find out about Petra’s long lie to JR about the Anezka situation at the end of season 4, I knew we were in trouble for season 5. I couldn’t see how they could bounce back from that within the span of only 18 episodes that seemed already bloated with conflict and need to wrap up. I knew that while we were going to get some swoon worthy scenes between the two, the writing was going to be truly unsatisfying for the story. And that’s exactly what we ended up with: a half-baked initial reunion, followed by a quick relationship escalation, a brutal, traumatized and abrupt break-up, silence for the rest of the season, culminating in an endgame reunion that was anti-climactic and made no real sense. I have no reason to believe that what Petra and JR went through won’t happen again because the underlying cause that led them to a break-up never got fixed. And JR’s realization is far from effective because it happens off-screen, so there isn’t an arc that we’re following that would lead to the cathartic moment of their reunion. I’m glad we had that, don’t get me wrong. But it was not good enough.

6. Jane: This is the last character that I will go in-depth for. And even then, I’m not really sure how much strength I have for a deep-dive. I’m truly disheartened by the direction of Jane’s character by the end of the show. This is mainly due to the love triangle. Her SL was SO focused on the love triangle that she had very little else to do. And unlike season 1 and 2 where Jane’s love life worked in tandem with everything else that was happening in her life (being a mother to Mateo, her writing, her family, her friendships, her own inner world) none of these things truly shined in this last season. Her most satisfying interactions where with Petra. But all her other Storylines fell flat.

My main beef about this is her writing. What the actual fork happened to them this season when it comes to her writing? Jane has always been so good about incorporating Jane’s writing as a thread that holds the show together. They did it in entertaining and creative ways that weaved it seamlessly into the show without feeling too trite or too self conscious. But this last season just couldn’t seem to give a fork about Jane’s career as a writer anymore. Gone the magical realist elements stirred from her writing. Gone her alternate personas that she bounced ideas off of. Gone all the build up for the book. Instead, she writes the whole books, submits it, gets an agent, and gets a deal all within the span of like 3 episodes. There is no build up. It’s not thought through and has little bearing on emotional stakes beyond getting the deal. The show before has managed to somehow use Jane’s writing to propel forward storylines or plots. Sometimes, they were comedic goals (like her characters materializing and having conversations with her to offer insights, or the time when she messed up and sent a recording of her and Michael’s first time instead of her manuscript) or spurred on character relationships )the time when her story that’s based on Xo was accepted to be published and caused conflict) or were involved in a cathartic process for characters’ development (Her book about MIchael getting written and published). This last book that she writes feels so disjointed and has no bearing on anything else happening in the show beyond itself. It does not propel her into reconciliation with Rafael since it’s essentially the re-telling of their story. It doesn’t write into existence a different ending for the characters that would be interesting and imagine alternatives for their lives. It kind of just exist as a wink wink nudge nudge this is what we’re watching but how and WHY that’s important doesn’t really seem to matter all that much. And I’m like .. okay, cool.

The more disappointing thing about it is the lack of build up. For fork’s sake Rogelio’s telenovela had more build up than Jane’s book. That’s very confusing to me. Why would you not be so damn focused on this book that will bring Jane eventual success like it’s the thing that you’ve been building up to, because it IS the thing that you’ve been building up to?

Her wanting to give up after like three rejections is also confusing. Rejection is literally the name of the publishing game. Three rejections are nothing yo, you gotta be patient and have tough skin. And Jane does not seem like the kind of person who would not have that kind of resilience of that kind of faith in herself to become a hopeless mess after three (3) agents said no.

(Another thing that really salts my roots is how uninterested this show is in the publishing process. Absolutely nothing of what they did is realistic, starting from Jane’s belief that 3 rejections is catastrophic, to her agent putting the book on auction after ONE publisher is like idk :/ how would we sell it to the fact that Jane MAILS in her manuscript like we still live in the early 2000′s. Nearly no one accepts physical manuscripts anymore yo, it’s a near obsolete practice. Not to mention, the whole Michael must agree to the publication of this book is pretty bullsh*t, this is being published as a work of fiction. Not a memoir. There is no case for getting his permission because it’s a work of fiction, will be promoted and published as such, even if it says based on real life events, it’s still a work of fiction. Any problems that would arise out of a specific characterization done by the author will be personal problems between the writer and the Real Life person who does not enjoy the way they’re presented in the fiction. But from a legal stand point, it’s a work of fiction. Those characters belong to Jane because of that fact. But this is more of a personal beef because I work in the industry than anything else really)

The other SL that fell flat when it comes to Jane is the whole thing with Rose. That ending for Rose in itself was pretty anti climatic, but it is even more so by how completely ineffective Jane was in taking Rose down. I’m very confused by why the Narrator would say that Jane took down Rose. I’m like nah man she did shit.

7. Misc: These are just a few other scattered thoughts that made season 5 that much worse. Xo going to nursing school is confusing, out of character, and comes out of nowhere. Out of everything, honestly, this is not something that I imagined would be good for her. Alba and Jorge took so much time from everything else and were simply not that interesting. Jorge is kind of a dick, and Alba has nothing going for her beyond him this season. The other thing that I do not understand is how much time we spent with River Fields. I’m like but does anyone actually care? I know it’s Brooks Shield and all but I don’t give a damn about her emotional journey or her relationship with her daughter. Like just who cares, these realizations have no emotional bearings on our main cast why are we wasting time on this. The shoe-horned happy ending for Michael also felt disingenuous.

All in all, the last season of JtV was bad because the show forgot everything that it did well over the course of it’s earlier seasons. Thanks for coming to my Ted Talk

#jane the virgin #hello this is an essay #i did not think i'd muster the energy for this lengthy of a rant lmao

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aboveallarescuer · 5 years ago

Text

Dany being self-critical or at least self-aware

As I was rereading ASOIAF, I made it my goal to compile all* the book passages demonstrating either certain key attributes of Daenerys Targaryen (e.g. that she's compassionate and smart) or aspects of hers that are usually overstated (e.g. that she's ambitious and prophecy-driven). Doing such a task may seem exaggerated, but I'd argue it's not, for many, many misconceptions about Dany have become widespread in light of the show's final season's events (and even before).

It must be acknowledged that it can be tricky to reference, say, ADWD passages to counter-argument how she was depicted in season eight (which allegedly follows ADOS events). Dany will have had plenty of character development in the span of two books. However, whatever happens to Dany in the next two books, I would argue that there is more than enough material to conclude that her show counterpart was made to fall for flaws that she (for the most part) never had and actions that she (for the most part) would never take. (and that's not even considering the double standards and the contradictions with what had been shown from show!Dany up until then, but that's obviously out of the scope of these lists)

Another objection to the purpose of these lists is that Game of Thrones is different from A Song of Ice and Fire and should be analyzed on its own, which is a fair point. However, the show is also an adaptation of these books, which begs the questions: why did they change Dany's character? Why did they overfocus on negative traits of hers or depicted them as negative when they weren't supposed to be or gave her negative traits that were never hers to begin with? Another fact that undermines the show=/=books argument is that most people think that the show's ending will be the books', albeit only in broad strokes and in different circumstances. As a result, people's perception of Dany is inevitably influenced by the show, which is a shame.

I hope these lists can be useful for whoever wants to find book passages to defend (or even simply explore different facets of) Dany's character in metas or conversations.

*Well, at least all the passages that I could find in her chapters, which is no guarantee that the effort was perfectly executed, but I did my best.

Also, people could interpret certain passages differently and then come up with a different collection of passages if they ever attempted to make one, so I'm not saying that this list is completely objective (nor that there could ever be one).

Also, some passages have been cut short according to whether they were, IMO, relevant to the specific topic of the list they're in, so the context surrounding them may not always be clear (always read the books and use asearchoficeandfire). Many of them appear in different lists, sometimes fully referenced, sometimes not.

I listed the passages back to front because I felt doing so highlighted Dany's evolution better.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

To justify the existence of this list, let's see examples of widespread opinions that I feel misrepresent Daenerys Targaryen:

[I]f you are the person who has freed countless souls from chains -- when all those people never imagined freedom was a possibility -- you would feel you know better than everyone else what is best for them. (The Take)

And for Dany, the whole concept of "breaking the wheel" was always just about her taking more power so that she could dispense what she believed to be justice. It's a truly terrifying megalomania and one that I think she's had all along, we just didn't always see it. (x)

She wants to rule with love, not fear.

It doesn’t always go that way for her. And when it doesn’t — when the people she would rule don’t adore her — she tends to react fiercely. (x)

But Dany’s arc is not contrived or “coming out of nowhere” or “out of character”. This is precisely the character that she has shown herself to be from as far back as season two. She has made selfish and rash decisions one after another. She has failed to recognize the larger picture and the true needs of the people around her more times than can be chalked up to “youthful” mistakes. The seeds have been laid, the decisions have been made, and her thoughtlessness towards others and zeal for her own destiny have distorted her intentions. (x)

Dany’s true downfall is one of ego, impulse control and rage – and that is a human story, not a gendered story. She has become obsessed with destiny. It seems she doesn’t even have one except in helping set up others, more deserving, to lead. This certainly shows the folly of ego, presumption and dominion without listening and learning. (x)

She always has had a tyrant in the making kind of vibe. In addition to mass genocide, what do tyrants have in common? They all have a big ego, which needs to be massaged every now and then. Noticed how often Danny [sic] tells the story about the time she broke the chains and slaves rose up against their masters? It’s the narcissist in her, who not only loved it when people took her name as she passed through the crowd in Meereen after murdering the masters, but continues to tell that story to boost her own ego. (x)

Does Dany "[feels] [she] know[s] better than everyone else what is best for them"? Does Dany have a "truly terrifying megalomania"? Does Dany tend to "react fiercely" "when the people she would rule don’t adore her"? Are Dany's decisions "selfish and rash" in nature? Does Dany have problems with "ego, impulse control, rage, presumption and dominion without listening and learning"? Is Dany a "tyrant in the making" with a "narcissist in her" whose ego "needs to be massaged every now and then"?

I would argue these claims certainly cannot be made after reading the books (some can't even after watching the show's first 71 episodes, but the show can be all over the place and ... I digress), so take a look at these passages.

A Dance with Dragons

ADWD Daenerys X

Her tokar and veils she had abandoned in the pit, and her linen undertunic had never been made to withstand the hot days and cold nights of the Dothraki sea. Sweat and grass and dirt had stained it, and Dany had torn a strip off the hem to make a bandage for her shin. I must look a ragged thing, and starved, she thought, but if the days stay warm, I will not freeze.

Dany did not need a glass to know that she was filthy.

Once I dreamed of flying, she thought, and now I’ve flown, and dream of stealing eggs. That made her laugh. “Men are mad and gods are madder,” she told the grass, and the grass murmured its agreement.

If I stay here, I will die. I may be dying now. Would the horse god of the Dothraki part the grass and claim her for his starry khalasar, so she might ride the nightlands with Khal Drogo? In Westeros the dead of House Targaryen were given to the flames, but who would light her pyre here? My flesh will feed the wolves and carrion crows, she thought sadly, and worms will burrow through my womb.

You took Meereen, he told her, yet still you lingered. “To be a queen.”

You are a queen, her bear said. In Westeros. “It is such a long way,” she complained. “I was tired, Jorah. I was weary of war. I wanted to rest, to laugh, to plant trees and see them grow. I am only a young girl.”

Dany, starved, slid off his back and ate with him, ripping chunks of smoking meat from the dead horse with bare, burned hands. In Meereen I was a queen in silk, nibbling on stuffed dates and honeyed lamb, she remembered. What would my noble husband think if he could see me now? Hizdahr would be horrified, no doubt. But Daario ...

Daario would laugh, carve off a hunk of horsemeat with his arakh, and squat down to eat beside her.

ADWD Daenerys IX

Soon Dany was as clean as she was ever going to be.

How queer, the queen thought. They cheer me on the same plaza where I once impaled one hundred sixty-three Great Masters.

The day she wed Khal Drogo, the arakhs had flashed at her wedding feast, and men had died whilst others drank and mated. Life and death went hand in hand amongst the horselords, and a sprinkling of blood was thought to bless a marriage. Her new marriage would soon be drenched in blood. How blessed it would be.

“I suppose I must be thankful for small victories,” the queen said.

“One step, then the next, and soon we shall be running. Together we shall make a new Meereen.” The street ahead had finally cleared. “Shall we continue on?”

What could she do but nod? One step, then the next, but where is it I’m going?

Her lord husband stood and raised his hands. “Great Masters! My queen has come this day, to show her love for you, her people. By her grace and with her leave, I give you now your mortal art. Meereen! Let Queen Daenerys hear your love!”

Ten thousand throats roared out their thanks; then twenty thousand; then all. They did not call her name, which few of them could pronounce. “Mother!” they cried instead; in the old dead tongue of Ghis, the word was Mhysa! They stamped their feet and slapped their bellies and shouted, “Mhysa, Mhysa, Mhysa,” until the whole pit seemed to tremble. Dany let the sound wash over her. I am not your mother, she might have shouted, back, I am the mother of your slaves, of every boy who ever died upon these sands whilst you gorged on honeyed locusts. Behind her, Reznak leaned in to whisper in her ear, “Magnificence, hear how they love you!”

No, she knew, they love their mortal art.

Pale Qartheen, black Summer Islanders, copper-skinned Dothraki, Tyroshi with blue beards, Lamb Men, Jogos Nhai, sullen Braavosi, brindle-skinned half-men from the jungles of Sothoros—from the ends of the world they came to die in Daznak’s Pit.

“Magnificence, the people of Meereen have come to celebrate our union. You heard them cheering you. Do not cast away their love.”

“It was my floppy ears they cheered, not me. Take me from this abbatoir, husband.”

In Westeros the septons spoke of seven hells and seven heavens, but the Seven Kingdoms and their gods were far away. If she died here, Dany wondered, would the horse god of the Dothraki part the grass and claim her for his starry khalasar, so she might ride the nightlands beside her sun-and-stars? Or would the angry gods of Ghis send their harpies to seize her soul and drag her down to torment?

[...] In the smoldering red pits of Drogon’s eyes, Dany saw her own reflection. How small she looked, how weak and frail and scared. I cannot let him see my fear.

ADWD Daenerys VIII

No queen has clean hands, Dany told herself. She thought of Doreah, of Quaro, of Eroeh … of a little girl she had never met, whose name had been Hazzea. Better a few should die in the pit than thousands at the gates. This is the price of peace, I pay it willingly. If I look back, I am lost.

You saw me as defeated, Dany thought, and who am I to say that you were wrong?

“...Never trust a sellsword.”

Or a queen, thought Dany.

“The dragon has three heads,” Dany said when they were on the final flight. “My marriage need not be the end of all your hopes. I know why you are here.”

“For you,” said Quentyn, all awkward gallantry.

“No,” said Dany. “For fire and blood.”

Her voice echoed off the scorched stone walls. It sounded small—a girl’s voice, not the voice of a queen and conqueror, nor the glad voice of a new-made bride.

She could hear the dragons screaming as she led the boy back to the door, and see the play of light against the bricks, reflections of their fires. If I look back, I am lost.

I should never have taken him into my bed. He was only a sellsword, no fit consort for a queen, and yet …

I knew that all along, but I did it anyway.

“My queen?” said a soft voice in the darkness.

Dany flinched. “Who is there?”

“Only Missandei.” The Naathi scribe moved closer to the bed. “This one heard you crying.”

ADWD Daenerys VII

Meereenese seldom rode within their city walls. They preferred palanquins, litters, and sedan chairs, borne upon the shoulders of their slaves. “Horses befoul the streets,” one man of Zakh had told her, “slaves do not.” Dany had freed the slaves, yet palanquins, litters, and sedan chairs still choked the streets as before, and none of them floated magically through the air.

ADWD Daenerys VI

Their eyes followed her. Those who had the strength called out. “Mother … please, Mother … bless you, Mother …”

Bless me, Dany thought bitterly. Your city is gone to ash and bone, your people are dying all around you. I have no shelter for you, no medicine, no hope. Only stale bread and wormy meat, hard cheese, a little milk. Bless me, bless me.

What kind of mother has no milk to feed her children?

Dany gazed across the camp, to the many-colored brick walls of Meereen. The air was thick with flies and cries. “The gods have sent this pestilence to humble me.[”]

ADWD Daenerys V

The weaver raised her head. “Every day we told each other that the dragon queen was coming back.” The woman had thin lips and dull dead eyes, set in a pinched and narrow face. “Cleon had sent for you, it was said, and you were coming.”

He sent for me, thought Dany. That much is true, at least.

“Others blamed Daenerys,” said the weaver, “but more of us still loved you. ‘She is on her way,’ we said to one another. ‘She is coming at the head of a great host, with food for all.’”

I can scarce feed my own folk. If I had marched to Astapor, I would have lost Meereen.

“Even then some said that you were coming,” said the weaver. “They swore they had seen you mounted on a dragon, flying high above the camps of the Yunkai’i. Every day we looked for you.”

I could not come, the queen thought. I dare not.

“It is good that you have come,” she told the Astapori. “You will be safe in Meereen.”

The cobbler thanked her for that, and the old brickmaker kissed her foot, but the weaver looked at her with eyes as hard as slate. She knows I lie, the queen thought. She knows I cannot keep them safe. Astapor is burning, and Meereen is next.

You warned King Cleon against this war with Yunkai. The man was a fool, and his hands were red with blood.”

And are my hands any cleaner? She remembered what Daario had said—that all kings must be butchers, or meat.

“Cleon was the enemy of our enemy. If I had joined him at the Horns of Hazzat, we might have crushed the Yunkai’i between us.”

The Shavepate disagreed. “If you had taken the Unsullied south to Hazzat, the Sons of the Harpy—”

“I know. I know. It is Eroeh all over again.”

Brown Ben Plumm was puzzled. “Who is Eroeh?”

“A girl I thought I’d saved from rape and torment. All I did was make it worse for her in the end. And all I did in Astapor was make ten thousand Eroehs.”

“Your Grace could not have known—”

“I am the queen. It was my place to know.”

ADWD Daenerys IV

“Then heed me now and marry.”

[...] “Tell me, can this king puff his cheeks up and blow Xaro’s galleys back to Qarth? Can he clap his hands and break the siege of Astapor? Can he put food in the bellies of my children and bring peace back to my streets?”

“...In him the prophecies shall be fulfilled, and your enemies will melt away like snow."

He shall be the stallion that mounts the world. Dany knew how it went with prophecies. They were made of words, and words were wind.

“Why would you want to help me? For the crown?”

“...The Seven Kingdoms will never accept Hizdahr zo Loraq as king.”

“No more than Meereen will accept Daenerys Targaryen as queen. The Green Grace has the right of that. I need a king beside me, a king of old Ghiscari blood. Elsewise they will always see me as the uncouth barbarian who smashed through their gates, impaled their kin on spikes, and stole their wealth.”

“Bright queen,” he said, “you have grown more beautiful in my absence. How is this thing possible?”

The queen was accustomed to such praise, yet somehow the compliment meant more coming from Daario than from the likes of Reznak, Xaro, or Hizdahr.

What have I done? she thought, huddled in her empty bed. I have waited so long for him to come back, and I send him away. “He would make a monster of me,” she whispered, “a butcher queen.” But then she thought of Drogon far away, and the dragons in the pit. There is blood on my hands too, and on my heart. We are not so different, Daario and I. We are both monsters.

ADWD Daenerys III

“I want no slave. I free you.” His jeweled nose made a tempting target. This time Dany threw an apricot at him.

Xaro caught it in the air and took a bite. “Whence came this madness? Should I count myself fortunate that you did not free my own slaves when you were my guest in Qarth?”

I was a beggar queen and you were Xaro of the Thirteen, Dany thought, and all you wanted were my dragons. “Your slaves seemed well treated and content. It was not till Astapor that my eyes were opened. Do you know how Unsullied are made and trained?”

“Meereen is a free city of free men.”

“A poor city that once was rich. A hungry city that once was fat. A bloody city that once was peaceful.”

His accusations stung. There was too much truth in them. “Meereen will be rich and fat and peaceful once again, and free as well. Go to the Dothraki if you must have slaves.”

Groleo had been a most unhappy man since they had broken up his ship to build the siege engines that won Meereen for her. Dany had tried to console him by naming him her lord admiral, but it was a hollow honor; the Meereenese fleet had sailed for Yunkai when Dany’s host approached the city, so the old Pentoshi was an admiral without ships.

Ser Barristan went to one knee before her. “My queen, your realm has need of you. You are not wanted here, but in Westeros men will flock to your banners by the thousands, great lords and noble knights. ‘She is come,’ they will shout to one another, in glad voices. ‘Prince Rhaegar’s sister has come home at last.’”

“If they love me so much, they will wait for me.” Dany stood. “Reznak, summon Xaro Xhoan Daxos.”

ADWD Daenerys II

A shadow. A memory. No one. She was the blood of the dragon, but Ser Barristan had warned her that in that blood there was a taint. Could I be going mad? They had called her father mad, once. “I was praying,” she told the Naathi girl. “It will be light soon. I had best eat something, before court.”

She was the blood of the dragon. She could kill the Sons of the Harpy, and the sons of the sons, and the sons of the sons of the sons. But a dragon could not feed a hungry child nor help a dying woman’s pain. And who would ever dare to love a dragon?

All the dogs are just as guilty. The guilt …” The word caught in her throat. Hazzea, she thought, and suddenly she heard herself say, “I have to see the pit,” in a voice as small as a child’s whisper. “Take me down, ser, if you would.”

What sort of mother lets her children rot in darkness?

If I look back, I am doomed, Dany told herself … but how could she not look back? I should have seen it coming. Was I so blind, or did I close my eyes willfully, so I would not have to see the price of power?

Mother of dragons, Daenerys thought. Mother of monsters. What have I unleashed upon the world? A queen I am, but my throne is made of burned bones, and it rests on quicksand. Without dragons, how could she hope to hold Meereen, much less win back Westeros? I am the blood of the dragon, she thought. If they are monsters, so am I.

ADWD Daenerys I

A boy came, younger than Dany, slight and scarred, dressed up in a frayed grey tokar trailing silver fringe. His voice broke when he told of how two of his father’s household slaves had risen up the night the gate broke. One had slain his father, the other his elder brother. Both had raped his mother before killing her as well. The boy had escaped with no more than the scar upon his face, but one of the murderers was still living in his father’s house, and the other had joined the queen’s soldiers as one of the Mother’s Men. He wanted them both hanged.

I am queen over a city built on dust and death. Dany had no choice but to deny him. She had declared a blanket pardon for all crimes committed during the sack. Nor would she punish slaves for rising up against their masters.

When she told him, the boy rushed at her, but his feet tangled in his tokar and he went sprawling headlong on the purple marble. [...]“Enough, Belwas,” Dany called. [...] But as he left the boy looked back over his shoulder, and when she saw his eyes Dany thought, The Harpy has another Son.

A Storm of Swords

ASOS Daenerys VI

When she was dressed, Missandei brought her a polished silver glass so she could see how she looked. Dany stared at herself in silence. Is this the face of a conqueror? So far as she could tell, she still looked like a little girl.

All my victories turn to dross in my hands, she thought. Whatever I do, all I make is death and horror. When word of what had befallen Astapor reached the streets, as it surely would, tens of thousands of newly freed Meereenese slaves would doubtless decide to follow her when she went west, for fear of what awaited them if they stayed ... yet it might well be that worse would await them on the march. Even if she emptied every granary in the city and left Meereen to starve, how could she feed so many? The way before her was fraught with hardship, bloodshed, and danger. Ser Jorah had warned her of that. He’d warned her of so many things ... he’d ... No, I will not think of Jorah Mormont. Let him keep a little longer.

“The city bleeds. Dead men rot unburied in the streets, each pyramid is an armed camp, and the markets have neither food nor slaves for sale. And the poor children! King Cleaver’s thugs have seized every highborn boy in Astapor to make new Unsullied for the trade, though it will be years before they are trained.”

The thing that surprised Dany most was how unsurprised she was. She found herself remembering Eroeh, the Lhazarene girl she had once tried to protect, and what had happened to her. It will be the same in Meereen once I march, she thought. The slaves from the fighting pits, bred and trained to slaughter, were already proving themselves unruly and quarrelsome. They seemed to think they owned the city now, and every man and woman in it. Two of them had been among the eight she’d hanged. There is no more I can do, she told herself.

“I will admit you helped win me this city ...”

Ser Jorah’s mouth tightened. “We won you this city. We sewer rats.”

“Be quiet,” she said again ... though there was truth to what he said.

“Bring me the book I was reading last night.” She wanted to lose herself in the words, in other times and other places. The fat leather-bound volume was full of songs and stories from the Seven Kingdoms. Children’s stories, if truth be told; too simple and fanciful to be true history. All the heroes were tall and handsome, and you could tell the traitors by their shifty eyes. Yet she loved them all the same. Last night she had been reading of the three princesses in the red tower, locked away by the king for the crime of being beautiful.

But Daario is right, I shouldn’t have banished him. I should have kept him, or I should have killed him. She played at being a queen, yet sometimes she still felt like a scared little girl. Viserys always said what a dolt I was. Was he truly mad? She closed the book. She could still recall Ser Jorah, if she wished. Or send Daario to kill him.

That night her handmaids brought her lamb, with a salad of raisins and carrots soaked in wine, and a hot flaky bread dripping with honey. She could eat none of it. Did Rhaegar ever grow so weary? she wondered. Did Aegon, after his conquest?

“Aegon the Conqueror brought fire and blood to Westeros, but afterward he gave them peace, prosperity, and justice. But all I have brought to Slaver’s Bay is death and ruin. I have been more khal than queen, smashing and plundering, then moving on.”

“There is nothing to stay for,” said Brown Ben Plumm.

“Your Grace, the slavers brought their doom on themselves,” said Daario Naharis.

“You have brought freedom as well,” Missandei pointed out.

“Freedom to starve?” asked Dany sharply. “Freedom to die? Am I a dragon, or a harpy?” Am I mad? Do I have the taint?

“A dragon,” Ser Barristan said with certainty. “Meereen is not Westeros, Your Grace.”

“But how can I rule seven kingdoms if I cannot rule a single city?” He had no answer to that. Dany turned away from them, to gaze out over the city once again. “My children need time to heal and learn. My dragons need time to grow and test their wings. And I need the same. I will not let this city go the way of Astapor. I will not let the harpy of Yunkai chain up those I’ve freed all over again.” She turned back to look at their faces. “I will not march.”

“What will you do then, Khaleesi?” asked Rakharo.

“Stay,” she said. “Rule. And be a queen.”

ASOS Daenerys V

Balerion floated nearest; the great cog once known as Saduleon, her sails furled. Further out were the galleys Meraxes and Vhagar, formerly Joso’s Prank and Summer Sun. They were Magister Illyrio’s ships, in truth, not hers at all, and yet she had given them new names with hardly a thought.

Many of the freedmen believed there was good fortune in her touch. If it helps give them courage, let them touch me, she thought. There are hard trials yet ahead ...

“Your Grace.” Arstan knelt. “I am an old man, and shamed. He should never have gotten close enough to seize you. I was lax. I did not know him without his beard and hair.”

“No more than I did.”

ASOS Daenerys III

Arstan Whitebeard held his tongue as well, when Dany swept by him on the terrace. He followed her down the steps in silence, but she could hear his hardwood staff tap tapping on the red bricks as they went. She did not blame him for his fury. It was a wretched thing she did. The Mother of Dragons has sold her strongest child. Even the thought made her ill.

Dany fed her dragons as she always did, but found she had no appetite herself. She cried awhile, alone in her cabin, then dried her tears long enough for yet another argument with Groleo.

[...] The anger burned the grief and fear from her, for a few hours at the least.

If I look back I am lost, Dany told herself the next morning as she entered Astapor through the harbor gates. She dared not remind herself how small and insignificant her following truly was, or she would lose all courage.

Dany mounted her silver. She could feel her heart thumping in her chest. She felt desperately afraid. Was this what my brother would have done?

ASOS Daenerys II

“Yet I must have some army,” Dany said. “The boy Joffrey will not give me the Iron Throne for asking politely.”

“When the day comes that you raise your banners, half of Westeros will be with you,” Whitebeard promised. “Your brother Rhaegar is still remembered, with great love.”

“And my father?” Dany said.

The old man hesitated before saying, “King Aerys is also remembered. He gave the realm many years of peace. Your Grace, you have no need of slaves. Magister Illyrio can keep you safe while your dragons grow, and send secret envoys across the narrow sea on your behalf, to sound out the high lords for your cause.”

“Those same high lords who abandoned my father to the Kingslayer and bent the knee to Robert the Usurper?”

“Even those who bent their knees may yearn in their hearts for the return of the dragons.”

“May,” said Dany. That was such a slippery word, may. In any language.

[“]So tell me, why is that ugly harpy not sitting beside the godsway in Vaes Dothrak among the other stolen gods?”

“You have a dragon’s eye, Khaleesi, that’s plain to see.”

“I wanted an answer, not a compliment.”

A Clash of Kings

ACOK Daenerys V

Jhiqui had braided her hair Dothraki-fashion, and fastened a silver bell to the end of the braid. “I have won no victories,” she tried telling her handmaid when the bell tinkled softly.

Jhiqui disagreed. “You burned the maegi in their house of dust and sent their souls to hell.”

That was Drogon’s victory, not mine, Dany wanted to say, but she held her tongue. The Dothraki would esteem her all the more for a few bells in her hair.

Pale men in dusty linen skirts stood beneath arched doorways to watch them pass. They know who I am, and they do not love me. Dany could tell from the way they looked at her.

It was not by choice that she sought the waterfront. She was fleeing again. Her whole life had been one long flight, it seemed. She had begun running in her mother’s womb, and never once stopped. How often had she and Viserys stolen away in the black of night, a bare step ahead of the Usurper’s hired knives? But it was run or die. Xaro had learned that Pyat Pree was gathering the surviving warlocks together to work ill on her.

“...Give me a son, my sweet song of joy!”

Give you a dragon, you mean. “I will not wed you, Xaro.” His face had grown cold at that. “Then go.”

“But where?”

“Somewhere far from here.”

Dany would get no help from the Thirteen, the Tourmaline Brotherhood, or the Ancient Guild of Spicers.

Sailors, dockworkers, and merchants alike gave way before her, not knowing what to make of this slim young girl with silver-gold hair who dressed in the Dothraki fashion and walked with a knight at her side.

“Sheath your steel, blood of my blood,” said Dany, “this man comes to serve me. Belwas, you will accord all respect to my people, or you will leave my service sooner than you’d wish, and with more scars than when you came.”

The gap-toothed smile faded from the giant’s broad brown face, replaced by a confused scowl. Men did not often threaten Belwas, it would seem, and less so girls a third his size.

ACOK Daenerys IV

Her voice was no more than a whisper, almost as faint as theirs.

ACOK Daenerys III

The drapes kept out the dust and heat of the streets, but they could not keep out disappointment. Dany climbed inside wearily, glad for the refuge from the sea of Qartheen eyes.

“I see a deep sadness written upon your face, my light of love.” He offered her a goblet. “Could it be the sadness of a lost dream?”

“A dream delayed, no more.” [...] The Pureborn were notorious for offering poisoned wine to those they thought dangerous, but they had not given Dany so much as a cup of water. They never saw me for a queen, she thought bitterly. I was only an afternoon’s amusement, a horse girl with a curious pet.

Yet the men who sat in them seemed so listless and world-weary that they might have been asleep. They listened, but they did not hear, or care, she thought. They are Milk Men indeed. They never meant to help me. They came because they were curious. They came because they were bored, and the dragon on my shoulder interested them more than I did.

“Tell me the words of the Pureborn,” prompted Xaro Xhoan Daxos. “Tell me what they said to sadden the queen of my heart.”

“They said no.” The wine tasted of pomegranates and hot summer days. “They said it with great courtesy, to be sure, but under all the lovely words, it was still no.”

“Did you flatter them?”

“Shamelessly.”

“Did you weep?”

“The blood of the dragon does not weep,” she said testily.

Xaro sighed. “You ought to have wept.” The Qartheen wept often and easily; it was considered a mark of the civilized man. “The men we bought, what did they say?”

“Mathos said nothing. Wendello praised the way I spoke. The Exquisite refused me with the rest, but he wept afterward.”

“Alas, that Qartheen should be so faithless.” Xaro was not himself of the Pureborn, but he had told her whom to bribe and how much to offer. “Weep, weep, for the treachery of men.”

Dany would sooner have wept for her gold. The bribes she’d tendered to Mathos Mallarawan, Wendello Qar Deeth, and Egon Emeros the Exquisite might have bought her a ship, or hired a score of sellswords.

The crown was the only offering she’d kept. The rest she sold, to gather the wealth she had wasted on the Pureborn. Xaro would have sold the crown too—the Thirteen would see that she had a much finer one, he swore—but Dany forbade it. “Viserys sold my mother’s crown, and men called him a beggar. I shall keep this one, so men will call me a queen.” And so she did, though the weight of it made her neck ache.

Yet even crowned, I am a beggar still, Dany thought. I have become the most splendid beggar in the world, but a beggar all the same. She hated it, as her brother must have. All those years of running from city to city one step ahead of the Usurper’s knives, pleading for help from archons and princes and magisters, buying our food with flattery. He must have known how they mocked him. Small wonder he turned so angry and bitter. In the end it had driven him mad. It will do the same to me if I let it. Part of her would have liked nothing more than to lead her people back to Vaes Tolorro, and make the dead city bloom. No, that is defeat. I have something Viserys never had. I have the dragons. The dragons are all the difference.

“The Arbor makes the best wine in the world,” Dany declared. Lord Redwyne had fought for her father against the Usurper, she remembered, one of the few to remain true to the last. Will he fight for me as well? There was no way to be certain after so many years.

“I mean to sail to Westeros, and drink the wine of vengeance from the skull of the Usurper.”

[...] “Will nothing turn you from this madness?”

“Nothing,” she said, wishing she was as certain as she sounded.

Even so, it would be years before they were large enough to take to war. And they must be trained as well, or they will lay my kingdom waste. For all her Targaryen blood, Dany had not the least idea of how to train a dragon.

ACOK Daenerys II

Dany felt shabby and barbaric as she rode past them in her lionskin robe with black Drogon on one shoulder. Her Dothraki called the Qartheen “Milk Men” for their paleness, and Khal Drogo had dreamed of the day when he might sack the great cities of the east. She glanced at her bloodriders, their dark almond-shaped eyes giving no hint of their thoughts. Is it only the plunder they see? she wondered. How savage we must seem to these Qartheen.

“...The Thirteen will come to do you homage, and all the great of Qarth.”

All the great of Qarth will come to see my dragons, Dany thought, yet she thanked Xaro for his kindness before she sent him on his way.

The Usurper will kill you, sure as sunrise, Mormont had said. Robert had slain her gallant brother Rhaegar, and one of his creatures had crossed the Dothraki sea to poison her and her unborn son. They said Robert Baratheon was strong as a bull and fearless in battle, a man who loved nothing better than war. And with him stood the great lords her brother had named the Usurper’s dogs, cold-eyed Eddard Stark with his frozen heart, and the golden Lannisters, father and son, so rich, so powerful, so treacherous.

How could she hope to overthrow such men? When Khal Drogo had lived, men trembled and made him gifts to stay his wrath. If they did not, he took their cities, wealth and wives and all. But his khalasar had been vast, while hers was meager. Her people had followed her across the red waste as she chased her comet, and would follow her across the poison water too, but they would not be enough. Even her dragons might not be enough. Viserys had believed that the realm would rise for its rightful king ... but Viserys had been a fool, and fools believe in foolish things.

Her doubts made her shiver.

“The high lords have always fought. Tell me who’s won and I’ll tell you what it means. Khaleesi, the Seven Kingdoms are not going to fall into your hands like so many ripe peaches. You will need a fleet, gold, armies, alliances—”

“All this I know.” She took his hands in hers and looked up into his dark suspicious eyes.

Sometimes he thinks of me as a child he must protect, and sometimes as a woman he would like to bed, but does he ever truly see me as his queen?

ACOK Daenerys I

“...Ten thousand warriors went with him. You have a hundred.”

No, Dany thought. I have four. The rest are women, old sick men and boys whose hair has never been braided.

A Game of Thrones

AGOT Daenerys X

She could feel the eyes of the khalasar on her as she entered her tent. The Dothraki were muttering and giving her strange sideways looks from the corners of their dark almond eyes. They thought her mad, Dany realized. Perhaps she was. She would know soon enough. If I look back I am lost.

AGOT Daenerys VIII

Trembling, her eyes full of sudden tears, Dany turned away from them. He fell from his horse! It was so, she had seen it, and the bloodriders, and no doubt her handmaids and the men of her khas as well. And how many more? They could not keep it secret, and Dany knew what that meant. A khal who could not ride could not rule, and Drogo had fallen from his horse.

“We must bathe him,” she said stubbornly. She must not allow herself to despair.

“I will not leave him,” she said stubbornly, miserably. She took his hand again. “I will not.”

“That one means you no good, Princess,” Mormont said. “The Dothraki say a man and his bloodriders share one life, and Qotho sees it ending. A dead man is beyond fear.”

“No one has died,” Dany said. “Ser Jorah, I may have need of your blade. Best go don your armor.” She was more frightened than she dared admit, even to herself.

AGOT Daenerys VI

Dany was near tears as they carried her back. The taste in her mouth was one she had known before: fear. For years she had lived in terror of Viserys, afraid of waking the dragon. This was even worse. It was not just for herself that she feared now, but for her baby. He must have sensed her fright, for he moved restlessly inside her. Dany stroked the swell of her belly gently, wishing she could reach him, touch him, soothe him.

AGOT Daenerys IV

His fingers dug into her arm painfully and for an instant Dany felt like a child again, quailing in the face of his rage. She reached out with her other hand and grabbed the first thing she touched, the belt she’d hoped to give him, a heavy chain of ornate bronze medallions. She swung it with all her strength.

AGOT Daenerys III

“Hit her, Mormont. Hurt her. Your king commands it. Kill these Dothraki dogs and teach her.”

The exile knight looked from Dany to her brother; she barefoot, with dirt between her toes and oil in her hair, he with his silks and steel. Dany could see the decision on his face. “He shall walk, Khaleesi,” he said.

“Have you forgotten who you are? Look at you. Look at you!”

Dany did not need to look. She was barefoot, with oiled hair, wearing Dothraki riding leathers and a painted vest given her as a bride gift. She looked as though she belonged here. Viserys was soiled and stained in city silks and ringmail.

Her supper was a simple meal of fruit and cheese and fry bread, with a jug of honeyed wine to wash it down. “Doreah, stay and eat with me,” Dany commanded when she sent her other handmaids away. The Lysene girl had hair the color of honey, and eyes like the summer sky. She lowered those eyes when they were alone. “You honor me, Khaleesi,” she said, but it was no honor, only service. Long after the moon had risen, they sat together, talking.

AGOT Daenerys II

There are no more dragons, Dany thought, staring at her brother, though she did not dare say it aloud.

“What should I do?” she asked Illyrio.

It was Ser Jorah Mormont who answered. “Take the reins and ride. You need not go far.”

Nervously Dany gathered the reins in her hands and slid her feet into the short stirrups. She was only a fair rider; she had spent far more time traveling by ship and wagon and palanquin than by horseback. Praying that she would not fall off and disgrace herself, she gave the filly the lightest and most timid touch with her knees.

And for the first time in hours, she forgot to be afraid. Or perhaps it was for the first time ever.

AGOT Daenerys I

Her brother held the gown up for her inspection. “This is beauty. Touch it. Go on. Caress the fabric.”

Dany touched it. The cloth was so smooth that it seemed to run through her fingers like water. She could not remember ever wearing anything so soft. It frightened her. She pulled her hand away. “Is it really mine?”

“A gift from the Magister Illyrio,” Viserys said, smiling. Her brother was in a high mood tonight. “The color will bring out the violet in your eyes. And you shall have gold as well, and jewels of all sorts. Illyrio has promised. Tonight you must look like a princess.”

A princess, Dany thought. She had forgotten what that was like. Perhaps she had never really known. “Why does he give us so much?” she asked. “What does he want from us?” For nigh on half a year, they had lived in the magister’s house, eating his food, pampered by his servants. Dany was thirteen, old enough to know that such gifts seldom come without their price, here in the free city of Pentos.

“Illyrio is no fool,” Viserys said. He was a gaunt young man with nervous hands and a feverish look in his pale lilac eyes. “The magister knows that I will not forget my friends when I come into my throne.”

Dany said nothing. Magister Illyrio was a dealer in spices, gemstones, dragonbone, and other, less savory things. He had friends in all of the Nine Free Cities, it was said, and even beyond, in Vaes Dothrak and the fabled lands beside the Jade Sea. It was also said that he’d never had a friend he wouldn’t cheerfully sell for the right price. Dany listened to the talk in the streets, and she heard these things, but she knew better than to question her brother when he wove his webs of dream. His anger was a terrible thing when roused. Viserys called it “waking the dragon.”

Somewhere beyond the sunset, across the narrow sea, lay a land of green hills and flowered plains and great rushing rivers, where towers of dark stone rose amidst magnificent blue-grey mountains, and armored knights rode to battle beneath the banners of their lords. The Dothraki called that land Rhaesh Andahli, the land of the Andals. In the Free Cities, they talked of Westeros and the Sunset Kingdoms. Her brother had a simpler name. “Our land,” he called it. The words were like a prayer with him. If he said them enough, the gods were sure to hear. “Ours by blood right, taken from us by treachery, but ours still, ours forever. You do not steal from the dragon, oh, no. The dragon remembers.”

And perhaps the dragon did remember, but Dany could not. She had never seen this land her brother said was theirs, this realm beyond the narrow sea. These places he talked of, Casterly Rock and the Eyrie, Highgarden and the Vale of Arryn, Dorne and the Isle of Faces, they were just words to her. Viserys had been a boy of eight when they fled King’s Landing to escape the advancing armies of the Usurper, but Daenerys had been only a quickening in their mother’s womb.

Yet sometimes Dany would picture the way it had been, so often had her brother told her the stories. The midnight flight to Dragonstone, moonlight shimmering on the ship’s black sails. Her brother Rhaegar battling the Usurper in the bloody waters of the Trident and dying for the woman he loved. The sack of King’s Landing by the ones Viserys called the Usurper’s dogs, the lords Lannister and Stark. Princess Elia of Dorne pleading for mercy as Rhaegar’s heir was ripped from her breast and murdered before her eyes. The polished skulls of the last dragons staring down sightlessly from the walls of the throne room while the Kingslayer opened Father’s throat with a golden sword.

She had been born on Dragonstone nine moons after their flight, while a raging summer storm threatened to rip the island fastness apart. They said that storm was terrible. The Targaryen fleet was smashed while it lay at anchor, and huge stone blocks were ripped from the parapets and sent hurtling into the wild waters of the narrow sea. Her mother had died birthing her, and for that her brother Viserys had never forgiven her.

She did not remember Dragonstone either. They had run again, just before the Usurper’s brother set sail with his new-built fleet. By then only Dragonstone itself, the ancient seat of their House, had remained of the Seven Kingdoms that had once been theirs. It would not remain for long. [...]

They had wandered since then, from Braavos to Myr, from Myr to Tyrosh, and on to Qohor and Volantis and Lys, never staying long in any one place. Her brother would not allow it. The Usurper’s hired knives were close behind them, he insisted, though Dany had never seen one.

At first the magisters and archons and merchant princes were pleased to welcome the last Targaryens to their homes and tables, but as the years passed and the Usurper continued to sit upon the Iron Throne, doors closed and their lives grew meaner. Years past they had been forced to sell their last few treasures, and now even the coin they had gotten from Mother’s crown had gone. In the alleys and wine sinks of Pentos, they called her brother “the beggar king.” Dany did not want to know what they called her.

Last of all came the collar, a heavy golden torc emblazoned with ancient Valyrian glyphs.

“Now you look all a princess,” the girl said breathlessly when they were done. Dany glanced at her image in the silvered looking glass that Illyrio had so thoughtfully provided. A princess, she thought, but she remembered what the girl had said, how Khal Drogo was so rich even his slaves wore golden collars. She felt a sudden chill, and gooseflesh pimpled her bare arms.

Dany could smell the stench of Illyrio’s pallid flesh through his heavy perfumes.

Her brother, sprawled out on his pillows beside her, never noticed. His mind was away across the narrow sea. “We won’t need his whole khalasar,” Viserys said. His fingers toyed with the hilt of his borrowed blade, though Dany knew he had never used a sword in earnest. “Ten thousand, that would be enough, I could sweep the Seven Kingdoms with ten thousand Dothraki screamers. The realm will rise for its rightful king. Tyrell, Redwyne, Darry, Greyjoy, they have no more love for the Usurper than I do. The Dornishmen burn to avenge Elia and her children. And the smallfolk will be with us. They cry out for their king.” He looked at Illyrio anxiously. “They do, don’t they?”

“They are your people, and they love you well,” Magister Illyrio said amiably. “In holdfasts all across the realm, men lift secret toasts to your health while women sew dragon banners and hide them against the day of your return from across the water.” He gave a massive shrug. “Or so my agents tell me.”

Dany had no agents, no way of knowing what anyone was doing or thinking across the narrow sea, but she mistrusted Illyrio’s sweet words as she mistrusted everything about Illyrio. Her brother was nodding eagerly, however. “I shall kill the Usurper myself,” he promised, who had never killed anyone, “as he killed my brother Rhaegar. And Lannister too, the Kingslayer, for what he did to my father.”

“That would be most fitting,” Magister Illyrio said. Dany saw the smallest hint of a smile playing around his full lips, but her brother did not notice. Nodding, he pushed back a curtain and stared off into the night, and Dany knew he was fighting the Battle of the Trident once again.

Magister Illyrio’s words were honey. “Many important men will be at the feast tonight. Such men have enemies. The khal must protect his guests, yourself chief among them, Your Grace. No doubt the Usurper would pay well for your head.”

“Oh, yes,” Viserys said darkly. “He has tried, Illyrio, I promise you that. His hired knives follow us everywhere. I am the last dragon, and he will not sleep easy while I live.”

The palanquin slowed and stopped. The curtains were thrown back, and a slave offered a hand to help Daenerys out. His collar, she noted, was ordinary bronze.

#daenerys targaryen #a dance with dragons #a storm of swords #a clash of kings #a game of thrones #dany passages

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rwby-redux · 5 years ago

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Preface

RWBY is the breakthrough anime web series created by the late Monty Oum of Rooster Teeth. Originally teased on November 5th, 2012, and officially debuted July 18th, 2013, the series follows the journeys of four young women enrolled in an academy that trains monster-slaying warriors known as Huntsmen. Set in the fictional world of Remnant, the story initially focuses on the surface-level plot of fighting against humanity’s ancient adversary, the ever-present Creatures of Grimm; over time, it becomes apparent that things aren’t what they seem, as the cast slowly begins to connect a string of heists committed by a criminal syndicate with the violent acts of a terrorist cell. The series is aired weekly on Rooster Teeth’s website, with its main arcs spanning 12 – 16 episodes per volume. In the years following the show’s initial release, RWBY has spawned numerous merchandise and related media, including two spin-off shows, multiple side-stories published as mangas, two standalone books, three mobile games, a behind-the-scenes artbook, and OSTs for every volume to date.

As of Volume 7 there are 98 episodes in total with a collective runtime of 18:52:00, or approximately 1,132 minutes, with more episodes and side content underway.

At best, they’re visually interesting; at worst, they’re disappointing.

Let me take a second to backtrack before the lynch mob starts to sharpen its pitchforks. The series deserves much of the praise that it’s gotten. RWBY was the first American-produced anime to be released in Japan (and if you’re a fan of anime, you know how insane those words sound). The 3D models and animation from Volume 4 onward are breathtakingly stunning, and even before the show made the leap from Poser to Maya, the fight sequences managed to be equally creative and entertaining. The show was nominated for and received multiple Streamy Awards, and was awarded Best Animated Series by the International Academy of Web Television. The Volume 1 soundtrack reached number one on iTunes, beating out the soundtrack for The Hunger Games: Catching Fire. Such is RWBY’s (and Rooster Teeth’s) reputation that it managed to attract the attention of, and later bring on, industry veterans and vocal legends such as Jen Taylor, Josh Grelle, and Aaron Dismuke.

That’s to say nothing of the fandom this franchise has amassed, of kids, teenagers, and young adults alike. RWBY has generated dozens of forums dedicated to fanfiction, fanart, and roleplaying. Thousands of people the world over have bonded over this show, fans from all walks of life. They’re passionate about this series. The fact that I’m writing this post is a testimony of that. If I didn’t care about RWBY, I wouldn’t be sitting on my couch at 3 AM, hunched over my laptop in my pajamas.

If RWBY is so good (or occasionally threatens to become good), you might be wondering, why, then, does this blog exist?

Well, because…when you stop and look at it critically, it actually kind of sucks.

Despite initially being written by a three-man team, the series is full of inconsistencies and an underdeveloped cast. The characters, especially from Volumes 1 — 3, are full of one-dimensional stereotypes whose contributions to the story amount to a three-word summary: “The School Bully,” “The Wacky Professors,” “The Racist Cop,” “The Cutthroat Bitch,” “The Anime Waifu,” “The Audience Surrogate,” “Discount Elle Woods,” and so on. Fundamental elements of the story, like Aura, Semblance, and Dust, are either poorly-explained or not explained at all, and the limitations of those core concepts can change at a moment’s notice to suit the needs of the plot. The primary antagonist of the first three volumes is universally hated by the fandom for having no discernible motivations beyond being “ambitious and power-hungry,” and having a personality that consists exclusively of irritating smug. The show-writers, despite repeatedly promising queer representation, have failed to make even one of their ten central protagonists queer. This isn’t touching upon the fact that the first openly-gay character on the show was an antagonist, or that the next two were side-characters who were relevant to the plot for all of seven episodes, before vanishing from the story entirely. The two leads that are currently being hyped as our first queer main-cast members have only been repeatedly teased, with said characters never once uttering the words, “I’m bi,” “I date women,” “I’m not straight”—nothing but narrative subtext and playful winks from the VAs whenever a fan asks if they’re queer. Subplots end up having no pay-off or get entirely forgotten mid-volume. The story is so protagonist-biased that the heroes are frequently able to get away with being hypocritical, or committing criminal acts because “it was the right thing to do,” with their POV framed as an infallible ��fuck you, got mine” verbal gut-punch to the audience (while other characters in the show, who often make the exact same calls as the heroes, are ridiculed by the show and the fandom). Whenever the story isn’t spray-painting stolen cars and selling them to their original owners, it manages to clumsily handle allegories for real-world issues such as systemic racism, mental illness, abuse dynamics/victim survivorship, and gray morality. The worldbuilding is absent from the main show and has to be supplemented through RWBY’s spin-off series World of Remnant. The story’s setting feels flat and lifeless at times because the “cultures” of this world are never established.

The list goes on and on.

So if this show has so many flaws, why are we still having this conversation?

Because I’m captivated by the untapped potential of this world. When you brush away all of the detritus, you can see the wealth of raw material buried beneath. This is a world where the gods have forsaken their creations, with one having even deliberately created the monsters that hunt humanity. The two characters who are central to the history of this world are tragic figures, one cursed with immortality as a punishment for demanding that the gods revise the first draft, and do away with needless death; and the other, cursed to ceaselessly reincarnate into the minds and bodies of like-minded souls, waging a war of attrition against a person warped beyond recognition by the capricious spite of the gods. This is a world of forgotten magic, of shifting allegiances, of characters embarking on personal journeys and unearthing deadly secrets. It’s a story of people from all walks of life learning to cooperate and work together, forging friendships and alliances in order to face the challenges that lie ahead.

It could easily have the bones of an epic fantasy series as long as it remembers to drink its milk.

RWBY’s issues aren’t insurmountable. Most of them are the byproduct of the series’ blind adherence to “rule of cool,” the motto that practically codified the beginning of the show. From Volume 4 onward, the series took a radical shift in tone that tried to be “more mature,” and only succeeded in making the earlier episodes absurd in hindsight. Why, in Volume 6, are the characters concerned about civilian endangerment, when in Volume 2 they happily pursued a giant mech in a highway car-chase scene that would’ve caused untold collateral damage and civilian death? This change in storytelling created a thematic disparity that reoccurs time and time again, retroactively emphasizing just how inconsistent the worldbuilding and storytelling are.

It tried to be Avatar: The Last Airbender, and what we’re left with instead is Game of Thrones Season 8.

Now, I’m not using this blog as a platform to damn Monty Oum (or claim to be a better creator than him). But it’s important to address the flaws in his story, and to acknowledge that his passing doesn’t make RWBY somehow sacrosanct or immune to constructive criticism. RWBY has flaws, ranging from nitpicky to potentially capable of causing real-world harm (in the case of the aforementioned queerbaiting and racism analogies). I’m a firm believer that art doesn’t exist in a vacuum; art is informed by our beliefs just as much as art informs our beliefs. We can still respect and admire the potential RWBY has to offer, while being mindful of where it needs to improve.

That’s where this blog comes in.

At the end of the day, the RWBY Redux exists as a thought experiment. I’m writing it chiefly to entertain worldbuilding ideas and headcanons I’ve spent years musing on. I’m not asking readers to agree with any of my numerous stances, nor am I going to shy away from other fans’ criticism as I hammer this project out. With a little TLC, perhaps I’ll manage to create something that manages to be more complex than its source material. And if you choose to follow along with my endeavors, hopefully you’ll find this project equal parts engaging and entertaining.

Wish me luck.

#preface #deconstruction #writing

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nightqueendany · 5 years ago

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The Original Final Season 7 - Preface

Okay guys. I’m still polishing up some of the later episodes, but this whole thing is almost done. And as motivation to make me finish the later episodes and publish them, I’m going to give you Episode 1 today, in a post directly following this one. If you do not see the link just yet, simply refresh this post and I should have put it in place, pending no issues with my Internet connection.

I’ve talked about this A LOT. What follows below and in subsequent weeks (I’m going to make you guys suffer, I’m going to put each episode out weekly) is 1) my explanation for WHY specifically I believe there was an “Original Final Season 7” and also, 2) WHAT I believe that Final Season contained.

NOTE: I will refer to the actual show events of Seasons 7 and 8 as “show canon” and will refer to my speculation as “Original Final Season 7.”

*Disclaimer because I have this weird feeling I’m going to get bombarded with anons asking me for links to “the original scripts” or interviews where this is all mentioned or something:

THIS IS ALL MY OWN SPECULATION. NONE OF THIS HAS BEEN PROVEN TRUE. THERE ARE NO “ORIGINAL SCRIPTS” FOR A FINAL SEASON 7...THAT I KNOW OF.

Alright, now that that’s taken care of, I’m gonna lay this out here for you guys. (Parts of this may get fanficky but whatever, this is what makes the most sense in my mind based on what we’ve got on the table).

(Also note, this series will be really really fucking long because it includes what I *think* the original Season was, and evidence from aired episodes as to why I think that, along with long-winded, detailed descriptions of scenes, etc. Sorry not sorry)

Here is how I went about this speculation to determine what I believe was likely the “Original Final Season 7”:

1) I looked for instances in the series as a whole where plots were never finished OR scenes/lines were either retconned or never paid off - i.e. Dany’s S2 throne room scene script clearly saying “snow” and in 8x06 it’s now ash - post Emmy script release note: the script may say “snow” but remember, it’s the same day as the attack on the city from 8x05 when it was sunny and super hot outside. Either the script was changed just to make it say “snow” OR it was snow in the 8x06 episode, but D&D literally changed the fucking weather just to make it snowing in Dany’s throne room scene when King’s Landing hasn’t had snow since 7x07. Either way, something was retconned and it’s fucking idiotic and hella obvious.

2) I examined Seasons 7&8 specifically for the same things - scenes/lines never paid off or left unfinished/unexplained, i.e. Yara’s line “somewhere the dead can’t go” when this was never needed because the Night King was defeated in one episode; also all the baby talk between Jon and Dany and Dany never being pregnant in show canon.

3) I looked for instances in the series where a plot was “undone” in a very short span of time. Meaning, something that could have taken seasons upon seasons for buildup but was scrapped or easily deconstructed an episode later or same episode - i.e. Jaime/Brienne finally getting together in 8x04 and Jaime leaving Brienne that same episode; also Theon rescuing Yara from Euron’s ship very easily in 8x01 when she was a captive for most of Season 7.

4) And lastly, I looked for things that have been said/mentioned either in show canon or by cast/staff that ignores something previous that is a contradiction of their words - i.e. Jon pledging to Dany in 7x06 after she already said she would help him and Jon in 8x01 saying he gave up his crown so Dany would come help OR Dan Weiss saying in 7x05 that Dany isn’t mad and isn’t her father and then in S8 naming Dany the “Mad Queen”.

There are many of these instances in the series so it wasn’t hard to map out a rough outline of what I believe the “Original Final Season 7” was.

So, why do I even think there even was an original, final Season 7 outline/possibly even an entire Season of script? Why do I think this a likely possibility rather than me just being a delusional Dany Stan who wanted a different ending for my fave?

Back as early as 2013, after season 3 ended, the number 7 was being thrown around. Seven seasons to finish the series.

[Producer Frank] Doelger said: “[The number of series (seasons)] is being discussed as we speak. The third season was the first half of book three, season four will be the second part of book three. George RR Martin has written books four and five; six and seven are pending....I would hope that, if we all survive, and if the audience stays with us we’ll probably get through to seven seasons.”

Keep in mind, at this same time, D&D had also JUST had their meeting with George about the series endpoints.

“Last year we went out to Santa Fe for a week to sit down with him [Martin] and just talk through where things are going, because we don’t know if we are going to catch up and where exactly that would be. If you know the ending, then you can lay the groundwork for it. And so we want to know how everything ends. We want to be able to set things up. So we just sat down with him and literally went through every character.”

Vanity Fair, March 24th, 2014 (LAST year being spring 2013)

So this meeting on the series conclusion took place right when D&D were just polishing up the scripts for Season 4, before filming began that summer). A year after their meeting with George, (the same 2014 Vanity Fair article), D&D apparently played with the idea of an eighth season, but that could have just been the reporter’s speculation.

In other interviews, they were fairly adamant about 7 being the “magic number.” And back in the very beginning when Dave and Dan first started Thrones, they always said they imagined the series taking 70-75 hours to tell the story - so again, the equivalent of 70 episodes or a normal full 7 Seasons of 10 episodes each).

With the major complaint from both last season and season 8 being that it felt “rushed” however, people may wonder how the hell the series was supposed to conclude after Season 6. However, when you think about it, Season 7 being the final season doesn’t seem that odd if it were originally going to be a regular 10 episode arc. The final two seasons only totaled 13 episodes anyway, so really, it’s just three fewer episodes than in the version that we got. And if some episodes in the final Season 7 were over an hour long, the series as a whole would easily reach that 70-75 hours D&D always talked about.

So, what was the original 10 episode final Season 7 supposed to look like?

Season 7 Episode 1: ?

Season 7 Episode 2: ?

Season 7 Episode 3: ?

Season 7 Episode 4: ?

Season 7 Episode 5: ?

Season 7 Episode 6: ?

Season 7 Episode 7: ?

Season 7 Episode 8: ?

Season 7 Episode 9: ?

Season 7 Episode 10: ?

To figure out the outline of the 10 Episode Final Season, let’s start near the end.

ONE FINAL BATTLE

Author George R.R. Martin, whose series of novels forms the basis for Thrones, had revealed to the duo the broad strokes of how his Song of Ice and Fire saga secretly ends, including a description of an epic FINAL BATTLE that’s been teased from the show’s VERY FIRST SCENE. But this climactic confrontation was miles out of reach for a series that cost about $5 million per episode. “We have a very generous budget from HBO, but we know what’s coming down the line and, ultimately, it’s not generous enough,” Benioff said.

When Entertainment Weekly interviewed D&D back during the filming of Season 3, D&D made it sound like George had planned only ONE final battle - the battle between the living and the dead. Not two battles, one with the living against the dead and another later battle with the living against the living. Just ONE.

(Also should note, this says the FINAL BATTLE was teased from the show’s FIRST scene, which contained the White Walkers but not Daenerys. Daenerys didn’t even appear in the episode until sometime much later meaning the “epic final battle” was about the White Walkers, not Dany burning down King’s Landing as we got in show canon).

Both the books and the show begin by showing the audience the threat beyond the Wall. This is the main threat. This is the main event. The Game of Thrones doesn’t matter and is a distraction for both the audience and the characters. In GRRM’s original outline, he explicitly says that the greatest threat to the realm of Westeros is the Others and that there will be one final battle.

So this was our original “Episode 9”. Literally and figuratively. Episode 9 is always supposed to be the episode where the craziest thing happens in the entire season - Ned’s death, Battle of Blackwater, Red Wedding, Battle at Castle Black, Dany flying away on Drogon from the fighting pits of Meereen, Battle of the Bastards.

The only exception to this could be argued to be Season 5 as Jon Snow is killed in Episode 10, not episode 9. However, the change in structure of the season was probably the biggest clue to the audience that Jon wasn’t going to stay dead, as they had never ended a season on a cliffhanger of the death of a major character. We’ve always been given one more episode afterward to process said character’s death.

If Jon were going to die and stay dead, he would have died in Season 5 Episode 9, because of this pattern: Season 1 Episode 9 - Stark death (Ned). Season 2 Episode 9 - Battle (Blackwater). Season 3 Episode 9 - Stark death (Robb). Season 4 Episode 9 - Battle (Castle Black). Season 5 Episode 9 - no Stark death (where there should have been - and a Battle was in Episode 8 - Hardhome). Season 6 Episode 9 makes up for the flaw in the pattern where we get a Battle and a Stark death (Rickon).

Ergo, based on George’s original outline, D&D’s previous statements about George’s plan, and the pattern, 7x09 was the original Battle for the Dawn. So that’s what I’ll call this episode.

Season 7 Episode 1: ?

Season 7 Episode 2: ?

Season 7 Episode 3: ?

Season 7 Episode 4: ?

Season 7 Episode 5: ?

Season 7 Episode 6: ?

Season 7 Episode 7: ?

Season 7 Episode 8: ?

Season 7 Episode 9: The Battle For The Dawn

Season 7 Episode 10: ?

I don’t want to give the entire season away just yet, as I’ll be posting each episode in full detail, but I will fill in one more “event” from the outline above.

In the 7x06 Inside the Episode, David Benioff said something that I’ve always found very interesting.

“The whole path of the show, in some way, had been trying to map out all the episode endpoints and with this one, it was the dragon opening its blue eye. And realizing that the Night King has finally gotten his own weapon of mass destruction.”

This statement really made me think because a) it tells us how D&D planned the series - mapping everything out by episode endpoints. And b) Benioff doesn’t say “the ending of the penultimate episode of Season 7.” He just says, “this one.” So this tells me, if anything, D&D had always planned to kill Viserion and have the Night King raise him as his mount. BUT it also tells me this was always meant to happen in 7x06, regardless of when Season 7 ended….either at an Episode 7 or an Episode 10.

Season 7 Episode 1: ?

Season 7 Episode 2: ?

Season 7 Episode 3: ?

Season 7 Episode 4: ?

Season 7 Episode 5: ?

Season 7 Episode 6: ends with Wight!Viserion opening his blue eye

Season 7 Episode 7: ?

Season 7 Episode 8: ?

Season 7 Episode 9: The Battle For The Dawn

Season 7 Episode 10: ?

So what does each episode of the “Original Final Season 7″ look like? The following posts will be my rendering of a final, ten-episode Season 7 with explanations as to why certain events happen and why they’re likely based on the show canon, Seasons 7 and 8.

Without further adieu, here is what I believe to be the Original Final Season 7:

(Links to come weekly as I post each Episode, if link does not work immediately, just refresh a few times until it does. Two episodes today as Episode 1 is very short and familiar, Episode 3 next Tuesday!)

Original Final Season 7: Preface Post (Current Episode)

Season 7 Episode 1: Family, Duty, Honor

Season 7 Episode 2: Greywater Watch

Season 7 Episode 3: The Last of the Dragons

Season 7 Episode 4: Dragonglass

Season 7 Episode 5: The Storm

Season 7 Episode 6: Summerhall

Season 7 Episode 7: A City Fit For A King

Season 7 Episode 8: Protectors of the Realm

Season 7 Episode 9: The Battle For The Dawn

Season 7 Episode 10: ?

#game of thrones #daenerys targaryen #daenerys defense squad #jon snow #jon snow defense squad #anti got #anti D&D

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woolishlygrim · 5 years ago

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Winter Weebwatch #2

Alright, Week 2, second episodes, which we are getting to a lot quicker than we got the Week 1 episodes, hence why this post is going out, like, three days after the last one. Hey, maybe by the time we hit Week 3, we’ll be current! That’d be nice.

Several third episodes have already aired, and In/Spectre always seems to be subbed a little late, so we might skip over it for Week 3 and come back for it in Week 4.

Same seven shows as last week, those being Darwin’s Game, Plunderer, ID: Invaded, Pet, In/Spectre, Sorcerous Stabber Orphen and Infinite Dendrogram. Nothing has been dropped or picked up yet, but the season’s still young.

Darwin’s Game

★☆☆☆☆

Haha, this time I’m reviewing the episode immediately after watching! My memory won’t pull the rug out from under me this time!

So, Darwin’s Game episode two sees … um … sees the guy … whose name begins with a K I think … doing something. Um. Oh! There’s a treasure hunt game with murdery elements on, but … but wait, that happens at the end of the episode? So what happens before that? I think there’s a guy who’s like a boxer with superspeed, and he steals the protagonist’s phone, maybe? But I don’t remember why. I …

God, this show is difficult to review. I swear I just finished watching it, but literally none of it has stuck. It just doesn’t take up any space in my memory, it’s like when you wake up from a dream and you remember it for like six seconds before it starts getting jumbled and confused.

One star again, I guess, because I can’t properly review something that I don’t even have a clear recollection of.

Plunderer

★☆☆☆☆

Fresh off what might well be the worst first episode of the season, Plunderer proceeds to demonstrate that it could have won me over easily if it hadn’t decided to devote the first twenty minutes of the series to making me hate it.

So, episode two kicks off with a fight scene between the protagonist, Licht, and Skeezy Military Guy, and it’s honestly pretty fun, as is the sequence just afterwards where Licht pretends to be an amoral thief as part of a convoluted gambit to keep the deuteragonist, Hina, from being arrested for possession of an illegal Ballot. There’s even a kind of emotional arc in this episode, of sorts. If I hadn’t seen the first episode, I probably would’ve given this one three stars.

Except I did see the first episode, and the consequences of that still apply. I can’t really ever sympathise with Licht or even enjoy seeing him on screen because the very first thing we ever saw of his character was him committing sexual harassment. Despite what my reviews of Darwin’s Game might suggest, I have a memory longer than that of a goldfish, so no matter what kind of emotional moments or ‘Aw, see, he really is a good person!’ moments the show throws out, it’s not going to matter, because his introduction already soured me to him and, to be honest, to the show entirely.

Anyway, the episode ends with some random background extra revealing that he’s actually a major villain, and I guess Hina is going to track down Licht to warn him or something, and I’ve just emotionally checked out at this point.

Pet.

★★★☆☆

Pet wins the coveted Most Improved prize this week, as its second episode retells the events of the first episode, but from the perspective of the psychic criminals. This is kind of a great move, as it shows us how these powers work, sets up rules and limitations, clues us into the character dynamic between psychic crime boyfriends Hiroki and Tsukasa, and their boss, the tyrannical and short-tempered but noticeably less powerful Katsuragi.

With this new perspective, events from the first episode are recontextualised, as we see how Hiroki and Tsukasa alter their victim’s memory, and also see how Hiroki is toying with Katsuragi (most noticeably, by making him believe he’s smoking when his cigarette is unlit), and the tension that arises from Katsuragi’s ostensible superior position juxtaposed against Hiroki’s vastly more powerful psychic abilities, setting us up for a future conflict down the line.

We also get to see Hiroki and Tsukasa’s co-dependent relationship, with Tsukasa relying on Hiroki in their work, while Hiroki is emotionally too tangled up in Tsukasa to function without him. That’s actually genuinely interested, and it’s compared and contrasted with the victim’s relationship with his best friend/possible boyfriend -- a relationship that Hiroki and Tsukasa are, by changing his memories, destroying.

The animation is still pretty bad, but it makes up for that somewhat with some stylistic flair and some interesting aesthetic choices.

Infinite Dendrogram.

★★☆☆☆

Infinite Dendrogram picks up this week with Ray and his new person-weapon Nemesis attempting to level up. After learning about a war between the NPC nations of Altar and Dryfe that ended with Altar’s defeat, Ray’s first attempt to level up sees him making both a new friend in the form of another player named Rook, and a new enemy, in the form of a mystery gunman who shoots him down for no readily apparent reason.

I really wanted to give this episode three stars, I wavered back and forth on it for quite a while, since this is still a really enjoyable episode, but ultimately I had to scrape off a point for two reasons: The first was the inclusion of some really jarring and irritating fanservice in the form of the antics of Rook’s Embryo, Babylon, which just threw me out of the episode and grated on me. The second is the scene where Ray’s brother Kuma informs him that the war between Altar and Dryfe was lost largely because when Altar’s NPC king (and remember, NPCs are sapient in this game apparently) said he would not be giving out loot rewards to players who assisted in the war, players just outright refused to help.

Which is kind of … wow. Thousands or maybe hundred of thousands of sapient AIs perished because players, who were at no risk of serious injury or permanent in-game death, refused to help out unless they got ultimately meaningless in-game rewards for doing so. It wouldn’t even as if they would be killing other sapient NPCs, since it’s clarified that Dryfe uses non-sapient robot soldiers. To make this a more bizarre turn that frames the entire playerbase of this game as sociopaths, apparently a bunch of players did fight for Dryfe, which offered rewards to them for doing so, and those players actually did murder a bunch of sapient NPCs.

I’ve elected to be fairly forgiving with the absurdity of this show’s premise, but that one worldbuilding detail kind of pushes it into the red for now.

Sorcerous Stabber Orphen.

★★☆☆☆

Not a whole lot happens in episode two.

Actually, nearly nothing happens in episode two. There’s a very brief explanation of the magic system, and a short sequence that sets up the next few episodes, as Orphen is blackmailed by his sorcerous former friends to assist them in hunting down his sister Azalie, and apart from that it’s alllllllllllll flashbacks.

The flashbacks don’t really communicate anything that couldn’t have been communicated in other ways, though. I mean, in general I really don’t like flashbacks, given that they bring a story to a grinding halt, but these flashbacks are just sort of pointless. We see that Orphen was a student at the Tower of Fang, which we knew, and we meet a few of his friends, which we meet again just afterwards so it’s kind of pointless, and we get some explanation of how the Sword of Baldanders, the weapon that turned Azalie into a dragon, got to the town that Orphen is currently in -- only for us to be told the same thing in exposition a second later.

The pacing of this show is just not … great. After two episodes, it feels like there’s been maybe one or one and a half episodes of content, and I know that doesn’t sound like it’d drag too much, but I have the attention span of a horsefly, so.

ID: Invaded.

★★★★☆

Continuing on from last week’s episodes, ID: Invaded -- now on its third episode, since again, it aired two episodes at once in its first week -- picks up with a new case, that of a bomber who mixes fireworks into his explosives, creating brightly coloured displays as he murders people. Diving into his mental world, Sakaido finds himself on a tower surrounded by a waterfall with dozens of people, as a sniper picks them all off. As he attempts to find clues, his progress is hindered by constantly dying, causing him to reset his memory and start over each time.

This is kind of an opposite situation to Infinite Dendrogram, where this would have been a solid three star episode, being entertaining, engaging, occasionally even thought-provoking and atmospheric (such as in the scene where Sakaido is thinking back to the aftermath of his daughter’s death, pointing out as he remembers it that his recollection of it, in which his daughter is able to talk to him before she dies, the body is recognisable, and the mortician praises her bravery, is incorrect), if not for a few small things.

In this case, it’s the final scene that pushes it up to being a four star episode. With the bomber in custody and in the cell opposite Sakaido’s, a solid four or five minutes are devoted to a harrowing sequence where Sakaido uses what he learned in the bomber’s mind to talk him into committing suicide. It’s an atmospheric, tense, and remarkably upsetting scene, made all the moreso by the voice actors’ excellent performances.

In unrelated news, for those keeping count, the surrealist director Ei Aoki references this time around is Koichi Mashimo, director of the impressively surreal and atmospheric .hack and Tsubasa Chronicle animes.

In/Spectre.

★★★☆☆

So, after a first episode that was kind of all over the place, the second episode actually settles into something like a single genre, establishing itself as a light-hearted supernatural mystery with some romance elements. Which is fine, and it does it well, and I’m happy to not constantly be getting genre whiplash anymore.

This week’s episode sees Kotoko summoned up to the mountains by a snake spirit who wishes to know why a murderer tipped the body of her victim into the snake’s swamp. The main bulk of the episode is taken up by Kotoko and the snake’s interactions, with Kotoko acting as prosecutor and presenting plausible theories as to why the killer did what they did, and the snake picking holes in those theories and shooting them down.

It actually kind of works, to be honest. As Kotoko explains her theories, we’re shown them happening on screen, and since the snake points out some pretty reasonable flaws in them, it feels like a nice, even back-and-forth debate, as the two make point and counterpoint. Written well, debates like that can be really compelling viewing, and this episode actually is written really well.

There’s also some nice character development moments early on, with Kuro turning down Kotoko’s offer of accompanying her to visit the snake, only to insist she take a thermos of soup and a jacket with her, and later wandering up to meet up with her anyway. Mamoru Miyano doesn’t have the easiest job here, playing someone who is meant to have extremely flat affect and yet still make them interesting to listen to, but he pulls it off pretty well.

#darwins game #id invaded #infinite dendrogram #plunderer #sorcerous stabber orphen #anime #winter weebwatch

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littlemisssquiggles · 6 years ago

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If there really is going to be a dance arc, my biggest nightmare is Ruby ending up dancing with Weiss or Jaune, and Oscar ends up dancing with Maria for comedy 😓

…Uhm…no???Even if that does wind up being the case, myguess is that it’ll be a moment that plays out temporarily and not within thecontext that you’re thinking of, Miggy. Besides I can more picture our veteran pocket abuelita being thechaperone/fairy godmother type to convince Oscar into dancing with Ruby. I knowit’s a concern of yours but from one RosegardeningPinehead to another, I wouldn’t worry too much aboutthat fam. Allowthis squiggle meister to provide you some assurances.

Generally a Ballor Gala type of episode or arc is anopportunity for the series’ creators to pander to promote all of itsships while bolstering their core pairings as the driving point of the entire subplot. I’ll give you an example. Inthe last gala-related episodic arc back in V2, what did we get?

We got a moment with Jaune and Ruby drinkingpunch and being socially awkward together (Lancaster), Jaune confronting Neptune in favour of Weiss (White Knight), Yangand Blake sharing a dance together (Bumblebee), Blake and Sun going together to the dance (BlackSun) and Neptunesharing a talk with Weiss with the two seemingly spending the rest of the dancein each other’s company (Iceberg).

We even got a moment where Ironwood askedGlynda to dance and she accepts for all the Technopath or Cyberwitch shippers. Sadly no OzGlyn though; unless you count her standing dutifully by his side even at thedance before being approached by Ironwood as a moment. Ey, close enough.

And this whole subplot culminates in the grandest ofshipping moments—Jaune, chivalrously keeping his promise to Pyrhha showing upin a dress and agreeing to share a dance with her.

The last dance arc gave us pretty much allthe core ships: White Knight, Arkos, Bumblebee, BlackSun and Iceberg. I canonly assume the next gala-themed subplot will the follow the same trend withour current ships. The last time there was a dance, you can say that Arkos wasthe face of that arc because it dealt with Jaune and Pyrhha’s feelings respectivelyand it works because this was a moment that led into their development andeventual endgame as of V3.

Yes, I know Arkos sailed and sunk within thespan of the same season. But regardless, the Arkos ship still soared high. Shemay be a ghost ship like the FlyingDutchman but she still sails proud and strong. DespitePyrhha’s absence, you can see that Jaune still cares very much for her andstill remains affected the most by her loss. As a matter of fact, I think adance episode would be the perfect time for Jaune to confront any lingeringfeelings of guilt he still harbours toward Pyrhha after losing her.

It can also provide Jaune with a second chance. Let’s not forget,Jaune originally wished to go to the dance with Weiss. With Pyrhha’s advice, hehad planned to confess how he truly saw Weiss in the hopes that this time shewould give him a shot. But in the end, he missed his window when Weiss asked Neptuneinstead.

This leaves me curious about something. Weiss’ whole gaggle with Jaune is because shecompletely misunderstood his interest in her. Weiss believed that Jaune onlyliked her for her name when the reality was far from that. This makes me wonderhow Weiss would’ve felt toward Jaune if she knew how he truly saw her.

This is why I believe the CRWBY Writers mightopt to revive this plotline and give us curious WhiteKnight shippers and fans the answer to thisquestion.

Would Weissknowing of Jaune’s true perception of her have changed her feelings for him?

That’s what I’d like to know and I think thispotential Atlas Ball could provide that answer.

Regarding your point on the CRWBY Writersmaking Ruby dance with Weiss or Jaune over Oscar—it’s funny, you say that’syour biggest nightmare Miggy but now I’m picturing that idea of yours being a legit nightmare Oscarhas when his anxiety over his feelings for Ruby and wanting to ask her to behis date to the ball gets the better of him.

Imagine the CRWBY Writers trolling the RG fandom by having Oscar dream of Ruby sayingshe’s in love with another potential suitor while dancing with them at thedance and we’re left to think it’s real until Oscar suddenly wakes up revealingit to be all a really baddream. I’d actually laugh if that turned out to becanon.

Apart from that, I’m going to be very bluntwhen I say this. While I respect the Lancaster and the Whiterose pairings as well as their shippers, if you were to honestly ask me myopinion on the potential of these ships, I would tell you that I think neither islikely. No wait, that sounded too harsh and doesn’t fully say all that I wantto say on that so let me rephrase to be more specific.

I don’t believe in the possibility of Lancaster orWhiterose becoming canon at this precise moment in the current RWBY storylinebased purely on the lack of the development for either ships in a romantic direction betweenthe events of the Mistral Arc.

Now before anyone in favour of these pairingschose to bash me for my statement, allow me to further justify my reasoning. I’msaying this out of my personal biasness as a firm Rosegardener. Not only am Ithe type of shipper who respects other ships but I’m also the type of shipperwhere if I notice that there is some strong inclination for a particularpairing provided with firm evidence from said franchise, I will admit that factregardless of my feelings toward said ship. This is why, even though I’m a BlackSun shipper, Icannot ignore or deny the hints of Bumblebee that was sprinkled throughout V6.While I still don’t believe the ship is canon as yet, I will admit that theseries has made a very strong push toward the pairing in the recent season thatI cannot just say is pandering.

I’m not a Bumblebee shipper but for what it’sworth, I would hope that if this is the next pairing the CRWBY are planning tobe make canon like Renora then I hope they just do it if that was the plan the whole time. I’m notone of those BlackSun shippers who are saying that BlackSun will be endgame andthat the CRWBY are only pandering to the Bees for now. If that is the case thenthat will actually cause me to feel rather sympathetic toward the Bee shippersbecause a remark like that heavily implies that the Bee fans are only beingbaited for their support just for the sake of salvaging RWBY’s rollercoasterride of a reputation which in turn paints the CRWBY as rather scummy. I don’t thinkthis is the case since I’d like to think the CRWBY know what they’re doing.

Well…50% of the time the CRWBY know whatthey’re doing and I’d like to positively think that Bumblebee in V6 is part ofthe 50% that highlight’s what the show wishes to do.

As you can probably tell, I’m not a fan of pandering to the fansespecially when it comes to ships. My thing is if you’re going to make a shipcanon, just do it. Don’t say you’re going to go with one ship while teasingothers. This is the same mess that drove the Voltron fandom into the dirt withits insufferable shipping wars and I hope that the CRWBY won’t do this for RWBY.

I mean…well technically, the shipping wars are already here in the RWBY FNDM. Shit, Ithink the FNDM is even more known forits shipping wars than anything else. Damn.

Nevertheless, what I mean is that I don’t wantthe CRWBY to stroke that fire y’know what I mean? At least not intentionally. Thisis especially more apparent with the LGBT ships.

I’ve been in many different fandoms and what I’velearnt (particularly from fandoms such as Legendof Korra, VoltronLegendary Defender, Steven Universe and even Lifeis Strange of all things) is that people don’t play when it comesto the queer ships. This response post isn’t supposed to be about Bumblebeebut…allow me to deviate here for a sec.

If the CRWBY wish to do Bumblebee then doBumblebee and let them do Bumblebee. If that was the Writers’ plan all alongand it took them six to seven seasons to do so then no one can’t fault them ifthat was their vision and they took the time to build up this bond.

But if you’re a CRWBY Writer, don’t doBlackSun for predominantly five seasons and then push more for Bumblebee assoon as Sun is conveniently out of the picture only to start hinting atBlackSun again when Sun returns to the picture seasons later. Please do not dothat!

This is something that I hope they don’t do for RoseGardenwith respect to Lancaster and Whiterose. Speaking bluntly as a Rosegardener, I donot wish to be a part of some silly ass shipping war. This is why I no longercare about who Blake ends up with. Yang or Sun—this squiggle meister doesn’t care anymore. All I want is for RWBY as a show to just pick onelove interest for Blake and kindly stick to their guns on it. As a BlackSunshipper, I have no issue with Blake ending up with Yang purely because Ibelieve that Bumblebee neitherruins nor kills BlackSun. Regardless of whether hebecame her lover or remained her friend, it wouldn’t matter with Sun.

Do you guys knowwhy I love Sun Wukong so much and why he’s easily my second favourite RWBYcharacter (Oscar being number one as always of course)?

Sun has and always will be a person who caresmore about Blake’s well-being and her happiness over his own. Even if Sunstrongly likes or even loves Blake, he’s not selfish with her. This is why it disgusts me when otherfans try to badmouth Sun and downplay his interactions and intentions toward Blakewhile misunderstanding the type of character Sun is.

Out of the two key male companions in Blake’slife, Sun is the better of the two since he is the complete opposite of Adam. Whenit came to his former relationship with her, Adamwas selfish with Blake to be the bitter end. Adamwould quicker sever any connection Blake had with anyone else. Sun, on theother hand is the opposite of that.

Rather than destroy her bonds, what does Sun do? Hehelps Blake to repair them. Adam was vindictive with Blake’s bonds includingBumblebee. He even voices some of that spite during his clash with Yang in V6which mirrored Gaston’s taunts to the Beast from Beautyand the Beast.

If Bumblebee becomes canon, it wouldn’taffect the beauty of the BlackSun dynamic because so long as Blake is happy, that is allthat matters to Sun. It doesn’t matter if Yang is the person that Blakeultimately falls for, Sun will support it regardless out of his care for Blake.That’s the extent of how much Sun loves Blake. It is selfless kind of love.

Sun will be happy for Blake whoever shechooses even if it’s not him. That is the type of person the series has paintedSun Wukong out to be and thus that’s how I view him. This is why I can never ever picture SunWukong being the jealous, spiteful type who would get piss hurt if hediscovered Blake romantically involved with Yang. Spite was Adam’s word. Earnest was Sun’s because he’s always eager to help someone especially if hebelieves they need it and definitely if he cares about them in turn.

Sun Wukong may not be perfect but by Golly, he is the perfect companion. Asa BlackSun shipper, I don’t mind if Sun never becomes Blake’s lover because hestraight up is her bestfriend/closest confidant and that’s a title that youcan’t take away from him.

But that’s enough gushing over Sun ‘Sunshine Boi’ Wukong. Getting back on track with my problems with pandering, this iswhat eventually drained me of my interest in who Blake eventually ended upwith. I got tired of the incessant back and forth between Bumblebee andBlackSun; not just by the FNDM but in the series too.

I went from being like “I totally ship BlackSun!” during V1 to V3 to “I still totallyship BlackSun but I can also see Bumblebee being a strong possibility too giventhe vibes I’m getting from Yang regarding her underlying feelings about Blakeafter their separation.” during V4 and V5 to “Oh my God, can you please just pick one and stopconfusing the shippers with your ridiculous pandering, CRWBY! I don’t even careabout Blake’s love life anymore. Her relationship drama has been the driving forceof her character arc since the Black Trailer. If you’re gonna do Bumblebee thendo freaking Bumblebee and stick with it. But please don’t do Bumblebee onlybecause Sun is out of the picture and the minute he returns, it’s back to theback and forth! Please no!”

That being said; as I’ll repeat once more—Idon’t wish for Rosegarden to be given the same treatment alongside Whiteroseand Lancaster. As much as I love the Rosebuds and would love to see Rosegarden become canon—if the series has beenshown to be leaning more towards Lancaster or Whiterose over this pairing, thenI would openly admit that. However, this has not been the case at all for thepast three seasons.

I understand that there are some Lancaster andWhiterose shippers whose sole interest in these ships is because they just likethese characters together. Doesn’t matter if their endgame or not and that’stotally fine. But I’m also aware of the other spectrum of these particularshipping groups—the more passionate shippers who believe with all of their heart thatthese ships will be endgame and will go out of their way to proclaim this opinion of theirs at the expense of insulting other Rubyships. Particularly RoseGarden. That is totally NOT fine.

Do you remember when I made this prompt post asking fellow Rosegardeners if they were ever hostile toward othernon-RG ships? Speaking to which, thank you to everyone who responded to thatpost. Your answers certainly helped to prove my point that as a shippingcommunity, we Rosegardeners don’t go out our way to bash other pairings. If wehave to address the other ships, it’s usually done in a manner that tries toremain humble and respectful even in the face of debunking the possibility ofthese other ships with our own opinions.

I made that prompt post after discovering aso-called ‘analysis’ post made by a Whiterose shipper who shared their views on why theythink Rosegarden will never be canon. This was done during RWBY RoseGarden Week1.0 by the way. How nice of them to post that during that time, right?

When I see stuff like this, it makes me feelbad for the Whiterose and Lancaster shippers who aren’t like this. I know everyshipper speaks for themselves most of the time but this type of attitude is generallywhat makes me turn away from certain pairings. Not because of the ship itselfbut its shippers.

Sorry if I sound like I’m going off on sometirade, I just don’t like the idea of the CRWBY baiting anything with regardsto Rosegarden and other ships. I know this is probably inevitable going forward for V7especially if another dance arc is expected. I just don’t wish for myself orthe Rosegarden community to be involved in some dum-dum shipping war. I don’twish to fight any Whiterose or Lancaster shippers nor do I want them to attackme or my fellow Rosegardeners. That’s just silly.

Besides my headcanon is that the CRWBY Writers will push for a deeper RoseGarden relationshipin V7. My theory for V7 is thatthey’ll most likely do another time jumpat the start of the season. That’s what they did forthe Mistral Arc so I’m expecting the same for Atlas. I feel like we’re likelyto start next volume with our heroes already settled into Atlas (sporting newwardrobe—at least everyone minus Oscar) having grown already adjusted to lifewithin the kingdom’s walls for roughly a good space of time—I’d say roughly one to possibly three months. Perhaps enough for Oscar to be aged up.

As of the end of V6, Oscar was confirmed to stillbe 14 years old so it’d be interesting if he’s15 by the start of Atlas to hint that he had a birthday while the heroes werein Atlas. Part of the reason why I want a time skip isbecause it would provide the Writers with an opportunity to add moredevelopment for RoseGarden off-screen.

Imagine if…we start V7 with Ruby and Oscar sharing a closer friendship than theydid back in Mistral because their friendship had a lot of leeway to growoff-screen. As much as I’d love to see more of the Rosebud friendship progresswithin the series, I wouldn’t mind if the Writers do this especially if it’s inthe form of a time jump.

After all, a time jump provided RNJR enough time togrow as a unit of friends so the same can be done with the Rosebuds as well asOscar with JNR. It’s definitely an idea.

Imagine…the audience going into the V7 with Oscar showing more obvious signs ofhaving a crush on Ruby and what could be cute is if Ruby reciprocates thatinterest. Part of the reason why I have a great time believing that RoseGardenis a possibility is because the series has taken it’s time to sprinkle a coupleof hints at these two potentially growing to like each other.

Another reason I adore the RoseGarden pairingis the duality within the ship. Both Ruby and Oscar mirror each other in terms of theirshared interest in each other and their desire to support one another. This iswhy I find it ridiculous when anti-RG shippers try to act like the serieshasn’t been unsubtly edging these two kids together.

I’ll admit something. I wouldn’t be a Rosegardener if RWBY as a series didn’t go out of its way to zone in on these two.Contrary to what some might believe, this squigglemeister didn’t start supporting RoseGarden until V5.I’m not one of the folks who paired Ruby with Oscar as early as V4. This is whyI’m able to stand with my fellow shippers in saying without a doubt that theshowrunners of RWBY are setting something up between these two.

We’re not sure what that is as yet—a potential romance or just a really closefriendship. Who knows? But it’s definitely there and it’sdefinitely something. RoseGarden may not be canon but it’s FRIEND-shipequivalent: Rosebuds is for now. Before a garden can blossom, rosebudsneeds to be planted and tended to. The CRWBY have already established aconnection between Ruby and Oscar in more ways than one. Now what’s left is tosee how and what it grows into.

I’ll give you the key ones. Ruby and Oscarshare a connection because they are both the youngest members of the heroes.They are also inadvertently two of the most powerful beings in all of Remnantbecause they both share an unearthly power that they received from a godly character. Ruby is a Silver EyedWarrior; presumably the last of her kind and Oscar is a Wizard of Light; thecurrent incarnation of a long lineage of brave magical men. Both Ruby and Oscarshare the power of the God of Light within them and that alone screams thatthey share a bond that transcends anything else within the series.

The antis can try their goshdarndiggity hardest todeny the possibility of these two falling in love all they want but what theycannot ignore are the canonical facts that link these two together. And let’snot forget the main kicker that theshow keeps pushing these two together. Even when the plotdoesn’t demand it, they still edge them closer to each other and make sure theaudience sees it.

It’s actually quite jarring how many timesthey do it to the point that it should be its own drinkinggame. Go back and rewatch V6 and take a drinkeach time the series focuses on Ruby and Oscar; whether they are sharing ascene or just sharing a shot. Seriously try it and pray you stay sober enoughto count them all because there is a quite a bit. Definitely more than 5.

Seriously how can you NOT think something is being set upwith these two smaller, more honest souls? It’s just so unapologetically loud. I quite likethat, actually. Then again, I would.

I feel like RoseGarden can potentially beanother BlackSun meaning that it’s a ship that can go either way and still workout swimmingly. It can either be a really strongfriendship or a beautifulromance. The verdict is left to the CRWBY. However Ithink romance is in the cards because a) Oscar has been hinted to draw influence from the Little Prince whosetrue love was a rose and part of his story and journey was learning how muchhis rose meant to him—a feat I can definitely picture Oscar going through tocome to terms with his feelings for Ruby if done right and b) No offense butit’s about time Ruby gets a love interest.

I mean she doesn’t necessarily need one. I justnever understood why she never got one before despite the series being sixseasons long going on seven. Blake, Weiss and Yang each got to have potentialsuitors and dabble in romance yet Ruby was always omitted from that. Not sureif that was due in part to Ruby being so young and often looked at as a child within hergroup but…wait that was it, wasn’t it?

Ruby couldn’t experience love because she wastoo young to understand fully what it was since she was a child. Whelp, Ruby isno longer a child anymore. She’s not the same little girl sporting combatskirts and wielding the world’s deadliest weapon.

Well…she is but she’s not little anymore. Over theseasons Ruby has matured into a fine young woman. She still maintains herclassic Ruby bubbliness but Ruby is growing into a woman now. She’s evencurrently the age she should’ve been when starting Beacon: 17.

So this makes me wonder now if V7 will be mark Ruby’s time to have her own romantic subplot. She’s finally old enough to have her own love story. Hopefully.

If I didn’t know any better, I have a feelingOscar is being set up to become Ruby’s future love interest. His and Ruby’srapport reminds me too much of Katara andAang from Avatar:The Last Airbender even down to the two year age difference.Plus I feel like if love sprouts between the Rosebuds, RWBY will keep itmutual.

I’m starting to really, really love theconcept of Ruby andOscar falling for each other at the same time. Likeas their bond grows, any feelings they might share for one another remains thesame until a point where they both realize they love each other but either a) they’ll remain oblivious to how the other feels (while everyone else around themknows about it) or b) they have these feelings and wish to reveal them but outside factors keep intervening to make them second guess like the Merge or Salemthreatening the Fall of Atlas.

I used to think that Oscar will be the mainpilot of RoseGarden within the series and it’ll be a thing where he’s the onewith the crush and Ruby is just oblivious the whole time. However like I said,the series maintained mutuality with these two.

Any sense of interest, support and dedication Oscarhas for Ruby has been reciprocated by her. In V5, we got Ruby looking out forOscar when the series would allow for those moments. As a matter of fact, Rubywas the one person who really made the effort to care for Oscar when he wasstaying with RNJR and what I liked was that was continued into V6 until it wasOscar’s turn to look out for Ruby.

When Oscar was going through the ropes andtrying to find his bearings, Ruby was there for him. She’s still there for himmaking sure he gets some attention for his efforts. And when Ruby startedhaving her hard times, we saw Oscar step and support her too.

These two look out for each other and this iswhy I love their dynamic. It amazes me how these two have only known each otherfor no longer than a month and two weeks between V5 and V6 and already theybehave like two people who’ve known each other longer.

It makes me curious to see what theirrelationship would be like if given more time to flourish. If their trust andbelief in one another blossomed this quickly, imagine how much further it cango with more time and focus. In life, there are those relationships that prosperin a short space of time that feel like longer. I feel like RG could be that;if it hasn’t already been done already. Just saying.

To put all of this in a nutshell: I know you have yourfears Miggy but again, I wouldn’t sweat it too much m’dude. Evenif Ruby shares a dance with either Weiss or Jaune, I don’t think the context ofit will be romantic. I’ve said it before and I’ll keep repeating it, Ihaven’t seen anything remotely romantic being teased by either Ruby and Weiss or Rubyand Jaune. The main series hasn’t done anything withthese two respective ships that even give off that vibe. Ruby has always valuedJaune and Weiss as two of her dearest friends who she loves and will go aboveand beyond to protect and this ties into how they both value her as a friend.

By my observation, Weiss and Jaune care aboutRuby like she’s family. They both treat her like a surrogate younger sister and respect her asmuch. I have yet to see either of these two blush or act fidgety around Ruby to suggest that they might have feelings forher beyond a friendship. Unless the CRWBY do something in V7 to change that point of view, then and only thenwill I believe in that prospect. But until such a time, Whiterose and Lancasterwill only be FRIEND-ships in my eyes. Sorry.

I have a feeling that we’re more likely tosee Oscar kind of go through what Jaune went through back in V2 with hisrelationship with Weiss and Pyrhha.

My Pinehead headcanon is that Oscar will want to go to the dance with Ruby but his chance endsup getting unceremoniously cock-blocked by Whitley Schnee who asks Ruby to behis date. The concept I have is that the AtlasBall will be hosted by the Schnee Dust Company so naturally the Schnees will be most present as invited guests—atleast Jacques and Whitley will be there as the head of the company and hisheir.

Ruby would most likely not wish to go withWhitley but would go on Weiss’ behalf since her BFF convinces her to go in thehopes that through Ruby chumming up to Whit, Weiss would learn of the affairs ofthe SDC that she’ll be investigating during her side of the plot for V7. Or soI’d like to think. That’s my theory anyways.

Sorry for the long rant Miggy. I hope thisanswer helps alleviate some of your tension about the future dance episodes.

Also, I hope that my comments in thisresponse post didn’t disrespect any Whiterose or Lancaster shippers who might be reading this. At the end of the day, these areonly my opinions and don’t reflect the opinions of other Rosegardeners or the entireRosegarden community just as how I’m certain not all Whiterose or Lancastershippers are hostile toward Rosegarden or its shippers.

My thoughts here are only meant to be anhonest (maybe a bit too honest at times) expression of how I perceive certainthings and for what it’s worth, I really hope I didn’t upset any of you with mypoints about your favourite ship. That wasn’t my intention and if that sohappens to be the case then I humbly apologize.

~LittleMissSquiggles(2019)

#squiggles answers: rwby #oscar pine #ruby rose #rwby rosegarden #rwby theories #rwby V7 #miggy97 #rwby rosegarden headcanon

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kallypsowrites · 6 years ago

Text

Game of Thrones, The Lowest Point, and what it means for Season 8

Hello everyone. I’m here to talk to you today about ‘the lowest point’. The lowest point, for those of you who aren’t familiar, is the darkest place in the story. The moment where everything seems hopeless because a character has failed or gone through tremendous loss or died. The lowest point is one of the most important moments in any character arc because it tests our characters. Sometimes they rise stronger than ever and sometimes they succumb to their struggles. This is often what sets apart a tragedy from a drama.

In a three act structure, the lowest point typically is placed at the 2/3 or 3/4 mark of the story. You’ve probably noticed this if you’ve watched a film. With 20-30 minutes left to go the characters are often crying/moping/suffering. But then it’s more satisfying when we see them rise up to face the conflict in the final moments!

Now in a long ass TV show like Game of thrones, lowest points do work a bit differently. There are many lowest points throughout the season. But we can still identify each character’s LOWEST lowest point and see where it is in the narrative. And the show is eight seasons, with a total of 73 episodes. So we can kiiiiinda see where the lowest point fits in by using math (*gag*)In this way, we can predict what that says for each character in their final season of Game of Thrones.

So, the remaining Starks (Jon, Sansa, Arya and Bran) actually all have their lowest point at around the same place, which is thematically satisfying. Obviously the Starks have had MANY low moments, but we’re looking for the LOWEST of the low.

Sansa, for instance, is a character with many rough moments. But while Joffery is awful, her marriage to Ramsay is unquestionably her lowest point. She has been constantly losing her identity as a Stark to marriage but this is the very worst instance. This happens in season five and culminates with her being willing to throw herself off the wall of Winterfell on the off chance she might survive. Her lowest point happens roughly 2/3 of the way through the show because of that.

Arya also is a character of many bad moments from witnessing her father’s death to the red wedding! But her lowest point is when she begins to lose her very identity as a Stark in season five and six. Her loss of vision is what kick starts that lowest point at the end of season five. Roughly 2/3 of the way through the story.

Jon lost his lover Ygritte which was sad, but his lowest point is when he DIES at, you guessed it, the end of season five. 2/3 of the way through the story. Worse than that he is BETRAYED for doing something he thought was right!

Bran is the only Stark who’s lowest point occurs in season six instead, when he surrenders himself to beoming the three eyed raven and the old Bran seems to “die”. But Bran wasn’t in season five at all, so if we just take the seasons he IS in, then his lowest point occurs around the 3/4 point of his story, so not too far off.

It’s not just the Starks who have a lowest point at the end of season five! So does Cersei! Her walk of shame marks her most emotionally vulnerable and awful moment and therefore occurs 2/3 of the way through the story. Losing her son was of course, awful, but this attacks her very sense of self. Again, often times the lowest point is not someone you love dying but when you start to lose all sense of who you are.

Tyrion’s lowest point is when he kills Shae and then his father. It occurs about half way through the story, so he’s set apart from the other five we’ve discussed here. He has tried so hard to be accepted by his family, so hard to prove his innocence, so hard to get his father’s approval. And this is the moment when he says FUCK it. He becomes a Kinslayer and he leaves King’s Landing in a box. He, at the time, seems to have forfeited the game. It’s no coincidence that the next time we see him he is drinking like its the end of the world. A lowest point at the half way mark is unconventional, but sort of makes sense in a TV show. There is Tyrion BEFORE he killed his father and there is Tyrion AFTER he killed his father. He is forever changed now.

But some characters have a lowest point that’s even FURTHER back. Let’s check out Jaime and Theon. They both have their lowest point in season three and...man...could it have to do with a loss of self? Hell yeah it does!

Jaime loses his hand in episode three of season three, about 1/3 of the way through the story. It is stated many times that his LIFE was in that hand. His sword hand. That has always been the one thing he KNEW he could do better than anyone. With that gone he has nothing. He doesn’t know who he is so he must figure it out again from scratch. And he takes a kind of long time to figure it out but we’ll circle back to Jaime in a sec.

Theon SUPER loses his identity through awful torture until he goes only by the name of Reek. His lowest point kind of lasts awhile, but I’d say the end of season three where he first abandoned his name, marks the true lowest point. A little over 1/3 of the way through the series. And he, like Jaime, takes a long time to rediscover it.

And then there’s Daenerys. Do you know when her lowest point happens? Her LOWEST lowest point?

It’s season one.

Now, Daenerys has had other lowest points of course. Locking away her dragons, being picked up by the Dothraki, losing Viseron. But none of them have been quite so intense as her season one loss. Toward the end of season one, Dany has finaly been coming into power, free from her brother. She has a plan to cross the sea and take back her throne! And she has an army willing to take her there! And, even better, she’s pregnant with a son who she already loves!

But then, in a very short span of time she loses her husband, her son and all of her armies. She is left with only a few scattered followers and she walks into a fire with the dragon eggs. At this point, her surviving or the dragons hatching is not a sure thing. This, for Daenerys, is a sort of desperate act to try to retain SOMETHING of the power she had only a few days previous. Fortunately for her...it results in dragons.

Let’s talk about the results of the lowest point real quick. The lowest point isn’t just there to make a character suffer. It’s there to mold them and push them along their arc. It’s there to make them stronger. So how does the lowest point effect each character? Well, Jon is brought back from the dead, escaping his lowest point. And with that, he is actually able to fight for his family again--the family he always wanted to be a part of. He, as a result, becomes King in the North. But he wouldn’t have been able to do that if not for being knifed through the heart. On a personal level thought...he’s more jaded but also more focused than ever on the true threat. The Night King must be stopped. It is the only way to save everyone.

Sansa, after enduring abuse after abuse, is tired of other people deciding her fate for her. Cersei, Joffrey, Littlefinger, Ramsay. They’ve all used her for their own means. She wants to take back Winterfell, with Jon, so they can be safe. That is Sansa’s main desire at this point. Safety. And she will do anything to ensure it. The reason why its so satisfying to see her face Ramsay and tell him to “sleep well” is because she is no longer letting anyone have control over her. She’s done with that. She as become harder and smarter.

Arya, after having her eyes taken, must of course learn to use her other senses and endure physical abuse from the waif. So she gets stronger. But the real struggle here is for her identity. All throughout the arc, there’s this thread that she can’t let go of Needle. It’s what Jon gave her! Its her last piece of herself! And by the end, instead of letting herself be killed or giving up on Arya Stark, she takes Needle and kills the waif before declaring “a girl is Arya Stark and I am going home”. Perhaps she has lost everything... but she will not give up her name or her family.

Bran, interestingly, is sort of still in his lowest point. He has become the three eyed raven and at this point it is uncertain whether or not he will find himself again or whether, as Mira says, he died in that cave. That question will surely be answered in Season 8.

Cersei, in response to being shamed...fucks up EVERYONE. She blows up the sept with the faith as well as Margaery and becomes queen of the Seven Kingdoms. They brought her low and she climbed higher than ever. But this is also at a tragic cost. She loses her final child and thus becomes colder than ever. Cersei’s story is a tragedy after all, so there is never TRUE triumph for her.

Now, Jaime and Theon are frustrating character, partially because they have to be made, unmade and reborn. And that takes time. In season one and two, they both kind of suck. Jaime sucks most in season one and Theon most in season two. Then, through a dramatic, traumatic event they lose themselves and are left wandering in the dark. Jaime TRIES to return to buisness as usual as a King’s Guard, but finds himself more distant from Cersei as she too is changed. And he fails to protect TWO of his children, which leaves him feeling more lost. But really, he’s stuck with the person who brings out the worst in him, clinging to the past that he had with her until he FINALLY realizes that its over and leaves her at the end of season seven.

Theon spends quite a bit of time as Reek, likewise, and even though he escapes Ramsay at the end of season five, he still is left with the fear of him and the trauma that losing himself inflicted. For THREE WHOLE SEASONS he was with Ramsay, and that has been traumatic. So season six and seven focus on him still not truly being Theon anymore. Now, at the end of season seven, he has finally claimed his name again, bathed himself in water (reborn) and is ready to save his sister.

Jaime and Theon are both frustrating characters because we WANT to see them embrace their new selves but it takes them awhile to do so. The Starks are easier to get behind because their reaction to their lowest point is more immediate whereas Jaime and Theon stall for a bit before finally getting it. It is frustrating but like...it’s also relatable in a way.

And then, back to Daenerys. Daenerys, as I mentioned, comes out of her lowest point with three dragons. By the end of season two, she has money. By the end of season three, she has an army. By the beginning of season four, she has Mereen. By the end of season five she has figured out how to ride her dragon and she has new advisors in Varys and Tyrion. By the end of season six she has the dothraki in addition to her other armies, a bunch of allies, and is ready to sail for Westeros.

There are lowest points interspersed in these developments, but over all, she has continued to gain more and more ever sense her lowest point. As her dragons get bigger so does her power. Now, some of that power has wavered as she lost allies in Westeros and now the threat of the dead is coming...but the fact that we haven’t seen Dany lower than the end of season one? That has implications for season eight. So what are those implications?

Of the remaining major characters, I think Jon, Sansa, Bran and Theon have already hit their LOWEST lowest point.

Arya and Tyrion are a toss up for me.

Cersei, Jaime and Daenerys have yet to hit their true lowest point.

I’ll explain. For Jon, he has already died, and even if he dies again...that’s not really hitting a lowest point. If anything, the second time he dies, it will be after completeing his mission and therefore less devestating than the first time. He certainly won’t die via betrayal this time. And, best case scenario, he lives! But this is Game of Thrones after all.

For Sansa and Theon...I really don’t think it can get worse than Ramsay. Even if shitty things happen to them, there’s just...no sinking any lower than that.

For Bran, he’s still in the midst of dealing with his other lowest point so his fate in season eight will sort of be...a reaction that that.

Arya and Tyrion are a tossup for me because it kind of depends. If Arya, at any point, chooses vengeance over family, I suspect she will hit a new and tragic lowest point. If not, I think she’s good. For Tyrion, I’m hazy enough on his motives right now, there is a possibility that he will hit a lower point.

But then there’s Cersei, Jaime and Daenerys. Cersei’s whole life has been barrelling toward this self fulfilling prophesy. And if Jaime is indeed going to be her killer, the realization of that will fucking SHATTER her right before she dies as she realizes that she has been so blind.

For Jaime, the lowest point will likely be Cersei’s death. If his hand was part of his identity, she was another part. Now of course, I’m the biggest Jaime x Brienne shipper in the world and I DO THINK at this point he has left Cersei behind. But that doesn’t mean it isn’t going to be a kick in the balls when she dies (especially if he does it).

And then Daenerys. For a long time, its been a journey up for Dany. Ever since season one she has been rising. What’s the saying? The higher you go, the further you fall? I don’t know what form Dany’s lowest point will take, but I am fairly sure this season is going to be ROUGH for her and will probably have something to do with her sense of self as a Targaryen (since many of the true lowest points have looked at personal identity). On a narrative level, its been too long since the LOWEST lowest point, and its probs going to happen here.

Anyway, just a little story analysis I was thinking about this morning. Let me know what you think the season 8 lowest points will be! As always, keep discussion respectful :)

#game of thrones #game of thrones season 8 #jon snow #daenerys targaryen #Sansa Stark #Arya Stark #bran stark #Jaime Lannister #tyrion lannister #Cersei Lannister #theon greyjoy

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hyperbolog · 6 years ago

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2019 Oscar Predictions Pt. 3: Screenplays, Supporting Actress & Actor, Best Actress & Actor, Director and Picture

Best Original Screenplay

This is a difficult category to predict, as four of the five films are contenders in several key categories and three of those films are potential Best Picture winners. Green Book has won several key precursor awards, but it also is the recipient of extreme award-season backlash. Another knock against Green Book is that the script is as generic as a script can be, often telegraphing it’s major plot points and character arcs pages before they occur. The Favourite is a very funny and acerbic script, however the strangeness of the film may alienate the type of voters that gravitate towards backwards Boomer nostalgia like Green Book. My personal favourite script of the year is Schrader’s First Reformed, and I would love to see it rewarded, but that would be a true upset in a category that rarely provides surprises. The WGA provided no clues this year, as The Favourite did not meet their draconian nomination requirements and the winner, Eighth Grade, was not nominated for an Oscar. I’m taking The Favourite, but would not be shocked if Green Book ended up winning.

Will Win: The Favourite Should Win: First Reformed Could Win: Green Book Should Have Been Nominated: Sorry To Bother You

Adapted Screenplay

The Adapted Screenplay category can sometimes be a real shitshow. This year has avoided awarding middling fare by nominating five legitimately good to great films. This means there will be no Argo or Imitation Game travesties. BlacKkKlansman is the Academy’s best chance to award Spike Lee directly, as the film is unlikely to upset Roma for Best Director or Picture. The Academy loves it when the Coens go country, with previous nods for their adaptations of No Country and True Grit and while Buster Scruggs features many of the Brothers virtuoso monologues, it’s hard to imagine it being a serious contender. A Star is Born is the weakest of the bunch, and probably should have been overlooked in favour of Granik’s Leave No Trace. Can You Ever Forgive Me? is a potential spoiler due to its WGA win, however that is a notoriously fickle guild. Lee’s other competition is Jenkin’s Beale Street which, as good as it is, features some real clumsy translations of Baldwin’s prose. I’m hoping Lee is finally awarded here after three decades of iconoclastic, incendiary and often brilliant filmmaking.

Will Win: BlacKkKlansman Should Win: BlacKkKlansman Could Win: Can You Ever Forgive Me? Should Have Been Nominated: Leave No Trace

Best Supporting Actor

This has been in Ali’s award to win all award season. In a fraught campaign for Green Book, Ali has been able to absorb and deflect all criticism. I’m not sure that even detractors of the film will vote against him, though he won this award just two years prior. Some are predicting that Sam Elliott will join the ranks of Palance and Coburn, who were both industry stalwarts that won Supporting Actor Oscars in their 70s. However, those septuagenarians faced a crowded field with no clear frontrunners. If the night goes Green Book’s way, this could be the second time in three years that Ali wins Best Supporting Actor for a film that wins Best Picture, which is a truly meaningless coincidence.

Will Win: Mahershala Ali, Green Book Should Win: Richard E. Grant, Can You Ever Forgive Me? Could Win: Sam Elliott, A Star is Born Should Have Been Nominated: Michael B. Jordan, Black Panther

Best Supporting Actress

Both supporting categories seem locked up, with King being the runaway favourite. The only time she lost was at the SAGs to Emily Blunt. However that is essentially meaningless as King wasn’t even nominated for a SAG and Blunt is not nominated for an Oscar. If long-time also-ran Amy Adams couldn’t pull out a win at SAGs with King absent, it’s unlikely that she will pull off an upset at the Oscars. Rachel Weisz should technically be up for Best Actress, swapping places with Colman in this category. Weisz’s performance in The Favourite is electric, but King is the beating heart of Jenkin’s Beale Street.

Will Win: Regina King, If Beale Street Could Talk Should Win: Rachel Weisz, The Favourite Could Win: Rachel Weisz, The Favourite Should Have Been Nominated: Margot Robbie, Mary Queen of Scots

Best Actor

What is happening? How is it possible that Malek’s karaoke performance is the frontrunner for Best Actor? Wait, that’s not fair. Karaoke singers actually perform the songs themselves. Malik is essentially doing the equivalent of a Lifetime Movie performance in the longest episode of Celebrity Lip Sync Battle. The only upside to Malek‘s Mercury winning Best Actor, is that it will end all arguments regarding “Worst Performance to Ever Win an Oscar.” You’re off the hook John Wayne and Sandra Bullock. Best Actor has gotten into a real rut this decade, only awarding two performances that were not based on real life historical figures. No other decade awarded less than five performances of original characters. It has become a category for the year’s Best Imitation, which would still place Malek far behind Bale’s Dick Cheney and Dafoe’s Van Gogh. As Ethan Hawke was inexplicably left off the ballot, my vote would be for Bradley Cooper, who gives a surprisingly sensitive and nuanced performance in A Star is Born. But honestly, I’d take Viggo’s caricature from Green Book over Malik.

Will Win: Rami Malek, Bohemian Rhapsody Should Win: Bradley Cooper, A Star is Born Could Win: Christian Bale, Vice Should Have Been Nominated: Ethan Hawke, First Reformed

Best Actress

What was once the lone exciting race in the performance categories has now become a foregone conclusion, as Glenn Close is running away with Best Actress. Close, as always, gives a great performance, but make no mistake, this is a legacy win. The Wife is not a good film, in fact it is a patently ridiculous trifle. This year’s Oscar run-up closely resembles 2014, when Julianne Moore won for the mediocre Still Alice. The only major difference is that Moore had no real competition, while Close should be pacing fifth of five. Olivia Colman’s Queen Anne is a wonderful performance which manages to be both extremely funny and moving, as she infuses empathy into a character that could have easily been a punchline. Lady Gaga is terrific in A Star is Born as is McCarthy and Aparicio in their respective roles. However, it is Close’s year, as the Academy looks to honour a beloved seven-time nominee. When Close wins, it means that Amy Adams will now have more Oscar nominations without a win than any other living actor, placing her just two behind Peter O’Toole for most all time.

Will Win: Glenn Close, The Wife Should Win: Olivia Coleman, The Favourite Could Win: Olivia Coleman, The Favourite Should Have Been Nominated: Toni Colette, Hereditary & Joanna Klug, Cold War

Best Director

The days of Director and Picture lining up are becoming few and far between. It could be that voters are seeing these categories as intrinsically separate, with Director representing the vision and creativity of a film, while Picture being an award for Best Production, or it could be simply the result of the preferential ballot. There have been four splits this decade between Director and Picture, which is one off the mark for the most in a 10 year span with two ceremonies left to go. This year has a real “2015” vibe to it. That year, Inarritu’s The Revenant performed as the perfunctory favourite for Picture based on the strength of various Guild, Critics and Golden Globe wins, only to lose the Oscar to Spotlight. Inarritu’s Birdman had just won the year before, which may have played into that loss, but the feeling is that voters admired The Revenant, but didn’t particularly like it. Roma has that same admiration and that same cold response. Do audiences love Roma? Everybody seems to agree that the film is a gorgeous love-letter from Cuaron, and a personal achievement. However, much like The Revenant’s gorgeous natural light and impressive camerawork, Roma’s pristine artifice may distance viewers from actually engaging emotionally with the film. I expect voters to award Cuaron’s craft, but not his product. There have been some rumblings of a Spike Lee upset, which seems outrageous, but would be very welcome. Cuaron is already expected to take home Cinematography and Foreign Language, so it is possible that voters could choose to honour Lee’s BlacKkKlansman, which definitely carries an emotional immediacy that is lacking from Roma.

P.S How much better would this year’s Oscars be with only five Best Picture nominees that aligned with the films up for Best Director. Think about a year where the five films vying for Best Picture are Roma, BlacKkKlansman, Cold War, Vice and The Favourite. Nary a Green Book or Rhapsody in sight. We can dream, can’t we.

Will Win: Alfonso Cuaron, Roma Should Win: Spike Lee, BlacKkKlansman Could Win: Spike Lee, BlacKkKlansman Should Have Been Nominated: Paul Schrader, First Reformed

Best Picture

The expansion of Best Picture from 5 to a potential of 10, has definitely had an impact on the Oscars. This decade, Best Pictures have averaged a total of 3.5 total Oscar wins. That’s two less that last decade’s 5.5 average and far less than the 90s, where Best Pictures averaged 6.1 total Academy Awards. The last time a decade averaged so few total awards per Best Picture was the 1930s, which also nominated as many as 10 films a year. In the 2000s, the film to win Best Picture was the evening’s most awarded film nine times. That’s only happened four out of the last eight years. In fact, in two of those years, the film to win Best Picture tied with another film for most total Oscars. That means that the year’s Best Picture has been the lone most celebrated film only twice this decade. Whether this is a result of the expanded lineup, or a side-effect of our shifting cultural landscape, where streaming platforms, VOD and the general surfeit of films have fragmented consensus, the films that win Best Picture are changing. There’s nothing to suggest that trend will abate this year. All eight films nominated for Best Picture are predicted to win at least one Oscar. Roma is the favourite to take home top honours but is projected for just four total wins. However, it’s Best Picture frontrunner status is debatable. Many see Green Book as this year’s Spotlight, though not in terms of quality. It’s the kind of low stakes, ahistorical Boomer garbage that does very well at the Oscars. Black Panther is another potential spoiler, having both the cultural and box-office capital rarely seen in this category. Also, Panther won the SAG, which is a strong Guild win. BlacKkKlansman appears to be this year’s Get Out, as it’s the film that best captures the time in which we live and is certainly too good to win Best Picture. Further hampering BlacKkKlansman, is that it did not win a single Guild. Only Out of Africa has won Best Picture with no Guild support. The Favourite appears to be on no-one’s top pick, but preferential balloting may reward a film so generally well regarded. A Star is Born could also find itself on the top half of a lot of ballots. It seems that the only film that is totally out of the running is Vice. Then there’s Bohemian Rhapsody, which would surely be the worst film to ever win Best Picture. Not only is it essentially directorless, it’s a nearly unwatchable mess, operating more as a collection of montages than a proper film. It’s an abysmal, objectively terrible film that bares closer resemblance to a Hallmark Channel “Movie-of-the-Week” than an Oscar winner. How did this happen? I know that we all like Queen, but we still have eyes and ears, right? I’m taking Green Book, as I do not think that voters are ready to give top honours to a Netflix film, especially producers and directors who may view giving Best Picture to a streaming service as a case of “Too-Much Too-Soon.” Green Book has the air of competent mediocrity which so often goes hand-in-hand with Best Picture winners. That Moonlight win is looking to be more and more of an anomaly.

Will Win: Green Book Should Win: BlacKkKlansman Could Win: Roma Should Have Been Nominated: First Reformed

#Oscars #Best Picture #green book #2019 Oscars #academy awards

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seulsbit · 6 years ago

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why klance still has a chance lol

okay so, my friend wrote an analysis of this article, but didn’t want to post it themselves in fear of backlash. so i asked if i could copy it all and post it for them, so here you go. it’s very long but it’s worth it. everyone from this point on is their writing not mine

“There’s still plenty to wrap up in the final 13 episodes, however.”

“Andrea Romano, who was our voice director at the time, walked in and was like ‘Is this the last episode? Did you kill them all?’ And it does feel like you could technically end the series there, and everything would be hunky-dory.”

Okay first let me talk about these

Because first there is plenty to wrap up in the final 13 episodes and the interviewer acknowledges this which means that outside our fandom people do realize lots have to be answered and 13 episodes is a lot but that’s a short time to do it

2nd SS:

That’s (either Lm or JDS) saying they acknowledge this as well. They could have ended it there if they wanted too but they know there is again a lot left to be gone over and answered involving Honerva

And the ships too

Forgot this one

Dos Santos joked, “We were hoping it would be a surprise”

This made me think okay this is confirming what I thought and a lot of others thought

They like surprises

They like the wow factor of their audience

Okay now onto the good stuff

Interviewer:

“In terms of other loose ends left to tie up in the final 13 episodes, season seven hinted at the possibility of romantic relationships between Allura and Lance and and a potentially one-sided attraction between Keith and Acxa. Aside from Lotor and Allura’s brief relationship in season six (which ultimately ended in betrayal and Lotor’s demise), romance hasn’t been a particular focus in Voltron: Legendary Defender. That was deliberate.”

Lauren Montgomery:

“We really wanted to focus the beginning of our show on making sure each of these characters had a fully formed arc and a fully formed self before they started doing anything beyond that so that none of these characters felt solely defined by being solely ‘the girlfriend’ or ‘the boyfriend’ or ‘the whatever’ of ‘whoever,’” Montgomery explained. “Now I think that you can look at every character and really feel like they’ve grown personally — maybe they feel a little more comfortable in themselves to feel comfortable looking beyond themselves.”

The parts of that I found really interesting and key note worthy

THIS ONE

“The girlfriend” “the boyfriend” the whatever of whoever

That jumped out at me

That implies that it doesn’t really necessarily mean it’s boyfriend and girlfriend, this means any kind of ties to the characters and it doesn’t *specifically* state boyfriend & girlfriend it keeps those separated

As far as the “girlfriend of whoever” goes

This could be a NUMBER of people aside from Allura who they aren’t even together yet and I don’t know that they will be together

Lauren and JDS don’t actually specify anything concrete

Example: This could be Shay for all we know

And the fact she talks about the whatever of whoever

Details it from being specifically about anyone in particular

She’s talking about the relationships the cast have with each other and side characters in general like

Pidges father and brother

Keith and Krolia

This could be about Allura and Coran

This could be about family

The friends they’ve made along the way like

Keith and Kolivan

So this isn’t strictly about romance or pointing out any specific romance

Now moving on

This next paragraph is the Interviewer writing

Not JDS or Lauren there are no dialogue quotations

The only dialogue they quoted is a Lance line

Interviewer:

This seems to be the case with Allura and Lance in particular. In earlier seasons, Lance’s incessant flirting with Allura was little more than comic relief — his first words to her were “I’m Lance, and you’re right here in my arms,” after which she immediately called his ears hideous. Things have changed since then, and Lance and Allura have had the chance to mature and bond with each other. Lance’s cheesy pick-up lines seem to be a relic of seasons past — what remains is a relationship built on mutual respect and trust that could hold romantic potential after the galactic crises start to abate.

Keep in mind that wasn’t said by the creators from what I can tell because there are no quotations and no (Lauren said of Joaquim said) which this writer puts and points out when putting in quotes and their responses like an interviewer typically does so

I think people get hung up on this paragraph

When JDS and LM didn’t say this, this was the interviewer and if your caught up on what I’m about to show their responses

Specific parts of their responses jump out at me too

“I think things evolve,” Dos Santos said. “You know, we’re the rare situation where we have this many episodes to serialize a story and character arcs. So, I think while initially romantic interpersonal relations weren’t really the driving factor of the show, things naturally evolve.”

One he says things evolve naturally and what pairing has JOAQUIM HIMSELF said is a natural evolution of their characters

Keith and Lance

Specifically

I’m positive that was JDS who said that in an interview before and he’s right

Romance interpersonal relations really weren’t the driving factor they don’t push the show forward they aren’t the main focus. That’s a minor subplot thing. It’s extra.

brief or enduring

BRIEF OR ENDURING

Brief makes me think of Allura just because she’s never returned anything romantic to Lance. Until this season in one episode ???

Enduring Let’s see what that word actually means

I wonder who this makes me think of

Hint hint it’s Keith

Their friendship, relationship, whatever it is atm

Is *show spanning*

They’ve had highs and lows. They’ve reciprocated soft important moments.

So Joaquin’s statement is not just a poke at Allurance it’s a poke at Klance too it’s a poke at every romantic relationship. Initially Romantic interpersonal relationships weren’t really driving the show. But like he said things naturally evolve. And looking back at Klance interactions through the seasons and into season 7, there’s a lot, and the farther it went the more it got naturally evolving which Joaquim has said they’re a natural evolution. And lance’s endgame is a slowburn confirmed. Now s7 Klance is tense because Lance is hurt. Keith was hurt we saw Keith get hurt early in the show Lance refused to acknowledge he remember they bonded. And has been hostile towards Keith in several situations which died down in season 3 onwards but there was still here and there times that they’d argue and poke fun right. Because it’s a part of their relationship. This season was different it was tense and serious and Lance is seriously hurting because he’s acknowledging his feelings for Keith internally or very close to that. He was hurt when Keith left (which I’ll argue Keith left so lance wouldn’t have to leave the team). But Lance didn’t know that. Lance didn’t know why it hurt so much. But lance getting closer to his feelings and accepting/acknowledging them, he’s gonna lash out, he’s angry. Keith lashes out too. But you say things you don’t mean when you’re angry. You get so angry you’ll say things to hurt people because while your mad about something. You may not mean exactly what you’re saying. Anyone whose ever argued knows this cause your head isn’t clear when that happens. You start relaxin and thinking about it and regret what you’ve said. And ups and downs to me that’s enduring. Having good times and bad times that’s enduring. Being soft and open with each other and having fights. THATS ENDURING, THATS NATURALLY EVOLVING. Their back and forth fights this season. Held WAY deeper meaning than ANY bickering they’ve EVER done. This isn’t S1 Klance, this is a Klance we’ve never seen before. Because I believe we’re gonna see the issues tackled and resolved next season. This isn’t a bad Klance this is a Klance that’s

This to me isn’t the resolution, we haven’t seen the resolution. Would I classify this is Falling action or the climax I’m not sure but it’s one of those. Klance’s end relationship whatever it may be will NOT be hostile and I hope and I do have hope a big part of me still believes it’s romantic

The interviewer (later putting a quote in from JDS):

“Whatever the final season of Voltron: Legendary Defender holds, there are plenty of details — both major and minor — that beg resolution. “To continue the story doesn’t necessarily mean that it gets bigger in scope in terms of, you know, the universe and a battle growing between millions and millions of people,” Dos Santos noted. “Sometimes things get smaller and that means more as well.”

He’s sayin it doesn’t mean it’s gonna be another huge battle action packed season even though they have the honerva deal to solve. We were so plot focused this season that the relationships and the other stuff wasn’t a focus

The things I BET Jermey was talking about

I bet those are s8 things. S8 is gonna be the personal season I think. And what better season to be a Lance season than the personal one. The one character we’ve followed, the one who is arguably the focus of the show. While the other paladins are the focus, i see Lance in the role most and more than the other paladins. Even if he doesn’t get upfront evolution he has grown as a person. I’ll argue that with anyone who thinks he hasn’t, and he hasn’t been destroyed or devolutionized. I don’t think Keith has either. It was stressful and Lances heart has been put through the ringer in turmoil and stress over his feelings for Allura and Keith. He’s been stressed since Keith left and hasn’t not been that way since. He’s had to look into himself and question things and he felt like something was missing, and now that something is back. That something being a someone named Keith. They are a pair, and if it’s a friend pair fine but they are one nonetheless and I believe it’s romantic. Just Keith is angry too. He’s never liked leading. Even if he’s good at it or moderately better at it and learning, it’s always stressed him out. And Lance had been his impulse control rock. Now Lance can’t be, Lance NEEDS a rock he needs someone to walk things through to understand he’s got so much going on in his heart and head and I believe Shiro will walk him through it. Because he’s the only one who understands and then Keith will play a role. (Oh look my demon Klancer is coming Out mega my bad guys)

Lauren:

““There’s more story to tell,” Montgomery stated. “And we think it’s pretty rewarding.”

There’s more story to come

They have more to say and tell

They think it’s rewarding

As a whole

Not herself but “we” everyone involved i bet

Now this has to be something major wether it’s hetero or homo or not romantic at all, something big is coming in s8 that’s not plot driven, but story driven.

So in conclusion,

#omg this was a lot to copy and paste #@ my friend who doesnt want to be named #i love you so much you have a galaxy brain #vld #voltron legendary defender #klance #keith kogane #lance mcclain #keith #lance #vld spoilers #s7 spoilers #voltron season 7 #voltron theory #season 7 theory #lauren montgomery #joaquim dos santos

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monkey-network · 6 years ago

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Good Stuff ~ Seven of the Season: MLP Season 8 Part I

WARNING: Do not offer me a popsicle; I’m not much a fan of them anymore. I don’t know why, really. Thank you, take care out there, and enjoy.

Since it’s on hiatus until....August, it seems (confusingly lame), wanted to look back on this current season so far since it legitimately has been almost 8 years and I’m still watching this show. Not that that’s a bad thing, but unlike Adventure Time or Archer, it doesn’t feel like it’s aged all that majorly. And really, I wanna commemorate that. Due note part 2 will be for the entire season; to kinda ease my options in the end. So here be the Top 7 BEST Episodes of the first arc of season. Seven, because it’s lucky, baby. Here we go…

7. Grannies Gone Wild

Don’t look up ‘Grannies Gone Wild’ on Google Images. Not even safesearch is safe from the bizarre shit you might find. As for the safe for work version, it feels like a ‘standard’ episode, where Rainbow’s trying to keep the apple grannies safe from hurting themselves while trying to get on a rollercoaster on its last day. Though what makes this funny is that while you could think that Rainbow Dash is at fault for biting off more than she chew, it’s really Applejack’s fault for being such an enabling overprotective mook. Seriously, everybody agrees in the episode that it’s Applejack’s fault. What makes it even funnier and put this on the list are the grannies themselves, since they remind me a lot of my grandparents (may they rest) and have no time for Rainbow’s shit throughout. While it’s low on the list for its conventionality, I still enjoyed it for what it was. Especially since this joke will forever be associated with it

6. Marks For Effort

Preferentially, hating on the character Cozy Glow like I’m Alex Jones for how suspicious she acted kept me going for this episode. As such, it’s surprising to say that this was a great episode for the Cutie Mark Crusaders. Even when they don’t achieve much in the end, they have an honest goal in mind and it didn’t feel far fetched, and they band well together in teaching the Wooby friendship. Unlike their other episode this season, it never felt like they had to get in each other’s way to achieve something together. It felt like they were earning their endgame, which made it bizarre that Cozy would just sabotage her test to help them out. I mean honestly what purpose did that stand beside giving Starlight a chance to--Oooooh ho ho. DHX, you clever bastards, you wanted to make me feel for Starlight having little to her name now as the school counselor. Mmmmmhmmm, not falling for it. In any case, stopped for the Cozy Glow hatin’, seriously I’m gonna stone that wooby, stayed for the quality time with the CMC. As for you, Starlight, come back when you’re a main character.

5. The Mean Six

This was honestly a surprising episode based on how nothing and everything happened in the span of 22 minutes. Chrysalis returned, offering the most charmingly hammy performance to date. And while her plan to get the elements of harmony fails tremendously, and never really started to be honest, it was fascinating to see that she could’ve been indirectly responsible for breaking apart the mane six. If the show didn’t have to fall under the status quo, this would’ve actually been a clever way of presenting a fallout arc for the characters while Chrysalis is unaware of this, thinking she still needs to plot their downfall. The mean six, or Negagangers, were utilized much better here than when Discord tried this in season 2. And somehow I actually felt for Starlight getting the short end of the stick (maybe that was because she wasn’t the one who brought everyone together in the end, but who knows). The only downside is that, if you’ve seen this show plenty of times, you know what’s gonna happen and it lacks the specialty. Though it does make up for its reasonable message, the Archer-esque way the characters play off each other, and that ending scene where the Negagangers having their faces melted is the 2nd most metal thing this show has done. And no, I’m not gonna show that, for I’d like more dreams than nightmares.

4. The Break Up Breakdown

This at first felt like a conventional Valentine’s day episode (in May) with it all just amounting to misunderstandings.... made even crazier when it involves Big Mac accidentally giving a child his romantic gift, eavesdropping on his lover, said lover getting dirty, and Discord taking Big Mac and a child dragon to a swinger’s club, all to get back to LARPing. And honestly, that is what elevated this episode, crazy shit happens and it’s not so much Discord’s fault, though he is essentially what makes this episode work so well with the fact that he cares for none of this yet is on top in the end (phrasing). Plus my heart did skip a beat when Big Mac and Sugar Belle reconciled in the end, giving me memories of the good rom coms of yore like Moonstruck and Muriel’s Wedding, except without the ABBA. And again, Discord nonchalant attitude toward everyone else’s lovestruck ideals of Valentines with his newfound obsession with D&D kept this entertaining and worth coming back.

3. The Maud Couple

As it is unfortunate that Maud’s new boyfriend will forever be named Mud Fuckstick, Fuckstick is honestly the best character in this episode and just makes this episode so entertaining; especially on the grounds that he does little to nothing else to jumpstart the plot beyond being around and being methodical with his wordplay. The fact that Pinkie is legitimately fuming at Fuckstick potentially taking her sister away is ironically hilarious. Episode would’ve been higher up if not for that one scene of Pinkie screaming her head off for 4 seconds. I don’t mind Pinkie spazzing out, but those 4 seconds was a screeching convulsion, like christ. Plus, I realized something: Pinkie can be really selfish and mostly cares about the idea of caring for others’ feelings and use the self esteem she gets as a coping mechanism for her own depression. Really, that hits pretty close to home in some aspects because you want people to be happy because that makes you happy, but when some crucial sacrifices are required from you, it can be really hard to swallow that you probably won’t be happy about it the whole time, and putting up with it will feel like as terrible an uphill battle as the thought of not doing anything.................................heheheh, Bazonger!

2. Fake it ‘Til You Make It

Honestly, this episode is great solely because Fluttershy is great in this. It’s a titch bias since Fluttyshy’s been one of my favs since the beginning, but this episode showcases my love for her in a way. The fact that she had to put up and bullshit her way through customers’ wants and complaints were relatable enough, but seeing her actual warp her personality through her many changes to the point where she actually comes off as threatening was....somewhat moving for this show. She essentially became an antagonist for a few moments and it never felt like her change was sorely out of the blue. Her other personalities were funny (unsurprisingly ‘Gothishy’ came out as my favorite), her raccoon fam were a valuable addition to the character dynamic, and while Rarity is generally at fault for making Fluttershy go through all that in a short matter of time, her resolve in the end was direct and empathetic as well. Also it gets point for Fluttershy saying ‘Woke’, snowflake cutie mark goth pony, and having a pretty solid message in the end.

Honorable mentions: Non Compete Clause, School Daze (Part 2)

1. Horse Play (Phrasing)

I’ll be real, I shouldn’t think this episode is great. Generally because the main character isn’t great in this. Twilight is so stubborn in this, it felt out of character. The answer was obvious, they remind us over and over again, but Twilight continuously ignored all that because of her apparent bottomless admiration for Princess Celestia? This far in the show? It is unforgivable, and annoying no doubt. It felt like she was purposefully sabotaging her own ideas after already acknowledging that Princess Celestia has performance issues, not to mention her friends trying and failing to get the stage upright. After basically being friends with Celestia for this long, it shouldn’t have been that fucking hard to be honest with her, and not treating her as if she doesn’t have a flawless bone in her body! So basically Twilight was the least favorite part of this episode and she really bogged it down a notch. But how is this #1? It’s fun. Celestia was having fun, we get to see her be ecstatic, quirky, LIVELY again for more than a few seconds. The cast was fun, reminding me of other episodes where everyone was together trying their best to not screw up too badly (see Saddle Row Review). Spike was on his sass A game. And the final act when Celestia took over made for the best ending of this season; her helping Fluttershy build confidence was a definite highlight of this series as a whole. Even the leaked version of this episode with it having no music and stock sound effects was the most fun I had with this season. It was fun. Can’t say much more.

This season didn’t so much offer its best in my eyes. The seven of this first part of the season were the seven only good ones, with the remaining ranging from boring to just pathetic. However, I will say that after this long, I say they can still pull off some wonderful episodes, on the initial and look back, so I’m certainly not counting them out just yet. And with that, I’m Roy Macintosh, and that’s all I got.

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