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raayllum · 15 days ago

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King of What? :: a S7 Ezran Meta

Introduction

Because S7 in particular gave me even more Ezran feelings than usual, and I thought "What's more fun than methodically breaking them down and sorting them into categories?" so here we are. We'll be looking at a lot (but not all) of Ezran's s7 arc as well as some holdovers from previous seasons. There are also some motifs to keep in mind, such as the:

Phoenix motif

Need motif (+ him and Callum later)

Reflection Motif

that we will dive into more later once they're more relevant / we can put the pieces in place. For now, a little background meta key up because S7 breaks Ezran down and then systematically builds him back up while also, in some ways, doing a complete overhaul.

So let's talk about it?

Pillars of Identity: Who is Ezran?

TDP is a series obsessed with a lot of things, but if I'd have to wager what the second core idea of the series is beyond the Cycle of Violence, I'd probably put in on a theme of Identity, specifically questions such as, "how do I, as a person, exist within the Cycle (breaking it, perpetuating it, both)?" and "who has, or is, my grief turning me into?" as they are deeply interrelated. To answer those questions, that requires establishing who a character is in 'normal life,' or outside of grief and the cycle (ie. trauma) and who they are within it.

With that in mind, I think Ezran has about five approximate pillars for his identity, in roughly this order:

Harrow's son

The king

Callum's brother

Zym's friend

Rayla's friend

I don't think that other characters pillars would be that different (Rayla's primary would also likely be her three duty bound parents) as it does make sense; most children's primary influence in life, especially as they grow, start with their parents as role models even if they may eventually separate and take an opposite road (love you Soren). Where Ezran differs, I think, is that while I don't know if Rayla would consciously conceptualize herself as her parents' daughter as her primary pillar, I do think that Ezran — especially Ezran in arc 2 — is always orienting himself around "I am Harrow's son" (for better or for worse in terms of what that means).

This is also why I put Ezran's identity as king as his second pillar. In his childhood / pre-s3, I think his second pillar would've been his identity as Callum's (little) brother. However, we see him place returning to his kingdom above helping Callum (brother) and Rayla (friend) returning Zym (another friend) to Xadia. The loss of his father strips away the relative safety of body and mind that being a prince comparatively gave him, fundamentally altering his internalized and externalized sense(s) of responsibility and his choices accordingly. It's the loss of his father and the subsequent grief, yes, which Callum also experiences, but uniquely the mantle of the throne as well, which is what he highlights in 7x02:

This all started the day that assassin came to Katolis and killed him. Our king. Our father. I never asked for this. I wasn't ready to be a king. I'm just a kid. That day changed me forever.

So let's talk about being the king. Let's talk about

The Crown

Ezran's crown is one of the few objects in the series to have an episode titled after it (3x02) and the only one I can remember that continues to be a symbol we consistently come back to throughout (i.e. unlike 1x07's "The Dagger and the Wolf"). Despite returning to Katolis to be king and sitting on the throne itself throughout the episode, Ezran struggles with the crown. It is, to him, in some manner different than the throne, despite ostensibly representing the same thing. He has, effectively, already made the choice to be king, yet persists in his doubt and hesitation as he struggles to learn the balance.

Opeli, however, contributes to that distinction, noting specifically that "the crown is a heavy burden to bear" and that "no one blames you for being a child". Ezran's choice to fully commit to, and his acquiring of the kingship fully, is made synonymous with him putting on his father's crown for the first time. In a lot of ways, Ezran returning home to Katolis was him realizing he can't run away from growing up (2x09) in his own words, and therefore that putting on the crown is him committing to becoming someone new: this is Grown Up Ezran, or Growing Up Ezran, actively. He is, from this day on by choice, no longer just a child, but also — more so — a king.

AARAVOS: The whining child king, in over his head, and he knows it. (4x04) DOMINA: Who is this child? ZUBEIA: He is a king! (5x01) KARIM: I've never negotiated with a child before. CORVUS: He is a king. (6x07)

This also folds into how Ezran conceptualizes his father. Again, as children often do, he looks to his father for guidance with the things that Ezran is struggling to handle per his sense of responsiblity (teaching Zym how to fly in season 2): "I just wish Dad was here. He'd know what to do, you know?"

When Ezran returns home in season three, he does so with the direct consequence of his father's actions on his shoulders and wrapped around his brow, and with his letter in hand, and these changes likewise reflect a more nuanced understanding of his father:

All of you knew King Harrow as a great king. He was a warrior, a leader, and a champion. But I knew him as my Dad, who loved me and my brother and our mom, and sometimes told really bad jokes. [...] I didn't see everything he had to do as king, but I do know my father had to make some very hard decisions... I haven't been through the things that made my father the king he was. So I've decided that I don't have to be the king my father was. My father made choices to keep fighting battles that started hundreds of years before he was born. To punish children for crimes their parents committed. I don't want to be that kind of king.

This is, of course, a speech made in the context of actively rejecting war and of pardoning those who would otherwise be punished, both things that Harrow did engage in directly and deeply regretted in the letter Ezran currently holds. Ezran then walks the balance of simultaneously rejecting who his father was, and honouring who his father was and who he wanted to be. This is perhaps best exemplified in season 3 of Ezran, two episodes after rejecting his father's 'way', having a mirrored path across the courtyard set to "Last Sunset" in one of their most overt parallels, prepared to give up his life and freedom in hopes others will make better choices with the (hopefully) renewed agency they now have.

By the time we get to season 4, Ezran has changed greatly. He's more confident as king, the team's resident diplomat and negotiator, and a lot more active in general, though not without plenty of room to grow. 4x03 offers a cold dose of reality that the road to the future he wants is going to be harder to walk, but still confident that we can get there because, "We all want peace, and we all want love."

He also has a more complicated yet positive view of his father as king and of the world at large. He best expresses this, perhaps, the first time he removes his crown (which is a permanent part of his identity, and of his character design):

I am King Ezran of Katolis. As my gift [of sacrifice], I offer you my crown. It has no jewels and it isn't made of precious metal. It's made from the steel of my father's sword. My father was a strong king, and I wanted to carry that strength with me. But he also taught me that strength isn't always about weapons and war. This crown reminds me of that lesson.

Rather than just seeing Harrow as something to not be, Ezran has come around to wanting to carry his father closely with him. He's learned that "peace demands just as much strength as war" and also decided to embody Harrow's closing thoughts as a king: "I now believe that true strength is found in vulnerability, in forgiveness, in love." A dual strength for a dual king, symbolized by Ezran taking his father's sword and reshaping it into something new.

Ezran is a King of Love as Strength. He is king because he's literally Harrow's son and heir, but also emotionally — narratively — Harrow's son in terms of breaking the cycle and choosing love (similarly how Janai in S7 becomes known as a queen of mercy just like her previous royal role model, Aditi). Harrow's son by fact, and Harrow's son by choice in some ways:

EZRAN: History doesn't have to be a narrative of strength. Not if we don't want it to be. It can be a narrative of love. KARIM: These are childish dreams. EZRAN: Not dreams, choices. I am a king. And as a king, I choose love over strength.

So Ezran being king, to him, is synonymous with choosing love as strength. With making choices. With being Harrow's son (positive). He forgives Zubeia and Avizandum because of Zym. He forgives Rayla because "I'm sure she doesn't mean to make [Callum] feel that way". He provides an anchor, a pillar, for other people to build their identity around ("Don't you remember who you are?") as a reminder and a lever (hi Soren). He can honour and strive to be better than his father simultaneously. He can hold pain and love in his heart at the same time.

Until he can't.

King of what? King of ashes? [Of nothing?]

In seasons 4 and 5, we see Ezran remove his crown. Both are about sacrifices: he is prepared to offer his crown to Rex Igneous and to Finnegrin in order to help with their mission, asserting its sentimental value and importance to him: "You must bring Rex Igneous a worthy gift." / "It's not worthless. It's really important to me."

In season 7, he removes it just once. This is in admission to Callum that he "never asked for this". He was given the option of being king or not being king, but neither would've necessarily made him happy, and he made the best choice with the options he had... Options that he never asked for in the first place. The crown being a reminder to choose strength over love? He never asked to have to learn that lesson, either. It was a burden placed on him in making the best out of a bad situation, which is — unfortunately — an unavoidable part of life. But it can still be, or feel, unfair to him.

I think we see this aspect of Ezran struggling with what he wanted vs what was forced upon him in how he (and others) in 7x02 treat his high ranking position. We've seen first hand in 5x01 that Callum would overrule something like Rayla — and Runaan by extension — being arrested, but Ezran has the final say here as king. However, he does not directly highlight his own ranking. Merely, he reminds his brother of Callum's position:

Callum. High Mage. We need you at this council meeting.

And Rayla ("you're not my king, but you are my friend") reminds Ezran of his, because it is Ezran's status as king — the power, the trauma — that is driving them apart:

So, King Ezran. How determined are you to stop me?

Being king gives Ezran control over the people around him — Opeli, Soren, Corvus, Aanya, Callum — and over what happens. It gives him control. A sense of safety. And while these are understandable desires, they swing the wrong way in his anger.

So let's talk about who they swing towards!

Targets (Sol Regem, Runaan, Callum)

Ezran's anger has three direct targets in season 7, and as such, it's easy to see the way each stacks on top of the other.

The initial one is Sol Regem ("We need to find Sol Regem and destroy him"). This leads to finding an already dead dragon, which means in addition to having no one to blame, it means Ezran has no way to know or understand why Sol Regem attacked Katolis (beyond a hatred of humans). The destruction of the castle feels like losing his family all over again, in some ways, in addition to his childhood home.

Then lo and behold, the man responsible for killing his father walks right into it.

You! This is all your fault! Everything changed the day you came. You killed my father!

I think this line shows a few things. As king, Ezran was supposed to protect and be there for Katolis (2x09) while also working to break the cycle. That's what, by Ezran's measure, a good king would do. He's utterly failed at the former, and if he's a bad king, then he shouldn't be king. So whose fault is it that Ezran, a bad king, is on the throne? Logistically and emotionally, it's Runaan. It's not quite rational but it is reasonable for Ezran to look at every event in his life from the past two years spiralling out from his father's death, and culminating in Katolis' destruction.

However, despite Runaan becoming the next target of Ezran's anger, he's not actually the most consistent target of it throughout the season: Callum is.

After 7x02, Ezran doesn't breathe a single word of ire about Runaan for the rest of the series, even if he's still clearly angry months later in the 7x09 'epilogue'. Instead in 7x03, he's fixated on finding and dragging his brother back as punishment ("we can't let him get away with it!") for betrayal, which Ezran also takes personally and extends beyond himself: "Callum betrayed me. He betrayed all of Katolis."

The idea that a king represents his kingdom is an old one in terms of history, and considering that Runaan killed the king of Katolis, and Callum helped him escape, it's not that much of a reach. However, Ezran isn't even thinking that logically. If Ez was proposing hunting down the kingslayer and bringing him back to face justice, that'd be one thing. However, he only talks about holding Callum accountable, not even Rayla (who also betrayed him) or Runaan (the escaped prisoner).

His targets, quite literally, switched from Aanya having her arrow notched at Runaan and then to his brother, and Ezran's anger has subsequently followed.

Now, some of this is undoubtedly because of the three, Ezran is the closest to Callum. They had a childhood together and Callum was customarily always in his corner, if sometimes a bit scatterbrained/unreliable or angry. He, accordingly, expected Callum to be on his side, and barring that (stopping him from going after Rayla in the meeting) was prepared to enforce it. A lot of our emotional upset tends to come from "I expected you to understand/support me, and you don't" after all.

However, I think Ezran's emotional interplay is a bit more complicated. I think in 7x01, Ezran attaches to Callum as an extension of himself even as he self-isolates, such as sending Callum to go with Corvus "because we have to do something" in investigating Sol Regem, and for no real in-universe reason besides "Corvus offered to go, but I need to feel in control so I'm going to tell/order someone to go with him".

The other, bigger part of this is that Callum is the biggest hole in Ezran's reasoning.

EZRAN: He killed our father. Isn't that enough?

We know that part of Ezran's grief is that it forced him to be king and grow up quickly, something that Callum is adjacent to but can't relate to in the same way by virtue of not having the crown. But since the reasoning Ezran highlights is that 1) Runaan is a murderer (unlike the bulk of the people at his council table—oh wait) and 2) it's okay/right to punish him for killing their father... having his brother, who is also King Harrow's son (cue the identity pillar) disagree is a pretty big blow to it. They both loved their dad; he was their father, and they were both his sons. Callum is in the closest position imaginable to Ezran as anyone could be, emotionally, yet they have two completely different perspectives. It gives Ezran's reasoning much less ground to stand on, and he can't handle it. The fact that Callum's perspective (which was already a betrayal in its own way) then becomes action (which is what Ezran labels the betrayal), I think, is just the cherry on top.

Another thing that's worth noting, I think, is that neither Ezran or Callum are necessarily the ones who escalate things in 7x02; Aanya and Rayla are. Soren, Corvus, and the other guards are working under Ezran as his crownguard, but Aanya and Rayla are the rogue parties. Aanya isn't operating under Ezran's jurisdiction, but as his friend and ally. What this does mean, though, is that literally everyone at the Banther Lodge is on Ezran's side against Rayla and her weakened, injured father... except Callum, but as a mage, he's enough to tip the scales to take down the crownguard... and then use himself as a human shield.

One of the things about Ezran's anger and its targets in season 7 is that it does a very good job at illustrating exactly why the Cycle is so destructive to participate in, because yes, you may aim your anger at the people who 'deserve' it and are directly responsible—the acceptable, understandable Targets if you will—but you catch others in the crossfire. There is always collateral damage of people who didn't do a thing to you, whether that's the people who love them, or the people who are like them. (Insert Zubeia wanting to take revenge for the loss of her mate and child, claiming the lives of the assassins sent to take it, and then Lyrennus' pain at the loss of his child + Ethari's at the loss of his partner.) There is no clean way to kill your enemy in a manner that does no harm to anyone else (who is innocent).

Ezran's targets by proxy of wanting to deal with Sol Regem's destruction of Katolis are the dragons and Zym (more on them in a second, though, cause that deserves its own section). His targets by proxy of wanting to punish Runaan is causing deep pain to Rayla, even before she's taken any action against him, and then on a more literal sense his own brother. His targets by proxy of wanting to drag Callum back by force likely would've been Runaan, Rayla, potentially Ethari, or even Corvus or other crownguard in the fight.

Callum shielding Runaan (and Rayla by extension) force Ezran to confront this fact, at least a little. Does he value punishing Runaan (and Rayla, a girl who's saved him countless times, who was willing to lose a hand for him, who has otherwise always taken his side)—perpetuating the cycle—over his brother's life. And Ezran is angry enough that he good and truly considers it (although we could say perhaps he was waiting to see if Callum would move out of the way). But where Ezran was willing to hurt Rayla emotionally if it meant physically punishing Runaan, he is not willing to risk killing Callum to keep the assassin as a prisoner.

This is also, I think, the turning point for Aanya. She is Ezran's friend and was willing to follow his lead, and upon seeing the choice that Ezran made—sparing Callum over killing him and Runaan—she shifts gears. She and everyone else (who are deeply uncomfortable with Ezran's increasing rage, but unwilling to speak out against it) recognize that pursuing and punishing Callum will not actually making Ezran feel better. So she tries a different tactic.

EZRAN: We can't let him get away with it. Corvus, I need you to track them. CORVUS: [Gently corrects him] King Ezran, we already know where they're going. The Silvergrove. EZRAN: Right. And that's why I need you to track them. (7x03)

I also think Ezran taking 'being king' as such a core identity piece—Callum was Harrow's son too, but not in the way Ezran wanted/needed—lets Aanya reach him. She's also a child monarch, and reminding Ezran of this and that he and Callum can heal ("But I'll always be your brother" / "You're brothers") is something that Ezran deeply needed to hear from someone else, too.

AANYA: I know it hurts right now, Ezran. But you need to know that you and Callum are not broken. The both of you will heal one day. You're brothers. It's okay to be angry, and it's okay to be sad. But I think you should let this go, for now. You're the king of Katolis, and your people need you. EZRAN: You're right. I need to protect them.

EZRAN: But Katolis needs me. (4x03)

However, that doesn't mean Aanya's advice, nor how Ezran pursues that protection is faultless, so next, let's talk about

Dragons as Friends and Foes

Ezran has always been the dragon boy.

Back in 2021, I wrote a more long winded post that basically boiled down to—in a show where elf, human, and dragon relations are key—it was likely that Callum was always designed to be the human who engaged the most with the culturally elven side of things (primal magic, Rayla being his lancer), and Ezran (with his ability to talk to animals) was designed to handle the dragon-human side of things. Think how we see Callum's first meeting with Rayla, an elf, while Ezran is the one who discovers Zym as a dragon egg.

Although other characters (namely Rayllum in S3, and Soren in seasons 4-6) bond with dragons as well, this remained true throughout arc 2, wherein Ezran is the closest to Zym and Zubeia, the primary negotiator with the various archdragons, going on his 'big dragon missions' (5x01-5x03), etc.

Season seven, therefore, presents an interesting departure in Ezran's view of dragons. Previously, while they should've been enemies, he always saw them as friends and allies: being the first to run to and aid Pyrrah in 2x07, trying to commune with Zubeia to wake her up in 3x08, defending Avizandum in 4x08 on behalf of Zym, etc.

Sol Regem's attack changes all of that. As Ezran states:

But doesn't a home need to be safe? [...] Our ancestors spent generations building Katolis. I don't want to waste our time if it's all going to get knocked down. [...] We have to be ready. We have to be strong enough so that they won't even think about attacking us. Before we rebuild, we have to build our defenses.

In season 4 and 5, all Ezran wanted to do was work with the dragons. To work together with Zubeia to stop Aaravos; to call upon the dragons to help stop Claudia and Viren. Now, the dragons are a 'them'. Now there's an 'us'.

This isn't necessarily a 'wrong' way to think about it, though. An archdragon did attack and devastate Katolis, seemingly — to Ezran — for no apparent reason. To want to prevent that from happening is reasonable. Yes, Ezran is friends with dragons, but most friends aren't also born with the inherent capacity to utterly destroy your life as a built in feature.

At the same time, this new 'us vs them' mindset is challenged a few times in season 7. Although Ezran's assurances to Zym that "we're only building such powerful weapons so that we never have to use them" will not work out without consequences in arc 3, I'm sure, thus far we only see Ezran use them on another enemy he's willing to be increasingly violent with: Aaravos.

In 7x07, the Startouch elf offers up a double serving of manipulation — the bigger one being to join him and that he's humanity's ally, which Ezran steadfastly rejects, and the smaller one beneath regarding the Nova Blade (+ Callum), which Ezran 100% plays into. Both of these push Ezran further as a character.

The first avenue that Ezran rejects leads him to claim that:

I have allies already. The elves and dragons, fellow victims of your evil.

Even if the only elf he's currently working with is a recent addition is Terry, forcing Rayla and Runaan to go on the run in 7x02, and his draconic ally in Zym is deeply worried about Ezran and Aanya's project. But it shows that despite his coldness towards previous allies, Ezran still holds unity close and refuses to relinquish it entirely as an ideal.

Secondly, we have Ezran's choice to use the Nova Blade. This is both a departure and in line with his thoughts in 5x06:

CALLUM: We borrow this Nova Blade, wait for Aaravos to get out, and then just stab-stab, buh-bye bad guy. EZRAN: Wait, slow down. Shouldn't that be the last resort? If we can stop Aaravos from getting out at all, we can solve this without any violence.

On the one hand, Ezran in 7x08/09 is just following through with what he said here. If Aaravos was still trapped, they didn't need to resort to violence. Now that he's out, violence is accordingly on the table, just as Ezran said it would be. However, I think it still feels like a departure in some ways because of Ezran's repeated emphasis on strength and love over violence, and his choice (4x08, 5x06) to melt his father's sword down into a crown... only to now acquire a sword that isn't made for defense whatsoever, but for the express purpose of killing.

That said, more on the Nova Blade in a second.

For now, I want to return to the archdragons, and just do a little season track:

7x01: Ezran finds out an archdragon / former king of the dragons destroyed Katolis. Furious, he wants to destroy Sol Regem in turn, but cannot as the great dragon is already dead.

7x02: Ezran takes out his anger on Runaan, Zubeia's servant assassin.

7x03-7x05: Ezran goes with Aanya to learn how to build weapons that can stand a chance against dragons / archdragons, in spite of Zym's misgivings.

7x07: Despite Callum giving Ezran the mission to go retrieve Zubeia, Ez delegates it to his crownguard + Terry, choosing to remain in Katolis and converse with Aaravos instead to "keep [Aaravos] busy".

7x09: Ezran (and co.) are spared from sacrificing their lives and "everything we are" because of the archdragons, who all sacrifice themselves to stop Aaravos. Ezran holds Zym while his parents / Zubeia die, and then instructs a memorial to be created in the Valley of the Graves.

So, after a season of being angry at an archdragon, at seeing dragons as potential enemies... Ezran and everyone / everything he loves is saved by those very same creatures. Instead of destroyers who force him to sacrifice, they are saviours who choose to sacrifice on his behalf. This doesn't remove responsiblity from Ezran's shoulders per se—in many ways, a world without archdragons adds to it, as he states, "It's up to us now, Zym" (in a nice callback to 1x03)—but I do think it greatly contributes to his perspective in his closing scene this season.

One of the ways it does so is bringing back the gift motif from 4x08, not only in "worthy gifts of sacrifice" but in Ezran's realization that:

We offered gifts that meant a lot to us. But the truth is, they don't mean anything to you.

being directly contrasted in 7x09, with:

AARAVOS: And what will your sacrifices buy? A mere moment of peace before I return to a world without you? Without archdragons. Your deaths mean nothing.

EZRAN: They have given us a great gift. A chance to keep on living. Keep trying to be better.

The first time Ezran spoke of the dragons in 4x01, it was with excitement for Zubeia and Zym's visit to Katolis. He believed "it would change how people see dragons". He offered gifts of friendship and peace in the Valley of the Graves, only for the portrait to be defaced. By the end of season 7, Ezran's desire for people to see the dragons differently has come true, and his honouring of Zubeia is allowed to stand in a way that's far more permanent than a painting.

OPELI: It's the gift ceremony. I'm concerned that holding in the Valley of the Graves is insensitive. EZRAN: Wait, what? It's a sacred beautiful place. It's a place of peace. OPELI: Some people have come to me in confidence. They worry that honouring a dragon in a place that is a memorial to so many great humans, some of whom died at their hands, is offensive. (4x03)

EZRAN: Aaravos pushed us to to the brink. We were ready to sacrifice it all. Everything. You and me, Callum, Rayla... We almost gave up everything we are. But because of them, the archdragons, we didn't have to.

Now, I don't think this change at the end of the season will be enough necessarily for Ezran to halt Project Ruby Fire. I don't think it undoes the hard choices he's made or the things he's learned about himself. But I do think it asserts what he's aspiring towards, and helps direct himself to who he wants to be and how he's going to proceed going forward (Evrkynd, Runaan).

Speaking of which, let's finally talk about Runaan. Again.

A Phoenix

I've alluded to this this a bit before, but I think one of the main reasons Ezran chose to forgive Runaan was because of the archdragons' sacrifice. The dragons gave him a chance to keep living, to keep trying to be better—and Ezran then turns and gives that "great gift" in turn to Runaan. I don't know if I think that Ezran would've otherwise had Runaan executed, but forgiveness even more than just being spared is a much more active choice in a lot of ways, and not something that Ezran had to conflate, but chose to.

The other reason I think Ezran chose to forgive Runaan is because, as of the end of S7, he's been Runaan.

As an assassin, I had convinced myself that I was a kind of peacemaker. A twisted peacemaker, I suppose. I believed that my act of precision violence was preferable... necessary, even, to prevent far greater bloodshed.

[...] I was trained to accept that I was already dead, so that I might carry out my dark work without fear. But I am not dead. I am alive. I have a family I love. I have so much to lose, the very things I took from you.

"They have given us a great gift. A chance to keep on living."

Ezran now understands how someone can believe that to keep back chaos and death, you have to kill another person. To believe in your bones that someone has to die, even if that means your own destruction. That doesn't mean Runaan was right about Harrow, or that Ezran is necessarily wrong about Aaravos, but the journey to get there, the mindset, of how undeterred you are when you reach that place... Ezran's been there. He knows, now, in ways he didn't before.

He forgave Zubeia because everything was complicated: because he could relate to longing for his mother (Zym), to watching his father grieve his wife the same way Zubeia was grieving Avizandum, to wanting to protect his kingdom (Avizandum). To grieving family. Of a child who had lost things.

He forgives Runaan because he can understand being an assassin, and already dead, and realizing you almost lost / have forsaken your family along the way. Of violence testing you, and failing, and having to try again. To reforge yourself into something new—because the true heart you had before is gone, but that doesn't mean your heart is.

Ezran stands in front of the fireplace twice in season 7. The first is with Zym in 7x02 and where he has his initial disagreement with Callum. The second time is with Runaan in 7x09, a fire in his eyes. This evokes not only Ezran's fury and association with the dragons, but also the framing of Aaravos from earlier in the season.

Ezran once asked if he was now the king of ashes. 7x09 demands him to answer if he wants to keep being a King of Ashes. If he wants to continue feeding his anger and hate, if he wants to continue fuelling the fire of hatred and grief within him. And Ezran says no. He says yes to forgiveness, though this time, he does not know the way:

EZRAN: But it's not that simple or easy. [...] Somehow, we have to hold it all in our hearts at the same time. (4x03) CALLUM: But somehow, you got past that. You forgave her, because everything was complicated. (7x02) EZRAN: I'm going to forgive you. I don't know how, but I have to try. (7x09)

He is presented with a phoenix (Runaan, back from the grave) and chooses to become one himself, and welcome back in all the other pillars of identity that had been crumbling over the past season.

EZRAN: I think about the people I love who are counting on me to do the right thing. Not the strong thing, not the harsh thing. The right thing. Do you love your sister, Prince Karim? (6x07)

It's sort of fitting, then, that in choosing once again to be Harrow's son (positive), he's presented with a more literal bird phoenix in "Harrow's soul in is in Pip" then, too.

And the same rebirth goes for the world around him, too.

ASTRID: Everything burns when a star dies. (7x09)

OPELI: King Ezran... perhaps it is finally time to rebuild. EZRAN: No. It's time to build something new. [...] Our world faced its end. But we survived. And on the other side, we find ourselves at a new beginning. [...] There is no such thing as utopia. But with hard work and discipline, persistence and patience, we can build a better place.

The Crown, Again (reforge into something new)

So I've talked about the reflection motif, and I've talked now about the phoenix motif. There's still more I could touch on in regards to Ezran's whole thing with Aaravos and the Orphan Queen, the layers of Aaravos' manipulation, the theme of following in your predecessors' footsteps and the good and harm that can come of it, but that's probably a meta for another day. For now, I want to return to the Need motif we touched on earlier.

TDP is very interested in questioning what characters deem necessary. Thus far, this was mostly done through Aaravos ("Aaravos did what was necessary" / "we will do what must be done"), Claudia ("I did what I had to do" / "Maybe he's just doing what needs to be done" / Whatever it takes, however dangerous, however vile"), and Viren ("I tried to explain that I had only done what was necessary"). S7 starts to shift gears and push further at the main trio, questioning and picking apart some of their mindsets (which again, could be a meta on its own) in regards to what sort of violence they believe is necessary and why, only for none of it to actually have been so because of the Archdragons. A nice little meta-narrative reflection.

What I want to actually focus on here is Ezran's idea of need. This is usually couched within his place of being king, and loyalty to his kingdom, as we've seen previously ("But Katolis needs me" / "You are the king of Katolis, and your people need you").

EZRAN: I wish [Zym] could come with me too, but you need to go be with your mom. That's your home. Both of us need to go home. (2x09)

So Ezran believes that needs to be king because Katolis needs him. Great. What does Ezran need?

Season 7 gives various answers, according to himself:

"Callum. High Mage. We need you at this council meeting" (7x02)

"We can't let [Callum] get away with it. Corvus, I need you to track them" (7x03)

"I need to protect [my people]" (7x03)

"Destiny works in mysterious ways. The Novablade came to my ancestor, only to be lost for generations until we needed it" (7x09).

The other people in his life have other ideas, as discussed.

ZUBEIA: But Zym, you must go. Your brother Ezran needs you. (6x02)

AANYA: But you need to know that you and Callum are not broken. The both of you will heal one day. You're brothers.

CALLUM: Mom said it was okay to be angry, but I couldn't let the bad feelings stick. Because we were going to need each other. Because we're brothers. I still need you, Ezran.

Broken things can be mended. Crowns and swords can be reforged. People can be, too. As much as Ezran loves his council and his crownguard, he needs people who don't just see him as king. Callum is not his High Mage, but will always be his brother, and that's what's most important. He needs Callum and Rayla and Zym; he needs Aanya who can help keep him grounded. He needs his family because they help keep him who he is as much as he has for them in the past ("Don't you remember who you are?" in 4x07) now that it is up to them to maintain it, and the archdragons are gone.

And to be himself, Ezran needs to be:

Harrow's son with accordance to a Narrative of Love

The King of Katolis

Callum, Zym, and Rayla's brother

rising from the ashes and bringing others up with him, over and over again the way he always has. The way he always will.

Because not all cycles are bad, either.

Conclusion

As stated, there's more to Ezran's arc in S7: ideas of history and half-truths, of chains and Startouch elves, of home and memorials. Of what we carry against our will, what we choose to set down, and vice versa. What this meta was, then, was the first at likely two passes, focusing on Ezran's emotional state(s) throughout the season and his emotional processing. More structural and thematic based analyses of his character in S7 / across the show thus far will definitely folllow.

For now, though, thank you for reading and I hope you enjoyed a bit of a deeper dive!

All hail the king.

#ezran #tdp ezran #tdp meta #tdp #the dragon prince #tdp spoilers #s7 spoilers #arc 2 #s7 #7x02 #7x03 #7x09 #analysis series #analysis #reflection motif #need motif #phoenix motif #i spent 2.5 weeks on this im so glad it's finally done

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veveisveryuncool · 1 year ago

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day 1: sworn partners/free

heya!! here's my entry for metadede week :] i thrive on their found familyness <3

this comic is based on babyboy764's chapter of their fic, link here!

#i soent 11 hours on this augh #i finally have an excuse to most mtdd content #though this is likely going to be the only one bc im pretty busy this week #this was really fun to composit tho!! love them #kirby series #meta knight #king dedede #kirbs and bandee make a glorified cameo so im not gonna tag em #mtddweek2023 #veves ultra cool art #metadede

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ghostbny · 1 year ago

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I luv when people make metaknight related to nightmare, like his son, like yeh make the boy suffer!!

#I did this thinking that no matter how much meta tries to forget his past #it will always follow him #finally accepting it and giving in #boy i love angst #kirby #fanart #kirby series #ibispaintdrawing #kirby return to dreamland #meta knight #nightmare

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descendant-of-truth · 3 months ago

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If I may throw my hat into the ring here, I think the source of a lot of problems in the writing of Miraculous can be boiled down to its confusion over its target demographic.

There are two very clear audiences the show is trying to cater to:

Grade school girls around 5-10

Teens/young adults around 15-20

And this results in some. unique conflicts in the show's internal logic.

Because it's a superhero show for little kids, it's full of fun, bright colors, wacky villain-of-the-week designs, and the characters are all very straightforward with exaggerated personality traits. The cheerful, clumsy, scatterbrained girl protagonist, her utterly charming and goofy (but slightly clueless) love interest, her cool best friend, her mean bully, etc.

This extends to the romance; the show is so comedic that Marinette's nervous crush and Cat Noir's flirting are played up for laughs. Their more "problematic" behaviors read as cartoon shenanigans first and foremost, which I do think was the intention - they're both shown as being more than a little ridiculous for acting this way, so they're not exactly trying to encourage people to emulate them. They're allowed to be genuinely wholesome, too, because it's nice to give the kids something to go "aww!" at, but it's not meant to be more complicated or deep than that.

And of course, it's gotta follow a sweet and simple episodic formula! A conflict in Marinette's civilian life, an inciting incident to get a side character upset enough for Hawk Moth to turn into a villain, Ladybug and Cat Noir show up, there's fun banter, Ladybug uses her Lucky Charm to figure out a wacky solution to the problem, and boom! The day is saved, Marinette and/or someone else learns a moral, and we get a cute little end screen showing all the key players of the episode.

The one aspect of the show's setup that's a little more serious is the fact that Adrien has a super controlling and distant father, but even this is something that doesn't necessarily break the kid-friendly tone for the first season or two. Superhero shows in particular like to put in some stuff that's a little more emotionally challenging for the viewers, even when they're mostly comedic, so it's not totally out of place here.

For example, while they tend to have more grounded tones overall, Spider-Man cartoons are aimed at kids and regularly keep the conflict between Harry Osborn and his father, Norman, intact; often including the plot point of Norman being the Green Goblin, a notorious villain. It's a similar deal with Adrien, and his dad secretly being Hawk Moth.

You can easily anticipate drama coming from this, but the show primes you to expect it to work out fine in the end because every other conflict so far has been wrapped up in a nice little bow once the episode's over. Though I will say, the choice to have Hawk Moth be Gabriel instead of his own, separate character is perhaps the first sign of the tone shift to come.

And, uh. it sure is a shift.

See, Miraculous does not start out with what you'd call a... plot. It vaguely alludes to there being more going on behind the scenes, but the only thing it really tries to get you invested in is the Love Square dynamic. Marinette and Adrien dancing around each other while fighting crime IS the plot, and it's clearly going to end with a cool final confrontation with Hawk Moth.

You expect it to end like... well, like the movie. Identities are revealed, Gabriel realizes the error of his ways when he finds out he's been fighting his son this whole time, and they may or may not make up but he almost definitely gets arrested. Marinette and Adrien kiss, roll credits.

This is not what happens, because the plot the writers actually had in mind is complex in a way that I would argue is meant for the same audience as YA novels. And with that plot comes a lot of darker, weightier traits to these otherwise silly characters.

Marinette isn't just scatterbrained and nervous, she has debilitating anxiety and an increasing need to be in control of everything due to the stress she's under. She has panic attacks on-screen. She's not just great at strategizing, she also knows how to manipulate people, and does so with increasing frequency - and to Cat Noir at times, no less. Her positive traits haven't gone anywhere, she's still loving and creative and sweet and doing her best to help everyone she can, she just. has all of that other stuff going on, now.

Adrien isn't just a charming, goofy, clueless love interest with a gazillion skills and a controlling father, he's like. actively being abused, and in some cases straight-up mind controlled. His tendency to heroically sacrifice himself so that Ladybug can do her Cool Protagonist Thing is gradually but unmistakably reframed as being a sign of suicidal inclinations. He has identity issues out the wazoo and he doesn't even know he's an artificially created human yet, because everyone in his life is keeping secrets from him and/or lying to his face about crucial information.

Information like, uh. how his dad died???

Yeah, so we're at a point in the story now where there was no satisfying conclusion to the Gabriel plot, no team-up, no moment where he realizes he's been fighting his son, none of that. He still has something akin to a change of heart, but he also still kind of gets what he wants - the Miraculous of the Ladybug and Black Cat, which he uses to rewrite the universe with a wish. It's just that instead of reviving his wife, he trades his life for Natalie's. Of course, he was already dying anyway, which was his own fault but he did force Cat Noir's Cataclysm onto himself, so, that's another thing poor Adrien is going to have to deal with at some point.

And because there's all these astronomically messed up things in Adrien's life, and Marinette's the one who got to learn about all of it before him, she decides that maybe it would be better if he just. didn't know about it. Which is understandable, if I was 14 and had all this information about my boyfriend's life that he didn't, I wouldn't know how to begin telling him about it, either.

But. can you see how we've maybe lost the plot, here?

Here's the thing: starting with a simple framework and gradually getting more complex and subverting the audience's expectations for how the main villain is going to be dealt with is not a bad thing. The fact that it gets darker over time is not an issue. I actually think that all these developments are, themselves, pretty cool! I'm a sucker for angst and complex character dynamics and the show is absolutely giving me those things.

The problem is that it didn't just start with a simple framework, it started with the framework for a different demographic entirely, and perhaps just as importantly, it never actually... stopped.

For as much complexity and intensity they're injecting this story with, they're still working under the logic of it being "for young kids." We still get goofy villain-of-the-week designs with equally goofy motivations, and the supporting cast is stuck remaining two-dimensional no matter their circumstances. Chloe is the most blatant example of this - she was made to be a simple bully first, so no matter what else they do with her, she has to remain straightforwardly evil.

This, I think, is the reason that Gabriel is a more nuanced and "sympathetic" antagonist than her, and why so much care goes into Adrien's character as a victim of abuse while Chloe is just a Problem Child despite suffering similar neglect; she wasn't made to be interesting, and so the show is resistant to changing that. Gabriel and Adrien, however, were already made with nuance in mind, and so they're allowed to develop as characters. And at the same time, it's a kid's show! We need to teach the kids what kind of behavior is acceptable, and Chloe's home life isn't an excuse to treat people badly, so--!

...Oh crap we're supposed to be teaching kids about acceptable behavior. Uh. Um. Quick, bring back the ice cream akuma who cares way too much about his ships so that Cat Noir can learn about consent! Uhh, but don't change his character too much afterwards, he's only marketable because of his silly flirting, and we can't lose that.

Yeah, remember when I said that the romance having problematic elements to it used to work well enough because it was clearly just exaggerated cartooniness? It wasn't free from criticism or anything, but you could see how it was intended to be endearing and silly, right? You were supposed to point and laugh at Marinette's convoluted plans to spend time with Adrien, at Cat Noir's dramatic flirting attempts that Ladybug herself fondly rolled her eyes at.

The tonal shift into deep character exploration kinda paints the previous stuff in a worse light, and to an extent, I think the writers know that. It's hard to laugh at Cat Noir being flirty all the time when he's also supposed to be taken completely seriously, and the more Ladybug rejects him, the more it turns into harassment, and it. kinda just stops being funny, even with the comedic framing.

It's also hard to laugh at Marinette's crush being so all-consuming when they try to tell us (in what I can only assume was an attempt to get people to stop complaining) that she's like this because it's fueled by an event in her past, one that made her so scared of loving the wrong person that she now needs to know Everything about them before asking them out. Her cartoon antics aren't funny under that light, it's just concerning, but they're dedicated to keeping it up anyway.

The show runs on straightforward cartoon logic where you're not supposed to think about it too hard just as much as it runs on grounded, closer-to-real-life logic where people are messy and complicated and actions have consequences. It's so divided that you can hand-pick parts of the story that are influenced by one or the other pretty easily, and depending on the episode you can find instances of both in the same 20-minute time span. Maybe even multiple times!

Neither thing they're trying to go for is bad, and neither is a better approach than the other, but forcing them into the same show makes both sides suffer.

It's not just hard to laugh at the parts I mentioned earlier, it's hard to take Gabriel seriously as a villain whenever you rewatch an episode and remember that he has a once-per-episode pun-based speech that he says so self-seriously that you can't help but laugh at. It's hard to take him seriously when you remember that he repeatedly akumatized a Literal Baby and practically threw a tantrum every time it didn't work, or when he randomly steals (and enthusiastically performs) his nephew's musical dance number, or something similar that you would only do for a cartoon villain aimed at five-year-olds.

And I can only imagine this whole show is a marketing nightmare, too. Hey, little girls, here's your cool role model! She's cute and smart and talented and powerful and can fix anything by shouting the title of the show! Hope you're having fun watching her tell her boyfriend that his newly-deceased father (who used deepfakes of him to sell merchandise that's built to enslave the population and then locked him in a solitary confinement chamber in another country) was actually a hero who sacrificed himself to stop the main villain instead of, y'know, being the main villain! Aren't you excited to watch her wrestle with the guilt of this lie for the next season or so? Doesn't it just make you want to buy her merchandise??

Like. what is even happening right now. what am I watching. how did we get here and why did we start where we did if this was what the story was going to be about

#miraculous ladybug #ml spoilers #ml s5 spoilers #ml s5 finale #analysis #meta #Does this warrant going under the salt tag?? I don't actually post about this series much #ml salt #just in case #'Who is this show supposed to be for' is a question that haunts me constantly #You can't even say it's a family show because family shows are NOT this conflicted about themselves #It's not just 'for everyone' because it's very specifically For Little Kids and For Young Adults SEPARATELY and AT THE SAME TIME #<-Stuff I couldn't fit in the main analysis but is relevant anyway #To be clear I DO like this show quite a lot and I'm absolutely looking forward to season 6 #I just needed to get this out there because it was driving me crazy

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secriden · 25 days ago

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There's something so wondrously momentous about Style only saying his "I love you" now, when he realises that all the secrets he was keeping from Fadel are already laid bare.

He says this a significant time after Fadel has said his (and, in the context of the wider narrative, after Kant and Bison) and for the character we have seen as prone to glibness, exaggeration and flippancy with his words, that feels incredibly intentional.

Because this confession was the only truth Style had left to give.

Fadel is finally done playing his (poorly thought out) game, done with his (already cracking at the seams) charade, done with giving Style more opportunities to pull at his heartstrings with his earnestness lies.

Fadel is demanding the truth, and tells Style exactly what truth he wants to hear.

And the thing is, there is truth in this: Style's motivations at the start were wrapped up in a deception specifically targeting Fadel.

I know we, as a fandom, harp on about Style "doing all that for a car", but something I would like us all to revisit is what Kant actually says to Style when he first asks Style to "hit on" Fadel:

Kant: You need to help me. You know I don't usually feel this way about someone. And then shortly later, after Style refuses: Kant: Hey, hold on. (Kant grabs Style's hand.) What do I have to do to for you to help me out? Should I pay you?

(Please forgive my inability to gif and watch Style's reaction to this.) Style is visibly surprised and intrigued. Kant seems to be serious about this request, and I think Style decides to test just how important it is to Kant by asking for the one thing he knows Kant will not give up.

Just look the expressions on Style's face. We didn't have the context of knowing Style back then as well as we do now, but this is the look Style gets when he's throwing out a challenge (to Fadel), when he's trying to ferret out some new insight (from Fadel), when he wants to see how someone (Fadel) will react to whatever outlandish (provocative) thing he's said or done.

And when Kant agrees, Style even checks again if Kant is serious about going through with it -- and it's this that convinces Style of the sincerity of Kant's request.

Yes, the car was a factor, and yes Style also wanted revenge and to humble Fadel, but at the centre of Style's motivation has always been a plea for help from a friend.

In episode 1: Kant: Under one condition. You have to make him head over heels in love with you. Style: I'll do it. Not just for the car, but someone like him needs to be humbled by someone like me.

But in agreeing to help Kant, Style really was damning Fadel to play the fool because Fadel's feelings (his heart) was a commodity that Style was fully willing to play with back then.

And there are aspects of truth here too. When Kant tells Style about Fadel (and Bison) being hitmen, Style decides he's done and wants out. Kant reasons that it's more dangerous for Style to break up with Fadel now, because it would look suspicious, but crucially this isn't enough to convince Style.

So Kant, once again, makes the plea to friendship and to his need for Style specifically, and it is this that causes Style to finally cave.

But in doing so, the things that Style agrees to are:

Kant: Work with me. Help me get more information about them. Once we get that, it's done. Captain puts them in jail, and we walk free.

So while Style may not be directly working with the police, he is working with Kant who he knows is working with the police. By proxy, Style is involved with the police, but in front of the empty pool, he makes it clear to Fadel just what that involvement actually entailed:

Style: Kant asked me to take you out so you could leave him alone and he could freely investigate. Fadel: What did he get out of it? Style: I don't know! That ain't my business! All I was asked of is to take you out.

And this, too, actually is true! Since finding out, Style has literally not discovered a single thing that could be remotely useful to the police investigation:

He's found out that Fadel likes to gym at night. He's found out that Fadel uses tenderloin in his burgers. That he runs in the morning before going to the market. That he attends a grief support group.

But these were all things Kant also already knew and could have given the police if it were in any way useful for the investigation.

Even his attempts to get Fadel to confess to his "other job" (something the police also already know) were clearly in service of wanting to save Fadel and/or convince him to give up the life of crime in the hopes that Fadel wouldn't have to be sent away from Style to prison.

But the truths are tangled up in misunderstandings and Fadel's own assumptions now; and also further tainted again by Bison's own hurt over Kant's betrayal. And Fadel literally cannot see -- because his eyes are filled with tears [see: @thisautistic's gifset + my tags] (good grief, Joong, the actor you are) -- the honesty Style is bleeding from the marrow of his bones.

Because the truth is that along the way Style has also found out that Fadel is a good older brother. That Fadel is still hurting and bleeding inside because his parents were murdered. That Fadel wears his favourite bands' make up in secret because he cannot bear the thought of other's judgement. He's found out that Fadel misses Style, wants Style, and hates himself for it. That Fadel is afraid to love. That Fadel is acutely aware of his own darkness and cannot comprehend an existence that would not involve someone (Style) rejecting it. That Fadel does not believe that 100% trust is possible, but that he will get himself drunk so that he can offer Style as much vulnerability as he can physically make himself give.

Because the things that Style did find out were all the ways Fadel's heart is soft and tender and precious and worthy worthy worthy of all the love Style has to give.

And Style will stand firm on this truth because this is the only thing he has left to give Fadel.

Because Fadel knows, now, all the ways Style was unworthy of his trust, but crucially has not figured out the most important truth:

Because in all the ways that Fadel has ever known he should want, Style actually IS worthy of his trust. Style knows the truth Fadel is hiding, knows what this man is capable of, knows the danger of being in his arms, knows the likely nonexistent future Fadel has to offer him -- and wants him anyway. -- Quoted from my meta post on the "One day, I'll be your 100%" line.

And as I alluded to in the tags on @yinwaring's insightful post: Style fully embodies the belief he espouses; because even in the face of a gun to his head and Fadel threatening to kill him if he will not admit that this, too, is a lie, Style refuses to give Fadel anymore dishonesty.

And this is because Style knows that the truth matters; now more than ever.

Because Style has had days to grapple with his worry after Fadel's disappearance. Style has had a week's worth of checking the diner only to face the regret he feels about not handling things differently. Style has had to recognise the terror of thinking he had lost something he never even knew he wanted in the first place.

And while Fadel had his realisation back in episode 4, Style never had to face this until Fadel vanished from his life and left a gaping hole in the shape of the absence of Fadel's smile.

So if this is what it takes, if this is the penance that Fadel demands of him, then it is a price Style is most happy to pay.

Because Fadel does not realise is that Style, too, now knows what it means to lose a love worth fighting for.

And in the war Fadel now feels compelled to wage against Style (because, yes, that's definitely still going on), the one damning thing Fadel has failed to recognised is that his only true weapon was leaving Style behind.

Which is why Style has already won. Not because Fadel's walls have crumpled again or because they don't still have a ton of things to talk through and work out (they really, really do), but because Style has already been stripped bare (and I mean this literally, like we all recognise THAT was the reason why Dunk is only in boxer shorts in that scene, right?? Like, I know we were joking about it, but seriously, that was so very intentional and a visual representation of Style being both stripped and, most importantly, freed from the lies he felt compelled to tell Fadel) and this means he has nothing holding him back.

And Fadel can wield his gun and his words and his anger and his hurt, but Style will die on the hill of the truth that he knew and understood and chose to love Fadel anyway, and saved this last confession for when he knew he could tell Fadel the truth without any lingering deception; and when the time is right, when Fadel is finally ready, Style will be there to welcome him back with open arms and, without any hesitation, an open heart.

#the heart killers #the heart killers the series #thk ep 7 #fadelstyle #stylefadel #fadel #style sattawat #thk meta #fadelstyle meta #style sattawat meta #joongdunk #hui talks thk #hui talks thai bl #i know everyone is probably so sick of me saying this but style is so utterly earnest and honest and GUILELESS and i adore him so much #and i know episode 7 was sad in many ways but it left me honestly feeling so TRIUMPHANT because style is finally FREE!!#he's free of the last obligation to the promise he made to kant #he's free from the guilt of lying to fadel and actively doing nothing to protect the man he was learning to care for #he's finally finally free to love fadel; simply and truthfully and earnestly and with his whole entire heart #and it will be like nothing fadel's fragile heart has ever experienced and everything he never knew he could have #and i am SO SO SO fucking EXCITED for that!!!!#// ALSO can we talk about how CLEARLY dunk makes the distinction between when style is being earnest and when he's intentionally #being playful/glib/exaggerating something??#like its so drastically different and idk i really appreciate how obvious it is because when he dials it down it feels very very real #like i don't just mean “quiet” because style is loud when he's explaining himself at gunpoint #but he's very honest in every single moment in this scene and i feel like that really comes through

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