#ok not really a meta

[saddybildaddy]

truly a 4 am thought but who else thinks about the way shax knew maggie's fears and used them against her, but later struggled to do the same to our angel? sure, he's an angel, maybe he's got an automatic defence thingy. or maybe he's far more complicated than most give him credit for. a powerful demon couldn't even penetrate one layer. two main takeaways, he definitely has a plan, and second, yes I apparently just stated he is impenetrable. do with that what you will

[mjulmjul]

Katya / Goncharov

[fumifooms]

I don’t like minimizing the importance and gravity of Laios and Toshiro’s fight into just being a childish squabble, even if to a degree it is framed that way, because to both of them it has a lot of personal significance and emotional weight and runs very deep to their characters… The fight isn’t nothing it’s a LOT, they made up but it’s not something easy to express and to get over for either of them which makes it all the more meaningful! I’m on both sides but there very much are sides, there’s no "they’re both having a ball, Toshiro and Laios hand in hand yay" side to the fight, that comes after

The fight with Toshiro WAS very scary to Laios, almost existentially so, but it’s moreso the "I thought I’d made a friend!!" bit and my god. My god actually

Like it’s not "just" about oh his friend liking him less than he thought, THAT IS SO MUCH. It’s a bond he thought he had being a lie it’s all the time and moments spent together either being a lie from his perspective or marred now looking back. It’s not only being upset at Toshiro for lying but upset at himself that he’s so easy to fool, it’s being upset that there’s something so wrong with you that you can’t even tell if your "close buddy" even actually likes you or not, it’s like. Holding my head. He can’t trust his own vision of events that happened do you see. There’s always this film of distrust that it could be a lie that should be there when he interacts with people there’s always this sense of cloak and dagger to expect backstabs out of nowhere because you CAN’T see it coming you CAN’T you CAN’T there’s something about you which makes it impossible so you CAN’T-

He’s so scared of not being able to read people. He knows it’s a weak spot he has, he’s always known. All of these bits are centered around social expectations and betrayals, the assumption that he doesn’t belong either in society or with other humans.

And Laios’ level of awareness is actually sort of complex to analyze, but it’s there, there’s how out of him and Falin he was the one sensitive to the ~aura of hatred~ he felt from the townspeople, there’s of course his nightmares whispering to him about the mocking looks, and how yeah actually he realizes that his gold stripper coworker was taking advantage of him. There’s of course the Winged Lion speech about his trauma and how he fundamentally mistrusts/dislikes humans to some deep seated degree, this distrust that he still keeps under control always. There’s how pre-canon he often wanted to suggest eating monsters but never worked up the courage to bring it up with the others. There’s how he gets across as stoic when he isn’t being enthusiastic…… We don’t know how aware and wary he is exactly in the moment but we do know he has some anxiety around social stuff, and looking back he does notice and aughh augh, the sense you have to hide yourself to not get hurt and be on your guard and shit and.

When you don’t know what to look out for and when to look out for it, the general ‘common sense’ of not always trusting people or noticing when someone’s messing with you becomes hypervigilance in social settings

"Man they really know what you hate huh". Being socially unaware literally plagues him, he knows, he knows it so well.

It’s so quick that it’s almost hard to digest how literal and blatant Laios summoning his monster to crush all the people who’ve hurt him is. His literal go-to coping mechanism for comfort in his literal monster-induced emotionally intense nightmares, saving him by taking away the upsetting element (the humans)

"Monsters are his coping fantasy, where they can whisk him away from humanity, all the hurt it’s caused him and its arbitrary rules" with the subtlety of a brick. Monsters are his comfort safe zone "because they kill humans" yes but no it’s because he pits them as the guardians against humans who to him are in the role of the agressors. To him they represent freedom from the shackles of what it means to be part of humanity, a fundamentally social species

[waywardsunlight]

Evelyn Clawthorne died hundreds of years ago but she's living in Philip's heads rent free. He made it so far, he built a cult, he violently murdered their family again and again and raised an empire, he erased her and oppressed her people, and yet. Evelyn got away. He never got the satisfaction of defeating her, and her actions before her death gave her people the tools to destroy him. Evelyn won by chance and by love. Her love lead the kids home, her love got Belos punched in the face, her love crafted a gateway between the worlds. And her love's final act was giving a child a second chance at life.

So... Evelyn won in the end, even if she didn't get to see it.

[asgardian--angels]

Izzy Discourse Masterpost

Hey all, given the amount of awful splintering and wank happening in ofmd fandom rn regarding Izzy's death, including the flat-out immature and unacceptable harassment of David Jenkins and Co, I wanted to just make this one all-encompassing post to address the various grievances and complaints I've seen (almost entirely on Twitter). If I've missed anything, please feel free to add on. I'm putting most of this under a read-more for length.

Please be aware, I say all of this as an Izzy fan. I've loved his character since season 1, and while I was sad to see him go, I completely understand and support David & Co's reasons for concluding his arc, and I think it was done respectfully in a way fitting to his character. So let's break down some of the takes I've seen. I am not referencing specific posts or people here, I just want to address the general themes that I keep seeing about why some people are upset.

Izzy's death served no narrative purpose.

Look, this is one that I'm sure fans will debate for the rest of the hiatus. It's completely within your right to disagree with this writing choice, but Izzy's death did serve a narrative purpose in the story that David Jenkins is telling - and he has spoken to this end in several interviews already. I can only summarize here, and fans may find other perspectives in time as well. What we need to remember is that Our Flag Means Death is, at the end of the day, Ed and Stede's love story. That has been made abundantly, explicitly clear. The show has been fantastic at fleshing out the other supporting characters, but that's what they are - supporting characters. They often have their own subplots but ultimately the narrative seeks to move Ed and Stede's story forward and they are tools to spur Ed and Stede's growth or mirror their struggles. Izzy has been a wonderfully complex, multifaceted character but we must remember that all characters are vessels through which stories are told, lessons are imparted, and metaphors are established. He's not a real person who 'deserves' any particular fate. David said he's always intended for Izzy to die at the end of his arc.

Firstly, Izzy (now canonically, through his own dying words) represents part of Blackbeard. He enabled and encouraged Ed's darker side, they were mutually toxic forces to each other. Ed is attempting to cope with and move on from this phase of his life, and like Stede in season 1, set out a free man, unshackled by expectations and loose ends of those he's hurt and been hurt by (though we realize this is an ongoing process that takes time). This lovely gifset sums it up nicely, with Izzy being the Mary parallel, and making s2 mirror s1. Blackbeard is both Ed and Izzy; Ed cannot be free of Blackbeard while Izzy is in his life, and when Izzy is gone he will never truly be Blackbeard again. They are each other's rotting leg!! Yet, they love each other - and David has said that for Ed, this has developed into a mentor and father relationship, and where Ed has previously despised his father figures (his actual father, Hornigold) he does not want to lose Izzy. This time, Izzy brings out Ed, not Blackbeard - and that's where we get the callback to 'there he is', bringing their impact on each other full circle, freeing Ed, getting approval of sorts that he never had, to be soft, to be loved (and there are parallels to Zheng and Auntie here as well that others have made) from that force that drove him to stay in line all this time. David has said in multiple interviews now that he was going for the idea of the mentor/father figure dying and the hero living on and trying to do justice to them.

From Izzy's side, Izzy cannot be free while Edward remains either (Mary cannot find peace while Stede remains). The scar never truly healed, the leg will always be a reminder. At this point the argument becomes 'yes, but why did he have to die? Why not just sail off with the crew of the Revenge?' David has stated that he feels they've done everything they can with, and for, Izzy; he's come leagues from season 1, he's found community, he's found hope, he's found new parts of himself, and he's made good memories. He's found worth outside of what he can be to others. That's more than most pirates could hope for. Where would his character go from there, when the Golden Age of Piracy he belongs to has burned to the ground? Would he stay around and whittle on the Revenge? If he were a real person, yes, that would be lovely, and he'd deserve all the quiet peaceful happiness in the world. But as I explain several points below, he's not interested in being a captain. He's not up for the hard physical labor of regular crew, and he's extremely overqualified for that besides. He has served his narrative purpose, and symbolically, to enter a new age, everything must go. He's connected to the old age of piracy, to the Republic of Pirates, that is now demolished. To him, fighting for what he believes in, for the family he's found, bringing down an army of British twats in the process, is how he should go. It's a pirate's death, and as Izzy's said, he's a pirate - unlike Blackbeard who's succeeding in breaking away from piracy, Izzy never wanted to stop being a pirate, throughout his arc. To me, that's why Izzy remains trapped in the narrative, trapped in history, whereas Ed and Stede will escape history. They leave piracy, and canon, behind, while Izzy was content to remain a pirate and face a pirate's fate.

Burying him on land, right next to Ed and Stede's beach house, shows that his sacrifice was not in vain - they start this new life together, thanks to Izzy's mentorship, his role in their lives that sometimes for worse, sometimes for better, made their love what it was and made their breakaway possible. The new age is built on the foundations of the old age, and is stronger for it.

As we're well aware by now, David tweeted that there's no version of ofmd without Izzy. Whether that's literal or not, symbolically it's true. Izzy's arc of growth affected everyone on the Revenge. Jim fondly remembered fighting for a time when life meant something on that ship; the crew helped give Izzy new meaning in life, and he helped them in return. When he dies, they mourn and have a funeral; that wouldn't have happened under Blackbeard's watch in episode 2. His life meant something to them. He influenced Ed and Stede immensely, and they will take that with them. As David's said, they're all a family, and Izzy was a part of that family, and his loss unites them and brings them closer to continue to fight for that family they've built. It's a tragic, sudden death of someone they've all grown to care for, and that steels their reserve to keep the torch lit. They literally sail off into the sunset to hunt down Ricky to avenge Izzy; he will always be a part of this show. And, of course, with the brief appearance of seagull Buttons, the door is left open for anything.

If this was The Izzy Show, then sure, we'd be content to see him simply engaged in shenanigans every episode. But the plot, and therefore the characters, need to keep moving forward, and Izzy got his growth and development. He got what he needed for his character to have closure, and he served his symbolic narrative purpose in Ed's (and Stede's) story. You may have your own ideas and perspectives, and that's great - that's what fandom is for. But we cannot say his death was pointless when David Jenkins and the writers clearly had a well-defined motive for pushing the narrative in this direction. I actually think the narrative around Ed and Izzy is the most well-developed in the entire show. I for one am so happy we got such an interesting and complex character, and had the brilliant Con O'Neill to portray him.

Izzy's growth & healing arc was rendered pointless by his death.

As this post so eloquently puts it, it's pretty bleak to have the outlook that taking steps to heal and find meaning in life is worthless if it's later lost. Seeking happiness and self-actualization is worthwhile for its own sake; no one knows what's down the road, and we all die eventually. Find meaning in life now. Would you rather have had Izzy not miss with his bullet in ep2? He was given the chance to experience joy, freedom, and hope for the first time in potentially a long time, and when he died he did so with those happy memories. As mentioned, Izzy's death was decided long beforehand given the narrative, and the point of storytelling is to make you feel emotions. We were given impetus to connect and relate to Izzy's character through his process of healing, so when he did die, we felt it keenly. That's how stories work actually! We felt what Ed felt. It moved us. It's not a bad thing that Izzy's arc made him more likeable to fans before his death. It's not a bad thing to lose a beloved character - guess what, it happens constantly in stories - and it's not bad to grieve over it either, but to say that it made his journey pointless is just not true. People saying that Con must be upset that they snatched his character away from him after getting to develop him so much - again I say, would you rather him have died in ep 2 before he had the chance to grow? Or how about in s1, when the crew tried to mutiny? How'd you feel when Stede killed him in his dream, in the very first scene of the season? I think Con's probably glad for the opportunity to have explored this character so much in season 2. Ask him if he thinks it was pointless.

Killing off Izzy was bad for queer rep/burying your gays/"Izzy was the queer heart of the show"

I'm putting 'bury your gays' on the top shelf so people can't use it when it doesn't actually apply. Most of the main cast of characters in this show are queer, and it's a show about pirates with a good amount of violence. Ergo, chances are a queer character will die in the course of Things Happening In Stories. Izzy didn't die because he was queer, and he wasn't the token queer rep. Please turn your attention to the boatloads (literally) of queer characters that are happy and thriving (how about the LuPete wedding immediately afterwards??). As for Izzy being the "queer heart of the show," this is literally the Ed and Stede show. You know, the two queer leads whose queer love the show revolves around, per David Jenkins himself. I'm glad folks connected with and derived joy from Izzy's growth and especially his performance in Calypso's birthday, but he is not the main character of the show. The queer heart of the show is in fact, the entire show, all of their characters and the community & found family they create aboard the Revenge. Not to mention the fan community as well. Izzy was never carrying the show's representation on his back, and frankly that's an absurdly wild take to have (esp when he spent most of s1 actively working against the main queer relationships in the show, attempting to maintain the oppressive status quo of pirate society).

It was bad and irresponsible to have a suicidal character die

Are we forgetting the entire first half of the season where Ed, who was suicidal, kept trying to passively kill himself because he felt he was an unlovable monster, only to be shown that he is in fact loved unconditionally and it gives him the strength to fight for life and triumph against his own self-doubt? The show has spent quite a lot of effort telling viewers that despite feeling damaged or broken you are worthy of love and that you are loved even if it may be hard to see it when you're in a bad place. That you don't need to be fully healed to deserve love and care, and that love and support will help you along your journey. It's incredibly wild to disregard this major plot point and fundamental message of s2 to try and spin this the opposite way for Izzy's character.

Secondly, where are people getting 'Izzy is suicidal' from? Are we going back all the way to episode 2, when he's at his lowest point and fails at his suicide attempt, only to be figuratively reborn after removing the metaphorical rotten leg? By the time of the finale he's shown to be in a good place, thanks to the arc of healing and growth he's gotten, through the support of the Revenge crew and his 'breakup' with Blackbeard allowing him to find his own way in life, realizing he doesn't need a purpose to have value and enjoying his time on the Revenge and the bonds he's made with Stede and the crew. He is, in the words of Ivan, "the most open and available I've ever seen him" by the finale. To take episode 2 as evidence he's suicidal is to erase his whole season of growth, which is an ironic thing to do in the context of these arguments. There's no canon evidence Izzy Hands was suicidal post-'Fun and Games'.

As for 'irresponsible,' once again I say, David Jenkins is not your therapist, he's not 'Dad,' and has no responsibility to tell his story any other way than he intended to tell it. Please find media that gives you what you want or need, and if the death of a fictional character causes you this much distress please seek help. I mean this kindly but seriously.

Killing off Izzy was ableist/bad for disability rep.

I point once again to the rest of the characters, several of which are disabled in varied ways. There are literally multiple other amputee characters specifically. It's not good storytelling to wholly avoid killing off any character that is disabled/queer/poc/female or [insert marginalized group here], especially when a) it makes sense narratively, and b) there's plenty of representation of these groups in the media in question. The answer isn't making such characters invincible and immortal, it's increasing the number of these characters in shows so it's not devastating when some do die in the course of natural storytelling.

OFMD was my comfort show/safe space show, now it's ruined for me

I am not trying to be insensitive here when I say that's a problem that is yours and nobody else's. David Jenkins created this show with a three-season vision and a story in mind, and he is telling that story to the best of his ability the way he wants to. It's already been said that he and the crew did not anticipate the fandom becoming as large and passionate as it has. The plot of the show was never intended to be 'fan service,' and it's ironic that there were people complaining this season that there's been too many fanservice tropes, up until David and the rest of the writers room made a narrative decision they did not like, then the complaints changed to not coddling the fans enough.

We as viewers can derive joy from this show, it can be a comfort to us, it can be important to us. But it was not designed specifically for that purpose, therefore it cannot fail in that respect. We do not have the right to harass writers for not steering the ship in the direction we want - it's their work of art, and we can choose to either come along for the ride or not. It's rare to see creators actually given the chance to tell their story the way they intend (budget cuts aside), so let him do that. He should not cater to fans, or cave and change the story to appease us. Respect his right to create his art, and remember you have the right to create your own. That's what fanfiction is for - write fix-its to your heart's content, but keep these realms separate. David Jenkins and Co hold zero, and I mean zero, responsibility to you. He could not please everyone no matter what he did, it would be fruitless to try, and it would certainly compromise the quality of the story he set out to tell.

You are absolutely allowed to dislike choices made in any show. Curate your media experience. If this show no longer brings you joy, stop watching. But it was never David's purpose nor responsibility to juggle the mental health of millions of fans. Trying to put that on him will only make him less enthusiastic about interacting with fans or continuing to make this show. This isn't rocket science. You're responsible for yourself, not this guy you call 'Dad' that you've developed a parasocial-therapist relationship with.

Izzy should have become captain of the Revenge.

Really?? Firstly, we did actually get that already in s1. He was tyrannical and the crew mutinied. But even if you think 'well after his character arc he'd be better suited to it,' it goes against the point of this arc. He's found value in not having a distinct role or purpose on the ship, decoupling his worth from the job he's expected to perform. He's found his place amongst the crew, not commanding it. There's no narrative reason to put him in charge when he's expressed no further interest in slotting himself back into a role full of pressure and expectations.

Con O'Neill was only told halfway through filming, it's cruel to just kill off the character he loves so much.

Guys, he's an actor. More than that, an actor with a theater background. I think he's used to characters dying. You don't need to look out for him. Con and David spoke one on one about it at length so they were on the same page, and David even said that Con took it well. I'm sure Con had input, just as other members of the cast have influenced their characters' stories, costumes, backstories, etc. Do you really think David Jenkins hurt Con's feelings or something? The writers (remember, it's not just David, it's a whole team of hard-working people coming up with these ideas) gave Con such a chance to shine this season, really developing Izzy beyond what he was given in s1 and letting Con show off his full acting range. Why are you only focusing on the destination rather than the journey? Sure, Con's probably sad to see Izzy go, but please do not project your distress onto him or try and accuse David & Co of being 'cruel' to their cast. That's really ridiculous. It's constantly evident how close they all are.

More importantly, do you actually, seriously think that Con O'Neill would want fans to harass each other or the writers over his character? The man who preaches being kind above all? There is no better way to make an actor uncomfortable about a show and its fanbase than to start treating fictional characters like they're more important than real people. He would not want you to bully people over Izzy Hands, and it's mind-boggling that some of you have convinced yourself otherwise.

Lastly, I just want to talk about the fact that some people are holding OFMD to absurdly high expectations.

Our Flag Means Death has been a pioneer series for its diverse representation, earnest storytelling, and themes of hope, community, and love. It's fine to discuss aspects of the show with a critical eye, but so much of the discourse has truly felt like folks are trying to find fault in a show that is leagues ahead of the average tv series that we still enjoy. How many fan favorites are killed off all the time? How many plotlines are scrapped, or drawn out without closure, or contradicted the very next season? How many shows are indifferent or actively hostile towards their fanbase? How many have any queer characters, or actually do bury them? The bar's so low, and OFMD has risen above to give us so much. Some are holding the show to astronomical expectations, waiting for it to fall from the pedestal it's been placed on. If something you don't like happens in the show, it's not suddenly ruined or demoted to being ~just as bad as those other shows~. Give them some breathing room, have some perspective on how progressive the show is, and that perfection is impossible, especially meeting every single viewer's idea of it. This is basically a repeat of the recent Good Omens drama, with an absurd number of people harassing Neil Gaiman for breaking up Aziraphale and Crowley and leaving the second of three acts on a very predictable cliffhanger. Let stories be told, let them unfold as they may, and you are free to leave anytime. It's so wonderful that more queer love stories are becoming popular and even mainstream, but let's not shoot ourselves in the foot by tearing them down when they don't go exactly the way you want it, which often seems to mean no drama, no character deaths, and therefore no conflict or even plot!

Just, please be civil human beings, and while this seems to be a difficult thing for so many fandoms to do, just keep your fan opinions in the fan space. Never bring your grievances to the writers, never bully them and persecute them for telling a story that you opted into viewing. That's something that goes entirely against everything this show, and this cast and crew, have imparted onto us - the importance of kindness, support, community, and love. I'll say it again because it bears repeating: the fate of a fictional character is never more important than how you treat real people. Just be kind in real life, which includes the internet. Thanks.

Now please, let's work together to ensure we get a season 3. There's so much more story to be told, and if you want to see Izzy back, whether that's as flashbacks, as a ghost haunting the inn, or in the gravy basket, we'll need more episodes! #RenewAsACrew

[pinkd3mon]

I just wanted an excuse to draw my Galacta with a cape propaganda

[lgbtlunaverse]

Thinking of the Nie disciple that told Nie Mingjue it was Meng Yao who stayed behind to clean up corpses on the battlefield today.

Nie Mingjue didn't just randomly stumble upon poor lil meowyao eating bread in the novel, he was already looking for him to thank and reward him for his work.

That's what makes it so fun that nieyao's first conflict will end up being about someone else taking credit for Meng Yao's work.

And I'm sure that Nie Mingjue's actual opinions on plagiarism are a lot more nuanced, all we really get from him in this scene is "well you shouldn't kill someone over it!" which leaves a lot of room for what punishments he thinks are appropiate. But I bet that it isn't occuring to him in this moment that the only reason he knows Meng Yao at all, the only reason he got such a capable deputy, is that he noticed someone was taking care of the dead and cared enough to want to know their name. And then the Nie disciples didn't lie to him. The disciple he asked could have said "it was me, Zongzhu" to rise in the ranks himself, but he didn't. He went and asked others, who all also could have taken the credit, but they didn't. Someone saw Meng Yao working and decided to be honest about it and that simple decision is the catalyst for Meng Yao becoming Nie Mingjue's deputy.

Meng Yao can't just work hard to get results, others have to acknowledge that work. If they don't, it's as if he didn't do anything at all.

[wallbeatjournal]

Are true riverdale fans of the opinion it is a very good and nearly flawless show or does being a true riverdale fan mean being able to mock writing choices

it's long-running serial television plotted a season/half at a time so definitely not even "nearly" flawless.

BUT. i'm not doing combat with the writing team. i'm not actively reading against the text the way i have to in order to enjoy something like supernatural or the 90s robin comics or the fucking sopranos, which are patriarchal christiancore copworld rapeworld white supremacist horrorshows that hate their minority audiences, with like 2 good creatives involved and martyring themselves to fight the good fight on sparse rare installments if you try to approach them sincerely.

riverdale writing staff are like a favorite smart problematic tumblr mutual to me. I don't always like what's on their blog or who they're referencing. but we're in the same community and i'm interested and inspired and i trust their agenda overall, even when i see shit i wouldn't have fucking posted. but bc i'm not being condescended to or actively spited i'm not gonna condescend to or spite them, you know?

i expect rvd to age like twin peaks (another very uneven, highly referential serial juggling a couple of intensely cool metanarratives on top of its core story). and twin peaks fandom mocks twin peaks all the time. twin peaks includes some CLUNKY shit. it's kitsch. it's camp. it has a second season that is largely ASS. james is there. and on top of that it also includes some genuinely offputting-to-me stuff that just bothers me to sit through, even though i feel like i understand and respect what they're going for with it. i just don't want to watch someone sweep the fucking bar for minutes and minutes as entertainment. OK!!?

...so yeah. mock riverdale but in the right spirit. is that an answer? do i sound like i'm chugging the flavoraid koolaid fresh-aid? probably.

[utilitycaster]

if a ship has under 10 fics and someone's read every single one they are valid. If it has under 50 fics and someone's read every single one it's a little intense but also pretty valid. when people are like "THIS SHIP HAS 2000 FICS AND I'VE READ EVERY SINGLE ONE" you KNOW you are dealing with someone with zero standards and whose comprehension of the characters is mostly a vague amalgam/projection of the ghosts of blorbos past. Which is like, a valid way to engage if that's what makes you happy, but you do not want to read their meta.

[boywifesammy]

i feel like the boys’ representation in “it’s a terrible life” is a really accurate and insightful look into how they work on an Instinctual level.

at first it seems like just a funny bit for dean to be the one dismissing the ghost thing, but dean wesson actually fits perfectly into dean’s personality. i mean, think about it. hunter dean is OBSESSED with the job. he lives breathes and sleeps hunting. he’s proud of who he is and what he does, and he enjoys being a part of something. this episode shows how that’s part of dean’s intrinsic personality. he needs order. structure. discipline.

sam is mischaracterized as ‘the emotional one’, but i think dean’s a lot more of a romantic than him. he likes the idea of a stable life, whether that’s hunting or a cushy corporate job. he wakes up at 6am everyday, has a distinct routine and a circle of friends. he does herbal detoxes and drinks frothy rice milk lattes.

life is a package for him. dean likes fitting in. he doesn’t like breaking status quo. he instinctively looks to blend in, whether that’s in a corporate environment or with his father and other hunters. dean likes the idea of family. connection. he needs people, people who are familiar and trustworthy. he’s very community/family oriented. he’s not a lone wolf.

but sam on the other hand, he’s intrinsically in tune with weird frequencies. he’s strange and he picks up strange things. he cares about people and appreciates connection but he values himself and his gut instinct more. he loves sticking his nose where it doesn’t belong. he doesn’t give a fuck about blending in. he didn’t as a hunter so he sure as hell doesn’t in a goddamn tech support cubicle.

sam straight up tells dean that everything about this feels wrong. and you can TELL that dean feels it as well. sam tells him that he thinks he should be doing more, it’s in his blood, he hates everything about this fake life. but dean deflects. no matter how uncomfortable he seems he pushes it down in favour of predictably and routine. even if deep down, he knows its wrong, it takes him a lot more time than sam to admit it.

this shows that sam is more than ‘hunting bad’ and dean is more than ‘hunting good’. it was never about hunting. sam refuses to turn a blind eye. he WANTS to rebel. it’s his nature. he instinctively looks for things that don’t line up and he calls that out. he doesn’t care about the backlash. dean needs stability. he needs people. he needs to feel like he’s a part of something. it’s why he brushes off that feeling of wrongness so quickly at the beginning of the episode, because he’s willing to overlook some of the bad for the benefits.

it’s just like how hunter dean is willing to defend john, defend the grisly violence of hunting, and convince himself into thinking this is his only choice. sam refuses to do that. he instead latches onto that feeling of otherness and rebels even though it costs him family and familiarity.

[pnfc]

i haint watched the dang chibisode and idk if ill actually watch it with sound on sdfjk but i have a hurt feeling about them casually imbuing perry with speech for a one off gag because the idea that he needs to talk to communicate is fake. we had 4 seasons of wacky magic hijinks cartoon where perry never needed verbal speech to communicate. they couldve done this gag at any point in the show but they didn't, and the fact that they didn't felt significant. perry's muteness is such a core part of his character, to me, to the way i conceive of him/write him. i don't wanna overreact to a goofy little side cartoon (even tho i'm doing it anyway) but it's still the characters, and it still upsets me! ok that's it i've said my piece

[secriden]

rewatching love sea and i've got some episode 1 mahasamut thoughts:

i'm so appreciative of how much we get to see of mahasamut being an important part of the island community in this episode. its character establishing/quick scenes but we see a consistent thread of kindness, gentle and good humoured interactions, and just overall helpfulness to others. you see him having fun with palm who is younger and clearly loves and respects mahasamut. you see how he knows and cares for different people in very personal ways.

another thing epsiode 1 does a good job of doing is establishing how intelligent mahasamut is both intellectually and emotionally.

he instantly clocks on that tongrak thinks the island/mahasamut is "beneath" him. tongrak is a jerk from the get go, acting as if his wealth (constantly referring to how expensive his suitcases are) allows him to treat mahasamut like crap. he assumes mahasamut can't speak/understand the central dialect and openly makes disparaging comments about his intelligence.

but rather than getting annoyed/offended, mahasamut weaponises the prejudice and leans into it to annoy tongrak. he doubles down on the Southern dialect (even after he reveals he can speak Central). when tongrak whines about not understanding him, mahasamut just repeats himself but slower (such a good allusion to when people yell at you slower and more loudly as if that will magically make you understand English better). he leans into the whole 'small town awed at the fair skin of the city boy' act (masterful depiction of someone weaponising the 'dumb country hick' stereotype).

mahasamut just has such a good handle on tongrak from the start and it really showcases how smart and intuitive he is; like he instinctively knows how to handle this feral cat of a human being that tongrak is (i say this with complete affection).

his handling of tongrak is so incredibly effective and it throws tongrak so off his game that he looses all cool and just blurts out how baffled he is by mahasamut's reactions to him. this tells us (and mahasamut) that not only is tongrak aware that he's being a jerk, he's doing it on purpose because this usually works to drive people away. but it doesn't and never will work on mahasamut and the show lays the foundations of this aspect of mahasamut's character right from the start.

but whilst mahasamut remains unfazed by tongrak's bitchiness (for lack of a better term), we also see that he is not going to be a pushover either (and i love that he never becomes that even after he falls in love; in this, mahasamut's character is wonderfully consistent). he isn't shy about calling out tongrak for his poor behaviour/rudeness. he specifically points out that tongrak's been acting like a spoiled pet (or child).

but also!! whilst all that is going on, mahasamut is also doing a really good job of taking care of tongrak. when he enters tongrak's room, he cleans up after the tornado of trash and beer bottles, puts away his clothes properly, then brings tongrak out to get some proper food in him (it's not his fault that tongrak only has a single lettuce leaf; he tried). mahasamut takes him out on the boat to relax him and give him inspiration for his novel. and when he realises that tongrak was genuinely scared and upset, mahasamut actually treats that with sincere care and concern, apologising and comforting him (in the novel, apparently tongrak slaps him and he still responds only with care and comfort). he's so incredibly gentle with tongrak here.

later in the series we see how much of their relationship development hinges on the the juxtaposition of words vs actions because neither of them put much stock by words (tongrak, because its the tools of his trade and he knows how they can be used to deceive; mahasamut because he never cares what people say about him) but episode 1 does a great job of establish just how good mahasamut is going to be at showing his love for tongrak once he gets there.

[stardust-falling]

Having more thoughts about Shen Jiu because of course I am.

I don’t think he has the capacity for empathy or genuine selflessness.

He spent the entirety of his formative years deep in survival mode, and because of that, he evaluates people solely based off of how they might threaten or ensure his safety and/or comfort. As far as individual people themselves with their own perspectives… honestly I don’t think he even thinks of that.

Maybe a controversial opinion, but I don’t think even YQY is exempt.

Shen Jiu doesn’t have a moral code. When every day is spent on surviving, a moral code is a luxury.

And really, he just never got out of that mode. See, the thing is, once you’ve had enough adverse experiences it only takes a little bit to trigger you back into that mindset. Shen Jiu was used to being scolded and then beaten or abused, so for him, even a simple chiding is a precursor to abuse— even if he DOES recognize that nothing more will happen, his body and mental patterns will still go into that preparation time.

So of course he never left survival mode, because even if nothing is actively happening, your mind will keep reinforcing those patterns.

For someone with a normal upbringing, as far as I can tell, empathy is something you learn and develop from those around you. Many seem to think it’s something innate and natural and if you don’t have it then there’s something wrong with you from birth. I think Shen Jiu falls into exactly this category of thought— and so he doesn’t even consider that he could try to learn and develop it as a skill he can perform, even if it doesn’t come naturally.

Of course, would he even try? He hasn’t been given any incentive. Any time he has tried to do something good, he ends up getting hurt (saving Yue Qi leading to being taken by QJL) or misinterpreted and admonished (the well ghost incident, keep in mind my earlier point about scoldings perpetuating the same patterns).

So he stays in that same vicious cycle, perpetually in survival mode and unable to escape, even in a relatively secure position (see: his paranoia).

Now, this is all relevant to the discussions of SJ’s feminism, misogyny, and/or lack thereof. I feel like a lot of discussions aren’t really getting the full picture.

SJ sees people, no matter who they are, as solely how they can affect him. Just because this isn’t exclusive to women, or because if comes from a reasonable place, does that really mean it doesn’t play into misogyny?

Let’s take another angle.

I think his abuse of LBH and other talented disciples also is rooted, deep down, in this same issue. He’s not just hurting LBH only to hurt him, his aim is specifically to stunt his cultivation. There’s jealousy at play there of course, but there’s a bit more layers to it too— SJ doesn’t think he’s capable of goodness. So reasonably, he’ll be a bad teacher. He already knows what happens when someone becomes more powerful than their oppressor. LBH may be a child now, but a part of SJ whether he acknowledges it or not sees him as a future threat that needs to be treated as such.

It’s rooted in fear— because everything is with SJ.

So does that mean it’s not actually abuse?

No. The behaviors he shows are still abusive, the reasoning just gives a lens for understanding.

Now, with his views on women— I mentioned in the tags of my original post that I don’t think he views women as people. This is based in that earlier idea of how he interprets others based off their risk and benefit to him. For women specifically, though, there’s another layer.

Shen Jiu grew up in a society where women are inherently lesser— and he grew up in an extreme version of this. He saw women being treated as property firsthand(both as slaves, as well as QJL’s views on his sister). Your worldview is shaped by the world that you view during those early years. Whether he agreed or not, SJ would still take on the patterns of his environment. This, though, is just the same as general societal misogyny and ingrained bias. I don’t think he’s any different than anyone else in this way.

But where SJ’s particular flavor comes in is that to him, women are a source of comfort. For various reasons— positive past experiences, less threatening (or at least don’t carry the dangers men do). He craves comfort— needs it really, because he doesn’t get it and his cortisol levels are always so high they’re poisoning his body. Women are the best source of that comfort for him.

It’s not that he likes them— at least, not any more than someone would like drinking water, or a coat in the winter. They’re fulfilling a survival need for him.

That is what the objectification is where SJ is concerned.

So… is it misogyny?

I’d say yes, in a way it still is. It’s not violent, and it doesn’t come from some inherent sense of “superiority as a man” but at the core of it all, he’s still not viewing women as people, and he has no interest in changing the status quo, because it benefits him to be able to go purchase comfort at a pleasure house, even if it’s not what people usually do there. The picture is bigger than just misogyny, but the traits taken as themselves are misogynistic nonetheless.

I could go into his specific relationships with women and how that informs his character, but this post is already long enough. We know that he mentally divides people by sex, and that distinction has a lot of weight in his judgment of them. Even if it comes from a place of trauma, even if it comes from a general worldview that applies to everyone, he still views women as a commodity— so on some level, and from an outside perspective, he is misogynistic.

In the end, though, it still all comes from him being stuck in survival mode. His lack of empathy, his viewing others as risks and benefits— these things themselves aren’t moral failings— it’s just a consequence of his environment. He’s a bad person because he won’t confront this, develop a moral code, and act on it, not because he doesn’t experience empathy.

But in his circumstance, there’s not really a chance for him to choose to be good. Because he’s still trying to survive, and goodness is a luxury he doesn’t realize he can afford now.

He’s scum, but pitiful, you know?

[arsenicflame]

steddyhands modern au inspired by this post:

(1828 words, themes of kink but nothing explicit, established blackhands & gentlebeard-centric. Happy Pride!)

Stede picks up leatherworking in the wake of his divorce. He's not exactly sure how it ended up being such an important hobby for him, only that he had always admired the intricate designs on his horse's best bridles, and with little else to do with his time, he decides to give it a go.

It's rocky going at first, but he's having fun working with his hands for the first time in his life, and there's a sense of satisfaction in seeing the design come to life as he works. With practice, his skills improve, and he learns how to make things that are truly one of a kind.

He starts off posting his pieces online, as a way to reach fellow enthusiasts, but quickly finds himself with a rather large audience. Stede’s style is unique, and, after many requests from his followers, Lucius encourages him to make some more basic pieces he can sell. It's not about making money for Stede, but another way to meet new people who share his interests- as Lucius keeps telling him, it's sad that his personal assistant is the main person he talks to these days. 

So Stede sets out on a new adventure, and has quite the time designing a new range of patterns for the market. He makes purses, belts, bracelets, and, most importantly, dog collars- all still with his unique designs embossed into them, of course. He rents a booth at his towns monthly craft fair, and very quickly finds himself with a new group of friends in the other regulars- Pete, his usual neighbour, who sells an array of wooden figures he carves, Roach, who runs a stand for his bakery, and Frenchie, who isn't actually a stallholder, but is almost always busking near his friend Wee John’s stand of knitted goods, bringing life to the market even in the pouring rain. There's also Buttons, another regular at the market. Nobody is exactly sure what he does there- he doesn't sell things, or seem to buy anything either, but rain or shine, he's there with the birds.

Stede’s been doing this a few months by the time June rolls around. As he's setting up his stand, he notices that the area is much busier than it’d normally be at this time of morning. Lucius, who got roped into helping run Stede’s stall somewhere down the line (despite his protests that this is not what personal assistant means… But hey, he got a boyfriend out of it, at least), reminds him that there's the parade today, too- not realising that Stede had no clue there was a parade today, and especially not that it was pride. Stede immediately jumps to fretting about the amount of stock he’s brought, and Lucius takes the cue to escape, saying he’ll go and grab them coffee (but really, he's off to flirt with Pete)

Lucius is still missing when Ed stumbles across the little leather stall. Stede’s just ran back to his car to fetch his last boxes of inventory, and by the time he returns, Ed’s already begun to narrow down his choices. Stede greets him, starting to tell him that they're not actually open yet, but before he gets more than a couple of words out, Ed’s exclaiming “You're a Kiwi!!!”

The two of them smile at the shared recognition, and Stede says he’ll make an exception, just for Ed, and asks him what exactly he was interested in. Ed tells him that he's looking for a collar “for his boy”, and points out the particular design he was looking at. It happens to be one of Stede’s favourites from this latest run of work, a fact he mentions to Ed. It leads them into a discussion about Stede’s craft, and Ed’s Izzy, and then everything in between. Ed’s listening intently to the things Stede’s telling him, completely drawn in by the process, and by Stede himself. He watches as Stede stamps Izzy's name into the collar, and Stede even lets him have a go at one of the stamps. 

Lucius reappears sometime in the middle of this- only to immediately retreat again, seeing Stede engrossed with Ed. He sets up camp at Pete's booth opposite, watching this man flirt intensely with his boss- and Stede flirt back just as hard. Does Stede even realise he’s doing it? Lucius had known Stede was gay since before Stede even admitted it to himself, but this is on a whole other level.

The pair stand there so long that Izzy comes to look for Ed- the two of them are manning a float on the parade with their crew, and it's past time for them to get geared up. He's already worked up, frustrated to have been left to set up everything alone, when Ed had just gone to see if he could get them both coffee. So maybe he's a bit of a prick, approaching with a brash “where the fuck have you been, Edward”, to which Stede brings the same energy, giving a bitchy “Ed! Do you know this guy?” Izzy tenses, ready to snap, but then Ed cuts in, excitedly telling Stede that this is “his Izzy!” Which confuses the hell out of Stede. 

Forgetting his earlier attitude, he asks Ed if he “really named his dog after his friend”, only to be met with confusion right back from Ed at where the hell Stede got the idea he had a dog from. Stede gestures at the bag with the collar in it, to which Ed has to tell him, “oh, no, that's for him.” Ed tells Stede that they're here to run a float for their local leather society, and while Stede is certainly shocked by what Ed’s saying, he's not finding himself… uninterested. It's simply that he’s never even considered any of this before, especially not that people would use the things that he made for this, but Ed sounds so enthusiastic about it all. He tells him about how his friends would love to see Stede’s work, about how classic leather gear is always so fucking boring- but not Stede’s stuff, no, Stede’s stuff is “fresh” and “fascinating” and unlike anything Ed’s ever seen before. 

Ed's enthusiasm is incredibly infectious, so when he invites Stede to come back to see their float, he readily agrees. It’s a concept Izzy’s less than enthusiastic about. He doesn’t really want to bring this man who’s dressed like he just walked out of a HOA board meeting to their kinky little corner of the world, but he is having a lot of fun watching Stede squirm, so decides not to raise a protest. He does demand he gets his long-overdue coffee first, though (Stede pays for it- as “compensation for him distracting Ed from his job”, he says, not giving Izzy a second to process before he's tapping his card)

By the time they return to the float, Fang, Ivan & Jim are waiting for them, all already geared up. Stede is stunned silent at the sight for about 5 seconds, before he starts actually looking at the quality of Jim’s harness, and proceeds to go off about the poor quality of the craftsmanship, about how the hardware is tacky and completely the wrong choice with this leather, how his “ten year old daughter could do a better job!!!” 

There's complete silence from the group, until Izzy, of all people, bursts into laughter at Stede’s audacity (and, the fact he was staring at Jim's tits completely unabashedly, like he hadn't even noticed them in the first place). Izzy's laughter sets Ed off as he tells the group about Stede’s misunderstanding- “you didn't say he was a person!” “I mean, he's my dog”- and soon everyone's having a friendly giggle at Stede’s mistake.

It's somewhere in the middle of the retelling that Ed remembers that this whole thing happened because he was buying Izzy a gift. After a moments fumbling, he presents Izzy with the collar-  It's a rich, deep black, embossed with a rolling pattern that resembles waves. It’s made from a firm enough leather to take the tooling, and to remind Izzy that he’s owned while he’s wearing it, yet still soft enough for long term comfort. Izzy's eyes immediately lock on to it, an unreadable expression coming over his face, and Ed turns it; first so he can really see the design and Izzy’s name embossed into it, and then so he can see the small “Ed ♥” on the inside of the collar, right over his swallow tattoo. 

“I did the heart,” Ed says to him softly, intended only for Izzy’s ears. Izzy's eyes flick up to Ed’s, and he raises his chin to give Ed the room to put it on. Ed buckles the collar around his neck almost reverently, a test of the tightness turning into a caress of Izzy's neck. It's a perfect fit.

It's as though something comes over Izzy; so twitchy and abrasive earlier, now silent, staring at Ed with a look akin to worship in his eyes. He obediently tilts his head for a kiss as Ed's fingers move to his chin- It's a sight to behold, and one that has Stede intrigued. He wants to know more about this lifestyle, and these men in particular. He wants to be the one to put that expression on Izzy's face.

The moment breaks as Ed and Izzy pull apart, and Ed calls for the crew to finish the last bits of set up. Izzy shakes himself a little before running off to bark orders again, but even still, there remains a softness to him that wasn't there before. 

Ed turns back to Stede with an apologetic smile, already obvious that he has to get going. Before he can speak, however, Stede jumps in -“My business numbers on the card in the box… I'll be around all day”- Ed’s smile turns more genuine at that, promising to stop by if he gets a moment, and that he’ll send his friend's Stede’s way- “if he wants that kind of business.” Stede says that he does, actually- that he's seen a whole new world already today, and, while he was a little taken aback at first, he can feel the passion Ed and his friends have for this life. If there's one thing that's ever mattered to Stede, it's other people's enthusiasm. Maybe he doesn't completely understand yet, but he would like to try.

One year later, Stede’s back at the market on pride weekend again, far better stocked for the crowds this time around. Lucius is finally free to spend the day flirting with Fang & Pete to his heart's content, now that Stede’s roped his own boyfriends into helping him run the stall- and into modelling the merchandise. Ed loves that part, while Izzy needs a lot more convincing, but the puppy eyes Stede & Ed weaponise against him make a very good argument.

[clockwork-carstairs]

i have to say seeing how popular jem is now, knowing he hasn't always been, is SO reassuring and relieving. not because other characters aren't great or have good values, but because it means jem's standout qualities – things like kindness, compassion, gentleness, being thoughtful – are being appreciated and seen as more important and that's SUCH a good thing. especially knowing ya's history of pushing forward the toxic-cocky-mysterious bad boy agenda… we're finally putting qualities like kindness above that, which is a really positive step forward. i know it's more nuanced than this, and tsc's characters are far more nuanced (jem's sole trait isn't being kind, for instance) but he wasn't always appreciated this much and as a longtime jem fan i truly love to see it. i grew up reading books where the mc always went for the mysterious bad boy character – ruder, testy, provocative – and often these characters were more popular because being kind was seen as 'boring' or meant you could only ever be in the friendzone. jem was one of the first characters i read who had this really horrible backstory, but throughout everything was genuinely just kind. it's really wonderful to see so many people appreciating that :)

[menciemeer]

Sometimes I think about Louise Hobbs for too long and start going a little crazy.

Garret Jacob gets all the attention on the show. Abigail gets it from fandom. The absence of Louise is almost invisible. She’s not there. We don’t think about her.

We don’t think about her, of course, because she’s not in canon in the first place. She has no lines. Her name is not mentioned in dialogue. She only barely appears on camera.

Here is Louise Hobbs alive and well. Striking about this bit, once I was looking at it: she doesn’t look towards the camera, she doesn’t look towards her family members, and her family doesn’t look towards her. They move around one another and don’t directly interact. Look at it: Abigail and Garret Jacob Hobbs are communicating, here, in a way that she’s entirely cut off from.

(And, ok, listen, I’ve gotta sidebar. Even before Abigail actually picks up the phone, GJH is keeping track of where she goes. There are no clear frames of this tiny interaction, but look:

he’s keeping tabs on her. The minute she moves, he’s checking over his shoulder to see what she’s up to. By contrast, he doesn’t look at his wife even once.)

(One other thing about this tiny little scene of them playing house. GJH has absolutely no chill. He is tense and intense even before he gets on the phone. It’s not really possible to tell what Abigail is thinking through all of this--we know from later that she’s a pretty good liar--but Garret Jacob Hobbs is not subtle. He’s jumpy as fuck, and he’s probably that way all the time.)

Continuing.

The next time we see Lousie, she’s being shoved out the front door. Think about that. GJH didn’t kill her immediately. He’s not interested in seeing her dead. He’s using her to buy time in the kitchen with Abigail because he knows he doesn’t have any left.

The way I remembered Louise dying was with a cut to her throat, but look at it. She’s got wounds on her arms, on her torso. He wasn’t careful, or quick. He didn’t hold out his hand to her and ask her to come closer. He attacked her, shoved her out the door, and slammed it behind her.

That is the end of Louise Hobbs.

Hobbs family dynamics just. Absolutely fascinate me. (Too much.) I so desperately want to know what it was like to be Louise Hobbs. I want to know how much she knew, how much she suspected, and how much she refused to let herself understand. She’s the cannibal the show cares about the least. She’s the one who dies so that someone else can have a little more time.

The show constantly returns to the idea of murder as a way to break or make families. Besides the Hobbs family, there’s the children and foster mother from Oeuf, Gideon killing his wife in backstory, Lawrence Wells who killed his own son, Margot and Mason, and of course Dolarhyde’s obsession with killing families together. Louise Hobbs’s is a murder to break a family. She is, very literally, cast out.

We do see her one last time:

It’s interesting that, when Abigail sees this, Alana is the one who becomes her mother. Whatever you want to say about the long-term feasibility of the Murder Family, it’s indisputable that Hannibal was never interested in planning a future with Alana. She’s there nearly by accident. Holding a place meant for Will. She is not part of the plan.

If Abigail mourns for Louise, she does it off-screen. We see flashbacks to her interactions with Garret Jacob, but, after this, Louise never returns. We’re left to wonder, or to forget, all on our own.