#sam vs reality

[ananke-xiii]

I've written somewhere that Team Free Will is actually Team Dean's Will but it wasn't, like, a criticism or something like that, it was what I personally got once the show was over (and I still have very legit concerns about Dean's choice during the last episode).

I don't think Chuck won in the end because he, as a character, wouldn't have wanted for Dean to die. As far as polysemy goes, Chuck does represent many things but, to be really honest, I don't really think he represents John Winchester on a cosmic level. Like, yeah, OF COURSE, we can definitely put them together in the "Shitty Fathers" box but when Chuck tells Dean that he's not like his father I think he's not that wrong after all. Chuck is much worse and not because he's a John Winchester on a gigantic scale, it's not about quantity. He's worse because he just is.

Leaving aside the many problematic aspects of their relationship, Mary and John can be totally seen as Amara and Chuck (the show does go there and I think it's interesting for many reasons) but it's also true that the one who lied in the couple was Mary, not John. Even if we know why she had to lie and it can be understandable, it's also true that both Sam and Mary are willing to omit a Very Important Thing about themselves that, eventually, gets their partners killed. But, unlike Chuck who's to blame for his omissions, lies and manipulations, both Sam and Mary are two characters that, even more than Amara, are ALWAYS stripped of any choice. So it's almost like no matter what they do, they can only fight for their free will but never fully live it (SPN final thesis: you can never get what you want).

So yeah, if we consider John as a person and, more specifically, as a partner (therefore not in his paternal role), Chuck's not like him at all. Chuck's in control of his narrative, John couldn't even choose his own car at the dealership (btw, in my fantasy John has a love/hate relationship with the whole album "Boys for Pele" by Tori Amos that he keeps hidden like Bobby's passion for Tori Spelling). John is very much mainly narrated by other characters, in this respect he's just like Mary, to be honest. We don't 100% know who he is because he's a character described by absence. So much so that Sam and Dean didn't even know he had a fucking SECRET family!!!

Chuck is portrayed to be less enigmatic. We know he lies because we are shown that multiple times even before "Moriah". He's a character without much depth and that bothers him So. Much. He's a God who wants to be like Keith Richards. LOL!

However, even if Chuck, to me, objectively doesn't win (I also have my own "Billie won theory"), he neverthless does represent the Dictorial Power of Shitty Fathers that some might call The Patriarchy (not me. I would NEVER!). In this way, yes, he sort of wins because, as I've said, the natural order wins in the end and, in SPN, the natural order is Absent, Shitty Fathers. The sugarcoated version of the bygone days, the bittersweet nostalgia for a golden past that inevitably leads to death.

And who, the show tells us, represents all of the above? The absence of John Winchester via the presence of his journal. A man who's become so powerful he's been morphed into a myth. Maybe he is the real tulpa of this story, after all.

What does this have to do with Team Dean's Will? I find that saying that what Dean did in the end is a "choice" is very troublesome. To me personally. But the show does imply that, not strongly enough because it leaves some room for doubt but it ultimately does that. So okay, I'll bite and will consider it to be a Real Choice out of Dean's Free Will. Fine. What about Sam, though?

S15 starts with Sam and Rowena and ends with Sam and Dean. Rowena and Dean both commit suicide that's not 100% framed as suicide. Among other things, it is framed as a sacrifice. And Sam's there with them and he doesn't want that. He says so. He tells Rowena to "screw the books" and he tells Dean that he doesn't want what Dean is asking for.

Rowena's act is framed as being done out of her own agency because she believes in prophecy and magic. To which I say bullshit, not to Rowena but to the show because this is a cop-out. Since S13 Rowena couldn't do what she wanted to do because it wasn't possible. Fine. But how come that prophecy seems to be working only for her? How come the "rules are rules" mindset only applies to her? Why do other characters' books change and hers alone doesn't? How come her sacrifice is both destined and out of her own free will? It means that it can happen then! That destiny and free will can coincide! This change in thinking about the question is so packed with possibilities that they could've done another 15 seasons about it. Unfortunately, destiny and free will seem to meet in Definite Death which meh. Story over.

And Sam? He's still there. Participating and not participating. Against his will.

With Dean things are a bit different because we do know that Chuck is obsessed with him. Once Chuck is out of the picture, we could imply, Dean's finally "free" to choose what he wants. Which is such a naive thought because if it were only the absence and/or presence of things/persons to determine our lives we, perhaps, wouldn't need therapy.

But, as I've said, I'll be good and keep my promise: let's say Dean chooses out of his own free will. It should be cool for us, right? This is what Dean wants. The Big Big Bad is not dead but he's not the man behind the curtains anymore so hurrah! Free/Dean's Will wins. We should feel like we must respect that. And yet, it doesn't feel right.

And Sam? He's still there. Participating and not participating. Against his will.

It doesn't feel very "Free Willy" if the people just let the orca free. It's not very Free Will for Sam if the show tells us that it's Dean literally getting out of the picture that will "free" Sam. Brrrrrrr.

So what does this tell me? That the "destiny vs free will" discourse seems to be working only when there's a villain on the horizon, a commanding power that wants to tell you what to do, someone actually stronger than you whose actions can alter your life's story.

If you take that power out, what's left? Only people with their choices. And your absent, dead father's journal radiating The Real Power (the idea of power inside your mind that controls you). Is free will still in the room with us? Cause it starts to look like somebody's supposedly "free" will might be somebody's else constraint. As far as Sam is concerned, it seems to say: it doesn't matter whether there's a God, Death or that prophecy is real or not. What matters is that you can only stand there, participating and not participating. You don't want that? Too bad, 'cause that's what you got.

Maybe the finale really took the worst from my "Billie won theory" and the worst from the "Chuck won theory", i.e. an idea of natural order that upholds patriarchy. Or, since I can and will go there, that the natural order is the patriarchy.

So what about Free Will, is it an illusion? If it applies to only a few it certainly doesn't seem like something worth fighting for. And the natural order is indeed restored in the end. I don't think the show gives a real answer to that, by the end of S15 there are so many things that simultaneously mean 100 other things that everybody can take what they want from the show.

If you ask me, I think it was a moot question, to be honest. It made sense in S4-5 but once SPN goes full meta in S15 it becomes very superficial. Of course I know they're fictional characters and literally don't have free will, the premises were interesting because I wanted to see how these characters would react to stuff happening in the story. Once the story is revelead to be a bluff, though, what am I left with? Characters spiralling into crisis after crisis. This could be interesting in a novel but in a 15-seasons-long series you have to give me something ELSE as well, the "all die more or less happily" last-minute finale (knowing Heaven is a scam, by the way) is just... not having to deal with the consequences of the narrative choices that were made.

Or, perhaps, Supernatural is a show where one of its themes is "destiny vs free will" that ultimately tells you that there's no destiny but there's also no free will, there's only John's journal aka the Power of the Dominant Narrative. Which is the power of the people who write that narrative for us to believe in it. Perhaps, not even the people making the show were free to do what they would've liked to do. They were also there, like Sam, participating and not participating. Finding ways to cope.

[harbingerofsoup]

i do consider myself better than many other supernatural fans, because i truly believe bringing mary winchester back was the right decision

[aliusfrater]

[pippinscribs]

Day 4 - favourite arc / post-canon / healing

‘’You never left Sam. You’re still in the cage with me.’

[letmetellyouaboutmyfeels]

That's so weird because my reaction to S4 finale is it was the moment that convinced me Buddie was going to be endgame. Now two seasons later and we could be heading back to that same ending for the season depending on the events of the finale leaves me doubting things ngl. The only things I'm clinging on to are the couch theory, Eddie saying that relationships with people you meet at a rescue never works, and the fact that we're being introduced to these women so late in the season. It just seems like the writers even know they're giving this the most superficial things so that they can fix what they did in early S7.

To put it bluntly it just sucks that you know if this was gonna be the final 2 episodes that instead of going towards a story they've been telling since S2 they decide to put Buck and Eddie with women we don't even know their last name or anything about them. But they got renewed and will be moving to ABC so they can do the story they wanted to tell and I imagine these women will be kicked to the curb early in S7.

Okay, I'm gonna be real honest with you. I've seen that you've sent asks to a few of my friends, all generally saying the same thing. So to see you send me this ask makes me feel like you don't really want to have a discussion and aren't looking for actual support or positivity, you just want to keep being upset and tell people until someone agrees with you and tells you that your opinion that the writers made a shitty choice etc is valid.

So, to repeat a few things my friends have said:

They have not been doing Buddie since season two. I don't know why people persist on claiming this. Buddie was never the original plan. They did not decide to have Eddie get with Buck in season two. In fact in season two they seemed kinda unsure what to do with Eddie since he wouldn't be with Maddie any longer, but they still wanted the character, and Ryan, on the show. For my money, they started exploring the possibility of Buddie and discussing it seriously in season three, and season four was when they locked that in.

Now, I don't know about you, since you're a stranger on the internet, but to me, as a writer, it is a much, much better choice for them to have taken the risk rather than cram Buddie together, for a few reasons.

One: They cannot walk it back once Buddie is together. You're telling me you wanted them to sacrifice their story's integrity to give us a rushed unsatisfying get-together? Get out of my house. Watching television is, inherently, a gamble because it means you might get your stories unfulfilled. If you can't take that risk, then leave the casino. I am willing to risk it because I want a truly satisfying get-together, not something that was rushed and therefore isn't worthy of the delicious slow burn they're building.

Two: How many times do I have to scream at everyone to consider the behind the scenes issues before people start actually listening to me? Oh, forever? Because everyone is operating in bad faith and nobody wants to actually listen? Good to know. This will be the last I say on the matter.

We do not know what behind the scenes was going on in addition to the cancellation. What if certain Fox executives weren't supportive of Buddie? You're telling me that the writers and cast and crew should have, right when they'll need new jobs, guaranteed that their last employers will talk shit about them for disobeying orders and putting two characters together that they were told not to put together?

This is purely conjecture on my part, but I have seen time after time in fandom certain cast members and certain crew members and certain writers want a ship to become canon, and others not, and I have seen the way that back and forth played out, and guess fucking what? NOBODY WANTS TO LOSE THEIR FUCKING JOB. NOBODY WANTS TO BE PREVENTED FROM HAVING ANOTHER JOB.

Now, again, that's pure conjecture, but Fox really hasn't treated OG well for a while in terms of renewal, marketing, etc. And I have never, EVER, seen a show snapped up by another network so quickly. It's always "we got cancelled!" and then a few days or weeks later it's "we were saved by another network!" ABC was ON it. This gives me hope for a lot of things, like perhaps a 22 episode season. But given Fox's lack of promotion and appreciation for OG, it wouldn't surprise me if the cast and crew wanted Buddie and some people in the network didn't, and that is why we've been delayed on Buddie going canon. And while YOU may cry viva la revolution, it's much easier to have your principles when you've got a belly full, and while it may suck creatively there is no reason to piss off your bosses right when you need them to write you a recommendation for a new job because your show got cancelled - and while I'm sure they were hopeful, given the cast's social media I do not think anyone knew until it was publicly announced that they had, indeed, been saved and gotten another season.

My point is, this is just one theory I'm pulling out of a hat like a rabbit. We do not know what other BTS stuff is going on that made them choose to delay Buddie until season seven.

Three: To go back to point one, I do not think you've seen the reactions when a ship goes canon poorly. I was there, Gandalf. I was there the day that Booth and Bones got together. I was in the trenches. It soured SO many people, including me, on the show. To quote MBMBAM: YOU DIDN'T STICK THE LANDING! YOU JUST FLIPPED IN THE AIR FOR TWENTY MINUTES!!!

Sticking the landing when getting a ship together is possibly the most important moment in the couple's story. You cannot fuck up that landing. The writers chose to take the chance on it never happening in order to stick the landing the way they wanted. If that pisses you off, FINE. But stop coming into our inboxes to say the same thing over and over again about it, because we do not agree and we are never going to agree. We are at an impasse.

Now, to move onto some other points, WHY IS EVERYONE CONVINCED THAT EDDIE WILL STILL BE WITH SOMEONE WHEN THE SEASON ENDS!? WHEN DID WE DECIDE THIS!? He could be! But holy shit he could just go on one date with her that fizzles out! We have no clue! If someone in this fandom can see into the future and knows for sure this is going to happen then give me the winning lotto numbers right this second!!! Give them to me!!!! I need to fund my world domination campaign!!!

And finally, I feel like you've answered your own concerns, here. Given that you have sent similar asks to my friends, I don't think you're actually interested in allaying those concerns, because you keep answering your own questions and repeating yourself ad naseum. I could be wrong. Again, I don't know you. But this sure seems to be the case given that you're saying to me similar stuff you've said to my friends in asks they've already answered.

But to look at your own ask, you just said why we shouldn't be worried. "It seems like the writers even know..." YES. YES, THEY DO KNOW. I would love to know who the hell decided that television shows are made by the Television Fairy who creeps into the studio at night and waves her magic wand to create all the good stuff we see on our screens while the writers sit around with their thumbs up their asses.

Let's imagine you are a showrunner and you are going into the second half of your season, and you learn that it is extremely likely this season is actually your last. You guys start negotiating quietly with other networks to move the show, while hoping against hope this is not, indeed, the end. But this means you now have, what, nine episodes? To put all your characters in a place that is, if not ideal, at least somewhat positive for your audience?

You can't start any too-major arcs. You can't end on too bad of an emotional cliffhanger. This means some things will wrap up faster. Other things will get pushed forward. And some things have to be delayed, because they might never happen, and you can't give people a third or a half of an arc. Which means that you're going to be throwing in some filler for those characters instead, and doing things differently than how you might have wanted.

I do not know how many times I have to explain this, but television is not fanfiction. When I sit down to write a fic, there's not a damn person in the world who can tell me what to do. I write the story that I want, and if someone doesn't like it, they can hit the bricks.

Television is not like that. Television is one of the biggest group projects there is. Picture the worst group project you had to do in school and then times it by ten. Welcome to the television and film industry. The fact that any film or show, even the truly awful ones, gets made is nothing short of a miracle given all the people involved and all the ways the ball can be dropped. As a show runner, you are answering to multiple executives, to the creators, to the executive producers, to your own writers' room, and to the fans. You are trying to balance what everyone tells you to do, what the fans want you to do, and what you and your (hopefully trusted) writing team want and plan to do. I could never be a show runner and while there are quite a few with whom I've got bones to pick, I cannot deny that they all do a job I would never, ever be capable of pulling off. I'd quit on day three.

So, yeah, they gave Buck a temporary girlfriend as filler, to kinda cap off his current arc if this was the end, or to provide more layers to his full arc if they got another season. If you don't like that, then that's okay. Nobody is telling you to like it. When you come into someone's inbox like this, the assumption is that you're looking to be reassured, and so that's why you're getting the responses that you are. The previous people who've answered you have been trying to reassure you and allay the concerns you seem to have.

But it seems to me like you want a more full conversation, and possibly, that you just want to rant and vent. That's fine, but find a friend for that. Join a discord server. Because when you send the same stuff over and over again to different people, all of whom give you basically the same reply, it just makes you look like a very obstinate stick in the mud who wants everyone else to join them in being upset, and people don't much like having the same conversation multiple times, or being pushed into being upset when they're not.

You might just have to agree to disagree, and move on. Find other ways to get this out of your system, because my inbox, and the inboxes of others, is not the place for your venting in circles.

Now, in spite of my firm tone, I hope you will believe me when I say that I hope you're taking care of yourself, and that you are staying safe in this scary world, and that you have a good rest of your day.

[lovepotionnumberfour]

— 𝐥𝐢𝐧𝐞𝐚𝐠𝐞.

[entropic-saudade]

4.22 - Lucifer Rising

7.02 - Goodbye, Cruel World

8.05 - Blood Brother

15.02 - Raising Hell

[queerbauten]

in what universe is Sam Smith "fat". like. when was that something that We™ apparently decided they were.

[acourtofquestions]

No. No, it couldn't have been a dream The escape, Rowan, the ship to Terrasen—

A dream. An illusion. Her escape from him, from Maeve, had been another illusion.

Had she said it? Had she said where the Keys were hidden?

Then a cool, cultured voice purred, "All that training, and this is what becomes of you?" Not real. Arobynn, standing on the other side of the altar, was not real.

"Even Sam held out better than this."

Fenrys snarled.

You could get out of these chains, if you really wanted," Arobynn said, frowning with distaste. "If you really tried."

No, she couldn't, and everything had been a dream, a lie.

"You let yourself remain captive. Because the moment you are free..." Arobynn chuckled. "Then you must offer yourself up, a lamb to slaughter."

Only hearing the King of the Assassins, unseen and unnoted beside her.

"Deep down, you're hoping you'll be here long enough that the young King of Adarlan will pay the price. Deep down, you know you're hiding here, waiting for him to clear the path." Arobynn leaned against the side of the altar, cleaning his nails with a dagger. "Deep down, you know it's not really fair, that those gods picked you. That Elena picked you instead of him. She bought you time to live, yes, but you were still chosen to pay the price. Her price And the gods'?"

Arobynn ran a long-fingered hand down the side of her face. "Do you see what I tried to spare you from all these years? What you might have avoided had you remained Celaena, remained with me?" He smiled. "Do you see, Aelin?"

She could not answer. Had no voice. Cairn hit bone, and—

Aelin lunged upward, hands grasping for her thigh. No chains weighed her. No mask smothered her. No dagger had been twisted into her body. Breathing hard, the scent of musty sheets clinging to her nose, the sounds of her screaming replaced by the drowsy chirping of birds, Aelin scrubbed at her face.

The prince who'd fallen asleep beside her was already running a hand down her back in silent, soothing strokes.

A dream. Just a dream.

She twisted, setting her feet to the threadbare carpet on the uneven wood floor.

"Dawn isn't for another hour," Rowan said.

Yet Aelin reached for her shirt. "I'll get warmed up, then." Maybe run, as she had not been able to do in weeks and weeks.

Rowan sat up, missing nothing. "Training can wait, Aelin." They'd been doing it for weeks now, as thorough and grueling as it had been at Mistward.

She shoved her legs into her pants, then buckled on her sword belt.

"No, it can't."

A gathering storm to the north had forced their ship to find harbor last night—and after weeks at sea, none of them had hesitated to spend a few hours on land. To learn what in hell had happened while they'd been gone.

The answer: war.

Everywhere, war raged. But where the fighting occurred, the aging innkeeper didn't know. Boats didn't stop at the port anymore— and the great warships just sailed past. Whether they were enemy or friendly, he also didn't know.

Aelin scowled. "What." It wasn't so much of a question as demand.

His gaze was unfaltering. As it had been when she'd returned from her run through the misty fields beyond the inn and found him leaning against the apple tree. "That's enough for today."

"We've hardly started." She lifted her blade.

Rowan kept his own lowered. "You barely slept last night."

Aelin tensed. "Bad dreams." An understatement. She lifted her chin and threw him a grin. "Perhaps I'm starting to wear you down a bit."

His canines gleamed. "You need to eat."

"I need to train."

She couldn't stop it-that need to do something. To be in motion.

No matter how many times she swung her blade, she could feel them. The shackles. And whenever she paused to rest, she could feel it, too—her magic. Waiting.

Indeed, it seemed to open an eye and yawn.

She clenched her jaw, and attacked again Rowan met each blow, and she knew her maneuvers were descending into sloppiness.

Knew he let her continue rather than seizing the many openings to end it.

She couldn't stop. War raged around them People were dying. And she had been locked in that damned box, had been taken apart again and again, unable to do anything.

Rowan struck, so fast she couldn't track it. But it was the foot he slid before her own that doomed her, sending her careening into the dirt.

"I win," he panted. "Let's eat."

Aelin glared up at him. "Another round."

Rowan just sheathed his sword. "After breakfast."

She growled. He growled right back.

"Don't be stupid," he said. "You'll lose all that muscle if you don't feed your body. So eat. And if you still want to train afterward, I'll train with you." He offered her a tattooed hand.

But Aelin said, "People are dying. In Terrasen. In-everywhere. People are dying, Rowan."

"Your eating breakfast isn't going to change that." Her lips curled in a snarl, but he cut her off. "I know people are dying. We are going to help them. But you need to have some strength left, or you won't be able to."

Truth. Her mate spoke truth. And yet she could see them, hear them. Those dying, frightened people. Whose screams so often sounded like her own.

Rowan wriggled his fingers in silent reminder. Shall we?

Aelin scowled and took his hand, letting him haul her to her feet. So pushy.

Rowan slid an arm around her shoulders. That's the most polite thing you've ever said about me.

Elide's eyes widened. Widened further as he opened his mouth, and took a bite. His swallow was audible. His cringe barely contained. Elide reined in her smile at the pure misery that entered the Lion's tawny stare. Aelin and Rowan had been finishing up a similar battle when she'd entered the taproom minutes ago, the queen wishing her luck before striding back into the courtyard.

Elide hadn't seen her sit still for longer than it took to eat a meal. Or during the hours when she'd instructed them in Wyrdmarks, after Rowan had requested she teach them.

It had gotten her out of the chains, the prince had explained. And if the ilken were resistant to their magic, then learning the ancient marks would come in handy with all they faced ahead. The battles both physical and magic.

Gavriel met her stare, and Elide again restrained her laugh.

She felt, rather than saw, Lorcan enter. The innkeeper instantly found somewhere else to be. The man hadn't been surprised to see five Fae enter his inn last night, so his vanishing whenever Lorcan appeared was certainly due to the glower the male had perfected.

Indeed, Lorcan took one look at Elide and Gavriel and left the dining room.

They'd barely spoken these weeks. Elide hadn't known what to even say. A member of this court. Her court. Forever.

He and Aelin certainly hadn't warmed toward each other. No, only Rowan and Gavriel really spoke to him. Fenrys, despite his promise to Aelin not to fight with Lorcan, ignored him most of the time. And Elide ... She'd made herself scarce often enough that Lorcan hadn't bothered to approach her.

Good. It was good. Even if she sometimes found herself opening her mouth to speak to him. Watching him as he listened to Aelin's lessons on the Wyrdmarks. Or while he trained with the queen, the rare moments when the two of them weren't at each other's throats.

Aelin had been returned to them. Was recovering as best she could.

Elide didn't taste her next bite of porridge. Gavriel, thankfully, said nothing. And Anneith didn't speak, either. Not a whisper of guidance. It was better that way. To listen to herself. Better that Lorcan kept his distance, too.

Whether the others knew what propelled her, they hadn't said a word. Aelin sheathed Goldryn and loosed a long breath. Deep down, her power grumbled. She flexed her fingers. Maeve's cold, pale face flashed before her eyes. Her magic went silent.

Fenrys sat in wolf form at the edge of the nearest field, staring out across the expanse.

Precisely where he'd been before dawn.

She let him hear her steps, his ears twitching. He shifted as she approached, and leaned against the half-rotted fence surrounding the field.

"Who'd you piss off to get the graveyard shift?" Aelin asked, wiping the sweat from her brow.

Fenrys snorted and ran a hand through his hair. "Would you believe I volunteered for it?" She arched a brow. He shrugged, watching the field again, the mists still clinging to its farthest reaches. "I don't sleep well these days." He cut her a sidelong glance. "I don't suppose I'm the only one."

She picked at the blister on her right hand, hissing. "We could start a secret society-for people who don't sleep well."

"As long as Lorcan isn't invited, I'm in."

Aelin huffed a laugh. "Let it go."

His face turned stony. "I said I would."

"You clearly haven't."

"I'll let it go when you stop running yourself ragged at dawn."

"I'm not running myself ragged. Rowan is overseeing it."

"Rowan is the only reason you're not limping everywhere."

Truth. Aelin curled her aching hands into fists and slid them into her pockets. Fenrys said nothing didn't ask why she didn't warm her fingers. Or the air around them. He just turned to her and blinked three times. Are you all right?

A gull's cry pierced the gray world, and Aelin blinked back twice. No. It was as much as she'd admit. She blinked again, thrice now. Are you all right?

Two blinks from him, too. No,

They were not alright.

They might never be. If the others knew, if they saw past the swagger and temper, they didn't let on.

None of them commented that Fenrys hadn't once used his magic to leap between places. Not that there was anywhere to go in the middle of the sea. But even when they sparred, he didn't wield it. Perhaps it had died with Connall. Perhaps it had been a gift they had both shared, and touching it was unbearable.

She didn't dare peer inward, to the churning sea inside her. Couldn't.

Aelin and Fenrys stood by the field as the sun arced higher, burning off the mists.

Aelin shook her head. Another dream, or hallucination. "If she's on our heels with this army, I'm just ... trying to understand it. Her, I mean."

"You plan to kill her." The gruel in her stomach turned over, but Aelin shrugged. Even as she tasted ash on her tongue.

"Would you prefer to do it?"

"I'm not sure I'd survive it," he said through his teeth. "And you have more of a reason to claim it than I do."

"I'd say we have an equal claim."

His dark eyes roved over her face. "Connall was a better male than—than how you saw him that time. Than what he was in the end."

She gripped his hand and squeezed. "I know."

The last of the mists vanished. Fenrys asked quietly, "Do you want me to tell you about it?" He didn't mean his brother.

She shook her head. "I know enough." She surveyed her cold, blistered hands. "I know enough," she repeated.

[you-know-cchio]

luke "all the facts i give in the show are fucking true" manning vs. alexander "consistently loses the plot" jeremy is truly an unstoppable force meets an immovable object

like sam bullshits his way through facts, so tom and luke can take joy in correcting his mistakes. but correcting aj only brings the others suffering because most of the time, aj himself doesn't necessarily believe anything that comes from his mouth. the man is just saying words recreationally. which also happens to establish the reality of the world the other three exist in.

[literaryvein-reblogs]

Writing Notes: Hate

TRIANGULAR THEORY OF HATE

Typically hate is thought of as a single emotion. 

But there is reason to believe that hate has multiple components that can manifest themselves in different ways on different occasions. 

According to a triangular component of the duplex theory of hate, hate potentially comprises 3 components. 

As with love, hate can be captured by both feelings triangles and action triangles. 

Feelings may or may not translate themselves into actions, and actions may or may not represent genuine feelings. 

People may interpret actions as meaning different things, depending on their mappings of feelings into actions and vice versa. 

There are 3 components of hate: negation of intimacy, passion, and commitment.

Negation of intimacy - involves the pursuit of distance, often because the hated individual arouses repulsion and disgust.

Passion - expresses itself as intense anger or fear in response to a threat.

Commitment - is characterized by cognitions of devaluation and diminution through contempt for the targeted group.

The 3 components give rise to 7 different types of hate (plus non-hate), based on the particular combination of aspects involved:

Non-hate: No feelings of hate (none of negation of intimacy, passion, or commitment)

Cool hate: Disgust (disgust of negation of intimacy alone)

Hot hate: Anger/Fear (anger/fear of passion alone)

Cold hate: Devaluation/Diminution (devaluation/diminution of decision/commitment alone)

Boiling hate: Revulsion (disgust of negation of intimacy + anger/fear of passion)

Simmering hate: Loathing (disgust of negation of intimacy + devaluation/diminution of decision/commitment)

Seething hate: Revilement (anger/fear of passion + devaluation/diminution of decision/commitment)

Burning hate: Need for annihilation (disgust of negation of intimacy + anger/fear of passion + devaluation/diminution of decision/commitment)

THEORY OF HATE AS A STORY

The theory of hate as a story proposes that hate emerges from different kinds of stories. Some of the most common stories, deriving from the work of Sam Keene, Anthony Rhodes, Robert Zajonc, and others, are:

Stranger (vs. in-group) - Negation of Intimacy + Commitment

Impure-other (vs. pure in-group) - N

Controller (vs. controlled) - C

Faceless foe (vs. individuated in-group) - C

Enemy of God (vs. servant of God) - Passion + C

Morally bankrupt (vs. morally sound) - N + C

Death (vs. life) - N + C

Barbarian (vs. civilized in-group) - N + P + C

Greedy enemy (vs. financially responsible in-group) - N + C

Criminal (vs. innocent party) - C

Torturer (vs. victim) - N + P + C

Murderer (vs. victim) - N + P + C

Seducer/rapist (vs. victim) - N + P + C

Animal-pest (vs. human) - N + P

Power-crazed (vs. mentally balanced) - C

Subtle-infiltrator (vs. infiltrated) - C

Comic-character (vs. sensible in-group) - C

Thwarter/destroyer of destiny (vs. seeker of destiny) - C

Instigation of hate covers roughly 5 steps. Not all steps need to occur in order for hate to come into being. Indeed, even one step may start the process. The steps are:

The target is revealed to be anathema.

The target plans actions contrary to the interests of the in-group.

The target makes its presence felt.

The target translates plans into action.

The target is achieving some success in its goals.

Finally, perception becomes reality.

There may be elements of truth in some stories.

Example: A particular opponent may be loathsome in any number of ways.

But the power of stories is that their perception becomes, for the individual experiencing the stories, reality.

The individual typically does not question whether a given story is true. For him or her, it simply is true.

Sources: 1 2 ⚜ More: Writing Notes & References

Writing Notes: Love Click "Keep reading" for more examples. Warning: Very long text.

taxonomy of types of hate

The three components of hate generate, in various combinations, seven different types of hate. They are probably not exhaustive, and, because they represent limiting cases, are not mutually exclusive. Particular instances may straddle categories.

Non-Hate. Strangers on the street are likely to fall into this category, as may members of one’s family or one’s friends. But family members may arouse mixed emotions, so there is the possibility that some degree of hate exists toward family members, even coactively with feelings of love. In a healthy society (and a healthy person), most feelings one has toward other people are non-hate.

Cool Hate: Disgust. Cool hate is characterized by feelings of disgust toward the targeted group. The hater wishes to have nothing to do with the targeted group. Members of the targeted group may be viewed as subhuman, perhaps as vermin of some kind or as garbage. Visceral prejudice may be expressed as cool hate. The Sidney Poitier movie Guess Who’s Coming to Dinner depicted the visceral reaction of disgust of parents of a White woman who brought a Black man (her new beau) home to have dinner with her parents. Because the main feeling is a “cool” one, the reaction may be one of aversion rather than confrontation.

Hot Hate: Anger/Fear. Hot hate is characterized by extreme feelings of anger and/or fear toward a threat, and the reaction may be to run away or to attack (flight or fight). Sudden flare-ups of hate, such as road rage, are examples of hot hate. Gang members may kill others if they feel disrespected by the comments or even gestures of others. Riots often are accompanied by hot hate. People who feel only cool hate most of the time may be provoked and stirred up by the passion of the moment and find their hate converting into hot hate. The conversion may be short-lived. After the mutual egging on of the riot is over, those involved in it may revert to feelings of cool hate.

Cold Hate: Devaluation/Diminution. Cold hate is characterized by thoughts of unworthiness directed toward the target group. There is something wrong with the members of this group. Indoctrination often portrays the group as evil, as in Ronald Reagan’s conjuring up of the “Evil Empire” in referring to the former Soviet Union. This kind of use of metaphor invokes a number of free associations, all of which are stereotypically negative. The indoctrination may be against any group – Communists or capitalists in the Cold War (which was “cold” in more ways than one). Cold hate can be instilled even among those who have never encountered members of the target group. For example, it is not uncommon to find anti-Semitism or anti-Islamic cognitions among people who have never actually met a Jew or a Muslim. People are often unaware of their own cold hate. It is simply too much a part of who they are and how they were brought up. The cold hate may lie dormant unless the people are forced or inadvertently come into contact with members of a hated group.

Boiling Hate: Revulsion. Boiling hate is characterized by feelings of revulsion toward the targeted group. The group may be viewed as subhuman or inhuman and as a threat, and something must be done to reduce or eliminate the threat. The targeted group may change from time to time. In the earlier stages of the Third Reich, the Soviet Union was perceived as bad and revolting. Then, when Hitler made a pact with Stalin, the Soviet Union was perceived as good. Then, later, it was perceived as bad again. There was no sense of permanent commitment to any belief about the Soviet Union and Soviets. Negative intimacy and passion were instilled with a distinct absence of commitment. The change was later captured in George Orwell’s novel, 1984, where the identity of the enemy changed from one day or even one moment to another, and people were expected to adapt their hatreds to those chosen for them at any given moment by the government.

Simmering Hate: Loathing. Simmering hate is characterized by feelings of loathing toward the hated target. The targeted individual/s may be viewed as disgusting and as likely always to remain this way. There is no particular passion, just a simmering of hate. Ruthless, calculated assassinations often take this form. There is nothing sudden about such assassinations, which may be planned over periods of time, as Lee Harvey Oswald’s assassination of President Kennedy apparently was. Alfred Hitchcock’s movie Strangers on a Train depicts an individual who has felt simmering hate over a long period of time, and has devised a plan to have a murder committed without his actually having directly to take part in it.

Seething Hate: Revilement. Seething hate is characterized by feelings of revilement toward the targeted individual/s. Such individuals are a threat and always have been. Planned mob violence, often preceded by fiery oratory, sometimes takes on the characteristics of seething hate. The goal is to arouse the mob to violence, as in the Krystallnacht, where mobs were sent to destroy shops of Jewish shopkeepers who were portrayed as seeking to destroy the economy of Germany. In these cases, the targeted group may be portrayed not as subhuman but as more than human, for example, as being engaged in a worldwide plot of domination or conquest. Fears among U.S. militia groups of black helicopters sent by the forces of world government show this kind of hate. The enemy is not subhuman, but superhuman in its massive organization and conspiracy to take over the world. The Left Behind series of novels, portraying a world very loosely based on the biblical book of Revelations, describes the efforts of the Anti-Christ and his allies to take over the world and the people in it.

Burning Hate: Need for annihilation. Burning hate is characterized by all three components of hate. The haters may feel a need to annihilate their enemy, as postulated by Kernberg (1993) for extreme forms of hate. Some years back, Eli´an Gonzalez, a Cuban boy who was found clinging to a boat off the shores of Florida, was seized from his Miami relatives by the U.S. government. There were massive demonstrations in Miami, Florida, and Union City, New Jersey, as well as elsewhere, against Fidel Castro and the U.S. government, which was seen as in league with Castro. The outpouring of hate was powerful. The targeted group may be viewed as diabolical destroyers, and indeed, a poster shown on CNN depicted then Attorney-General Janet Reno with the horns of the Devil.

relations of the components of hate to terrorism, massacres, and genocides

The triangular theory of the structure of hate speculatively holds that hate is related to terrorism, massacres, and genocides through the number of components of hate experienced.

Danger Level 0: No Hate-Based Danger, results when none of the components of hate is present.

Danger Level 1: Mild Hate-Based Danger, results when one of the components of hate is present.

Danger Level 2: Moderate Hate-Based Danger, results when two of the components of hate are present.

Danger Level 3: Severe Hate-Based Danger, results when three of the components of hate are present.

Massacres and genocides are much more likely to result, arguably, when all three components are present. They are also a product of stories.

stories underlying the development of hate

The Stranger Story. The hated enemy is a stranger. Propaganda typically shows the object of hate as very strange looking. One Nazi propaganda poster shows a Jew with a Star of David tattooed on his forehead, with evil-looking squinting eyes, with a grossly asymmetrical face, with a twisted lip and a double chin, and with large ears notably sticking out from his head. No one can look at this poster and identify with the individual depicted: He is a stranger. We usually think of strangers as people we do not know and never have known. But they need not be. Often the stranger is someone who is familiar to us, and whom we thought we knew, but who, on reexamination, now appears to be someone else – someone strange and perhaps incomprehensible. The stranger story can apply to interpersonal relationships. We may be in a relationship with a partner whom we think we know quite well. Then we discover, to our astonishment, that the partner is having an affair, or has a sizable private bank account that he or she has hidden for many years. The person whom we thought we knew well may now come to seem like an utter stranger, and we may find ourselves wondering what other things about the partner that may be detrimental to our well-being he or she has not revealed.

The Impure Other Story. The hated enemy is impure or contaminated. Typically, the enemy is trying to spread this contamination. The enemy must be stopped before the contamination gets out of control (or to stop contamination that already is out of control). The euphemism “ethnic cleansing” may call to mind images of an enemy that needs to be eliminated from a society that otherwise would be pure in much the same way dirt needs to be eliminated from holy relics. In a close relationship, hate may be generated by the discovery that the partner has been contaminated, as by an extramarital affair or a disfiguring disease. In some societies, it is sufficient for a woman to be raped for her elimination to seem necessary to certain men with this story. The woman now is no longer viewed as pure and therefore may be seen as having ceased to serve her purpose. Curiously, and with unabashed sexism, the impurity applies only to the wronged female, not the male who wronged her.

The Controller Story. The hated enemy is trying to control you and perhaps the world. One German propaganda poster shows a Jew riding on top of the shoulders of Roosevelt, Churchill, and Stalin, who is knee-deep in water. The only happy face in the poster is that of the Jew on top. Stories, such as the controller story, may have elements of truth. For example, the Sunnis in Iraq, although a minority, controlled the country for a long time. Some of them built up a system of oppression and repression that was, although brutal toward all Iraqis, especially arbitrary and invidious toward Shiites (Ghosh, 2007). But the stories may also be completely false, as when a group is targeted as controlling a society when in fact they are powerless and persecuted.

The Faceless Foe Story. The hated enemy has no face and indeed has few distinguishing human characteristics. For example, one political cartoon shows a dozen Soviet leaders who all look exactly the same, and have few, if any, distinguishing human characteristics. They are faceless and indistinguishable from each other. In a close relationship, one may reconceptualize one’s partner as faceless – as ordinary – and feel one’s love dissipate and even turn into hate if one feels tricked into having (previously) believed that the partner was special. Sometimes, perpetrators seek to be faceless. Torturers may hide their identities so that their victims cannot later identify them. Other times, victims are made to be faceless. Bombardiers may find it easier to destroy a whole town from an aircraft because, to them, the enemy is faceless.

The Enemy of God Story. The hated enemy is not only your enemy, but also, an enemy of God. The stories, as tends to be the case historically, are created by cynical and destructive individuals who seek to use others as their tools for wreaking havoc and destruction. This story can apply to individuals in intimate relationships in which one or both are religious. If one of the partners comes to be perceived by the other as having committed a mortal sin, then a loving relationship can turn to hate as the couple struggles with the (perceived) sin of the blamed partner. In a religion story of love, a reconceptualization of the partner as of the Devil rather than of God can suddenly turn love into hate.

The Moral Bankruptcy Story. The hated enemy is immoral or must be eliminated on moral grounds (as proposed by Zajonc, 2000). The enemy is doing immoral things, such as praying to the wrong god or gods, or to no god at all. Or the enemy is defiling holy sites or simply insulting the morality of God or humans by its very existence. During the Salem witch craze, one excuse for the elimination of alleged witches was their immoral pact with Satan. In close relationships, a spouse who comes to be viewed as immoral may be hated on account of the alleged immorality.

The Death Story. The hated enemy represents death. One Italian propaganda photo shows the Statue of Liberty carrying its torch and igniting a city. At the same time, it is taking off its mask to reveal a skull underneath. Enemies often do represent death. For example, the Janjaweed militias in contemporary Sudan come as close to representing death as any destroyers can. But these militias, following historical patterns, portray themselves as protecting the lives that are “worth” protecting, and the civilization that they claim to represent.

The Barbarian Story. The hated enemy represents a barbarian. Rome was eventually overthrown by enemies that the Romans viewed as barbarians. Today, the world faces attacks on many fronts from enemies viewed as barbarians. The barbarians, in turn, are likely to view those they attack as morally decadent and themselves as saviors coming to sweep away the decadence they believe they see among those they attack.

The Greedy Enemy Story. The hated enemy is exceptionally greedy. When gasoline prices reached high levels in the United States, one oil company produced a greater profit than any U.S. company in the history of the country. A CEO had just retired from this company with an exceptionally generous retirement package. The problem is that sometimes hated objects act in ways that promote rather than destroy the story that they would wish to have dissociated from them.

The Criminal Story. The hated enemy is a criminal, and needs to be dealt with as such. The hated person or group may have stolen something away from one, such as a loved one or some object of value. Propaganda photos frequently are made to look like wanted posters. One such poster from World War II, produced in the United States, shows Hideki Tojo, Prime Minister of Japan during World War II, in such a wanted poster. In a close relationship, discovering criminal behavior on the part of one’s partner may turn love into hate, especially if the criminal behavior is directed toward oneself. The behavior need not be legally criminal. If one perceives it as morally criminal, that may be enough to generate this story.

The Torturer Story. The hated enemy is a torturer. Some propaganda posters show actual portraits of individuals who have been tortured by enemies. In a close relationship, one may come to conceive of one’s partner as a torturer, and come to feel hate rather than love toward the partner. The torturer story is one of the most powerful stories of hate. In modern day Argentina, Chile, South Africa, and other countries, victims and their family are still trying to come to grips with a long history of government perpetrated torture. And attempts are still being made to identify the people responsible for the torture – both the torturers themselves and those who commissioned them to execute the torture.

The Murderer Story. The hated enemy is a murderer. Sometimes actual photographs are used, such as a widely distributed photo of right-wing students hanging and simultaneously hitting a left-wing student over the head with a chair. The right-wing students are smiling and cheering as the act progresses. In a close relationship, sometimes individuals feel that their lives are threatened, literally or symbolically, by their partners, and may come to feel hate rather than love toward their partners.

The Seducer/Rapist Story. The hated enemy is a seducer or a rapist. One German propaganda poster shows an older, ugly Jew seducing a beautiful woman. An American poster shows unclothed women in cages being inspected by Nazi soldiers. In close relationships, an individual (usually a woman) may come to feel that sex is no longer consensual but forced, and may come to experience hate rather than love for the partner. Unfortunately, many hated targets are rapists. Soldiers in war frequently use rape to satisfy their own lust, and to demoralize and humiliate the enemy. Rapes may occur in intimate relationships as well as in any others. They may also occur in families (incest).

The Animal Pest Story. The hated enemy is an animal pest, such as a germ, an insect such as a cockroach, a reptile, or some kind of a beast. One World War II German propaganda poster shows the Jew as a rat, with the heading “Rotten.” A World War II Italian propaganda poster shows the American G.I. as an ape. In a close relationship, one may come to view one’s partner as animal-like – a pig or a rat – and may come to feel hate rather than love for the partner. These stories become more powerful as those who perceive themselves as victims feel that the violations occur on a repeated basis.

The Power Monger Story. The hated enemy is crazed with the lust for power. A World War II German propaganda poster shows Roosevelt embracing the globe, his face crazed with the lust for power. In a close relationship, one may come to view one’s partner as totally absorbed by power aspects of the relationship, and as seeking total domination. One may feel one’s love convert into hate. The leaders of some countries come to be seen as power mongers. Unfortunately, they may act in ways that promote the stereotype. Whatever their intentions, their efforts to combat hate may then be belied by their own actions.

The Subtle Infiltrator Story. The hated enemy is a subtle infiltrator. One British poster shows a group of Army officers talking while a beautiful woman is sitting amongst them, pretending to be “dumb” but listening carefully to all that is said. Stalin used the subtle infiltrator story to induce hate of certain groups. Beginning in 1927, he staged a series of show trials designed to show that various groups were actually subtle infiltrators in league with the enemies of society. For example, managers, engineers, academics of various kinds, people associated with religious movements – all were portrayed as in league with and in the pay of world capitalists to destroy Soviet society (Mace, 1997). Similar stories are still used today to target individuals and groups.

The Comic Character Story. The hated enemy is a comic character. During World War II, American comic books often portrayed comical Nazi soldiers as being demolished by American super-heroes. A Walt Disney cartoon showed Donald Duck throwing a tomato at the face of a comical Adolph Hitler. Charlie Chaplin played a comic Hitler as well. Nazi propaganda portrayed Jewish women as fat, ugly, and stupid. In a close relationship, one may come to view one’s partner as a comic figure – as a buffoon or a fool – and feel one’s love turn into hate. This story may be less effective in inducing hate than some of the other stories, because it is likely to instill neither anger nor fear. Indeed, it may lead people to view a threat as less serious than it is, and, because of its comical portrayal, to dismiss any danger the threat poses.

The Thwarter/Destroyer-of-Destiny Story. The enemy is hated because of its role in thwarting or destroying a certain destiny. For example, the murderer of a loved one may be hated because the murderer has destroyed what should have been the destiny both of the loved one and of the one who has offered the love.

structure of the stories of hate

Because the stories of hate tend to be simple, some people might prefer to view them simply as negative stereotypes, or as negative images of the enemy.

Why use the story concept at all? Because, arguably, each is associated with an anticipated set of events.

The key point is that the threat represents a dynamic story, not just a static image or stereotype.

Whereas stereotypes tend to be somewhat one-dimensional, immobile, and static over time, stories are multidimensional, fluid, and changeable over time.

1. The Target Is Revealed to be Anathema At some point, often long in the past (and probably more often than not, in the imagined past), the target reveals itself to be worthy of hatred. Perhaps members of the group killed God, or slaughtered members of what is now the in-group, or plotted the destruction of the in-group, or revealed themselves to be dirty or greedy or whatever. Although the events giving rise to the groups’ being labeled as anathema may have occurred long ago, they can remain in a metaphorical sort of Jungian “collective unconscious.” In some cases, the events may never have occurred at all. They may merely be imagined to have occurred, such as when they are part of an oral history of dubitable validity.

2. The Target Plans Actions Contrary to the Interests of the In-Group One may not become aware of this problem right away. But at some point, one becomes aware that for some time, often a long time, the target has been planning actions contrary to the best (and often, any good) interests of the in-group. Whatever the problem is, it is no longer historical in nature; it is current. Because members of the in-group often do not realize they have been “plotted against” until what they perceive to be rather late in the plotting process, they may feel a sense of desperation and urgency. Of course, in many instances, the planned actions are imaginary, which does not make them any less “real” psychologically to those who are being manipulated into hating the members of the target group.

3. The Target Makes Its Presence Felt The story often first becomes perceptible when the target appears significantly on the scene. The target may come from outside, either legally (through legal immigration) or illegally (through illegal immigration, invasion, or imposition by outside powers). But the target also may come from inside. Perhaps it has been there a long time. Indeed, people often feel that they were blinded, and that only now are they realizing the threat that has been there for some time. Now the target is becoming powerful, and hence is becoming a force to be reckoned with, before it is too late. Stalin was notorious for devising elaborate plots that were alleged to have been hatched against the government, which had no more reality than the proverbial will o’ the wisp.

4. The Target Translates Plans into Action Members of the in-group believe they are becoming aware that the period of plotting is over for the target. The target is actively translating thought into action, and thus has become a true threat, not just a hypothetical one. Sometimes the action is now perceived to be already quite far along before individuals realize what is going on; other times the action is perceived to be just starting up. The exact type of action depends on the content of the story. In many instances, the only action is that of the perpetrators against the targets, who were never planning any action in any event. Enemies of God actively work against God. Beasts cause wanton destruction. Rapists, of course, rape men, women, and children. Subtle infiltrators covertly try to take things over. Thwarters of destiny try to make sure that the in-group cannot achieve the goals it deserves to achieve. In each case, the target group works against the in-group. What differs is how they achieve their goals. Often, they may achieve their goals in multiple ways through multiple stories.

5. The Target Is Achieving Some Success in Its Goals Unsuccessful targets may be viewed as pathetic, such as members of very small groups that have dreams of taking over the world. But once the target is not only acting, but achieving some success in its actions, feelings of hatred and perhaps the desire to act upon these feelings become a force to be reckoned with. In sum, the images, in themselves, are the contents that fill in the story schema. In a sense, the precise story is less important than how many of the above steps the target group has (in the minds of the in-group) managed to enact. The more steps the target group enacts, the more of a threat they become, and the “hotter” the hate is likely to be (i.e., the more the number of components that are likely to be operative).

mapping to the triangle of hate

Different stories are likely to induce different components of hate, but which are induced probably depends in part upon the person.

Consider a few examples:

Stories of individuals or groups as vermin or as impure are likely to induce negation of intimacy.

Stories of individuals or groups as murderers or rapists are “hot” and thus are likely to induce passion.

Stories of individuals or groups as greedy or as dominators are “cooler” and thus are more likely to induce commitment.

the relation of hate to love

Often, love is viewed incorrectly as the opposite of hate.

They are thought to constitute just one single dimension on which a person can move from love to hate, from hate to love, and so forth.

Hate is neither the opposite nor the absence of love. Rather, the relationship between love and hate is multifaceted.

Therefore, love and hate can exist at the same time in the same person with regard to the same object.

The opposite of love is rather indifference.

Hate and love have a lot in common. Both involve very intense emotions and attraction of a certain kind.

Love and hate both have three components, which are interrelated.

In one case, the components are inverses of each other. In the other two cases, they are actually the same, but are experienced differently.

Different people have different combinations of these components so, structurally, may experience hate (or love) differently.

The stories of love are also susceptible to turning. Consider some of the stories of love, and how they can contain within them the seeds of destruction:

1. Addiction. An addiction story involves one partner’s feeling addicted to the other, or less frequently, both partners feeling addicted to each other. Addictions are usually, in themselves, love–hate relationships. One feels bound to something or someone, but feels also one’s freedom to escape is restricted. Feelings of love especially can turn to hate if one feels that one’s addiction is self-destructive, as when one feels an addiction toward someone who is abusive toward oneself or others.

2. Business. In a business story, two people essentially view each other as investments, much like they might invest in people in any other business. The difference is that this is a particularly important investment. A business story succeeds by virtue of both partners feeling that the business is equitable and works to their mutual advantage. But if the business goes bad – one partner makes poor decisions that lead to financial or other forms of distress, or if one partner proves to be untrustworthy, the relationship can go bad rather quickly, and turn love to hate.

3. Fantasy. In a fantasy story, the partners view each other much the way characters would in a fairy tale. The success of a fantasy story in love typically depends upon the partners respectively occupying the roles of prince and princess, king and queen, or similar roles. But just as frogs can change to princes, so can princes change to frogs. And just as kings or queens can be perceived as beneficent, so can they be perceived as malevolent or as imperious. The success of the fantasy story thus depends on the partners maintaining positive images in the roles they occupy. Should the images become negative, hate can replace love.

4. Horror. Horror stories are stories based on one partner’s terrorizing the other. Relationships based on horror stories are almost always love–hate relationships to begin with. One is attracted by, and simultaneously repelled by, the abuse that characterizes such relationships. In some cases, the individual who is the object of the terror in such a relationship may come to hate the perpetrator, much as the victim comes to hate the perpetrator in a massacre. There is also a psychological phenomenon called “Stockholm Syndrome,” in which the victim of a hostage-taking develops positive emotions toward the hostage-takers.

5. Mystery. In a mystery story, one partner seems mysterious, and the other acts as a detective trying to solve the mystery. A mystery story gains its interest by virtue of the fascination of one partner with the mystery represented by the other. The individual peels away one layer of mystery after another. But one may find that, at bottom, the story is not a pleasant one. For example, the mystery may be that the partner is exploiting one, or is involved with other people as well. Love can then turn to hate.

6. Travel. In a travel story, two partners travel through life together, trying to the extent possible to stay on the same or at least proximal paths. A travel story can go bad if a partner feels that the other partner has departed from the path they set out together, or has started to regress on the path. If the paths diverge too much, and one partner does not like the path the other is taking, that dislike or even hate may transfer to the partner. This can happen, too, when one of the partners goes through a physical, psychological, or social transformation that changes him or her. When he or she makes new friends his/her partner dislikes or gets on a career trajectory that makes him or her much more successful than the partner and leaves that partner jealous, hate can develop as well.

7. War. In a war story, two partners enjoy fighting with each other. They seem constantly to be at war with each other. Love may turn to hate if the war becomes a serious one, and the partners find that the fights lose whatever good nature they originally may have had. The war story perhaps provides the best transition from a consideration of love to a consideration of hate.

Sources: 1 2 ⚜ More: Writing Notes & References

Writing Notes: Love

[moonlightmagical]

so. tmagp 7.

it cannot be a coincidence that as SOON as celia starts talking about things very obviously from the tma universe, chester/jon starts speaking up.

i refuse to believe that it's a coincidence that after celia mentions looking for case files related to "being buried alive," a clear reference to The Buried, chester/jon starts reading a case file that is overtly what he (and we for that matter) would classify as a Buried statement.

not only is the case file chester/jon reads one of the most classically statement-like ones we have so far, given that there is only one fear and it is easily identifiable (other than episode 5 of course - voyeur is clearly an eye reference, ALSO read by chester/jon i'd point out), it is FILLED with other tma references. hilltop centre vs hill top road for one. as the case file describes, hilltop centre is burned down just like the original house on hill top road. also, a bunch of creepy objects being brought to one place certainly sounds like artifact storage doesn't it?

it is also an account written directly by the survivor of a supernatural encounter, something once again classically tma statement-like. the only other case file like that is technically episode 4 with the haunted violin - and who was that one read out by again? augustus? the one who is commonly theorized to be jonah? the founder of the magnus institute and the one who presumably chose the format of statements? a conversation for another time.

NOT TO MENTION:

YOU GOT AN EMAIL FROM 'JOHN' SAM? YOU SURE THE H IS NECESSARY?

this is jon (or at least some part of him) reaching and clawing for the first indication of someone else from his home in this new reality. this is jon trying to get to the only person he has access to that seems to be curious enough to question what the hell is going on. this has to be jon.

[deancashorrorfest]

We're Baaack... And Bigger than Ever

Come one, come all to the third year of Dean🔪Cas Horrorfest! We've got ghouls and gore, gays and theys! Cannibalism as far as the eye can see! Truly a feast for the senses.

This year I tasked these horrific creatures with a reverse round and they really ate the competition. Below the cut, you'll find things beyond any human comprehension.. Viewer beware, you're in for a scare.

Any Way That You Want Me | M | 10,455 It should have been a cake walk. Get in, investigate the haunted house, and figure out where to dig, salt and burn. But when Cas somehow gets cursed - trapped inside the house's mirrors - Dean finds himself in a race against time. Each day Cas' strength is fading. It's up to Dean to find a solution by digging through the house and the belongings of the former owner.

What he uncovers in the house may change everything. Link to Fic | Link to Art Wicked Muse | E | 15,673 Castiel Novak is a solitary creature. Corporate engineer by day, serial killer by night, and always by himself. Just the way he likes it. Until a new coworker's long, bowed legs, green eyes, and crooked smile catch his eye. He's certain he'll have to kill Dean, at first. He can't afford distractions, living the double life that he does. When the time comes, though, he just can't bring himself to do it. Artistic inspiration, long dormant in Castiel's life, replaces murderous intent.  As his obsession grows, so too does a newfound wish that he could share the deepest, darkest depths of himself with Dean. That Dean would understand, would accept, would even celebrate Castiel's bloody inclinations. But that's absurd. Unthinkable. Dean isn't like that. Is he? Link to Fic | Link to Art Herbicidal | T | 8,249 Dean is settled. His relationship with Cas is going strong, he has a place to call home, and his biggest problems are run-of-the-mill cases and unruly teenagers who think they know everything there is to hunting. Hell, he even plays with the thought of retiring. But then something starts killing people left and right in Lebanon, and Dean and Cas are faced with a case and a foe they have no idea what to do about. Link to Fic | Link to Art Oubliettes of Stone and Sky | T | 9,214 Dean is trying to sacrifice himself for his country like any good king would, and Cas has been sent to stop him. Cas has to keep Dean hostage while journeying through a dust storm and a castle with a mummy inside. Dean is waiting for the chance to escape--and Cas is ready to capture him again. Link to Fic | Link to Art Angel in the Ivory Castle | G | 20,074

Castiel's family is royalty in another world that has lived in peace for many years until recently a darkness has started to spread which has slowly overtaken the beautiful green fields they'd once walk through. Creatures have become corrupted, twisted and turned into something grotesque. Castiel was sent to the other world to find the being he is bonded to in which it's been rumored to save their world but in reality they know what's left doesn't look worth the risk. Link to Fic | Link to Art

Dean and Castiel vs. Evil | E | 31,451

Castiel is trying to survive a camping trip in the Appalachians with his annoying fraternity brothers. At a nearby cabin, Dean is trying to clean up the remains of his and Sam’s recent vamp hunt. Both Dean and Castiel wouldn’t mind exploring their mutual attraction.

But there’s a problem: due to a series of misunderstandings, Castiel’s friends are convinced that Dean and Sam are serial killers. The fact that Castiel's friends keep dying in increasingly grisly ways doesn't help matters. Is there really a killer on the loose? And will Dean and Cas ever manage to score some alone time? Link to Fic | Link to Art

Vacation Interrupted | M | 9,158 Dean can’t remember the last time he took a vacation. Fighting monsters is basically all he’s ever known. They’ve defeated Chuck and Dean finally grew a pair and confessed his feelings and Cas reciprocated. The two of them, along with Sam and Eileen, decide to dip their toes in the sand and take a vacation since the world is relatively monster free. Or at least they thought it was until a Kraken decided to ruin their vacation and start killing people, almost taking Dean for its next victim if Castiel didn’t rescue him in time. So much for a relaxing vacation. Link to Fic | Link to Art Communion | E | 53,639

Few areas in the world are subject to the polar night phenomenon, a period where the sun never rises above the horizon.

When Castiel Novak reaches out to the Winchesters for help, convinced that vampires are about to descend upon one such town during the upcoming polar night, the boys head up to Point Hollow, Alaska to clear the nest before night falls.

What was meant to be a three-day stay devolves into sixty-five days of bloodshed and darkness as resources dwindle and bodies start dropping. Overwhelmed by the calculated organization of the creatures and the size of their nest, it quickly becomes clear that there’s more to the ‘vampires’ than initially seemed.

They’re cunning, they’re ancient, and they’re powerful—and they’ll stop at nothing to be satisfied. But between the starving people and starving creatures, Dean manages to find solace in Castiel—who just might be holding a secret himself. A secret that is key to destroying the creatures and their master, once and for all. Link to Fic | Link to Art Romancing the Exit Sign | E | 125,370

A teenage boy is left to die in a shallow grave and something slithers into his bones. Devotees of an ancient god work to bring Her into the world, as with equivalent fanaticism, a man on a mission picks them off one by one. A lonesome drifter crosses paths with a mysterious stranger and finds himself inexorably drawn into the middle of it all.

Dean Winchester is adrift. All he has is his car, the next hunt, and a conversation he doesn’t want to have waiting for him in California. Then a case involving mangled bodies washing up on shore in an idyllic lakeside community puts him on the trail of a man calling himself Castiel, and the dangerous web he’s entangled in. Dean is used to living in a world of monsters, but the End of Days is a little out of his wheelhouse. Especially when his only ally is determined to keep his secrets behind his teeth, even as they draw closer together. Still, he intends to see things through, no matter how dark the path ahead gets.

It’s either that, or call his brother. Link to Fic | Link to Art Survivalism | E | 14,067

Genetic engineers Castiel Novak and Dean Winchester are on the verge of a breakthrough in cancer treatment and possibly even a cure, using genetic manipulation and incredibly, shark DNA.

Following a devastating diagnosis of brain cancer, and amid growing pressure from his boss, Dick Roman, for results, Castiel is pushed to an act of desperation. He tests the cure on himself with disastrous and violent results.

He has never been so hungry. Link to Fic | Link to Art

These Hallways Echo | M | 10,290 Loneliness. Previously, Dean Winchester had thought he knew the definition of the word, the way it felt to be isolated. That was wishful thinking. It’s here and now, in these never-ending corridors of winding walls and this damn carpet with the nauseating pattern, where Dean discovers the true meaning of being alone. Solitary. Detached. The man hears ghosts, echoes of conversations long since over, but there’s nobody for him to speak to. Dean sees the phantoms of late vacationers stepping through doorways or occupying beds but he can never get anybody’s attention. No one stops to hear him. Not a single soul has looked him in the eye or acknowledged that he, too, is trapped here. Caught in this unending hallway where time means nothing and waiting for tomorrow is fruitless. Link to Fic | Link to Art Ground Control to Major Tom | E | 21,506 Dean Winchester dreamed of being a mechanic all his life, but he never thought he would end up working as a mechanic for NASA and going into space. He is thrust into his first ever space mission after a strange lunar body, dubbed Luna-b I, mysteriously appears in Earth’s sky. Teams of astronauts scramble up to the permanent lunar base and begin analysis to determine if the blue orb is any threat to mankind. Most of the first team is sent home after a few months, nearly all of them having fallen ill with devastating cases of space sickness. As time goes on, it becomes clear that something altogether unnatural is going on here. Dean feels like he’s losing his mind as he and his crewmates also begin to succumb to sickness. He races to figure out what could possibly be the root cause. Is Luna-b I really just some weird, deep space rock that got caught in the Moon’s orbit by chance? Or is it something much more sinister, watching and waiting for the opportune moment? Link to Fic | Link to Art The Forgotten Halls | T | 9,337 A long time from now — maybe decades, maybe centuries — there are only the Halls, and the Entity, and the Angel. They exist in harmony, mostly. When an outsider changes their routine, a routine so long-standing that the Angel remembers nothing that had come before it, the disturbance will threaten the fabric of their entire universe. Link to Fic | Link to Art It's Got A Death Curse | E | 19,101 Dean and his friends have been coming to Camp Garrison for years, first as campers, then as counselors. Their last summer together kicks off with a bang when a figure from their dark past reappears and buried secrets from a near-forgotten tragedy threaten to resurface. It only gets worse when a storm rolls in, and the night becomes a gory fight for survival. The camp may not have electricity, but it's got a death curse. Link to Fic | Link to Art ghost, zero, suitcase & the moon | M | 19,433

Dean has always known it was ending. The world, that is. He knew it when he was three, awake and screaming in the middle of the night with the image of fire leaving an afterburn behind his eyelids. He knew it while he learned to ride a bike, while he went to his first school dance, had his first kiss, tipped back his first beer with his dad. He knew it when dad left, too. When Sammy died. When it all began to crumble.

He has always known it was ending. Now he's alone in a cabin somewhere so far north and so far west that he thinks half the continent never knew it existed in the first place, and he's got the same damn nightmares, the same burn behind his eyes, and the sense that ending is a verb that goes on and on into eternity and outside of time. Link to Fic | Link to Art Rosewood | T | 5,099

Dean believes a lot of things.

He believes the manner of his death was decided by his father the very night that yellow-eyed demon ripped his mom away from him.

He believes he’ll die, broken and bloody and alone on a hunt, and anything Cas does only delays the inevitable.

He believes he doesn’t deserve to be saved.

Dean knows Cas will do it anyway.

Months after Mrs. Butters leaves the bunker, intent on finding a home of her own, a peaceful section of pines set deep into the American heartland becomes anything but. Haunted by Purgatory at every turn, and forced to confront the consequences of decades of torture and abandonment at the hands of his predecessors, Dean and Cas set off to solve a string of disappearances in the forest where they stumble across a familiar face -- and an all-too-familiar feeling. Link to Fic | Link to Art MAW | M | 8,575

The world is full of sorrow, of sadness, of pain. The people within it deserve better than what Castiel's father gave them. They deserve peace and contentment, security and love. They deserve a New World.

And there is no safer place than inside Castiel. Link to Fic | Link to Art hold my hand until it bleeds | E | TBD The five years that Alistair did nothing but beat him. The feeling of no longer having skin. The feeling of no longer having flesh. The feeling of being nothing but bone and blood. Link to Fic | Link to Art The Possession of Jimmy Novak | E | 16,952

Dean Winchester was surprised to learn that when his father died, he left behind a beautiful house in the suburbs of Illinois, complete with neighbors who welcomed the newly arrived Dean with casseroles and invitations to join them at church.

It all seemed so very normal.

But there was something about Jimmy Novak that Dean couldn’t put his finger on, something not normal, and when Dean became an unwitting accomplice to Jimmy’s crime he discovered the horrifying truth:

That wasn't Jimmy Novak. Link to Fic | Link to Art It Will Come Back | E | 13,164

Senior Special Agent Castiel Novak and Special Agent Dean Winchester are partners within the FBI's Criminal Investigation Division. For the past several months, they've been investigating a string of murders, all resulting in cold-cases from what they believe to be the same killer. Despite being one of the best minds in his division, Castiel can't find a link between cases, and it's driving him to his wits' end.

As the cases begin to pile up, Castiel's confidence plummets, the chances of catching the killer are growing smaller, and other members of the division are beginning to contribute to Castiel's decreasing faith in his detective skills. As time goes on, Dean is there to help Castiel, but a final case relating to a horror film might be the start of Castiel's unraveling. Link to Fic | Link to Art Someone to Punish Me | E | TBD

Dean's chasing another lead for his old man, this time ending up in Maine, searching for the town of Silent Hill. Residents of nearby Cushing tell him to stop looking, but he can't help it. He's got a job to do, after all. After a resident finally points him in the right direction, Dean finds his way up the mountain to Silent Hill. But there's so much more to the town than John let on. And so much more that Dean needs to learn about himself. Link to Fic (TBD) | Link to Art 1 | Link to Art 2 Night Shift | E | 67, 758

As far as job opportunities go, replacing the previous night guard of fifty years at the Nebraska Museum of Natural History wasn't Dean's first choice, but a job was a job. Especially considering he got fired from his last job and was in need of the money. However, said job proves to be more difficult than described.

Faced with strange events revolving around one of the exhibits he was tasked with guarding, an angel statue that was more than what it seemed to be, he must unravel the mysteries that arise as a result. Why did the angel statue come to life each night? Why did an unknown number keep messaging him the same sequence of numbers? It was a race against the clock and Dean's dwindling sanity to find answers to these mysteries. Link to Fic | Link to Art A Word in the Mists | M | 23,968

Mist as far as the eye can see. A gloomy ocean that seems to swallow up the sunlight like broken dreams. An old, rusty ship that creaks with every inch of movement. And a crew that could compete in an award for grumpiest people alive.

Dean really hates pretty much everything about this case, and would love nothing more than to call it quits and turn this ship around... if there wasn't the little issue of the disappearance of thousands of people across ten different ships on the open sea.

Saving lives is what he does. But he has to question if he isn't doing more harm than good when the disappearances begin on his own ship—and he still hasn't even figured out what kind of monster they're dealing with. Link to Fic | Link to Art Terror As Sharp As Pain | M | 10,815 After Jack brings Cas back from the Empty, everything almost returns to normal. Cas moves into The Bunker, they go back to hunting, and they do not talk about his confession. With the number of hunts dwindling, Team Free Will takes up a case in Derry, Maine, a town terrorized every 27 years by disappearances and violent deaths. Even though the cycle isn't due to repeat for another 19 years, they will have to face fear itself to free the town. Link to Fic | Link to Art no spill blood. | M | 7,217

A witch hunt becomes far more than that when Dean rescues an unassuming, innocent, harmless stranger. But Castiel is more than he seems, and as the lines of their unlikely connection blur, so does the truth. Revenge, plain and simple. Surviving to see it through, not so simple. Link to Fic | Link to Art You can find the complete collection over on Ao3! Happy Haunting, folks! See you next Halloween 👻🎃🤡

[apoloadonisandnarcissus]

Galadriel/Frodo and Sauron/One Ring in “Rings of Power”

Since the showrunners of “Rings of Power” have confirmed they are doing a parallel with Frodo/One Ring, and Galadriel/Sauron on the show, I would like to theorize on this.

This goes beyond the obvious Morgoth’s crown wound (Galadriel) vs. Morgul blade wound (Frodo), because this wasn’t the only thing they revealed; they, also, said Galadriel shares the same push and pull relationship with Sauron, as Frodo has with the One Ring.

The One Ring contains a part of Sauron’s soul, since he spent much of his power into forging it (weakening himself in the process, and becoming vulnerable without it). As such, we see a lot of Sauron’s qualities in the One Ring: seductive and irresistible power, a poisonous “wish granter” of sorts.

Adar: But sooner or later, he sees you. Not just who you are, but who you wish to be. His eye bores a hole and the rest of him slithers in. For a while, he even makes you believe that his power has become yours. Irresistible power... that makes every desire's fulfillment seem inevitable. An ocean of color against which everything else feels forever thereafter... Galadriel: A dull gray. Adar and Galadriel discuss Sauron, 2x06

Very much like Sauron himself, the One Ring discovers the deepest desire of its bearer, and weaponizes it for its own corruptive ends, enslaving the bearer to it. And its allure is so magnetic, it’s not necessary to actually hold it to feel it, being in its presence is enough to stir the obsessive wish to possess it.

The One Ring comes into Frodo’s possession in “Fellowship of the Ring”. When we meet Frodo, he’s the average Hobbit, and doesn’t worry about the outside world, nor on what goes on beyond the Shire. When he’s given the One Ring, Gandalf warns him about how easy it is for the Ring to corrupt him. Frodo promptly denies ownership of the Ring, and urges Gandalf to melt it, throw it away or take the Ring for himself. Only when confronted with the reality that none of these options are possible, does Frodo, reluctantly, accepts to keep the ring.

However, it takes a while for the Ring to influence Frodo, which shows his resilience. The first time we see this happening (in the book; it’s different in the Peter Jackson adaptation) is at the inn in Bree. During a raucous sing along, Frodo decides to end his song by jumping in the air and using the magic of the ring to turn invisible. And Frodo does this, of his own free will, and despite Gandalf’s warnings to never put it on.

At Rivendell, we see Frodo starting to become possessive over the One Ring; when his uncle Bilbo asks him to see it, and Frodo doesn’t want to show it to him, despite the fact his uncle has no intention of taking it. (Another change of Peter Jackson adaptation). By the end of the book, Frodo gains awareness of the influence of the One over himself, and he goes through a intense inner struggle; he describes it as “two powers striking in him” and he feels “perfectly balanced between two points”. And it’s only by great self-control that Frodo “gets himself together” and decides he must destroy the Ring.

As Frodo continues his journey to Mordor, his corruption by the One becomes more evident. In “The Two Towers” (the second book of the trilogy), Frodo and Sam take in Gollum, to show them the way to Mordor. And this is when the effects of Frodo’s corruption becomes more obvious to the reader.

Frodo makes Gollum swear an oath he will not betray them. Gollum swears it on the One. Sam (an uncorrupted Hobbit) says they should not trust Gollum (based on his character), while Frodo (a corrupted Hobbit) knows he can trust Gollum because he swore it on the Ring, and he knows its power is too great for Gollum to resist; Gollum is bound to any promise he makes on it, because Frodo is aware of the power the One over himself, already.

In “The Two Towers”, Frodo’s corruption becomes apparent, as we see him getting more possessive and obsessive over the Ring. And when he meets the Witch King of Angmar (the leader of the Nazgûl), again, he loses control of himself and nearly takes the One Ring, but is abruptly stopped by Sam, who compells him to fall down a wall.

This parallel can indicate it was an external force (Sam/Nenya) who stopped Galadriel (Frodo), and not Galadriel herself; very much like what happened in "The Two Towers".

However, Frodo’s corruption only becomes obvious to the reader in “The Return of the King”. When Frodo has the opportunity to, finally, dispose of the One, when he’s at the summit of Mount Doom (the only place it can be destroyed). And, at the end, Frodo can’t bring himself to part with the One. “But I do not choose to do what I came to do. I will not do this deed. The ring is mine.” Frodo has been fully corrupted by the One, and the Ring only gets destroyed because Gollum bites off his finger and falls into the volcano with the ring, destroying it, at last.

In the aftermath, and even through the One has been destroyed, it’s evident Frodo will forever be scarred by its power. He tries to lead a normal life, but finds he can’t. On the anniversary of the loss of the Ring, he suffers nausea; he cannot father children, and he withdraws from coexisting with the other Hobbits on the Shire, because he no longer feels the need to socialize. He soon realizes, the only place for him is Valinor.

Many in the Tolkien fandom underestimate how strong-willed Frodo truly is. Because we see powerful characters like Gandalf and Galadriel getting immediately tempted by the One, while Frodo promptly refuses it. He also, selflessly, accepts to take on a mission that can result in his death. When he realizes the influence of the One over himself, he does not give into the temptation of disposing of it or giving it to more power-hungry characters which would gladly take it from him (like Galadriel herself, or Boromir).

To understand this better I recomend Tolkien Letter 246: Frodo indeed 'failed' as a hero, as conceived by simple minds [...] I do not think that Frodo's was a moral failure. At the last moment the pressure of the Ring would reach its maximum – impossible, I should have said, for any one to resist, certainly after long possession, months of increasing torment, and when starved and exhausted. Frodo had done what he could and spent himself completely (as an instrument of Providence) and had produced a situation in which the object of his quest could be achieved. His humility (with which he began) and his sufferings were justly rewarded by the highest honour; and his exercise of patience and mercy towards Gollum gained him Mercy: his failure was redressed.

Frodo leaves the Shire, manages to accomplish his goal (via Gollum), but at great personal cost; and returns, a sad and defeated winner. Hence the “bittersweet ending” of “The Lord of the Rings”. Frodo accepted the mission to save the Shire, but once his goal is completed, he finds he can no longer enjoy the Shire, because the Hobbit who returned is no longer the same that left it. Frodo is the “tragic hero ending”, because evil can’t never be truly destroyed, and forever lingers inside of us; it can only be driven back, by our own choices.

Frodo/Galadriel and Gollum/Adar

A while back, I did a post on how “Rings of Power” is giving Sauron some Gollum inspiration, but this parallel is more clear on Adar's character, especially in Season 2.

We see the obsession in owning/destroying Sauron in both Galadriel and Adar, in Season 2, very similar to Frodo and Gollum with the One ring. Gollum is the worst case (obviously) of the owning vs. destroying dynamic; although Frodo will eventually get there. 

Both of these characters are consumed by the idea of finding and destroying Sauron, all by themselves, going to extensive lengths to accomplish that. While Adar is sacrificing his children (Orcs) in the pursuit of Sauron; Galadriel goes rogue on Elrond’s company when she gets the chance, and allows herself to get captured by Adar, in the hope of getting the opportunity of finding and destroying Sauron herself. 

Adar is the one who destroyed Sauron’s previous physical form (paralleling Gollum destroying the One ring); and Galadriel throws Elrond under the bus, by revealing he’s the one who carries Nenya (the ring Adar wants), just to get the chance of getting to Sauron, herself (paralleling the poisoning of Frodo and Sam’s friendship over the One ring). 

And much like Frodo and Gollum, we see Galadriel and Adar “bounding” over the effects the One Ring/Sauron has on them, in 2x06; with these characters revealing Sauron’s temptations to each other, and agreeing on his destruction, and on an alliance in order to accomplish that.

However, and like Frodo and Gollum, this alliance soon goes sour, with Gollum/Adar betraying Frodo/Galadriel to an agent of the Enemy (Shelob), by setting up a trap. Only in “Rings of Power” this agent of Sauron is… Elrond? But he’s also Sam, who comes to the rescue with the Phial of Galadriel/pin? Something is off with this parallel, or perhaps Elrond is Sauron's cat, too. Both these scenes have some sort of “kissing” involved: Shelob licks Frodo’s face (to paralyze him), and Elrond kisses Galadriel. 

Similar to Frodo and Gollum, Galadriel and Adar still agree, at the end, because they both share the same goal (destroying/owning the One ring/Sauron). And like Gollum, Adar pays the price with his own life; but he also somewhat “redeems” himself at the end (like Gollum), because he wanted to end all wars. And both characters die because of Sauron/One ring.

We also have a nod to the Sméagol/Gollum dynamic with Adar, althought it didn't exactly play out all the way through (which makes me wonder if this will come back with a different character): “Don't ask Sméagol. Poor, poor Sméagol, he went away long ago. They took his Precious, and he's lost now.”

In the Peter Jackson adaptation, it translated in this scene:

Frodo: Who are you? Gollum: Musn't ask us. Not his business, gollum, gollum. Frodo: Gandalf told me you were one of the river-folk. Gollum: Cold be heart and hand and bone, cold be travellers far from home. Frodo: He said your life was a sad story. Gollum: They do not see what lies ahead, when sun has failed and moon is dead. Frodo: You were not so different from a Hobbit once, were you... Sméagol? Gollum: What did you call me? Frodo: That was your name once, wasn't it? A long time ago. Gollum: My... my name. Sméagol... Lord of the Rings: The Two Towers (2002)

Frodo/Galadriel and Sam/Elrond

“Rings of Power” is also exploring Galadriel and Elrond’s relationship, with them being closer than best friends. Galadriel is almost like a stepmother to him, after all. And Elrond appears to be paralleling Sam in Galadriel/Frodo character arc in the show.

Indeed, we see Elrond’s character making several parallels to Sam; he’s the one with whom Galadriel shares a bit of her temptation of Sauron, like Frodo does with Sam about the One Ring.

Elrond is also the character who “saves” Galadriel on several occasions connected to Sauron (like Sam with Frodo, and the One ring), and we’ve seen this in both Season 1 and Season 2, already. 

Like Sam, Elrond is also deeply worried about the effects of Sauron/One Ring on Galadriel/Frodo, as we’ve seen on Season 2: The light of Valinor shone upon your very face, Galadriel, and you turned your back on it. Was it truly to fight the darkness or was the darkness calling to you?

Similar to Sam with the One Ring, we see Elrond being suspicious and distrusting of Nenya due to Sauron’s presence at Eregion “for weeks” in 1x08; and Elrond/Sam advices Galadriel/Frodo to take it off, or “giving it a rest” several times.

Like Sam, Elrond is also present when Galadriel/Frodo wakes up after being wounded by Morgoth's crown/Morgul blade, and they share a tender moment. Both take place in Rivendell (because it's almost certain the "sanctuary protected by the Elven rings" is Rivendell, and will be a major location in Season 3).

What can this mean for future seasons? 

If this parallel is to continue, this gives us several clues: 

Galadriel will succumb to Sauron (like Frodo to the One ring); 

Elrond will continue to be a key piece in all of this, and a “emotional rock” to Galadriel’s character, like Sam is to Frodo; 

Like Frodo, Galadriel will be forever scarred by Sauron/One Ring, and unable to lead a normal life, and will develop a deep longing to return to Valinor, knowing only there can she find true healing (this last bit we already knew from Tolkien lore).

[timegnosticproductions]

Ghosts: BBC vs CBS

It’s been almost a month since I finished BBC’s Ghosts, and I cannot stop thinking about it. It has quickly become one of my favourite TV shows. I watched the US-American version first because it had been plaguing my TikTok FYP. It was a fine show, but it didn’t have the grip the BBC version currently has on me.

This is an exploration of why I found UK Ghosts to be a much more compelling story than US Ghosts, even if they are “the same show”.

DISCLAIMER: There will be spoilers for both shows.

The Main Couple

Underappreciated in both shows, let’s begin with the two livings: Alison and Mike, and Sam and Jay.

Sam and Jay feel, to me, like they just spawned at the beginning of the show. They aren’t people, with lives before the fragments we see, which will continue after the show ends. Sam is the biggest offender of the two. Where are her friends from before she moved to Woodstone Manor? I would understand if she didn’t have any friends over, and we also have to consider that the US is massive compared to the UK, and her friends might live on the other side of the country. But not one call? No facetime? Not even one text message? And let me be clear: I don’t want this to be a show about her living friends, and I don’t need them to be characters in the show, but do Sam and Jay have to be completely cut off from the real world?

Alison and Mike, on the other hand, have a friend group, and when these friends play a role in an episode, the focus is still on the ghosts’ reactions. They don’t distract from the main characters, while still making Alison and Mike feel more grounded in reality.

Character moments vs. cheap jokes

I’m not the first person to point this out, and I certainly won’t be the last, but it’s still worth saying: why would you change a ghost’s powers from Mary reliving the moment of her death, being “burned at the stake” again, and subsequently making the living people that have passed through her smell the burning of the fire that killed her, to a fart joke. Isaac’s life/death is tragic, but his ghost power being “fart” get’s really exhausting really quickly.

Ghost lore

Expanding on ghost powers, let’s talk about the other ghosts. This point, I realise, is less black and white and more about personal preference rather than bad writing. I like that Ghosts (UK) doesn’t always directly answer the viewer’s questions about the afterlife. Some ghosts have powers, and some don’t and the ones that don’t aren’t searching for them. Mary gets “sucked off” but we don’t know what comes next.

In the US version, however, there is explicitly a hell and a heaven, and Elias comes back from hell to tell us what happens there.

That is one of the many charms of the UK version, the uncertainty. What comes next? I don’t want to know.

I also think it helps the emotional punch of Mary’s death (re-death, moving on? idk) land better. If one of the CBS ghosts were to die, the grieving wouldn’t be as devastating, because we know what comes next, and how could we be sad when a character has, certainly, gone to heaven? It could still be made into an interesting episode, maybe exploring the other ghosts’ (especially the older ones) jealousy, who also want to get “sucked off”. Still, I much prefer the uncertainty of Mary’s death (would also very much like to see a main character from the US version move on, just because I would like to see how they handle it when it isn’t a fake out like with Flower).

Found family vs. pair the spares

CBS’s Ghosts has an obsession with romance, to the point where it is quite frankly absurd.

You know when in a fandom there is a four-person friend group (or other even number) and two of those characters are in a really popular ship, so the fandom decides to ship the other two characters together as if they couldn’t be happily single, or aromantic, or whatever? (Author’s note: yes, aromantic people can still date, doesn’t take away from my point.) Yeah, I feel like that watching CBS’s Ghosts. Some characters are single, but I still think there is too much of a focus on romance/sex, with Flower and Thor, Isaac and Nigel, Hetty and Trevor, Pete and Alberta/Donna since he discovered his ghost power, and I’m sure when the series is over I will have more examples. Maybe, if these couples had more chemistry and were properly set up, I wouldn’t be so hard on them, but my point still stands.

Both shows try to pull off the found family angle, but only one of them succeeds. You can’t call it a found family if your only “family dynamic” is “romantic relationship”, that’s just a regular friend group. The Captain and Kitty’s father-daughter relationship is one of my favourite things about the original, and I also love Julian being a sort of mentor to Alison in all things scheming. It can even be played for laughs, with Robin being the “family dog”. None of this charm is carried over to the US-American version, and I really, really wish it was, because it has made me fall in love with the BBC’s version.

Pacing

You know, for a show with 20-ish episodes per season instead of six, you’d think they could take more than an episode to develop a storyline properly. Let’s take a closer look at two storylines that appear in both shows.

Firstly, the one with Alison’s/Sam’s long-lost sister. In the BBC’s version, this is a season-long arch, and it is not solely centred around uncovering whether she is lying, but also discussing Kitty’s jealousy and possessiveness over Alison; and Alison’s deep desire for a family, and how the ghosts have become that for her. And, generally, it makes you believe that Alison would believe the lie, and wouldn’t see the holes in the story, because she just really wanted a sister. Sam’s story plays almost the same but is reduced to a single episode. I know it is the classic sitcom formula, things must return to the status quo by the end of the episode. Still, I wish it wasn’t so rushed.

Secondly, the Captain(s) coming out. In both shows, the queerness of these characters is very obvious, but in the UK version, coming to terms with his queerness and learning to express his feelings is the core of his character. However, the US version takes this in another direction, placing more importance on the budding relationship between Isaac and Nigel (see: my point about this version’s obsession with romance). The UK version is hardly subtle, but compared to the US version… I wouldn’t be so angry if they hadn’t decided to undo their development by having Isaac leave Nigel at the altar.

Bad people vs. bad characters

This discussion should extend beyond Ghosts and into literature/art in general. To quote Oscar Wilde, “It is absurd to divide people into good and bad. People are either charming or tedious.” A character being a bad person doesn’t mean they are a bad character, those two qualities can coexist, but don’t always come together. CBS’s Ghosts seems wary of making any of the characters bad people. BBC’s Ghosts doesn’t have this problem. Julian (the equivalent to Trevor in the CBS version) is a bad person, especially at the beginning of the show. And he is probably my favourite character. He died of a heart attack while cheating on his wife, he didn’t bother to take care of his daughter and he attempted to kill Alison, which ultimately resulted in her being able to see ghosts. He is not nice, and the show doesn’t want you to think that. And you watch him grow throughout the series and it is great.

None of the characters in the US version are bad. This is mostly just a pet peeve of mine, but I do think it makes things much more static. Everyone in this version is just too nice. And too excited about everything. Why is Sam so onboard with the ghosts? Why is she never annoyed with them? And why do they never talk over each other? Do they never get tired of each other? I mean, some of them have been “living” together for centuries!

This topic in particular is something I want to write about more extensively, looking at other shows and fandom perception and that kind of stuff, so I’m going to cut myself here.

Conclusion

I don’t think that CBS’s Ghosts is, like, the worst show ever, it just doesn’t live up to its predecessor. That was just, from my point of view, a really high bar. There is one thing I think it does better than its BBC counterpart, and that is Jay’s relationship with the Ghosts (as opposed to Mike’s), which is to say, he actually has one.

So, yes, CBC’s Ghosts has lots of issues that may come from adapting the story for an American audience, or may just be lousy writing. Either way, I still enjoy it, although the episodes are definitely harder to get through.

[samisadeangirl]

you’re such a weird ass cunt talking about incest on random posts. i hope your family knows your deranged

hee!

Okay -- sorry honey, but I was brought up not to feed the trolls -- and normally I'd delete, but considering the day I figured this was a good opportunity to say:

Letting people like this have internet access is really where we went wrong as a species.

Happy Wincest Wednesday!