#talk about her narrative in a way where you can tell they think of her as a White Woman. my god

[marzipanandminutiae]

Eggers confirmed in interview that Ellen wasn't a child, she was teenager at the start of the film. You can probably say there's case of ephebophilia. But there is no CSA there. Also Eggers absolutely saw it as Dark romance and ships it himself. He wouldn't be doing it if there was CSA.

And that's fine, but not everyone accepts Word of God as canon

My thoughts on Eggers' interview statements are that he should have made his intentions clearer if that's what he was going for, because a huge portion of the audience came away with the impression that it was about someone's stalker/rapist coming back to jeopardize the life she'd made for herself out from under his thumb. And like...if he wanted people to not think that, he should have made directing choices that made the onscreen story match his vision better.

You're free to interpret it however you want. What I take issue with is people saying that there's One True Interpretation and no viable way to see it in any other light. There's one interpretation that the director intended, but the movie he actually made leaves holes to interpret it a different way. He shouldn't have made it that way if he had a very specific story to tell.

How can I see it as CSA? Simple. She said she was "a child" when it started and even if she was a young teenager, it being the early 1830s (assuming she's like 20-23 at time of canon, based on statistical age at first marriage for women back then) doesn't magically make 15-year-olds adults. 15 back then was about like 17 now- not a Tiny Baby, but decidedly not a Full Grown-Up either. "Child" CAN be a euphemistic term for a naive or inexperienced adult, but it's not always

And maybe if he wanted people to not interpret her as a literal child...he shouldn't have had her characterize herself that way in the dialogue, talking about when all of this started? "I was so young," "I didn't know better," "I was a fool," "I was naive," etc. SO MANY clearer wordings there. They already didn't get a child actress to play her in the opening scene; without that line, I'd assume it had been like. A few years before her marriage, when she was maybe 17-18, and just seen it as abuse rather than arguable CSA. It's a weird dialogue choice if he wanted to convey "the vampire sex started when she was young but not unacceptably young," like many other weird choices that I felt were counterproductive to his stated narrative aims.

Doesn't mean my interpretation is objectively correct either! But you don't see me going around saying that there's No Way Anyone Could See It As Consensual And That's Wrong And Bad.

I have both been there and done that before, coming from a fandom (Crimson Peak) where there's no way to interpret a central relationship as peer CSA/COCSA if you go by Word of God, but there's absolutely space for that based on what ended up in the actual movie. And I've had to make peace with it, even though I ship that couple to the moon and back.

You like these fake people kissing in this way, and other people don't. And that's fine! You don't need a big moral justification for it, or to have the Single Correct Interpretation!

[miraculouslbcnreactions]

“If Chloe caused Marinette’s trauma, then why they’ve United to humiliate Kagami in “Animaestro”?

To be fair, I’ve read a post which was written a long time ago where one user said that Marinette uniting with Chloe to do the same things to Kagami that Chloe was doing to Marinette for years was Out Of Character for her. And this was before the first draft of infamous “Derision” was ever written…

Two things can be true at once. You can criticize Animaestro in the context canon has put it in while also agreeing that it and Derision don't fit the narrative and basically have to be discarded to make any sense of canon. I take both of these stances and will happily explain them.

If Derision was "always the plan," then Animaestro's writing choices make the writers look extra terrible as it means that they had no issues making their lead put another person through the same kind of traumatizing humiliation that she'd gone through herself. Even worse, Marinette inflicts that trauma by willing joining up with the instigator of her own trauma, never once stopping to wonder if this is too far. She's too obsessed with her crush to care about another person's suffering. It's perfectly reasonable to look at these two moments and come away hating her. It's even reasonable to just hate her after Animaestro. That wasn't a good look.

Even if Derision wasn't always the plan, the writers still wrote it after writing Animaestro, not caring how that choice would effect people's view of Marinette's actions. It's not reasonable to expect your audience to disregard one episode in favor of another. People aren't being unfair for taking these two episodes at face value.

If you want to tell a good story, you have to own what you've already written and allow that to limit what ideas work for your story no matter how good they are in a vacuum. Animaestro and Derision are just generally a bad episodes, but they should never coexist unless Marinette is supposed to be seen as a bad person OR Marinette is getting a complex arc around overcoming her trauma and Adrien obsession. It is perfectly fair to ask why we're not getting either of those since the writers chose to make all of this mess canon.

However, I also agree that Marinette's actions in Animaestro are just generally not suited to her character. The show did a terrible job of writing Marinette and Kagami's cat fight over Adrien. Because every conflict had to be established and resolved in 20-minutes or less, Marinette was constantly coming up with random petty, unflattering, and downright insane takes on Kagami. It made Marinette come across like a total mean girl in several season three episodes which sucks when you consider the way the conflict was played in season two. Episodes like Frozer allowed Marinette to have a good balance of jealously and being a good person making her feel realistic, but not a petty mean girl.

In Frozer, Marinette sent Adrigami on a date to the ice rink and went along to help Adrien even though her girl friends told her to back out:

Alya: This is gonna be your worst mess up in history. You have got to get yourself out of this right now. Ideas girls! Quick! Alix: Tell him you'd already promised to hang with your GFs. Rose: Maybe you got lost on the way over? Juleka: Maybe you're gonna go to a concert? Mylène: You had to finish an essay on Periwinkle's migration. Marinette: Actually, girls... I don't think I want to cancel. All Girls: Huh? Marinette: Adrien really needs me and if he wants my advice then why not? After all, it's not an issue and I'm definitely not jealous because... Rose: Because you two love each other. Marinette: Because there's nothing between us. (looks down sadly) Alya: What do you mean nothing between you? Mylène: There's everything between you, actually. Marinette: I always jumble my words around him. So how could I even manage going out on a date? I think we're actually just meant to be friends. Whenever I talk to him as a friend, I hardly stammer at all. That's a sign right there. Right?

And when they were at the rink, Marinette gave Adrien actual good advice:

Adrien: I don't know what to do about Kagami. Should I offer to hold her hand? Marinette: You have to let her fall. Adrien: Huh? Marinette: No, what I actually meant was that you cannot let her fall in any way. I mean, do whatever you can so that she doesn't fall.

If you have to include a petty fight over a boy, this a decent way to do it. Show Marinette struggling, but ultimately doing the right thing. Acknowledge the temptation to sabotage the date, but let her be a good person in the end. Don't go the Animaestro route which makes Marinette come across as both awful and delusional:

Marinette: I'm not too sure about this. Chloé: Fine! Keep on not being sure about it and tomorrow, Adrien and Kagami will be on a plane headed for Japan! Marinette: Adrien? Japan? There's no way! Chloé: You think? They're already going to the movies together, their parents are signing papers together. (camera zooms in on Mrs. Tsurugi in the background, stamping a document with her signature) Marinette: (imagines Adrien and Kagami on a plane and dancing with kimonos on) We can't let her do that!

The fact that Marinette agrees to sabotage Kagami could be overlooked if she stopped herself before actually doing anything. We all have bad moments. But she doesn't stop. She spends a good chunk of the episode working with Chloé and there is no defense for that. Marinette is absolutely in the wrong here.

We can acknowledge that while also acknowledging that Marinette's actions also don't make any sense in the same timeline as Frozer which happened a full season before Animaestro. In both episodes, Adrien is on a date with Kagami. Why is Marinette willing to be the better person in one situation and not the other? What changed? Why was she better on an actual date than she was on what is arguably a friend-date where Adrien is just being Kagami's escort? Why was Marinette able to push aside her friends telling her to bail on date one - reasonable advice - while being totally susceptible to Chloé's insane advice that they should sabotage date two?

There is no in-universe answer and that's why I'm willing to agree that this episode just generally shouldn't exist. It adds nothing to the story and is a poor choice when you look at where this plot started and where it ends. We go from supportive Marinette in Frozer to sabotaging Marinette in Animaestro to supportive Marinette in Hearhunter, which has Marinette once again supporting Adrigami on a date:

André: Which flavors for these two? [Kagami and Adrien] Orange and peppermint, a perfect pairing that's always a success; nothing can turn it into a mess. And for you two [Adrien and Marinette] blackberry and peppermint, an explosive mix that's a fact but often times it's the opposites that attract. Orange and blackberry, quite unusual it's true not the most obvious but it works for you two. So what will it be? Kagami: You pick. I don't really get what he's saying anyway. Adrien: Yeah, you pick, Marinette. We trust you. Marinette: Can't you find a blend for the three of us? André: I can, but too many flavors mixed together may throw off the delicate balance. Marinette: I don't know. Blackberry and peppermint doesn't seem like a great pair. And what if the mint finds the blackberry lame and wants to be with the orange instead? And it's true that orange and peppermint are awesome together and well orange and blackberry just doesn't seem like they go together. (looks at Kagami and Adrien together, walks up to André) Look I think your first idea was the best. The orange and peppermint ice cream for.. for my friends here. André (concerned) Are you sure Marinette? (she nods, Adrien approaches cart) Marinette (walks away and speaks to Kagami) I'm gonna head back to the palace. I told my parents I'd bring them back those cocktail umbrellas.

And, yes, Marinette does mess up the date by getting Kagami to help in the day's akuma fight, but that's way more in line with her Frozer behavior than her Animaestro behavior because it's not petty jealousy. Marinette didn't come up with a way to mess up the date. She was going to let it happen until the akuma attack, which had already messed up the date anyway. That's a far more complex and nuanced way to play the conflict. It's not the actions of a mean girl. Where did Animaestro-Marinette go?

The only way to make Animaestro fit in a functional character arc is to have to come at the start. You don't put an episode like this or Ikari Gozen after Frozer. That's just bad writing. I'd even argue that Animaestro is a bad fit in general because you don't need to take Marinette that far to give her a solid arc around "sisters before misters."

While Ikari Gozen has its own issues, it has Marinette being more avoidant than mean, which is about as far as I'd take her. There is no reason to make her sink to Chloé's level. It just makes Marinette look bad for no good reason, especially when Chloé is right there, able to take the villain role on her own! It's glaringly obvious that this episode only plays the way it does because of the stupid "Marinette must always do something wrong" rule and not because of some greater story reason. Without that rule, Animaestro could have been a perfectly fine episode where Chloé acted on her own, leading Marinette to realize how bad it is to let jealousy drive your actions, which would have been a wonderful lesson!

The "Marinette's character has to be warped so she's always in the wrong" rule is why I can get pretty defensive of Marinette. It's not that I think her actions are okay, they're often 100% not, they're just also clearly writing issues and not intentional character beats. I'd feel very different if Marinette's worst moments were ongoing flaws or part of a character arc, but they're not. They're generally one-off moments that could be removed from the story and no one would notice. Marinette doesn't even learn anything in Animaestro!!! She never apologizes for what she did or anything like that. The best we get is:

Marinette: I promise I'll never take Chloé's advice again!

Which is not the right lesson here!!! Everything about this episode is so frustrating! Marinette should be able learn lessons without having to be the one to mess up, damn it!

[bayetea]

seeing non-black people critique rick's portrayal of black characters is interesting sometimes. only like 30% of the critiques I see make any sense to me to be honest

[panharmonium]

Hi! I love your Naruto thoughts and meta posts with all my heart and I want to ask your thoughts on something that has been on my mind literally since I was 13: what do you think about the relationship between Sasuke and Sakura? I went from being a hardcore shipper when I was a teenager, to being against any romantic relationship in Naruto after finishing the anime when I was in my early twenties. Nowadays I'm very into platonic love and depictions of friendship and I think the anime's obsession with forcing the "romantic interest" curse upon the main female character robbed us of... so much. There are a few wonderful moments in the anime where Sasuke and Sakura acknowledge each other, but because she's always "the girl with the crush", her actions are so often interpret as irrational or selfish by the fandom.

Hi @riemmetric!  It's great to talk to you again! Sorry it's taken me so long to answer this; RL has been making demands of me lately and it took me way longer to finish writing this up than I wanted it to (then again, I knew from the minute I read your original ask that my reply was going to get long, so I suppose I should have predicted a delay XD)

It's funny, my sister once asked me to choose between Sasuke or Sakura for an “unpopular opinion” meme, and I ended up doing Sasuke solely because I think the negative fandom opinions about Sakura are so unhinged and divorced from the actual text that I wouldn’t even know where to start.  People are entitled to dislike whatever characters they want, obviously, but there are some fandom takes that are, for me, so obviously rooted in bad faith viewings/readings that there’s no urge in me to discuss them.  That said, since you asked, I’m happy to go into my own thoughts on this a bit, with the disclaimer for other potential readers that I only write about fandom things for my own personal enjoyment, not as a contribution to The Discourse. If you don’t like Sakura, great!  I have no interest in changing your mind. Please consider this a sincere invitation to scroll on by and go enjoy whatever parts of the fandom appeal to you.

In general terms: I love Sasuke and Sakura’s relationship as much as I love all of the relationships in Team 7.  If we’re talking about them specifically as a romantic couple, then I probably fall somewhere in the middle of the spectrum, because I do like them together in a post-canon (to be clear: non-Boruto) setting, after time has passed and they’ve continued to develop individually and reconnect with each other, but I also wouldn’t exactly call myself an intense “shipper,” in the sense that I have no interest in pulling things out from the text and incorrectly citing them as evidence that Sasuke has hidden romantic feelings for her during the canon period. He cares about her in the canon period, just like he cares about Naruto and Kakashi.  That’s not up for interpretation; it’s the text.  But Sasuke during the canon time period does not demonstrate specifically romantic interest in anyone.  

[A note before people who might ship Sasuke with Someone Else emerge to rail against this statement - please just scroll past and continue enjoying fandom in whatever way is most fun for you. It is cool to ship whatever fanon thing you want; I think that’s great!  But earnestly citing any loving or emotional thing Sasuke does re: various characters in this story (yes, Sakura included) as indicative of specifically romantic love isn’t supported by the text. I know there are always going to be enormous subsets of any fandom who insist that it is, and I'm certainly not going to barge into anyone else's space to complain about that (because other people having fun together is harmless and none of my business), but I'm not obligated to indulge it on my own blog, either.]

Anyway, that said - the reason why I love Sakura and Sasuke’s relationship (from here on out I’ll use “relationship” in a general, non-romantic sense) is precisely because Sakura isn’t just “the girl with the crush.” Sakura has an arc when it comes to Sasuke, and its trajectory moves in the exact opposite direction of “irrational” or “selfish.”  She specifically goes from “the girl with the crush” to “the girl who steels herself and tries to put her personal feelings for Sasuke aside for the greater good” to “the girl who knows she can’t put her feelings aside, but who also knows full well that Sasuke doesn’t reciprocate them, and who still wants to save him regardless, because he matters to her as a person and a friend.”

[I'm putting the rest of this under a cut to save everyone's dash, and also to emphasize once again that this is a personal post on my personal blog which I wrote in response to a question from a personal acquaintance, the full content of which no one is obligated to read. I am not sending this post to random strangers and forcing them to look at it. I'm not even putting it in the character tags. I'm typing it up on my own blog and putting it under a cut. If you already know that you don't like Sakura, but you still click the link/read the post and then feel an urge to comment and complain, I am going to copy-paste this disclaimer and remind you that I specifically recommended that you scroll past and go have fun with fandom in your own way. Thanks in advance for responsibly curating your own fandom experience!]

So, from the top:

1. the girl with the crush

Sakura is, obviously, completely obsessed with Sasuke at the beginning of Part 1.  She’s also deeply clueless about him and his history (bizarre though it is, the story seems to indicate that she initially doesn’t know what happened with his family, the same way young!Obito is initially clueless about Kakashi’s father).  But what I like about Sakura and Sasuke’s Part 1 relationship is how this changes over time.

The critical scene that kicks this off happens right at the beginning of the manga, when she and Sasuke are talking by that bench - she complains about Naruto and blames his behavior on him being all alone/having no family to scold him; and even says she’s jealous that he doesn’t have parents to nag him all the time.  This obviously triggers an outburst from Sasuke, who tells her she has no idea what loneliness means and that she “makes him sick”/she’s “annoying” (importantly, the exact same thing Sakura said to Naruto in anger earlier that day), which in turn prompts Sakura to reassess herself and wonder whether she’s been making Naruto feel this terrible all the time, too:

From that point on, it’s a process of her putting little pieces together.  She still has a MAJOR crush, and she still acts like a twelve year-old, but as we approach the end of Part I, Sakura actually has a more accurate grasp on Sasuke’s current state of mind than Naruto does.  Naruto is initially excited to fight Sasuke on top of the hospital, because he feels like Sasuke’s finally acknowledging him, whereas Sakura is the one who immediately recognizes that something is wrong about this situation.  She is also the one who, after this fight, is concerned that Sasuke is really unwell and might do something drastic like run off in pursuit of the power Orochimaru promised him, but when she communicates this to Naruto, he assures her that this would NEVER happen:

(Sakura isn't convinced, though, because she goes to monitor the exit out of the village anyway.)

I’m not criticizing Naruto for his response here.  I ADORE hearing him say that Sasuke is too strong to need Orochimaru, with such perfect confidence - I love seeing how much respect and admiration he has for Sasuke underneath all their fighting, because that’s the whole reason he’s always baiting Sasuke and yelling at him and claiming “you're not so great!” He looks up to Sasuke; he wants to be like Sasuke; he thinks Sasuke is awesome! (It’s that Obito @ Kakashi behavior, you know?) But the fact remains that he is clueless about what’s actually going on with Sasuke in Part 1, and he remains clueless(ly optimistic) for a long time.  

(Eg, when he catches up to Sasuke during the retrieval arc and Sasuke climbs out of that cursed seal coffin, Naruto waves at him and calls "Come on, let's go!" as if Sasuke has been successfully rescued and is now going to come running home.  Even in Part II, when Naruto hears that Sasuke killed Orochimaru, he beams and immediately says, “So he must be on his way back to the Leaf Village!”  And everyone else in the room is like, “....,” because they know better.  Naruto doesn’t yet fully understand [or doesn't want to accept] the extent to which Sasuke has willingly chosen this path, and it’s not until after Jiraiya’s death/the Pain attack/the Five Kage Summit that Naruto really starts to understand Sasuke more clearly, which is something he himself admits.)

Sakura, in Part 1, has access to more information about Sasuke - she’s there for his first dissociative monologue during the bells test, she’s there for the curse mark’s placement, she’s there for his first violent transformation in the Forest of Death - she is, in fact, the unwitting catalyst for it (“Sakura…who did this to you?”), and her compassion is the reason Sasuke is later able to overcome the curse mark’s influence - so she has a more accurate/complete picture of “how he’s doing,” for lack of a better phrase, whereas Naruto, who doesn’t know about the curse mark in the first place, is still in the dark.  This means that Sakura is able to accurately discern that Sasuke is struggling more than Naruto realizes, and specifically to predict that he’s going to run away.  

(This dynamic is then interestingly flipped in the back half of Part II, since at any point after the Five Kage Summit, Sakura doesn’t have access to extremely relevant [if currently questionable and unproven] details that would in any other circumstance inform her behavior).

Of course, just because she has more info in Part 1 doesn’t mean she has some kind of miraculous insight into Sasuke’s every thought and feeling.  There are parts of her attempt to convince Sasuke to stay in the village that are as clueless as any of Naruto’s assumptions, and they showcase the kind of magical thinking common to childhood - like when she says that if he stayed with her, she could give him happiness, she’d do anything for him, even help him get his revenge - this idea that she herself can do something to make him feel better, that she can love him powerfully enough to defeat his pain - obviously none of that is rooted in realism.

Is this part of her approach irrational and immature and inadvertently self-centered?  Of course it is!  But it’s no more irrational and immature and inadvertently self-centered than Naruto’s stated plan to drag Sasuke back to the village even if he has to “break every bone in [his] body!” 

Hating on Sakura for her Part 1 attempt to convince Sasuke to stay in the village while simultaneously lauding Naruto for his feels like a bad faith misread of what is, to me, pretty clear narrative intention.  The story doesn’t at any point intend for us to see her begging him to stay as a selfish or conniving attempt to get something she wants.  She’s begging him to stay for the same underlying reason that Naruto is: she cares about him.  She thinks he’s making a mistake that will only cause him more pain in the end (she’s right) and she wants to make it so he feels less pain right now (she can’t.  But she doesn’t understand that/isn’t able to admit that, and she’s willing to try ANYTHING that might help).  

It’s critical that this farewell scene is set in front of that same bench from their first important confrontation - she references that day and how angry he got at her, and this time she tells him that she understands his reaction.  She’s learned things and she recognizes how insensitive she was being back then (“I know what happened to your clan, Sasuke”), even though she still can’t fully grasp all the complexities of the situation. She tells him that him blowing up at her back then helped her understand what loneliness actually meant (as opposed to her previous shallow understanding of it), and she challenges him about his choice right now: "So that's it, you're choosing the lonely path?" And when she tells him that she'll be very lonely if he leaves, we're immediately shown a panel of Sasuke thinking of both his friends, with the very clear implication that if he goes through with this, he will be lonely without them, too - that he's still struggling with the idea of leaving them, no matter how hard he tries to pretend:

Sakura at this point knows that Sasuke isn’t interested in her the way she is in him, but she still wants to give him happiness, however fantastical and immature her ideas sound to us (and, I’m sure, to him).  “I’ll do anything, even help you get your revenge/we'll have fun every day, and...and you'll be happy! I'll make sure of it!” - of course, it’s completely childish.  It’s irrational.  It’s ridiculous to think that any of this would ever be effective, but no more ridiculous than Naruto’s belief that he can simply break every bone in Sasuke’s body and keep him in the Leaf by force.

Both Naruto and Sakura are children who have a deeply oversimplified understanding of Sasuke’s situation.  They both still think they can fix him themselves.  They both think they can save him themselves.  They both think they can convince (or force) him to do what they want, what they think is in his best interests.  Both of them don’t yet understand that he has to want to come back, if it’s ever going to mean anything.  Their attempts to keep him in the village are immature and unrealistic, yes.  What they aren’t, however, is selfish, because neither Sakura nor Naruto are doing any of this with the intention of advancing their own interests.  They’re only thinking about Sasuke - how to keep Sasuke safe, how to make Sasuke happy - even when neither of them are taking an approach that will actually work.

Naruto and Sakura are children.  They’re afraid of losing somebody they care about.  Their attempts to prevent that from happening are desperate and messy and ultimately ineffective, but they are also genuinely felt and rooted in a true desire to rescue Sasuke from his pain, which - and this is the single most important thing that should impact our viewing of Part 1 - is something that Sasuke RECOGNIZES.  He doesn’t spend that agonizingly long moment bowed over Naruto’s defeated body so we can pretend he doesn’t understand that Naruto was just trying to help him.  He doesn’t take the time to murmur, “Sakura…thank you,” before laying her out carefully on a bench, just so we can discount it and pretend that he doesn’t recognize and appreciate her genuine intention to make things better for him, however clumsy that attempt might have been.

2. the greater good

If Stage 1 Sakura is "the girl with the crush," then Stage 2 Sakura is a progression to “the girl who decides to put her feelings for Sasuke aside in order to protect innocent people, including (but certainly not limited to) Naruto.”  She’s driven to this decision by interactions with Shikamaru, who all too recently had to grow up fast himself (“We're not kids anymore...we can't allow a war to break out between the Hidden Leaf and the Hidden Cloud because of Sasuke") and Sai, who risks his new friendship with Sakura and Team 7 in order to speak some hard truths and deliver one of my favorite lines in the whole story: “I don’t know what promise Naruto made to you, but it’s really no different than what was done to me.  It’s like a curse mark.”

(INCREDIBLE.  How can anybody be complaining about a season where Sai gets to say something that goes THIS HARD and Sakura LISTENS and takes DRAMATIC ACTION that actually propels the story forward in a meaningful way - )

[Okay, yeah, brief personal opinion interlude - it is just bonkers wild to me that there are people who complain about Sakura in the Five Kage Summit arc. That entire season is the greatest character arc she ever has.  Literally she has never been more interesting and dynamic than in Season 10; it’s the first time she ever gets to be as deep and fascinating as the boys; what is everybody so worked up about?  Oh, “she lied to Naruto that one time” - Sasuke joined infant-kidnapping baby-murdering human experimentation machine Orochimaru when he was twelve years old in order to (dare I say it????) selfishly pursue his personal goals and yet, somehow, we are still able to root for him.  He abandoned his friends/allies to imprisonment and death (Suigetsu and Jūgo) or outright stabbed them in the chest himself (Karin) in order to (SELFISHLY) get what he wanted, and yet, somehow, we are still able to love him, understand him, and be on his side.  Naruto is canonically not upset with Sakura about her lie after receiving context for the situation and I think we can probably take our cues from him without feeling the need to bring her up on war crimes; please calm down]

[Sorry, I just really love most of Season 10 and think it’s one of the best examples of how good this story can be when every single character gets to do something that matters (as opposed to things being all Naruto, all the time) so I get a little bit worked up over people complaining about some of the best writing Sakura ever gets.  I don’t understand what certain elements of fandom want from her. People complain about her being “useless” and not doing anything that contributes to the story, but then they complain just as much when she does finally get to act decisively and have just as complex/dynamic an inner world as the boys.  She’s “weak” for being unreasonably in love with Sasuke, but when she tries to be “strong” and put her love for him aside and eliminate him in order to protect Naruto and the rest of the world, she’s evil, because she should have been more understanding of his situation (despite the fact that she doesn’t KNOW anything about his situation).  But then when she can’t go through with killing him after all because she cares about him too much despite the things he’s done, she’s not "compassionate" or "kind" or "a good friend," she’s “weak” again. Nothing Sakura does in S10 is more wrongheaded or rash than any of the batshit, buckwild things Naruto and Sasuke have done in the past (and will continue to do in the future), but when Naruto and Sasuke have big feelings or take bold action, it makes them interesting characters, whereas Sakura can’t breathe in anyone’s direction without being minutely scrutinized for moral impurities.]  

Anyway. Back to a more measured response.  

Every single piece of development Sakura has with regard to Sasuke in this season satisfies me so much.  Her initial shock and disbelief at hearing that Sasuke had joined the Akatsuki?  Good, appropriate.  The fact that she starts to acknowledge the reality of what Sasuke’s done sooner than Naruto does?  Also extremely appropriate, very in-character for both of them.  Her taking Sai’s words to heart and deciding that the promise she asked Naruto to make when they were children is causing him to suffer and she has to relieve him of that burden?  Juicy!  AND thematically significant (promises!!!!  the burden that a promise places on a person, especially when it can't be kept - we've seen that before in this story and we'll see it again).  Her anguished pivot from wanting to protect Sasuke to realizing that she has a responsibility to protect the countless innocents who will die because of the war he’s trying to start?  HELLO THIS IS INCREDIBLE CHARACTER DEVELOPMENT.  Her knocking out the classmates who agreed to help her so they don’t have to share in her burden (and so the only person Naruto will hate when it’s over is her)?  BRUH.  Her being so committed and focused on her goal of saving innocents and protecting Naruto (not just from being harmed by Sasuke/the Akatsuki, but by the possibility that Naruto will someday have to hurt Sasuke himself) that she tries to take everything on by herself and walks into a confrontation that she absolutely cannot win??  INCREDIBLE.  (Literally the first time I watched this, I said, “Finally!!!  It’s Sakura’s turn to go off the rails!”  I laughed with my sister about how Kakashi isn’t even mad, because Naruto and Sasuke have been pulling stunts like this for years and Sakura was way overdue for her own meltdown.)  And then, after Kakashi intervenes in the fight - Sakura barreling back into the battle when she realizes he’s going to take on the burden of killing Sasuke himself in order to spare her and Naruto the horror - “I can’t let Kakashi-sensei bear this burden!”  I love her for that.  

And then, of course, in the end - her not being able to do hurt Sasuke after all.  Despite committing herself to the act, despite forcing herself to put her feelings for him aside, despite resolving to stop him from starting a war and killing innocent people, she can’t harm him.  She cares about him too much.  This, too, is thematically significant - think about Itachi’s “you don’t have enough hatred” - she doesn’t have enough hatred to kill someone she cares about, even if it seems like he deserves it, even if would be the right thing to do to protect others.  She can’t do it, and Sasuke almost kills her for her compassion.  

I love the dynamic this sets up between her and Sasuke, for a few reasons:

1) Personally, I think Sasuke respects Sakura much more for trying to kill him than he would have if she’d just tried to talk him out of his behavior or beg him to come home (a la their original confrontation in Part 1).  This is the first significant interaction he’s had with Sakura in years, and the fact that she does something SO contrary to his memory of her is an important demonstration of the fact that she’s not the same girl she used to be.  Sasuke spends a lot of time after his defection declaring to his old team “I’ve changed; I’m not that person anymore,” but this is one of the moments where he’s forced to acknowledge that his teammates have changed, too.  Time didn’t just stop for them when he left.  While he was turning into someone new, so were they.  They grew up without him, and his old memories of them can’t encompass the whole picture of who they are now.  

(This is a little tangential, but in general, I love the spectrum of reactions that Naruto, Sakura, and Kakashi have in this sequence, and the way that all of them are ultimately messages Sasuke needs to hear.  Sasuke - who we know textually regrets what he did here, who apologizes to Sakura for it later - for “everything,” in fact - needs Naruto’s aggressively optimistic open-arms policy, yes, needs that potential, that unconditional possibility of return.  He also needs Sakura’s refusal to let him hurt her friends and start a war that will kill thousands of people, needs her surprisingly ruthless attempt to take him down; needs just as much her failure to do so, because it shows him that she still loves him too much to kill him even as she condemns him.  And he needs Kakashi’s grim line in the sand, needs someone who very possibly won't hesitate like Sakura (despite the horrifying personal cost), someone who will try to reach him but also won't let him escape and become the next generation’s Orochimaru, who won't let him cause untold suffering to untold numbers of people just because a teacher loved him too much to stop him when he had the chance. 

(And then even Kakashi chooses not to deliver a killing blow when he has the opportunity -)

(I know that in fandom people are more likely to be all, “oh, Naruto Good, everybody else Bad,” but I don’t think the narrative frames Sakura or Kakashi as “worse” than Naruto in any way.  The story goes out of its way to make it clear how desperately they don’t want to hurt Sasuke and how much they care about him.  And [this is just my interpretation, so obviously I won’t claim it as fact], I personally think that Sasuke - Sasuke, who, looking back, can see how lost he was then and how tortured he would have been if he’d gone through with many of his plans - would be grateful to Sakura and Kakashi for making an attempt to stop him when he couldn’t stop himself.)

2) On the other side of this, the fact that Sakura wasn’t able to deliver the killing blow means a lot. Sasuke was incapacitated under that bridge; he was completely at her mercy - but she stopped with the kunai an inch from his back.  She couldn’t kill him, even though she knew that he was completely willing to kill her (because he'd attempted to Chidori-assassinate her from behind just a few minutes ago).  That’s huge!  Sasuke is too out of his head right now to process this or understand it, but later, it's going to matter.  She stayed her hand.  She spared his life.  She loved him too much to hurt him, even when he’d given her every reason to take him down.  She hesitated, and he almost killed her for it, but her inability to strike him ultimately gave him yet another chance to come home, another chance to get better, another chance to have a life outside of his pain.  Despite everything, some part of her still hadn’t really given up on him, and that knowledge will matter later, when he’s finally able to acknowledge it.  

The point of all this is to say that I really have no complaints about Sakura and Sasuke’s dynamic in their S10 confrontation.  This season is the point where Sakura fully grows past her “girl with a crush” stage and into her “shinobi must make very harsh decisions” adulthood, but it never means that she doesn’t care about the person she’s trying to take down.  Her ultimate inability to deliver the killing blow remains a dangling lifeline for her relationship with Sasuke, an open door that Sasuke is able to walk through at the end of the story (literally, in fact, when Sakura opens that portal for him and saves him from Kaguya’s desert prison, and figuratively, too, when Sasuke apologizes to her).

3. she only wants to save you

The last stage in their relationship is what Sakura settles into during the war arc.  She started off Part 1 being just a girl with a crush, then tried to harden her heart and put her feelings for Sasuke aside in service of the greater good, but she was unable to actually follow through and kill him, and because of that, what she’s come to accept by the war arc is actually two things: that 1) Sasuke truly is willing to let her die if it furthers his goals, and 2) she wants to save him anyway.  

She has no intention of pursuing Sasuke romantically.  She knows full well that Sasuke isn’t interested in her.  She even knows that Sasuke isn’t really on their side (there’s a great scene where Sai questions Sakura about Sasuke’s return, and she reassures him that everything is fine, and Sai sadly thinks to himself “even I can tell your smile is fake”).  She’s well-aware that Sasuke didn’t try to help her when Madara stabbed her.  She’s well-aware that he left her to die in the lava pit.  She’s also well-aware that none of this is enough to make her stop loving him.  He doesn’t have to care about her - she still cares about him.  She still wants to help him.  She still wants to save him.

This is not hidden, hard-to-parse character development.  It’s explicitly articulated on the page:

Sakura’s not trying or wanting to make you hers!  She only wants to save you.

I’m not sure if people look at this last confrontation and unquestioningly take Sasuke at his word (as if we haven’t just read 71 volumes/watched 700 episodes showing us how how painfully distorted his thinking is), or if they stop reading/watching before the end of the scene, or if they don’t understand that Sasuke saying something doesn’t make that statement an accurate representation of reality.  The entire point of this scene is to show us how deeply mistaken Sasuke is about Sakura (and, by extension, the rest of Team 7).  He’s locked into a false pattern of thinking.  His single-minded focus on revenge and destruction has blinded him to the unconditional love his friends feel for him; he’s become so accustomed to using others and being used that he can’t understand or accept that someone would care about him without needing a reason, without needing him to love them back, without needing to receive something from him in exchange.

Sakura’s not trying or wanting to make you hers!  She only wants to save you.

Sasuke matters to Sakura as more than a love interest.  He always has.  She does love him romantically, yes, but she doesn’t only love him romantically, and her desire to help him is not and has never been contingent on him returning her feelings, romantically or otherwise.  Sasuke isn’t able to acknowledge that in this scene, but that doesn’t mean we’re supposed to just sit back and agree with his warped perspective.  Kakashi is the one who’s explicitly positioned as the voice of the narrative here.  We, as the audience, are supposed to recognize that Kakashi is the one telling us the truth.

[tangential thing 1: You don’t have to love Sakura's last plea to Sasuke here. It’s not my favorite, either - the best part, other than Kakashi’s speech at the end, is the moment after Kakashi collapses when Sakura’s expression changes from pained uncertainty to pure rage, when she grits her teeth together - when I first saw that, I almost leapt out of my seat like “Oh my god.  She’s finally going to let him have it.  It’s finally happening - ”  I wanted that so badly, and I still think it would have been a more effective writing choice for Sakura’s last words to lean more into her anger at the suffering Sasuke is causing all of them (himself included!) and less into yet another of Kishimoto’s “let me have Sakura articulate what a shame it is that she can’t do as much as Naruto despite the fact that I literally just went through a major reveal sequence in the war to show that she’s caught up to the boys; I can’t make up my mind about whether I want her to progress or not” - it’s extremely frustrating (and it's something he does at the very end of the S10 Team 7 reunion, too, which is the ONLY moment of S10 that falls flat for me).  But at the same time, even if there are ways this sequence could be more satisfying, it doesn’t change the fact that her plea to him is not remotely motivated by a desire to be with him romantically and not anything to condemn her for.]

[tangential thing 2: I do like how she remembers that moment when Sasuke says “Thank you.”  That panel precedes her saying “If there’s even a tiny corner of your heart that thinks about me…” (which I’m sure is one of the things that people like to criticize about this scene, aka “oh she’s sooooo self-centered” etc), but that particular line of dialogue is preceded by that particular flashback panel for a reason: Sakura knows that Sasuke DOES think about her.  He thinks about all of them.  Sakura remembers that “thank you,” and it reminds her that despite everything Sasuke has done and said since, despite all evidence to the contrary, she knows in her bones that his expression of gratitude back then was genuine.  He cared about her once.  He cared about all of them.  She’s trying to reach the part of him that still does, if it exists.]

[tangential thing 3: The fact that Kakashi says “she suffers from loving you,” and it triggers Sasuke to remember his own family - thinking about how much he suffered (and still suffers) from loving them - “Perhaps…those are the ties to a failed past” - the idea that it’s not worth it to have bonds if it means you suffer this much…that it’s too difficult, it’s too painful, and if Sakura and the rest of Team 7 were smarter they would just give it up (all Sasuke knows how to do now is sever potential bonds before they can hurt him; so why aren’t Sakura and the rest of his teammates doing that, why can’t they let it go, why are they making this so hard - ) << yeah, he clearly doesn't care about her/them at all.]

4. the shadow of my family

This has all been a really long way to answer the original question, but the short response to “What do you think about the relationship between Sasuke and Sakura?” is “I really care about it,” just like I really care about the relationship between Sasuke and Naruto, just like I really care about the relationship between Sasuke and Kakashi. And I don’t think the story ever asks me to choose between them.

I’m not sure whether it’s the impact of Boruto-era “canon” that gets in the way of other people approaching things this way (I don’t consider sequel material when I evaluate the original story), or if it’s Kishimoto’s frequent disinterest in/disrespect towards female characters, which yes, does sometimes make it harder, or if it's a shipping thing (bane of my existence), or some combination of factors, but for me, taking one member of Team 7 out of the equation hobbles the rest of the story.  I can’t read/watch Naruto while hating one of the protagonists and loving the other three.  It doesn’t work like that for me.  The story wasn’t written that way, and there’s nothing in the text that would cause me to receive it that way.

That doesn't mean there's anything wrong with disliking one of the main foursome (or any character, for that matter) - obviously we're all going to have different preferences, and everyone is free to enjoy or reject whatever parts of a story they want, or to like or dislike whatever characters they want. I know that some people have more fun disregarding canon and doing their own thing, which is fine.  My own personal zone of enjoyment comes from receiving the story as closely to how I think it was intended to be read as I can, and personally, when I look at this particular story, what I see is that all the members of Team 7 clearly demonstrate their love for Sasuke in ways that he himself later recognizes and acknowledges. All of them are driven by their desire to save him and their unwillingness to hurt him. All of them make repeated choices to chase after him when he runs away, to trust him when he hasn't exactly earned it, to give him another chance when he doesn't appear to deserve it. ALL of them, not just Naruto, do these things multiple times throughout the story, and Sasuke owes his life (and thus his eventual recovery) to ALL of them, many times over. Kakashi disobeys Hokage-elect Danzō and breaks the law to negotiate for Sasuke's life with a foreign head of state. Sakura and Kakashi both have opportunities to kill Sasuke in the Land of Iron, and they choose to spare him instead. Kakashi stops Sasuke from killing his only friends at two different points in the story, which would have been a mistake Sasuke couldn't have recovered from. Sasuke would have died in Kaguya's desert dimension if Sakura hadn't saved him (Sakura, who knew that Sasuke wasn't even truly on her side yet, who knew he'd abandoned her for dead multiple times already that day). Kaguya's bone bullet would have killed Sasuke too, if Kakashi, with his intention to die in Sasuke's place, hadn't leapt in front of it (Kakashi, who also knew that Sasuke wasn't fully on their side yet, who also knew that Sasuke had abandoned him for dead earlier that day). Sasuke and Naruto would have BOTH died in the Final Valley if Sakura and a severely injured Kakashi hadn't chased after them to heal their injuries.

Remove any one member of Team 7, and Sasuke never makes it home. Without the combined efforts of all three of his teammates, he doesn't survive.  That’s the way it should be, thematically, for a story whose first and most foundational premise was the importance of teamwork, and since Sakura was just as essential to that framework as everyone else, I’m just as invested in her relationship with Sasuke as I am in his relationship with everyone else.  You can’t remove one leg from a four-legged stool without damaging the integrity of the entire structure, and for me, discounting any single member of Team 7 irreparably damages the integrity of the entire story. 

TL;DR: I love all of the Team 7 relationships, including Sakura and Sasuke's, because despite what some segments of fandom seem to believe, the text of the story never gives me any reason not to.

[rotisseries]

it's amazing how frequently on the internet you'll see people just. somehow completely unaware that cait is wasian😭😭😭

[dollypopup]

I think it's real obvious that if you actually like Colin you don't belong in the Polin fandom. y'all are all so ableist about him and think the absolute worst of him and a huge number of the posts and fics are romanticizing Penelope straight up abusing him

we should make a new tag because this one is NOT it

[socialmediasocrates]

the competing desires to make comprehensive posts about my idiot children and to just keep rambling into the void are strong ones lemme tell you

[ghelgheli]

i would actually like to hear more of your thoughts on whipping girl, whenever you feel ready enough to talk about it. i've only ever heard positive recommendations for it. i was thinking of reading it. i've read one or two introductory 101 texts on transmisogyny as well as some medium/substack posts, and always looking to read more as a tme person. ty!

thanks for asking! I'm gonna try to be concise because I'm stuck on my phone for the month, but here are my thoughts on whipping girl:

serano is at her strongest in the book in three areas: manifestations of transmisogyny in media (e.g. how trans caricatures pervade movies), the history of medical institutions developing a pathology of transsexuality (like the diagnostics of blanchard et al. or how trans people seeking healthcare were and continue to be forced into acting out prescribed expressions and manufacturing memories), and the construction of her own transition narrative (telling the reader what it was like for her to grow up desiring femininity in a way that confused her, the experience of crossdressing, the effects of hrt for her)

whenever she's just sticking to this, I think she effectively communicates a lot that the unaware reader could benefit from—even many trans women/transfems/tma people who are otherwise in tune with the history of medicalized transsexualism and our popular depictions could probably benefit from her own personal narrative, by nature of how variegated our experiences can be.

unfortunately I think the book fails at its primary—stated—goal, which is to theorize about transmisogyny. in the big picture this is a bifurcated failure:

on one branch of her argument, she remains committed to there being something biologically essential/innate about gender. this manifests thru multiple claims: that we have "innate inclinations" toward masculinity/femininity and "subconscious sex" rather than what I believe, which is that the latter are constructed categories imposed on different matrices of behaviour/expression/desire in different cultural contexts; that there is "definitely a biological component to gender" (close paraphrase) after a discussion of how she believes E and T tend to affect people (thus equivocating gender with dominant hormones!); that we have such a thing as "physical sex" which is the composition of our culturally decided "sex characteristics" (don't ask me how the dividing line is drawn) even as she says we should stop using "biological sex" as a term; that there is "no harm" in agreeing that "sex" is largely bimodal with some exceptions; that social constructionism is necessarily erasure of transsexual experiences in early childhood... altogether she is unwilling to relinquish arguments about the partial "innateness" of femininity/masculinity and gender. this is at tension with her admission on several occasions that these are neither culturally/geographically nor temporally stable concepts! but that doesn't seem to be a line she can follow thru on.

on another, intertwining branch, she engages in what I think is a deep and widespread mistake in the theorizing of transmisogyny: reducing it (mechanistically) to what she calls effemimania* or essentially anti-femininity. it is her stated thesis at the start that masculinity is universally preferred to femininity. she doesn't offer a definition of either term until one of the final chapters, where she defines them as the behaviours and expressions associated with a particular gender. but I think this reduction just misunderstands transmisogyny. it is even in tension with an observation she makes early on, that trans women are often punished for their perceived masculinity! but again, this is a thought she seems unable or unwilling to follow thru with.

my problem with the thesis is that masculinity and femininity do not float free of gender—it is not possible to speak of their valuation in the abstract. anyone who grew up as a masculine cis girl and never "grew out" of that "phase" can attest to the violence wrought upon expressions of masculinity from women. and this applies doubly so to the subjects of transmisogyny! not only are we punished for any perceived bleed-through of masculinity from our supposed "underlying male selves", those of us who are willingly masculine and thriving as mascs are punished for our failure to conform to the rules of the normative womanhood that is imposed on us (just as we are punished for any willing femininity as "false" and predatory upon cis womanhood—observe that transmisogyny is reactive degendering in every case!).

on both branches serano makes only perfunctory remarks about the intersections with race, class, and colonialism. "sex" as such was made to only be accessible to the "civilized", most of all the white european! for a racialized person and particularly a Black person navigating gender the waters are just not the same; the signifiers of sex neither available in the same way, nor granted the same medical legitimacy. what is the "physical sex" of someone who is de-sexed altogether? how can gender have a "biologically innate" component when its expressions between the bourgeoisie and the working class are at total odds with one another? this all goes for the masculine/feminine distinctions as well. what sense is there in the claim that we have innately masculine/feminine inclinations when globally (and transmisogyny has been made global!) what is feminine and masculine can be very nearly mirrored? nor is "masculinity is always considered superior to femininity" innocent of obviating race. transmisogynoir adds yet further degendering thru the coercive masculinization of someone as a Black woman—masculinization as punishment, again!

and as a final point, the account fails to be materialist. there is no attempt to place transmisogyny in its role as an instrument of political economy or, as jules gill-peterson might say, as a tool of statecraft. it is just a psychological response to the way the world is, as far as serano has anything to say about it. but how did the world become that way, and why?? serano's solution, the abolition of what she calls gender entitlement, is naive to the fact that gender entitlement is necessary to the maintenance of the capitalist state, which is structured thru patriarchy and built on colonialism. it is not possible to reskin this into something innocuous!

this is why I cannot recommend whipping girl as a work about transmisogyny except at the most shallow level. it could be a helpful critical read, but imo, it is just wrong about transmisogyny.

[a-bad-case-of-the-stephs]

Let’s talk about the significance of how Stephanie Browns first ever appearance is tied directly to a TV broadcast about Batman, and how it perfectly explains why she's such a remarkable character.

Detective Comics #647

The full sentence the TV broadcaster says is “It’s not up to some masked vigilante to protect our citizens …. No matter how good his intentions…No matter how noble his cause”.

This scene asks us to compare the characters of Batman, who the statement is textually about, and Stephanie, who is viewing it and (presumably), being inspired by it. The panel itself seems to encourage use to try to apply these lines to Steph instead of Batman, framing the latter proclamation directly above her head, almost like a text box telling us this information about her. If we apply these lines to her, we can see an idea emerge.

There is this figure, who is not only not necessary, but unacceptable on the face of it, “…No matter how good [her] intentions...” / “…No matter how noble [her] cause…”

The first time we see Stephanie brown, she is being showcased alongside a condemnation, which is followed by her disregarding the message of this broadcast, and appearing for the very first time as Spoiler.

Dismissal and Stephanie ignoring this condemnation continues on to be one of the central facets of Stephanie’s character. In the same introduction arc we already see the dismissal/disregard dynamic established.

Batman and/or Robin tell her to Fuck Off, she chooses not to:

Detective #649

This pattern continues on for some time. She is dismissed by Batman

Robin #16, Robin #26, Robin #50 (1993)

And by Tim Drake/Robin:

Robin #25, Robin #35, and Robin #26 (1993)

And by her own mother:

Robin #71 (1993)

When she finally becomes an official part of the team in 2001, there is a break in this pattern. But, as always, Stephanie is eventually pushed out again:

Gotham Knights #37 (2000)

But, as always, Steph says “fuck that”, and refuses to stop.

Even in the face of dear friends agreeing she should give it up.

Batgirl #38 (2000)

And when Steph is brought in as Robin, she is again dismissed, in this case “Fired” soon after. She doesn’t quit of course, leading to the disastrous events of War Games.

Robin #128 (1993)

And when she comes back from being “dead” she is dismissed again, by Robin.

Robin #182 (1993)

This isn’t every time someone tells her to quit being Spoiler, but instead a showcase of how prevalent the Dismissal/Disregarding dynamic is for her character.

I am working on two other posts, one which will explain in depth Why the way she was “fired” as Spoiler has everything to do with Bruce Wayne’s own hangups and emotionally manipulative quirks and very little to do with her own skill level. The other will analyze why she feels the compulsion to be keep being Spoiler even after having Every reason to quit and being told to do so hundreds of times.

However, for the purposes of this post, all that matters is that this Dismissal/Disregarding dynamic exists and is a huge and reoccurring part of Stephanie’s character.

Whether or not you think she “deserved” how often she was rejected, and whether or not you think her disregarding the rejection was “good” or not doesn’t come into play here.

For now, let’s focus on the implications this dynamic has for her character in a meta sense, as a character who is used and discarded.

A character who is for all intents and purposes, the narrative punching bag. She endures character dismissal and belittling, three separate backstory instances of sexual harassment as a child and teenager, teenage pregnancy, abuse, taking care of a parent struggling with addiction, brutal and (debatably) sexualized torture, character assassination, death, retconned death, and further character assassination until 2009, where she finally gets her own solo comic, and a modicum of respect. The thing that separates the horrible shit Stephanie goes through and the bad things that happen to other characters is only rarely are Stephanie’s struggles treated as significant on their own, and almost always her narrative is used for drama or to prop up Robin Tim Drake’s plot. Very rarely does she get treated with the care and attention her character merits.

But let’s go back to that news broadcast, all the way back in Detective #647. How does she take it, when we are told, when Stephanie is told, first thing, straight out of the gate, plain and simple: No matter how good your intentions, no matter how noble your cause, you is not enough, or you’re too much, or your just not right?

It is met by a triumphantly tragic: “And?”

Stephanie hears from the VERY start the same refrain she will hear for years and years: she is not good enough, she needs to go home, she needs to quit and she does the exact thing she will continue to do every following time she is told this: she puts on the damn Spoiler outfit and she still tries anyway. Again and again.

The next time we see Stephanie Brown after this, the second time we ever see her character, she has donned the Spoiler costume, and she’s got to work. “And?” She seems to say. “As if!” She seems to shout. What a perfectly awe inspiring thing, and what a perfect summary of what makes Stephanie Brown so damn cool.

For better or worse, you cannot keep her down. I love Stephanie Brown so much.

And if you want to read a comic which understands this, which treats the terrific character of Stephanie Brown with respect and love, and which for the first time maybe ever lets her stubborn refusal to give up go her way? Read Batgirl (2009)!!

Batgirl #3 (2008) & Bruce Wayne: The Road Home - Batgirl (2010)

[the-knight-of-the-stars]

Are we gonna talk about how that finale entirely erased any conversation about class divisions or are we too focused on ships?

Are we gonna talk about how Caitlyn for a good chunk of the season willingly enforces violence and opression against the lowest class, no doubt directly causing more deaths and suffering, and she is forgiven by the narrative without any meaningful reflecting?

Her great moment getting together with Vi is right after she JUST had a conversation with Jinx where we see she STILL doesn't recognize any class bias she clearly has, insted making it about HER.

Her and the other enforcers are treated like noble heroes in the final battle, all the blame put on Ambesa. Vi's happy ending is getting into a relationship with the exact type of person who perpetuated all the suffering she endured as a child.

Are we gonna talk about how Jayce never leaves his privilege pedestal, never actually reflects on how he was also enforcing violence to the people of the undercity and living on his bliss of progress at THEIR expense?

Jayce, who got help on every step of the way to get to where he is, who wasn't disabled, who never lived the kind of poverty or class obstacles Viktor did, who never recognized the harm he enabled and was complicit to, HE was the one to tell Viktor "People build their own destiny." and "There is beauty in imperfection" ?????

Not to mention the whole bit where he implies Viktor did all that because he wanted to "eradicate what he thought was weakness"??? Didn't we stablished Viktor wanted to HELP THE PEOPLE FROM THE UNDERCITY TO HAVE BETTER LIFE CONDITIONS?? don't try to gaslight me.

I know this is just a TV show, but I need to remind everyone that what perpetuates opressive, discriminatory and violent systems as long and as deeply as they do is indiference. Is turning your head and enabling others to stay ignorant.

Edit: You guys are misunderstanding me. And I admit it is probably my fault, I wrote this high with emotion I wasn't as eloquent.

Jayce's exact choice of words or his time living in the alternate world is nowhere near my point.

My point is, that the narrative is establishing that the privileged character, is the one that has to show (and is quite literally, textually, always the one to show) the underprivileged character that "he was looking at life the wrong way." Forgetting that Viktor's journey of feeling powerless was greatly influenced by the fact he was poor and from the undercity.

That's what I meant by it erasing the part of the plot about class systems. In the end, the story only requires Jayce to understand Viktor's struggle on a superficial level, but the text never recognizes that it as the product of a deeply rooted SYSTEMIC ISSUE. One Jayce and even Viktor on some level, benefited from and perpetuated.

Understanding Viktor still doesn't give him any moral ground, and nobody ever challenges him on that because the story isn't interested in that anymore.

And the same with Caitlyn. She knows what she did what's wrong, fine, she feels bad. Like I said, she still has a class bias, and no character challenges her on it again because the story derails to magic and fighting and whatnot.

The plot just forgets (or ignores) that layer of the story despite it being so prominent up until now.

And ignoring the class discussion does a disservice to every single character because they were initially built on it. You can see it in how they lose the essence they had on s1.

I know y'all love the characters and want to empathize with all their motivations, okay? But the fundamental issue is that characters also represent things, and more so in a story as political as this one. We also have the right to point out that the show told us they represented something and then abandoned that narrative.

What do I think they could have done differently? If I tell you scene by scene we could be here for an entire year. The gist of it is: I think they should have stuck to the character themes they already had established.

Vi as someone fiercely loyal to the undercity beyond her relationship with Powder/Jinx, and being "cursed" by the role of the older sister. Jayce as someone with good intentions but who is ultimately limited by his blind idealism. Mel as a cunning politician who thinks she is on the right path because she isn't violent like her mother, not realizing she is still perpetuating it. Caitlyn as someone kind and compassionate who realizes the institutions she believed in are fundamentally flawed, and because of the way they are built will never be on the side of kindness. Etc, etc.

None of that gets any meaningful resolution.

I am glad if you liked it, or got something from it, you are entitled to your opinion.

I wanted to say this because I was angry, and still am. Because there was so much incredible potential, and honestly, to me, it feels like the writers chickened out on actually saying something in the end.

That's all I have to say about that.

[threeacttragedy]

Entry 6 – The One Where I Explained the Claddagh Ring to My Dad

I will preface this entry with an acknowledgement to my father. He is the most intelligent, quick-witted, and level-headed person I know. He’s also a bit of a bitch and tends to be blatantly honest. Sometimes that honesty hurts but it’s also nice to know he’s the one person in this world who won’t feed me a line of bullshit. He is also the best friend we all need.

On October 16, my father called me – like he does almost every day – to chat about, like usual, absolutely nothing. But, on this day, I was quite distracted (because the Time article about Nicola had just come out), which he called me out on almost immediately. Our conversation went something along the lines of:

Dad: “I can tell you’re not paying attention to me.”

Me: “Oh, I’m just reading an article that came out today. Actually, can I ask you a question about it?”

Dad: “Sure.”

Me: “I just want to read something to you, and I want you to tell me what you think this person is saying.”

Dad: “Okay.”

I then proceeded to read him verbatim the snippet from the Times article where Nicola talks about her relationship with Luke.

Me: “What do you think she is saying?”

Dad: “That this person is her best friend, and she thinks very highly of them.”

Me: “Oh, okay.”

Dad: “Why?”

Well, he opened the door so I gave him the backstory. I explained who Nicola and Luke were. I explained Bridgerton. I explained their chemistry during the World Tour. During this 15-or-so-minute conversation, my father took to renaming Nicola “Ireland” and Luke “Thang,” because that’s how he remembers things. Then I brought up the Claddagh ring.

Dad: “Wait. Stop – STOP! – STOP!! I said STOP TALKING! Why didn’t you lead off with this ring? I change my answer. She’s saying she’s in love with this guy!”

Me: “What?”

Dad: “Whatever you read earlier – I change my answer. She’s not saying they’re best friends. She’s saying she’s in love with him.”

Me: “Are you being legit?”

Dad: “Absolutely! Now, go back to the beginning because Ireland and Thang are a thing.”

Welcome aboard the USS Lukola, Daddy.

Recently, this conversation with my father got me thinking about how naïve I have been in believing all Lukolas were aware of the significance of Nicola’s Claddagh. I mean, surely, most of us know the term and meaning of “ring truther,” right?

Maybe not.

I’ve always chucked the Jakolas and A-holes up to be Conscientiously Stupid about the ring – disregarding it because it didn’t fit their narrative. But, shit, maybe they just don’t understand the Holy Grail of the Lukola fandom. So, I figured today, I’d dedicate my entry to explaining the ring to those who have no fucking clue what we mean when we say, “we’ll die on that ring!”

If you don’t want a history lesson or my opinion on the significance of the ring, you can move along and wait for my next post. Otherwise, happy reading. Actually, it’s a rather dull read – but informative. You may just need some caffeine to keep your focus up.

GENERAL HISTORY:

The Claddagh originates from Galway – yes, Nicola’s hometown in Ireland – and has been around for over 400 years. The ring typically shows two hands holding a heart which wears a crown, with the hands symbolizing friendship, the heart signifying love, and the crown representing loyalty.

The way a person wears their Claddagh traditionally signifies their relationship status.

On the RIGHT hand, with the HEART FACING OUTWARD away from your body (and towards your fingertips) means you are single, i.e, your heart is available for love.

On the RIGHT hand, with the HEART FACING INWARD towards your body (and towards the back of your hand), suggests you are in a committed relationship, i.e., your heart is taken.

On the LEFT hand, with the HEART FACING OUTWARD away from your body (and towards your fingertips) means you are engaged.

On the LEFT hand, with the HEART FACING INWARD towards your body (and towards the back of your hand), suggests you are married.

This is not gospel so please do not finish reading this post and start running around in circles, jumping up and down, exclaiming Nicola is married.

NICOLA’S CLADDAGH:

In June, Chupi announced it had designed and created a Claddagh for Nicola and noted “Nicola reached out to Chupi recently and requested a bespoke Claddagh Ring to celebrate the third season of Bridgerton.” Nicola’s ring was custom-made and differs from virtually all other Claddagh rings in that the hands of the ring also display rings of their own.

After creating the ring for Nicola, Chupi continued to sell it through its website, noting that the heart-shaped diamond in the ring was “[h]eld in a pair of hands that honor friendship and strength, with the left hand wearing a North Star signet ring.” In its original description, and for four months following this initial announcement, Chupi never explained the meaning of the ring on the right hand holding the diamond. We will speculate on that in a moment. Further, Chupi explained that the three diamonds in the crown “represent the traditional emblem of loyalty and also symbolize the past, present & future, along with a nod to the fact this is the 3rd season of Bridgerton.” There’s that Bridgerton reference again.

Now, let’s break down the hands holding the heart-shaped diamond, starting with the left hand.

The left hand is wearing a signet ring. This one is easy to explain because Chupi described the ring the left hand is wearing for us. It is the North Star signet ring, which Chupi sells through its website as its “North Star Diamond Original Signet Ring.” Chupi explained that the ring represented “True North.” What is “true north?” Besides its literal meaning, the phrase “true north” represents your “internal compass or your personal calling” and “your authentic self.”

The right hand is wearing a ring on its middle finger. This ring has always been a bit of a conundrum. As mentioned above, Chupi never explained this ring in its original description. In fact, it remained silent on its significance until November 1. And, even after it “explained away” the middle finger ring in an Instagram story (which disappeared after 24 hours), Chupi never updated its website to confirm its meaning. Why? Well, you’ll find that most “ring truthers” believe it’s because this middle finger ring represents Luke. Luke often wears a ring on his middle right finger. In fact, in his People spread for Sexiest Man Alive released November 14, he’s seen wearing a ring on his right-hand middle finger. You can also find him wearing a ring on his right-hand middle finger throughout the Bridgerton Season 3 World Tour.

But, let’s pretend for a moment that the rings on the two hands holding the diamond heart have no significance whatsoever. That does not negate the fact the ring was made as a nod to Bridgerton Season 3. Yes, the season that both Nicola and Luke repeatedly described during interviews throughout the World Tour as their “shared experience.”

To round out this little “history lesson,” and just so I am completely up front, on November 1, 2024, Chupi reshared to its IG stories a story shared by Ashley McDonnell explaining that the right-hand middle finger ring on the Chupi-branded Claddagh represented “power” (basically, women’s empowerment). As of that date, Chupi had also removed all mentions of Bridgerton from its Claddagh ring descriptions and left only a reference to the rings being “inspired by” Nicola. However, the Claddagh could still be found under Chupi’s “Engagement” ring section and the articles titled, “Designing a Chupi Claddagh Ring for Nicola Coughlan” and “What Way to Wear a Claddagh Ring” still, to this day, reside under its “News” section. These articles still reference the ring’s ties to the third season of Bridgerton.

A BUNCH OF POINTS I’M TRYING TO MAKE:

Point 1: Nicola had the ring commissioned herself, per Chupi. We can surmise she understands the meaning of the ring based on her Irish (and Galway) heritage; thus, we can also deduce she knows the meaning behind how it is worn.

Point 2: The ring is important to Nicola. I’m not even going to use disclaiming phrases like “may be” or “seems to be;” I’m just flat out stating the “ring IS important” to her. She has been seen wearing it a lot in her personal time. In fact, on September 20, she was photographed wearing the Claddagh during the Gucci afterparty, which means she took off the “workday” jewelry she had been wearing earlier in the day to put the Claddagh back on her finger. She has not been shy about flashing it in public. From her Chupi articles to her Tatcha stories to wearing it in public (at concerts, walking about).

Point 3: Based on comments made by Chupi on June 25 in its article titled, “Designing a Chupi Claddagh Ring for Nicola Coughlan,” it took four weeks “from a sketch to sparkling reality” to make the ring. This means, at the latest, it had to have been commissioned by May 9, 2024. However, some Lukola sleuths have stated the metadata they pulled from the sketches uploaded by Chupi indicate it was as early as April 26 (don’t even side eye me; I didn’t pull that shit). Based on this information, the ring was likely commissioned during and/or between the World Tour stops in Australia and Italy.

Point 4: Nicola wore the ring publicly as early as June 6 during the Dublin premiere. At that time, she wore it on her right-hand middle finger with the heart facing inwards. The way she wore the ring was also evidenced the following day in Galway by way of pictures in Chupi’s article titled, “What Way to Wear a Claddagh Ring.”

Point 5: Nicola flashed that glittering baby in her June 15 Tatcha IG post (I’m convinced that post holds so many secrets) and continued to wear it throughout the summer months (on her right-hand middle finger) as evidenced by pictures of her at the Taylor Swift Eras tour and in her August 1 Tatcha IG post. And, let’s round out the summer with her displaying the ring in her September 17 Tatcha IG stories, on September 20 during the Gucci afterparty, and in Alex Babsky’s September 25 IG post about Nicola being “in London today.”

Point 6: On October 1, Nicola had seemingly switched her diamond Claddagh from her right hand to her left-hand middle finger as exhibited in her Choose Love IG story. This switch was further indicated (but not confirmed because she conveniently put her caption over it) in her October 5 airplane IG story (deduced from the small gold band switching to her right hand) and in pap pictures of her published on October 8. On October 11, when she posted her Olaplex IG story, it appeared the ring was on her left-hand ring finger. We can also barely see the ring in the October 21 “Polin” picture; however, it cannot be determined if it is on her left-hand middle or ring finger. We haven’t seen her “out in the wild” since so the current status of her ring is not known, but we can probably safely assume she’s still wearing it, with the heart facing in.

Point 7: I believe everyone needs to make their own decision as to whether the right hand of the Claddagh – the one wearing the middle finger ring – represents Luke. Personally, I believe it does, but it is perfectly fine if you disagree. It could very well be a "power move." I’ve always believed the left hand of the Claddagh – the one wearing the North Star signet ring – represented “true north,” or Nicola’s internal compass to choose her own path. But, please do not let my opinion cloud your own.

Point 8: Regardless of your opinion about the hands holding the Claddagh’s heart-shaped diamond, the ring was acknowledged to represent Bridgerton Season 3 and that has Luke all over it.

Point 9: From Day 1, Nicola has worn the Claddagh with the heart facing inwards, meaning her heart is taken. To the best of my knowledge, this has never changed.

MY THOUGHTS:

First and foremost, Nicola has told the world her heart is taken.

Based on the above, why would Nicola wear that ring for anyone but Luke?

My father’s response: “She wouldn’t.”

Why? Because it would be fucking weird if she did.

Let’s play pretend for a moment.

You’re dating Nicola (and, NO, you can’t be Luke in this scenario). You’ve watched Nicola’s Bridgerton press tour for the past, say, six months. You’ve watched her flirt with Luke. You’re fully aware Lukolas ship her with Luke. In fact, you’re aware several of her castmates and crew ship her with Luke. You’re aware that, by the end of the World Tour, interviewers were getting bold enough to ask Nicola and Luke about their “friendship” because they, too, were intrigued by their chemistry. You’re also aware that, “People want [her] to marry Luke.” And, you’re fully aware that Nicola had that Claddagh ring made to, at a minimum, remind her of Bridgerton Season 3, the season she shared with Luke.

Would you be okay with her wearing THAT ring to signify the state of YOUR relationship with her?

If you are, get the fuck off my page.

Now, riddle me this, Batman –

Why was this ring made during the World Tour? And, more importantly, why was it worn during the World Tour?

Why did Luke and Nicola take a special trip to Galway? And (purely speculation here), why did the meeting with Nicola’s mum seem so emotional?

Why did the ring switch hands?

Why, Batman, why?

[miraculouslbcnreactions]

Pick One: Magical Girl Show or Rom-com. You cannot be both.

Early in season four we get the episode Gang of Secrets. An episode that ends with Marinette outing her secret identity to Alya. A touching moment that sparked outrage across the fandom because it meant that Marinette had made the choice to reveal her identity to her best friend while keeping her hero partner in the dark.

This choice spat in the face of the exceptions that many fans had for the series. Thousands of pre-season-four fanfics feature moments where Ladybug and Chat Noir promise each other that they'll be the first to know each other's identities. After the Alya reveal, scores of fanfics were written to salt on Marinette's choice to tell the "wrong" person.

Most of these fics feature a betrayed Chat Noir quitting or otherwise punishing Ladybug for breaking their promise to be each other's first, thereby destroying his faith in their partnership. But that promise was never made on screen. It only existed in the realms of fanfic and, when Chat Noir finally found out in canon, his reaction was largely neutral. He never once blamed Ladybug for her choice or pushed for a reveal or even asked for the right to tell one of his friends.

So what happened here? Why did the fans have such wildly unrealistic expectations of canon? Were their expectations even unrealistic or did canon betray them? The answer to that is not as straight forward as you might think because it all comes back to one of Miraculous' many, many, many writing problems: Miraculous is trying to be both a Magical Girl Show and a romantic comedy, but those are not genres that mesh. You can only be one (or you can be a third thing that we'll get to at the end as it's the easiest way to fix this mess, but I want to mostly focus on where the anger is coming from and why the writing is to blame.)

To discuss this mismatch, we're going to do something that breaks my heart and talk about some of Origins flaws. While I love that episode and unironically refer to it as the best writing the show ever gave us, it's not perfect and its flaws are all focused around trying to set up both genres. Do note that I'm going to use a lot of gender binary language here as magical girl shows have a strong focus on gender segregation and rarely if ever acknowledge gender diversity.

Let's Talk Magical Girls

Magical girl shows are shows that center on young women and their friendships. While male love interests are often present in these shows, the boys tend to take a backseat and function primarily as arm candy while the girls save the day and carry the narrative.

A great example of this is the show Winx Club. This show features a large cast of teenage girls who save the magical universe from various threats with their magical powers. Each girl has a love interest, but the boys are usually off doing their own thing and only occasionally show up for a date or to give the girls a ride on their cool bikes or magical spaceship. I don't even think that we see the guys fight or, if we do, it's a rare thing. They are not there to save the day. They are there to be shipping fodder.

Like most magical girl shows, Winx Club starts with the main character making friends with one of the girls who will eventually become part of her magical girl squad. This brings us back to Miraculous.

Did you ever find it weird that Origins implies that Marinette has no friends? She doesn't even have a backbone until new girl Alya shows up to become Marinette's First Real Friend:

Marinette: I so wish I can handle Chloé the way you do. Alya: You mean the way Majestia does it. She says all that is necessary for the triumph of evil is that good people do nothing. (pointing at Chloé) Well, that girl over there is evil, and we are the good people. We can't let her get away with it.

This is a bizarre opening because Miraculous is not about Marinette making friends or learning to stand up for herself. If you skipped Origins and just watched the rest of the show, then you'd have no clue that Marinette wasn't close with her classmates before this year. You also wouldn't know that Alya was new in town and you definitely wouldn't know that Marinette had never stood up to Chloé before this year. So why is this here? Why waste screen time setting up elements that aren't actually important to canon?

Miraculous did it for the same reason that Winx Club did it: magical girl shows traditionally start with the main character making friends with at least one of her eventual female teammates because Magical Girl shows are all about the girls and their relationships. The boys are just arm candy.

But Miraculous isn't a magical girl show. The writers have explicitly stated that it's a rom-com and romantic comedies aren't about female friendship. They might have female friendships in them, but that's not where the focus is. The focus of a rom-com is on the romance and Origins is very clearly all about the romance.

Origins as a Rom-com

Origins has a lot on its plate. It has to establish the villain's motivation for the first time, show us how the heroes got their miraculous, show us how the heroes first met on both sides of the mask, show us how they met their respective best friends, and show us how the heroes dealt with their first akuma. It would be perfectly understandable if this 40 minute two-parter didn't do anything with the romance. They have a full show to give us that!

In spite of this, Origins has some incredibly touching moments for both Ladynoir and Adrienette because romance is the heart of Miraculous. It is the main focus of the show. The driving motivation for both of our leads and the majority of the show's episodes. To tell the story of how their journey started without at least one of them falling in love would feel wrong. That's why we see both of them fall in love!

First we get Chat Noir giving his heart to his bold and brilliant lady, then we get Marinette's heart being stolen by the shy sweet boy who never once thought to blame her for her snap judgement of his character. We even get a touching moment where Chat Noir inspires his lady to accept her role and be Ladybug, leading her to boldly face their enemy and call him out:

Roger: I have a new plan, unlike you! Move aside and let the pros do their thing. You've already failed once! Ladybug: …He's right, you know. If I'd captured Stoneheart's akuma the first time around, none of this would have happened! I knew I wasn't the right one for this job… Cat Noir: No. He's wrong, because without you, she'd no longer be here. (they look at Chloe) And because without us, they won't make it, and we'll prove that to 'em. Trust me on this. Okay? Ladybug: Okay.

I love this moment, but it does lose a little of its power when you remember that we had an Alya-driven variation of this exact same thing five minutes prior:

Alya: HELP!! (Marinette suddenly gets filled with courage. She gets the case out of Alya's bag and puts on the Miraculous. Then, Tikki appears, happy to see Marinette again.) Tikki:(raising her arms) Mmmm! Marinette: I think I need Ladybug! Tikki: I knew you'd come around! Marinette: Well, I'm still not sure I'm up for this, but Alya's in danger. I can't sit back and do nothing.

This scene initially confused me because - if Miraculous is a rom-com - then why would you make Alya the reason that Marinette became Ladybug? Why wouldn't you have Chat Noir be the one in danger so that Marinette chose to fight because of her love interest and then encourage that bond with the later scene of him encouraging her? Why split the focus like this? Why give Alya so much attention?

In case you haven't figured it out, it's because Origins is trying to establish two different genres of show. Two genres that will continue to fight for the rest of the series (or at least the first five seasons).

Magical Girls Vs Rom-com

Why is Alya the one to shake off the nightmare dust and inspire the others during the season five finale? Why is Alya the one that Marinette trusts with all of her plans while Chat Noir is kept in the dark? Why does Alya and Marinette's friendship get so much more focus than Adrien and Nino's? Why was Alya the only temp hero who got upgraded to full time hero?

It's because Alya is Marinette's second in command in a magical girl show and magical girl shows focus on female friendships while the boys are just there to be cute and support the girls.

Why do most of Marinette's talks with Alya focus on Adrien? Why is Chat Noir the only other full time holder of a Miraculous for the first three seasons and then again for the final season? Why do Marinette's friends become more and more obsessed with Adrienentte as the show goes on? Why is the love square's identity reveal given so much more narrative weight than any other identity reveal?

It's because Miraculous is a rom-com and the love square is our end game couple, so of course the story focuses on their relationship above all else!

Are you starting to see the problem?

Circling back to our original question: no, it was not unreasonable for the fans to expect that the Alya reveal would have massive negative consequences for Ladynoir. That is what should happen in a rom-com and Miraculous is mainly written like a rom-com. But the writers are also trying to write a magical girl show and, in a magical girl show, Alya and Marinette's friendship should be the most important relationship in the show, so it makes perfect sense that the show treats the Alya reveal as perfectly fine because the Alya reveal was written from the magical girl show perspective.

When it comes to Miraculous, if you ever feel like a writing choice makes no sense for genre A, re-frame it as a thing from genre B and it suddenly makes perfect sense which is fascinatingly terrible writing! It's no wonder there are people who hate the Alya reveal and people who will defend it with their life. It all depends on which genre elements you've picked up on and clung to. Neither side is right, they've both been set up to have perfectly valid expectations. Whether those expectations are valid for a given episode is entirely up to the mercurial whims of the writers!

How Do We Fix This Mess

At this point, I don't think that we can, the show is too far gone, but if someone gave me the power to change one element of Miraculous, that element would be this: scrap both the magical girl stuff and the rom-com stuff and turn Miraculous into a team show where the friendships transcend gender.

At this point, I've written over a quarter of a million words of fanfic focused on these characters (the brain rot is real) and one thing I've discovered is that it is damn near impossible to keep Adrien and Alya from becoming friends. They're both new to their school while Marinette and Nino have gone to the same school for at least a few years. Alya and Adrien are both obsessed with Ladybug plus Adrien is a natural hype man who loves to support his friends and Alya loves to talk about her blog. Alya is dating Adrien's best friend. On top of that, Alya, Adrien, Nino, and Marinette are all in the same class, meaning that they pretty much have to be spending time together five days a week unless French school don't give kids a chance to socialize or do group projects. If so, then judging them for the first issue, but super jealous of the latter.

Given all of that, why in the world is does it feel like Alya is Marinette's close friend while Adrien is just some guy who goes to Alya's school? Along similar lines, while canon Marinette barely talks to Nino, I've found that Marinette and Nino tend to get along smashingly, especially if you embrace the fact that they have to have known each other for at least a few years.

If you embrace this wider friendship dynamic and scrap the girl squad, replacing it with Alya, Adrien, Marinette, and Nino, then the fight for narrative importance quickly goes away. It's no longer a question of is this episode trying to be a magical girl show or a rom-com? Instead, the question is: which element of the friend group is getting focused on today? The romance or the friendship?

A lot of hero shows do this and do it well. I think that one of the most well known examples is Teen Titans. That show has five main characters and the focus is usually on their friendships, but there is a very clear running romantic tension between the characters Robin and Starfire with several episodes giving a good deal of focus to their romance. I'd say that this element really starts in the show's the 19th episode - Date with Destiny - and it all culminates in the movie that capstones the series: Trouble in Tokyo. The character Beast Boy also gets a romance arc and, while it's more short lived, it's further evidence that you can have strong romances and strong friendships in the same show and even the same episode. You just have to own the fact that boys and girls can be friends with each other, a very logical thing to embrace when your show has decided to have a diverse cast of heroes instead of imposing arbitrary gender limitations on its magical powers.

I couldn't figure out a way to work this into the main essay, but it's relevant so I wanted to quickly point it out and give you more to think about re Origins. Have you ever found it weird how Origins gives both Adrien AND Marinette the "I've never had friends before" backstory and yet wider canon acts like Marinette has this strong amazing friend group while Adrien doesn't seem to care about making friends and instead focuses all his energy on romance? Why give both the protagonist and the supposed deuteragonist this kind of origin if it's not going to be a major element of the show? It makes so much more sense to only give one of them this backstory and then focus that person's character arc on learning about friendship.

[luveline]

jade my heart I’m really feeling Peter parker tonight in this chilis. maybe just Pete listening to r go on about something she likes? Like a book or a tv show and he’s just listening but also so obsessed with her and thinks she’s adorable? I love u! 🫶🏻

ily ty for requesting <3 fem

“It’s a prequel, you know?” 

Peter feels fondness for you pretty much every second of the day, but the way you’re asking without looking at him, and the way you’re laying across his lap so unbothered, he finds himself grinning like a mad man. “I did not know that,” he says. 

You nod up and down with a severe sort of look about you, as though this is of the utmost importance. If Peter doesn’t get on the same page as you soon, he’s not gonna make it. “I can’t believe you’ve never seen the first trilogy. Like, I like you so much, but where the hell have you been?” 

“Where have I been?” he wonders. 

“Anyways, that’s not the point, sorry. They’re complicated movies. You’d like them, though. Next time I’ll bring my DVD’s and we can watch them, if you want to, you’ll really like them, or you’ll really like Natalie Portman, at least. She’s beautiful. And her character is so… complicated, I guess, she’s doomed from the beginning of the narrative and she’s the catalyst for so much but she’s also just… sorry, I’m being totally boring.” 

“Says who?” 

Doesn’t take much more than that to get you rolling again, you want to tell him that badly, “I don’t wanna spoil it anymore because I really think you’ll love them if you watch them, but you’re gonna need to watch the first trilogy to get the emotional impact, and you’ll love them, don’t worry.” 

“I’ll love them,” he agrees, attempting to lean down for a kiss. 

“Wait, is this a shut me up kiss?” you whisper. 

Peter shakes his head as he kisses you, serving for a wobbly but soft press of your lips to his. “Never. Tell me everything about it.” 

You talk until you’re hoarse, literally hoarse, and Peter has to make you a cup of water. His cheeks are hurting from smiling at you. You’ve never looked this cute, not once, not even when he took you to Coney Island and you screamed the house down on all the rides. 

“I think we better go and get those DVDs,” he says. 

“It’s dark out,” you say. 

“We’ll swing.” 

“Isn’t that against your code of ethics?” You sip your drink, pointing at him. “We’ll hear someone who needs help on the way and you’ll drop my extended editions to save them.” 

“I won’t drop anything,” he says. “Come on! Come on, if you’re this excited just talking about it I wanna see how pretty you are when we’re actually watching the movies.” 

You press your smile into a line. “You’re not just humouring me?” 

“I could listen to you talk for hours, baby, but you sound like you did the second time we got off of The Cyclone.” 

You do a spinning, meandering dance into his arms. “If you insist.” 

Your feigned reluctance is adorable. He grabs you in both hands for another misaligned kiss.

[whatbigotspost]

Every time I hear someone much older than me talking about how their shame about their bodies and weight have robbed them of all kinds of fun experiences and simple joys and delights in life, it breaks my fucking heart. Older women, in particular, have been shamed into and forced into (and perpetuated themselves) so many stupid narratives about what one "can't do" if you look a certain way. Sometimes they don't even notice it...they'll just casually be saying something like, "I would have loved to play volleyball back in school but this big ass wasn't going to look right in those shorts tee hee" and I'm like that's??? actually??? tragic???????? Especially when it's something they COULD still pursue or try but they've got a fixed mindset about it.

My 84 year old aunt really spent all of her 30s-60s believing that she COULDN'T just put on a swimsuit and enjoy the water in the summer. I have so many memories of this mindset affecting her all summer. Just casually existing by a pool in a swimsuit was something that women who looked like her Could Not Do. This is someone who broke so many gender barriers in her field, who was a pioneer and a bad ass, but who held herself back from something she truly enjoyed for DECADES because she's fat. A couple of years ago she told me how stupid she feels having thought like that now that her age has changed her mobility and safety in going to a pool and it's no longer literally possible for her to do so.

She bought the bullshit and deprived herself of happiness when it was possible, so she lost her chance at hundreds of moments of simple enjoyment she now looks back on sadly.

Really sadly.

I think this is a topic where we can literally see a huge generational change among society right now. The bitchy boomer who says something like, "oh she should NOT be wearing that" when a happy, chunky Gen Zer bops by in a crop top sounds like the death rattles of an ancient relic to most of us in younger generations. After we get over the overt hate that surges when we hear things like that, most of us can see right through that prickly exterior into the deeply damaged, sad, and vulnerable person inside who is the one that's the real problem in the equation.

And yet, while it can be easy to think, "Thank god I'm not like THAT" none of us are truly immune to the messages that are blasted in our faces all the time that still shame fatness and make us feel like we owe society a certain kind of "beauty."

Just keep an eye out for any limiting beliefs you have that are depriving you from joy and delight you want and need. As anyone like my aunt could tell you, you won't someday look back and think, "I sure am glad I didn't do what made me happy all those years!"

[scribefindegil]

Lorraine Baines McFly and Female Autonomy

Hello. I have spent the past month slowly losing my mind about Lorraine Baines McFly, Marty's mom in Back to the Future, so I am finally trying to articulate some of the reasons I'm so feral about her.

There's a quote from Lea Thompson, the actress who played Lorraine, that goes, "The three parts that women usually get to play are virgins, whores, and mothers, and in Back to the Future Part II, I got to play all three." While this is commentary on Hollywood and the limited roles that fictional women get forced into, I think it's also interesting to think about it in terms of how these roles are reflected onto actual women and used to limit their personhood and confine them to a very narrow range of acceptable behaviors . . . and then in turn to think about how the character interacts with these roles on a Watsonian level. They're affecting not just Lorraine the character as she was written, but Lorraine from an in-universe perspective trying to navigate life as a woman in a patriarchal world. Some of the sexism she faces is a deliberate narrative choice and some of it is a result of the writers' blind spots, but for the purpose of this essay I'm less interested in teasing out which threads are which and more in looking at it holistically.

Because the thing about Lorraine is that she's aware of what the acceptable roles and behaviors for women are, and the versions that we see of her across the various timelines alternately fight against and capitulate to these constraints. What is a woman allowed to be? How much is Lorraine willing to break from those restrictions? How much does she allow other women to break from them? Does she resent her role or embrace it? I have a lot of thoughts specifically about how the different iterations of her interact with concepts of female agency and autonomy.

(Putting this under a cut because it is. Long.)

I started thinking about this when I was talking with my partner about 50's Lorraine. She's extremely active and driven and planning to Get What She Wants (in a way that is very scary, if you are Marty) . . . but at the same time she's clearly aware that she isn't supposed to be. A Good Fifties Girl is demure and passive. Lorraine isn't--but she's still trying to toe the line. I think constantly about the scene where she shows up at Doc's garage to be like "I followed you home . . . so that I can ask you to ask me to the dance." The girl can embrace borderline stalking but she draws the line at directly asking a boy out! She's exercising a lot of agency but views doing so as rebellious and subversive--and risky.

And I also want to talk about the whole "boy crazy" thing because like . . . society (especially in the fifties) tells women that the most important thing they can possibly do is find a good man and become wives and mothers, that this will define the success or failure of their entire lives (and given how many things were unavailable to single women at the time this is in many ways true) . . . and then relentlessly mocks and punishes anyone who actually takes an interest in pursuing this instead of just sitting back passively and waiting. She is trying to do what society says will make her happy! And even her desire for a white knight is very much based in the reality of her situation! She's getting sexually harassed at school and around town and she's doing exactly what she's supposed to and standing up for herself and saying no and fighting back--and this is not enough. She does need backup! Biff harasses her in the middle of a crowded cafeteria and Marty is the ONLY person who does anything! No fucking wonder she latches onto him as hard as she does! (There's. I promise this is related but there's a BttF parody musical on YouTube where when Strickland comes to break up the lunchroom fight he says, "Now, I can excuse sexual harassment, but LIGHT SHOVING?" and like it's a haha funny joke but also?? Yeah?? That IS how it works. The way Lorraine's being treated is so overlooked and normalized that the authority figure isn't going to step up the way he will when it's a physical altercation between two guys. Screams.) I wonder if part of the reason she stuck with George in the original timeline even though they didn't have a lot in common is that "I have a boyfriend" is a boundary that some people might actually take seriously whereas "I'm not interested" is not.

But. In general 50's Lorraine is very much about grabbing as much agency as she feels she's allowed to . . . and then Twin Pines Lorraine is what happens when she regrets the result of those choices (because while we don't see it, it's pretty obvious that in the original timeline she pursued George as aggressively as she pursues Marty in the new one), and so she decides to deny, not just her own agency, but female agency as a general concept. She leans so heavily on the idea that her relationship was "meant to be" because it absolves her of any culpability in creating a life she's unhappy with. She's rewritten her own past to view herself as a passive participant in something inevitable. (Exactly the view of womanhood that she was fighting so hard against in the 50's!) And she extends this idea of female passivity to the women around her: telling Linda that she should sit back and wait and a relationship will "just happen," actively resenting Jennifer for doing something as simple as calling Marty on the phone. It's a really interesting form of internalized misogyny, perpetuating these sexist ideas as almost a misguided form of self-defense.

And then for Lone Pine Lorraine this is completely flipped! She loves Jennifer for the same reason she disliked her in Twin Pines: because she reminds Lorraine of her younger self. And like . . . this is something of an extrapolation, but while obviously her husband and kids are still very important to her, it also feels like she has interests and friends and other things going on in her life, whereas part of the isolation of Twin Pines is that her life has shrunk down to the point where she's ONLY a wife and mother with nothing else to define herself by. And it also matters that in this timeline she has a partner that supports her, not just in the big dramatic moments (although also that), but you can easily see the dance as a catalyst for George actually learning to listen to her and stand up for her about smaller things as well. George McFly feminism arc. (I'm being slightly facetious but like. George starts off kind of shitty. The spying is actively Bad and I hope Marty chewed him out for it offscreen, but also his reaction to the harassment scene being "I think there's someone else she'd rather go with," implying that he sees what Biff is doing as like. Normal flirting that he expects to work. He doesn't GET it. Unsurprising because he is. A teenage boy in the fifties. But I do believe that saving Lorraine was something of a wakeup call and after that he listened to her about things that make her uncomfortable and gave her the support that she needed. Which would also give her a lot more freedom in this timeline because she has someone with more societal power who has her back!)

And then. Hell Valley.

If Lone Pine is the version of Lorraine who has the most freedom, the most opportunities to make decisions based on what she wants instead of What Is Expected Of A Woman, Hell Valley is the opposite. The things denying her agency in Twin Pines is largely societal forces (and herself); in Hell Valley she is actively being denied autonomy by her evil husband who functions as the personification of a bunch of sexist ideas.

She's been objectified to the point that she doesn't maintain control over her own body; Biff pressures her to get cosmetic surgeries so she can continue to look attractive to him because that's the only value he sees in her. Her physical appearance is entirely tailored to his preferences.

Biff's view of Lorraine is wife-as-possession. He treats her like a prize he's won and her kids like parasites. And he is NOT subtle about this. But Lorraine is still desperately clinging to the idea that she's wife-as-family. She calls Biff "your father" to Marty when he arrives, and talks about "our children" because she wants so so badly for this to be something different than what it is. It's especially terrible because this is a timeline where she got seventeen years of being happy with George, she knows what she's missing, and she keeps trying to force this new relationship into a similar mold even though Biff is openly contemptuous of her and especially her kids. It's been twelve years and she's still trying to pretend. To call back to that Lea Thompson quote: it's obvious where Biff thinks Lorraine fits on the virgin-mother-whore axis, while Lorraine is actively trying to centralize her motherhood partially because the kids really are that important to her and partially as a defense mechanism.

(And it's also such a bleak cautionary tale about how fragile women's stability can be when they're dependent on their husbands; Lorraine was happy with George and had a fair amount of freedom, but he was the only one with an income so when he died she was suddenly forced into a truly horrific situation because she had no other means to support herself and her three young children. Especially given that the Hell Valley universe is also worse in some broader political ways that mean there were probably even fewer social supports available than in real life 1973)

And god. It kills me the way that we see her lash out, the way she's clawing for autonomy when she threatens to leave . . . and then exactly how Biff levels all his axes of control against her. It's very interesting that his first tactic is consumerist (Who will pay for all your things? Who will take care of you?) and that doesn't work even though not being able to support herself is a very real concern. It's only when he threatens her kids that she folds. And then she immediately crumples and pivots to rationalizing Biff's behavior and blaming herself for her own abuse (in a way that is both HEARTBREAKING and also? surprisingly sympathetic and realistic for an 80's movie?). It's similar to the passivity we see in Twin Pines, but here we see exactly where it comes from. She doesn't have any way out so she has to pretend. It's the only way she can keep going. She has these flashes of rage but they're immediately snuffed out by despair and denial.

There's not a lot of talk about Lorraine and what there is tends to reduce her to "well she's Marty's mom" as if she's a boring character who doesn't have a lot going on. But even though most of her role in the movies has to do with her relationships with the various men in her life, those relationships are really interesting if you actually pay attention to them! She's not just (in the 80's) a wife and mother--she's someone who has a complex relationship with marriage and motherhood and the societal expectations surrounding them. She's not just (in the 50's) a vapid boy-crazy girl--she's doing her best to go after what she wants in a world that doesn't want her to (the fact that one of the things she wants turns out to be her time-traveling son from the future is unfortunate but not something she has any way of knowing!). She's stuck in a society that doesn't want women to be people, and she knows this, and because we see her across two different time periods and three different timelines you can watch how sometimes society grinds her down until she gives in and tries not to be a person. And also how, sometimes, she fights back.

[goldfades]

★ AND YOU SAY I ABANDONED THE SHIP / BUT I WAS GOING DOWN WITH IT / MY WHITE KNUCKLE DYING GRIP / SO HOW MUCH SAD DID YOU THINK I HAD, DID YOU THINK I HAD IN ME? / HOW MUCH TRAGEDY? / JUST HOW LOW DID YOU THINK I'D GO? ─── PB⁵ (part 1/2)

❪ requested -> paige and ex gf!reader that plays on iowa where theres a lot of tension on the court bc they ended on rough terms but u can see that they still care abt each other yet have to prioritize the game // hii could u write for paige x ex gf iowa!reader where they play against each other in the final four and everyone can tell theres sm tension on the court between them bc they ended on rough terms ? they still care abt each other a lot but r forced to put those feelings aside for the sake of the game (but they def had a talk afterwards) - u can make it so that iowa still won or uconn won i think either one would be interesting ! tysm ❫ part two!!!!!!!!!!

─ warnings | ANGSTTTTT!!!!!! mentions of transfers, fighting, paige being a BITCHHHH LIKE so mean (but its for the plot trust), banter at the end, mention of cc and kate martin, jealous!paige

─ ev's notes | tried a new format for the third little part thingy idk if yall like it but lmk (like the iowa game part)

⇨ missing out on updates? check out my wcbb masterlist!

JUNE 2022

Y/N L/N ANNOUNCES ENTERS THE TRANSFER PORTAL AFTER ALLEGED DISAGREEMENT OVER PLAYING TIME. In a surprising turn of events, UConn defensive star Y/N L/N has announced her decision to enter the transfer portal.

Despite the official narrative focusing on playing time, insiders report that L/N's decision is rooted in a desire to find a new environment where she can heal and focus on her game without the added stress of her recent breakup with Paige Bueckers, another star player for the Huskies. The emotional toll of the split has reportedly affected her performance and well-being, prompting her to make a fresh start at another school.

UConn’s coaching staff and teammates have expressed their support for L/N, acknowledging the challenges she has faced. "Y/N is an incredible athlete and person," said Coach Geno Auriemma. "We respect her decision and wish her nothing but the best in her future endeavors."

As L/N navigates this difficult period, she remains committed to her basketball career and is looking forward to finding a new team where she can continue to shine both on and off the court. While the specifics of her next move remained uncertain for a short time, it has now been confirmed that she will be transferring to Iowa.

Fans and fellow players have taken to social media to show their support for L/N, emphasizing the importance of mental health and personal well-being in the demanding world of collegiate sports. Iowa's coaching staff has expressed their excitement about welcoming L/N to the team. "We are thrilled to have Y/N join us," said Coach Lisa Bluder. "She brings exceptional talent and experience to our program, and we are committed to supporting her both on and off the court."

As Y/N L/N begins her new journey with the Iowa Hawkeyes, there is no doubt that she will continue to be a formidable presence in collegiate basketball. Her resilience and determination promise to make her time at Iowa just as remarkable as her tenure at UConn.

──

"So you're really doing it?" Paige's expression was unimpressed, bordering disgusted as she pushed herself between you and the door.

You sniffled, glaring at the blonde. "Get out of my way, Paige."

She crossed her arms, standing firm. "So that's it? You're just going to run away? Because of us?"

"It's not about that," you snapped, the weight of your duffel bag making your shoulder ache. "It's about me needing to be okay. And I can't do that here."

Paige's eyes softened for a moment, but she didn't budge. "Y/N, we're a team. You can't just leave us like this. Leave me like this."

You shook your head, frustration boiling over. "This isn't about the team. This is about us, Paige. I can't be around you every day, pretending like everything's fine when it's not. I'm not okay with being on the same team as you, do you get that, Paige?"

Paige's expression flickered with a mix of anger and something else — maybe hurt. "You think Iowa is going to magically fix everything? Running away doesn't solve anything, I promise you that."

You took a deep breath, trying to steady yourself. "This isn't running away. This is me choosing to put myself first for once. I have to do this."

"What happened to loyalty? As soon as things get hard, you're running away! How does that make sense?" Paige let out a bitter laugh as you bit your lip, trying your best not to blow up. "God, what is wrong with you?"

You couldn't hold it in anymore. "You shouldn't be talking about loyalty, Paige! You left me, remember? We've been through-"

"Don't you dare say it, Y/N." Paige's voice was sharp, but you pressed on, the dam of emotions breaking.

"We've been through so much together, and you just threw it all away! You can't expect me to stay here and pretend like everything's fine when it's not."

Paige's eyes blazed with anger. "Oh, don't turn this around on me! You think you're the only one who got hurt? You think it was easy for me to make that decision? You're such a selfish-"

"Selfish?" you interrupted, your voice rising, ringing throughout the locker room. "I'm selfish for wanting to protect my mental health? I'm selfish for needing to get away from the constant reminder of what we had and lost?"

"You're selfish for abandoning the team! For abandoning me!" Paige shouted, her voice cracking. "Do you have any idea what it's going to be like without you here?"

"You don't get to play the victim," you shot back, tears streaming down your face as you sniffled. "You're the one who ended things. You don't get to decide how I cope with that."

Paige took a step closer, her face contorted with rage. "Fine, go to Iowa. Run away like a little pussy. But don't you dare come back and expect everything to be okay. Don't you dare think you can just waltz back into our lives when it suits you."

"That's not what I'm doing," you retorted, your voice shaking as you averted your gaze. "I need this, Paige. I need to get away from you."

"Then go!" she yelled, her voice echoing in the empty locker room. "But don't expect me to forgive you for this. For leaving when things got tough. For being a pussy."

"Oh, really?" You laughed, anger filling your body. "Fuck you. I thought we could be mature, but apparently we can't."

Paige's eyes flashed with fury. "Mature? You're the one who's bailing when things get hard! That's not mature, that's cowardly."

You clenched your fists, trying to keep your composure. "You think this is easy for me? You think I want to leave? I'm doing this because I have to, not because I want to. I'm trying to survive, Paige!"

"Survive?" she scoffed, stepping closer. "What about me? What about the team? We need you, and you're just walking away."

"I'm not your crutch," you shot back. "You have no right to make me feel guilty for taking care of myself. This isn't just about you, Paige. This is about my sanity, my well-being."

Paige's face twisted with a mix of anger and hurt. "Fine, go ahead and leave. But don't expect me to be here waiting for you when you decide to come back."

"I don't expect anything from you anymore," you replied coldly. "I'm done expecting anything from you."

Paige's expression darkened further, and she took another step closer, her voice lowering to a venomous whisper. "You know what? Maybe it's good you're leaving. No one needs your drama and bullshit. You're not as important as you think you are."

The words stung, cutting deeper than you expected. But Paige wasn't finished. "And let's be real, Y/N, Iowa's not going to "fix" you. You're still going to be the same fucked-up person, running from your problems. Maybe if you weren't so broken, none of this would have happened."

You felt as though the air had been sucked out of the room. Her words were like a knife twisting in your gut. You blinked back tears, feeling your heart shatter into even smaller pieces. "You... you have no idea what I've been through," you whispered, your voice barely audible. "To get here, to prove myself to everyone."

"Clearly, I don't," Paige shot back, her voice full of disdain. "Because if I did, maybe I would've seen what a complete waste of time it was to care about you."

The finality of her words was like a slap in the face. You stood there, stunned, feeling the weight of her anger and your own heartbreak. Without another word, you turned and walked out of the locker room, each step feeling heavier than the last.

As you stepped outside, the cool evening air did little to soothe the burning pain in your chest. Iowa was waiting, but now it felt more like an escape from a nightmare than a fresh start. You knew you could never go back, not after what had been said. The bridge between you and Paige was not just burned — it was incinerated.

Driving away, tears blurred your vision. The future was uncertain, and the path ahead seemed daunting. But one thing was clear: you were done with Paige, done with the hold she had over you. It was time to find a place where you could heal, far away from the person who had just torn your heart apart.

──

NOVEMBER 2022

"Welcome, everyone, to what promises to be an exciting game tonight!" The commentator's voice boomed through the arena. "We have Iowa facing off against Ohio State, and all eyes are on Y/N L/N, the transfer from UConn. Let's see how she gels with her new teammates, especially standout stars Caitlin Clark and Kate Martin."

"Y/N L/N, the former UConn star who made headlines with her controversial transfer, had seamlessly integrated herself into the Iowa lineup. Her defensive prowess, combined with her sharp shooting skills, had brought a new dimension to the team's gameplay."

"And there she is, folks! Y/N L/N, number 89, making her presence felt on both ends of the court. She's been a force to be reckoned with tonight, shutting down opponents left and right while sinking those crucial shots when her team needs them most."

From the moment the game tipped off, Y/N was in her element. She moved with a grace and confidence that captivated the audience, her presence on the court undeniable. Within minutes, it was clear that she had found her rhythm with her new team.

"Clark passes the ball to L/N... she fakes, drives to the basket... and what a beautiful layup! L/N puts Iowa on the board first with an impressive move."

The crowd erupted in cheers, and Y/N's teammates swarmed her, sharing her excitement. Clark gave her an encouraging pat on the back as she jogged back on defense.

"That's the kind of play Iowa fans were hoping to see from L/N," the commentator continued. "She brings a fresh energy and versatility to this team."

As the game progressed, Y/N's synergy with her teammates became even more apparent. She seamlessly integrated into the flow of Iowa’s offense, making smart passes and setting effective screens.

"Clark with the ball now, looking for an opening... she finds L/N at the top of the key. L/N drives, kicks it out to Martin on the wing... and it's a three! Kate Martin nails the shot, and L/N gets the assist."

Kate Martin and Caitlin Clark were all smiles, high-fiving Y/N as they took a moment to savor the play. The three of them were quickly becoming a formidable trio on the court, their chemistry undeniable.

"Y/N L/N is not just playing well—she's thriving," the commentator observed. "Her ability to read the game and make those around her better is exactly what Iowa needed."

In the second half, Y/N continued to shine, her defensive efforts just as impressive as her offensive contributions. She hustled for rebounds, dove for loose balls, and her tenacity was infectious.

"Ohio State struggling to get past L/N's defense... and she steals it! L/N on the fast break now... passes to Clark, who finishes with a perfect layup! What a dynamic duo!"

As the final buzzer sounded, Iowa secured a decisive victory. The scoreboard read 82-67, and Y/N's performance was a significant part of that success.

"And that's the game! Iowa takes the win, and what a debut for Y/N L/N. She finishes with 12 points, 7 assists, and 5 rebounds. An all-around stellar performance."

"And there you have it, folks! A stunning performance from the Iowa Hawkeyes, led by the dynamic trio of L/N, Martin, and Clark. With players like these, the sky's the limit for this team, and the rest of the league better watch out!"

As Y/N waved to the cheering crowd, she couldn't help but smile. This was the fresh start she needed, and it was only the beginning.

──

"Great game tonight, ladies!" The reporter started, a broad smile on her face. "Y/N, this was your debut with Iowa, and you were nothing short of fantastic out there. How does it feel to be part of this team?"

You smiled, your eyes twinkling with a mix of relief and joy. "It feels incredible. The support from the coaching staff, my teammates, and the fans has been amazing. I couldn't have asked for a better start here at Iowa."

Caitlin, sitting to your right, nodded enthusiastically. "Y/N has been a fantastic addition. Her energy and skills have really brought a new dynamic to our team."

Kate Martin chimed in, a playful grin on her face. "Yeah, she fits right in. It's like she's been here all along, like seriously."

The reporter continued, "Y/N, you and Caitlin seemed to have an almost telepathic connection on the court tonight. Can you tell us a bit about how you've built such strong chemistry so quickly?"

You glanced at Caitlin, who gave you an encouraging nod. "Honestly, it's been pretty natural. Cait is such a smart player, and she makes it easy to connect and play off each other. We've been putting in a lot of extra time together, and it's really paying off."

Caitlin added, "Y/N is a hard worker, and her basketball IQ is off the charts. We clicked from day one, and it's only getting better."

Kate, not wanting to be left out, jumped in with a laugh. "Don't forget about me! The three of us have really gelled as a unit. We push each other to be better every day."

You put your arm around the blonde, earning a laugh from her. "Don't worry, Katie we wouldn't leave you out."

The reporter smiled, clearly enjoying the dynamic. "It's great to see such strong teamwork and friendship! What's next for this Iowa team? How are you planning to build on tonight's performance?"

You looked thoughtful for a moment before answering. "We're just going to keep working hard, stay focused, and take it one game at a time. Tonight was a great win, but we know there's a lot of work ahead of us."

Caitlin nodded in agreement. "Absolutely. We have high expectations for ourselves, and we know we can achieve great things if we stick together and keep pushing."

Kate leaned in, her expression serious but with a hint of a smile. "We're aiming high. We want to make a deep run this season, and with Y/N on board, we feel like we can compete with anyone."

The interview wrapped up, and as the cameras turned off, the three players shared a group hug, your bond clear for everyone to see.

As they headed back to the locker room, Caitlin threw an arm around your shoulders. "You did great tonight. Welcome to the team, officially."

Kate added, "Yeah, we're glad to have you, Y/N. And this is just the beginning, trust."

──

"The fuck," Paige grumbled as she watched the post-game interview on TV, bitterness clear on her face. Nika and Aubrey exchanged amused glances as they watched Paige, who's eyes were glued on the screens.

Despite the fallout with Paige, you were still close with the rest of the team. You wouldn't let Paige get in between you and your old team, no matter the circumstances.

Paige's gaze finally averted from the screen, looking at the girls. "Does this shit not bother you guys like, not even a little bit?"

"Nah, P." Nika responded as she sighed, leaning back on the couch. "We're proud of her."

Aubrey continued, her tone gentle but firm. "I mean, you guys dated and shit. There's bound to be some bitter feelings, y'know."

Paige scoffed, crossing her arms tightly. "Yeah, well, it still sucks seeing her over there, acting like everything's fine."

Nika gave Paige a sympathetic look. "I get it, Paige. It's hard seeing someone you care about move on, especially after everything you two went through. But she's doing what's best for her. You have to respect that."

Aubrey nodded in agreement. "And honestly, she's killing it over there. Seeing her happy and thriving makes us happy, too. It's not about choosing sides—it's about supporting our friend."

"Did you hear her?" Their words went in one ear and out the other, her gaze turning back to the TV. "Oh Katie! We'd never leave you out. Like shut up," she mocked as Aubrey let out a laugh.

It was obvious she was jealous, it was a rare sight for the usually, confident blonde. Nika and Aubrey exchanged another glance, this time with knowing smiles. They could see right through Paige's facade.

"Wow, Paige, are you actually jealous?" Aubrey teased, her eyes twinkling with amusement. "Never thought I'd see the day."

Paige rolled her eyes but couldn't hide the blush creeping up her cheeks. "I'm not jealous," she protested, though her tone lacked conviction. "I just don't like seeing her act all buddy-buddy with them."

"Sure," Nika said, leaning back and stretching. "It's just because she's happy and thriving without you, right?"

Paige shot her a glare, but there was no real heat behind it. "Shut up, Nika."

Aubrey laughed again, patting Paige on the shoulder. "It's okay to admit you miss her, Paige. We all miss her. But she's doing what she needs to do, and we have to respect that."

"I do respect that." Paige interjected, her voice defensive. The three of them quieted down, continuing watching the TV. "I guess she has a thing for blondes," she mumbled under her breathe.

"Come on, Paige!" Nika groaned as Aubrey began to laugh uncontrollably. "Stop encouraging her, Aubrey."

Paige rolled her eyes, a faint smirk playing on her lips despite herself. "What? It's true. First me, now Kate. Seems like she has a type. Blonde, 6ft and hoopers, I mean..."

Aubrey wiped away a tear from laughing so hard. "Oh my god, Paige. You're insane."

Nika shook her head, trying to suppress her own laughter. "First, you are not 6ft. And maybe it's time to focus on your game and let Y/N do her thing. You can't keep dwelling on this."

"Yes, I am! With shoes, I am." Paige sighed, the humor fading from her expression. "And I know. It's just hard, you know? Seeing her so happy without me. Without us."

Aubrey softened, leaning in to give Paige a reassuring pat on the back. "You'll get there. It just takes time. And who knows, maybe this will be a good thing for both of you in the long run."

Paige nodded, her eyes drifting back to the screen where Y/N was still beaming in the post-game interview. "Yeah, maybe you're right."

Nika stood up, stretching her arms above her head. "Alright, enough of this. Let's hit the gym. We have a season to focus on, and we need you at your best, Paige."

Paige took a deep breath, standing up as well. "You're right. Let's go."

Aubrey joined them, a supportive smile on her face. "That's the spirit. And remember, we're here for you, no matter what."

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