#she doesn't read anything

[grits-galraisedinthesouth]

Things aren't going well for the Mean Girl of Montecito. It seems I hit a nerve posting Memories of Rachel Meghan Markle's inflatable Magical Moonbump. We watched in real time as it appeared & disappeared throughout her February 2019 visit to the NYC Polo Bar, and then two (2) days later in Morocco for the BRF. Just H exclaimed during an interview, "is it mine!?!?!?!" These images and memories have given her a bad case of narcissistic rage.😡

@grannycrowley thanks for sharing.

Please do me the favor of Liking 👍and even sharing this post as well as the 2 currently under review. Thank you.

[liketolaugh-writes]

Thinking about a full ghost Danny AU where he just straight-up dies in the portal. I think there should be more of those. <3

Character death, obviously.

------------

The drive back to Fentonworks was a blur in Maddie's memory, keeping Tucker on the line while he sobbed and stammered, trying and failing to keep himself together and explain what happened.

"-doesn't h-have a heartbeat and he's f-freaking out-"

"It just turned on, we don't know w-what happened, he, he said it didn't work-"

"-trying to keep Danny c-calm-"

"Please come home."

Jack's driving was even worse than usual, veering through the streets in an undisguised panic. Maddie hadn't been able to discern much from Tucker's ramble; the portal had finally turned on, but the kids had been messing around with it and Danny had gotten hurt. How hurt? Tucker didn't seem to be sure, but all three of them were in a state.

Jack pulled into their driveway and flung himself out, half the GAV still sprawled across the sidewalk. Maddie was right behind him, hanging up on Tucker with a quick assurance that they'd be right there.

"DANNY!" Jack yelled.

"In here!" Sam called back, from the open lab door. Of course.

Maddie slipped past Jack and got there first, almost falling down the stairs in her haste. What she saw there made her heart stop.

Danny wasn't there. There were three teens crumpled on the ground in front of the activated portal (a part of her sang, it worked, it worked) but Danny wasn't one of them. There was Tucker, staring blankly at the floor, and Sam, with her arm around a strange, glowing white-haired boy that was in tears - a ghost. A ghost? A ghost!

"GHOST!" Jack yelled in delight. The teen sobbed harder.

"Where's Danny?" Maddie demanded. Sam looked up sharply, her eyes wide like Maddie had never seen, her face dead pale under her makeup.

"I'm sorry!" Sam blurted out, looking nearly in tears herself. "I just, I, I thought it would be cool, it was just a picture, I, I didn't think-"

Maddie's heart skipped a beat. "Sam. Where is Danny?"

Sam looked at the crying boy next to her, huddled under her arm as if for comfort. The boy looked up, radioactive eyes swimming with tears and the water on his skin sparkling prismatically, and met Maddie's eyes.

"Mom," he croaked, his voice tripled and echoing with itself like a movie memory. "What happened to me?"

Maddie's knees gave out, and she crumpled to the floor, unable to take her eyes from the ghost in front of her. In a moment, she understood.

That was Danny. His colors had partially inverted, his hair turning white, the colors of his haz-mat suit - God, that was his haz-mat suit, the one they'd made for him and that he never used - reversing to white-on-black. He'd huddled into Sam, shaking and gasping, but now was pulling away, looking at Maddie like- like he thought she could fix this.

"I think something's wrong," Danny said, his voice trembling somewhere underneath all the alien reverberation. "Should we go to the hospital or, or something?"

"I don't think the hospital can fix this, man," Tucker said weakly, lifting his head just to stare at Danny.

The portal powered down with a whine. Maddie jerked her head up with a gasp, and found Jack at the control box, backing up silently. Jack stared into the portal. Maddie followed his gaze.

She couldn't stop the scream that tore itself from her throat. Jack yelled too, running inside, tripping over the bundled cables, and collapsing unceremoniously short of the body inside. Careless of that, Jack crawled forward the last few feet, scooped up the body, and then started to sob, cradling Danny's burnt and blistered corpse against him.

"...Do we call 911?" Danny asked, voice cracking. Maddie's head snapped back to him from the corpse, watching him stare in bleak, lost confusion at his father and the body he was hugging.

Danny didn't even believe in ghosts. Neither of their kids hid it, treating their profession with a lighthearted exasperation at home and plain embarrassment outside. Somehow, the fact made all of this worse.

"What's happening?" Danny asked helplessly. Shock, the stable part of Maddie's brain told her. He sees what's going on but his mind won't comprehend it. (He wasn't expecting to die today.)

"Y-yes," Maddie said at last, and then forced her voice to stabilize. "I'll... I'll call 911."

But first, she held out her arms, and Danny all but scrambled across the room to throw himself into her arms, still shaking. He was cold as ice, freezing through her haz-mat suit, and that was before he slipped forward with a yelp and tumbled through her. He scrambled back with a cry and tried again, and this time fell solidly against her, hiccupping. She wrapped an arm around him, shushing him softly, and groped for her phone with the other hand. She couldn't take her eyes off Jack, now carrying Danny out of the portal and staring from his corpse to his ghost, looking shattered.

"911, what is your emergency?"

"My son is dead," Maddie heard herself say. Danny hiccupped and clutched at her tighter. There was a brief pause.

"I'm very sorry, ma'am. Where are you? Have you checked his pulse?"

"We're at the Fentonworks building, 18701 northwest..." She rattled off the address mindlessly, and reached down to fumble for Danny's wrist. He let her have it without complaint, too terrified to put up any resistance. She shuddered as she felt nothing, not even the tendons or bone that should be there. Then she looked up at the corpse in Jack's arms and swallowed. "Jack, h-his... his pulse."

Jack nodded mutely and fumbled for Danny's wrist, gingerly running his fingers down the burnt skin until he found the right spot.

"What do you mean, his pulse, his ghost is literally in your lap!" Sam half-shrieked, her mascara running and her fists clenched against her cheeks, her breath coming in short gasps.

"No pulse," Jack croaked hollowly, staring at Danny's ghost.

"Maybe they could..." No, it was a foolish thought, and she wouldn't put false hopes into Danny's head just to put off her own grief. She cradled him closer again, feeling him shudder. She spoke to the operator. "N-no pulse, ma'am."

"Ambulance and police are on their way," the operator said, calm and reassuring. "Can you stay on the line with me?"

"Yes." Maddie felt numb, her own hands trembling as she held Danny close.

"Thank you. Can you tell me your name? Is there anyone else with you?"

"Maddie Fenton," she said. "My husband is with me, and my son's two friends, and... and my son's ghost."

There was another brief pause.

"Alright, Maddie." Maybe it was her imagination, but she thought the operator sounded gentler there. They thought she was crazy, of course. Maddie shut her eyes. "Can you tell me what happened?"

"I, I don't know. My son Danny was home with his friends, and they called and..." Deep breath. She started over. "There was an accident in our lab. Danny was electrocuted by one of our in-progress projects."

"Is the device still on?"

"No, ma'am. We had to turn it off to remove the, the body."

Maddie continued answering questions on autopilot, most of her attention on her son, her husband, and the body. Danny had stopped crying, but remained glued to her side, shivering and sniffling. Jack continued to cradle Danny's body, but his eyes were now fixed on Danny, grief spread across his face. Sam and Tucker had both quieted, watching them with fearful, guilt-stricken looks.

It seemed to take forever for the police and ambulance to arrive. Sam got up to show them inside without being asked, staggering up to steps on obviously shaky legs. Maddie was too grateful to insist on her or Jack doing it; with Danny's ghost cradled against her and his corpse in Jack's arms, well...

The paramedics arrived first, sharp-eyed and professional, but the first almost immediately faltered as he laid eyes on the scene. But Jack held up Danny's body beseechingly, his eyes wet and miserable, and they jolted into action.

"Thank you, ma'am," Maddie said to the woman on the line. "They're here now. May I hang up?"

"Yes. The paramedics will take it from here. Take care, Maddie."

Maddie hung up, and looked at the two paramedics as they filed down. They looked at each other, one inclined his head toward Danny, and they split up, one heading for Jack and the body, the other toward Maddie and the ghost. Both of them knelt beside their chosen patient, and Maddie fixed her attention on the one with her.

"Are you Danny?" the paramedic asked, unexpectedly gentle. Danny peeked up and nodded uncertainly, and the paramedic glanced at the body before seeming to make a decision. "Okay, Danny. My coworker June is going to check your body for signs of life to see if you can still be revived. Are you okay with that?" Danny hiccupped and nodded, though a new wave of tears welled up and trickled down his cheeks. "Can you tell me what happened?"

Danny hiccupped again, reaching up to wipe his eyes. "M-my friends wanted to see the p-portal," he managed, voice wavering. Maddie squeezed him, her own eyes welling up while the paramedic listened patiently. "A-and it didn't work so I t-thought it would be f-fine. I went inside a-and I d-didn't check if it was plugged in or anything, a-and then I tripped and fell and I think I hit a button and it turned on!" His voice rose until he was almost wailing. Maddie's throat tightened, and she hugged him closer. Her poor baby.

"You were electrocuted?" the paramedic checked softly.

"I guess," Danny sniffled. "I dunno. It just hurt. And then I felt really cold, and then I..." He looked down at himself and sniffled again, tears slipping nonstop down his cheeks. "Am I dead?"

The paramedic looked at his coworker, who met his eyes and shook her head. Maddie had to swallow a hiccup of her own, trying to be brave for her terrified son. The paramedic did a much better job at it, looking back at Danny and speaking gently.

"I'm sorry," he said quietly. "There's nothing we can do. June is going to call a coroner and explain the situation-" He caught the other paramedic's eye, and she gave him a nod. "-and we'll have your body taken somewhere it can be prepared for burial or cremation, whichever you prefer." Danny started crying again, and the paramedic exhaled and looked up to meet Maddie's eyes. "Obviously, there's no protocols for this situation. But, as his mother, I think it would still be appropriate for you to make a decision if he doesn't feel able to."

[bumblingbabooshka]

Thinking about marriage/women's rights on Vulcan Some may think that T'Pring not being allowed to divorce Spock was because he was going through the pon farr but if she were allowed to divorce him at all she probably would have done that a long time ago, confirmed by T'Pol when she's speaking with Koss, who isn't suffering from the pon farr. She says that he can choose another mate (without invoking a fight it seems: note the difference between a 'mate' and a 'challenger') and after he makes it clear that nothing she says will change his mind about marrying her, she finally threatens to declare a kal-if-fee. It's clear that Vulcan women cannot divorce/refuse to marry a man they've been betrothed to under any circumstances if A) He himself doesn't consent to ending their marriage or B) She doesn't have someone else waiting in the wings to be given to in his stead. Though, if the challenger she selects fails to win the fight, she'll have to marry her betrothed anyway unless (again) he decides he doesn't want her after the challenge. That seems like an incredibly unfair system, heavily biased towards men. SNW is an alternate universe in many obvious respects but most egregiously in that T'Pring has a lot of non-canonical agency over her relationship with Spock. It's interesting to me that Vulcan society has women in many positions of power and treats women as equal to men from what I've seen despite these laws. We don't really see Vulcans exhibiting a misogynistic attitude towards women in general but in TOS (perhaps because of its general writing style but it's still interesting to note) both Sarek and Spock take on patriarchal attitudes specifically regarding wives. Amanda says that 'of course' Sarek commands her because "he is a Vulcan and I am his wife." It's worthwhile in my eyes to note that she specifies 'wife' instead of attributing this attitude to women as a whole. Again, with TOS' writing style it wouldn't be out of place for her to say "he is a man and I am a woman." Spock, while in a pon farr induced irritation, states that it's "undignified for a woman to play servant to a man that isn't hers" - again implying that there's something specific about being a Wife in Vulcan society which is different from being a woman in general and demands subservience to a husband. This could perhaps stem from the extreme sense of ownership that Vulcan law has permitted men to have over women. A woman legally cannot point blank refuse marriage. There is no option which guarantees she won't have to marry her betrothed other than death. When T'Pau speaks of T'Pring she refers to her as being 'property' and Stonn, before being interrupted, states he's made 'the ancient claim' - we don't know what this is because he gets cut off but it's obvious they're both using the language of Vulcan law. Men are permitted true freedom to choose. If a woman wants to choose someone else to be with there is no option available to her other than the kal-if-fee which might result in the death of the one she wants to be with. And, if her lover fails, her husband can still just decide he wants to marry her and she'll be forced to. T'Pring gives two scenarios: One where Spock 'frees' her and one where he doesn't - it's still ultimately his decision which is clear when he ends the conversation with "Stonn, she is yours." This again isn't just because of the pon farr as T'Pol also goes through this. Koss can choose another mate and when the option is talked about there's no implication that this would result in any sort of fight (both by the casualness of its mention and by the fact that there's no formal word for it unlike the kal-if-fee.) Also, the fact that Koss does eventually grant T'Pol a divorce and it's all fine means that T'Pol isn't lawfully required to have another man waiting if her HUSBAND doesn't want her. It's ONLY required if SHE doesn't want her husband. Tradition must take precedence over individual desire UNLESS!!! You're a man. Then it's fine. Like, your parents might not be happy but legally you're golden.

[teyrnacousland]

I've seen the headcanon that Lucanis' mother, Caterina's perfect heir, was actually similar to Illario in some ways. That she was calculating, ruthless, ambitious, obedient... all the things Caterina overlooks in Illario because Caterina sees her favourite daughter's deep brown eyes and quiet, controlled demeanor and careful planning in Lucanis.

But I am also attached to the idea that the opposite is true too. That Illario's mother shared similarities with Lucanis; that she was empathetic and stubborn, with a slight rebellious streak. But she was always outgoing and charming, was more impulsive with her emotions, and was always sharper with her tongue than with a sword, so Caterina only sees her in Illario.

I just love the idea that Caterina can't look beyond the surface and see who her grandsons really are because on some level she can't see past the ghosts reflected in their eyes. She can't see that the quiet brown eyed boy is is more of the gentle hearted rebel, and the one with blue eyes and a shining, fake smile is the ruthless leader who would do anything she asked.

[clairesbeauchamp]

7.03 | 7.15

[notmoreflippingelves]

Actually going insane over the implications of Jason asking Dick to be the Robin to his Batman in Battle for the Cowl.

Like I initially took it at the purely surface-level of Jason wanting a partner in the general sense. Which made sense, it's a huge responsibility and a lonely one so an assistant/sidekick/partner seems a no-brainer if you can get one.

But then I really thought about it, because Jason is not asking Dick to be his partner in the general sense; he's not even asking Dick to be his Nightwing. He's asking Dick to be his Robin.

And they both know exactly what Jason means: "Be the light to my darkness. Be the smile to my scowl. Be the hope to my fear. "

He's saying "Be 'Robin'; be the embodiment of Love and Justice and Goodness. Be the exceptional person that you have always been. Be the slightly-less exceptional person that I was when I wore your colors. Be the person that I was in the process of becoming and might have been (or might still be), if only Joker hadn't clipped my wings."

He's saying "I am prepared to become vengeance, become the Night. And I will go further than Bruce ever dared to, because it is what is needed. I will be the necessary evil. But you don't have to be. If Batman is Gotham's curse, Robin has always been its blessing. I will be the brutal punishment to our world, and I am asking you to be its incandescent gift."

He's saying, "Be for me, what we were for Him. Be my anchor, my comfort, my hope. Remind me what it's all for, why it's all worth it. And remind yourself as well."

He's saying "Be 'Robin' again--for both of our sakes."

[aerithisms]

zuko's redemption arc is very good, it is beloved for a reason, but it's also poisoned discussion on redemptions in fandom in such an annoying and exhausting way. people always talk about the idea of "deserving" when it comes to redemption and at least some of this feels like it stems from atla depicting zuko as having originally been a kindhearted child who got corrupted into bad behaviour by abuse. therefore he "deserved" to get redeemed because he was always a good person deep down.

there is obviously nothing wrong with this being the way zuko's character is written but because it's the most beloved redemption arc in all of fandom now everyone thinks every character with a redemption arc has to have secretly been a good person all along. as though arcs about characters seeking redemption aren't actually about exploring people changing, they're just about confirming their inherently good nature. i think this is a very shallow way to think about human beings and a very boring way to write fictional characters!!!

the question of whether it's a good idea to give a character a redemption arc shouldn't be about whether they "deserve" it. the whole point of redemption is that the character starts out a bad person at the beginning of the arc, and we explore what it takes for them to change. it's bizarre that so many people in fandom have taken the stance that people don't really change, they're either bad or they're not, and redemption arcs are only for exposing the goodness that was already inside people.

the question of whether it's a good idea to give a character a redemption arc should be about whether it's the most compelling direction for that character and whether it aligns with the themes of the story. that's all. it's not a question of morality as if the characters are real people, it's a question of what the story is about and is trying to communicate. sometimes this means it would be mean spirited and ill fitting with the themes not to give a character a redemption arc. sometimes it means a character who has yet to show any modicum of remorse or kindheartedness will receive a redemption arc, because the story is interested in how that person could possibly change. and sometimes it means a character who does show signs of goodness may never get to realise that, and will never change their ways. it depends what the story is trying to say and what makes for the most interesting and fitting character journey for that story. because the character is not real and is first and foremost a tool to communicate that story.

[dreamingofthewild]

Once again, I feel the need to point out that Gale did not know the orb was the Karsite Weave, capable of destroying Mystra, until she told him in Act 3. And that was after she had already ordered him to kill himself—only revealing the truth once he had set his sights on the Crown, which she wanted for herself.

Gale genuinely believed he was returning a lost piece of the Weave to her. He wasn’t trying to surpass her. He did it because he wanted to please her. He never felt worthy. Yes, he hoped that one day she would see him as her equal, allowing him access to the knowledge the gods kept hidden. His ambition, while misguided and reckless, was never malicious—he was not seeking to overthrow her or destroy her.

As a Chosen, Gale was already an incredibly powerful wizard, and it wasn’t his fault that he reached for something he didn’t even know existed. Mystra never warned him—she simply told him to be content. And when Gale takes the Crown (provided you’ve read the Book of Karsus), we learn that he is powerful enough to ascend to godhood. Yet, unless you pursue the Origin Evil ending, he doesn’t attempt to claim her domain—he creates his own. That is ambition, not hubris.

Gale’s ambition is not the equivalent of a man thinking he’s better than a woman, nor is it the act of someone trying to surpass a figure they have no skill in. His heartbreak is clear. He is devastated, and he is ready to obey Mystra’s order to sacrifice himself. You don’t think that if she had told him the truth from the start, he wouldn’t have begged her, pleaded with her in horror, to remove the orb and forgive him? But she only told him when he sought something she wanted. And even then, I have no doubt that had she simply asked him to give her the Crown in exchange for forgiveness, he would have done so. Instead she ordered him to die for it, and if you know what happens if he uses the orb in Act 2, you know that his death achieves nothing at that moment apart from her getting the crown.

The only reason he goes after the Crown at all is because it’s his only alternative to dying at Moonrise, and it's his chance to prove himself worthy. He is desperate at this point, but his indignation remains at the God's themselves and the way they treat mortals, not just Mystra. Gale is essentially going through a crisis of faith. I think many either forget or downplay this element of Gale's relationship with Mystra. She's an Omniscient, Omnipotent being, and Gale is a mere mortal. She had/ has all the power.

There have been so many others who have portrayed this more eloquently than I, and with screenshots.

[rottiens]

Stepmom Yuki has severe breeding kink 😔✊️

she fucks you nice and deep, putting her hands on your belly looking adoringly at the way the cock separates your slippery folds and she would love nothing more than to fill you to the last drop. she in fact, debates whether she would love to cum in your folds or so deep inside you. her thumb moves from your belly button to your clit and strokes it sweetly as she takes the leg above her shoulder and kisses your calf, moving her hips in such a way that she manages to get even deeper.

the idea of her seed inside you, your tits swollen from pregnancy and her lips on your sweet sensitive nipples is what makes her cum silently, calling your name as she bites your skin.

[cutetanuki-chan]

I really need Gideon to know that Jeannemary said hi, please, the whole scene with teens death is so devastating, Gideon needs to know

[fallout-lou-begas]

i think people get anxious about sex being something you can be good or bad at because it can obviously make people feel ashamed or embarrassed if they think they're "bad" at something that can be very intimate and vulnerable, but it should instead come as a relief that (at least in my view) being "good" at sex is maybe like 5% pure physical ability at absolute maximum and is 95% being communicative, attentive, and creative as a sex partner, especially as it pertains to treating people as individuals with their unique and bespoke preferences for and against certain things, and not assuming everybody is the same obstacle course that you can just do your single, so-called optimal route through. and as for that 5% of pure physical ability, it's not so much raw awesome fuck strength and power as it is the ability to maintain a consistent rhythm with literally any part of your body (or object that you are holding or operating, including technological ones that can maintain that rhythm for you!). i also think that people who get anxious about being "bad" at sex may have a particularly rigid view of what sex is in their minds, an ideal that they think that they couldn't possibly live up to (and no one else probably could, either!), that they could do to let go of, because the world is very large and beautiful and truly anything is possible.

[stormsbourne]

you ever see a take so bad you are forced to immediately go to sleep

[gambeque]

therapy sesh

[anghraine]

I had a longer, grumpier post about this that I've been drafting (it's past midnight but I'm delaying lying down for COVID+asthma reasons), but I actually do also find the raw quotes about Elizabeth at Pemberley pretty funny. Her impressions of the expensive interior are like:

It was a large, well-proportioned room, handsomely fitted up. Elizabeth, after slightly surveying it, went to a window to enjoy its prospect.

The rooms were lofty and handsome, and their furniture suitable to the fortune of their proprietor; but Elizabeth saw, with admiration of his taste, that it was neither gaudy nor uselessly fine,—with less of splendour, and more real elegance, than the furniture of Rosings.

Mrs Reynolds could interest her on no other point [than Darcy]. She related the subjects of the pictures, the dimensions of the rooms, and the price of the furniture in vain.

they were shown into a very pretty sitting-room, lately fitted up with greater elegance and lightness than the apartments below; and were informed that it was but just done to give pleasure to Miss Darcy, who had taken a liking to the room, when last at Pemberley. “He is certainly a good brother,” said Elizabeth, as she walked towards one of the windows.

Meanwhile, Elizabeth's impression of the land:

The park was very large, and contained great variety of ground. They entered it in one of its lowest points, and drove for some time through a beautiful wood stretching over a wide extent. [...Pemberley was] backed by a ridge of high woody hills; and in front a stream of some natural importance was swelled into greater, but without any artificial appearance. Its banks were neither formal nor falsely adorned. Elizabeth was delighted. She had never seen a place for which nature had done more, or where natural beauty had been so little counteracted by an awkward taste.

The hill, crowned with wood, from which they had descended, receiving increased abruptness from the distance, was a beautiful object. Every disposition of the ground was good; and she looked on the whole scene, the river, the trees scattered on its banks, and the winding of the valley, as far as she could trace it, with delight. As they passed into other rooms, these objects were taking different positions; but from every window there were beauties to be seen.

They entered the woods, and, bidding adieu to the river for a while, ascended some of the higher grounds; whence, in spots where the opening of the trees gave the eye power to wander, were many charming views of the valley, the opposite hills, with the long range of woods overspreading many, and occasionally part of the stream. Mr Gardiner expressed a wish of going round the whole park, but feared it might be beyond a walk. With a triumphant smile, they were told, that it was ten miles round. It settled the matter; and they pursued the accustomed circuit; which brought them again, after some time, in a descent among hanging woods, to the edge of the water, and one of its narrowest parts. They crossed it by a simple bridge, in character with the general air of the scene: it was a spot less adorned than any they had yet visited; and the valley, here contracted into a glen, allowed room only for the stream, and a narrow walk amidst the rough coppice-wood which bordered it. Elizabeth longed to explore its windings; but when they had crossed the bridge, and perceived their distance from the house, Mrs Gardiner, who was not a great walker, could go no farther, and thought only of returning to the carriage as quickly as possible. Her niece was, therefore, obliged to submit

On reaching the house, they were shown through the hall into the saloon, whose northern aspect rendered it delightful for summer. Its windows, opening to the ground, admitted a most refreshing view of the high woody hills behind the house, and of the beautiful oaks and Spanish chestnuts which were scattered over the intermediate lawn.

[gay-jesus-probably]

Seeing as the Gerudo turned on Ganon, he might not have been that much better of a ruler.

First of all, we literally have no idea, because the only ancient Gerudo that we actually get to interact with is Ganondorf himself, and he has nothing to say about his own people. The ancient Gerudo sage doesn't count btw, she doesn't have a name, we never even see her face, and she has literally nothing to say except repeating the exact same dialogue as the sages for the other races. The narrative does not treat the ancient sages as people; they are four completely interchangable weapons that are owned by the royal family.

And secondly, I don't care how Ganon ruled them; the Gerudo only get one man every century, if their king sucks, they've obviously got their own system of government to fall back on. I have no idea what kind of authority the sages had among their own people, but honestly I'd say if the four of them were in charge of their respective people, then they were just puppet rulers appointed by Rauru, given that all four of them happily agreed that to sell their entire race into servitude the second Zelda asked them. Say what you will about Ganondorf, but I fucking know that if he was told the Gerudo people existed for the sole purpose of serving the glory of Hyrule, he'd drop kick Zelda into the fucking sun.

And don't get me started on the implications of the cultural differences we see between the independent Gerudo and the annexed Gerudo. The background Gerudo characters all have their own models, and we can clearly see that the ones siding with Ganon have their own unique looks - for example, the amazing lady with the mohawk that summons the molduga swarm in that one flashback. And men are never mentioned in these flashbacks at all, which implies that the Gerudo genuinely didn't care about settling down. Ganon even speaks derisively about marriage, implying that it's very rare for Gerudo women to make serious romantic commitments with men. It implies that their culture is more along the same line as their portrayal in OOT - they are a closed culture. Men trying to force their way into their areas are arrested, and mocked for being entitled dumbasses. Outsiders are only welcome if they can prove that they respect the Gerudo as people, and aren't just there to try and pick up chicks. It's never outright said, but OOT also makes it pretty clear that the Gerudo women just aren't interested in marrying outsiders - close relationships occur with other Gerudo, Hylian men are only considered useful for making babies.

Meanwhile the Gerudo we see serving Hyrule are all trying to measure up to Hylian beauty standards, and appeal to their men. Their one goal in life is to meet a man and get married. Men are welcome in their lands, and only kept out of the town itself... and even then, there's a small army of guys trying to force their way into the town anyways, which is brushed off as just haha, boys will be boys. No men allowed isn't even about independence, it's just a silly romantic tradition.

Of course this is just a fictional culture in a game world, but it's still really fucking uncomfortable that the 'evil' Gerudo are the ones that have independence, both politically and socially, and display a unique culture that refuses to tolerate disrespect from outsiders. Meanwhile the 'good' Gerudo are the ones that canonically exist to serve a kingdom where 95% of the population is light skinned (even setting aside the unfortunate implications, just saying one race exists to serve a different one is super fucked up), they have classes on how to be more appealing to Hylian's, and their entire social structure is built around finding a Hylian man to marry, making them all inherently dependent on the goodwill of outsiders. Even their biggest value of 'women only' is treated as a joke; men trying to trespass in BOTW are just shoved back out the door, letting them keep trying all day if they want. The crowds of men plotting to force their way in are laughed off as a joke. Nobody cares that there's a guy running laps around their city walls and trying to trick women into being alone with him. I mean for fucks sake, in TOTK we find that the creepy guy trying to lure women away has taken advantage of a massive disaster to get into the town, and he's still there once things return to normal. You can't kick him out, or alert anyone to his presence. And the Gerudo just tolerate Hylians blatantly ignoring their boundaries. For fucks sake, TOTK even reveals that the seven legendary heroines they've been revering the whole time were actually completely useless and unable to achieve anything... because they needed the eighth hero, a Hylian man to teach them basic tactics and do all the heavy lifting.

TOTK does not respect the Gerudo people in the slightest. It doesn't respect anyone who isn't Hylian or Zonai.

...This got a little off track, but the point I'm trying to make is, no, I don't consider the Gerudo turning on Ganon to mean anything. The entire game does not feel like the real story of what happened, it feels like the propaganda version of history meant to make Hyrule look as good as possible. I genuinely cannot believe that we're being told the real story about the Imprisoning War, because none of it feels real, and we don't get to know any details that might have made Hyrule look even slightly imperfect. We're told that Ganondorf is evil because he hates Hyrule, and he hates Hyrule because he's evil. The Gerudo people followed Ganondorf and saw him as a hero of their people, then suddenly he was their worst enemy. Hyrule is a perfect kingdom that has strong, equal alliances with the other races, but also all of the non-Hylian races exist for the sole purpose of serving Hyrule, and their leaders are expected to swear eternal loyalty and submission to the Hylian royal family. King Rauru and Queen Sonia united all of the races in peace and equality, which is why they're sitting on the world's supply of magical nuclear missiles, and every member of the Hylian royal family is allowed to walk around wearing them as cute accessories, but everyone else only gets them at the last second, and they all need to outright swear to only use that power to benefit Rauru and his descendants.

There's just so many fucked up contradictions, and so many hints of something more nuanced going on... but the story refuses to acknowledge any of it, and just keeps aggressively pushing the narrative that Hyrule is the ultimate good and couldn't possibly do anything wrong. I don't even believe that Ganon was a bad king honestly; we never hear why his people stopped following him. We also never even see if the Gerudo people turned on him at all; all we know is the ancient Gerudo sage wanted him dead, and given that she also happily sold her people into slavery, she's not exactly the most trustworthy source of information. All we know is that Ganondorf was a hero to his people, only one of his citizens is ever shown having an issue with him (and her motives are never explained), and then he lost the war and was sealed away, leaving his people open to be conquered by Zelda and annexed into Hyrule. By the time we see any Gerudo actually opposing Ganon (apart from the ancient sage), it's been ten thousand years since the war, and all anyone knows is the Hylian version of the story.

[swinging-stars-from-satellites]

one thing about me is that I'm going to love EVERYBODY