#solo analysis

[weirdplutoprince]

Trauma in Solo leveling

Always haunted by what could have been of Solo Leveling if the narrative acknowledged the inherent trauma vision that guides most of Jin-Woo's actions through the series instead of glorifying him for that.

Like, it is pretty clear to me from the start that a lot of his obsession with self reliance and his increasingly cynical views of the world ("The weak are destined to be betrayed") are a direct response to the double dungeon incident, and in more ways than we initially realize.

I think it's particularly obvious in the way he is paralled with Lee Joohee; while they're both shown to be traumatized from their encounter, Joohee is supposedly 'worse off' than him. She has noticeable flashbacks to that episode and withdraws from life and work in an attempt to avoid possible triggers - becoming paralysed when she fails to do so. And because, while also afraid, Jin-Woo is instead making a point to return to dungeons we are very clearly meant to think that he is moving on when she is not. ...Except that he isn't.

Because, you see, along with withdrawing, the reenactment of a traumatic event is also a very common response to trauma. And so is the risky behaviour that might come with it. And what does Jin-Woo does as soon as he's able to leave the hospital again? Immediately throw himself into dungeons, alone, with a clear disregard for personal safety and an extreme need to both prove himself and give meaning to his near death experience before.

Not only does he goes right back into the very same place his trauma took place, but he seems to subconsciously be trying to recreate said event in a way that gives him control of the situation. This time, he wasn't abandoned to die alone in a dungeon: he did it himself, willingly. He placed himself in that position. And later on, when he risks himself with shady parties he expects to betray him, he seems almost content; once again putting himself in risk by creating a scenario where he is 'abandoned' and 'betrayed' but where he can come off on top. He is desperate to both have his belief confirmed that someone perceived as a weak hunter like he is will always be betrayed, always be left behind, and to fight that supposed fate. To prove that he has 'fixed' this aspect of himself and will thus not fall victim to that consequences of that abandoment again. In fact, he is so detatched from the current scene that he deliberately ignores the fact Yoo Jinho challenges those believes by protecting Jin-Woo, whom he believes to be an E rank at that point.

And were this any other story, all his development from then on would prove the faults of this mindset. The dangers of self reliance, of cutting yourself off from any support network, from depriving himself of any sort of meaningful trust or vulnerability with others. But instead, we're meant to respect the fact he is increasingly isolated from everyone else. That he becomes cold, emotionally withdrawn and paranoid (his refusal to join any of the existing guilds always felt to me like his need for control taken to extreme, plus the fact he could not deal with how exposed he felt working with others again). And I think that's really sad.

It would have been really interesting to have a story that is willing to challenge the notion that he is better off alone, and that trust in others is ultimately unecessary. And that would acknowledged the strength necessary to allow himself to trust and be vulnerable after everything - and the importance of surrounding himself with people he loves and knows will protect him too. Sad 😔

[brettanomycroft]

Sam fumbled Gwen’s Bonzo reveal… but he’d been primed to do so

I suspect that there's going to be a LOT of conversation around Sam after this episode, and since this episode was so good that I couldn't think of a meme or shitpost, I decided I'd throw my hat into the ring and do some character analysis instead. CW: Spoilers for The Magnus Protocol episode 18, "Solo Work" under the cut.

Episode 18 finally gave us the Sam and Gwen interaction I (and I think a lot of others) have been so desperate to finally see, and boy oh boy do I have Thoughts… none of which are new per se, but Sam’s reaction to Gwen dropping the Bonzo Bomb seems to have reinforced  the way I’ve been reading (and projecting in fanfiction oops) Sam, his personality, and his motivations.

Out of everyone new we’ve been introduced to so far, Sam has by far gotten the most explicit development and conversation around his personality. Even before episode 1, folks who participated in the ARG got a preview of our favorite baby shrimp’s personality through access to the child database spreadsheet that was, presumably, used to document the results of the experiments run on children participating in The Magnus Institute’s “gifted and talented program.” From this spreadsheet, we can gather that Baby Sam is logical, empathetic, works towards the benefit of others (prosocial), and fair… but also a rule follower and highly willing to follow the lead of an authority figure, even if it is in conflict with his personal views. The picture this information paints is an interesting one, but when taken in a vacuum leaves us with an impression of Sam as someone who is kind but lacking in backbone.

This idea of Sam as “kind but lacking in backbone” is further reinforced in canon, as Alice of multiple occasions rags on him for being “noodly” and “ickle fawn” and a “baby shrimp,” all seeming to highlight that Sam has the sort of helplessness about him typically ascribed to sopping wet kittens and baby birds. And I think that if we view Sam’s outburst when Gwen brings up Bonzo through this lens alone, it’s going to seem WAY out of character for him and a downright cruel response.

Now while I do believe that Sam is empathetic and fair and, sometimes, a little helpless, I’ve been inclined to believe from early on that much of Sam’s affable self-deprecation is a way to cover or soften what can be, at times, a tendency to be hard-headed, temperamental, a little manipulative, and petty (and I’m totally not just saying that as a people-pleaser-and-gifted-kid-in-recovery who has been projecting hard on Sam since Day 1). And it’s this second batch of personality traits, the ones that make Sam so real and interesting to me, that I think set up the disaster of a conversation between Sam and Gwen.

We have definitely seen hints of Sam’s hard-headedness and manipulative leanings in previous episodes: it comes out most often around Alice, showing his stubbornness in the form of refusing to give up his lines of questioning and curiosity about what is happening in the cases and at the OIAR; and revealing his willingness to manipulate a situation the form of subtly redirecting Alice’s focus away from prying into his crush on Celia and during the mocha incident (I have, of course, already explored Sam’s manipulative tendencies in my totally comprehensive shitpost).

And we’ve even been shown at times before episode 18 where Sam can be petty, his buzzed insistence that Alice try and keep things “professional” at work after his date with Celia being at the top of the list. The case headers filed for “Putting Down Roots” and “Pet Project” also suggest to me Sam’s ability to be stubborn and petty: in both instances, Alice and Gwen suggest a different classification than the one that Sam ultimately files. In the case of Gwen in “Pet Project,” she’s dismissive of him when he tries to ask if she’s all right.

While there’s no way to know for sure, I interpret this interaction as part of the reason why Sam ultimately disregarded Gwen’s suggestion for how to file the case—she shut him down and shut him out, and the petty part of his heart couldn’t resist ignoring her recommendation out of spite. This scene also begins to lay the foundations for Sam and Gwen’s interactions in episode 18 and, I suspect, the rest of the season.

So with all of this in mind, let’s look at episode 18. When Gwen emerges from Lena’s office, Alice has just finished shutting Sam down, again. Throughout most of this season, Sam has been desperate for some validation that the cases they are listening to are real, that whatever happened to him at The Magnus Institute was real, and that him pursuing this line of questioning and wanting to find answers isn’t a waste of his time. Alice has, of course, been not-so-gently nudging him away from this line of thinking for most of the season, while Gwen has been icing him out about it up until this point. Just about the only one who has given his questioning any air has been Celia who is, conveniently, not there. Even after Alice has her very own supernatural experience that is reaffirmed in the case Sam receives, she strongly pushes back on his idea that they should investigate and pursue this further. He understands why she doesn’t want to learn more, but it’s clear that he’s still frustrated at the end of the conversation.

Enter Gwen. Here, for the first time, it seems like she’s opening up about what is going on at the OIAR, and Sam is immediately hooked, even dropping his softer and sympathetic side when Alice tries to redirect with one of her classic barbs.

After being shut down time and time again, Sam is so eager for confirmation that there is more to all of this than meets the eye. And then Gwen says the B-word, and Sam loses it.

Sam is laughing here, but honestly? I think he’s angry, and his reaction is one of complete disbelief that Gwen would set him up like this just to, in his mind, take the piss out of him. He thinks that, at best, Gwen is having a breakdown and he’s once again being shut out or, at worst, Gwen is making a joke at his expense. Now, he’s used to being the butt of a joke thanks to being friends with Alice, but despite that we’ve never heard him call her an asshole the way he does Gwen. Temperamental and petty, turning around his hurt and anger over being stonewalled again and again to lash out at Gwen with his joke.

And honestly, can you blame him? (I can’t.)

Of course this wasn’t the ideal reaction. I have been waiting for Sam and Gwen to have a serious heart-to-heart about what’s going on forever, and Sam pretty much blew that chance without even realizing it. And I would be surprised if we get an apology out of him anytime soon, not only because this interaction is likely to push Gwen away from wanting to even be around Sam, but also because he’s not going to believe that Gwen wasn’t making fun of him or that Gwen isn’t having a delusional breakdown until he sees Mr. Bonzo with his own two eyes.

I also think this conversation would have gone very differently had Celia been there instead of Alice. Sam’s slew of psychological testing suggests he’s willing to follow the leader, and in this case he doesn’t seem immune to Alice’s general dismissiveness of Gwen. He may have even been primed to lash out at Gwen in this moment because Alice is constantly ragging on her; chameleon-like, he’ll take on the shade of the strongest personality when he’s on uncertain or dangerous footing. It’s almost a guarantee that Celia would have taken Gwen seriously, not only because she’s likely from or connected to the TMA-verse of horrors, but also because it was Celia who received the first Mr. Bonzo case. And had Celia been there to temper the disbelief, Sam would have absolutely been ready to hear Gwen out in full. I honestly cannot wait for Celia to be back in office; she’s going to walk in to these new, rancid office vibes like Troy from Community walking into the whole room on fire while casually carrying the pizza.

So, what do I think this means for the rest of the season? Well, the title of this episode seems telling: Solo Work. Gwen and Sam’s respective desires for their experiences to be validated and their goals to be taken seriously paired with the seeming dismissiveness of those around them are going to push them along their separate paths, dangerously alone. And I suspect that it is only going to be Celia or, more likely, an encounter with Bonzo, that is going to put them back on the same path—if it happens at all. Good luck, babes!

[casscainmainly]

you’re soooooo right for the cass and jason stuff. i am obsessed with how their views make them behave in their own separate selfish ways. cass needing to believe people can change and be redeemed because she herself needs to believe she can be redeemed…… im thinking specifically in batgirl where she tries to save a murderer from death row. saying “maybe he changed” to the victims mother….. and then everything with jason really, the way he can’t see beyond how he was a victim to see how he has hurt and victimized others. how he has made himself into someone who really can’t see beyond his own tragedy in many ways… how he sees bludhaven literally blow up but refuses to let bruce leave to find Dick

YOU'RE so right because it's easy for people to side with Cass or Jason only, but it's more interesting to see it as neither being 100% in the right. That issue in Batgirl is literally so good - as this post points out, the crime the guy was in prison for was most likely a hate crime. The motive doesn't matter to Cass, since her belief is that no one should die, but it's deliberately disquieting that she doesn't stop to consider the victim until the victim is actually in front of her. Her point of view is focused around redemption and absolutes, to the detriment of justice and specific circumstances.

Jason, on the other hand, is so focused on justice that he has trouble making room for redemption. His is a situational ethics (in contrast to Cass' moral absolutism), which can be good in certain instances (like, debatably, killing the Joker), but can lead to really muddied actions and reasoning. Jason, like Cass, is fundamentally compassionate, but his actions are calculated in a way Cass' is not, leading him to sometimes lose sight of saving lives as the original goal.

Bruce, Jason, and Cass form a really interesting triangle of people whose views on murder are irrevocably tied to the perspective they witnessed the defining murder of their lives in. It's why none of them (yes, even Cass and Bruce) can ever truly understand each other, but also why they have a lot in common. Idk it's just very interesting to think about!

[artbyblastweave]

I think about Star Wars a lot more than I post about Star Wars, and I've had some free time recently to type up some thoughts on Episode 7 that've been swirling around in my head for a couple of years. There were a few ideas and plot beats, and moments of apparent self-examination in Episode 7 which I thought were fairly compelling, even though they ultimately paid no dividends:

First was Finn’s character concept. “Star Wars as experienced from the perspective of a Stormtrooper undergoing a crisis of faith” is a rich hook; humanizing and giving a face to what's basically the platonic implementation of the faceless mook. Unfortunately, the potency of the arc was undercut by the pre-existing textual ambiguity as to what stormtroopers actually are. Star Wars extended canon has settled on the idea that each trilogy features an entirely novel cohort of white-clad mooks, each with a fundamentally different underlying dynamic. The clones and the First-Order forces are different flavors of slave army; in contrast, the stormtroopers are more frequently portrayed in the expanded universe as military careerists, stormtrooper being a thing you work up to rather than a gig for a fresh conscript. A slave-soldier who defects is a very different character from a military careerist who defects, and they invite different analysis. There's a bait-and-switch going on here, in that Finn gestures in the direction of the familiar OT stormtroopers but can't comment on or examine them because he's actually part of a novel dynamic invented for the new movies. And there's one final nail in the coffin here, signaled by the number of times I've had to invoke the expanded universe so far. When Finn debuted, the racists were of course, legion, but I also ran into a number of people who were sincerely confused as to why they'd recast Temuera Morrison. Going off the seven films that existed at the time, it wasn't unreasonable to read the prequel trilogy as an origin story for where the OT stormtroopers came from. Going only off the nine films that exist now, it still isn't unreasonable! It's muddied from so many different directions by their failure to establish the ground rules in the mainline films before they tried to put on subversive airs about it. I am still irritated by this.

Next up is how Han Solo was written. I actually liked the tack they took with him quite a bit. Because initially, right, his role in the movie is just to be Han Solo. He's back, and he hasn't changed! He's still kicking ass and taking names, he's still the lovable scoundrel you knew and loved from your childhood- and the principle cast members react to his presence with the same reverence the film's trying to invoke in the audience, they've grown up hearing the same stories about him. Except that episode 7, at least, is also very aware of the fact that if Han Solo is still recognizably the same guy thirty years on, it indicates that things have gone totally off the rails for him. We find out that the lovable rogue routine is the result of him backsliding, his happy ending blown up by massive personal tragedy rooted in communicative failures and (implicitly) his parental shortcomings. It feels deliberately in conversation with the nostalgic impulse driving the entire film- here's your childhood hero back just as you remember, here's what that stagnation costs. And it also feels like it's in conversation with what was a fairly common strain of Han Solo Take- the idea that Ep. 6 cuts off at a very convenient point, and that Han and Leia's fly-by-night wartime relationship wouldn't survive the rigors of domesticity. Obviously, that's not the only direction you can take with the character; the old EU basically threaded the needle of keeping Han recognizable without rolling back his character development gains. But it felt like they were actually committing to a direction, a direction that was aware of the space, and not a reflexively deferential and flattering one, which at the time I appreciated! The problem, of course, is that for it to really land, you need to have a really, really strong idea of what actually went down-of what Han's specific shortcomings and failures were. And given the game of ping-pong they proceeded to play with Kylo Ren's characterization, this turned out to be. Less than doable.

Kylo Ren is the third thing about Episode 7 that I liked. His character concept is basically an extended admission by the filmmakers that there's no way to top Vader as an antagonist. Instead, they lean into the opposite direction- they make him underwhelming on purpose. Someone who's chasing Vader's legacy in the same way any post-OT Star Wars villain is going to, pursuing Vader's aesthetic and the associated power without really understanding or undergoing the convoluted web of suffering and dysfunction that produced Vader. It's framed as a genuine twist that there's nothing particularly wrong with his face under that helmet. Whatever it takes to be Vader, he doesn't have it, and he knows that he doesn't have it, and the pursuit of it drives him to greater and greater acts of cartoonish villainy. The failure to one-up Vader is offloaded to the character instead of the writers, and it was genuinely interesting to watch. For one movie. The problem, of course, is that if the entire character archetype is "Vader, but less compelling," you can't try to give the bastard Vader's exact character arc. You can't retroactively bolt on a Vader-tier tragic backstory when you spent a whole movie signaling that whatever happened to him wasn't as compelling as what happened to Vader. You can't milk his angst for two more movies when it's the kind of angst on display in "Rocking the Suburbs" by Ben Folds!

There's a level on which I feel like Moff Gideon was a semi-successful implementation of Vader-Wannabe concept; he's the same kind of middling operator courting the Vader Aesthetic for clout, but he's doing it in the context of the imperial warlord era, where there's a lot of practical power available to anyone who can paint themselves to the Imperial Remnants as a plausible successor to Vader. Hand in Hand with this obvious politicking, Gideon is loathsome, which relieves the writers of the burden of having to plausibly redeem the guy; he's doing exactly what he needs to do and there'll never be a mandate to expand him beyond what his characterization can support. Unfortunately, the calculated and cynical nature of how he's emulating Vader precludes the immaturity and hero-worship elements on display with Kylo, which is unfortunate; the sincerity on display in Kylo's pursuit of authenticity is an important part of why he worked, to the extent that he worked at all, and it'd be worth unpacking in a better trilogy. As he stands Kylo is a clever idea, and that's all he is- he lacks the scaffolding to go from merely clever to actively good.

[ariainstars]

Why Can’t the Star Wars Franchise Renew Itself?

„Shame is a soul eating emotion.“ (Carl Gustav Jung)

Warning: longer post.

Growing up with Japanese anime I learned that being a hero is not about being perfect. The heroes I knew looked cool, were smart and brave and anything you could wish for, but also human: they were tormented, traumatized, struggling, they often doubted themselves and they sometimes cried (yes, the guys too). When I was first confronted with the Western idea of heroism I was appalled; to this day, I can’t fathom what is even supposed to be heroic about a guy like James Bond. Western heroes are usually just as terrible as the villains, except that for some reason they happen to be on the right side. The way they appear is more important than what they do. Franchises like Terminator, Mission Impossible, Batman etc. always portray the “hero” as untouchable, seemingly unbeatable even in the most dangerous situations and, most of all: impassive.

These days, new stories are being told. With new heroes. Except that said heroes are still quite the same as above, only now they’re more often female.

Is it an improvement when heroes are portrayed as being complete a**holes, with an aura of perfection and untouchability? No.

It always was ridiculous. It always was awful. It always was immoral.

But hardly anyone seemed to care as long as it was the guys being tough. Now that females are often portrayed doing and appearing the same, being a cool a**hole has become a caricature. Most people hate it. But the problem is that portraying alleged “heroes” like that was wrong in the first place.

The Fandom Menace

To Star Wars viewers who see stories as simply black and white and who are there mostly for the action and the superior-looking heroes, the Jedi are untouchable. Solitary and aloof, the Jedi have shiny sabres and can make things float, they travel the galaxy to kill the villains according to their own judgement. What could be more masculine than that? You try to tell an action film fan, or a Jedi fan, in particular, how messed up that is: they will never accept it. No wonder they get so upset and embarrassed when Jedi show their vulnerable, human side. Luke’s green milk in The Last Jedi must have caused a million of meltdowns among Jedi stans, mostly male ones, who felt that their hero had been character-assassinated and totally missing the point. Fans who are used to admire “heroes” like Batman, James Bond, Rambo etc. believe that the main characteristics of a male hero is a stoic appearance. A man who actually questions and doubts himself and feels guilty when he did wrong is automatically branded a loser.

Star Wars is mostly followed by action fans. But since it’s not a typical action franchise but an epic fairy tale and a metacommentary rich in symbolism, philosophy and psychology, there are also many intellectuals who love it, or hopelessly romantic souls like me. Except that fans who can actually enjoy Star Wars even when it’s not about the alleged Jedi superheroes, will most probably not send death threats to the studios and believe that “everything will be better once these producers are gone.”

The Prequels

The prequels were so disputed that Goerge Lucas himself confessed that he had sold the rights to the saga because he didn’t want to be exposed to that pressure any more. Ahmed Best, who played Jar Jar, was mobbed to the point where he considered suicide. Jake Lloyd, who portrayed little Anakin, suffers from schizophrenia to this day.

Were the films really that bad? No. But for the first time after having spent the years since 1977 believing that the Jedi were the wisest and strongest men of their time, fans were let down being confronted with their many mistakes. The iconic villain Darth Vader was all too human as well, and quickly got apostrophized as a “whiny brat.” The very idea that the iconic villain once was a kind-hearted little boy and then an ardent young man was considered shocking to say the least.

The Classics

Luke is a simple farmboy when the saga starts, young, hot-headed and naïve. He is hardly aware of his powers. In the second film he’s more mature, but still impulsive and reckless. It’s only in the third instalment that he’s calm and collected: he’s a Jedi now, as the title says.

Let me ask a bold question.

Would there have been the vicious uproar we have witnessed, had The Last Jedi picked Luke up where he was in the first two films, before he became a Jedi?

I daresay, no.

Because to the Jedi stans Luke is first and foremost a Jedi. And that is what they get wrong.

Luke’s strength was exactly that he did not act like the other Jedi, that he followed his heart instead of their maxims. Had he acted like a Jedi, like Obi-Wan and Yoda expected him to, he would have killed his own father and spent the rest of his life hating himself. Luke is a team player, it’s one of his greatest strengths ever since the first film. He’s the one who brings people together and reunites his family. No Jedi is like that, on the contrary, in the prequels we learn that they’re discouraged from bonding with other people.

Jedi stans love Luke the Jedi, not Luke the person, who was wiser and stronger and better than any of the old-school Jedi, who strictly followed the rules instead of following their hearts the way he did.

Luke is the central character of the classic films because he’s so likeable. All three classic films have a scene towards the end where he’s about to die, and someone rushes to the rescue - Han in the first film, Leia in the second, Vader in the third. Do they save him because they are interested in his Jedi-like qualities? No. They do because they care for him; because, each in his own way, are his family. The Skywalker saga is a hymn to the power of love.

Hardcore fans still haven’t understood that the core story of Star Wars is the Skywalker saga, the story of a family. That’s the actual beauty and fascination of the Star Wars saga. And yet Jedi stans can pick apart any and every photogram of The Last Jedi and rant about how awful it is, never getting one inch closer to what is actually irking them too much: their own, misguided conviction that The Jedi Are the Good Guys and that their detached, collected attitude is not hypocritical.

Pride, male pride in particular can be oversensitive, and apparently many don’t grow beyond the mental stage of adolescents, who are particularly vulnerable. Listening to Jedi stans one would think that the Disney studios are producing new Star Wars content with the deliberate intention of hurting their feelings and laughing into the face of their ideals.

The Sequels

In Return of the Jedi (the only film where for all intents and purposes Luke looks and acts like a Jedi, and the title says it), on the Death Star he lashes out towards Vader when he threatens to corrupt Leia if he won’t succeed with him; and when he realizes that Vader can feel him in his mind, he says “I shouldn’t have come, I’m endangering the whole mission”. This fits perfectly to a Luke who debates killing his nephew - and that time he didn’t even strike - and who, once the damage is done, closes himself off the Force and retires to a deserted island before he can do any more harm. But ever since The Last Jedi, Jedi stans rave that “their hero” Luke Skywalker would never have behaved like that and that the film was a slap in the face of everything he ever stood for. Why?

Jedi stans expected Luke to be the hero and central figure of the sequel: he was supposed to be adult at last, wise, self-controlled, powerful, in other words the perfect Jedi. After the events on the second Death Star, Luke was not celebrated; no one even knew that Vader had saved him. In the final scene he had a vision of his father, now looking healed and serene, together with Yoda and Obi-Wan. No one else saw that, not even his sister. So, a lot of fans were waiting for Luke to have his big moment at last.

Instead, they saw a disillusioned hermit who at one point had to admit that he pushed his own nephew, albeit not on purpose, to the Dark Side. Luke was portrayed as a man who still had hope and strength even when he had seen his whole life’s work literally go up in smoke; who admitted his faults, apologized, and in the end gave his life to still make the best of the situation. That is what true heroism looks like. But it’s not what an average action moviegoer wants to see: to them, a hero looks cool, kills whoever gets in his way, maybe says some wise-sound words, and that’s it. Bonus if he gets the girl.

Jedi stans felt that Rey, was taking the shine from Luke, pushing him aside. Far from usurping his place, Rey said to Luke “I need someone to show me my place in all this”. She clearly didn’t want to fill in his place. But Jedi stans felt like they were watching a James Bond film where Bond is suddenly not convinced of his mission, doubts himself and steps aside to make way for someone who normally would only be a Bond girl.

Rey is one of the most controversial characters of the sequels, allegedly because she’s a Mary Sue or a feminist fantasy who didn’t earn all that she achieved. But in the classics Luke was also good at things we never or hardly had seen him training or learning before. In The Empire Strikes Back, he pulled his sabre into his hand only by the force of his will, and called out to Leia in his mind. He acted on instinct; he assuredly hadn’t trained at a Jedi temple for decades.

The sequels were the story of the third generation of the Skywalker family, and one of its main mistakes, the way I see it today, is that they focus too much on Rey. She is Ben’s other half in the Force, as we learn later on, but still: the scion of the Skywalker family is he, he is the one who changes deeply, while she doesn’t.

I like Kylo Ren / Ben Solo because he’s a complex character, well-written and interpreted, but not only for that. I understood him so well on a personal level. I know what it means to be so isolated and abused that the moment someone shows you only a glimpse of kindness you fall in love to the point you would do anything for that person. The actual problem was that Rey did not know what she wanted, or what the Force wanted her to do. She only told Ben “not to go this way”. He saved her life twice, once as Kylo (when he killed Snoke) and once as Ben (when he gave her his remaining life force). If she had known what she wanted apart from staying alive, or if she had known the will of the Force, I do not doubt that he would have done anything she wanted. But she didn’t.

Star Wars stories only develop and the heroes only have success when they know what they want, not what they want to avoid. Fair enough. But the Force’s will remains mysterious. Even the alleged Chosen One didn’t know it. After The Last Jedi, I naively assumed that the better times when the Jedi actually did the will of the Force and the galaxy was at peace was during the time when the temple of Ahch-To was built; that we would learn more about it and that new Force users would find back to these better times. Seven years after having seen the Force Balance mosaic on the floor of the Jedi temple, I’m still waiting in vain for one or more Force users to actually discover and share said balance.

Obi-Wan Kenobi (2022)

The miniseries Obi-Wan Kenobi was the first and only time that I actually liked a character who I had until then felt to be narrow-minded, haughty and largely responsible for Anakin’s damnation and the downfall of the republic.

“From my point of view, the Jedi are evil!” Anakin Skywalker in Revenge of the Sith

Obi-Wan proved that Anakin was right a few minutes later: he ended the duel with Anakin cutting off his legs and leaving him to burn in the lava - a Jedi does not soil his hands through a coup de grace. Obi-Wan did not manage to save Anakin in the moment of his greatest need, and he did not have mercy. Padme was about to take Anakin with her, which would at least have spared the galaxy the worst. Being the perfect Jedi, of course Obi-Wan had to interfere, setting the seal on Anakin’s fate. At the beginning of the same film Anakin killed Count Dooku who was kneeling handless in front of him; and it was also said that Anakin had saved Obi-Wans’s life ten times over. But he did not learn from his mistakes: twenty years later he tried to push the naïve Luke to patricide, so that is own hands would, again, not get dirty. Obi-Wan recurrently appeared to Luke as a Jedi spirit; but in The Empire Strikes Back when the traumatized young man, having learned the truth, repeated over and over, „Ben, why didn’t you tell me?” he was silent. When they did meet again, he shirked his responsibility with wise-sounding words.

Was Obi-Wan a good Jedi? From their perspective, undoubtedly. But I would not call him a compassionate human being. Obi-Wan was afraid not so much of Anakin but of the Jedi’s judgement: he knew that if Anakin tripped over a line, he as his master would be responsible. And Yoda had his fair share of responsibility - he refused to help Obi-Wan with the training of the powerful boy, he feared him although he was the one who clearly said that fear is the way to the Dark Side, and in Revenge of the Sith he practically ordered Obi-Wan to kill him.

Obi-Wan was always the first to draw the weapon. In A New Hope, he cut off the arm of a guy at a bar who was merely annoying him. In Revenge of the Sith, he attacked General Grievous showing up behind him, challenging to an uncalled-for fight. He had neither himself nor anyone else to protect right then. During his duel with Anakin / Vader in Obi-Wan Kenobi, he also was the first to draw his weapons.

Obi-Wan never questioned himself, his choices and actions. He never took his responsibilities: even when dead, he justified his blatant lie to Luke saying that the truth is only a point of view. He never felt guilty or admitted defeat and wrong choices.

Not until Obi-Wan Kenobi, where was alone, traumatized, regretful, bonding with little Leia. Owen said clearly him that he did not want him to train Luke because of the way he had trained his father. Human at last! The last thing Jedi stans want him to be like. He even did what a Jedi actually ought to do, giving Reva spiritual advice. Of course, another Star Wars character who was accused of having been “character assassinated”.

Was Moses Ingram attacked for her portrayal of Reva because she’s a woman of colour? No, it was because Obi-Wan was not portrayed as Jedi stans wanted to see him. The actress was mobbed because they needed someone to project their hatred on. It’s true that her character was not written well, but any fool must have known that it wasn’t the actresses’ fault.

The Acolyte (2024)

“The Jedi live in a dream. A dream they believe everyone shares. If you attack a Jedi with a weapon you will fail… But an acolyte kills without a weapon. An acolyte kills the dream.” (The Stranger)

„The majority of my colleagues can’t imagine a galaxy without the Jedi. And I can understand why. When you’re looking up to heroes, you don’t have to face what’s right in front of you.“

„I think the Jedi are a massive system of unchecked power posing as a religion. A delusional cult that claims to control the uncontrollable. You project an image of goodness and restraint. But it’s only a matter of time before one of you snaps. And when, not if that happens, who will be strong enough to stop him?”

(Senator Rayencourt to Master Vernestra)

Did anyone at Disney Lucasfilm honestly think that this kind of show would be accepted and even loved by Jedi stans, who make up the majority of the fans - or at least a group that is very loud in their disapproval? If it “simply” was a bad tv show, fans would be disappointed, shrug it off and move on. I haven’t met such an amount of online vitriol since The Last Jedi, and it’s not difficult to see why: because the precious Jedi were shown as arrogant fools who believe they mean well but are too narrow-minded and stuck-up to see the errors in their ways.

„The Force does not belong to the Jedi.” (Luke Skywalker in The Last Jedi)

Some in the galaxy far, far away call it The Thread. And use it their own way. Both ways might be wrong. Osha is raised by two very different mentalities and finds both don’t suit her, so she joins The Stranger who is also looking to find his own path. Whether they will or not we won’t know unfortunately, since the show’s second season was cancelled. (At least for now.)

Is Master Sol a bad person? No. He’s fallible and believes that the lies he told Osha are justified. So are the other Jedi that travel to Brendok with him. What makes Jedi stans hate them is that they actually feel guilty for what they did to Mae, Osha and their family. They take responsibility for their failure, see the narrow-minded arrogance of their ways. Vernestra lies to the Jedi Council to make sure they won’t find out what happened.

Sol took Osha away from everything she had known by destroying, in the process, her home, her past and her family, and letting her live in a lie for the next sixteen years. Sol knew that she was already too old to be trained, and taking her as his padawan he set her up for failure. Even when she left the Jedi order, failing the tests, he didn’t tell her the truth. Osha was condemned to loneliness, her only friend being Pip, a mechanical device. She could go back neither to Brendok nor to the Jedi, and being Force sensitive, she belonged nowhere until she met the Stranger.

Sol certainly was kind to her while he trained her, but for all the wrong reasons. He said that he “felt that Osha was meant to be his padawan”. What does that mean? Osha failed the tests and Sol knew she was already too old for training. He even said he loved her at one point. My take is that Sol felt lonely and wanted to raise her as his daughter, he did not care that much about Osha becoming a Jedi nor not. Osha was right confronting him about what he had done to her, her sister and her entire coven, allegedly knowing what was best for her. She didn’t have to go as far as to kill him, I found that it did a lot to make her character unlikeable. Osha effectively “killed the past”, the way Ben Solo had wanted to. However: if it’s immoral to kill your father figure, it is equally immoral, if not much worse, of said father figure to wipe out your family and its entire civilization with it just to get a hold on you because you have the same power as he.

Impossible!! A Real Jedi would never do that! That’s why Jedi stans hate on the show and will pick on every small detail where they believe they find a flaw. The actual flaw is their headcanon that the Jedi can’t be the problem. Watching the saga, you see that they were very much a problem. But woe if you speak up; your will get your head ripped off.

The Acolyte also isn’t a female fantasy, as his haters claim. The strongest and most impressive character is The Stranger (the Stranger). Mae is his first pupil, but she doesn’t connect with him on a personal level, she only learns fighting from him; in the end, this makes her regress to childhood (The Stranger deleting her memory and she finding herself helpless in the Jedi order the way her sister had been sixteen years earlier). So? It appears that just wanting to be a strong female character and to do what a guy shows you is the wrong way, which is certainly not feministic.

The Stranger, despite his black clothes and mask, is not a real villain: when you watch him fight you see that he defends himself, he never attacks first. Despite their Code, again we see Jedi draw their weapons first, attack from behind or ten against one. He rightly points out to Osha that Yord had arrested her for a crime she did not commit and that both Jecki and Sol, whom she saw as her friends, would never commit fully to her.

Another popular criticism is that The Stranger alias The Stranger allegedly has seduced Osha to the Dark Side with his male charms. But the Stranger is a mixed creature the way Osha is, neither good nor evil; he kills in defence or self-defence, and when he criticizes the ways of the Jedi he has a point. Osha is neither good nor evil herself, and I liked that they were starting on a new way together, all the more because I had been so disappointed that the sequels didn’t show us the much-needed and already announced Balance in the Force. When both Anakin and his grandson Ben came back to the Light side, it swallowed them whole, causing their death.

The Acolyte is a metaphor for growing up. Osha learned two ways of using the Force - first with (mother) Aniseya, then with Sol (father figure). The Stranger understands her doubts because he’s been through the same. Osha understands him better after putting on his helmet. In the end, they join their lives to find a new way together and in the final scene, both turn their backs to the past.

The Broom Boy: a Metaphor for the Future

The final scene of The Last Jedi with the Force-sensitive slave boy sweeping a floor before an open space which looks very much like a theatre stage, and who then looks up to the stars dreaming of being a Jedi, was clear: “Free the stage, now it’s time for us, the children.” There has hardly been a Star Wars show until now where there wasn’t a child in a central role.

Since the prequels, Star Wars made a point of showing that the Jedi are very bad at dealing with children. Anakin was taken away from his mother at age nine, shouldered with the prediction “You are the Chosen One”, and his emotional development was stunted because he was not allowed to go through the stages of being a normal child and teenager. Remember Attack of the Clones, where we see children playing around with light sabres - deadly weapons - like they were toys? Or Revenge of the Sith, where we see even smaller children, all with their light sabre tucked into their belts? It looks tragic. The scene where Anakin kills the children is a painful metacommentary on how a good person with a gun is no match against a bad person with a gun.

Sol: „She was just a child.” The Stranger: „You brought her here.”

In The Acolyte, Torbin and Jecki are heartbreaking examples of two Jedi padawans not allowed to be the teenagers they actually are. Jedi stans call Torbin “whiny”, but they overlook that his behaviour is normal for any teenager forced to be away from home for weeks on end on a trip he didn’t choose to make. Jecki is more mature, yet she gets killed. The Stranger rightly points out that they both should never have come along on a risky mission to a planet with wholly unknown dangers. Jedi stans of course despise Torbin, because he’s supposed to be proud to be part of the Jedi since it gives him the possibility to look cool and fight all the bad guys in sight. Ironically, Torbin is the only member of the group of Jedi on Brendok who feels that something dreadful is about to happen and wants to go away. And years later, he is the only Jedi who admits to Mae that he feels guilty for what they did to Osha and her covert believing “they were doing the right thing”. That’s simply not what Jedi stans want to see. It’s an aberration to them, a slap in the face of everything they believe in.

Luke did not learn his ideals from the Jedi, he learned them at home with two simple farmers who neither were Force-sensitive nor knew the ways of the Jedi. Had he been raised like his father, all his power wouldn’t have helped him. Why do the Jedi insist that at a certain age you’re too old to be trained? I daresay because you have to start with brainwashing very early, before a person’s character is formed and its ideals in place.

The Mandalorian always allows Grogu to be a child. He keeps him close because that’s where’s he’s safest; he does look for safer places where he could leave him and is ready to make the sacrifice to give him up, but Sorgan proves not to be safe and later on Ossus, Grogu chooses to leave Luke on his own accord. And as soon as he is with Mando, he shows his playful side again. Grogu needs that! It’s healthy, because a child needs to be a child, no matter how powerful it is. But Jedi stans only think that it must be a great honour to be trained to be a hero from childhood on, never considering that it’s unfulfilling and frustrating at best, and traumatizing at worst.

It’s not a coincidence that family is the core theme of the Skywalker saga. Children who grow up feeling loved and protected develop well. That’s a wise message, and The Bad Batch, Obi-Wan Kenobi or The Mandalorian made a good point of it. But still: until now it didn’t lead anywhere. None of the Force-sensitive children we saw until now pointed to a new and better new Jedi Order, or anything else of that sort.

Star Wars Bigotry: Jedi and Jedi stans

If the Force wants Balance, as is said in the prequels, then the Jedi must be just as wrong as the Sith, because the Force does not want to be used either way.

I don’t mind a good villain. But if a viewer needs to compartmentalize characters into black and white or else he believes it can’t work, then that’s his problem, not the author’s. The sequels were unclear as to who the villain was, so was The Acolyte, so Jedi stans rave about how they suck. In my opinion they’re interesting exactly because the good guys sometimes do wrong and the bad guys sometimes are right. Of course, anyone who’s adamant that a good story, in particular a good Star Wars story, has to be Good Guys against Bad Guys with the Jedi being the good guys will never accept that.

The Jedi worshippers are many, and they are the most vicious among the SW fandom. Woe if you dare to criticize their Flawless Heroes with shiny light sabres who make things float. They will pretend that „wokeism“, feminism, blackwashing etc. are the problem. But that’s not true. Most of them wouldn’t mind strong female characters, queer or black characters whatsoever as long as the show they appear in would actually focus on showing off the Jedi as heroes. They do not mind stories like The Mandalorian, Rogue One, Andor, or The Bad Batch, they usually like them: because the Jedi hardly appear there. Or if they do, like in The Mandalorian season 2, The Book of Boba Fett or Ahsoka, they kick ass. In The Force Awakens Han Solo, also a very popular character, got killed, and no one hated on that film, on the contrary, most fans loved it. But hey, Han is not a Jedi. He can die a seemingly senseless death.

The Book of Boba Fett was mediocre at best. But it wasn’t hated. On the contrary, a lot of fans loved episode 6 because they finally saw a young Luke as a Jedi master making frogs float (argh!). The Jedi taught their pupils to suppress their feelings and to live without attachments, an attitude that proved fatal. Yet Jedi stans love the idea, probably because of the age-old adage of the lonesome cowboy who is too cool and aloof to care for anyone. They loved seeing Luke as an adult Jedi master alone and cut off from the very people who had been his life and purpose until then. He trained Grogu but didn’t play with him, didn’t allow him to be a child. It was the contrary of everything the character ever stood for - family, friendship, team spirit, loyalty. Of course that was not seen as “character assassination”, apparently that’s exactly what they wanted to see.

Many Star Wars fans believe that Luke Skywalker and the Jedi stand in for certain values, which they claim as their own. These values are their own values; they have only chosen a person and a group to represent them. If you believe that Star Wars is about Good vs. Evil and that the Jedi are the heroes who always triumph, of course you will be disappointed by the new stories. The studios are not deliberately harming the franchise, it’s the fans who want the saga to fit their worldview. They hardly care for what the stories really tell them. Someone who e.g. is convinced that all Frenchmen are cheaters and liars will also see a Frenchman and see in him the embodiment of everything he despises; he will not care to get to know this man better, or to learn about his country and his culture. And if said Frenchman has success in his life and is popular, the worse. It’s unacceptable. And anyone who does not hate this particular man is an idiot.

Bigotry has many forms, it doesn’t only mean despising and not wanting to understand people from another race, religion, orientation etc. The Fandom Menace’s bigotry consists in worshipping the Jedi and hating anything that criticizes them. Bigotry is the firm conviction of being Good, and supporting who also is “Good”, whatever category those good people are supposed to belong to. A bigot is a stern denier of his own sins and inner darkness. Either you’re with him or against him. Bigoted people are capable of fighting tooth and nail against perceived “enemies” who threaten their ideal of the “goodness” they believe in and think they belong to. Unfortunately, Jedi stans have many channels on social media and many, many followers who would rather die than see the Jedi as anything but perfect. A perfect person does not go wrong, of course. Ever. Their perfection prevents them from questioning themselves. A lot of fans don’t even watch the pieces of media they criticize at all, but hate on them anyway because their influencers tell them they suck. Bullies do not care who they attack. They feel frustrated, they can’t handle their feeling of shame, and take it out on who is or seems most vulnerable. And the worst bullies are those who pretend they are being aggressive out of morality.

“Wokeism” is Not the Problem

After the hatred coming from the fans who disapproved hotly of The Last Jedi, the narrative of this film was tainted and instead of finishing all the narrative threads it had set up, it was plainly ignored in favour of a pure action film, flat and disappointing. The Rise of Skywalker ended not only the trilogy but the entire saga in a way that I can only call disgraceful. On both sides, hardly anyone really liked it. But was it hated? No, because the Jedi were portrayed as the heroes, with even one ridiculous scene where the ghost of Luke appears to Rey telling her how wrong he had been when he was still alive.

Just for comparison: very many fans of Joker didn’t understand the film’s point as well. Todd Philips answered with the sequel Folie à deux, which is a logical continuation of the first film and boldly asks the audience to look at themselves and their wrong interpretation. The reviews are mixed - as with The Last Jedi, apparently you can only love or hate that film -, but Folie à deux is, first of all, a good film. In time, when the controversy has calmed down, it will be remembered as an excellent piece of art. The Rise of Skywalker is just embarrassing, and there’s no way it can age well.

The saga was indeed tainted, but not by Disney. Toxic fans who flooded social media with hate after The Last Jedi and sent death threats or tearful resentment to the studios did, resulting in the production of the flattest, most low-quality and uninteresting film Star Wars has ever seen, obviously patched together as a try to “amend” for what didn’t need to be amended for in the first place.

Star Wars’ strength is constant weaving between Good and Evil, good guys showing dark sides and bad guys having a point, interacting and learning from one another instead of killing each other. It could be a dream for film studios and authors, because it offers such rich tapestry for storytelling: the possibilities seem endless. But every time anyone dares to criticize Jedi or to show that an alleged Bad Guy still has a bright spot in his heart, and that he might have his reason for turning his back on the Jedi, Jedi stans cry out to heaven as if an inconceivable blasphemy had occurred.

If you like the sequels, you’re an idiot “Reylo” who believes she can fix the bad guy. Kylo Ren alias Ben Solo was the most deep, complex and fascinating character of the sequels, who went through a deep and compelling transformation. And no, he was not fixed by a woman’s love. But if you understand his conflict and follow him hoping for him to come back to the Light, you just “don’t get it that he’s the villainTM who wants to seduce an innocent girl to become evil”.

Same thing with The Acolyte of course, because there’s a scene where we see the non-Jedi-not-quite-Sith taking off his clothes. Of course the Stranger was “evil”; he wanted an acolyte, i.e. he did not want to be alone. What kind of guy is that, who does not embrace his loneliness?! The Strager - a guy - was he coolest character of all in The Acolyte and the only “relationship” we saw there was one between man and woman. But if you like that show you’re apostrophized as woke (which is still a mild word), because the author is a lesbian and the actress portraying the protagonist identifies as non-binary. That is neither true nor does queerness have anything to do with the show’s quality.

Luke exposed himself both body and soul to the Emperor, first almost falling to the Dark Side himself and then almost dying in the process, because he wanted to “fix” the Bad Guy, aka his father. And he actually did.

In The Bad Batch, the character of Crosshair goes from belonging to the heroes to betraying them and then going back again. In the last season his relationship with Omega is evenly balanced, they break free from imprisonment together. It’s one of the show’s best parts. But they are no Jedi, so that show is not hated on.

Jedi stans expect Star Wars to “stick to its roots”, i.e. tell stories where morals are as clearly cut as in A New Hope. They don’t consider that that expectation was already beyond all hope when The Empire Strikes Back came out, with its infamous key scene and all its implications, including the failure and hypocrisy of the Jedi.

Action films have taught spectators that real heroism is defined by the “license to kill”, i.e. the good guy is recognizable from the fact that he has the right - or believes he has the right - to kill anyone who stands in his way. Jedi stans love the idea that Jedi are the good guys because, not having attachments, apparently that gives them the right and to decide who must be sacrificed by them “for the greater good”. I would like to see them in a situation where someone, maybe even someone they love, tells them “Oh well, now I’m going to sacrifice you for the greater good.” It’s absurd and unbelievably cruel to pretend that such an attitude has anything to do with good morals. If anything, it ought to be the victim who decides that they’re sacrificing their lives, not some Jedi or other hero who allegedly has the right to decide over life and death.

Luke Skywalker himself sacrificed himself over and over. He did debate to kill his nephew, but it was only a brief moment of panic on his side, he didn’t go through with it, and afterwards he felt so ashamed he exiled himself. Luke’s trademark characteristic was his compassion; whereas we never see a Jedi act out of compassion. And believing that having no attachments because it gives you the licence to sacrifice someone “for the greater good” is everything but compassionate. But even the greatest Jedi and Luke stans don’t see any contradiction there.

Do the Jedi stans really expect a white male straight character as the lead? No. Most of them for instance were fine with Jyn Erso being the protagonist of Rogue One. But in that film, there was no Jedi. When the sequels, Obi-Wan Kenobi or The Acolyte came out, they were upset because the non-white, non-male, non-straight characters seem adamant to take the place of who Star Wars allegedly ought to be all about. Jedi stans want a story where they can be on the side of the “good guys”, follow them sitting comfortably on their couch or in a theatre seat, identify with them and pump their fist in the air when “their side has won”. A lot of them do appreciate more complex stories like Andor; but their untouchable Jedi do not appear there, so there is nothing to hate on.

The classic trilogy’s topics were Hope, Love and Faith (the Force representing and tying together all three). The prequels had very little of all of that, because they’re the story of a tragedy and a massive failure; but what fans who like them apparently have learned from the prequels it’s that it must be great to be a Jedi, lonely and aloof and the master over life and death. Who wants Hope, Love and Faith instead of cool heroes killing everybody who stands in the way of what they decide is right?

Where Do We Go from Here

Star Wars will never have the chance to truly evolve and renew itself as long as there are people who will cry blasphemy any time a film or tv show dares to portray one Jedi or the Jedi as a whole as anything but perfect. Try to tell a Jedi stan that the Jedi perhaps are not the Good Guys after all (starting with Luke Skywalker after his third film): it’s as telling a staunch Catholic that Jesus was not the Son of God. They will fight you literally like their soul depended on it.

The unpardonable fault, in the eyes of Jedi stans, is not diversity the way it’s often mistakenly interpreted; it’s the Disney studios portraying the Jedi Order, Luke, Boba, Obi-Wan etc. as humans instead of Good or Evil cardboard cut-outs. To them, that’s simply bad writing, and they sternly refuse to see any other angle; they identify with the allegedly Good Guys and now believe it’s up to them to put up a fight against the Bad Guys who make their heroes allegedly look like fools, i.e. who dare to take them from their pedestal by criticizing or at least humanizing them. It was the Jedi stans who built said pedestal. It wasn’t George Lucas or the Disney studios.

Most Jedi stans would not mind strong female characters, black, diverse characters, homosexuality etc.; as long as everyone stays in sidelines while the Jedi take the shine. Heated Star Wars discussions usually start with one side accusing the other of being misogynistic, homophobic etc. and the other side claiming that the responsible people at the studios are using the franchise to shove their “woke” agenda down their throats.

Instead of cancelling interesting character developments that were just getting started and ending entire trilogies after almost half a century on disturbingly flat notes, dear Disney Lucasfilm studios: please finally give Jedi stans what they want - a tv show or film trilogy that caters to them. Set it a few hundred years before the fall of the Republic, endow their precious Jedi with all imaginable virtues, let them make things float and have cool light sabre battles destroying some faceless, boring Bad Guy and then take off into the sunset. Tell these kinds of stories for the next decade, and maybe the Fandom Menace will finally be appeased.

Choose a diverse cast if you want: Jedi stans will hardly care. If a Star Wars show had Jedi for protagonists and these would be the infallible, all-wise superheroes their stans take them for, they won’t mind if these Jedi were black, Asian, female, lesbians or non-binary, with a few white straight people sprinkled throughout. They will swallow it hook, line and sinker.

In the meantime, please complete the stories that you enchanted us other fans with, which are actually epic and magical and centred around human connection and personal development.

Thank you.

[cubedmango]

one difference between the original and cover for my clematis that rlly caught my attention earlier was which chara sang the very last lyrics—mizi (the one who survives) in the original and ivan (the one who dies) in the cover. ever since i noticed that i've been trying to make sense of why they did that. in the context of the song it makes more sense for the survivor (till) to sing those lines since they're at the very end, after the other contestant has been killed, but with the meaning of the lyrics ("please, stay by my side") it makes sense for ivan to be singing them, since he's the one with the one-sided love. it felt to me like ivan asking till to keep the memory of him alive and with him even after ivan died

when the cover for cure dropped imagine my surprise when i saw that they did the exact same thing again!! they gave the very last line sung by ivan (the one who dies) in the original to mizi (the one who survives) in the cover, and again i'm trying to understand why this exact swap happened a second time. for this one the context is more of those being the very last words ivan says to till (tho that segment isn't actually in the music video version), with the lyrics ("consume me / yes, me") reflecting that final desperation for till to notice him, but from mizi's perspective it takes on such a different meaning.. is it mizi trying to plead with sua to wake up? to look at her again? to still be the one person who knows and understands her? fascinating stuff. i'm unwell

[l0uterstella]

I'm Stich Dot ENG TL

ROMARRICHE Gently flowing away in the space between eternity I want it to last, won't let it disappear So I leave a wound PURUTH The cold tea has been gently strained too much MEROLD The unspeakable bitterness is stuck in my throat

PURUTH Deprived of a patched up heart MEROLD Gush forth endlessly ROMARRICHE Is it alright to call this love? Please show me (I'm stitch dot)

ALL Hey, how many times should I tell you? Hey, how many times should I sing to you? Hey, I'll sew you my love over and over again PURUTH The dotted pattern falling over MEROLD I won't let it run down my cheeks

ALL Emotions that can't be deciphered Feelings patchworked together My heart drowning in my beloved ROMARRICHE Why is man born sewn together? ALL As it blocks out the chest

PURUTH The faint scent I swallowed up is smoldering with passion ROMARRICHE You are the source of sweetness and compassion

MEROLD Intertwined like an ill-fated cat's cradle ROMARRICHE Interweaving our love together Ah, let it take shape

ALL The heart is the needle, the thought is the thread That's how we stay connected ROMARRICHE Weaving a wish that spins endlessly Wrapped up in tenderness

ROMARRICHE No matter what happens, even if I forget I'll take your hand and love you again Even if the day comes when it all falls apart I'll think of you in my stitches

I'm stitch dot

ALL Hey, how many times should I tell you? Hey, how many times should I sing to you? Hey, I'll sew you my love over and over again PURUTH Like evenly spaced stitches MEROLD A pattern of hearts that can't be separated

ALL Tantalizing words, innocent moments The loneliness still begs to be seen ROMARRICHE I'll engrave everything you give me ALL Make sure I won't lose it

ALL Ah, let it last forever

[j0die101]

I love how Illya and Napoleon just seem to take turns saving each other's lives. And also, how they would have kept ending up dead if not for the moment of "I hate this dude but guess I gotta save him, only for the sake of the mission of course" when they saved the other one before. Especially at the beginning of the movie.

See under the cut for a very detailed list 😅😅

~Illya holds onto the car Napoleon and Gabby try to escape in~ Napoleon could have very easily killed him right there, clear shot, no distance at all, but somehow it just doesn't seem fair (N "saves" I)

~ Public bathroom scene: Illya refrains from suffocating Napoleon after his boss tells him to let go.~ kinda not sure whether that counts. Saving his life by not killing him (?), guess he could've just ignored his handler and go all in. I'll let it count. (I "saves" N)

~ breaking into the satellite facility part 1: almost getting caught because Illya is too slow to pick the lock -> Napoleon picking the lock for them (N saves I, or well saves them both)

~ breaking into the satellite facility part 2: Illya figuring out a way to escape when everything goes to shit. (I saves N, or well also saves them both)

~ The best, funniest and most epic scene in the entire movie if you ask me: the harbour and Napoleon's little truck-picnick~ now see I really love this scene because it is incredibly comedic while being incredibly dramatic and angsty and a major turning point in the story. They're being chased - they're out in the harbour on a boat - all escape ways blocked - Napoleon holding on to the top of the boat. They're being shot at - a lot. Illya takes a sharp turn - Napoleon falls off the boat into the water, or does he let go on purpose ?- Illya doesn't notice right away. Turning around a few moments later he only sees the entry holes of the shots, right where Napoleon used to hang on. What conclusion does this lead him to? Surely he must think Napoleon got shot, fell off the boat and is drowning or bleeding out or both somewhere on the water. He is on his own. So he tries to get away, but is fighting a lost fight. Meanwhile, Napoleon swims ashore, finding the picnic basket on the truck and just enjoys a little break, while Iliya is being hunted down.

Now here comes the part, which I consider the major turning point in their partnership. It's a tiny little moment. Almost unnoticeable. Almost.

Illya's boat is now on fire, and it's sinking quite rapidly. The hunt is over. Napoleon starts the engine of the truck. He's about to just drive off, in the chaos no one would suspect their own truck driving out of the harbour. He could just tell their handlers the truth. Iliya was killed by their targets. Get rid of him easily and move on with the mission by himself.

But then, he changes his mind. We can see how his expression changes. He's like "damn, somehow I can't do that. Why do I have to be like this? Why can't I just let him be done with?" Kinda being annoyed by himself really.

And so he turns the truck, drives it into the water, right onto their opponents boat, sinking all of them. Using the headlights to locate Illya. Saving his life by dragging him to the surface and ashore. (N saves I)

~ the chair: Napoleon is trapped, tortured by a nazi psychopath, no way of escaping. He believes Gaby has sold them out. He has no idea whether Illya is even still alive. And yet, somehow there he is, getting him out of a hopeless situation. (Also if anyone is ever shocked by electricity, get them to the hospital immediately!!! Heart failure can happen from this as well a day after as right away. They need to be under medical observation!!! Don't let the media tell you otherwise!!!) (I saves N)

~ the iconic motorcycle scene. Illya is hurt, trapped under his own vehicle after a crash that, lets be honest, should have killed him instantly. Napoleon is trying to save Gaby from the crashed car and is ambushed, about to get shot point blank while on his back on the ground. Yet somehow Illya doesn't just manage to get his motorcycle off of himself, but continues to throw it onto Napoleon's assailant. Guess Iliya's in the lead now (I saves N)

~ And finally: the stand off about the disc. Illya feels betrayed, he is struggling, he doesn't want to kill Napoleon, but needs to finish the mission. He is close to a psychotic episode. There is so much pressure on him, who wouldn't be stressed to their total limit. By now Napoleon knows him, he is excellent in reading people. He would have been able to shoot first. Maybe even resulting into killing Illya. But instead he decides differently and is able to de-escalate the situation. By showing care and kindness (aka surprising Illya with the watch). Thereby he doesn't only save his own life, he probably saves them both. (N saves I, I guess)

~ together they are able to make the only logical decision. A decision that is probably saving millions of lives. They burn the disc. Disobedience against their handlers. A decision based on what is right. Together. (N&I saving loads of people together)

[void-detective]

I find it interesting and cool that Jacob really is that next in line to the tribal chief angle. If we think about how much cinema and things connecting again we can see a lot of similarities between him and Solo.

-----

"Everything I learned was from him"

Let's start plain and simple with Solo's half of this story with his similarities to Roman Reigns. This all began when his older brothers Jimmy and Jey advertently placed the dangerous idea that Solo deserved to be the Tribal Chief and much to Roman's amusement as I may put it. But that's not the only time because Roman also has placed this dangerous idea into the younger man's mind with his words about how he would be the next tribal heir to step up after him.

Everyone around him placed this idea that he deserved and was the next tribal chief even without realizing what this idea would do to him.

And now that he IS the tribal chief he is either subconsciously or consciously doing a LOT like Roman from mannerisms to talking. A lot of people have mentioned the 'tribal twitches' a nod to those moments of Roman being ticked off or peeved by someone or something. Like a lot of people have been showing he copied a lot of Roman's mannerisms and to me I believe they weren't on purpose as much as just something he picked up from being around Roman.

You know what else he picked up from Roman? How to manipulate.

During his beginning reign as chief he exhibited and showed his clear learned behavior from Roman in terms of how to manipulate and get people to be on your side. This is most prevalent in his actions around Paul and Jimmy with those tiny moments of playing sympathetic and knowing just what to say to fuck with people.

He knows things like that soft spoken tone is more intimidating then if he were to be yelling and showing off a temper. Which is something Roman did a lot towards Jey and Sami, it was a lot more effective to be soft spoken with these times and the how you word yourself to hold that control over those beneath you.

He also knew that by subtly threatening Paul and planting seeds of doubt would cause the Wiseman not to fight back because this wasn't something Roman did a lot. Unlike his relationship to the OTC there wasn't this much of an underlaying fear of getting on the receiving end of his wrath (even though it has happened).

Everything about Solo screams the direct words Seth told Cody about how Roman turned out, it plays right into how Solo ended up. There's always been this play that Solo WANTED the position and he wasn't happy just playing out as Roman's enforcer.

----

"Roman Reigns is to weak"

Towards the road to WrestleMania we see the culmination of Roman's emotional turmoil and his past catch up to him. We know to a T that Roman is a highly emotional and caring person even if it's under the guise of emotional manipulation. The one thing that set apart Solo and Roman was their compassion or lack there of on Solo's part. To Roman his manipulation and control over his family was in a twisted way trying to protect and love them in the only way he believed would keep them with him.

He has hurt and caused trauma to those he loved because of how badly one betrayal had left him. Without friends and with all the hate from the crowd it twisted what was a very compassionate man to a cold jaded man who saw that he could only keep that close connection by drastic means. Even if it meant hurting those he cared about the most.

That's what sets apart Solo and Roman because even if they are sharing those manipulative tendencies, it's all coming from two very different reasons.

Solo has only ever seemed to have a genuine connection to Sami during his time in the Bloodline, not even his own brothers who at most he seemed to tolerate. Any compassion or friendship he may have had died the day Sami left and turned which in my opinion was his own version of Seth's betrayal. He loved Sami in his own way as he was one of the second people in the Bloodline to have been befriended by the Canadian and maybe,,Sami's betrayal was the thing that truly snapped any semblance of trust he had to anyone.

----

"New faces, more family"

Hear me out, I kinda feel like Solo kicking out Jimmy from the Bloodline was a calculated move because he knew that this version of the Bloodline was weak. One made out of Roman's vision which meant it was weak and made it love. Which meant it wouldn't work for Solo.

I believe that bringing in Jacob, Tama, and Tonga was all a calculated move because he had new people he could personally manipulate. They wouldn't notice the tactics he learned and adapted from Roman like Jimmy or Paul would've which made it so much easier create a team that would believe his every word. Plus to him it would further push him knowing that he had learned all he needed to be like Roman.

In the new Bloodline there is none of that familial love even with the Tongans and Jacob being family. This is a team pretending to be like the old Bloodline but lacking any of that structure that made them work.

The only problem within the new Bloodline comes in the form of one man.

-----

"Jacob Fatu, step up"

For the past few months we have been seeing hints and glimpses of a similar situation occuring between Solo and Jacob that has happened before with Solo ans Roman. The whole being ignored and overshadowed has been played for part within the role of enforcer to the Bloodline and this is ever so true for Jacob. Ever since he became part of new Bloodline he has been within the back ever lurking and watching playing that "protective force" for Solo even when we all know those looks mean so much more.

Unlike the Tongans in many ways, Jacob has done and said things that show his role in the future of this storyline will be bigger. He's the only member who vehemently states at every situation (when solo is seemingly suspicious or actively looking) for attention he is the one to shout and express his love for his cousin. He is always going out of his way with his actions and words to push that knowledge that he loves Solo onto him even if it seems like the latter is becoming more and more paranoid by it.

Jacob has been working hard to gain his spot and the trust of the new tribal chief but where does his hard work go? No where. Not only did Solo strip the title off him (just for him to get out the boot not even a week later) he forced him to give it to LOA, he also "promoted" him to an enforcer instead of champion.

Why though?

It's all calculated moves by Solo because even with this new Bloodline and the loyalty of Jacob he is scared of being overlooked and or losing the control over his Bloodline like Roman. He is exercising his control much like Roman did to him so Jacob won't over shadow him, back in the day people WANTED Solo but now they don't.

So when someone much more experienced, intimating, and loved comes into the Bloodline and gets his attention? Oh does it ever so piss him off. Because when he looks at Jacob he sees everything that he isn't and can't be as a tribal chief. He sees someone that is above his level and could at the turn of a dime be exactly what everyone wanted him to be.

To Solo he sees a better version of himself in the Samoan Werewolf.

And that....

...scares him.

[wolfblood-of-anubis]

Nina Martin, daughter of Hades, god of the dead, and ruler of the underworld.

Fabian Rutter, son of Athena, goddess of wisdom, warfare, and battle strategy.

Amber Millington, daughter of Aphrodite, goddess of love, beauty, sexuality, and passion.

[stareyeds]

Luke Skywalker + TV Tropes

A TV trope is a common or expected use of characters, situations, settings, and time periods across a specific genre of television. Tropes are similar to clichés, but on a larger scale, and can be used to help guide the audience through a story in a familiar wa

Notes: All of these TV Tropes can be found on the TV Tropes website, below we will find some (not all) tropes that refer to Luke Skywalker.

Child of Forbidden Love: He and his sister were the result of Anakin's and Padmé's union since Anakin and Padmé were in a Secret Relationship due to Republic- era Jedi being forbidden to marry.

All-Loving Hero: Luke is very compassionate and caring towards others; he immediately wants to rescue Leia from the Empire upon learning she's on the Death Star with them and will drop everything to help his friends in need. He even believes that Darth Vader, the right-hand man to Emperor, can be redeemed, even though Obi-Wan, Yoda, and Vader himself has denied this. And he's proved right. He is more than willing to sacrifice himself to save the galaxy and manages to indirectly defeat the Emperor himself with The Power of Love.

Ancestral Weapon: His father's lightsaber. After losing it in his duel with Vader on Bespin, he builds his own and makes a point of telling this to Vader to show that he won't let his heritage define who he is.

The Apprentice: During Luke's Jedi training, he was first taught by Obi-Wan Kenobi before the former's murder by Vader and then received his final teachings by Yoda.

Badass Adorable: A sweet-tempered and kind-hearted boy who sincerely cares about everyone in a dark and uncaring universe and is an unstoppable sentinel of justice against the forces of cruelty and darkness.

Blue Is Heroic: He uses a blue-bladed lightsaber originally owned by his father when he starts his journey to become a Jedi and Rebel hero until he loses it at the end of The Empire Strikes Back.

Character Development: Over the original trilogy, he goes from a naïve Farm Boy who can be somewhat whiny and impulsive to an experienced and composed Jedi Knight who tells the Emperor to shove it and brings his father back to the good side.

Darker and Edgier: Luke's Character Development in Return of the Jedi. Luke's entrance sees him Force-choking two guards to get them out of his way, just to emphasize how much he has changed since his first appearance in the saga.

Dark Is Not Evil: Luke wears black throughout Return of the Jedi (as opposed to brighter colors) to represent his turmoil and struggle over a possible Face–Heel Turn. When he overcomes the Emperor's temptations and causes the destruction of the Sith, his black coat falls open to reveal it had a white lining, meaning that he was always wearing white the whole time. It's mentioned in some making-of specials that the outfit is very similar to what Luke wore in A New Hope, but the all-black color scheme makes it more "Jedi-like".

The Dreaded: Though Luke is not fully trained as a Jedi, Emperor Palpatine fears that he will become this to the Sith and for good reason. This example contains a TRIVIA entry. It should be moved to the TRIVIA tab.Word of God states that Luke Skywalker's Force potential is the same as his father if he had not been horribly injured on Mustafar. Such fear is quickly replaced by opportunity when both Sith Lords realize the implication.

Darth Sidious: He could destroy us. Darth Vader: He's just a boy. Obi-Wan could no longer help him. Darth Sidious: The Force is strong with him. The son of Skywalker must not become a Jedi. Darth Vader: If he could be turned, he would become a powerful ally. Darth Sidious: …Yes. He would be a great… asset. Can it be done? Darth Vader: He will join us or die, Master.

In The Mandalorian second season finale, as soon as Moff Gideon sees Luke on his light cruiser security feed mowing down his Dark Troopers, his attitude quickly shifts from smug to terrified to the point where he considers shooting himself before Luke arrives on the Bridge.

Emerald Power: He Took a Level in Badass between The Empire Strikes Back and Return of the Jedi, and during that time, he constructs a new lightsaber for himself with a green blade.

Face Death with Dignity: Throughout the last stage of the Battle of Endor, Luke goes out of the way to say that he'll die along with everyone else on the Death Star II, and has calmly accepted the fact. He ends up dropping the "dignity" part of this when he refuses to kill his father and is subsequently tortured by the Emperor, as he begs for Darth Vader to save his life. It works, and it allows Anakin to Face Death with Dignity. In the end, Luke lives after all.

Genius Bruiser: Luke is very intelligent and can use the Force to amplify his strength. A great example is the rescue of Princess Leia from the Death Star in A New Hope, where Luke CARRIES the entire group in one scene. By "Return of the Jedi", he can even outmuscle Darth Vader's cybernetic enhancements.

The Gift: Luke's connection to the Force is equal to his father. Without proper training and only a few tips from Obi-Wan, he was able to let the force guide his hand when blowing up the Death Star. Later, he was able to (with effort) force pull his lightsaber from ice while trapped in a cave on Hoth. By his mid twenties, Luke's Force abilities far exceed a typical Jedi Master.

Good Counterpart: To Darth Vader.

Good Is Not Soft: Especially in Return of the Jedi. For a film that showed the heroes as more Incorruptible Pure Pureness, some viewers were surprised to see Luke using powers generally associated with the Sith like the Force-choke. In this instance, it was used to demonstrate he was sliding towards The Dark Side.

Heroic Lineage: Luke's father, Anakin, was a Jedi before him. Luke later followed in his father's footsteps and became a Jedi himself. His mother was also seen as a hero on her homeworld of Naboo and a champion of peace and democracy in the old Republic.

Historical Villain Upgrade: In the eyes of Imperial sympathizers in the New Republic and the First Order itself, he’s seen as the man who turned Darth Vader from the Empire’s Number 1 guy into the one who murdered Palpatine in cold blood, while helping the Rebel Alliance found the illegitimate and illegal New Republic and trying to revive the Jedi, a group of people Palpatine himself worked so hard to destroy.

Hope Bringer: Both he and Leia's birth at the end of Revenge of the Sith represent the new hope in the shambles of the Republic that the new Empire was built upon for Yoda, Obi-Wan, and the small militant senators, like Bail Organa, who would form the Rebel Alliance.

While the title of A New Hope can also represent the Rebellion as a means of bringing the Empire's tyranny to an end, and even to Leia to a lesser extent, it most obviously applies to Luke himself. Luke ends up embodying Anakin's subconscious desire to be redeemed, and he himself expresses strong hopes of turning Anakin back to the light side, which he ultimately accomplishes. Coincidentally, his new lightsaber in Return of the Jedi emits a green blade, this being the first green-bladed lightsaber ever seen before the production of the Prequel Trilogy and its spinoffs (although actually the green color used for this new lightsaber was chosen in real life for different reasons, and not specifically to represent this theme of hope).

The Idealist: Has an idealistic view of the galaxy, and of his father.

Kung-Fu Jesus: Since he's a Messianic Archetype who's also a Jedi.

Messianic Archetype: Although his father is The Chosen One, Luke's character has the closest resemblance to Christ. He gains a group of devoted individuals ( Han, Leia, Chewie, C-3P0, and R2-D2), gallivants about spreading good, and ends up performing miracles like blowing up the Death Star. At the end of the sixth movie, he refuses the temptation of the Dark Side, then is zapped by the Emperor's lightning (his "death" scene). This act of selflessness would restore faith and bring forth a new golden age for his people.

In media, the Messianic Archetype is a character whose role in the story (but not necessarily personality) echoes that of Christ. They are portrayed as a savior, whether the thing they are saving is a person, a lot of people or the whole of humanity. They endure a sizable sacrifice as the means of bringing that salvation about for others, a fate they do not deserve up to and including death or a Fate Worse than Death. Other elements may be mixed and matched as required but the Messianic Archetype will include one or more of the following:

The Chosen One True Companions who follow him Betrayal by one of those followers Persecution by nonbelievers Crucified Hero Shot (or other parallels to the Passion Play) Figurative or literal resurrection A Second Coming Literally having the initials 'J.C.' The Redeemer Dressing like Jesus

Last of His Kind: He is said to be the last Jedi Knight to be alive (after Yoda's death) and serves as the foundation for a new Jedi Order. Yoda: Luke, when gone am I… the last of the Jedi will you be. Pass on what you have learned.

Living Legend: The guy blew up the Death Star on his first official day of joining the Rebellion. Top that.

The Ace: By "Return of the Jedi", Luke is definitely this. It's to be expected from The Chosen One's heir.

Military Mage: Commander Skywalker's nascent Force reflexes make him a natural Ace Pilot and are directly responsible for the destruction of the first Death Star in the Battle of Yavin. The power of having a Force-user on the field is demonstrated again in the Battle of Hoth, where he is able to take down a powerful AT-AT walker on foot using only a lightsaber and a thermal detonator.

Mirror Character: His father, Anakin. Both grew up on the same desolate desert planet before being taken away to train as Jedi Knights under Obi-Wan Kenobi. Both are tempted by the Dark Side to protect their loved ones, but Luke's horror at the realization he is becoming like this father, down to their mechanical right hands, narrowly saves him from falling as Anakin did. Luke's faith in his father manages to save Anakin as well.

One-Man Army: An incredibly powerful soldier and Jedi. If one Imperial account is to be trusted, Luke once brought down an airborne Star Destroyer by jumping from the surface of Jakku and slashing it with the Force. He cuts down Jabba’s numerous goons like butter in Return Of The Jedi without breaking a sweat.

Superior Successor: To Anakin as Vader. This example contains a TRIVIA entry. It should be moved to the TRIVIA tab.Word of God says Luke inherited Anakin's full potential, hence why Palpatine sought after him as a disciple, since Vader was plagued with immense wounds and inner conflict at that point. By Return of The Jedi, he may very well be stronger than his father (though it's unclear, as Vader is very obviously holding back out of love), but he certainly grew beyond him by The Mandalorian.

Turn Out Like His Father: The efforts to keep Luke from being like his father (who, This example contains a YMMV entry. It should be moved to the YMMV tab.as we all know, went evil) occupy three separate characters: Owennote , Obi-Wan Kenobi, and Yoda. In Return of the Jedi, Luke realizes that he's dangerously close to invoking this trope after he cuts off Vader's cybernetic right hand and looks down at his own cybernetic right hand. This prompts him to deactivate and discard his lightsaber so that he won't be tempted any further.

Twin Telepathy: With Leia to an extent, beginning in The Empire Strikes Back. She hears him calling out to her through the Force and is able to locate him in Cloud City. In Return of the Jedi, she is able to sense that Luke wasn't on the Death Star when it blew up.

The Unchosen One: In a sense, compared to his father. Anakin was revealed as the Chosen One from age 9 and experienced firsthand both the positives and negatives of the Jedi Order. Darth Sidious (Palpatine) targeted Anakin for exactly this reason, amplifying the negatives and downplaying the positives until the Jedi's own Chosen One became the Sith's greatest weapon. Luke, on the other hand, experienced the exact opposite and became a hero because of it. Seeing Luke tortured led Vader to Heel–Face Turn and kill the Emperor, helping bring peace to the galaxy. Thus, fulfilling the prophecy of the "one who will bring balance to the Force", all thanks to Luke.

Unskilled, but Strong: After his Jedi training with Yoda, Luke is this, gaining abilities and strength in only a few months what takes most Jedi years. By the time he leaves for Bespin, he is connected to the Force, can feel it unconsciously, and manipulate it freely. That said, he had yet to learn fine control and had no real experience using the force in a combat situation. Likewise, even in Jedi, his lightsaber technique is a lot more raw and straightforward than that of the old Jedi, as he was a mostly self-taught duelist that didn't have the benefits of thousands of years of Jedi knowledge or an abundance of trainers or sparring partners.

Unstoppable Rage: During his final duel in Return of the Jedi…until he realizes he's following in his father's footsteps and calms himself.

Warrior Prince: He's Leia's biological brother, and, thus, son of Queen Padmé Amidala of Naboo.

World's Strongest Man: Word of God explains that Luke inherited Anakin's full potential in the Force, which exceeds all Jedi and Sith in history. With Obi-Wan, Yoda, Anakin, and Palpatine having died, Luke may very well be this at the end of Return of the Jedi.

Word of God: A statement regarding some ambiguous or undefined aspect of a work, the Word of God comes from someone considered to be the ultimate authority, such as the creator, director or producer. Such edicts can even go against events as were broadcast, due to someone making a mistake.

Notes: This comes to the end of this thread - a large portion of the TV Tropes were not included as this would be a long and drawn out post but all of the tropes can be found at the link below - there are for those interested TV Tropes on Legends!Luke Skywalker and Sequels!Luke Skywalker

https://tvtropes.org/pmwiki/pmwiki.php/Characters/StarWarsLukeSkywalker

[clfixationstation]

It's interesting bc Attack on Titan has some nuclear imagery (Nausicaä, colossal titans), but doesn't have any exploration of ecology that I can remember. For a story that's so complex in many different ways, I'm personally a little disappointed. I think it may have leaned a little too hard into discussing "human nature" in the last quarter, and neglected other aspects...

[80yearoldmanmoodboard]

I started a Sean Connery James Bond movie and he’s like if Napoleon Solo actually had sex with woman.

I know Napoleon Solo is based off James Bond mostly the “handsome womanizer” part of him but I watched MFU before James Bond and they kinda missed with the “womanizer” aspect of his character and just created a good spy who doesn’t have sex with woman and instead is hopelessly in love with his male partner.

Also interesting because I can tell where they got some of the things they added to Napoleons character in the movie. Movie Napoleon is closer to James Bond than TV Napoleon but both seem a lot fruitier than Bond entirely because Illya is Napoleons partner and they’re in love.

[akkivee]

hitoya pointing that glock at dice really is a crazy evolved card lmao

[cirrus-grey]

Okay okay I know they're just describing our victim here but we've seen grey eyes once before in a very memorable context and I can't help but feel that's deliberate.

[little-shadow-club]

Suho but he thrives in every possible situation by doing the weirdest shit.