#not when there's another choice

[forgetriestowrite]

ok ok ok it's 1 am and I should be in bed but listen. i need to talk about this

idk if this has been talked about before but you know how in HTTYD 2 Hiccup's mom is like "you have the heart of a chief and the soul of a dragon" and that's like The Theme of the whole series like bridges crossing and Hiccup and Toothless' bond and creating a peaceful world and Test Drive as a track etc etc

and I know that it's important for Hiccup to be that for, again, The Themes

but i feel like we're sleeping on Astrid.

this woman is fierce and protective. She throws the first punch so her loved ones won't get hurt. She is a warrior, a fighter. She literally mirrors the journey of the dragons in general in the first movie, where she is constantly ready and willing to attack her enemy until she is given absolute, irrevocable proof that they can be trusted. After that, she is ready to protect them and help them. She is loyal, strong, capable, a total badass. She is a shield and a sword for her family. She will do anything for them. She has the soul of a dragon too.

[stompandhollar]

reminding everyone that the in-universe problem with The Doctor and The Master isn’t “ooo horrible nasty enemies who hate each other and don’t get along and fight all the time but are also in love”

the problem is that they get along. the problem is that they can’t stop themselves from falling naturally into a rhythm of riffing off one another and enjoying the other’s company. THAT is the problem. the problem is that it works and that’s the thing that caused all their issues. they like one another. they just click.

[slumbering-shadows]

Underrated bit in Psych is that sometimes for no discernable reason at all the weird old priest that gus is in love with shows up to rescue them from situations

[reunitedinterlude]

phil finally getting his midriff out <3

[divineandmajesticinone]

4 MINUTES (2024) I 1.01 "I'm sorry. My dad wants me to go home now. For dinner."

[atlas-and-the-time]

The greater grief

[yeonjune]

Yeonjun about the strain he felt while preparing for his debut solo project ✙ "GGUM" MAKING FILM

[time-woods]

Doodle request: I found a hc that Scarab had wings that were removed for fucking up his job somehow and that's part of why he's Like That. What's your take on this hc?

i like to think that he got into a scuffle with some other cosmic entity in the past and in the fight his wing got torn, but cause of that he started wearing the suit exoskeleton thing he does now to prevent it from happening again

in my head hes got 2 exoskeletons- the suit is a false one thats tougher than his true one underneath

i feel like prior to that happening he used to wear more actual clothes but alas being an immortal creature doesnt mean you cant still get hurt

[gummi-ships]

Kingdom Hearts 3 - Rage Form

[bixshits]

so rosencrantz and guildenstern are dead functions on the idea of these guys not having a choice right? and even if they choose to just sit down and not move anywhere they'll probably be moved to where they need to be regardless? and the only choices they have are how they choose to interpret their world, with rosencrantz needing to find and test the boundaries of it and cement their place in it and guildenstern trusting the narrative without question? and guildenstern refuses to allow either of them to decide who they are? and they are so interconnected with each other that they are simply inseparable and indistinguishable, even to themselves? and they cannot define themselves without the other and become lost when they lose each other? and their choice (or lack thereof) in identity (or lack thereof) is mutually decided (or determined) to be in their inherent love and trust and unity in and with each other? and you expect me to be normal about that?

[epiphainie]

i've just finished my s7 rewatch and it's kinda so funny to me how much discourse people created over every bucktommy interaction when their whole arc boils down to tommy being patient and vulnerable with buck and showing up for him. like when you are not wearing shipper goggles under the name of "analysis" and don't try to reverse-engineer every word and look and shot with utmost bad faith, that's what it is. a simple and sweet story of a new exciting relationship with a guy who's understanding and willing to show up. literally the two things buck needs from a relationship but never had with his previous love interests. they are kinda sickeningly sweet and well-communicating actually lol

[twitchyglitchy]

What do I have to do to get out of here? Who do I have to beg on my knees to so I can leave?

Get me out of my house

P@yPal: twitchyjayson

Current Goal: $55/$800

[criminalflower]

This is the face of a man who's mentally going through all of his exes to figure out which one he got pregnant.

[butchvamp]

i already said it but it does really frustrate me how little agency Taash has and the more i think about it the more insidious it gets. again their entire story revolves around Rook making choices for them, and they're also consistently talked down to by other characters, even if those characters are depicted as being friendly or nice. Isabela treats them like a child despite Taash being a very accomplished dragon hunter with the lords (which we see, repeatedly, when fighting the blighted dragons! Taash is not a child), and of course there's their mother (at least this is intentional) and both her and Isabela go behind Taash's back to throw them in with Rook, without asking for their input. Isabela just assumes without even trying to discuss it with Taash separate from their mother, despite seemingly being aware of the two's strained relationship... and from there Isabela continues to make unnecessary comments to Taash whenever you visit the hall of valor with them.

even Flynn, the nonbinary grey warden you meet in the wetlands, condescends to them about the Qun when discussing their gender, and Taash isn't allowed to disagree with them (apparently they give Flynn a Look but ultimately don't press the issue) and Flynn is depicted as being helpful in this discussion. Rook lectures them about gender and their own culture; their entire narrative revolves around Other People telling them what to do and how to feel-- it's obviously meant to be Bad when Taash's mother does it, because she (the Qun) is oppressive, but otherwise the game seems to be fine when it's Rook or literally anyone else doing it, because we're the enlightened Good Guys, and Taash is just helpless and confused and so oppressed. of course, i don't think it's bad for Rook to discuss these things with Taash or give them gentle suggestions, and i don't even hate the potential gender discussion you can have with a trans Rook; and for the record, their mother does treat them poorly. but we can't ignore the way Taash's repeated infantilization culminates in the player being the one to choose their culture for them in the end, because..?

well, the game clearly doesn't think Taash is capable of doing it themselves. at one point Taash links the ropes they wear for the Qun to the ones the antaam used to tie down a dragon and "blight" them. even if i'm feeling gracious and say that Weekes really meant that womanhood & their mother's expectations are restricting, they actively chose to use the ropes of the Qun to make this comparison, and so are also implying here that their mother teaching them the Qun has tied them down and "blighted" them-- that the Qun has "infected" their thinking and is as bad as the blight (this is also implied in the previous discussion with Flynn). this is.... really racist. it takes Rook and their, again, "enlightened" (white) ideas about gender to get through to Taash, nevermind that the Qun has its own ideas around gender that just get shouted down or completely ignored. the racism here results in the narrative contradicting itself, considering one of the first things Taash says is "you don't get to tell me who i am" but... Rook does, in the end, because intentional or not the game is clearly convinced that a person like Taash needs someone from outside of their and their mother's culture (aka free of "blight") to come tell them what's best for them.... 🤔 hm! and while it's true you can choose for them to align with the qunari in the end, that doesn't mitigate all of the heinous and racist writing that leads up to that choice (and that the choice itself is racist. and you have to make it twice!)

of course we can say that Rook makes choices for all of the companions, this is true, but it's obvious that none of the other companions' choices are in the same ballpark, we aren't directly deciding something about their identity, and none of them lack agency to the same extent as Taash. we can even argue that they need Rook to explain gender to them, no one else ever has-- well, sure. the thing with Taash is that some parts of their story, when removed from context, are perfectly fine. i'm not criticizing the way Taash talks or acts or "does gender," all of which are things some people may connect to for various reasons (all of our experiences are different) but unfortunately we cannot discuss any of this without addressing the racism that is so thoroughly baked into every aspect of their character.

i criticized Taash for being "childlike" previously and that really wasn't the right phrasing-- i don't think that Taash themselves is childlike, it has nothing to do with them-- it's the way the narrative treats them, the way other characters talk down to them, how it takes away their autonomy & forces us to go along with it, and ultimately educate them and "save" them, and i think it's worth interrogating why Taash, of all the companions, is specifically depicted this way (it's racism).

[jichanxo]

Help me, Lord, from these fantasies in my head / They ain't ever been safe ones

[fuckyeahisawthat]

Fully prepared for this to be a minority position but I am deeply emotionally invested in Paul and Chani not getting back together in Dune Messiah. Not just because I love angst and tragedy (I do) but because I don't think there's a way to do it without undermining the narrative and character arcs that Dune Part Two executed so well.

Paul and Chani's relationship in the Villeneuve films exists on a totally different foundation from what's in the books. It's a political love story and you simply cannot separate out the politics from the romance. Their connection starts with the politics and the love is built on top of that.

It's not just that they happen to fall in love while fighting together in an anti-colonial guerrilla war; that is why she falls in love with him. Because he is willing to take the same risks as her in fighting for her people's liberation. Not by trying to impose himself as a leader (at first) but side by side with her as comrades and equals. Let me fight beside you. That's all I'm asking. He is quite literally willing to put his body on the line for a struggle that's been with her all her life, that she cannot escape, but that he could walk away from if he chose. And in fact he proves himself to be an asset and not a liability in this struggle and they start winning. And yeah that shit's romantic as fuck!! Kudos to whoever on the writing team was like actually direct action solidarity is sexy af because they were right and they should say it! There clearly is some attraction or at least interest in Paul on Chani's part from fairly early on, but it's only after he's proven his political worth, in battle, that she allows herself to trust him on a personal level enough to begin a romantic relationship with him. (And it's only after Paul takes off the Atreides ring, the symbol of the fact that he came there to rule over her, that the narrative permits him to advance to this point.) They could have been comrades but not lovers, but never the other way around, because there's no other version of Paul that this Chani would have fallen in love with.

It's important that they meet in circumstances where Paul has no structural power over her. Chani never would have trusted the Paul who stood in the colonial palace and pledged to "honor" Stilgar by offering him hospitality on his own fucking planet. Because she would have known, just as Stilgar did, that such an offer of fellowship, no matter how genuine and well-intentioned, is not made on equal terms. It's only once Paul has been forcibly separated from his colonial privilege that they have even a chance to approach each other as human beings. (And, in a sort of dark irony, that violence becomes a bridge that connects them. That Paul is driven not by abstract power games among the Great Houses but by real grief and anger over the violent death of people he loves at the hands of the Harkonnens must surely be something Chani understands. And it builds a level of trust and empathy between them, that she doesn't have to explain the stakes of what they're fighting for. He knows it in his bones.)

It's not a coincidence that all their explicitly romantic moments are shot through with politics. Their first kiss is wrapped up in a conversation about what it means to be Fremen and I would very much like to be equal to you. (Yes, he's flirting his ass off with that line, but I do think he is sincere.) Their single post-coital scene has I'm no messiah, I'm a fedaykin of Sietch Tabr--not just a commitment to her people and her home but to her specific form of political struggle in which he is joining her. Throughout their whole relationship, the personal and the political are so interwoven as to be indistinguishable from one another.

This kind of commingling of emotional commitment to a person with political commitment to a culture/people/cause could have very easily slid into something tokenizing or fetishistic, but the writing manages to avoid that by sticking very strongly to a couple of guardrails. One, Chani is not some passive prize to be won, but an active agent of her own liberation, whether Paul is in the picture or not. She is the Fremen liberation struggle within the political allegory of the film; she is its voice and embodiment from the moment we meet her. On a character level, she is doing her thing and it's up to Paul to either follow or get out of the way. Even though we know he is afraid of her dying, he never once suggests she leave the front lines of armed struggle (can you imagine?) because that struggle is such a fundamental part of who she is and what he loves about her.

Two--and this one is important for what comes next--the narrative never trivializes the political side of their relationship in favor of the romantic. The second Paul reaches for any kind of power over the Fremen, over Chani, the trust between them is broken and the romance cannot continue. She might still love him as a person--you don't just turn that off--but she cannot be in love with him as the Lisan al-Gaib, fulfillment of a false prophecy she hates; as the Duke of Arrakis, her colonial overlord; or as the Emperor of the Known Universe, overlord of her overlord. As soon as he pulls that shit he is just another colonizer and she's done with him.

And like, kudos to the narrative for being absolutely uncompromising on that point! That's what makes both the political allegory and the personal tragedy hit so hard! Paul, bro, you fucked that one up good and now you are Experiencing a Consequence! I LOVE that in the end, love isn't enough. All the love in the world isn't enough to keep Chani from walking out at the end of the film, because the foundation that love is built on is broken and cannot be repaired.

(I do believe that by the time he is declaring himself Emperor, Paul thinks he has no choice, that this is the only way to save the people he loves from any number of worse fates. But that, too, is a betrayal, of a kind I don't think Paul fully understands. Because either you think the Fremen are capable of governing their own planet or you don't. Deciding unilaterally that having a "friendly" imperialist in power is the best you can hope for is a profound denial of the agency of the people Paul claims to be doing this in the name of. It's either paternalism or despair, and neither are acceptable modes of thinking for a serious revolutionary. Chani would tell you as much.)

The thing with making a bold writing choice like that is that...you cannot then walk it back in the next film with Chani choosing to forgive Paul or coming around to seeing the world his way and understanding that yes it's politically unsavory and he's manipulating the people he said he was in solidarity with but this was the only way! If you do that then the whole framework of what the first two films are trying to say about power and imperialism and resistance and solidarity collapses into incoherence. On a thematic level Dune Messiah is all about the consequences of Paul taking power the way he did and these are the consequences.

And on a character level...I just don't see any way to come back from such a deep betrayal. Even if some part of Chani still loves him. Even if she's pregnant with his child(ren). (We have like, zero information about how movie Chani feels about family and pregnancy and childrearing that would indicate that she would care one bit about her children's biological father being involved in their lives when he is otherwise busy being a space dictator.)

There are several categories of scenarios I can think of to get Paul and Chani interacting again (she goes back to him as a spy/assassin; she's brought back to the palace under some sort of duress, "for her safety" or even as a political prisoner) but none of them involve them being genuinely together as a couple. I could also see them not interacting at all for most of Dune Messiah. What I cannot see is any scenario in which she genuinely forgives him or ever fucking trusts him again. That shit is over and there's no getting it back.