#someone comes to katara with an issue and shes like

[woodlaflababab]

Imagine if the reason Katara ends up becoming the best healer in the world despite clearly prefering to focus on more combat based waterbending was simply because she spent her life with the avatar. An avatar a lot of people hated and an avatar who probably regularly ran into bad situations. She probably had to heal him a lot, and probably in a lot of different situations. She accidentally becomes the best at healing because she ended up marrying the most death-defying person.

This both makes me sad because of the inherant angst but it's also hilarious bc like, she's got to be so done with that bullshit at somepoint. Aang gets stabbed for the 15th time in their lives and she's just like "gdi again? Really?" Not worried at all because she's done this so many times before and Aang's just like "haha 😅 have I mentioned lately that I love you and you're the most amazing person I know?"

[beifong-brainrot]

People will go on about how "Katara's story is a tragedy" because she... ended up marrying the guy she loves, having children and grandchildren which she was always excited about and literally becoming a master waterbender and rising to the top of her field as a healer.

Yes, Katara's story has tragic aspects to it. And there are certainly flaws in how she is written in tlok (Though I will argue that there are actually more issues with how Toph and Zuko are just plopped in there for no reason in later seasons). And her storylines aren't perfect, for example her resolving her trauma around the murder of her mother being more used to prop up Zuko than her own internal turmoil. (Most of TSR is from Zuko's perspective and I hate that actually)

"Katara's story is a tragedy" Why do you have such a hard on for this woman's misery? Let her be happy, man.

You know what gaang girlie's life is an actual onscreen tragedy?

Toph's!

People will fucking downplay Toph's childhood abuse because she wasn't physically hurt, but her childhood was a never ending carousel of abelism, misogyny, neglect and isolation. The way Toph describes her parent's treatment of her as "pressure and pain" is heartbreaking.

Toph's only escape was Earth Rumble and earthbending, but despite her skills, she remained the perfect little lady her parents always wanted her to be. She's never known a different life, and she was only able to be her real self in secret.

And when Toph finally opens up to her parents, when she finally lays her real self bare in front of the people who are supposed to love and care for her?

She is met with what may be, in my opinion, the cruellest rejection in the show.

Despite this, even when Toph runs away, she still cares for her parents' approval. Hell, she's even lured into a trap due to her getting a forged letter from her mom and getting excited because it looked like her mom was finally accepting her.

It's also important to note how determined to be self sufficient and to prove herself Toph is. We can especially see this right after she joins the Gaang, where she refuses to participate in splitting with the rest of the group, insisting on "pulling her own weight". This isn't Toph being a brat, or spoilt, this is her wanting to prove that she can handle herself because people have handled and understimated her her entire life.

Eventually, Toph starts to learn to trust the members of the Gaang and this is a step in the right direction. She's literally making friends for the first time in her life I'm so proud of her.

However, I was genuinely upset when Toph's life changing field trip with Zuko didn't work out. When Toph was trying to connect with Zuko and he blew her off (I'm not blaming him tho they had shit to do), I couldn't help but remember the rejection Toph suffered from Lao.

Post canon, Toph continues to try and prove herself, starting a metalbending school and training new metalbenders.

She also reconciles with her father. Not before Lao disowns he rmultiple times and calls her a rude, ungrateful thing. And while he eventually comes to understand Toph and cherish her, that type of trauma sticks with you.

So it's no wonder really that Toph, someone who went her entire childhood seemingly without even speaking to someone her age, would have trouble forming connections. She has children with two different men, neither of which seem to stick around.

Toph tries to do right by her daughters and gives them the freedom she never got. Sadly, the pendulum swung too far to the other side, since it seems that she started to neglect her daughters, which led to them developing a sleugh of issues of their own.

Toph becomes the cheif of police, which kind of makes sense. Republic City was only slowly emerging as an actual metropolis. Toph took on a role as a protector, and probably as a way to prove herself. But as Republic City grew, Toph probably realised that she became something she hated. A cog in the machine, and started to despise her job.

Searching for a semblance of the freedom and happiness her travels afforded her in her childhood, Toph leaves the city and takes up the life of a hermit in a swamp. She managed to fix her relationship with Suyin to some extent, but still seems reluctant or simply unable to connect with her daughter or grandchildren. Since she apparently hasn't seen Opal, a grown 20 year old woman since she was a little girl.

On the surface old Toph doesn't seem terribly dissimilar to young Toph, still tough and spunky. But she is more jaded, depressed and pessimistic. She comes out to save Suyin from immediate harm and manages to somewhat reconcile with Lin, but then she fucks right back off to the swamp where she seems to literally hide until Wu and Korra straight up force her to come with them.

Toph's story began with her alone and it seems to end with her alone as well. It's a story of a girl who grew up isolated and handled by others, and was woefully unprepared for the real world, which only jaded her further. She lives with the guilt of fucking up her daughters' lives and a belief in the pointlessness of life.

Toph started off longing to experience the world and ended up willingly isolating herself from it.

If that isn't a tragedy, I'm not sure what is.

Mind you, this is not the trauma olympics. I'm not saying that Toph has suffered more than Katara or that Katara's trauma is not as valid as Toph's. Katara and Toph's experiences are completely different, Katara being a victim of genocide and war, Toph being a victim of child abuse. I'm just saying that, objectively, Katara had a happier 'ending' than Toph.

[skyahri]

Arranged Marriage |Zuko X Reader| HC

Summary: Caught up in his personal conflict, Zuko completely neglects his marriage.

Warnings: Arranged marriage, forced marriage, whatever. Mentions of violence. Angsty Zuko and reader. Fem pronouns.

Masterlist Ko-fi

- - - - -

You'd married Zuko a little over a year into his reign as Fire Lord. You're the oldest daughter from a noble family, and the council decided it was best if Zuko married someone well liked by the community.

He didn't take it well. He was still hoping Mai would come back to him, and you being there completely obliterated those chances.

Not that there was a shot to begin with. Mai had made it abundantly clear that she wanted nothing to do with Zuko, even if she admitted to still having feelings for him.

Your relationship was staged to be perfect in the eyes of the people. Young love against all odds sort of thing.

The marriage ceremony was beautiful. Your robes were elegant, the flowers were perfect, and even your soon-to-be husband was handsome.

Zuko was charming towards the guests, really selling the story and gaining a lot of trust with his people. He was awkward but personable, something everyone ate up.

But he wasn't like that with you.

As soon as the two of you were away from public eyes, he didn't so much as look your way.

You slept in different rooms and ate at opposite ends of the table. He excluded you from as many duties as he could, stating something about him not wanting to concern you.

Life in a palace was pretty isolating. The only people you could talk to were servants, and even then, your topics were extremely limited.

You'd taken to the gardens as much as possible. It felt nice to be outside and even better to see the plants and animals.

Tending to the flowers was one of the few things you were allowed to do without constant eyes on you. The lonely atmosphere felt intentional instead of forced.

But after a year of this, not even the newly budding flowers could heal your disdain. Your once bubbly exterior had been chipped away by the dread and disappointment that lingered in your heart.

You were truly just a shell of your former self by this point.

There was no change with Zuko. He'd made no effort to get to know you or even just not hate you. Any attempt you'd made in the beginning to soften the relationship had been put out the moment it left your lips. It seemed like public pleasantries would be the extent of your marriage.

You'd long given up on trying to befriend the older women who waited on you. They had no desire to be anything more than the people who got you through the day.

You'd given up on trying to sneak away with the kitchen staff to the market. They feared being held responsible for you, even if you claimed to be plenty capable of taking care of yourself.

All that was really left to do was to just stay quiet and look pretty. The sad fate of the Fire Lord's wife.

You'd been laying in bed all morning. It was one of the few days where nothing was planned. No meetings, no guests, no events- nothing.

Well, at least you thought.

"Miss Y/N, Lord Zuko has requested your presence. We must get you ready immediately."

They'd dragged you out of bed and stuffed you into a pair of your nicest robes. They're doing your hair up and rushing to cover your face in makeup.

"Why am I being summoned?"

"The Avatar and his friends have arrived. They were the ones to request you."

"I see."

It made sense. You had met the Gaang at your wedding, and they were everything you'd expected; kind, loud, and passionate. Just like Zuko was said to be.

At the time, they'd promised to come by often, but you hadn't seen them since. You'd heard something about the rebuilding of the air temple and having some unexpected issues arise, so they just hadn't had time until now.

You met Zuko at the front gates. His friends arrived just after, allowing the servants to take their things to their rooms. Without a word, Katara grabbed your arm and dragged you away with the other girls. You turned back to see the same happening with Zuko and the boys.

They pulled you all around the surrounding area. For the first time in a long time, the dread started to fade away.

You'd bought some new incense, hair pins, and seeds for the flower beds. They were small purchases in comparison to the others, who had gone all out with new clothes, trinkets, and a heap of spicy snacks for Sokka.

You'd suggested several times over the last few hours that it was time to head back to the palace, but only now that it was growing dark did the trio actually listen.

Just as you had begun packing up, a string of explosions started on the next block and made its way towards the plaza you were in.

Toph was quick to make a stone barrier, but that didn't stop the cloud of soot from staining your skin and clothes.

A group of men had emerged from the smoke and revealed themselves to be Ozai supporters. Not everyone was pleased with the fundamentals Zuko was running the country on, so rebels had started causing a bit of an uproar.

Katara, Toph, and Suki did their best to take the men down swiftly, but that didn't stop you from getting injured in the process.

Your forearms had been severely burned when you'd covered your face from an attack. Katara offered to heal you, but it'd have to wait until you got back to the palace where her spirit water was.

The trip back was uneventful. Some of the local guards stationed in the city had insisted on escorting you guys back, which at this point you couldn't deny.

Apparently, word had already gotten back to Fire Lord Zuko, who was waiting at the front doors of the palace for your arrival.

He immediately stepped forward and picked up your hand, letting the scorched fabric fall and reveal your burn. He did the same with the other and sighed.

"Please give us the room."

You watched as everyone filed out of the room, the guards towards the exit and your friends towards the south wing.

"These are severe,"

He cupped your face in his hands and tilted your head so he could get a good look. His thumb swiped over some of the soot on your face.

You were confused by his actions, but the pain from your burns created a bit of a blur in your mind, keeping you from thinking too hard about it.

"The others couldn't protect you?"

"They did what they could. I apologize for the hassle-"

"Why are you apologizing? None of this is your fault."

You opted to stay silent. You weren't sure what to say. This is the longest conversation you'd had in private since you'd met, and you were finding it hard to navigate.

It was silent for a minute. The vibe was awkward, and you desperately wanted to hide away from all of it.

His face contorted slightly, like he wanted to say something but couldn't. You didn't pry. It didn't feel like your place to ask.

"Why don't you head to your room for a bath, and I'll have Katara meet you in there once you're done."

You nodded and made your way down the corridor. You stripped down and opted to just toss your clothes in the trash. Between the ash and scorch marks, there was no saving anything.

The second the water touched your wounds, you winced. Tears pricked your eyes as you watched small bits of charred skin go down the drain. The pain quickly went from a sharp sting to almost mind-numbing. You sat down and let the water just run down your body while you waited for the brunt of the discomfort to pass.

In your hazy state of mind, you hadn't heard the knock on the door, so you were surprised when Zuko entered in much more casual clothing.

When he saw you hunched over on the shower floor, he didn't say anything. He moved to the side of the tub and went to touch you, but you weakly swatted his hands away.

"I'm not comfortable with you being in here whole I'm naked."

"I'm your husband-"

"You're a stranger."

Ouch. Harsh but fair, and he knew it.

"Look, I know I haven't been good to you over the past year, and I'm sorry. We can talk about it more when you're feeling better, but for now just let me take care of you."

Satisfied with his response, you stopped resisting his help. You let him wash your hair and scrub your skin. His touch was gentle despite how rough his hands were.

He never once made you feel uncomfortable. He was thourough but never lingered. It was almost as if this was a normal occurrence.

When he was done, he offered you a towel and left you alone in the bathroom to get dressed. When you entered your bedroom, Katara was on your bed, but Zuko was nowhere in sight.

"Just me. Sorry to disappoint."

"No, no. I'm glad you're here."

You sat in front of her on the bed and let her examine your burns. She positioned your arms for easy access and opened her canister. You watched the water glow and the skin slowly heal itself. It was amazing, nothing like anything youd seem before.

"So," she broke the silence, "Has he warmed up to you at all?"

You were surprised by her words. You weren't sure how much they knew or what all you should say. Last thing you wanted to do was incriminate him.

Sensing your hesitation to respond, Katara clarified her question.

"I know everything, at least, from his side. You can be honest with me."

"Honest?"

"Honest."

A small smile crept onto your face.

"I think you're friend is an ass."

"I couldn't agree more."

You told her everything; the loneliness, the isolation, the lack of, well, everything in your relationship and life. She listened, something you're eternally grateful for. It felt nice just to get it off your chest instead of suffering silently.

"Today was the greatest day I've had in a long time. I got to leave the palace and talk to people and for once it felt like my husband didn't hate me."

"Zuko doesn't hate you."

"Could've fooled me."

"He doesn't hate you. Just talk to him. I know he has a lot to say, and it seems you do as well."

Once your arms were healed good as new, Katara left your quarters and returned to her own. You'd crawled under the covers and passed out, completely exhausted from the day.

The next day, you took Katara's advice and decided to speak with Zuko. You woke up early, before the sun had risen and made your way to his room.

He was surprised to see you, much less in your nightwear at such an hour. He invited you in nonetheless, where you then entered and decided to sit on his bed. You patted the spot in front of you, and he hesitantly sat.

"Katara said we should talk."

"Okay."

Sensing that he wasn't going to be the one to initiate anything, you decided to get the ball rolling.

It was a long conversation. Zuko confessed a lot of things, mostly about bitter feelings towards life and guilt over his actions. He apologized for everything and listened to everything you had to say. He made a lot of promises to be better.

He stuck to his word. He began including you in anything you were welcome to. Dinners became more personal, and eventually, you started sleeping in his room like a proper married couple.

By the time team Avatar had visited again, things had visibly changed. You were both happier, and your once fake marriage had become real. You meshed into the group just fine, making the pseudo family that much bigger.

All thanks to a simple conversation.

[allgremlinyaps]

The REASON Katara is so disgusted by bloodbending is because of the way she was introduced to it and how she was forced to take hold of a power she never WANTED in order to save the lives of Aang and her brother. Why she found bloodbending subsequently so disturbing was because the form it was introduced to her as was very specifically about superimposing your will onto someone else, violently, outside the conventions of combat as she knows it, and without their consent - we do not know what she would think of bloodbending as used as a medical technique because she was never exposed to bloodbending as used as a medical technique.

It is not out of character for Katara to be disturbed by what is basically a rape of willpower - someone like, say, Sokka might see it in more pragmatic terms and consider its usefulness, but she has always been his foil when it comes to issues like this - I think it's very believable that her deep empathy and initial negative emotional impression of bloodbending would put her off from experimenting with it more in the future.

Frankly, I agree that it would be cool to explore bloodbending more in a less "oh so scary and evil" way, but I stand by what I've said above on characterization. Also, from a meta level, Katara made bloodbending illegal because, like, waterbending would just be too OP otherwise. So there's that.

[longing-for-rain]

ok, i'm curious. if katara had ended up with zuko and became fire lady, how do you think that would have changed her role/character in lok?

a lot of people seem to disagree that becoming fire lady would have been a service to her character.

That’s really up for interpretation since canon doesn’t really establish what exactly the political role of the Fire Lady is. I’m not even sure if it’s a canon title; at least in the past, it was a title that fans made up.

However, I imagine in that role, Katara would be very politically active. I’m not even sure she’d necessarily call herself Fire Lady; I could see her liking that, or maybe a different title to distinguish herself.

The biggest change would be her role in Fire Nation politics specifically. I believe Katara would have a strong desire for world politics, but being a head of state in the Fire Nation would give her an interesting angle to work from. She would have influence over the Fire Nation’s assets and how to use them. She would be instrumental in transitioning them from wartime to peacetime economy, and ensuring that the other nations are compensated for the crimes of Ozai’s regime.

I think she and Zuko would also be very supportive of each other personally (obviously) when it comes to politics. Zuko has immense respect for Katara and would trust her judgement. It would also be so much easier on them both to have that understanding when dealing with complex political issues together. It broke my heart to see how stressed, isolated, and alone Zuko was in The Promise with nobody to confide in and support him in his struggle to turn his nation around. Similarly, it broke my heart to see how loneliness and isolation also seems to be a theme for Katara post-canon.

So yeah! I think there is a lot of potential there, which is why fans like to explore this idea for Katara. It’s about emphasizing her political voice, giving her a way to continue her fight for justice, and giving her someone who respects her opinions and doesn’t leave her feeling abandoned. It’s a direct response to how she was treated in TLOK and it’s beautiful.

[sokkastyles]

It's very weird to me that people will talk about the scene in "The Awakening" as if Zuko is dumping his trauma on Mai, when what he says is like, incredibly subdued and dancing around the actual issue. I also had someone tell me today that he was "probably venting the whole time" during the journey, and the thing is, I very much doubt that considering the context.

Not only is Mai the one who prompts the conversation by asking him if he is cold - because she noticed something was wrong and that being out on deck at night was unusual - but what Zuko says sounds like he actually hasn't said anything about going home before this point.

I've got a lot on my mind. It's been so long, over three years since I was home. I wonder what's changed. I wonder how I've changed.

He doesn't even talk about the real issues, just vaguely says that it's been a long time and he wonders if anything has "changed." Of course, the audience knows, because of what happened in the caves, that Zuko is starting to realize that he made a mistake by choosing to come home. The audience also knows that Zuko has started to realize that what his father did to him was something he did not deserve, which also means that it wasn't about his honor, which also means Ozai might hurt him again even if Zuko comes home victorious. But Zuko doesn't actually say any of that. What he says is actually very similar to what he said in the war meeting to Ozai when asked how to defeat the earth kingdom. It's a neutral statement that is masking what Zuko really wants to say. Which implies that Zuko hasn't talked about it before, and doesn't know how Mai will react to it, has reason to believe she might turn on him if he were to voice the things he voiced to Katara in the caves.

So the idea that Mai shutting him down is like, the result of her having to listen to it the whole trip (which isn't an excuse in the first place) is just obviously not true. And if Zuko was testing the waters to gage her reaction, she pretty much proved that she wasn't a safe person for him to confide in with her dismissive response.

[thanakite]

As I get older the more I consider it a smart choice by Avatar to have Aang and Katara's along with Toph's kids moderately messed by being raised by them

Now to be clear, I ALWAYS thought this was a good idea but as I got older it truly sinks in as a good decision and now I can also fully articulate WHY that is

Because realistically, yes, Aang, Katara, and Toph are all amazing people and amazing characters but MOST if not ALL parents fuck up their kids at least a little bit

Raising a kid is difficult and not a one size fits all thing, and while there's all kinds of advice out there, there is only so much you can do overall

Realistically, Aang and Katara and Toph WOULDN'T be the absolute best parents in the world, Aang didn't have parents in that way and Toph's parents seemed to teach her more about the type of parent she DIDN'T want to be and little about the kind she actually wanted to be (at least as far as we see), Katara is the one most likely to be a good parent seeing as she essentially acted as a mother to Sokka but her mom also died when Katara was young and her dad left soon after, and while she filled a parental role for Sokka she was still his sister first and foremost which does still result in a different dynamic and there is the added issue of them being close in age muddling that as well, so while she does likely have good ideas of how a parent should be she also likely has bad habits formed from essentially raising her brother on top of the issue with all 3 of them being very prominent political figures who all could have been considered prodigies in some shape or form (and really a lot of this could apply to Sokka and Zuko as well, but we see nothing about Sokka's kids and little about Zuko's (we see the most of Zuko's grandkid in Iroh, who seems to be a good and relatively stable guy but I would be completely unsurprised to find he's mentally messed up somehow as well) which is not an easy thing for the children of such people as it puts a lot of pressure and expectations on you (or of course the opposite where no one expects anything from you, but neither option is great for a person's mental health)

So yeah I do think that it's important to acknowledge that even people you'd think would be great parents can mentally fuck up their children just by trying to do right by them, and that it only gets worse if you don't care to even try to do better, because it acknowledges to children (as Avatar was for kids and LOK was more directed at teenagers (who are also children still) that parents aren't perfect and they mess things up, but sometimes they are trying their best and it just isn't good enough and other times they could try harder or do things differently because when/if you become a parent yourself you will have to decide what to take on and what to cast aside from your relationship with your parents and figure out how it applies to the person your child becomes in time and how that's different from your expectations, so showing that someone who you see as a hero and good person from the first show can still struggle with that is smart coming from both ends of the relationship, AND made sense with the characters as we understand them from what we are given

[phsychobanana]

Denial is a river in..... Kyoshi Island?

Pairing: Zuko x Reader

WC: 1.1k

Summary: No chance, no way, she won't say it, no no!

A/n~ Totally WASn't listening to I Won't Say I'm In Love while writing this 🤭

The air was thick with panic as the ash falls from the sky in flutters around the island. People trying to seek shelter while their homes were being burned right before their very eyes. The Kyoshi warriors trying their best to protect their people in the midst of the panic, while the gaang tries to come up with a plan to stop everything.

I grab Zuko's arm and look up at him, worried. When Iroh tried to stop him on the ship, he didn't listen to him. Which meant it was now my turn to try. Or, that's what Iroh said, at least. And Iroh's only sometimes wrong.

"Zu," I pause for a moment to make sure he looks at me while i speak, "we should go. You're destroying these people's homes. How is this any different than your father?"

Whoops, definitely not what you say to someone with daddy issues and anger problems...

"You're right," Zuko nods.

Excuse me?

"Excuse me?" *My brows shoot up in surprise.

"We should go back to the ship. We'll have other opportunities to capture the avatar. This can just be a warning of what'll happen if he doesn't comply. Let's get you to safety," Zuko speaks in an even tone, ushering me back to the ship as he does so.

I've never been more confused in my life, but if he's willing to listen, who am i to complain?

Zuko is practically sprinting with me, trying to get to the ship as fast as possible for some reason. But again, not complaining.

"Uncle, we're going," Zuko nods at Iroh, his tone stern.

"Ah, i knew you'd agree with her. Alright, let's retreat," I raise a brow at the older man's words, but don't say anything.

The horn blows, calling Zuko's troops back to the ship, to which they all come running back. Talk about effective.

And just as soon as we were there, we were out.

Zuko leaves, presumably to go brood in his chambers, leaving me to play Pai Sho with Iroh all alone.

"So, did you two finally confess?" Iroh asks randomly, causing me to choke on my spit.

"H-Huh?" I manage out through my coughs.

"Y/n, i had you talk to him for a reason."

"Which is..?"

"You're not just his best friend, you know. He cares about you much more than you know."

"Yeah, that's what friendship's about."

"No. Beyond friendship. Beyond the relationship you both have now. You are meant to be. Twin flames."

I raise an unimpressed brow. "Right. How much tea have you had to drink?"

"You're in love. Even if you don't know it yet."

Stupid Iroh and his stupidly true words. NO. I'm not in love. Never. That's gross. Especially not in love with Zuko. He's like...emo.

"Sure... Let's just keep playing, alright?" I look back down, only to find that he's beaten me.

"Good game, Y/n." Iroh smiles cheekily. Damn old man...

***

No matter how long ago it was, i never forgot that conversation with Iroh. Zuko and i had swapped sides, found his destiny, stopped his father, everything. We'd done it all. Together. And as much as i hate to say it, i enjoyed being with him so closely.

Suki had invited the gaang back to Kyoshi island for a nice getaway/vacation, since everyone had gotten so busy and stressed out due to existing. With Aang being peace to the world, and everyone trying to come back together as a whole, we've all been busy. Especially Zuko and i, trying to get rid of the brainwash wrapped around the Ozai defenders.

So, here we were. Sitting on the sand, chatting, drinks in hand, and all the couples being way too touchy for my liking. Aang was making flower crowns with Katara, and Suki and Sokka were just making out. And considering they were doing that the entire way here, i'd say my poor eyes need an insane amount of disinfectant.

At least Zuko, Toph and i were able to hang out without third wheeling anything.

Zuko left to go use the bathroom, leaving Toph and i to talk.

"So, when are you going to grow the balls to confess your feelings?" Toph asks as she draws in the sand. Granted, the drawings weren't good, but hey, she was trying.

"What do you mean?" I ask, playing stupid. Did everyone just know? Did that mean he knew, too? Oh, spirits...

"You know what i mean. Don't worry about him not liking you. He likes you so much, it's getting disgusting."

I chuckle at that, and glance over at Zuko, who's now walking back.

"I don't like him." I say, though my stuttered breaths, rapidly beating heart, and lovesick eyes say otherwise.

"Right. And i can see." Tops retorts with a scoff, making me push her face first into the sand.

"Seriously, Toph. Back off." I huff.

"I'm just sayin'. Denial's a river... and you're drownin' in it." Tops shrugs, and spits out a mouthful of sand. "You may deny it, but truth is, you're falling for him. Hard. So just tell him."

"Tell who what?" Zuko asks as he takes his seat beside me once more.

No chance, no way, i won't say it, no no...

"Hey, you. Don't worry about it. Heh..." I punch Zuko's shoulder lightly.

"Uhm...hi?" He rubs his shoulder, a clearly confused look on his face.

Spirits, he's cute when he's confused. And when he's mad. And happy. He's just always cute. And handsome. And hot. Pun very much intended!

Get a grip, girl!

I clear my throat awkwardly, and turn away from him. I glance at Toph, and can practically feel her urging me to confess.

I glare at her. I look over at Zuko with a smile, trying to act normal. My heart immediately skips in my chest at the sight of him.

No way, no how, i won't say it...

Zuko look over at me and smiles back, and i swear that time freezes around me.

No chance, nuh uh, i won't say it...

"You've got sand in your hair..." His voice is quiet, and soft, and flustered, and woah.... He reaches out to gently pick the bits of sand from my hair.

Get out my face, i won't say it...

"Thanks." I swallow, and look away.

Zuko ruffles my hair affectionately and leans down, so close that i can feel his breath fan over my face. Way closer than friends should be.

Get off my case, i won't say it...

"So..." He trails off.

"So..." I repeat.

At least out loud, i won't say i'm...in love...

[ecoterrorist-katara]

I really liked your meta about bloodbending, this is a big ask but how do you think that the whole bloodbending storyline could/should be rewritten? It’s clear that the writers are using bloodbending as a metaphor for slavery but it rarely comes across that way, and poor Hama was failed spectacularly by the writing

hello anon! thank you for this fabulous question & hope you don't mind that it took me ages to get to it.

TL;DR: I think making Hama into a serial killer/abductor was a terrible narrative choice. If it were up to me, Katara would have a (child-friendly) ethics discussion about bloodbending with Hama, who then joins them on the Day of the Black Sun. After the war, bloodbending becomes a lynchpin issue when the North attempts to colonize the South, but Hama and Yugoda find healing uses for bloodbending in the kerfuffle.

But first, my "ATLA bungled colonialism themes" soapbox: to me, bloodbending is a metaphor on two levels. The storyline about how Southern Waterbenders are captured and then transported to the FN certainly seems to reference the Transatlantic Slave Trade, like you said, though without the labour exploitation aspect; the storyline about Hama and bloodbending feels like an allegory for guerrilla resistance in general. Imo the narrative kind of cheapened these potential real-world connections by making The Puppetmaster a spooky Halloween special with a dash of “an eye for an eye” parable. The narrative's treatment of bloodbending, and Hama, feels like an unintentional reflection of “unacceptable” colonial resistance and "dark" knowledge of the colonized (fearmongering around Vodou etc). A common colonial narrative is that the colonized are sinister and underhanded for engaging in things like guerrilla warfare, which is either too violent or too cowardly depending on what’s more convenient for the colonizers’ narrative at a specific point in time. I think ATLA’s approach to bloodbending reflects this general sentiment, especially since Hama is drawn as this creepy Hansel & Gretel-style witch, a keeper of a sinister / untrustworthy / threatening type of knowledge. I also really don't like the part of the story where Hama became a serial abductor out of this indiscriminate thirst for revenge. While it's possible in real life for a colonized, incarcerated person to make those decisions, and good fiction can explore that effectively, a children's show is not the place. ATLA's target audience and general tone couldn't handle all the complexities around that, so they turned Hama into a cartoon witchy villain. Groundbreaking.

Anyway, I think the start of The Puppetmaster is actually very promising. Hama's story, and the children's discovery of her SWT roots, was touching. Katara's growing sense of unease at discovering the "darker" uses of waterbending (taking water out of flowers) is interesting. Katara is the perfect character to explore the intricacies of "how far is too far in colonial resistance." Because she's not a pacifist, like Aang, but she's also not a total pragmatist, like Sokka or Suki, and she cares about the fates of random people more than Toph. She's angry and compassionate in equal amounts.

I would love a conversation between Hama and Katara about bloodbending -- not in the dead of night while Katara has to protect her friends, but where Hama talks about the genuine hopelessness she felt in the Fire Nation prison. And Katara could talk about why she thinks bloodbending is wrong -- taking away someone's agency -- and Hama can ask Katara what she would've done in that scenario; maybe she can point out that she could have made the FN guards kill each other, but she only made them open her cell door, so it was the least violent escape she could have done; and I think, framed that way, Katara would have started to see bloodbending not through a lens of fear and disgust, but sheer pragmatism, and realize that all bending can be good or bad.

During the war, I think Katara and Sokka could convince Hama to join them on the Day of the Black Sun: Hama, for the first time in decades, has hope, and she gets to see some of the people who used to be just little kids when she was kidnapped from her home.

After the war, bloodbending would become a hot button issue in North-South relations. I could easily see the Northern waterbenders being horrified at bloodbending, in the same way Medieval Europe & puritan America have been horrified by witchcraft and other feminine-coded knowledge. I could envision the Northerners using bloodbending as justification for why women shouldn't be allowed to waterbend, and justification for why the South is backwards and therefore needs the North's influence (which would also tie nicely into the North and South comic). While Katara is busy with the political BS, Hama is swapping notes with Yugoda the healing master, and then they would eventually arrive at the conclusion that bloodbending could be used to heal.

(I can't take credit for the "Northerners horrified at bloodbending" idea, btw -- colourwhirled's Southern Lights has a storyline around it.)

Anyway, Hama deserved so much better. I like seeing her in AUs where she never had that stupid "kidnapping FN civilians" plot, like the aforementioned Southern Lights, or Lykegenia's The Things We Hide (which I read earlier this year and loved!). Hama and Jet's storylines are why I don’t trust ATLA’s politics, nor the politics of its creators. As much as I love Zuko and find his redemption arc to be an incredible story of a conscientious objector in the heart of the empire, Hama and Jet should have also gotten their redemptions too.

[zutaras-where-its-at]

If you're still doing these 😊❤💙

Zutara

Firsts

the first person to know that katara is in love with zuko isn’t the man himself, but hakoda.

it had been ten months after katara had returned to the south pole from a two year stint as the southern water tribe ambassador in the fire nation capitol, and hakoda had watched her slowly regress into a haze of her former self. ten months was enough time for the comfort of being home again to fade into unimpassioned routine—dull eyes, efficient hands, placid smiles—but none of the fire he has come to recognize as her own special brand of happiness.

it starts to become a real issue when he notices her zoning out during tribe leadership meetings, those eyes that are so like his beloved wife’s glazing over as she stares into the hot flicker of a nearby candle. it starts to take two, three, four calls of her name for his daughter to snap out of it with an embarrassed flush and a half-assed apology.

then, the sparring starts. katara always is on top of her skills, often volunteering to teach the up-and-coming benders in lessons. however, hakoda starts hearing rumors of how she’s begun to seek out more and more intense sparring sessions—with each one ending with a bewildered (and thoroughly beaten) opponent and a woman very much so frustrated with their inability to keep pace.

when he finds her one night—much too late for any sane person, really—holding her hand over the open flame of their hut's fire with the expression of someone ten years her senior, hakoda knows it's been long enough. he sends for the fire lord (under strictly political circumstances, of course) and exactly twelve days later, the boy-king himself is docking at their shore.

and really, that's the moment that he knows his daughter's affections are returned—because even with the fastest of ships, it should be impossible to make that trip in under two weeks.

[the-badger-mole]

Aang was a kid who was the sole survivor of a genocide. Why doesn't that factor in your opinion of him?

I've talked about this before, but his age and tragic backstory are irrelevant. ALL of the main characters are children with tragic backstories, and they are more empathetic, have more growth, and their tragic backstories...actually matter.

Listen, for all people whine about how often Katara talks about her mom (which isn't really that often), it's clear how her mother's death shaped her as a character. It's clear how witnessing her mother's death formed her worldview, and Kya sacrificing herself for Katara made a mark (she never turns her back on people who need her? COME ON! That is obviously her trying to save people the way she couldn't save her mother). Even her wanting to learn how to fight and not heal (which is an insane battle advantage, btw) speaks to her trauma around not being able to defend her mom.

Even Sokka's trauma around the loss of his father and not being deemed old enough (big enough/ strong enough/ smart enough) to go with Hakoda and the other warriors come through in his recurring need to prove himself (coming up with the big battle plan for DoBS, breaking his father out of prison, learning swordplay, etc.). It's woven so neatly into the narrative. His trauma matters to his story.

Toph is the least developed of the Gaang, and her issues with her parents have more impact on character than the destruction of the Air Nomads have on Aang. Heck, Zuko's entire arc hinges on compound traumas.

Meanwhile, Aang's trauma....? What trauma? Yes, the loss of the Air Nomads is a tragedy, but we, the audience, only know it's a tragedy because we have real world knowledge telling us so. Personally, I was in 3rd or 4th grade when I began learning about the Trail of Tears, and in kindergarten when I began learning about slavery (I was born in Harlem. The kindergarten I went to taught us accordingly). When I saw ATLA, I had a frame of reference for the genocide of the Air Nomads. But it didn't really seem to bother Aang all that much. Oh, sure, it did come up when it was convenient to the plot, but it mostly seemed to be a way for Aang to expound on the superiority of Air Nomad philosophy and society to whoever he's talking to. Aside from that, and his first rush of feeling when he found out what happened to them, the loss of the Air Nomads doesn't seem to effect Aang all that much. If he doesn't care about his tragic loss, why should I?

Aang is a fictional character. I don't have to extend the same pathos to him that I would to a real life person. It is the writers' duty to make me feel for him, and they did not. The way he's framed is the issue. And here is where I really start retreading things I've said before, but I think it needs to be repeated (again and again and again). Aang is not framed as someone who has a lot of growing up and learning to do. I could give him a pass on his worst traits because he's a child and still growing, but the show doesn't frame him that way. The show wants me to see him as a precocious imp who's wise-beyond-his-years but still has a cheeky lil' mischievous streak. It's not trying to frame his lying to the quarreling tribes in The Great Divide as a bump in his journey to becoming an effective leader bridging different people together. It wants the audience to laugh at him getting one over on the foolish tribes who absolutely went back to fighting as soon as Appa was out of sight. The show isn't framing his desperation to get the village in Avatar Day to like him as a foolish pursuit he needs to get over if he wants to be strong in the face of adversity. It wants us, the audience, to feel bad for him because his charm isn't immediately bringing the people over to his side. It wants us to be indignant that the villagers don't see how important Aang is and wont' support him. The show isn't framing Aang's non-con kisses with Katara as bad because it hurt her. It isn't making a point to that Aang needs to care about her feelings. It wants the audience to feel bad for Aang and hope for Katara to come around because he's A Nice Guy™️©️®️. Aang is never shown to be a particularly good friend to any of the Gaang, let alone him being kind to strangers just because that's his heart. All of that I would allow to be just him being a dumb kid with growing to do if the show hadn't made it clear that Aang was perfect and didn't have to change, and in fact the world should change for him.

Aang's age and tragic backstory are irrelevant because the show made them irrelevant. All they left us with was a Gary Stu character who hides his selfishness under a thin veneer of cheerfulness. It's not good enough.

[skyahri]

Robes |Zuko X Reader| HC

Summary: Your relationship with Zuko and how your friends found out.

Warnings: Implied intamacy???? Bed sharing. Kissing.

Masterlist Ko-fi

- - - - -

You were well acquainted with the Gaang. You'd served as a sort of double agent for them during the war once Zuko had teamed up with them. He knew they'd need some inside information, so he contacted you, knowing full well your ideals did not align with the fire nation.

You're the daughter of the prestigious Admiral Zhou, a ruthless military head who wouldn't hesitate to turn you in if he found out you were leaking information to the enemy.

It was easy to keep them updated. Your father had an ego the size of the moon, always going on and on about his achievements and new findings and whatnot. He was never home for long, leaving you in your mother's care and making it easy to sneak away. You mostly sent messenger Hawks, but once they'd infiltrated the fire nation you met in person.

You mostly met with Zuko, but occasionally, Sokka or Aang would take his place. You didn't mind. It was nice seeing more of the people you were risking your life for.

After the war, once Zuko took over as Fire Lord, he invited you to be a part of his cabinet. You weren't sure why, seeing as how the other members have some sort of military or consulting experience, and you're just a teenager who sent letters.

Strategy meetings were weekly, so you saw Zuko more often than any of the others. They visited when they could, but with the long list of air temple repairs, it was difficult to make time.

Not that you minded. You loved spending time with him, with or without the rest of the entourage.

Zuko was always accommodating to you, even going as far as to offer you a room in the palace 'if you ever need it.' He'd had the room fully furnished and closet stocked with spare outfits.

Occasionally, if meetings ran long, you'd stay in said room. It was a luxury the other members weren't granted, and honestly, it made you feel special.

When all the immediate post-war issues finally calmed down and Zuko had more free time, he always asked you to stick around or come keep him company.

He's the fire lord. He can't easily leave the palace, especially to do regular teenager things like laze around the shops or sneak into theaters, so you were limited to what the palace could offer.

You'd taken to gardening with him, something Zuko found very alluring. You played board games, baked pastries, and anything else you two could come up with.

Before long, you found yourself spending most of your time with him on the property. Occasional sleepovers quickly become several times a week. It wasn't long before you basically lived there, so you bit the bullet and brought the rest of your stuff to the palace.

Within a few months, you shared a kiss near the pond in the garden. Things slowly escalated over the next year or so. That first nervous kiss became the norm. You shared dinners and late night talks, often going so far into the night you'd just crash in his bed.

Before long, your room became obsolete. Your bed was hardly ever touched, your clothes were in his closet, items in his drawers, and toiletries in his restroom.

You'd heard the staff gossip from time to time, which you didn't necessarily mind, but it definitely made you blush. It felt like getting caught despite doing nothing wrong.

For a while, Katara would tease you mercilessly. She didn't know anything, or at least didn't lead you to believe she did. She just liked the idea of everyone finding someone, and you were the only girl Zuko ever talked to.

You went out of your way to cover up the obvious aspects of your relationship when your friends were around. You agreed early on to keep things under wraps, not wanting to harm the groups dynamic if things didn't work out.

But that was almost a year and half ago, and now it felt wrong to say anything. Like you had betrayed their trust somehow. You felt bad for lying to your friends about what was going on, but honestly, neither of you could bring yourself to admit the two of you had been dishonest for so long.

You woke up and patted the bed beside you. It was still warm, but Zuko wasn't there. You got up and picked up a robe off the floor to cover your nightwear. It was unlike him to leave without even waking you, so you'd go see what he was up to.

You exited his quarters and immediately saw the entire Gaang. They just stared at you in shock, having a hard time piecing things together.

"Did you just come out of Zuko's room?" Sokka asked.

"You saw me, didn't you?"

"Are those his clothes?" Katara asked.

You glanced down. They were, in fact, his clothes. You just stared at her, refusing to answer. Of course, Katara would notice they were his specifically and not just standard robes.

Zuko dragged his hand down his face. Of course, this is how they'd find out. Not after a long, thought-out conversation over a planned dinner or outing. They had to see you walk out of his room compromised after an impromptu visit.

They hastled you two for the rest of the day, asking horrifically personal questions and guilt tripping you into answering them. They bothered you for information about your intimate lives and dating preferences.

Late into the night, when the fire and excitement died down, Katara and Toph cornered you about the secrecy. You were huddled up in your room for a girls only sleepover when they decided to attack, giving you no choice but to be completely honest.

"We kept it quiet in case things didn't work out. Then some time passed... and we started feeling guilty about hiding it, and we just never found the right time."

"There didn't have to be a right time. Were your friends, not your subjects."

"I know. There's just a lot of pressure when you're with a friend who also happens to be the Fire Lord."

Luckily, you have amazing friends who understand people make mistakes. They squashed your anxiety about the whole thing, making sure you knew they weren't mad or disappointed.

But that absolutely did not stop them from holding over your heads for the unforeseeable future.

[blackbullet99]

Why SOME Zutara shippers personally disgust me (as a Person of Color).

⛔️WARNING! I’m gonna get into some pretty heavy subjects.

This should go without saying, but I have nothing against most people who ship Zutara. I take no issue with Zuko, I love him, I love his story arc, I love his an Katara’s relationship and if they did become a couple at the end of the show, they wouldn’t be toxic IMO, they’d be crazy rushed and forced, and it would be a prime example of the writers giving into fan-entitlement, but Zuko and Katara don’t have a toxic relationship, at least by the end of the show.

No, what really pisses me off the the racist, sexist, genocide downplaying, colonist supporting stuff some of the loudest Zutara shippers say, and for one anyone who says “it’s just a cartoon”, yes that’s true, but to things depicted are very serious issues, genocide, abuse, imperialism, colonization, slavery, these are issues that I feel strongly about, a majority of the reason being that as a PoC my family, my ancestors went through a lot of this stuff and seeing people online dismiss and downplay these issues all for the sake of a ship is pathetic and can easily reflect their issues of subject matter in real life.

Additionally, I’m aware “Bryke” are white, they have also done plenty of problematic things (and even some episodes), but that’s a story for another time, I’m not here to defend THEM specifically. ZKs always defend Zuko, even though they created him and did a good chunk of his story, so it is what is.

The main issue here, are the Zutara shippers, who claim to be Pro-Katara, the people who whine about Katara deserving better (even though to them Better=Zuko) and act like Aang was a horrible abusive 12 year old misogynist who never respected Katara and sexually assaulted her. Looking at you the-badger-mole / Miss Anthropy.

I’m all for criticism, the issue is, almost none of the criticism regarding Aang are valid, and even the one’s that have some validity grossly villainize the character. What’s even worse is some of these people downplay the effect of Aang’s genocidal trauma, they straight up act like it didn’t effect him, or it shouldn’t effect him, these people blatantly downplay genocide can effect someone all for the sake of some lame-ship.

It isn’t real-life genocide yes, but the issues and trauma that come from genocide are all to real and effect people in real life in many different way. Aang generally tries to enjoy life and remain positive despite what happened, but it effects him regularly, it’s comes up multiple times, he has survivor’s guilt, it something he has to live with for the rest of his life, it’s why he was generally so crestfallen when Appa was stolen, why he tries to preserve his culture. He’s 100 years removed from it, but to him it’s all to recent. If you generally don’t understand the effect of his trauma, then your stupidly braindead, if you dismiss it all for the sake of hating on Aang for some dusty-@$$ ship, your a heartless scumbag, no debate about it.

And despite what these people say they don’t care about Katara at all, they literally only care about her if she’s Zuko’s accessory, Zuko’s prize. Her whole story essentially has to be tied to Zuko, they don’t care about her otherwise. Without Zuko, she’s nothing to these people and they clearly don’t respect her, or value her.

They adultify her, they sexualize her, the create this false narrative that she let people walk all over her and never expressed herself, they invalidate her trauma, they invalidate her accomplishments later it life. They invalidate her canon feelings towards Aang and her initial hatred of Zuko and the Fire Nation. They straight up call her a baby-maker.

The worst of it all, the stuff that gets me the most is how, the act like a dark-skinned girl, becoming an accessory to the nation that colonized her tribe and killed her mother is a positive empowering thing.

The think THIS would be an impactful ending for Katara.

People like sokkastyles actually think imperialist propaganda supports Katara, because it means Zutara.

People will say the Water Tribes were never colonized and once again downplay genocide because it means Zutara.

People will write a young person of color becoming a slave to an imperialist nation and falling in love with their oppressor if it means Zutara, what the heck is wrong with these people?

They think Katara should’ve married Zuko solely because of what Zuko would have to gain, even though he already has a father figure in Uncle Iroh (how do you miss a plot-point that major) and ignoring that fact that Ozai would essentially become Katara’s father in law, and Azulon her grandfather in law, these are literally the people who colonized her tribe and killed her mom. I know you shouldn’t judge people by their parents, but they’re making such a big deal in-laws that Zuko would gain and bathmouthing Mai because of her relatives (even her infant brother) that this just screams hypocrisy.

And of course the racist colonizer supporters are offended that people don’t like this stupid-@$$ take. longing-for-rain actually dismissed a legit indigenous person and called them racist. F*ck these guys.

They can’t handle any acknowledgment that the Fire Nation was an imperialist nation, to the point where people like this spider guy and “lie about Aaron Ehasz Araeph” actually believe the nation that committed mass genocide is more altruistic and innovative than the nation that suffered from genocide. Araeph, the guy on the right even says Sokka and Katara would gain more from Zutara because Fire Nation looks to the future, but the Air Nation is frozen in time. The Fire Nation’s idea of looking to the future literally cost Sokka and Katara their mom and is the reason why Aang’s Nation is sadly “frozen in time”. Sure you, you imperialism supporting dicks

People who downplay very serious issues such as genocide, colonization, trauma and slavery all for the sake of some lousy Wattpad self-insert ship are pathetic loser scumbags. They’re not real fans of Avatar: The Last Airbender, they don’t care about the themes or story, just Zuko and Katara being his accessory, the fact that they downplay and ignore all of Zuko’s actions and villainize Aang is beyond stupid and media-illiterate. I love Zuko because he was both antagonist, but also a sympathetic, he’s often temperamental and imature, but gradually matures and becomes kinder, he perpetuates the violence and colonization of his nation, but learns that they were wrong and HE was wrong, he makes a genuine effort to change himself, the world and his nation. If he knew you actively supported the colonization and violence of his nation he would torch your @$$€$.

So all in all, if you wanna downplay genocide and support colonization and slavery just for the sake a of mid non-canon ship because you haven’t matured since middle-school, you’re a dumb@$$ racist b!tch plain and simple, no debate about it. And if any of you toxic idiotic ZK come across this post, go f*ck yourself.

[threalcrabbysamantha]

you know Kataang really kind of perfectly encapsulates the issues I have with a lot of friends-to-lovers dynamics

Let me preface this by saying: I have a fraught relationship with friends to lovers. Some of it I love (Jess and Nick from New Girl, Jake and Amy from BK99), but there’s a version of friends to lovers that I absolutely despise. I call it the Power Fantasy F2L.

In this version of friends to lovers, often one person pines for the other oblivious one, who, usually after some romantic trials and tribulations of their own, turn and realize that their friend was worth loving all along. It leaves a bad taste in my mouth for a couple reasons, namely that often at least one person in this pairing is treating the other one very badly (cough cough Colin being a dick to Penelope behind her back at the end of season 2 of Bridgerton).

More than anything though, I think the problem is that most of these relationships don’t belong in this category at all because the pairing is never really friends to begin with.

Let’s look at the most classic example of friends to lovers: Jim and Pam from the Office. Now look, I love Jim and Pam, okay? Ultimately I do like that they end up together, but they’ve never reached a favorite ship of mine by any means because they have PROBLEMS, namely that Jim doesn’t really like Pam all that much.

Okay yes it’s a bold statement, and some people are going to hate me for saying it, but Jim is not interested in Pam’s friendship ever in the show. He’s interested in being with her romantically, and that’s why he confesses that he loves her when she’s engaged (and clearly expects her to reciprocate), then leaves when she rejects him, and then when he comes back he does not try in any genuine way to rekindle their friendship. Of course, he’s not obligated to, and it makes sense if his feelings are hurt and he’s crushed and he needs space. But it’s hard to claim that he values Pam’s friendship, since he does everything in his power not to nurture their friendship in season three. She’s the object of his desires, not his friend.

This is true of Ross and Rachel on Friends as well. It’s also true of Stiles and Lydia in Teen Wolf, though I’d argue they manage to walk that one back a little bit because he kind of releases his obsession with her somewhat before they get together.

And it’s true of Kataang.

Is Aang really Katara’s friend? Maybe more than Jim is Pam’s friend, but when someone has girlfriend-zoned you from the first moment you met, I’m inclined to think you aren’t really friends, are you? Aang‘s obsession with Katara means he can’t really see her (note his inability to understand her during the Southern Raiders episode especially) and causes him to run head first past any of her own feelings to center his own need to be with her romantically.

How is that friendship?

And maybe this is all very personal. I know there are people who appreciate this version of friends to lovers. People went feral for Polin this spring, and Jim and Pam are maybe one of The Favorite Couples of all time. And Kataang obviously has its fans. But to me, friends to lovers is only satisfying if it’s like Jess and Nick from New Girl: two people who love each other so much, it doesn’t matter what form their relationship takes. They’re in each other’s corner, even if that corner takes them to a different romantic interest. They really see each other, flaws and all, and it’s that recognition that ultimately brings them together.

[sokkastyles]

Hi.

Hope you are doing well.

Thank you for your answer on the previous question on Aang.

I saw your reblog of the post on TSR, where the anon says that Zuko wanted Katara to murder Yon Rah, and I legit thought, no where did Zuko say he wanted Katara to do that. He simply said that he could help her find the man who killed her mother and helped her when she needed it. I know this has been discussed, but does this idea come from Aang saying it's about revenge?

Also, on the comic panel where Mai says she cannot fathom betraying her father, I think it actually adds to Zuko's bravery to face Ozai and call him out. I think Zuko should have broken his relationship with Mai because if she couldn't tell him this vital information that he had every right to know, then he cannot trust her and it's better to leave the relationship.

I would like your thoughts on this.

Yeah, it's based on what Aang says. It's just so crazy to me that people would rather listen to Aang's definition of Katara's experience instead of listening to what she actually says.

Making it about what Zuko wants is also another way of decentering Katara and her experience. Maybe Zuko did want Katara to murder that man, but he doesn't attempt to influence Katara other than enabling her to make a decision. Aang didn't want her to have the choice to begin with. Most importantly, he doesn't assume he knows what she will do and what's good for, which is why even him admitting he was wrong at the end makes him come out the better person.

And absolutely, that part in Smoke and Shadow is so bizarre because the whole POINT of Zuko's narrative is that he stopped enabling his father's evil. That literally changes everything about it. It's also doubly hypocritical for Mai because her response to learning that Zuko was talking to Ozai is to immediately blame him for it, even though Zuko was hurting no one but himself and NEVER ONCE allowed Ozai to influence his behavior, even though the comic makes us think that that is what is going to happen.

And the thing is, yes the comics are bad, but this is consistent with how Mai is characterized in the show, as someone who would break up with her boyfriend but not allow him to break up with her, as someone who would dismiss his emotions but then get extremely angry when she isn't catered to. As someone who can't deal with her boyfriend's issues but can't spout anything but negativity and hatred and just expects him to put up with it. As someone who likes her boyfriend to put more work into the relationship than she's willing to.

[canichangemyblogname]

If any writer is out here seriously arguing that Characters in a TV show shouldn’t have growth because of the nature of the medium, fucking run. Run from their projects. They will be bland, tired, uninspiring, and boring.

TV characters don’t grow or change *in the same way* they would in a movie or novel. That’s the key phrasing here: in the same way. When a movie or novel ends, many of the central problems and conflicts specific to that book or movie have been resolved. A TV show is built on a series of ongoing conflicts, often with one overall larger situation pushing the plot forward or tying the narrative together. Think of ATLA. Every week, the characters landed on a new island and had someone new in need of their help, but the overall larger conflict, the war, always loomed on the horizon. The episodic plots created growth while the overall serial plot created great change, and each character still maintained their “sense of self.” People have mistakenly begun to argue characters maintaining this “sense of self” and an ongoing source of story means they do not grow or eventually change. That is incorrect.

Aang matured and learned to control his powers, but he is still kind, loyal, and sticks to his conviction that he will not kill to end the war. Katara became a master water bender who can hold her own and protect her own, but she remained passionate and strong. Sokka found a sense of purpose and self-identity, but he remained intelligent and witty. Do you see what I’m getting at here?

Walter White changes in the sense he becomes more morally corrupt as the series continues, but what doesn’t change is the fact he’s cooking meth. The overarching conflict-driving situation doesn’t change for the characters until the very end, even if episodic conflict-driving situation ends or the character is dynamic. ATLA ended when the war ended. The Sopranos ended with an abrupt cut to black meant to be interpreted as Tony’s death (confirmed by the creator). Mad Men ends with Don Draper— a character plagued by emotional suffering and who was characterized as unable to change for the better— meditating on a hilltop at a retreat before the show cuts to the real-life 1971 Coca-Cola “Hilltop” commercial.

A TV show isn’t one long story, but a series of shorter stories that tie together. Episodes have their own beginning, middle, and end. The show itself doesn’t necessarily have that, especially given the modern TV landscape where shows get canceled after one or two seasons all the time. There’s no planned end because the end could be in a couple seasons or this next season. The writers have to figure out an end for the show only when they’re faced with its end. Until that moment, though, each episode is its own story, and each episode’s end is supposed to leave the story with possibility for more stories to develop or come, but the overall plot-driving conflict does not resolve until the end.

The issue with 911? There are a couple characters with what seems like no overall plot-driving conflict fundamental to them. Buck’s story doesn’t revolve around evading the authorities and doesn’t end with him fittingly dying among the meth that corrupted him. Hen’s story doesn’t end when she fully realizes her powers and defeats the warlord threatening to burn the world to the ground. Of course, yes, because that’s not the genre they’re in, but that’s not the point I’m trying to make here. They seem to no longer have an overarching source of story. Not like Eddie. Not like Bobby.

Or, at least, production is not utilizing these character’s source of story.

Bobby’s past struggle with addiction is an ongoing source of story for him. Eddie’s past loss of the love of his life is an ongoing source of story for him. The reason Athena became a cop in the first place; her motivations, is an ongoing source of story for her. The abuse Maddie suffered in the past from Doug is an ongoing source of story for her. None of these traumas are things that will change about these characters. If Maddie stops picking up phones to help people at their most vulnerable; in their greatest time of need, and Athena hangs up her badge, and Bobby retires and comes to peace with the lives he’s lost and saved, and Eddie forgets Shannon, these character’s stories end. Boddy, Athena, Maddie, and Eddie’s stories are shaped by ghosts in their past. When those ghosts finally rest, these characters will see resolution.

But Buck and Hen do not have the same ongoing source of story. And I know the writers have realized this because Minear himself characterized Buck as being on some sort of character “hamster wheel.” There’s nothing driving his story forward.

And fans have noted the same of Hen, joking about “Hen and Karen lose their kids, part VI… 😒.” Karen, actually, has more of an ongoing source of story than Hen, with Karen’s ghost being that she does not share DNA with her any of her kids, making her claim to motherhood vulnerable. We see this cemented by the IVF storyline and how devastated she was that her body could not give her a kid recognized by the state as her’s and always hers. Hen’s ghost was Eva Mathis, who also became a source for Karen’s ghosts (“Everyone I ever loved belonged to you first”). But Eva hasn’t been seen since season 5’s “Ghost Stories” when she fucked off out of their lives and told both Hen and Karen that she’s leaving California and won’t be back. And 911 completely dropped the Nathaniel (Denny’s dad) plot line, so this ongoing source of story was essentially resolved. But the show recognizes the situation it created and continues to recreate this ongoing source of conflict with new antagonists trying to take Hen and Karen’s family from them, instead of using those past ghosts.

But what the writers seem to have neglected in their resolution of Hen’s past ghost (Eva) is that Hen’s ghost wasn’t ever legal powerlessness over her kids because she didn’t physically birth them and never could get pregnant like she’s long wanted, as it has been Karen’s. Hen’s ghost is the life she had before Karen (see: Hen begins, as the begins episodes do a good job of revealing what each of these characters ongoing source of story will be). Her ghosts are Eva and Daniel and pharmaceuticals and watching someone she loved succumb to addiction and repeatedly blow up their lives. Her ghost is also a different form of addiction: an addiction to chaos or danger or excitement, previously in the form of Eva. (And I think that’s part of what made Hen and Bobby’s relationship feel different from Bobby’s relationship with other members of the 118. Bobby struggled with addiction and Hen knew what it was like to lose people to it.) While Karen’s ghost is the fear of losing her kids (she became a stay at home mother and everything), Hen’s *could successfully have been* the reason she became a firefighter in the first place: a desire to save lives, especially after seeing people she knew almost lost or totally lost to emergency and illness. She goes from working for the industry that started our addiction epidemic to saving lives impacted by it, and the ghost that drove her to do that would have been the past love she lost to addiction. Her ongoing source of story would have mirrored Bobby’s in a way (potentially setting up nicely a poetic end where he passes the torch to her, also bringing her full circle from a probie intentionally left out to the woman with the run of the house), in that she is driven to save lives because of those she’s lost or almost lost. And it is easily a part of all her arcs, like when her mother gets sick or when Bobby relapses or when her kids or wife get injured.

Luckily, I don’t think they’ve screwed the pooch by writing Eva off. Eva could return. Hen’s past as a pharmaceutical rep could come back to haunt her. This narrative of “this is why I became a first responder” *has* permeated Hen’s entire story, it’s only recently that it seems like her story is repeating itself. I think resolving this issue would 1.) require the show to see Hen as more than “the show’s lesbian with a family,” and 2.) a simple jolt of creativity. Production can let someone new come up with an idea or hire other staff or whatever to bring in some fresh perspective. I really think this is solvable and they have the resources to take Hen’s story in a refreshing direction.

Which I want to compare to another character in the show, Buck.

Buck is also stuck in a cycle. Buck’s ongoing source of story has always been about creating “emotionally weighty” relationships due to an emotional neglect he suffered as a child. It’s why he slept around. It’s why he often feels a sense of abandonment and derived purpose from his work. It’s put him at odds with his sister, Maddie, at times. His ongoing source of conflict; his ghost, is his parents (and Daniel) and how this created an emotional wound Buck wants to fill. We see that he had this open wound early in season one, mostly around a desire for emotional intimacy and feeling a lack of a sense of place or significance. He tells Bobby that his job as a firefighter is all he got, he suggests to Maddie that she cast him off for Doug, he tells his sister he’ll make something of himself one day but doesn’t know what yet, he and Taylor talk about meaningful relationships (he’s surrounded by them), he confronts his parents past emotional neglect (and forgives them), he also takes on his subconscious about “mattering” more in a made-up world, and toward the end of season six, he concludes that he is enough; he has all he needs in the real world and then comes to peace with the fact he doesn’t have to perform for others (something which he’s been doing his whole life to get the attention and approval of his parents). And the issue with this is that, well, Buck finding a sense of purpose outside his utility and finding innate value in who he is (this idea he is enough as is) in season six kinda sorta wrapped up his ongoing source of story. They even tried partnering him up with a nice girl (which is unfortunately revealing of the fact they think Buck’s sense of significance and his struggles with loneliness are tied to his romantic struggles as opposed to emotional abandonment as a child by his caregivers).

The writers or the creator unfortunately seem to want to argue that Buck’s ongoing source of story is his lack of a romantic relationship, rather than finding purpose with his life and struggling to build or maintain a community of emotionally weighty relationships around him as life brings people together and draws them apart. We saw this illustrated well in his arc with Red, the retired firefighter. Buck is worried about dying alone, but not really because he doesn’t have a significant other at the time. He’s afraid of this because of the response his coworkers/friends gave when he asked if they ever keep in touch with former coworkers. Part of Red’s story may have been that he let the love of his life go, but the other part was that he never kept in contact with his old friends.

However, it seems the show’s creator wants to argue that Buck’s story ends when he finally finds “the one,” romantically. But it’s not. Buck’s arc ends when he finds a sense of purpose or innate value outside of his work (it would be really blah, boring, if that “purpose” he finds is a romantic partner, btw) or settles with the fact that he has (and always will have) an “emotionally weighty” support system because he fights to maintain those relationships despite distance, time, circumstance or a change of jobs. Buck’s ongoing source of story has always primarily revolved around his platonic relationships. The point of Red’s story was that Buck is not Red, Maddie even says that Buck will never be alone because he has her. And while it could be argued that part of Buck’s resolution will be finding people who fight to stay in his life, always return, and show him that he matters to them, I think it would be shortsighted to suggest this refers (or would exclusively refer) to his romantic life. Buck will settle into himself because of the platonic and familial love he has fostered and fought for.

This means, I think it’s possible to stop giving him a revolving door of romantic partners (either commit to one or none, imho) without resolving his story when his story is about creating emotional support systems and deep connections with others despite the way life pushes and pulls people apart. Arguing his story resolves when he finds “the one” would be like arguing Chim’s story ended when he and Maddie first got together. Life pushed and pulled them apart several times, and they kept choosing each other. Chim has fought to maintain the family he’s created after the family he lost and also never got. Maddie has fought to maintain the happiness and safety she thought she’d never get. The show could give Buck a steady partner or a reoccurring romantic partner and still write narratives about the difficulties of maintaining platonic and familial relationships as an adult, including any potential expansion of that familial relationship through a romantic partnership.

In my personal opinion, if any of Buck’s ongoing source of story is related to romance, it’s his belief that his life and existing relationships will only be complete when he finds “the one.” As Taylor said, he’s surrounded by meaningful relationships (yet he doesn’t seem to find this enough—likely due to this idea he has to find romance). It could be argued that when he realizes this, and in the process realizes that he doesn’t need a romantic partnership to “complete” the picture, then his ongoing source of story will find resolution. This approach would necessitate a constant cycle of different relationships until Buck ends the series single and surrounded by—like—his nieces and nephews and friends. However, I do not think that this would satisfactorily resolve Buck’s picture (mostly because of the rather boring patterns it creates for Buck’s character and the way I think it would often lead to Buck re-hashing the same things over and over). I also don’t think the writers are setting out (or ever will set out) to tackle amatonormativity in narratives about family, belonging, and “ultimate” happiness.

Unfortunately, I do think that Buck’s narrative will continue to be stuck in a cycle of unsatisfying and incomplete or short-cut relationships until the show end-ends anyway. I think this because I think the writers and creator genuinely see this cycle as what drives Buck’s story (as opposed to just one potential aspect to include in an ongoing source of story about finding purpose outside utility and people pleasing, and surrounding himself with people who love him and who he loves in return), with the resolution to his ongoing source of story being Buck ultimately finding “the one,” and settling down with them. However, because romance has never been the primary focus of his ongoing source of story, this exclusive focus on break-ups and then moving onto the next until “the one.” will always feel unsatisfactory.

What will “save” Buck’s story isn’t a new jolt of creativity, but the creator and writers actively challenging and changing their amatonormative views of relationships. And I think that’s far less likely to happen than someone going, “What if Hen has a call about an overdose and it brings back some uncomfortable memories and new challenges for her and Karen?”