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chibimyumi · 4 years ago

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Lost and Wins in Adaptation

Dear everyone, as per Anon’s request, I shall analyse a Kuromyu and discuss the Lost and Wins in Adaptation. The results of your democratic votes (comments and asks) are out, and the winner is TANGO ON THE CAMPANIA! In this post I shall only be discussing character/plot influential changes, so no stand-alone comedic sketches will be included.

This is going to be a very long post because there’s just so much to unpack. But feel free to read it in bits, or skip to the part you are most interested in (but do come back later though (ÒvÓ)b). This post will include the following sections:

What makes a good adaptation?

AberHanks - Expert Glue and Filler

“Just like my family!” - One line, many messages

Grell - A Capable Career Woman

An unfortunate Sacrifice

Raw Trash Demon

Active Inclusion Midfords - Manga Fix?

Reunion and Aftermath

Afterword

I promise you the analysis will make you love TotC even more!

1. What makes a good adaptation?

2.5D wouldn’t exist without the 2D, so it is essential for any 2.5D producer to prove to the fans the producing side understood the source material using their form of medium. Changes are inevitable, but the key is that when things are changed, the core of the original needs to remain intact.

Theatre as medium’s biggest disadvantage is its strict time constraints. Whether the producers are capable of adapting a story within the time constraints without it feeling like a quickly duct-taped patchwork is what distinguishes a good adaptation from a bad one. The scriptwriters have no choice but to sacrifice parts to tell a concise story, but the art is in skillfully choosing what to yeet. The musical does need to be able to stand on its own without new audiences going “what?”, after all

2. AberHanks - Expert Glue and Filler

The most obvious difference between the original manga and Tango on the Campania is the addition of Aberline and the musical original, Hanks. In Tango on the Campania they are very cleverly employed to tie the musical together within the time constraints.

Ronald appeared before the Campania Arc, but it wasn’t before this one that he gets his own proper introduction. What the manga readers and musical-only audience have in common then, is that at this point of the story, Ronald is almost equally new. The line: “if we get to meet again, alive, that is” is a very effective way to introduce Ronald’s chipper but cynical personality. In the manga Ronald’s conversation partner was a passenger who fancied Ronald. It would have been a waste of stage time to adapt the third class setting and introduce this girl too, but skipping the line entirely would not do Ronald’s introduction justice. So the script writers cleverly used AberHanks instead, and when Ronald delivered the iconic line, the impact is still the same as in the original.

Additionally, AberHanks are supportive roles in them being police officers who help combat the zombies. The historic Titanic had a really poor survival rate, and that’s without dealing with murderous zombies. In Campania however, that’s a different story. I would argue that Aberline and Hanks evacuation efforts, along with the Formidable Midfords greatly increased the survival rate of Campania passengers.

This addition is a brilliant three-birds-one-stone move. This firstly shows that despite AberHanks being the comic relief, as the police they are not there to fool around. Secondly, by explicitly placing the Midfords along literal fighters of crime, the audience also clearly understands what the Midfords - the Chivalric order - are: fellow fighters of crime.

Thirdly, the gentleman’s code of evacuation is children and women first, and AberHanks would undoubtedly also have heeded that code. And yet Frances was there, and AberHanks never attempted to evacuate her or doubted her skill. The police and Frances fighting side by side shows the audience that even in the 19th century, Frances is recognised firstly as member of the Chivalric Order, before being ““just a woman in a huge dress””. Don’t mess with her.

3. “Just like my family!” - one line, many messages.

A very small but game-changing alternation is when Ciel was trying to convince Lizzie to remove her dress to benefit escape. In the manga when Lizzie refused, O!Ciel immediately rips the dress, saying that once dead she won’t be able to wear any dress, because death is the end of everything.

In the musical with real child actors they couldn’t very well reenact this scene, so instead they gave Ciel the line: “Everything is over if you’re dead, just like my family!”

In the musical, Ciel doesn’t touch Lizzie, which is very clever. When someone refuses to remove her clothes, it is because she feels infringed, exposed and/or unsafe. If somebody doesn’t do something out of fear, what you need to do to convince them is to minimise that fear. By forcefully ripping her clothes, MangaCiel only made Lizzie feel even more infringed.

Instead of touching Lizzie, MusicalCiel appeals to Lizzie’s empathy. By making Ciel say “my family” to Lizzie, both audience and Lizzie are shown/reminded how Ciel had tragically lost his family, and cannot afford to lose more. At that time of the musical, new audiences wouldn't know yet what Ciel had been through. So when later the Cinematic Record of Sebas started, “just like my family” also functions as an effective foreshadowing of what would later be revealed, avoiding Ciel being in a cage looking like it came from nowhere to new audiences.

One could argue that Ciel’s phrase was emotional manipulation, yes... but it was a literal life or death situation for the objective good of everyone. And besides, we all know who our Trash Lord™ is; manipulation is part of him.

Ciel had yelled at Lizzie, and immediately he turned around, clutching his chest. It was such an impressive moment because it showed how that blow Ciel dealt was a doubled edged one. Lizzie was clearly hit too, and very quickly she realised her own fault and apologised. Then the most fun part for the audience is to consider whether this was Ciel’s genuine reaction, or whether that was all part of his acting skills in manipulating Lizzie. I say both are equally likely! (Oh Reo, you brilliant little...)

I personally consider this alteration superiour to the manga original.

4. Grell - A Capable Career Woman

Per Yana’s direct request to Grell’s actor, Uehara, she asked him to portray Grell as a capable career woman because Yana admitted she failed to do so herself.

Most of Yana’s request was fulfilled simply by Uehara’s acting and respect for Grell, but there is also one tiny line added to her script which emphasises her focus on her job. “I’m dropping you!”

Nobody on the Campania had time to fool around because it was literally going down. Grell had her job to do, and yet Rian thought it a good idea to withhold information from Grell about the method of stopping the zombies. By threatening Rian whose life was at Grell’s mercy with “I’m dropping you”, the audience is very effectively shown that Grell is a no-nonsense woman, and that she knows how to get someone to talk. 👌👌👌

5. An Unfortunate Sacrifice

Some things had to be omitted to fit the stage time limit, but the most painful omission in my opinion were details in Sebastian’s cinematic record.

A really unfortunate but understandable omission was Ciel reuniting with Tanaka and Madam Red... but considering the time constraints of the musical, shoe-horning these moments in with different actors would have come at the expense of the rest of the musical. Though very sad, it is what it is.

Another omission is Sebas forgetting to spare one assassin to interrogate. In this post I discussed in detail why this omission by the movie adaptation was such a sin. Tango on the Campania omitted that part too, though as a stage medium it is more forgivable than an animated movie with endless possibilities Ò^Ó. Nevertheless it is a bit sad, because this omission takes away that the audience can see how Sebas was just so used to massacring on auto pilot, and how even Sebas himself recognises he needs to learn control.

THOUGH, I must say the musical actually tries to compensate for this shortcoming, unlike the movie. This omission of what showed that Sebas was far from perfect at the beginning, Furukawa compensated by simply being the most insincere, passive-aggressive, unprofessional, arrogant prick he could be.

The audience won’t catch a hint that Sebas used to be no more than a weapon, but they will see how Sebastyun never served a human on close proximity before!

6. Raw Trash Demon

I have already talked about how Sebastyun is a real game-changer on this blog, so I will not repeat every detail again. So here I will only address the significant changes in spoken lines that add to Sebastian’s character before he was fully trained. In this post I discussed in detail how Furukawa portrayed Sebastian’s gradual growth from raw demon to one hell of a butler. Sebas at the beginning was really butler in appearance only, as he was insolent and never knew when to shut his wondrous trap.

In stage format it would have been quite awkward to do a bath scene, so instead the creators replaced it with a wound-dressing scene. Instead of pouring hot water over the boy, Sebastyun is now scrubbing his master’s skin off. When the boy protests, rather than immediately apologising like his manga counterpart did, Sebastyun just shoves the feedback right back down the boy’s throat. “You’re making too much of a big deal out of it.” Here we see how Sebas is not there to serve his master, he’s just doing his thing because he has to.

Another line that is musical only is when Ciel’s stomach rumbled, and Sebas laughed his arse off, saying: “what an inglorious sound!” In the manga Sebas started a high-horse speech about human weakness, which was quite bold already. But he did not seem to dare straight up humiliate his master for a basic bodily need.

Sebastyun however? Balls of steel.

He humiliates his master, can’t apologise for shit, and when he says things in compliance with his master, it’s in a tone of: “well, screw you too”. Sebastyun was so bad at his job that Ciel too was given another line that wasn’t in the manga: “The preparations of a day’s meals is part of a butler’s job”.

Sebas had just criticised his master for being a useless kid, and now Ciel makes a comeback with the line: “well, you don’t even know what your literal job is, let alone how to do it.” The addition of this line is very powerful in my opinion, because it quite effectively compensates for the omitted scenes of Ciel and Sebas both sucking at their respective roles.

When O!Ciel commented on Sebas’ awful cooking, MangaSebas seemed quite willing to do his job well, and immediately offered to fix his mistake. Sebas does not apologise, but he does show that he made a mistake in not being considerate enough of Ciel’s current condition.

Sebastyun however, couldn’t apologise for shit at the beginning. Instead of showing openness to feedback, he immediately externalises by making humans the problem again, rather than his own lack of cooking skill. No wonder Ciel smashed that table with such aggression!

Another changed line is Sebas bringing his master hot milk after his failed dinner attempt. Originally Sebas did so potentially as an attempt to show his readiness to do better at his job. He explains that he does so out of consideration for the well-being of the boy.

In the musical however, Sebastyun does not say the manga line. Instead he says: “I can’t afford to have you starve to death.” I am not sure whether this was the script or Furukawa’s improvisation, but either way it perfectly shows yet again, how Sebas is not there to serve his master, but to just get his tasks over with.

This is a very short but efficient alternative way to retell how Sebas especially at the beginning was not very enthusiastic about being summoned, as analysed here from the original Japanese manga. Sebas is not like: “(UwU) gimme more orders”, he’s like: “(ಠ_ಠ) what is it this time?”

A small addition that was definitely an improvisation was Sebastyun sitting down on Ciel’s bed, and the boy pushing him away. (At the beginning of the run Furukawa didn’t do that yet. The first time Furukawa sat down Reo just moved aside and gave Sebas a nasty look.) Here it also reemphasises how little Sebastian understood of what was done and NOT done as a servant.

A final, noteworthy addition in the far beginning of their contract was Ciel saying that he acknowledges both he himself are the demon are still fakes. The boy says this line after Sebas had brought him hot milk which Ciel appreciated.

Ciel calls his butler forward in a soft tone, and Sebastyun just looked so self-congratulatory, self-satisfied, he adjusted his suit, standing all ready like: PRAISE ME! (●´ิ∀´ิ●)✨

Yeah no... you wish.

In the manga this line doesn’t exist, so Sebas is simply surprised to hear the compliment, and then his master just splashes the cold water right over him.

7. Active Inclusion Midfords - Manga Fix?

The most dramatic and influential change to the musical is the active inclusion of the Midfords. It is an entire scene that was added to the musical, so it is a bit impossible to unpack everything in this already very long post. So here I will only address the most game-changing alterations.

Yana Beaten to the Punch, strike 2 and 3?

Now many chapters later than the Campania Arc, we know that the Midfords had been the legal guardians of Ciel after the death of his family. But even before the release of the chapter, we’d see in Sebastyun’s Cinematic Record how the Midfords were very involved with their nephew. This shows how much respect for the manga the musical producers had, and how well they understood their source material that they too could beat Yana to the punch. Strike 2!

Both Midfords were present before and during the decoration ceremony. And Sebas bows deeply, thanking them sincerely for their aid all this time. Sebas cannot lie, so when he says “sincere gratitude”, it really was sincere. Alexis responds humbly, saying that it’s simply the right thing to do.

Not only did the Midfords aid Ciel in his reintegration into the world, Frances also showed the audience and Sebas she knows exactly what she is preparing the child for. Frances says she understands how cruel it is for the young Ciel to do what is expected of him, because being Earl means more than wealth and power. It is: “shouldering the burden and name of ‘the Queen’s Watchdog’.” The musical also does a great job at linking Frances’ position as the previous Watchdog’s sister, to being the legal guardian of the future Watchpuppy.

I have seen many manga readers talk about how they found Frances’ involvement insufficient in the manga, and I understand. She has a very small role in the manga, so we don’t know what she has or hasn’t done to help. But in Tango on the Campania, we do get a much clearer sense of the Midfords’ role in Ciel’s life.

Ciel was still mid-preparation before the start of the Ceremony, but Frances and Alexis had already arrived to keep a parental eye on him.Ciel is surprised, but Frances responds with: “it would set a bad example if the star is late”. Though it is but one short phrase, the script writers shows (not ‘tells’) how she is there because she wants to make sure Ciel’s decoration will go smoothly, as well as that her own role is to set an example for Ciel by being on time herself.

This is possibly a reference to what Sebas says to Frances in chapter 14, how he wishes her to be his master’s example. Except that here in the musical, it is Frances who takes this initiative, which in my opinion is the superiour way.

When Frances commends Ciel for his courage of returning to fight, Sebastian adds: “The most opportune chance for counter attack is when the opponent strikes. That is what milady Frances had taught him, the Young Master said.”

To which Frances is quite surprised to hear, and incredulously she says: “Ciel said that?” This makes one suspect whether Frances really said those words to supposedly Real Ciel. It would be very funny if Sebastian (accidentally) gave Frances a hint of his master’s real identity. I am not sure whether this is an implicit hint that Frances might have started suspecting Ciel is not the Real Ciel. Some have theorised Frances has the deepest suspicions among everyone. If that turns out to be true, then TotC might have beaten the original manga to the punch again. Potential strike three!

Another change is the replacement of Madam Red with Alexis. This one is just a very pragmatic change, because the phrase “To Ciel you are already as good as family” is very iconic and important and shouldn’t be left out. But getting a Madam Red in here out of nowhere would require time-consuming exposition. So by giving this phrase to Alexis instead, the musical effectively solves two problems in one go.

8. Reunion and Aftermath

Another addition to the original manga is the reunion on the rescue ship, just like the the movie adaptation of the Campania Arc did. After all that has happened it is very nice for the audience to see the emotional reunion and the aftermath. In the manga the Arc ended with Sebas and his master on the rescue boat, and it had a very nice, open feeling to it, I absolutely love it! 💖🚤

Audience Considerate Story Telling

To a musical-only audience (which TotC had a lot of because of the collaboration with TOHO), the opening ending might have felt a bit abrupt. These musical-only spectators don’t have the Arcs after the Campania to know for sure Sebas and Ciel went home safely, and that life would just continue. Nor would they know for sure what kind of impact the enormous revelation of Undertaker being a reaper would have on our protagonists. Had the non-manga audiences been given the same ending as the original, then it might have looked a bit like this to them.

Also considering the musical medium, any (Japanese) audience would want a satisfying finale song to wrap everything up. (Kuromyu21 not having one was a real complaint among JP spectators). And after the dramatic brawl song of Sebas fighting the zombies on that boat, you can’t very well pull another song on that tiny thing again. Okay, the song TotC did settle with for the finale song was......very disappointing in my opinion as it reminded me more of a Disney parade, but it at least had a song.

Emotional Full Circle

Despite the song being quite unfitting, the emotional reunion really, REALLY hit hard. When Lizzie says “welcome back” to Ciel, it was a perfect full circle back to what Lizzie couldn’t do 3 years ago.

In her flashback of 3 years ago when Ciel returned to her, the boy lifelessly said: “I’m back... Elisabeth”. Lizzie however never responded with “welcome back” because she was too preoccupied with something just feeling off.

In the musical reunion however, unlike 3 years ago Lizzie was fully emotionally equipped to genuinely welcome her fiancé back, and Ciel too happily responds: “yeah, I’m back, Lizzie”, using Lizzie’s preferred name.

Sebastian’s Aftermath

The reunion is but a simple addition, but it allows the musical to show the impact of such a traumatic event on the omnipotent demon butler.

The Cinematic Record showed how cocky Sebastyun was, and how he didn’t have a single worry in his life. After Undertaker had fatally wounded even the demon however, Sebas became a different person. In the finale we see Undertaker silently disappearing into the shadows. Sebastyun wasn’t even entirely sure whether Undertaker was there, but at the merest suspicion already you see him flinch and twitch. This shows how from now on Sebas has become a person who is on edge.

I mean, what’s the point of telling an event if the event doesn’t impact the story and characters, right? In this way too, the inserted aftermath scene skillfully wraps up an overwhelmingly eventful story.

9. Afterword

Well, thank you for reading this looong post till the end! As discussed in this post, TotC did a wonderful job at adapting an existing story with consideration of its audience and medium.

The largest obstacle of the theatre medium is time constraint, so the makers have to sacrifice parts. In what was sacrificed however, they more than sufficiently compensated by including parts outside the Campania Arc into the musical, without harming the integrity. This shows just how much respect and knowledge the TotC team have of the source material.

As a musical adaptation, it is an exemplary production.

Hyper Detailed Development - The Art of Kneeling

That Demon, Skin Crawling

That Butler - Punchable

Lost in Translation II - Sebastyun’s Butlernese

#Kuromyu #Comparative analysis #Tango on the Campania #Campania #Musical #Sebastyun #Furukawa Yuta #Uchikawa Reo

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florrickandassociates · 4 years ago

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TGF Thoughts: 5x08-- And the détente had an end...

I did not like this episode! I had many problems with it! More under the cut...

A purple line is painted on a curb and then we’re watching footage of Wackner’s show. Question: do they only wear the costumes when it’s a low profile case? It was very noticeable they didn’t have them on in the cancel culture episode, and they don’t have them on in the Julius scenes in this episode...

Also, can I pretend that the horse and cat wearing tiara are meant to be BoJack and Princess Carolyn?

Del is remote-watching a focus group about Wackner’s show when Liz walks in. He refers to Wackner as “your guy” and Liz replies, “Must not be going well if you’re calling him my guy.” Sounds like “why is she my stripper when she does something bad?”

The focus group is in Vegas “where the real Americans live.” The clips from Wackner’s show being tested seem to be only the most ridiculous ones. Unsurprisingly, the focus group hates the show.

And here is my first question: Why are they testing a version of Wackner’s show that seems to be exclusively silliness? I know, you know, the writers know, and Del knows that that’s not funny.

Wackner Rules is not a good title.

I love Liz being amused by the focus group going poorly.

Why don’t people like Wackner Rules? Well, the cases are stupid—fights over barking dogs, shoes that don’t fit. They’d rather see burglary or robbery. This is silly, because while I’m sure most of Wackner’s cases are silly, we've seen a fair number of cases with a little more substance (or at least zaniness that makes them less mundane), including the one with the high profile comedian that was filmed explicitly to be part of this reality show. So is Wackner Rules, despite its cases financed by David Cord, just the most boring shit possible? And if so, why? Again, everyone involved here knows better than that.

Also is this just Del’s pet project? Is that why he is producing it, testing it, and approving it?

Liz rolls her eyes at the “wisdom of the crowd” on display. Then she shuts the laptop without realizing what she’s doing and jokes around about it.

If I were Del and my partner had just disparaged my work and then shut down my laptop while I was working, I would be furious. However, this is a bad episode of a television show and I love Liz so I am amused.

Del goes to fill Wackner in on how the focus group went. Wackner does not care about the opinions of twelve people. (This is funny, given that he has decided he is the most important person when it comes to making decisions and also that juries have twelve people too.)

No, dear god, no, please do not make me sit through tiny office jokes again. Have we transported back in time to season seven of TGW? I hated the door slamming against Eli’s desk then and I hate the sudden addition of this “joke” to Wackner’s chambers now.

The calendar says February 2021. Is it supposed to be February?

Apparently, the focus group likes the court, the costumes, and, mostly, Marissa. Just not the cases.

Marissa’s all, “well what do they want, a murder case?” and Del gives her a look like, “Can you???”

Again, the cases weren’t so silly they were boring in any other episodes and we know that Del/Wackner/Cord were meeting to discuss the best test cases for TV. So, like, how did people waste their time and energy making this obviously awful episode of TV for the focus group? No one involved is that clueless and it makes me dislike this plot.

AND RIGHT AFTER LAST EPISODE WHERE THE CASE ESCALATED TO THE POINT OF PRISON? I think that’s maybe my biggest complaint about this plot, and this episode as a whole. The last episode gave the this season a lot of momentum. Prison! Stakes are raised! Will Marissa say anything!? How much power is too much power for Wackner?! And then we get this episode, and it’s like, jk, forget about all that, now Wackner’s cases are drying up and everyone involved has zero critical thinking skills and we’re going to forget the prison thing ever happened!

“His court needs this show. Look at Trump. He wasn’t shit until The Apprentice,” Del tells Marissa after Wackner exits. Marissa does not react to the Trump reference, which may be the low point of this episode. Does Marissa Gold want to build the next Trump!? Is Marissa Gold not concerned that someone has just suggested that the goal of her show is to make someone in to Trump!? Hello?! This is not a reference you drop casually! I would be concerned about partnering with Del if I heard this! Marissa would be too! So why isn’t she?!

Also, this line + the “real Americans” as the target audience for Wackner’s show + the USA! Chanting at the end make me think the point here is somehow supposed to be about Trump and, like, cults of personality? I don’t really see it but I’ll reserve judgement until I see where Wackner’s arc ends up.

Julius heads to Wackner’s court to meet with Cord. He pitches them on his new firm. How is Julius going to start a new firm already? Wasn’t RL the only place that would take him? And pitching Cord on a firm with the 20% of staff that was laid off is a stupid idea, too. As Cord says, hiring the people laid off means hiring the “B-Team.” I dunno if that is actually true, but I know that Cord and anyone else who knows those were the people who were laid off will see it that way. Why is this in Julius’s business pitch? Like, is Cord wondering where Julius would get employees from? Is that a question?

Reddick & Lockhart, Julius says, is no longer eligible for no-bid government contracts. I want to know why: is this because RL is actually STR Laurie, or is this because Diane is white? If the latter, then you’d think we’d hear a little more about it...

Why is Cord calling the Copy Coop somewhere near the courthouse in a business district in Chicago “the middle of nowhere”?

Anyway, Cord passes on the new firm because it is not innovative and it does not disrupt anything.

Then Julius pitches the firm but with known-innovator Diane Lockhart and her client list. Cord is kind of interested. Cord cares that much about Diane? Alright.

Julius, after involving Diane, calls her to tell her what he’s done. When he gets back to his car, he is being given a ticket for parking in a purple zone. A purple zone is, apparently, court staff parking for Wackner’s court.

Julius rips up the ticket, then gets another ticket for destroying the ticket, and another ticket for destroying that ticket.

Wackner asks Marissa to find out how he can get out of the reality show. Marissa refuses and says she’s going to find out how they’re portraying Wackner, since the show benefits him. This is because he has “fewer cases this week than the week before, and fewer than the week before that. This court goes away unless more people know you’re here.” What? Where did that come from? I’m so confused. Last week Wackner had infinite money and a prison and was dealing with cases with settlements in the millions and famous comedians. Now his audience is dwindling and I’m supposed to care about this plotline? Thanks, but I cared about the plot you already sold me on, writers!

Hey, wasn’t there a thread at some point in this season about David Lee bugging Liz’s office? Odds we ever hear about that again?

Diane does not like Julius’s new firm idea. “David Lee is insisting that I stay,” Diane says, as though David Lee actually has that kind of power over her.

Julius points out that all the other partners are threatening to resign unless Diane is replaced, and “at a certain point, it won’t matter what David Lee says.” Diane says she’ll think about it.

Julius tries to talk to Cord again and finds that his car has been towed. This scene is too long, and watching Julius get confused by shifting, fake rules feels a little too much like the first Memo 618 episode. This episode only has a 40-minute run-time and we spend a lot of it on building up this plot. I don't really get why. Sure, it’s fun to watch people act incredulous, but we already know Wackner’s court is trying to put some muscle behind its authority (violence to encourage compliance, literal prison) so I don’t know why we need to spend so much time on what feels like a lower key bizarro version of a theme we are already aware of.

Just, like, do a boring ass case of the week episode if you don’t have ideas. Don’t regress the plotting and kill the momentum.

SPEAKING of killing momentum, remember how Carmen got a stellar introduction, a few episodes of development, and then pretty much disappeared for several consecutive episodes?

Then there’s another one of these scenes where Julius tries to get his car and more and more people enforce Wackner’s fake ticket.

I do not like “Wackner’s City of Chicago” being on the seal. I think he'd have something more clever than that on the seal.

David Lee calls Cord in to pitch him on bringing over all of his business. This scene confuses me, because you’d think Cord would be a big get for giant corporation STR Laurie. But no, David Lee wants Cord to bring his West Coast, East Coast, and Europe business to boutique firm Reddick Lockhart. Or, at least, that’s what Cord’s hesitance suggests to me.

Cord tells David Lee that Diane is leaving and that he won’t go to a firm that is breaking apart. David Lee denies it.

THIS sounds like the Hitting the Fan score.

David Lee insists that Liz and Diane drop what they’re doing and come up to his office. They do.

David asks Diane if she’s leaving. She says she was asked to join another firm, and that she was told that the equity partners are planning to resign unless she resigns, so she’s considering it.

“No one is threatening to resign without my permission,” David responds. Those must be some contracts if he is this powerful...

David warns Diane about poaching clients and she’s all, they’re free to leave if they want (ah, so they’re free to leave when you’re leaving but they’re your clients and can be stolen when YOU’RE losing them, I see). Liz is irritated by all of this and pre-accuses Diane of stealing clients after what she’s already done to keep her position. Fair.

David asks Diane what her issues are. “I’m a name partner being squeezed out of the decision making process,” she says. “And why is that, Diane?” Liz asks. “Because of my race!” Diane insists. “Because no one respects your decision to stay in your position. It is not yours by right,” Liz says.

“I’ve fought as hard as anyone here to keep this firm solvent. And I didn’t inherit this firm. I was invited in, and I earned...” OOOH FINALLY WE ARE GOING TO ADDRESS THAT LIZ HAD NO EXPERIENCE RUNNING A FIRM BEFORE THIS ONE FELL INTO HER LAP. Shame it’s a throwaway line.

STRL’s presence both adds and removes tension here. I wish they pushed this a little further. Sometimes David Lee seems to be functioning as an outside mediator; sometimes he has more power. What’s the point of all of these dilemmas and battles if at the end of the day, STRL owns and controls everything? How much can RL really mean to them? There’s even an RL in their name that doesn't stand for Reddick/Lockhart. I just don’t understand what it means to be a name partner in a black firm when that firm is actually controlled by some giant company. The way I see it, Diane should want out of RL because she’s past retirement age and being controlled by David Lee and that can’t be fun, and Madeline et al should want out because the mandate to focus on profit over social justice is not mostly coming from Diane or even Adrian’s legacy... it’s coming from the giant power and profit hungry corporation that owns you!

David has Diane and Liz stand on opposite sides of his desk. “Are you gonna spank us?” Liz says. I love funny Liz. Funny Liz is my favorite. But you know what I wish we also got more of? Liz’s thought process in general.

David’s point with this is that David is going to “come live and work with” Diane and Liz if they don’t figure it out themselves. I know they can’t easily get out from under STRL but Adrian did it so there’s surely a way to resign... this feels so demoralizing... I can’t believe Diane just takes this.

As they walk downstairs, Liz says, “If you’re going to leave, there’s nothing to talk about. “Liz, I don’t want to leave this firm. And you don’t want me to leave. So why don’t we hire a partner to replace Boseman?”

(1) I like that they’re acknowledging that Liz and Diane clearly want to work together and like working together and are having this fight mostly because they have to have this fight, not because they actually want to. Pretty much nothing Liz has done suggests she actually wants Diane to step down and pretty much nothing Diane has done suggests she actually wants to switch firms. So good, that’s text instead of subtext now.

(2) Weren’t they going to hire a partner to replace Boseman in the first place? Why didn’t that just... happen then and avoid all this?

Liz says she’ll think about it, but we all know that this is what she and Diane both want. This is where they should’ve been weeks ago.

OMG okay I knew they had talked about it before! In 5x02 Diane suggests this strategy from the start! Why does it go away!? It’s clearly the right strategy and doing it that early could’ve prevented a lot of conflict and tension. At this point, it feels almost too little, too late. What’s it going to do other than smooth things over with Diane and Liz?

They really are keeping the cameras rolling for Julius’s dumb parking ticket thing? Guarantee this does not make Wackner look good. As trivial as parking spaces seem, this feels like the sort of issue that would really piss off a lot of people. Maybe that would make good TV, but you want people to like and trust Wackner to keep people coming back to a reality show...

Julius, being Julius, refuses to apologize to Wackner and make the whole issue go away. I think why this rubs me—and so many others; I have seen nothing but negativity about this episode among friends and on the internet—the wrong way is that this feels like power for the sake of power. It is trivial, self-important (“Wackner’s City of Chicago”), disconnected from anything resembling reality. That’s not to say anything else about Wackner has been realistic, but the writers have been walking a very fine line between surreal, allegorical storytelling and straining credulity. This feels so mundane and unneeded that I actually have an easier time accepting that Wackner has created his own prison system than I do accepting that he’s tried to reserve parking spaces for his staff. At least with a prison, I see the larger-than-life point the writers are trying to make.

The parking attendant tells Wackner she wants to add more reserved spaces up the street and Wackner is like, oh, good! I don’t understand! Who is this lady that just wants to enforce Wackner’s rules? Does she want more spaces because it’s kind of a powertrip to give people tickets? Why do they need more reserved staff parking when cases are dwindling? Who is Wackner’s staff? Why do they need more parking?

And like, it’s one thing when Wackner’s antics affect people who are part of his little bubble, since they all have agreed to be there. How can he just reserve street parking? Wouldn’t this get shut down in a day? Julius would NOT be the only one furious.

Then Julius decides to steal Wackner’s book of seals so he can make it look like his ticket is paid.

So if they have footage from the cancel culture episode of Wackner Rules, why wouldn’t they have used it? We see it here, in the editing room, so why are the cases so boring again? (I’m sorry, I know I've said this like 1000 times, but it’s bothering me so much that this episode isn’t even internally consistent.)

(This whole plot is a time-filling detour tbh. I have no problem believing Wackner Rules could be an interesting TV show seeing as how I am watching it as part of an interesting TV show, so I don’t get why we need to spend all this time on how this obviously bad first draft of the show is bad and that it can be improved by fixing a non-existent problem? Also, there are zero stakes because Del owns the show and is also the one deciding whether or not to air the show.)

(Like, there could be a version of this where the focus group really helps us get into where Wackner’s stuff does and doesn’t translate and the changes he’s asked to make and how the fact it’s television changes the court, blah blah blah. Instead, the premise seems to be that the show is capturing what Wackner’s court was like in the days before Marissa or Cord or Del became involved, which makes no sense and is also boring!)

They’re mentioning Marissa being in the IDF again. This comes up because the re-edit of Wackner Rules is all about Marissa. This is kind of fun and meta! Marissa would definitely be a favorite on a reality show!

It turns out this re-edit is mostly about how the editor has a huge crush on Marissa.

I know that these tv writers know the process for tv writing and production better than I possibly could. I still do not believe that this reality show has one producer (Del) and an editor who is making executive decisions about the content of the show, and that this is for some reason happening in a mobile trailer parked outside of the court. Surely there would be meetings about what direction to take, not just a vague instruction to “make it better”?

In case I needed more evidence that the writers did not bring their A-game for this episode, we get Diane talking to RBG, again, because apparently now there are no other ways to clue us in on what Diane’s thinking. This is just lazy.

The RBG thing worked for me in 5x06 because it felt like a novel way for Diane to get to talk out loud, and that episode that wouldn’t have worked if we didn’t have a way to see what Diane was thinking. Here, it feels like the writers are doing it because they did it before and it worked and it’s thematically connected and it’s easy.

Doesn’t this entire scene just radiate laziness????

I know not every episode can be great but just don’t try to do something interesting and innovative if you’re going to half ass it.

I’m not even bothered by the thought that Diane daydreams about conversations with RBG. I buy that. I just don’t need this conversation (which feels way too much like it’s supposed to be an actual conversation for my taste).

OMG please stop talking about how RBG and Scalia were friends, I beg you, if you’re going to do this device again can you at least have a different conversation.

So much exposition. Diane knows someone named Allegra through EMILY’s List and thinks she’ll be a perfect choice for the third partner. Diane did hear she had a meltdown, though.

Julius gets arrested for stealing Wackner’s sticker book. When he starts shouting about how it’s a fake court, the officer is like, “As real as Officer McFinely’s death?” calling back to the last episode. I do find it interesting the police would be willing to overlook Wackner’s complete disregard for the law because of a grudge involving the law firm, and I like that choice.

Allegra is basically a slightly more toned-down version of Elsbeth. She has a messy, rented office, and trails off mid-thought. Since she’s kind of a familiar character type, I’m not overly impressed by her, but she’ll be fine to add some little bits of humor to the office drama, I think. My hope is that they use her in small doses, because I have a low tolerance for quirk.

Allegra’s office has tons of books. I can’t see what most of them are, but she has a copy of The Nix, and I liked that book! It’s the only fiction title I can spot; the rest seems like political commentary or pop sociology/business stuff.

Diane mentioning her RBG hallucinations to Allegra is probably a very smart way to win over Allegra.

Marissa encourages the editor, whose crush is so obvious it’s uncomfortable, to put Wackner’s outburst in the show. The one about how Del is using the show to rehabilitate the comedian!? Why would Del air that?! How does this help anything?! If the goal is to get Wackner’s court more cases, why would this make anyone choose to take their case there?

The police bring Julius to Wackner’s court, which I have a slight bit of trouble believing (not that any of this is believable, but you know what I mean—I don’t feel like it’s logical given everything else I know about this premise) but I'll roll with.

Now there’s some ridiculous, awful fake lawyer who was “devil’s advocate” with devil horns in the last episode and David Cord is prosecuting Julius and... what the actual fuck is going on in this scene? This Devil’s Advocate man would not have lasted a second in what we’ve seen of Wackner’s court before this point—he is an obvious liar and showman who Wackner would have no patience for. And if Cord has a bone to pick with Julius, this is an odd way of showing it, because it feels like Cord is there as a familiar face and not for a story reason.

Like, does Cord actively HATE Julius? Is... that supposed to be the point of this?

Seriously though, Devil’s Advocate would get like two sentences into his story about how Julius grew up poor before Wackner would make him stop, and if he got farther than that, Julius interrupting to ask “What are you talking about?” would’ve prompted Wackner to hold up that “cut the shit” card.

This humor is so fucking lazy. In the worst moments of this show, they take gags that have previously been successful and run with them until you can’t believe you ever found them endearing. That’s this scene.

Also it just occurred to me when I referenced the “Cut the Shit” card that we’ve seen Wackner be able to get audience responses to his cases. Seems to me like you pretty much already have your focus group results, no? You do more of the things that make the live audience excited and fewer of the things that make them get up and leave. The things that the live audience plays along with and reacts to are the catch phrases you’re going to put on merchandise. I’m not a TV producer and this is very obvious to me.

Instead of telling this lying lawyer to stop, Wackner instead asks the court musician to play “This is Us like music.” Make it stop. I don’t know who finds this funny but it’s not me!

Can you IMAGINE the fake reality show airing any of this? I dislike it and I know all of the players and context.

There is a shot of Del looking excited to see what’s going to happen. I’m sorry, but if Del’s instincts are this bad I just do not believe he runs a streaming service. Maybe his main role is to do the business stuff, not the content stuff? (But if so, why’s he always hanging around Wackner’s court?)

This episode is full of extremely essential scenes, like Marissa and the editor having sex as they watch footage of Marissa. Good for Marissa, I guess? This could’ve really easily just been implied. And if you really want to give Marissa more material, give her an arc, not a hookup where the focus of the sex scene is the editor dude. Or, like, just let her react to the whole prison revelation from the last episode. WHY ARE WE NOT TALKING ABOUT HOW WACKNER IS SENDING PEOPLE TO PRISON?

Liz and Allegra meet. Allegra makes it sound like it is about her book but then she’s extremely (and intentionally, I think) obvious that she’s there to be the third partner and that Diane scouted her.

What is the point of Allegra asking if Liz has a view of Willis Tower and misidentifying the building? Presumably Allegra lives in Chicago, so you’d think she’d know its most recognizable building by sight (and would probably also call it the Sears Tower).

Liz likes Allegra.

Now there are a ton of cops in court and Del is loving the drama. Sure, it’s dramatic, but is this really want you want to air? Some convoluted thing where a bunch of police officers intimidate a lawyer who works at a firm that was unfairly linked to a cop killing because that lawyer refused to pay a parking ticket issued by a fake court? Who... who is this for?! What’s the angle? Who is amused by this?

Marissa sees Julius is the defendant and jumps into action. She asks Wackner why he’s prosecuting Julius and he says it’s his job. She argues that Julius is from their firm and this is bullshit. Wackner still won’t let him go.

If Julius is from the firm and Wackner employs the firm, is Julius NOT covered under the court employee banner? Why do I even care.

Wackner acts like he’s just not bending the rules, just like Marissa wanted. I’m not interested in this enough to decide whether I agree that this is consistent or think this is actually a different scenario. I just want to be done with this episode so I can forget about it.

I imagine—maybe hope is a better word—that this episode is bad because it’s hard to write five great episodes in a row without kind of phoning one in. I wish this episode didn’t kill the momentum coming out of 5x07 but I’m hoping that it is an isolated issue and not a drop in quality that will also spoil 5x09 and 5x10.

Wackner closes the door on Marissa, which I think is supposed to be meaningful, and Marissa calls Diane down to Wackner’s court to help Julius.

Diane and Liz both go to court. “I’m about to be sent to prison for parking in a purple zone,” Julius explains. “What does that mean?” Diane asks. “If I explained it to you, it wouldn’t make any more sense,” Julius says.

Oh so now we remember that Wackner’s prison exists. When I said I wanted more about it, I didn’t mean that I wanted it looming as a threat... I meant I wanted to explore what it meant that Wackner was promoting prisons...

Diane asks if they should call the police, “the real ones.” I like that it takes her a second longer than Liz and Julius to understand the cops are real. Liz also notes that the SA’s office won’t help either because they might be happy with anything that fucks with RL. This scene is decent. Some of the themes in here are decent. It just feels poorly timed and with the emphasis in the wrong place. I imagine the goal here is to show that Wackner is now more concerned with enforcement than with the process for trials, and that enforcement brings with it a lot of uncomfortable questions. I wish that we’d spend less time on the incredulous reactions and silliness and more time reckoning with those questions.

The next focus group likes the Wackner anger outburst, because, in Del’s mind, they want to see Wackner care about something. Does Del have the worst judgment ever? Wackner looks invested in every single thing he does—how could anyone accuse him of not seeming like he cares? His whole thing, the whole thing that got Del’s attention, is that he pays each case the kind of individualized attention it deserves. Now he only looks like he cares if he blows up? Even if the thing he’s caring about in the explosion in question is his own reputation? Is Del trying to make Wackner into a mid-2010s anti-hero? And if so... why?

Wackner’s outburst that accuses Del of corruption is apparently so good it got an unprecedented “95%” from the focus group. Sure. Why not.

Then Del tells him to keep doing cases “just like this” and they’ll keep the court going. Does that mean just like the ALREADY HIGH PROFILE AND ALREADY HAND PICKED FOR TELEVISION cancel culture case, or cases like the Julius case? If the first, well, duh, that’s why they picked that case in the first place. If the second, again, why?

“You and your colleagues think you get to decide when and how justice is determined. You think it is your right to make and break the rules as you see fit,” Wackner says to Julius. UM, WACKNER, THAT IS LITERALLY YOUR ENTIRE DEAL???????????????????????????

That’s the point, right????? Please tell me the point of this is that Wackner is supposed to look totally hypocritical and like an egomaniac who thinks his own judgment should not be questioned but everyone else’s should be????????????????????????? If this line isn’t meant to be supremely ironic I... I wouldn’t even know where to start.

“The law belongs to the people,” Wackner says, and the cops start chanting, “USA!”. What?!

And then we cut away from this and suddenly we’re welcoming Allegra to the firm and... did I miss an entire episode or something? What happened with Julius? Why are Liz and Diane smiling? How did Diane and Liz’s conversation about Allegra go? Did the other partners agree to this? Did David Lee? This is a very big development! I need more!

Madeline seems welcoming towards Allegra. She and another partner are still suspicious of Diane because they have seen right through this strategy. So... I guess we aren’t done with this arc yet.

Aw, Liz has a picture of herself with her son when he was a baby on her desk.

Diane and Liz drop Wackner as a client. It takes longer than it should for Marissa’s name to come up in this conversation.

If you were wondering about the Julius case we spent most of the episode building up, it’s resolved off screen by Wackner releasing Julius with time served. Why? Don’t know. Did it seem like it was headed that way during anything we previously saw? Nope.

Wackner won’t let Diane and Liz back out, saying he gets to choose his representation (does it REALLY work this way?) and also, probably more importantly, that they won’t be able to get all of Cord’s business if they piss him off by dropping Wackner.

Wackner also notes that they picked up his pilot. I’m sorry, what? Del didn’t just decide that the series he created for his streaming platform would be straight to series? That whole little “Wackner doesn’t test well” plot was resolved by showing an episode with the COTW they obviously should’ve shown from the start and then Wackner made a total of zero changes to his behavior or attitude and now the show is a huge success? What was the POINT? Why did I just watch that?!

“Fuck,” Liz says as the episode ends.

I’ve kinda always thought this, but it’s worth saying again: Madeline and company should resign from the firm. BOTH RL and STRL care more about profit than anything else. Liz and Diane want to work together. Liz and Diane both take the threat of losing Cord’s business seriously. If Madeline wants a firm that’s focused on social justice, it doesn’t matter if Diane is name partner or not. Liz is probably even faster than Diane to decide things based on money, and even if she weren’t, STRL owns them! Plus, I have a feeling that Diane, her clients, Liz, and Cord are probably individually worth more to STRL than Madeline and the other partners combined. If Allegra is down to pursue profit and deal with corporate overlords too, then Madeline and the others matter even less to STRL. Just cut your losses and start the firm you want to start. At this point it won’t even compete with RL.

Don’t get me started on this absolutely idiotic title sequence for Wackner Rules. I’m sure this is someone’s idea of a joke. If I take it seriously, then I have to write about how it is even worse than all of the things I just complained about for the entirety of this recap, and honestly, I’m exhausted.

#tgf thoughts #the good fight

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elpercotreviews · 4 years ago

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Reviewing My Anime 10/10's *Relatively* Spoiler-Free

Note: What I rank a 10/10 is very specific and obviously very subjective to my own. Something can only be a 10/10 if I already consider it a 9/10 AND I must have rewatched it. I am someone who typically does not rewatch/reread anything, unless it's something I truly absolutely enjoy. With that being said, because of the requirements, I only have 4 animes that I rank 10/10, and tbh only one of those animes would get that ranking from the general anime audience. The rest are SO SO SO specific to my particular tastes that I would be absolutely stunned if someone also had the same four as me, because the requirement is so specific. Imma make another post eventually for my 9/10's because I think that list makes a lot more sense for a general anime audience lmaooo.

Soooo, in order of least personal to most personal (although obviously they're all personal to me lol) we have:

1. Psycho-Pass

Recommended for people who: are really into that dark dystopian future society vibes, are fans of Ghost in the Shell, like detective/crime stories

Okay, for a few people, this one actually probably makes some sense. At the moment, it has an 8.37 on myanimelist which means this anime is super well liked. I've watched this anime twice, first the original and then the second time I watched the director's cut (yes that exists lol). Overall, I'm a huge fan of the entire Psycho-Pass anime series as a whole. I've watched all three seasons, as well as two of the movies. I didn't watch any of the Sinners of the System ones cuz tbh I literally couldn't find an english sub of that anywhere, it just doesn't exist lol. I think it's okay cuz the ratings for the Sinners of the System trio of movies seems meh. I've actually watched Psycho-Pass the Movie like three/four times LMAO but that's simply cuz a movie is obviously much quicker to watch than an entire anime season. Like just objectively, the Psycho Pass series as a whole is very inconsistent in quality due to the fact that it's all original, so they do technically just make up everything as they go lol. Season two is all right (I think it gets more hate than it should), three is good but season one by far is the absolute best in the entire series. I'd argue the movie is technically my absolute favorite out of the whole IP, but I actually give the movie an 8/10. The movie, because of being obviously way shorter, simply does not have the deep controversial and philosophical lines of thought that season one has. It lacks that extra depth that would make me put it anything higher than an 8. The two main characters have good chemistry as a crime-fighting duo and the main villain's rivalry/relationship with the male lead is super compelling. The female lead is meant to be relatively naive/more on the innocent side which works with the plot as it allows the show to naturally explain and give more exposition as to the actual world and rules of Psycho-Pass without having it seem so ham-fisted or just throwing info to the audience.

2. Violet Evergarden

Recommended for people who: cry to sad movies, like gorgeous animation, are very empathetic, like vignette-esque storytelling

All right if you even remotely consider yourself an avid anime fan, then this anime is probably also somewhere on your 10/10 list or at least an anime you consider to be "very good." That is, unless you are that very vocal minority who simply really just REALLY do not like this anime for some god forsaken reason. However, in my honest opinion, I think an anime like this just really doesn't sit well with ... how do I put this blunty ... people who do not give a fuck about other people or anyone else's feelings but their own. Basically, IF YOU ARE SELFISH, A NARCISSIST, EGOTISTICAL, OR ANY SORT OF COMBO OF THOSE THREE, YOU WILL NOT LIKE THIS ANIME. And if you do, you probably don't think you're any of those things. Because of the anime's very premise, I find it very difficult to see a very self-centered/heartless person particularly enjoying this anime. The whole premise of this anime is that the main character who, because of her upbringing, doesn't understand feelings/emotions, especially the concept of love, grows as a human and slowly begins to learn what love is. The show does this by showing multiple sets of characters meant to represent different types of love (romantic, familial, platonic, etc). The vocal minority of people I've seen give Violet Evergarden bad ratings all typically argue that although beautiful, the anime doesn't have any substance/doesn't really mean anything. If that's honestly all you got after watching the entire show, then you deadass just don't get it, and you probably will never ever get it. If you've seen or heard of Vivy: Fluorite Eye's Song, than just know that these two animes are VERY very similar in vibe despite being technically different genres. However, I personally found the themes and concepts in Vivy are done much more masterfully in Violet Evergarden which I think is due to Vivy's heavier focus on a story-driven overarching plot/action as opposed to Violet Evergarden's focus more on emotional impact/an episodic format. I've watched the entire series and I've rewatched the main show twice. TBH you can probably skip the gaiden movie AKA the one set at the girl's academy it was highkey pointless. Compared to the opera episode they added as a "special", the gaiden movie was still good but I wish resources were dedicated to something that actually added to the story. ALSO YES I KNOW ITS A GAIDEN AKA A SIDE STORY AKA FILLER SO YES NO DUH IT DIDNT ADD ANYTHING, BUT STILL. As for the main show, I think I cried for three episodes (the one about the playwright/author I forgot lol, the mother and daughter, and the soldier). On my rewatch, I didn't cry but I still deeply cared for and related to the characters. Violet Evergarden is a beautiful anime with a beautiful story.

3. ACCA: 13-ku Kansatsu Ka

Recommended for people who: like bread and bakeries, don't mind a very chill and slow-paced story, like stories about political intrigue and hidden agendas

Based on a relatively short manga, ACCA: 13 follows the main character Jean Otus as he performs his job of auditing the 13 districts of his country Dowa, while rumors and politics brew in the background that threaten to entangle Jean into a complicated plot. To be honest, I think properly reviewing this anime is impossible for me, because I just can't really explain the vibes of this anime besides "chill" and "intriguing." I think trying to explain anything more than the basic premise I just wrote would spoil a lot of what ACCA is, because it's plot is actually relatively quite simple and straightforward. Compared to Psycho-Pass which has a relatively good cult following, and Violet Evergarden which is universally praised, ACCA is an anime that I've yet to personally meet anyone who has ever even heard of it LMAOO. And almost everyone I know watches anime, so that's saying something oof. ACCA is made by Madhouse, which if you don't know, is a super well known anime studio, producing big hits such as Death Note, Hunter x Hunter, One Punch Man, etc. That's why I'm surprised that ACCA has flown just SO under the radar, but that may be due to the overalls nature of the anime itself. ACCA is an anime where all the characters hold their card close and no one seems to really share their real thoughts. One main criticism the anime has is the lack of deeper connections to characters and that for a main character, Jean Otus is very bland. To be honest, I think that's a very fair criticism and I can understand why this would prevent people from rating this anime higher than an 8 or 7. Due to the very nature of the anime and its plot, I do agree that there is a huge cast of colorful characters that we unfortunately don't really get to know more about. To be honest though, I don't mind this because I feel that's honestly quite realistic, especially factoring in Jean's job. All these places he's going and all these people he's meeting, it's literally just his job. He's not on vacation, these people aren't his friends, so the anime has no real reason to dwell much longer on places past its specific episode. Just like in real life, you encounter so many people and go past so many places that you probably won't ever see again. So for me personally, I didn't mind that the anime didn't explicitly show much about the backstories or lives of the cast, save for the very main characters (as their backstories were plot relevant). I think as viewers of not simply an anime, but a whole other world, I think it should be satisfactory to inherently understand that these are whole "people" who have entire lives that we are not exactly privy to. So although admittedly our understanding of many of the characters was all around quite shallow, I think that works for the scope of the anime, which was relatively simple and focused on just Jean living his life and the political plot stirring in the background until it was brought forward in the second half of the anime. Also I love Jean Otus. I actually completely absolutely adore him. He is literally my profile pic for myanimelist LMAO. I think calling him "bland" is fair from other people's perspectives, especially as the supposed main character of an ANIME, but I feel that if ACCA was in a different format like a novel, I think his personality would have been less criticized. Like I said, I love him soo much. I don't find him bland at all, but actually very interesting and highkey attractive LOL (if only he'd quit smoking but it's part of his charm 😞). Yes for an anime "protagonist," he is quite underwhelming especially compared to others, but I think that makes him very charming!!! Like all he wants to do is just chill, vibe, and do his job lmaooo. I think as a person, he’s very charismatic, and in the world of ACCA the rest of the characters see that as well. Because like, if he really were such a bland person, why would so many people like him and actually trust him lol? As for why it’s technically my favorite anime of all time (my ultimate one is a movie), I can’t give super detailed reasons why to be honest. I just really like the overall vibes of the anime itself, and I think the anime is just super unique and original. I’ve watched a ton of anime over the years, but I’ve genuinely seen nothing like ACCA in the slightest. I mean, just look at the recommended animes on the myanimelist. The recommended animes are all stuff I’ve also personally really liked (like fugou keiji unlimited and the great pretender) but yeah there’s just truly nothing that’s close to what ACCA is, and because of that, it reminds my absolute favorite anime show. I’ve seen the dub and the sub, even though I am a vehement dub hater lmaooo (except for very few circumstances, and this also applies to all non-English media, not just anime). There was only one thing in the entire show that slightly confused me/ seemed slightly unbelievable and I won’t spoil but it had something to do with the overall timeline of some events, but it doesn’t detract from the story at all. Oh and the art style! I really love the art style of the anime. It stays pretty true to the manga, but is also just an overall kind of art style I really like. I really enjoy the more like 2d/flat/drawn art style versus really clean and really detailed stuff, and I’m typically not a big fan of very obvious use of CGI (unless done tastefully like in Demon Slayer). All the backgrounds in ACCA have this painted/drawn style and the anime itself has this like muted(?) filter over it that makes the anime seem like someone’s drawings just put up on display in a way that’s really refreshing and nice. I highly recommend this story for anyone who wants a breath of fresh air and to get away from the typical action-packed high energy of big name anime.

4. From Up on Poppy Hill

Imma make a whole separate post JUST for this movie so I can explain why I love this movie so so much. And honestly, Imma need a whole separate post in the first place to address the elephant in the room when it comes to this movie (if you’ve seen it, then you know what I’m talking about). And if you’ve haven’t seen the movie, maybe you’ve heard about one of its controversial themes. I’m not gonna say what it is, cuz I KNOW it’ll be super off-putting for a lot of people, but please omg just hear me out. I just love this movie so so much. I’ve seen it like 7 times and counting. I have it downloaded on my computer and on a flash drive. I’ve watched the sub AND the dub however I’ve stopped watching the dub because it makes me sad every time I hear Shun’s voice actor ;-; This movie is legit an honest-to-god comfort movie for me that I could watch over and over and I’ll fall in love with it again each and every time. And once again IMMA MAKE A WHOLE SEPARATE POST BECAUSE I SWEAR PEOPLE ARE GONNA BE LIKE “Yo ain’t this the movie with the -----” and it’s like PLEASE LET ME EXPLAIN. The vibes of this movie, the themes it addresses (yes even THAT theme), the music, the art, the characters, is perfectly presented in a way that I will never stop watching this movie. The only other film that has come close to the amount of times I’ve watched From Up on Poppy Hill would be Legally Blonde lmaooooo.

#anime #anime movie #from up on poppy hill #psycho pass #acca: 13-ku kansatsu ka #violet evergarden #anime review #myanimelist

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fabdante · 4 years ago

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The Vergil and Kat Post

So um. This like idk essay, analysis, rant thing took took like five attempts to write because I would not stop rambling and it’s still like just barely five pages long. And that’s after I cut it down from like 11 pages.

The short version is: Kat and Vergil are really interesting and complex as we view their relationship usually from an outside perspective which leaves much up to interpretation. If you’ve been on my blog for a while you probably know the interpretation I have of them because I eat up tragedy like candy, but that’s not the only one.

The (very) long version is beneath the cut. And unfortunately this time there are no pictures. There’s some analysis but also just a lot of rambling. If Kat and Vergil, in any form, are not your cup of tea, this is probably not a post for you which is chill!

I’m going to start with the end. Vergil’s Downfall.

Recap, when Vergil encounters Hollow Vergil in his personal trip to his personal hell and all, Hollow Vergil eventually asks ‘but what would you do if you had another chance’. Vergil doesn’t answer. But since he’s the player character, we get access to his thoughts. And we get a montage of Kat. At first one might think this is about how the plan went wrong. Vergil’s regretting the plan. Then it becomes increasingly more apparent the thread that ties all the scenes together isn’t the plan, isn’t the plans failings. It’s Kat. Not Dante and Kat. Not the plan. Just Kat. The scene ends with a scene from mission 2, a moment from the end of the only cutscene Vergil and the real Kat share alone. There’s this little moment that seems to exist to show how pretty Kat is.

This is his last thought. Not the plan. Not how Kat relates to the plan. Not how he mistreated Kat in service to the plan. It’s just Kat.

Act one of Vergil’s Downfall is all about Vergil and Kat. The whole things a reenactment, just somewhat twisted, of how they met. Kat in Limbo, in danger from a demon, and Vergil doing what he can to help. He doesn’t hesitate either. He hears Kat call for him, call for help, and he runs. Except in Downfall the threat is with them, something he can fight and slay head on. So he does. But everything is wrong now. ‘Kat’ berates him. She tells him what Vergil must think she’s thinking. That she feels used, that she thinks Dante’s better, and all that. And Vergil tries to explain, he tries to justify himself, even if this ‘Kat’ is not his Kat. He wants her to understand, though. Because she’s Kat after all.

He needs to hurt her to proceed, of course. But he can’t. He can’t until she turns into a physical monster. Not until this fake Kat becomes something entirely unKat can he actually hurt her and proceed.

The Hollows represent aspects of Vergil that he needs to kill to gain power, as well as his insecurities and the people he cares about and more. Kat represents his humanity. So I suppose, in a way, it’s not surprising that she’s the hardest for him to kill and the one who receives the least of his cruelty that we see later in the game. But, the point still remains. He faces Hollow Kat first. And he begs her to understand him, longs for things to go back in what way they can.

(Also, an aside, it’s interesting to think about how Kat is not only humanity, but Vergil’s humanity. The implication being that Kat in a sense grounds him. A foil to how inhuman Vergil is.)

Downfall takes the scraps that the game gives and gives them a revamped, strengthened context for Kat and Vergil and their true feelings and intentions. The first game doesn’t give us much and why should it? They are built in a show don’t tell philosophy because, well, Dante can’t tell us about Vergil and Kat. He can only see. So we only see. But Downfall, we are explicitly told that yes, Vergil cared for Kat. She is important. And she is his one regret.

So, Downfall proposes that Vergil genuinely cared for Kat. And the base game proposes that Kat genuinely cared for Vergil. And it’s hard for me not to talk ramble when I talk about them because there’s…a lot of little moments between them that I love, little things that I find interesting to pick apart and wonder about (and have over the past 8 years). I’m going to try not to do that, though. Try being the operative word (I have failed all five write ups preceding this one).

Kat is often described as naïve because of her relationship with Vergil. But I think this is an inaccurate description. We never see her blindly trust anyone in the game. She doesn’t trust Dante because she just believes in him. We know this because she’s immensely skeptical of him and if he’s going to be helpful up until after the succubus boss fight. And we know she’s skeptical of him because she questions Vergil about it and she remains skeptical, keeping Dante an arm’s length away. She is not naïve. She trusts Vergil because he’s earned that trust.

It’s hard not to see how he managed to do that. He helped her kill her foster father and escape a bad situation, but it’s what happened after that solidifies this deep connection between the two. Kat tells Dante how Vergil helped her afterwards while she coped with the trauma and it’s something she mentions more then once. Kat’s trust and loyalty to Vergil is because he’s earned it. Because he has seen her at her worst and did not run. He stayed. He helped her through it. And still he stays now. It’s easy to imagine this going both ways, that seeing Kat ‘raw’ as he says makes Vergil vulnerable right back.

Plus, Vergil compares Kat when he first met her to Dante (‘He’s raw. Just like you were when I found you.’). I think one would be hard pressed to refer to reboot Dante, the one with self proclaimed trust issues, as naïve.

So, we have a relationship of deep trust between the two over what is implied to be a long time. The sort of trust and intimacy you get when someone sees all of you and knows all of you. At least, I think that’s Kat’s end. When it comes to Vergil…well, opinions are complicated.

There are the three options of how Vergil feels about Kat if we simplify it down. One, he was using her and this was all to use her and get the plan finished. Two, he was using her but grew to care for her over time. Three, he was never using her and this was all real. I’m three all the way but one and two aren’t really contradicted anymore than three is. Which is an issue when talking about Kat and Vergil and trying to be all inclusive but also concise. There’s no one answer. There are just different opinions on what the answer is.

For me, it’s hard to reconcile the idea that he did not care for her with what we see in Vergil’s Downfall. Or when we have moments like his genuine joy that she’s alive in the server room. It’s hard for me to reconcile the idea of Vergil using her this whole time when it feels like a lot of work to keep her at his side when she can’t even control her powers. It’s hard for me to reconcile the deep connection I see between them.

For other people, the opposite is hard. Seeing what happened in the server room, seeing Vergil write off Kat entirely, seeing him call her useful and referring to humans as subjects, cannot be reconciled with the idea that he genuinely cared for and about her. Or how one could get a very loyal side kick the way he goes about this, saving her and giving her a home and purpose and everything. It’s an easy way into getting a loyal assistant.

All that I can tell you is how I see it. And what I see is two people with a deep intimacy with each other. The relationship may be messy and complicated and not perfect, but that’s what I see. That’s not what everyone sees, and that’s ok. That’s just what I see and that’s what this post is about.

I think its notable to about how important this relationship is because Vergil actually gets like, jealous about it. I get side tracked for too long when I go on about this so, in keeping things short, we see Vergil in the background get frustrated with things Dante says to Kat (namely the ‘I like it rough’) and we see him get kind of jealous in the game. But we really see it in Downfall. And sure, there are things he’s jealous about that pertain to Dante that aren’t Kat related. But there are things that do relate to that. We mostly see this, again, with Hollow Kat. She pisses him off when she mentions Dante being a real man. There’s of course stoking at Vergil’s insecurities since he’s lost to his twin and he already seems to feel envious about how easy things are for Dante and everything. But there’s also the fact it’s Kat saying it. It’s Kat who’s telling him she prefers Dante. That stings Vergil, this idea Kat cares about Dante more than him.

Part of this I think is from the fear that Kat will run off to Dante because of their similar backgrounds. They both have similar childhoods, something Vergil didn’t experience. Which, going back to what I said, a person who must pride himself on how well he knows Kat (and how well she knows him) must find that kind of threatening.

There’s this scene added in the Definitive Edition. Before that we were left to assume Kat wandered the tower and that’s how she mapped it for the twins, but the Definitive Edition makes it clear canon. This makes the scene where Mundus records himself with Kat as a threat to the twins the only time we see Kat out of body in the game. During this experience, she assumedly betrays Vergil’s name to Mundus. Before the Definitive Edition scene, I always just kind of wrote off that moment. Kat’s under extreme duress, she’s just saying whatever at this point. I thought this for years after, to.

But then one day, after replaying the game for the umpteenth time, a thought came into my head. She’s out of body, in Limbo, surrounded by demons. She says his name because Kat is looking for him. She say’s his name because despite what happened in the server room, she still trusts Vergil. She doesn’t say Dante’s name, she doesn’t call for anyone else. She calls for Vergil. Because who else would she call for if not Vergil, the person she’s closest to and the person who saved her before?

It’s this sort of thing that makes the betrayal hurt as badly as it does for well, everyone. Us, Kat, Vergil, Dante. But focusing on Kat and Vergil, it’s the trust. It’s this deep bond between the two of them that’s suddenly shattered. What do you do when this person you think you know so well doesn’t do what you expect? When they do the exact opposite, actually? When they suddenly don’t understand you at all? It’s such a foundational relationship for the two of them to, it’s earth shattering to go from knowing a person so truly and deeply to looking at a stranger. This is all kinda true for Vergil who must have expected Kat to understand even if he may have thought she’d get upset. But this is all extremely true for Kat

It’s kind of a double sided betrayal. While I’m not really going to say Kat betrayed Vergil, because she didn’t she stayed true to her word and what she thought they were fighting for and everything, Vergil feels betrayed to, just like Kat and Dante. And oh does Kat feel betrayed. One of my favorite like, animation, character moments is like the pure disbelief, anguish and betrayal on Kat’s face at the betrayal it’s so well done. Like even the little look she does out over the city then back to Vergil like it’s just its good but not important back to topic. Kat thought they were fighting to free humanity. And Vergil seems to truly think this is for the best, if humanity is under his rule.

While one can argue Vergil’s goal was power, I feel like Vergil’s goal was the same he had from the start. Vergil wanted to free humans. He’s not even wrong, really. If Dante and Vergil do not put someone on the throne to replace Mundus, a new demon will take his place. Without someone controlling the demons, the demons will wreck havoc uncontrolled. However his wording could use some work. That said do I think Vergil is susceptible to power corrupting him. Absolute power corrupts absolutely sort of deal. I feel like him and Dante are similar in this regard, neither I think is quite equipped to rule with the amount of power that Vergil proposes they get. I also think Vergil didn’t think he’d get to this part, I don’t think he really thought about what happens after Mundus. Not the specifics. He ended up with this conclusion later in the game, and as a result never floated it by anyone. And to be fair, no one asked.

Kat always seems so full of hope at the end, right after she get’s Dante to stop killing Vergil and everything. She’s got these big Kat eyes, like she expects now things will go back. Vergil will say this was a joke and he’ll come back and things will be normal and she will have her best friend and the world will be safe. But that’s not what happens. Vergil leaves, of course (not after him and Kat have a long extended stare where they must be wondering mutually if the other will change their mind, if she will follow or he will stay). The whole ending in general from start to finish we get a lot with Kat and Vergil subtext. How she manages to get him to listen for a moment, even if Dante ends up getting him too angry to listen by the end. How Kat goes out on a limb to save Vergil, even if she didn’t have to.

She must be wondering, to, how real it all was. Dante’s answer I think is that it wasn’t. From what he saw, from his limited scope, it wasn’t. He cannot reconcile it, and why should he? He was thrown into their lives and resistance group with no context and he ends with little more. But Kat’s left wondering, and Vergil’s left regretting, and I’m left lamenting about the very large lack of post game Vergil/Kat content.

I don’t know. I could keep going. At just over four Microsoft Word pages, this is the shortest attempt I’ve made at this. And I will surely write up some more analysis on them, I didn’t even get to talk about fun stuff like Kat’s theme (or the comics but I left those out on purpose I have…complicated opinions on the comic), or like more about the whole divine/human angle here. I could keep going on and on and on like analyze every little microsecond and sound like this:

Which, to clarify, I will 100 percent do if prompted lmao. But I guess the short of it is, in my biased opinion, I think Kat and Vergil are in love. I think it was real. I think Vergil found her and he helped her because she needed help. I think they know each other better than anyone else. I think some things may have gotten muddled in the mists of being in a rebellion and saving the world and that rebellion was their priority. I think going into the DmC: Devil May Cry post game must be complicated for them, unable to let go of the other but unable to come back. It’s the sort of complicated relationship and tragedy I find fun to write and to read. That’s how I see it, anyway.

Also I mean idk if we are to believe Vergil’s bigger dick comment as truth, who else saw both Dante and Vergil’s dicks? Who except Kat? Who else had this info? Who else would Vergil believe? Just saying. Thanks for coming to my ted talk.

(edit: also I spelled hollow wrong like multiple times in this essay forgive me it should be fixed now lmao)

#dmc devil may cry #dmc reboot #devil may cry reboot #vergil/kat #vergilxkat #fab talks meta #can you tell i started a really long fan fic about kat and vergil that i never finished or posted #because thats 100 percent what i did they live rent free in my brain 24/7 #long post

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joannerowlingfans · 5 years ago

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Great article from June by Eileen Blair. Here’s some excerpts:

“The Bodily Function Which Must Not Be Named

Daniel Radcliffe knows some things about menstruation. Recently he wrote a statement assuring us that the correct word for those who experience periods is not “women” or “girls,” but “people who menstruate.” However, when he told us this, he didn’t actually tell us this. He never used the word “menstruation,” or “period,” or “blood,” or any related word. There was no mention of clots, or cramps, or dysmenorrhea, or endometriosis. He did not name the “people who” experience these things.

Instead, Radcliffe did name author J.K. Rowling, who recently came under fire for stating the controversial opinion that the word “woman” is still of use, and that this now-contested term may even provide a more appealing way to describe human beings than “people who menstruate,” or the more streamlined “menstruator.” But while Radcliffe invoked Rowling’s name, he did not acknowledge her ideas, which she has expressed publicly in a number of tweets and in a recent essay. Instead, he opened his statement by simply insisting that there is no “in-fighting” between him and Rowling, without mentioning why anyone might think there is. He anticipated that “certain press outlets” might seize on the opportunity to report on a conflict between Radcliffe and Rowling, which they promptly did. The Guardian, the Independent, and the Times all referred to a “row” between Rowling and Radcliffe.

On social media, many enthusiastically shared Radcliffe’s statement, but I have yet to see any of Radcliffe’s fans mention that he both failed to identify the topic at hand and neglected to consider Rowling’s ideas about it. In 2020, it seems, if someone mentions Rowling, however obliquely, and with even the slightest hint that they disapprove of her for some reason they need not even state, they can count on being showered with unreserved praise.

The Menstruators Who Must Not Be Named

There is more that is not mentioned. The third sentence of Radcliffe’s statement asserts, “Transgender women are women.” Curiously, he does not go on to say, as anyone familiar with scripture would expect, “Transgender men are men, and nonbinary people are who they say they are.” In fact, there is no mention of transgender men or nonbinary people anywhere in Radcliffe’s statement, even though the ultra-specific term “people who menstruate” is intended to accommodate these groups—people who have periods who do not identify as women.

Why does Radcliffe choose this occasion to remind us that trans women are women? Trans women do not menstruate. This is why it is now considered exclusionary for those women formerly known as women to claim that menstruation is related to being a woman. That’s pretty much the point of terms like “menstruator.” By intoning “transgender women are women,” Radcliffe associates women, and only women, with the expression “people who menstruate.” This is exclusionary and transphobic. Not all women have periods, and not all who have periods identify as women.

Among those who cheered Radcliffe, I have yet to see anyone call out Radcliffe for his exclusionary and transphobic refusal to acknowledge “people who menstruate.”

The Silencing That Must Not Be Spoken Of

There is yet more that is not said. Rowling has been on the receiving end of misrepresentation and verbal abuse for over two years, simply for suggesting that women formerly known as women have the right to discuss the word “woman.” For advocating free speech, she has been derided, slurred, and even threatened.

Into the fray saunters Daniel Radcliffe, who, without any apparent effort, scribbles a few words calculated to score points with his base. His four-word magic incantation, “transgender women are women”—again, this is transphobic and exclusionary of people who menstruate—ignites passions and encourages continued demonization of Rowling. Readers need not even know what Rowling has said, for Radcliffe’s magic spell sanctifies him and positions him securely on the moral high ground. Rather than discuss menstruation, or Rowling’s point of view, he describes the discrimination young transgender and nonbinary people have self-reported. It goes without saying that this should be eradicated, but it is a diversion. Rowling, the prop he uses to display his righteousness, is at this very same moment being mercilessly bullied online and in the press. By ignoring this, by saying her name only to turn away from her, by making the sinner a foil to his own saintliness, he lazily enables those who would consign her to the online ducking stool.

Rowling has taken pains to be considerate and measured, just as women formerly known as women are still expected to do. Nevertheless, she has been described as “hateful” and “transphobic.” She has been accused of saying trans people “don’t exist.” Rowling has been called a “bitch,” a “cunt,” a “whore” (also “hoe”), and even—gasp—“a Karen.” (In reality, the offense seems to be not that Karen has demanded to speak to the manager but that she is the manager.)

As expected, Rowling is also called a “TERF.” (Rhymes with “serf.”) Proponents of “letting people be who they are” have proposed that “TERFs” like Rowling deserve to be physically assaulted or killed. One TERF-hunter calls upon a well-known veteran to do the honors: “I’d pay to watch [Charlotte] Clymer put on her army camo and shoot the TERF.” Another goes for the DIY approach: “Smack JK Rowling so hard I give that fool a lighting scar on HER forehead.” Rowling has been challenged to a duel by Tara Flik Wolf: “Oi JK rowling ow about you meet me outside! Hyde park! Lets fucking have it you cunt!” (In 2018, Wolf was convicted of assaulting Maria Maclachlan in Hyde Park in London.)

The demeaning comments are not limited to the blue circle of hell known as Twitter; otherwise reputable news outlets have also adopted the term “TERF.” Mainstream publications insist that this is not a misogynistic insult but a neutral term, an acronym radical feminists invented and applied to themselves. No matter how many times we insist that we consider this term a slur, no matter how many times we see “TERF” joined to “bitch” or “cunt,” we are informed that we have misunderstood, that this term is not intended to demean us. We really do like it, we are told. And a minute later we receive, for the 83rd time, a cartoon image with a gun pointed at us, an anime character threatening, “Shut the fuck up, TERF!”

The mainstream media has also joined in telling Rowling to “STFU.” The Washington Post says it directly in an article titled, “J.K. Rowling’s Transphobia Shows It’s Time To Put Down The Pen.” Molly Roberts informs us that Rowling is flailing; she’s a bigot; she’s even—middle-aged! And therefore obsolete. Other prominent publications have described her tweets and essay as “transphobic” or “anti-trans.” This is eerily reminiscent of how second-wave feminists were described as “man-haters.” In the 1970s, we were said to hate men. Nowadays we are said to hate trans people. Fifty years ago, we learned to speak about our bodies. Nowadays, we learn how not to.

Major advocacy organizations have issued patronizing “reminders,” as if Rowling has forgotten her lines. The Human Rights Campaign laments, “We see JK Rowling is at it again. Helpful reminder: If your feminism isn’t trans-inclusive, then it’s not feminism.” A GIF of Emma Watson as Hermione is included for no extra charge, mocking the author with her own invention.”

“Radcliffe’s statement has been applauded online by people like me: college-educated, feminist, middle-aged American women of the sort formerly known as women. I haven’t seen any of them mention the gleeful dehumanization of Rowling; nor I have I seen any of them object that Radcliffe has remained silent about the abuse, or that it was taking place as he crafted his “response.” While he is not directly responsible for others’ treatment of Rowling, he is responsible for contributing to a hostile climate, and not just among anonymous Twitter trolls.He is responsible for what he does and does not say, and for what he does and does not know (or pretends not to know).”

“The final paragraph of Radcliffe’s statement offers consolation to those who feel betrayed, who feel as though their experience of Rowling’s fiction has been sullied by Rowling’s continued existence. He assures fans that they may still be nourished by—well, by “the books,” “these stories,” and “the book that you read,” despite “these comments.” He doesn’t say whose books, whose stories, or whose comments.

The explicitly violent tweets and the contemptuous journalistic dismissals are unsettling enough on their own, and it’s troubling to think that Radcliffe’s failure even to address the matters at hand may have amplified them. But here he moves from omission to erasure. Whereas he began his statement by focusing on Rowling’s name and not her ideas, now he appropriates her ideas while refusing to utter her name. This final negation is pernicious in its own way. Radcliffe opened his statement with an acknowledgment of J.K. Rowling’s influence on his life, but just a few paragraphs later, he seems to have forgotten that he played Harry Potter in the movies based on the books rather than inventing Harry himself. At the same moment when Rowling is being “cancelled” by those who loved her books, as her former fans and even major publications demand that she surrender her agency and autonomy, Radcliffe steps in and arrogates the right to speak for “these stories.” He assures his base that they may still find meaning and solace in the books, despite the mortal sins committed by—She Whose Name Must Be Erased From The Covers Of Her Own Books. Chillingly, Radcliffe assures his readers that “nobody can touch” their experience of the books, implying that the unnamed, erased author has been purged entirely. How magnanimous of him. How inclusive.”

“I haven’t seen any complaint that Radcliffe fails to mention the trans men and nonbinary people who menstruate, or that he pretends not to know Rowling has already been fending off verbal attacks for years, or that he erases her name as he refers to “the books.”

“Daniel Radcliffe seems to have forgotten Harry Potter began as an idea in J.K. Rowling’s head. But he wants “women” to be an idea in his own.

For all its popular appeal and re-postings, “Daniel Radcliffe Responds” does not respond to what J.K. Rowling expressed, and much is communicated by what he did not say. Radcliffe did not acknowledge the terminological issue or the content of what Rowling said about it. He did not mention the “people who” are affected by the issue or even credit Rowling as an author of “these stories.” Nor did the thirty-year-old honor Rowling as an elder who carries significant wisdom and experience—and who just might know something he doesn’t about the word “woman” or the practice of menstruation. He expressed fervent opinions about who counts as a woman, but didn’t show respect for this woman. Perhaps it is Daniel Radcliffe, not J.K. Rowling, who should “put down the pen.”

#jkr article #jkr articles #daniel radcliffe #danrad #pro jk rowling #jk rowling #i stand with jk rowling #author of harry potter #harry potter author #jkr

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twilightofthe · 5 years ago

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So...about that Obitine Anidala rant. Also, you said something about how Sidious and Obi-Wan are foils. I would love it if you elaborate. (Also, I love your blog.)

Awwwww thank you anon! I just be yelling on here!

*wheezes* okie doke! Tho I stress that this won’t exactly be a rant because I adore Obitine and Anidala and rant kinda implies aggression towards them, this is more of just a long-ass ramble because while I love them, I don’t always love the way canon portrays them in the narrative, particularly in relationship to each other, because I often do not feel that what the show is trying to push us to think about them is accurate to how they actually act and come across. Notably, the show attempts to draw comparisons to the two relationships that really don’t exist below surface level similarities. Again, these are my own personal opinions, and in fact, I welcome discussion! I truly do! Please politely debate me on this if you disagree!

(god dammit it got long again, so long I’ll actually put ur Sidious and Obi Wan as foils part in a separate post)

I’ll get to why exactly the show compares the relationships very strangely in a moment, but first we gotta explore the reason why it does this in the first place, which is that the Clone Wars show has decided to make Obi Wan and Anakin narrative foils to one another. Narrative foils, by the literary definition, are two characters that contrast one another. They don’t have to be the protagonist and the antagonist, these characters can be on the same side, basically the thing is that they have “opposite” personalities where if one character is hot, the other is cold, if one character chooses to go right, the other will go left. It’s usually used to show one character’s qualities as more favorable for the situation as opposed to anyone else’s.

TCW does this whenever they possibly can with Anakin and Obi Wan. I get its reasoning behind it. I do. The reasoning is that while Anakin is supposed to be a main character, he makes questionable decisions quite often and for the kiddies watching, those decisions must be seen as Bad even if the hero does it, so they have Obi Wan, the unquestionable good guy, encounter the exact same scenarios Anakin makes his questionable decisions in, and then has Obi Wan make the Right(TM) decision to teach the kids a valuable lesson. They turn Obi Wan into the voice of reason for the entire show, which turns basically almost everything Obi Wan and Anakin do into a constant competition in the narrative in a way the movies do not do (and I’ll get to the movies later). I’m not saying it’s necessarily a bad thing, making them foils, but it’s definitely more of a show-only thing and it does it quite, quite often.

So yeah, TCW likes to compare Obi Wan and Anakin to the point that sometimes they try and use Obi Wan to diminish Anakin’s genuine trauma and struggles by going “well why didn’t you do it like THIS?” and I think that writing parallel plotlines for the purpose of shaming/criticism is kinda ://////, but that’s another rant for another day that again, if y’all wanna hear about, lmk

Anyway, the need to compare them absolutely made its way into their romantic relationships as well, as they acknowledge the similarities in the show, and Filoni and the crew explicitly compare the two relationships in interviews.

Basically my problem with how they try and draw said parallels can be boiled down to one quote by Filoni that a cursory Google search could not find but I know exists so y’all can take my word or not, that went along the lines of “Obi Wan and Satine are like Anakin and Padmé but better because they know how to stay unattached and let each other go. They’re a success story.” I disagreed with this quote so much it inspired me to write a whole-ass fic about it (Mutuals update: yes, it is coming soon, Darth Maul is just himself and therefore an utter pain in the ass to do a POV on and is fighting me like the bitchass he is)

My thesis that I will be arguing today is that while TCW tried to create Obitine as an Anidala parallel, they’re really not similar in the way the writers think they are. Obitine is not a success story to Anidala, they’re a goddamn tragedy too; the real parallel to Anidala is that Obitine also ended in death and tears despite making all the “right” decisions instead of all the “wrong” ones, and that is what is sad about them.

Like, on the surface level? Yeah, the crew-intended parallels are there. A fancy politician and a Jedi get together after the Jedi is assigned as the politician’s bodyguard. The first time they see each other in over a decade the guy’s first words are basically “damn girl you’re still hot”, there is Conflict(TM) and the choice to try and be together or stay yearningly apart because they are Forbidden(TM) to be together, and ultimately a Sith Lord fucks them both over because he’s obsessed with the Jedi and uses Politician Lady to his advantage, finds and exploits a vulnerability of hers, destroys her life’s work, and then lets her die to make Jedi Man sad. The difference is all that one pair said “yeah we aren’t gonna break the rules to be together” and the other said “fuck it yeah we are, let’s do this”

But beneath all of that, they real similarities are different and not at all focused on by the narrative. Obi Wan and Anakin are extremely different people, as are Padmé and Satine, so their relationship dynamics together will not be the same. You want to try and compare Obi Wan and Anakin and then compare Satine and Padmé like the crew attempts to, and you can’t, they have the same job but not nearly the same life. Namely, the funny coincidence is that Obi Wan and Padmé are much more similar in personality, while Anakin and Satine are also much more similar in personality, so the first time they meet again, it’s both Anakin and Satine as the one who’s been pining for over a decade and the one more actively pursuing the relationship, while Obi Wan and Padmé who are more like “uh, hi, wow, you’re hot and this is a Problem because I have a job to do pls don’t look at me like that but also I will Cause Problems On Purpose and flirt with you anyway because I can’t help it”. I get the Corruption TCW ep with Sati and Pads was mostly intended just to help Satine pass the Bechdel test and also show how similar the two leading lady love interests are, but it was a genuinely creative episode that actually ended up showing how much Satine and Padmé compliment each other instead of mirroring each other, much like Obi Wan and Anakin do.

And, onto my next point, despite the character parallels being wrong, the parallels in the relationship are different too. Like I said, the parallel isn’t that Obi Wan and Satine aren’t attached like Anakin and Padmé are. The parallel is that Obitine is actively running from what that attachment means instead of embracing it like Anidala is. The show would argue that since they try to avoid it, that they are able to live without one another, means they aren’t attached like the Jedi define it, but I argue that they definitely still are attached to a degree because they cannot give each other up. They held torches for each other from a timerange of 15 YEARS. Yes I know they spent an entire year together at a young and emotionally volatile point in their lives, but I stand that NO ONE is that hung up on their ex for that long unless there is some serious emotions involved. Anakin was hung up on Padmé for ten years, and that was because Palpatine was constantly bolstering those affections and reminding him of Padmé. Obes and Sati both-- or at least Satine, the show always makes Obi Wan’s feelings for Satine in return much more vague --held on to their feelings for five years longer without the influence of a Sith Lord.

And the thing is, they know it. Obi Wan and Satine are both fully aware that they haven’t been able to shake each other off like they should and that that is a Problem, that’s why they’re both a mite venomous with each other beneath the flirting at first, they’re both extremely frustrated with themselves for not being able to get over this thing they have, and frustrated with the other for being there as an active temptation.

And yet, they still are attached to each other. They try to avoid it, they definitely try, and that’s what makes them different from Anidala, but they are definitely still attached. You can see it in Obi Wan’s actions in Voyage of Temptation when Merrik is threatening to blow the ship, the way he hesitates in attacking him because that would be “striking an unarmed man”. Obi Wan Kenobi does not prefer violence, no, but he has never hesitated to cut a bitch before if it’s for the good of the many. This is the man who stabbed someone with a fork and threatened to eat him just to maintain his cover as a dangerous criminal. This is the guy who had no problem killing Zam Wessel for information to protect Padmé. This is a pragmatist who prefers peaceful solutions, but he does not hesitate if he feels it is a justified offense. But this time, when an entire shipful of people is at risk, Obi Wan hesitates. Because he doesn’t want to upset Satine. Because he’s probably thinking on how she told him that if he had killed the last terrorist they encountered, she wouldn’t speak to him, how she had criticized every time he used violence to escape Death Watch before. He hesitates because he’s putting her happiness, just for a second, over the sake of duty. Do I think that if Anakin hadn’t shown up to save their moral compasses, Obi Wan would have eventually taken out Merrik? Absolutely; hell, I honestly think Satine might have done it.

But the matter was, Merrik could have pressed the kill switch any second of Obi Wan’s hesitation, and Obi Wan knew that, and was hesitating anyway.

I am calling this attachment solely because if the situation was reversed, if this was Anakin and Padmé in this situation, with Anakin not taking out a dangerous criminal because he doesn’t want to upset Padmé (lol ignoring the fact that Pads 1000% would have shot that bitch, and even if she didn’t, Anakin would because he is perfectly fine with hurting his loved ones’ feelings if he feels it’ll keep them safe), god, the narrative would have eaten Anakin alive.

No, I won’t take criticism. I know how the show handles the Anidala dynamic. It would have shown Obi Wan popping up to take out the baddie as him doing the right thing and saving the day, and then Anakin would have been shamed for letting his feelings for his wife get in the way of protecting a shipful of people. THAT would be the Vader foreshadowing, none of this “only a cold-blooded killer” shit, no way would they ever stick that label on Obi Wan.

So yeah, I’m going off of the fact that if that would have been classified as attachment for Anidala-- which, it would, then. it counts for Obitine.

And then Obi Wan and Satine continue to be hung up on each other for the rest of the eps they’re in, Satine saying in words multiple times how much she loves and cares about him and wishes things could be different, and Obi Wan performing it in actions, risking his own neck and political standing to help her even when she’s a fugitive, probably personally putting in to send his own grandpadawan to help her later. Right up to the time when Satine decides that she is going to call Obi Wan when she is deposed. Not the Senate. Not any powerful politician friends. Not even the Jedi Order or the Council as a whole. She calls and addresses her distress call to Obi Wan alone. And Obi Wan, as now revealed to us by TCW S7, defies Council orders and breaks a century old neutrality treaty to try and bust her, a convicted murderer in the eyes of the Republic and Mandalore, out. He didn’t even know Maul had her. Just knew she was in danger and came running to her aid. He risks starting a potential war to come save her. They acted so in love that Vizsla was able to guess from being around them for like five seconds, and was able to tell Maul exactly who he would need to bait Obi Wan.

That is where the attachment comes from. It’s the fact that Obi Wan and Satine tried so, so hard to give each other up and do the right thing, but when it came down to it, they couldn’t lose the other one so they put them first when logically they shouldn’t. And thus, Satine ended up dead.

Now I know most people will argue with me that actually Filoni means that since they didn’t stay together after the year on the run, THAT is what makes them able to give each other up, and also the fact that Obi Wan didn’t go dark side and murder everyone when Satine died.

But I still think that at least the murder front is a fairly low bar to cross, and anyway, that just because they could live without each other didn’t mean they weren’t still attached. Anakin and Padmé were apart for 10 years and then even after that, they were apart almost constantly during the war. Just because they could live apart or even past the other’s death didn’t mean they weren’t attached, as they both still had not let the other go mentally and also broke rules to try and ensure the other would not die, even if the rules said they should let it happen.

So yeah, that’s my big theory. We can’t compare Obitine with Anidala by saying Obitine was a success story, we compare them by acknowledging that both struggled with attachments and letting the other go, but Obitine at least tried to the bitter end to do the right thing while Anidala didn’t really bother, and both ended up with dead women and broken men regardless, and that is the true sad parallel to me.

#ohhhhh my god i really gotta learn how to shut up lol #thanks anon! told ya it was long!#ask #asks #when we were young #star-crossed lovers #our only ho #peace out #one (1) hot mess #queen of my heart #anon

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sargentr · 5 years ago

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my fave drarry fics of all time, part one

so, after discovering i’ve officially been reading drarry fanfic for 4 years now, i decided to show my (quite big) list of favorite drarry fics. there are 46 in total, but i’ve listed 10 down below. the first three are my absolute favorites but the rest are equally as good

most of my notes are fresh from when i wrote them post-reading. i’ve changed some, seeming less like a crazy unstable bitch, but fuck these were all emotional as fuck. enjoy

ps: i dont really know how to tag people i dont follow. i cant try and tag the authors later. soz!!

pps: most of these i read when i was really into a bottom!draco phase, so most of them contain that, some are switch tho (as it should be, yikes past me)

1. Everything That Happen is From Now On / ~43K

After surviving a brutal assault, Draco tries to navigate the tumultuous waters of his mind, and embrace a bit of love and trust in his life. After all, the smallest steps forward can begin to heal the most fractured of souls

okay so before i get in to how beautiful this story is, i wanna say that it does touch on rape quite explicitly. i cried like an idiot reading the entire thing, because draco’s pain is navigated in the most beautiful and realistic way. it touches on a subject very risky for me, very personal, and i still can’t think of a better drarry story. draco’s very draco about it all, and harry is very harry about it all. it’s just perfect, and messy, and tender, and sad. i’ve reread it more than any other fic, and it doesn’t disappoint.

2. Pocket Full of Starlight / ~46K

When Scorpius Malfoy and Jamie Potter meet at Quidditch camp, they take an instant dislike to each other. Then they discover their lives are more connected than they could possibly imagine.

ah yes. the magic of kid fics. the TASTE

parent trap au. i read this one recently, like 3 months back, and absolutely fell in love with everything about it, partially because the parent trap is legit one of my top 10 favorite movies of all time. its just. the essence, the IDEA, is soooo mf beautiful. i cant get enough of reading when harry or draco finally meet the other twin, or how they cant stop loving each other even after 11 years. my heart clenched throughout the whole thing.

3. Temptations on the Warfront / ~180K

Draco Malfoy is forced into hiding with the Golden Trio and dragged into their search for horcruxes. What ensues is a journey of redemption, unexpected friendships and an unwanted, turbulent romance with Harry Potter. Warnings for swearing, sexual content, and dark themes.

this was the first drarry fic ive ever read, and before this mf i HATEDDD this pairing. so you can imagine how much it took to convince me otherwise, bc i was 100% scorbus before this.

to be fair, horcrux hunting with draco involved is, possibly, my favorite trope ever. its unique. theres tension, both sexual and life threatening. in some ways it romanticizes the war, but fuck it it aint a real war.

slowest of burns. amazing. life changing. long as hell. nothing else to be said except read it right now i demand it.

4. Clouding the Senses / ~58K

As everyone returns to Hogwarts for a final eighth year, some people are coping better with the aftermath of the war than others. After encountering a very drunk Draco Malfoy one night, Harry realises that maybe those that lost loved ones aren’t the only ones trying to escape the war. Blaise Zabini seems to think Harry can help Malfoy, that the Slytherin might actually listen to him. Harry is not so sure. Dependence is a tricky thing, and one addiction can quickly shift to another.

everyone that reads drarry loves 8th year fics, but this ones just kinda different from all those normal (yet entertaining) ones. draco’s an alcoholic in this, and one night harry tries to help him and whoops, one thing leads to the other and they start having casual sex. its really, really amazing how both draco and harry navigate the addiction, i really cant say it has any flaws.

i know the author got a lot of hate on their fics and thats why they took them down, but they’re truly one of the best drarry authors out there. i’ve reread this a couple of times, and the tenderness, the love and confusion is all very on character. a+

5. Restraint / ~153K

Someone casts the Imperius curse on Draco Malfoy, and whatever the instructions may be, Harry finds himself an unwilling target. The encounter leaves him torn between pleasure and revulsion. As they fight in the aftermath, a tense game begins. Harry fights to convince Malfoy, and himself, that he was not affected by that initial encounter, or any of those following it.

Faced with a series of escalating encounters, Harry must come to terms with desiring things he never thought he could, things he wishes he didn’t respond to. They each use signs of arousal as weapons against each other in a mad struggle to finally shame the other into backing down for good.

But it’s only after the game is over that Harry starts to understand.

this is by the same author of clouding the senses, and i read this just this week. at first, it’s shocking, because it plays around with consent in a very unsettling way. when communication comes in, and its starts getting healthier, you can really understand where the author found the idea of playing with consent. it is, in my opinion, 100% characteristic of how they would behave post-war, with that grief and confusion. it’s also dom/sub in some parts, and that’s mf hot.

it also has my favorite tropes in it, but it’s a spoiler to say which one. i’ll probably mention the trope in the list along with a bunch others, but when u finish reading you’ll know which one ;)

6. Humbug / ~30K

Draco has been taking his casual relationship with Harry for granted. Visits from four key ghosts the night before Christmas just might shake up his priorities in life.

(felt like it was valid to just paste what i wrote in my notes app after reading this)

(FUCKKKKKK HOW TO EVEN START?!!!?? just a fucking bonus, draco is THE best bottom o ever exist i love my bottom son so much. this story isnt only amazing it’s excruciatingly painful to read, harry and draco have been sleeping together but harry is completely in love with him. draco doesnt see how much harry cares for him or how much hes hurting harry by treating their fling like its just that, a FLING. with that, draco is haunted by three ghosts. one of the past, the present and the future, AND THEY SET THAT IDIOT STRAIGHTTTT 1800000/10. the gays DO KEEP MF WINNING!!!

7. in your arms, rests my world / ~24K

Harry presses his mouth to Malfoy's forehead; he wants to tell him that he’ll never leave, that he wouldn’t dream of it.

“You make me feel safe, Potter” Malfoy whispers. “You keep me safe.”

the friends with benefits trope doesnt ever disappoint, top 5 tropes fr, especially if its also 8th year. harry and draco get into their little thing, but of course nothing ever is simple between them. by the preview, you can clearly see how much draco likes harry (also another 10/10 trope, the ‘i’ve been in love with harry potter since i was 11′ one). my only tiny issue with this is that harry fucks it up just a tad, but it of course adds up to the drama of it all, which i absolutely love.

noting it also touches on non-con/rape and, and all in all, is extremely angsty. one i was tense from beginning to end. but i am gonna say it ends amazingly and v happily.

8. Playing the Hero / ~29K

Nobody kissed me like Harry did. He kissed like he flew; he kissed like he duelled - with his whole being, not caring about anything else. I had never felt as vulnerable as I did when he kissed me, seizing all and any control I had over myself. But when Harry kissed me, I felt free...

so the thing about angst is that it ignites that mf feeling side u that even tho it hurts you cannot get enough of. this fic was EVERYTHINGGG. it made cry and laugh and smile. also another trope i absolutely adore is them breaking up and not being 100% ok with that, bc ding ding!! YALL STILL LOVE EACH OTHER!!

i cant describe how i felt, honestly. i would just paste my notes (i wont bc spoilers) but it looks like i went thru sum shit. deadass

9. fine i’ll hold my breath / till i forget it’s complicated / ~ 15K with the two parts

Harry and Draco become friends with benefits, and Harry thinks it's more complicated than it actually is.

u know, fluff is a drug. i dont know if its beucase 90% of drarry fics are about angsty get-togethers, but i had butterflies in my stomach when i read this. its adorable. draco is so clearly in love, he jusT SMILES A LOT I CANTTT.

its cute. i love it to death. have some fluff before starting your day.

10. Un Noël très parisien / ~14K

When Draco crossed paths with Auror Potter at a political function in Paris, he was not expecting their former animosity to change into something rather more intriguing. But he could be certain their casual flirtation would not last more than the night, couldn't he?

look. i know i named a lot of my favorite tropes here, but i cant end this without mentioning how much single dad draco affects me. i love scorpius and how much he changes draco in every fic he appears. i love parent draco and i shant be silent about it (especially when scorpius is legit just a year old in this. i died)

as it states, harry and draco have a one night stand but draco thinks thats it, that it was all he was ever gonna have. he’s wrong of course, and the path it takes, with both scorpius and harry there, just melted my mf heart.

well kids that’s all i have for now. imma work on a part two with 10 other fics i really love!1

#drarry #drarry fic #drarry fanfiction #draco malfoy #harry potter #gay #mlm #fanfiction #scorpius malfoy #albus potter #lgbtq fanfiction

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aboveallarescuer · 5 years ago

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Dany considering, threatening to take and/or taking violent measures

As I was rereading ASOIAF, I made it my goal to compile all* the book passages demonstrating either certain key attributes of Daenerys Targaryen (e.g. that she's compassionate and smart) or aspects of hers that are usually overstated (e.g. that she's ambitious and prophecy-driven). Doing such a task may seem exaggerated, but I'd argue it's not, for many, many misconceptions about Dany have become widespread in light of the show's final season's events (and even before).

It must be acknowledged that it can be tricky to reference, say, ADWD passages to counter-argument how she was depicted in season eight (which allegedly follows ADOS events). Dany will have had plenty of character development in the span of two books. However, whatever happens to Dany in the next two books, I would argue that there is more than enough material to conclude that her show counterpart was made to fall for flaws that she (for the most part) never had and actions that she (for the most part) would never take. (and that's not even considering the double standards and the contradictions with what had been shown from show!Dany up until then, but that's obviously out of the scope of these lists)

Another objection to the purpose of these lists is that Game of Thrones is different from A Song of Ice and Fire and should be analyzed on its own, which is a fair point. However, the show is also an adaptation of these books, which begs the questions: why did they change Dany's character? Why did they overfocus on negative traits of hers or depicted them as negative when they weren't supposed to be or gave her negative traits that were never hers to begin with? Another fact that undermines the show=/=books argument is that most people think that the show's ending will be the books', albeit only in broad strokes and in different circumstances. As a result, people's perception of Dany is inevitably influenced by the show, which is a shame.

I hope these lists can be useful for whoever wants to find book passages to defend (or even simply explore different facets of) Dany's character in metas or conversations.

*Well, at least all the passages that I could find in her chapters, which is no guarantee that the effort was perfectly executed, but I did my best.

Also, people could interpret certain passages differently and then come up with a different collection of passages if they ever attempted to make one, so I'm not saying that this list is completely objective (nor that there could ever be one).

Also, some passages have been cut short according to whether they were, IMO, relevant to the specific topic of the list they're in, so the context surrounding them may not always be clear (always read the books and use asearchoficeandfire). Many of them appear in different lists, sometimes fully referenced, sometimes not.

I listed the passages back to front because I felt doing so highlighted Dany's evolution better.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

To justify the existence of this list, let's see examples of widespread opinions that I feel misrepresent Daenerys Targaryen:

It's just time that we acknowledge that Daenerys' behavior over the past few seasons has been more of someone with an overinflated ego and an limitless sense of entitlement than that of a ruler with the well-being of their subjects and land in mind. If I can really spill the tea, she's acting a lot like the Mad King as well as Cersei, who's currently acting all type of the fool on the Iron Throne. Violence may be a necessary evil, but like...do we really have to burn everybody alive? Is that really what we want for Westeros? (x)

[S]he’d rather slaughter her enemies than use them to her advantage. Sure, sometimes you need a good slaughter, but you have to be willing to try diplomacy, too. (x)

The issue isn’t whether it’s better if the slave cities remained slave cities — it goes without saying, that’s reprehensible. But her most striking moments ruling Meereen are quite sadistic in nature. In season four, when the Meereenese crucify slave children as a threat to Dany, she responds by crucifying an equal number of noblemen once she takes over the city, despite Ser Barristan’s pleas for mercy; “I will answer injustice with justice,” she coolly responds. Revisiting that scene, it’s pretty disturbing. What starts out as a moment of joyous liberation — and the slaves chanting “Mhysa!” her way — ends with the anguished screams of the newly crucified Meereenese across the city.

Fast forward to season five, when Ser Barristan is unceremoniously murdered in an alley by the Sons of the Harpy, Dany rounds up Meereen’s elected leaders to interrogate them and find out who among them could be a secret Harpy. To establish she’s not fucking around, she picks one of them at random to be burned alive and subsequently eaten by two of her dragons. She’s not just content with her decision; despite not getting any answers, Dany’s entranced by the sight of her dragons and the burning fire.

Dany’s fascination with fire — not to mention her nonchalant attitude toward violence — bears an uncomfortable resemblance to her father, the “Mad King” Aerys Targaryen. (x)

Are Dany's acts of violence supposed to make you wonder if she's going to "burn everybody alive"? Are her acts of violence "quite sadistic in nature"? Does she feel "entranced by the sight of her dragons and the burning fire" and has a "fascination with fire"?

I would argue GRRM has written a character who only chooses violence either for humanitarian reasons or for political goals (which are often intertwined), and even in the latter case, she seeks to avoid collateral damage (ASOS Dany III, ASOS Dany IV). She's not immune to acting on vengeance, but so far it's always been motivated by the injustices perpetrated upon others (ASOS Dany VI, ADWD Dany II); you can argue that "harsh justice", as she puts it, is not justice, but you can't argue that she's doing it for them. The one exception to this is her burning of Mirri Maz Duur, but even then, it is not because she is "sadistic", she explicitly recognizes the futility of vengeance. She kills her because she needs her life for the ritual that culminates with the birth of the dragons. You could argue Mirri didn't deserve it, but Mirri also killed her child and left Drogo in a comatose state. And she lives in a society that largely normalizes violence. Dany's entire characterization must be taken into consideration.

With that in mind, there is no textual evidence to suggest she will decide to burn every noncombatant she can find because she was unhappy about their reception. None. She fights to be queen because she wants to protect the ones who can't protect themselves and it is her duty towards her lost family. She carries unbearable guilt over her mistakes (or ramifications that had nothing to do with her). She treats her achievements and inheritances as a duty rather than as something that elevates her beyond others. She wants a home for herself and peace for everyone.

I should also add that the list about the moments showcasing her empathy and compassion is more than four times bigger than this one. One can argue I'm being biased, but it says something that passages showing instances when she does take violent measures would not fill a whole list. I also had to look for moments when she considers or threatens to in order to fill this one. And even then, her positive aspects greatly surpass her "negative" ones. Why would GRRM focus so much more on her sympathy towards others rather than on her ruthlessness? Must be because Daenerys Targaryen is ultimately meant to be a sympathetic character who is not supposed to turn into a mass murderer of her own volition, ever.

A Dance with Dragons

ADWD Daenerys VIII

The hall rang to Yunkish laughter, Yunkish songs, Yunkish prayers. Dancers danced; musicians played queer tunes with bells and squeaks and bladders; singers sang ancient love songs in the incomprehensible tongue of Old Ghis. Wine flowed—not the thin pale stuff of Slaver’s Bay but rich sweet vintages from the Arbor and dreamwine from Qarth, flavored with strange spices. The Yunkai’i had come at King Hizdahr’s invitation, to sign the peace and witness the rebirth of Meereen’s far-famed fighting pits. Her noble husband had opened the Great Pyramid to fete them.

I hate this, thought Daenerys Targaryen. How did this happen, that I am drinking and smiling with men I’d sooner flay?

“You don’t never want to trust a sellsword, m’lady.”

“I have learned that much. One day I must be sure to thank you for the lesson.”

“Is there some man in the Second Sons who might be persuaded to … remove … Brown Ben?”

“As Daario Naharis once removed the other captains of the Stormcrows?” The old knight looked uncomfortable. “Perhaps. I would not know, Your Grace.”

No, she thought, you are too honest and too honorable. “If not, the Yunkai’i employ three other companies.”

“Rogues and cutthroats, scum of a hundred battlefields,” Ser Barristan warned, “with captains full as treacherous as Plumm.”

“I am only a young girl and know little of such things, but it seems to me that we want them to be treacherous. Once, you’ll recall, I convinced the Second Sons and Stormcrows to join us.”

“If Your Grace wishes a privy word with Gylo Rhegan or the Tattered Prince, I could bring them up to your apartments.”

“This is not the time. Too many eyes, too many ears. Their absence would be noted even if you could separate them discreetly from the Yunkai’i. We must find some quieter way of reaching out to them … not tonight, but soon.”

“As you command. Though I fear this is not a task for which I am well suited. In King’s Landing work of this sort was left to Lord Littlefinger or the Spider. We old knights are simple men, only good for fighting.” He patted his sword hilt.

“Our prisoners,” suggested Dany. “The Westerosi who came over from the Windblown with the three Dornishmen. We still have them in cells, do we not? Use them.”

“Free them, you mean? Is that wise? They were sent here to worm their way into your trust, so they might betray Your Grace at the first chance.”

“Then they failed. I do not trust them. I will never trust them.” If truth be told, Dany was forgetting how to trust. “We can still use them. One was a woman. Meris. Send her back, as a … a gesture of my regard. If their captain is a clever man, he will understand.”

“The woman is the worst of all.”

“All the better.” Dany considered a moment. “We should sound out the Long Lances too. And the Company of the Cat.”

“Bloodbeard.” Ser Barristan’s frown deepened. “If it please Your Grace, we want no part of him. Your Grace is too young to remember the Ninepenny Kings, but this Bloodbeard is cut from the same savage cloth. There is no honor in him, only hunger … for gold, for glory, for blood.”

“You know more of such men than me, ser.” If Bloodbeard might be truly the most dishonorable and greedy of the sellswords, he might be the easiest to sway, but she was loath to go against Ser Barristan’s counsel in such matters. “Do as you think best. But do it soon. If Hizdahr’s peace should break, I want to be ready. I do not trust the slavers.” I do not trust my husband. “They will turn on us at the first sign of weakness.”

“The Yunkai’i grow weaker as well. The bloody flux has taken hold amongst the Tolosi, it is said, and spread across the river to the third Ghiscari legion.”

The pale mare. Daenerys sighed. Quaithe warned me of the pale mare’s coming. She told me of the Dornish prince as well, the sun’s son. She told me much and more, but all in riddles. “I cannot rely on plague to save me from my enemies. Set Pretty Meris free. At once.”

ADWD Daenerys VI

“If we should wed by Westerosi rites …”

“The gods of Ghis would deem it no true union.” Galazza Galare’s face was hidden behind a veil of green silk. Only her eyes showed, green and wise and sad. “In the eyes of the city you would be the noble Hizdahr’s concubine, not his lawful wedded wife. Your children would be bastards. Your Worship must marry Hizdahr in the Temple of the Graces, with all the nobility of Meereen on hand to bear witness to your union.”

Get the heads of all the noble houses out of their pyramids on some pretext, Daario had said. The dragon’s words are fire and blood. Dany pushed the thought aside. It was not worthy of her. “As you wish,” she sighed.

Dany filled his wine cup again, wanting nothing so much as to pour the flagon over his head and drown his complacent smile.

She wanted to scream, to gnash her teeth and tear her clothes and beat upon the floor. Instead she said, “Close the gates. Will you make me say it thrice?” They were her children, but she could not help them now.

ADWD Daenerys IV

“The Shavepate has ways of finding the truth.”

“I do not doubt that Skahaz would soon have me confessing. A day with him, and I will be one of the Harpy’s Sons. Two days, and I will be the Harpy. Three, and it will turn out I slew your father too, back in the Sunset Kingdoms when I was yet a boy. Then he will impale me on a stake and you can watch me die … but afterward the killings will go on.”

ADWD Daenerys III

“The Wise Masters should follow their example. I spared Yunkai before, but I will not make that mistake again. If they should dare attack me, this time I shall raze their Yellow City to the ground.”

“Have you forgotten? I have dragons.” [...]

“My dragons have grown, my shoulders have not. They range far afield, hunting.” Hazzea, forgive me. She wondered how much Xaro knew, what whispers he had heard. “Ask the Good Masters of Astapor about my dragons if you doubt them.” I saw a slaver’s eyes melt and go running down his cheeks.

Westeros. Home. But if she left, what would happen to her city? Meereen was never your city, her brother’s voice seemed to whisper. Your cities are across the sea. Your Seven Kingdoms, where your enemies await you. You were born to serve them blood and fire.

“Xaro Xhoan Daxos does not threaten. He promises.”

Her sadness turned to fury. “And I promise you that if you are not gone before the sun comes up, we will learn how well a liar’s tears can quench dragonfire. Leave me, Xaro. Quickly.”

ADWD Daenerys II

Mercy, thought Dany. They will have the dragon’s mercy. “Skahaz, I have changed my mind. Question the man sharply.”

“I could. Or I could question the daughters sharply whilst the father looks on. That will wring some names from him.”

“Do as you think best, but bring me names.” Her fury was a fire in her belly.

She was the blood of the dragon. She could kill the Sons of the Harpy, and the sons of the sons, and the sons of the sons of the sons. But a dragon could not feed a hungry child nor help a dying woman’s pain. And who would ever dare to love a dragon?

She sniffed suspiciously at Reznak mo Reznak. I could command the Shavepate to arrest him and put him to the question. Would that forestall the prophecy? Or would some other betrayer take his place?

ADWD Daenerys I

Dany said a silent prayer that somewhere one of the Harpy’s Sons was dying even now, clutching at his belly and writhing in pain.

Daenerys pushed her hair back. “Find these cowards for me. Find them, so that I might teach the Harpy’s Sons what it means to wake the dragon.”

She had not forgotten the slave children the Great Masters had nailed up along the road from Yunkai. They had numbered one hundred sixty-three, a child every mile, nailed to mileposts with one arm outstretched to point her way. After Meereen had fallen, Dany had nailed up a like number of Great Masters. Swarms of flies had attended their slow dying, and the stench had lingered long in the plaza. Yet some days she feared that she had not gone far enough. These Meereenese were a sly and stubborn people who resisted her at every turn.

“...Women do not forget. Women do not forgive.”

No, Dany thought, and the Usurper’s dogs will learn that, when I return to Westeros.

There were times when Dany wondered if that razor might not be better saved for Reznak’s throat. He was a useful man, but she liked him little and trusted him less. The Undying of Qarth had told her she would be thrice betrayed. Mirri Maz Duur had been the first, Ser Jorah the second. Would Reznak be the third? The Shavepate? Daario? Or will it be someone I would never suspect, Ser Barristan or Grey Worm or Missandei?

A Storm of Swords

ASOS Daenerys VI

“I want your leaders,” Dany told them. “Give them up, and the rest of you shall be spared.”

“How many?” one old woman had asked, sobbing. “How many must you have to spare us?”

“One hundred and sixty-three,” she answered.

She had them nailed to wooden posts around the plaza, each man pointing at the next. The anger was fierce and hot inside her when she gave the command; it made her feel like an avenging dragon. But later, when she passed the men dying on the posts, when she heard their moans and smelled their bowels and blood ...

Dany put the glass aside, frowning. It was just. It was. I did it for the children.

Dany remembered the horror she had felt when she had seen the Plaza of Punishment in Astapor. I made a horror just as great, but surely they deserved it. Harsh justice is still justice.

“Do not ever presume to touch me again, or to speak my name. You have until dawn to collect your things and leave this city. If you’re found in Meereen past break of day, I will have Strong Belwas twist your head off. I will. Believe that.”

ASOS Daenerys V

Worst of all, they had nailed a slave child up on every milepost along the coast road from Yunkai, nailed them up still living with their entrails hanging out and one arm always outstretched to point the way to Meereen. [...] “I will see them,” she said. “I will see every one, and count them, and look upon their faces. And I will remember.”

ASOS Daenerys IV

“I say, you are mad.”

“Am I?” Dany shrugged, and said, “Dracarys.”

The dragons answered. Rhaegal hissed and smoked, Viserion snapped, and Drogon spat swirling red-black flame. It touched the drape of Grazdan’s tokar, and the silk caught in half a heartbeat. Golden marks spilled across the carpets as the envoy stumbled over the chest, shouting curses and beating at his arm until Whitebeard flung a flagon of water over him to douse the flames. “You swore I should have safe conduct! “ the Yunkish envoy wailed.

“Do all the Yunkai’i whine so over a singed tokar? I shall buy you a new one ... if you deliver up your slaves within three days. Elsewise, Drogon shall give you a warmer kiss.”

ASOS Daenerys III

“He will not come,” Kraznys said.

“There is a reason. A dragon is no slave.” And Dany swept the lash down as hard as she could across the slaver’s face. Kraznys screamed and staggered back, the blood running red down his cheeks into his perfumed beard. The harpy’s fingers had torn his features half to pieces with one slash, but she did not pause to contemplate the ruin. “Drogon,” she sang out loudly, sweetly, all her fear forgotten. “Dracarys.”

The black dragon spread his wings and roared.

[...] “Unsullied!” Dany galloped before them, her silver-gold braid flying behind her, her bell chiming with every stride. “Slay the Good Masters, slay the soldiers, slay every man who wears a tokar or holds a whip, but harm no child under twelve, and strike the chains off every slave you see.” She raised the harpy’s fingers in the air ... and then she flung the scourge aside. “Freedom!” she sang out. “Dracarys! Dracarys!”

“Dracarys!” they shouted back, the sweetest word she’d ever heard. “Dracarys! Dracarys!” And all around them slavers ran and sobbed and begged and died, and the dusty air was filled with spears and fire.

ASOS Daenerys I

[“]The warlocks said the second treason would be for gold. What does Illyrio Mopatis love more than gold?”

“His skin.” Across the cabin Drogon stirred restlessly, steam rising from his snout. “Mirri Maz Duur betrayed me. I burned her for it.”

A Clash of Kings

ACOK Daenerys III

“I mean to sail to Westeros, and drink the wine of vengeance from the skull of the Usurper.”

[...] “Will nothing turn you from this madness?”

“Nothing,” she said, wishing she was as certain as she sounded.

A Game of Thrones

AGOT Daenerys X

“I am tired of the maegi’s braying,” Dany told Jhogo. He took his whip to her, and after that the godswife kept silent.

As she climbed down off the pyre, she noticed Mirri Maz Duur watching her. “You are mad,” the godswife said hoarsely.

“Is it so far from madness to wisdom?” Dany asked. “Ser Jorah, take this maegi and bind her to the pyre.”

“To the ... my queen, no, hear me ...”

“Do as I say.” Still he hesitated, until her anger flared. “You swore to obey me, whatever might come. Rakharo, help him.”

[...] “I thank you, Mirri Maz Duur,” she said, “for the lessons you have taught me.”

“You will not hear me scream,” Mirri responded as the oil dripped from her hair and soaked her clothing.

“I will,” Dany said, “but it is not your screams I want, only your life. I remember what you told me. Only death can pay for life.”

AGOT Daenerys IX

“Eroeh?” asked Dany, remembering the frightened child she had saved outside the city of the Lamb Men.

“Mago seized her, who is Khal Jhaqo’s bloodrider now,” said Jhogo. “He mounted her high and low and gave her to his khal, and Jhaqo gave her to his other bloodriders. They were six. When they were done with her, they cut her throat.”

“It was her fate, Khaleesi,” said Aggo. 

If I look back I am lost. “It was a cruel fate,” Dany said, “yet not so cruel as Mago’s will be. I promise you that, by the old gods and the new, by the lamb god and the horse god and every god that lives. I swear it by the Mother of Mountains and the Womb of the World. Before I am done with them, Mago and Ko Jhaqo will plead for the mercy they showed Eroeh.”

The Dothraki exchanged uncertain glances. “Khaleesi,” the handmaid Irri explained, as if to a child, “Jhaqo is a khal now, with twenty thousand riders at his back.”

She lifted her head. “And I am Daenerys Stormhorn, Daenerys of House Targaryen, of the blood of Aegon the Conqueror and Maegor the Cruel and old Valyria before them. I am the dragon’s daughter, and I swear to you, these men will die screaming. Now bring me to Khal Drogo.”

Dany called out for the men of her khas and bid them take Mirri Maz Duur and bind her hand and foot, but the maegi smiled at her as they carried her off, as if they shared a secret. A word, and Dany could have her head off ... yet then what would she have? A head? If life was worthless, what was death?

AGOT Daenerys VIII

“You do not command me, Khaleesi,” Qotho said.

“Find Mirri Maz Duur,” she told him. The godswife would be walking among the other Lamb Men, in the long column of slaves. “Bring her to me, with her chest.”

Qotho glared down at her, his eyes hard as flint. “The maegi.” He spat. “This I will not do.”

“You will,” Dany said, “or when Drogo wakes, he will hear why you defied me.”

Eroeh stared fearfully at Drogo where he lay. “He dies,” she whispered.

Dany slapped her. “The khal cannot die. He is the father of the stallion who mounts the world. His hair has never been cut. He still wears the bells his father gave him.”

“Khaleesi,” Jhiqui said, “he fell from his horse.”

Trembling, her eyes full of sudden tears, Dany turned away from them.

Only a horse, Dany thought. If she could buy Drogo’s life with the death of a horse, she would pay a thousand times over.

She caught him by the shoulder, but Qotho shoved her aside. Dany fell to her knees, crossing her arms over her belly to protect the child within. “Stop him,” she commanded her khas, “kill him.”

AGOT Daenerys VII

“I will not have her harmed,” Dany said. “I claim her. Do as I command you, or Khal Drogo will know the reason why.”

AGOT Daenerys VI

“You will drink,” Dany said, cold as ice. “Empty the cup, or I will tell them to hold you down while Ser Jorah pours the whole cask down your throat.”

His khalasar left Vaes Dothrak two days later, striking south and west across the plains. Khal Drogo led them on his great red stallion, with Daenerys beside him on her silver. The wineseller hurried behind them, naked, on foot, chained at throat and wrists. His chains were fastened to the halter of Dany’s silver. As she rode, he ran after her, barefoot and stumbling. No harm would come to him ... so long as he kept up.

AGOT Daenerys IV

“I am the Lord of the Seven Kingdoms, not some grass-stained savage with bells in his hair,” Viserys spat back at her. He grabbed her arm. “You forget yourself, slut. Do you think that big belly will protect you if you wake the dragon?”

His fingers dug into her arm painfully and for an instant Dany felt like a child again, quailing in the face of his rage. She reached out with her other hand and grabbed the first thing she touched, the belt she’d hoped to give him, a heavy chain of ornate bronze medallions. She swung it with all her strength.

It caught him full in the face. Viserys let go of her. Blood ran down his cheek where the edge of one of the medallions had sliced it open. “You are the one who forgets himself,” Dany said to him. “Didn’t you learn anything that day in the grass? Leave me now, before I summon my khas to drag you out. And pray that Khal Drogo does not hear of this, or he will cut open your belly and feed you your own entrails.”

#daenerys targaryen #a dance with dragons #a storm of swords #a clash of kings #a game of thrones #dany passages

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capriciouswriting · 5 years ago

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— coping mechanisms.

pairing: agent whiskey / unnamed (agent absinthe) oc. (ao3, oc pinterest aes)

warnings: angst. minor character death. mentions of blood, drugs and guns. swearing.

word count: 1.6k

angst prompts from this list:

52. “Don’t look at me like that.”

59. “I’m fine. Stop asking.”

45. “You can’t keep it all inside, you know? Bottling it up won’t do any good.”

Her older brother had been the only good thing in her life. Granted, she couldn’t say the same for him. She was a complicated woman, someone who was too difficult to handle and much too opinionated for her own good. She was frustratingly unabashed, and far too lacking in the self-care department.

Her brother was too good to her, far too kind, and far too forgiving. He put up with all her bullshit, and loved her through it all. He saw her for who she was before the booze, drugs and guns - saw who she could be, even when she forgot who that was. He didn’t have to try and always help, he had a good job working security for some whiskey making company (she learns differently later, of course), and had left her back in Texas while he made his way to Kentucky. Whilst her brother moved onto bigger and better things, becoming successful and making good money, she moved down and started to get mixed in with the wrong people.

It wasn’t always like this, either, for a while she had been doing well and was even enlisted in the police academy - ranking as the top female in her class and best overall with her weaponry. She was doing well, but the tragic cliche story of most downfalls is usually just that - tragic and cliche. A bad boyfriend who got her mixed into his bad business, promises of material goods and an everlasting love. Her brother warned her countless times, telling her that the man was no good for her and the two nearly exchanged fists when he spoke badly to her in front of her older brother. The only good decision she made while her brother was still here was leaving that boyfriend, the bad decision was that she was already knee deep in bad shit to just up and leave.

So, she didn’t.

When her brother died, she felt like a ghost of herself. The two men on the doorstep of her barren apartment looked upset, feeling the loss of her brother heavy on their own shoulders. This is when everything was explained to her by a man who simply went by “Agent Champagne”. Her brother wasn’t just running security for a whiskey company, and the low-life drug and gun running business she worked for had been the reason her brother was no longer around to bother her.

(“He was doing it for you,” Champ explains, “He wanted to get you out.”)

She couldn’t bring herself to cry, but what she did do was run straight to her bathroom and vomit all the contents of her stomach. The emotions coursing through her becoming all too much for her to handle in that single moment.

When she’s sitting across from the two men again, Champ’s voice barely meets her ears as he speaks. She knows she’s looking directly at the one in the black hat, Agent Whiskey, as he looks at her with such disdain she swears he thinks she killed her brother with her own two hands. She can’t bite her tongue, she wishes she had more self control to, but in that moment she can’t find it within herself to be polite towards Whiskey.

“Don’t look at me like that.”

She has to take her anger out on someone, she thinks, and he just happens to be the one to mess with the bull.

They’re in each other's faces before Champ can even really comprehend,Whiskey going nose to nose with her. She’s unafraid, looking at him dead in the eye while her nostrils flare with anger - and if Whiskey weren’t so angry with her he would’ve commended the bravery. But he’s too angry, and so is she, so instead they’re standing toe to toe while Champ is pushing on both of their chests and trying to yell over them to step away.

She does, and asks them to quickly leave so she can finally stop her hands from shaking and so she can focus on what she’s going to do next. Champ breaks her heart, though, explaining that they can’t do that. He explains that her brother had explicitly stated, if he had died, she was to be in the care of the Statesmen. And as angry as she was with Agent Whiskey, she couldn’t bring herself to go against anything her brother would ask. Not anymore.

Not when the guilt was clawing its way up from her stomach, into the valves of her heart, and threatening to escape through her throat like the vomit. The guilt and anger burned her insides while simultaneously turning her veins into ice, making everything ache - from her bones to her soul.

She learned about the Statesmen slowly, mostly unwilling. Meeting them all one by one but staying obnoxiously close to Champagne. Memories of her brother were shared between everyone as time went on, except Agent Whiskey. His own judgement clouding any sense of actually getting to know her. They both steered clear of each other for a long time, despite Champ speaking to them both individually about the matter. Whiskey was, after all, her brother’s best friend within the Statesmen. But neither of them heeded the advice. Sneers and glares were haughtily shared, and there was one more instance where Tequila had to step in between the two in question when they got into another yelling match about her brother.

(“It’s your fault he’s gone, he was trying to protect you from your shitty decisions!” Whiskey had yelled at her, she swung at him as soon as the words left his mouth. Choosing to lash out physically instead of verbally.)

This time they completely avoid each other, and as more time passes she becomes more involved and acquainted with Statesmen business. Champ kept his last promise to her brother, and when she finally took over her brother’s title as Agent Absinthe, Agent Whiskey was none too happy. He stomped out of the meeting room despite voting her in, but tells himself it’s because it’s what her brother would’ve wanted. Not him.

They go back to not speaking, and avoid each other at all points humanly possible. This changes when they’re sent on a field mission together to watch and infiltrate the same group of people she was once affiliated with, the same group of people who killed her brother - and the same group of people who nearly killed her.

Whiskey barely got her out, and she had been covered in blood and screaming obscenities at him and the people who had killed her brother. Absinthe is barely able to walk right, and she’s leaning so heavily on him that he’s practically carrying her out. Arm wrapped around her middle, her own arms wrapped around his neck for support. She’s lame in one leg, blood oozing from a gunshot wound she had sustained early on.

(“They’re dead, Absinthe, they’re dead,” Whiskey chanted to her as he hauled her away, she’s still panting out obscenities, “I promise, they’re gone.”)

Her body is starting to feel heavy, to both Whiskey and herself. So, he gets them a safe distance away from the chaos before he stops, setting Absinthe on the ground carefully. He works quickly, removing the belt around his waist and wrapping it around her thigh. He keeps asking her under his breath if she’s okay but she’s refusing to speak or even look his way.

“Hey,” He snaps his fingers in front of her face in an attempt to get her attention. Her breathing has slowed, and she looks far away. Like she’s there, but not really, “You okay?”

“I’m fine, stop asking.”

He frowns, aggravated. Whiskey wants to shoot something back at her, and feels like he has every reason to be an asshole.

“Why’d you get me out of there? You don’t even like me.”

He looks up as she speaks. She’s paler, and covered in blood in random places on her face and clothes. But when Whiskey looks at her, really looks at her, he sees the dark circles under her eyes and the smallest indent of her cheeks sinking in. The exhaustion is evident, and he can’t bring himself to recall if she actually ever cried when him and Champ came to tell her that her brother was gone. He can’t remember if she ever shed a tear when stories were shared from other Statesmen. Whiskey knows she didn’t even cry, when she had all the reason to, when he put her brother’s death on her shoulders.

“He’d kill me if I didn’t.”

The understanding is immediate, and it’s the first time he’s ever gotten a laugh out of her - granted it’s short, and akin more to a huff of a laugh than anything, but it’s a laugh nonetheless.

Whiskey shifts on his haunches in front of her, “You can’t keep it all inside, y’know? Bottling it up won’t do any good.”

Absinthe leans back against the wall, shoulders falling slack as she looks towards him finally, “Don’t really have anyone to talk to, do I?”

Whiskey sighs, leaning down to help her up so they can start moving again. They’re quiet for a long time, it’s a silence that - for the first time - is very comfortable between them. Neither say anything, and only when they’re both sitting on a plane to head back to the Statesmen headquarters, does Whiskey decide to say something.

“He wouldn’t want this for us,” he shifts to look at her, “And although you’ve been nothin’ but a pain in my ass, and I’ve been nothin’ but an asshole back… He’d want me to listen if you’d need it. So, I’ll listen.”

Only then, does she finally cry.

#agent whiskey x reader #agent whiskey imagine #agent whiskey drabble #kingsman imagine #i am so sorry if there's any errors again :(

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soncfseed · 5 years ago

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reposted from my old blog

i want to post some links so people can better understand what bpd is and what a personality disorder is and is not. then, i’ll do a quick rundown of the 9 bpd symptoms and which ones ethan has/displays and how they manifest for him.

here is a quick ref of some common misconceptions about the disorder. tldr version: a lot of people think bpd isnt real, or that people with bpd are just crazy assholes but its a legitimate mental health problem that has multiple factors including ones that seem to be genetic and environmental.

a personality disorder is defined by the mayo clinic as: “a type of mental disorder in which you have a rigid and unhealthy pattern of thinking, functioning and behaving. A person with a personality disorder has trouble perceiving and relating to situations and people. This causes significant problems and limitations in relationships, social activities, work and school. In some cases, you may not realize that you have a personality disorder because your way of thinking and behaving seems natural to you.” basically, its not that a person has a bad personality in terms of poor character or is intentionally acting in a way that may seem irrational or explosive, but rather that the person has functional differences in how their brain reacts to things. personality is defined as: “the combination of thoughts, emotions and behaviors that makes you unique. It’s the way you view, understand and relate to the outside world, as well as how you see yourself.” it isn’t just behaviour nor is it something people consciously control 100% of the time. borderline personality disorder has been linked to physical differences in the brain and its functioning, particularly of neurotransmitters and brain chemicals similar to mood disorders like depression. it is a type of neurodivergence, not a skewed moral compass, a choice, or something that people with bpd typically enjoy. the symptoms are very stress inducing and cause a lot of turmoil for the affected person, and when poor coping skills have been ingrained and then create further stress or complications in the person’s life, particularly in interpersonal relationships.

ok now we’re gonna hit the 9 symptoms and 4 domains of bpd and how ethan fits into it. the dsm-5 requires 5 symptoms out of 9 for a person to be diagnosed with bpd. ethan displays, in my opinion, 8/9 symptoms and would be a candidate for diagnosis in my experience.

domain a - emotional regulation 1) “Affective (emotional) instability including intense, episodic emotional anguish, irritability, and anxiety/panic attacks” ✅ generally, this is episodes of intense sadness, anger, irritability, insecurity and self doubt for ethan. he doesnt usually have anxiety or panic attacks, but he has had a few in extremely stressful situations. his symptoms of an anxiety attack tend to lean more towards irritability and emotional outbursts.

2) “Anger that is inappropriate, intense and difficult to control” ✅ while ethan does become rightfully frustrated when the captain returns the book, the fact that he has what seems like a minute long complete meltdown including hitting/smashing objects, that would be a good example of the kind of situationally inappropriate anger and displays of temper ethan has. his anger spikes rapidly and it makes it hard to control his actions at times.

3) “Chronic feelings of emptiness” ✅ while we don’t necessarily see this explicitly in game, i’d argue that’s part of his experience of bpd. he often feels a lack of purpose, a lack of self, and substitutes that with his role as the leader of new eden.

theres additional symptoms described as such: “In addition, if you suffer from borderline disorder, you may also experience emotional hyper-reactivity (“emotional storms”), or emotional responses that are occasionally under- reactive, and frequent episodes of loneliness, and boredom. “ ethan definitely experiences emotional storms, and episodes of loneliness particularly. thats amplified by the fact that hes not particularly close to anyone in new eden besides maybe the judge. between a lack of substantial interpersonal ties with his community and his disorder, his episodes of loneliness are often very intense and distressing.

domain b - harmful impulsive behaviors 4) “Self-damaging acts such as excessive spending, unsafe and inappropriate sexual conduct, substance abuse, reckless driving, and binge eating” ✅ ethan deals with this to an extent, but not these specific self damaging behaviours. for ethan, its usually not eating or not sleeping for periods of time, or going on particularly dangerous missions to find the book. hunting also serves as an adrenaline rush, but because it sustains new eden its less impulsive than it is an acceptable way of spending a day

5) “Recurrent suicidal behavior, gestures, threats, or self-injurious behavior such as cutting or hitting yourself.” ❌ ethan has suicidal ideations, but doesn’t have a history of engaging in self harm or suicide attempts.

though not an explicit symptom, dangerous impulsivity that affects the self or others is a common symptom, and one ethan does deal with. his decision to turn new eden over to the highwaymen was in part spurred by his impulsive thinking and behaviour.

domain c - perceptions of self and others 6) “A markedly and persistently unstable self-image or sense of yourself (your perceptions of yourself, your identity)” ✅ ethan definitely experiences shifts in this realm. this is part of why he ties himself so strongly to his identity as the leader of new eden in light of his poor relationship with his father (which will come up again). when that is threatened, it sends him spiraling because of his unstable self image. this applies to ethan’s image of himself as a person morally, his worth relative to others, and even how he feels about his body and appearance.

7) “Suspiciousness of others thoughts about you, and even paranoid ideation, or transient and stress related dissociative episodes during which you feel that you or your surroundings appear unreal.” ✅ ethan is absolutely suspicious of others and it goes beyond his learned suspicion of outsiders that all of new eden seems to have. he is particularly suspicious of his father, and of people within his own community. some of this is completely rational, but it often extends beyond that. he experiences, in my hc, dissociative episodes and bouts of depersonalization where parts of his body don’t feel real or don’t feel attached to him/belonging to him.

“Other symptoms in this Domain include split- or “all-or-nothing” thinking, difficulty “pulling” your thoughts together so they make sense, and rational problem solving, especially in social conflicts.” ethan deals with all of these issues generally speaking. this is in part why his decision to burn down new eden was so extreme; he has difficulty at times with regulating what is rational and what is not (and making nuanced decisions), particularly when under extreme emotional duress like during an explosive emotional episode or mood swing.

domain d - unstable relationships 8) “You may engage in frantic efforts to avoid real or imagined abandonment.”✅ this is part of why he looked so hard for the book, why he pushes himself so hard to be the leader of new eden and why he turns on them so aggressively at the end. sometimes this can manifest as lashing out, a way to “get them before they get me” mentality. he has particularly strong responses to feeling abandoned or ignored.

9) “Your relationships may be very intense, unstable, & alternate between the extremes of overidealizing and undervaluing people who are important to you.” ✅ this is definitely something ethan struggles with, especially with his father. this is also why he was willing to let new eden burn and its people suffer with it. he had swung too far back from feeling rejected that went completely into “new eden bad”, undervaluing everyone there to the point that he was able to rationalize destroying the place at the expense of the people who lived there.

none of this is meant to excuse his poor decision making, but in the context of my hc for him, it explains why he can act so irrationally at times, and so extremely. in reality, people with bpd are more likely to hurt themselves through self harm, suicide attempts, impuslive behavior, and self destructive behavior. ethan seed is 1) not a real person and 2) living under some very intense and unusual circumstances with probably the WORST person to parent someone with bpd, joseph “i talk to god and he says your soul is tainted” seed. he also doesn’t know he has a disorder and doesn’t have the knowledge or resources to get mental health treatment for his disorder. as it stands, however, he’s made some pretty bad and pretty horrible decisions, and at times can be a bad person. this doesn’t mean, however, that he is 100% bad or always awful, or that bpd is the sole cause of his behaviours. it isnt. lots of people (including myself) have bpd and we haven’t been directly or indirectly responsible for the deaths of anyone; we’ve never burned down our hometowns or tried to get our fathers killed. ethan’s display of bpd is more of a tool to explain and contextualize his behavior and character rather than to condemn him, condone him, or excuse his actions.

tldr ethan has bpd and so do i thanks 4 listening to my ted talk

#hc #long post #repost from old blog

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woozapooza · 6 years ago

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On male and female deaths on Lost

(I’m sure somewhere in the fandom the following has been pointed out already, but I haven’t seen any posts about it, so I’m writing my own. Keep in mind that I’ve only just started my first-ever rewatch. I checked Lostpedia whenever I was unsure about something, but there could be mistakes in here, although I’m confident that I’m right about the overall pattern I’m observing. This is a critical post, but rest assured Lost is still one of my favorite shows. Sometimes you gotta complain about something you adore. Also, I’m excluding Nikki and Paolo from this post, lol.)

It’s been pointed out that Lost repeatedly uses the “women in refrigerators” trope: with Shannon, with Libby, with Charlotte, and with Juliet. (You could also make an argument for other characters, including Nadia and, if non-love interests count, Alex, but I’m going to focus on members of the main cast.) While thinking about Lost’s many main-cast deaths, another gendered pattern occurred to me: female characters’ deaths tend to be accidents, whereas male characters have more agency over their own deaths. I think this trope (which probably has a name but I don’t know what it is) is very closely connected to women in refrigerators, but I’ll get to the connection at the end. Let’s go through each of the main-cast characters who died and see how they died. Ladies first:

Shannon dies while chasing after Walt’s image. Ana Lucia hears her coming at shoots her out of fear. Ana Lucia could just as well have shot Sayid, who was running after Shannon and calling to her, but she didn’t.

Ana Lucia and Libby both die at Michael’s hand in his quest to save Walt. Ana Lucia dies because she happens to be guarding Ben and Libby dies because she stumbles upon the scene of the crime. If it had been a man guarding Ben, Michael would have shot him, but it wasn’t, and if Hurley had gone back for the blankets instead of Libby, Michael would have shot him, but he didn’t.

Charlotte dies as a complication of time travel, which could just have easily happened to Daniel or Miles, but it didn’t.

Juliet dies because she gets caught in a chain and falls down the shaft that became the Hatch. The chain could just as easily have pulled Sawyer to his death, but it didn’t.

Ilana dies because she mishandles dynamite. This could have happened to any of the men who handled dynamite, but it didn’t (not counting Arzt because he wasn’t a main character).

Finally, Sun dies because the explosion in the submarine caused her to be trapped behind a heavy...I don’t know what it was but the point is she couldn’t get free so she drowned.

Out of the seven main female characters who die, not one of them chooses their death, and only two (Juliet and Sun) have a chance to confront what’s about to happen to them. Both of them use their last moments to tell their men that they love them. I’m not saying that’s a bad thing in itself—after all, Jin also uses his last moments to tell Sun that he loves her—but the point is that there are no women who get cool death speeches about anything else like some of the men do.

Now the gentlemen:

I’m going to break chronological order for a second to start with Jin, as the difference between his and Sun’s deaths illustrates the pattern I’m talking about. It could just as easily have been him who got stuck behind the heavy thingy, leaving Sun to make the choice to die with him, but it wasn’t. Sun’s death is an accident; Jin’s death is a choice that gives the audience our final impression of him.

Going back to season one, Boone could be seen as an exception to the pattern. He dies because Locke told him to check out the plane. He’s “the sacrifice the island demanded” or whatever, but he doesn’t willingly sacrifice himself. Still, he chooses death in the sense that he explicitly absolves Jack of the responsibility to try to keep him alive.

Eko dies facing the smoke monster head-on. He gives ones of the coolest speeches in the show, making peace with his past and bringing his character arc to a close.

Charlie knows well ahead of time that he’s going to die. Desmond offers to go down to the Looking Glass in Charlie’s place, but Charlie takes responsibility for the task. He drowns intentionally, bravely, and at peace with himself, having done something heroic.

Michael dies as a deliberate act of redemption when the bomb explodes on the freighter. He stays behind to die so that Jin, Desmond, and the Oceanic Six can survive.

Locke, as a murder victim, is another possible exception in that he has no agency over his death. It’s never 100% clear why Ben killed Locke as far as I know, but it seems to be at least partly out of jealousy. Locke’s death is definitely anything but accidental or random.

Daniel is shot by Eloise for threatening Richard. This in itself is already pretty far from random. Then there’s the fact that Eloise had spent Daniel’s whole life bringing this moment about. True, it’s a very sudden death, not a death Daniel was able to choose or to face on his own terms. He dies feeling like a pawn. On the other hand, it’s not random or accidental and it explains a lot about Daniel’s life.

Sayid, my darling, beautiful, brave Sayid, dies, like Charlie and Michael, as an act of self-sacrifice and redemption. Before he carries the bomb away from his friends, he makes sure Jack is prepared to be the hero the island needs. Sayid’s death is meaningful on both an external level and an internal level. Not only does he save Jack, Kate, Sawyer, and Hurley, but by doing so he overcomes the “sickness” that had brought out the worst in him, and thus he proves that he was at heart a good man. I have to take a timeout from this post to cry.

Okay, I’m back. Finally, Jack dies of his wounds after fighting the Man in Black and restoring the cork at the center of the island. He willingly sacrifices himself to make sure good triumphs over evil and to make sure the passengers on the Ajira plane make it off the island alive. He dies at peace, with a smile on his face, having fulfilled his destiny. I have to go cry again.

Okay, I’m back again. So, out of nine men who die, only three—Boone, Locke, and Daniel—can really be seen as victims. Of those “victims,” only’s Boone’s death is really random, and he gives the audience closure with a cool death speech. The remaining six know that they have to die in advance, and they face death with great dignity and courage.

So, what have we learned, and how does this connect to the four women in refrigerators? Well, tropes aren’t an exact science, so your mileage may vary on what I’m about to say, but in my opinion, a character is usually only “fridged” when their death isn’t really about them at all. If Libby had died bravely, standing up to Michael and defending Ana-Lucia, and if in doing so she had reached the culmination of previously established character arc, then I wouldn’t consider that an instance of fridging—at least, not when evaluated on its own as opposed to as part of a pattern of women dying and men being sad. Fridging basically means turning a character into a prop that moves the story forward, rather than letting that character embody a story in their own right. Not that none of the women who died had interesting stories. But their deaths weren’t part of those stories; instead, they interrupted those stories. Take Shannon, for instance. She might be the woman whose death comes closest to meaning something other than sadness for a man. After all, she initially comes off as pretty self-centered, but by going after Walt she shows concern for someone else. But her growth just gets cut short when she gets shot. That didn’t have to happen. She could have said some last words to Sayid about how she hoped the rest of the gang would rescue Walt. Or something like “make sure Vincent is taken care of.” But because she doesn’t get to choose her death OR say anything before dying, her significance as a character vanishes and what’s left is a plot development for Sayid (and, to be fair, to a lesser extent Ana-Lucia) to react to. The men’s deaths are about the men one way or another: either they’re targeted by someone else for who they are or for a choice they’ve made (Eko, Locke, Daniel), or they choose death (Boone, Charlie, Michael, Sayid, Jin, Jack). Not one of the women’s deaths is about that woman in either of these ways. In other words, when a man dies, it’s part of his story, and when a woman dies, it terminates her story. In other other words, men are the protagonists of their own deaths and women aren’t. I’m not saying every one of the women’s deaths was objectively bad writing or that every one of the men’s deaths was objectively good writing. I’m just saying the pattern seems glaringly obvious now that I’ve noticed it.

Finally, some statistics: Out of nine women whose actresses had main-cast billing, only two—Kate and Claire—were alive at the end of the show. Out of seventeen men whose actors had main-cast billing, eight—Hurley, Ben, Sawyer, Walt, Miles, Richard, Frank, and Desmond—were alive at the end of the show. So while more individual men (nine, or ten if you count Paolo) than women (seven, or eight if you count Nikki) die, a much larger chunk of the female cast is killed off than the male cast. Women have a 22% survival rate and men have a 47% survival rate. This suggests that the writers are simply more interested in keeping men’s stories going than women’s. Hopefully this is obvious, but I’m not accusing the writers of having some nefarious woman-hating agenda. I doubt they realized what they were doing. I think it stems from subconscious assumptions about men and women that manifest in all sorts of media. It doesn’t make that media irredeemably misogynistic, let alone flat-out irredeemable. It’s just unfortunate.

#x #Lost #Lost show #abc lost #Anna watches tv #Anna watches Lost #I have many thoughts #female characters #male characters

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ultradespairgay · 2 years ago

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i dont intend for this to be hate so i apologize if it comes off as such, im just a little confused — i cant see how any of the points brought up in your post about saionji debunk the theory you were talking about or confirm that saionji is the same age as her classmates. her growth spurt is proof that nobody really died in sdr2 [excluding nanami] because they were in the simulation, and it hints at the time class 77-b attended hopes peak before they were put in the simulation, but it doesnt prove that shes the same age as the rest of class 77-b; she could very well have had a growth spurt if she were two years younger than the rest of her class, for example. its worth noting that growth spurts associated with estrogen-based puberty most commonly occur between the ages of 10 and 14. also, just because she never explicitly states her age like hagekure doesnt mean the author meant for that information to be left out — it makes sense that saionji and hagekure would have different responses to similar situations because theyre two different people. hagekure doesnt make himself any more of a target in the killing game by revealing that hes older than his classmates; saionji, though, is someone who is very averse to being seen as vulnerable — her being unwilling to admit she was having trouble with her kimono and her joining the rest of the class in criticizing the memorial she'd made because she didnt want to admit she was the one who made it both illustrate this behavior of hers. her being the youngest is something that she believes her classmates might see as a weakness if they knew about it. again, i don't intend for this to be hateful, and please tell me if ive misunderstood anything.

More will be underneath the cut for potential spoilers.

I’ll start by saying this, I never got the feeling that this came off as hate so you’re good on that end. However, I honestly don’t agree with the majority of what else you said.

For starters, the growth spurt doesn’t just prove that they were in a simulation and that nobody really died, but when Hajime sees the picture in the news article of the more “mature-esque” Hiyoko, he refers to her having a “child-like” appearance. When Hajime shows this to Kazuichi, they refer to Hiyoko having “child-like” features”. This was because they didn’t recognize Hiyoko at first due to having their memories taken away. Alongside Hiyoko’s fanbase mainly liking her for her “un-high school-like appearance”, why would anyone use these descriptors on someone who’s much younger than the rest of her class? Yes there are people who look more mature than they actually are, but like I bring up in my post the opposite can be true as well.

These next few points I’m going to be honest, were in my opinion flawed. It feels like you missed the point of me bringing up Hagakure in my post in the first place. The point of me bringing up Hagakure wasn’t about how the characters would react differently if they were in similar situations {I don’t know how that conclusion was made tbh}, this was very clearly from a writing standpoint. Something like Hiyoko skipping a few grades would be very important information, so why would they just not include that? It doesn’t make any sense that it wouldn’t have ever been revealed at some point. This isn’t even implied in any DR media that Hiyoko’s in, so how would this even exist in the story if it’s not outright confirmed in text or at least be implied?

I will say that I do agree that Hiyoko is someone who’s afraid to be vulnerable in front of others, however it’s not because of the reasons you listed. Hiyoko has been through quite a lot according to her FTEs, due to her very overbearing grandmother and many jealous people who’d often play cruel & sometimes even life-threatening tricks/make threats towards her… sometimes even carrying out said threats. The only person she truly felt safe around/trusted was her father. But eventually her grandmother took Hiyoko away from her parents and she was separated from him. Hiyoko isn’t afraid of being vulnerable because she worries about her class finding out that she’s younger, therefore seeing her as being weak. Hiyoko is afraid to be vulnerable due to trust issues because of what she had to experience in her past. It also resulted in her developing a very mean personality in order to protect herself, so that people didn’t get too close because of that very fear.

Also, bringing up Hiyoko not being able to tie her own kimono and the memorial situation isn’t even related to Hiyoko being younger at all. The reason Hiyoko can’t tie her own kimono is because as the heir of the Saionji clan, she developed feelings of superiority. It’s not that hard to believe that she had people to help tie her kimono for her because of that feeling of superiority. As for the memorial, in my post I brought that up as an example of Mahiru’s kindness rubbing off on her when discussing the nature of their relationship and how it’s not gross or unhealthy {which no it isn’t}. The reason Hiyoko didn’t want to admit that she made the memorial was because she didn’t get the kind of response that she was hoping for. She thought the others would be impressed with her work, but due to it looking unsettling the others reacted negatively instead. She only admitted that she was responsible for the memorial after Chiaki said that there was honest intent behind it, despite looking very off-putting.

Overall, I feel like you misinterpreted/misunderstood the majority of what I said in my post. What you were trying to counter against was neither stated/implied in my post. A lot of the evidence that was brought up to support your claims was also flimsy/false/lacked proper context and there’s nothing in DR media that would back any of it up.

I hope that I explained myself well enough and I hope that I didn’t come off as incredibly harsh.

#asks #replies #sdr2 spoilers

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staygoldenlightning · 7 years ago

Text

An exciting new review experience in three parts! It’s gonna be a long one!

It was only a matter of time until I addressed this elephant in the room: I’m a little bit obsessed with To All the Boys I’ve Loved Before — both the Jenny Han novel and the Netflix original movie. And I’m pretty sure I’m not the only one. To All the Boys is the story of Korean-American, high school junior Lara Jean, whose personal love letters to each of the five boys she’s loved are accidentally sent out, all while she’s dealing with the challenges of her older sister leaving for college (and leaving behind an ex boyfriend that Lara Jean has always had an eye for). In an act of mutual damage control, Lara Jean and her former crush Peter Kavinsky enact probably the best (and definitely my favorite) rom-com cliche of all time: they pretend to be a couple.

I received a copy of the book (the first in a trilogy I haven’t read the rest of yet, NO SPOILERS) as a Christmas gift last year, and I read it back around February or March. Now that the Netflix film has taken Twitter the world quite literally by storm, I figured it was time I launched my thoughts right out into the eye of it. So without further ado, here’s everything I have to say about To All the Boys I’ve Loved Before, presented in three parts.

To All the Boys I’ve Loved Before: The Movie

When I’m out of town for the night, Matt has a ritual where he gets a pizza or some snacks and watches a movie I wouldn’t like with the cat. Last week, on a night when Matt was going to be out late and my cat and I were home alone, I decided to do the exact same thing myself (except now I’m pretty sure that he would actually enjoy this movie too). Actually, there are a lot of reasons why this movie is good for EVERYONE, even us “grown ups.” I was feeling a little down on that particular day, and I needed something lighthearted and a little bit indulgent to get my mind off of it, so I put on To All the Boys, because even though I knew I wanted to watch it, I’d been putting it off, in a way.

While some nights since its premier I just didn’t have the time to sit and watch a whole movie, hype scares me away from things. Not in a hipster sense of “If too many people like it, then it must not be good,” but I fear the bandwagon effect. I don’t want to like it just because other people do and I want to fit in. But I have nothing against liking something popular if I actually connect with it. With this movie, I was actually expecting it to be a little cliche, a little cheesy, and a little silly, but in all actuality, it’s just the best rom-com I’ve seen in a really long time. Seriously.

The casting, the characterization, and the pacing all impressed me in their own ways, but what actually stood out to me about the movie was the cinematography and the storytelling choices. I’m not pretending to know anything about movies, but this could have easily been a movie that focused on the plot to give the people what they want: ROMANCE. While that’s still the main focus, the creative direction of the movie really surprised me with the handling of all the side conflicts circling around the main arc. Visually, it was way more interesting than you’d expect from a rom-com: the shots are interesting, and a little bit conceptual, and all meant to capture Lara Jean’s state of mind, not just what she’s doing or what she looks like.

I also give the movie huge props for something a lot of teen movies weirdly fail at, which is writing dialogue that actually sounds the way teens talk. There was no awkward slang, no overly-rehearsed sounding monologues, and even Kitty sounds appropriately mature for her age without going overboard. Even with it’s modern inclusion of social media, To All the Boys actually nailed it in the dialogue department.

I’ve only got one real bone to pick with the writing overall, and that’s the scene in the first act of the movie that, in my opinion, pretty obviously gives away the twist at the end. I read the book; I knew what happened already. But for someone that didn’t, I think they showed their hand too early. (Notice how I’m speaking in generalities to avoid spoilers). The reveal wasn’t explicitly stated, but I think it was too heavily implied. What Kitty says on the couch is enough. If there was a way that the dramatic irony of us knowing the secret that Lara Jean doesn’t could have enhanced the movie, I would have been all for it, but I don’t think they pulled that off. But this is still a small enough gripe not to ruin the movie for me.

And one more thing: the movie didn’t treat really any character as merely an expendable plot device. Lara Jean is and incredibly well-developed protagonist who I came to love almost immediately (how couldn’t I when she daydreams in regency-era period dress?). But the important thing is that we never stop learning about her; not all the information is dumped into exposition, we have to earn our full understanding piece by piece. While I did feel that Gen was reduced a little bit to the “mean girl” stereotype, we do eventually find out why she acts the way she does, and it’s actually a game changer, if only subtly. (Actually, it’s my opinion that the movie needed more Chris, too.)

This is also part of what makes Peter K. such a great character in his own right, not just as “the love interest.” What’s refreshing about Peter is that he’s a softer form of masculine lead that we don’t see too often, but the kicker is that he’s not afraid to show it from the very start (and to be honest, I didn’t get this as strongly from Book Peter). No “tough guy” layers to dig through—his heart’s pretty much on his sleeve, even though he’s still the cool guy all at the same time. Plus, Noah Centineo is a dreamboat (we were all thinking it). I’m telling you, he’s going to be the Chad Michael Murray of his time.

This is unfair and their outfits match.

While of course there wasn’t time for book-length dives into every character, even Lara Jean herself, the characters were portrayed in a way that encourages the audience to make a connection.

https://twitter.com/ivyjune12/status/1037885481302847488

I’m a firm believer that a movie is not a book. Obvious, but what I mean is that a movie doesn’t just have to be a direct retelling of the book in exact detail. In my opinion, if that’s all a movie does, it was unnecessary. I did all that in my head already. What I think makes a great movie adaptation is that it has to have something to say, some interpretation of the characters, plot, and themes, while still capturing the overall idea and spirit of the book from whence it came. I understand the cuts that were made for the sake of real-estate (though I’m hoping a certain deleted kiss surfaces in the sequel I’m praying for). What they did was tailor down the story to make it more self-contained, more refined, and more to the point so that it fit the medium and told they story it needed to tell while really letting us live inside Lara Jean’s head for a while.

But also, how much do you think Subway paid for that product placement?

To All the Boys I’ve Loved Before: The Book

You’ll have to excuse my copy of the book, for it has the leftover residue of a “soon to be a major motion picture” sticker that didn’t quite come off all the way. Switching gears, To All the Boys I’ve Loved Before by Jenny Han is just about everything you want in a YA read: a quirky, relatable (and diverse!) main character, a pseudo-love triangle with ~nuance~, and a family secret or two threatening to fracture some relationships when it erupts. I’d known about the book for a few years (thanks, Tumblr), and I made pretty short work of it once I actually had a copy in my hands. The romance arcs made it a page turner in a lot of ways, with the way they criss-crossed and changed shape and came to a heated point.

That being said, I found the book itself a little slow in places in terms of pacing. It’s on the longer end of the YA spectrum, and while I can’t say I ever lost interest, I got a twinge every now and then when I finished a chapter without learning anything new, per se.

My other issue had much ado about Margot, Lara Jean’s older sister, who, despite not being present for the majority of the story, never truly leaves us. I completely understand why Lara Jean thinks of Margot often: she misses her sister, is distressed about keeping the secret, and worries that she’s not ready to fill Margot’s shoes as a caretaker. But in the book, Lara Jean is so preoccupied with Margot that I have to admit that there were moments I was sick of hearing about her.

What I loved most about the books was that Lara Jean’s romance was surrounded by several subplots dealing with friends, family, responsibility, family, and growing up. While a movie only has so much time before it loses us to sleep or boredom, a book can go on, night after night, expanding the main character’s world that we’re lucky enough to be living in. In the book, we get to see a lot more of what Lara Jean’s mom, and her Korean culture, means to her. We also get to see a lot more of how her family has grown from the past until now, and how they’ve all taken on changes before and after Margot’s departure. And maybe the thing I was the most heartbroken about was the letter in Margot’s desk and all the implications it held. Lara Jean wasn’t the only one with a secret, and I love the complexity it added to the sisters’ relationship.

https://twitter.com/ivyjune12/status/1037856493410897920

If you’re wondering about that Tweet, I was quickly disappointed and then overcame it.

Moving on, I’d be so interested to see what more movies would do with the material we have, because there’s a choice to be made at this point: do they go back and pick up the conflicts they didn’t have time for the first time around, or do they move on to whatever new ideas are hidden inside books 2-3? No matter what happens, sequel or not, the movie has actually really nudged me towards picking up the rest of the series—something I wasn’t totally convinced (Peter Convince-sky? No, but A for effort) I’d do before.

2 Outfits Inspired by Lara Jean Covey

I saved this little bonus section for last, mostly just to amuse myself. It was impossible not to notice how amazing Lara Jean’s style was in the movie; every outfit was a SENSATION and I haven’t stopped thinking about a single one. So, for giggles, I dug around in my closet and came up with the two closest Lara Jean outfits I own.

https://twitter.com/gicatam/status/1035720646196510720

1. Skirts and Stripes

A tried and true Lara Jean combo, a button front skirt paired with a cute (often striped) top can be found during a few scenes in the movie, but I would say I came closest to the airport outfit. While my color scheme is off, the spirit is there: I even braided my hair as much as possible. Fun fact: I am a cartoon character who owns this shirt in two different colors, and these boots are old enough that I can ~almost~ call them vintage (not really).

2. The Pink Power Suit

All right, it’s not a suit, but the soft pink blazer paired with skinny black jeans and a black choker was almost certainly a confidence move for the first ride in Peter’s Jeep. I don’t wear this pink blazer enough, and I wasn’t sure if I’d love it with this outfit because it’s more of a salmon than a blush (I want to introduce my best friend Squidward to everybody in town wearing a salmon suit). Actually, this combo worked out surprisingly well, minus the fact that I’m wearing a literal shoe string as a choker.

Actually, I’ve left the house wearing it like that before, and I love it. Fight me.

^This is the best image I could find of this outfit and I’m bummed about it.

Lara Jean’s style is the perfect combination of vintage revival and current trends, which is really everything I want to be in my life. I’m already making my list of things I need to add to my own closet: a yellow beret, a lot more bomber jackets, a gorgeous red ballgown. Maybe by the end of autumn, I’ll have the full collection. From now on, every time I go shopping, I’m doing so with the motto: “What would Lara Jean wear?”

If you made it to the end of this post, I salute you. Know of any other books/movies with outfits I should try and copy?

To All the Boys I’ve Loved Before: Movie, Book, and 2 Lara Jean Outfits An exciting new review experience in three parts! It's gonna be a long one! It was only a matter of time until I addressed this elephant in the room: I'm a little bit obsessed with…

#Book Review #books #Movie Review #Movies #Outfits #Style

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kinetic-elaboration · 7 years ago

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August 9: The 100 2x01, The 48

Okay, settling down to rewatch 2x01, the start of my favorite season...

I love this Clarke so much. Badass Clarke, sneaky Clarke, a Clarke who will fearlessly do what she has to in order to escape and to get to her friends. A Clarke with convictions and guts.

How DO they know everyone’s names lol? Is that ever explained? (ETA: Monty was obviously the informant.)

Mount Weather is one of my favorite parts of this show, honestly. I love that their mission is in part to preserve the beautiful things humanity created, like art; they gave their prisoner Starry Night. The ORIGINAL Starry Night. I just find that very moving. All of these non-essential parts of being human... the show has abandoned them and that’s part of why it’s so hollow for me now, I think.

Level 5: where it all begins and it all ends.

The Clarke/Maya relationship could have been so much more, tbh. Like they had their good moments, like threatening to kill each other etc., but they could have gone deeper.

Surprise! Underground executive branch family dinner! This is the sort of twist I can get behind.

Haha remember when actual delinquents still existed? I joke but truly the later canon has ruined parts of this show for me.

I forgot Tristan survived into 2x01. Not for long. Such Grounder hypocrisy: “That’s one. I lost 300.” He makes it sound as if Finn marched into a village and killed 300 people--they were fucking soldiers on the attack you dum-dum.

“Only our warriors speaking English.” Well that sounds like bullshit based on literally everything we see after this point.

The statue of Lincoln is “the place we go to settle disputes.” First, please don’t say they settle disputes to the death or some nonsense, and second, that’s his namesake... Significant? I mean, objectively, no, but can I make something out of it somehow?

I disliked Luna but she COULD have been so interesting and she and Lincoln COULD have had quite a dynamic. I headcanon them as exes. I want to know their whole backstory tbh. When they met. How. If he wanted to go with her to the sea. If he did perhaps and then came back.

Drink every time someone cauterizes a wound.

You know what else they should have done? Story line about the meeting of Grounder and Sky People medicine. Oh wait that would have taken away from the repetitive war story lines never mind.

That dropship is so fucking impressive. WHERE ARE THE AWARDS FOR THE SET PEOPLE?

And the costume people for those awesome masks.

Am I supposed to feel bad for this Grounder and his charred friend? I do not. Next time, don’t attack the children for no reason and you won’t get burned to a crisp. Easy.

The thing is I can never get behind the Raven + Murphy friendship 100% even though their S5 dynamic looked interesting because he literally fucking shot her and that’s just not a bygones are bygones thing. But they do have personalities that mesh well together so in that way it’s sort of a shame. Also he 10000000000000% had a crush on her don’t even try to argue.

She fired that gun at him. I forgot that. She fired but was out of bullets, that’s the only reason he didn’t die right there. “Yeah I would have shot me too.”

I’m p. sure that’s the real Mount Weather?

I know the Mount Weather people have no leg to stand on when it comes to the Grounders and that they’re...pretty obviously racist, but in their defense--the Grounders were written to be pretty savage, so “savages,” while unforgivably racially tinged, is a fair descriptor of them.

I know I’ve harped on this before but Mount Weather has a judicial system of some sort and it’s possible to press charges there. Somehow. The world building on this show sucks balls.

“They also said you were their leader” is like some retconning, okay. Because you will not convince me that for most of S1 BELLAMY wasn’t the leader in the eyes of the delinquents.

“Kiddo.”

Fucking love Dante. Where are my Dante + Clarke mentor/mentee or ex-mentor/mentee or different-gen-rivals fics?

“We prioritize safety over sentimentality.” As Maya takes blood she absolutely doesn’t need but is having just in case and that she knows comes from someone else’s tortured body because she’s accepted this as something they do, because she’s not sentimental. But she already feels guilty.

Clarke is already using the word “capture.” I had a discussion with someone once about Clarke’s vision of Mount Weather versus, say, Jasper’s, and why it was different and I said some poorly phrased stuff that didn’t really reflect my thoughts and opinions and it still haunts me but I feel like this is...relevant to that. How she immediately feels ‘captured,’ trapped.

Clarke’s devotion to her friends and her people was still so pure and right here.

Dante really does believe he “saved” them. I wonder what his thought process was... I really hate the “savages” so I must save these children? These children look interesting, let’s meet some new friends? She’s right of course that if they were really guests, they could leave.

Multiple crash sites over 100 square miles = I should go on google maps to confirm my Pennsylvania/Farm Station theory but I’m too lazy.

GOD THOSE CLOTHES. I love that Clarke picks the pants and the high heel shiv.

There’s no way there’s actually time for natural selection to work that fast in 97 years and also I’m pretty sure the Sky People are genetically modified because their original pool was way too small for the process Dante is describing but whatever this show is all la-di-da science.

Also: this is how you run an underground Bunker OCTAVIA.

Dante was the only rival/antagonist/whatever Clarke has ever had that rivals her instincts and intelligence yeah I said it; fight me. I know she needed to be on the outside for this season to work but he should have been her mentor. He basically set her up to be mentored and then she ran off and into L who basically destroyed her and she’s never recovered.

THAT REUNION. Heartwarming. Though hard to watch too because this show did both Jasper and Monty so dirty. (Yeah I said that too WHAT OF IT.)

“Dying. Same as you.” Murphy gets all the good lines. That’s why people like him, forget this “redemption arc.”

The Grounder Raven killed was Murphy’s guard and honestly--hilarious. He abandons his post, realizes all his friends are skeletons, pickpockets one, then is shot by what he must initially assume is a dead body. Better character than almost anyone introduced from S3 on.

This cake scene is the most iconic. Jonty were scene stealers stfu. They’re children--basically. They get to act their age. They get to be happy and silly and they loved each other so much.

“Pretend like you’re happy to see me.” / “We are happy to see you.” See? Adorable. I know he’s no cinnamon roll but gosh, adorable.

And then Clarke comes in like secret espionage time and they just look so Tired TM.

I feel like Monty knew, or suspected on some level, that Jasper wasn’t just ‘bummed out’ by Clarke’s suspicions, he was panicking a little.

I can’t believe Jasper and Maya have known each other for like 10 seconds and she’s already seen his O face.

“Clarke’s the only reason we survived.” Um ex-CUSE me but I know you didn’t forget Bellamy’s existence, Jasper.

Clarke’s so smart!

Maya brings out the big guns, literally.

“I’m the one who fired the rockets. Should I not have done that?” is so heartbreaking. Mostly because of the delivery. I love this entire scene. There are like 8 different scenes I love in this episode, like whole-heartedly and truly love.

Clarke’s suspicions really do look like paranoia. Like I see what she’s picking up on, saw it even the first time I watched this ep, but there’s a sense in which she does appear irrational.

There’s actually something kinda funny about Bellamy running out with a spear in one scene, looking around blankly, and then getting chained up as a prisoner in the next scene. At least he inspired his little protege Monroe. Scenes like this are the reason she joined Pike in S3.

Tristan’s like “Who are these fucking children running at me and screaming?” Then he gets shot in the head. Goodbye Tristan you won’t be missed.

“We’re here now. Everything’s going to be okay.” This sounds like Kane playing out a hero fantasy he’s had since he was a child. Except he’s talking to two mud-stained kids who are looking at him skeptically instead of, like, a captured heroine or something.

I feel like they set up this conflict where the adults/Sky People elite come in and, like Kane says explicitly, assume they’re in charge and everyone will fall in line, but then the delinquents don’t see it that way or want that: they have their own priorities (their friends) and their own relationships (Finn and Bell don’t even LIKE each other but they’re still communicating by look) and their own knowledge (the pipes that allow them to move through the dropship camp quickly and without permission). But then... it sort of plays into the rest of the season...but not that much?? Not as much as I would like.

“You are not animals. There are rules. Laws. You are not in control here anymore.”

This show sacrificed a lot of complex relationships to just either make people buddy-buddy who had no reason to be or just arbitrarily assign relationships to scenes or episodes without regard for continuity at all.

Raven took Jasper’s goggles.... never over this.

How was bringing Octavia to TonDC faster than collecting some beetles for her to eat?

“Loss, pain, regret. Time eases these things.” I’d say this is the sort of line the show should be repeating but God when it gets a line in its teeth it never lets the fuck go so I guess it’s better this one remains pristine.

I find Dante very sympathetic but also so creepy.

They weren’t really patrolling for other people, were they? Because like...surely they would have found them. They’re at the dropship and close by. He was just bullshitting here. But why don’t they want to make even more new friends?

Dante’s stationery is presidential themed lol. Glad we stocked up the bunkers properly with the important stuff.

The crashed Alpha Station is beautiful. I believe this was the first time it was shown on the show? Ugh, this whole sequence with the music, it’s perfect and so touching.

Jaha is the most tragic and heartbreaking figure on this show. He also doesn’t get the appreciation he deserves. Just...the image of a man alone in space, talking to his loved ones, hoping they can hear them, not knowing if they can... I almost can’t handle it. I used to be very unsure if I liked where his story line went after this (seeing it in its entirety, I defend it) but surely he could not have died this way.

....I really gotta sleep now.

#the year 2018 #2018: fandom thoughts #2018: the 100 s2

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