#that woman is bored. SO. BORED

[thekeysmashcorner]

at this point, lady whistledown is literally enrichment in the queen’s enclosure

[cenvast]

"Toshiro Is Sexist," "Toshiro Owns Slaves": What's Really Going on With This Guy?

I've seen a lot of debate on whether or not Toshiro is problematic because he's a slave owner or because he's sexist in the context of his crush on Falin. While I do want to examine his relationship to Falin, I'd like to take a few steps back and unpack his upbringing first. We'll dive into the gender and class dynamics he was raised with and how it impacts his behavior in the main storyline.

Like all people, Toshiro is shaped by the environment he grew up in. Toshitsugu, Toshiro's father and the head of the Nakamoto clan, is the most impactful model of authority and manhood in his life. Toshiro does recognize some of his father's flaws and tries to avoid replicating them. But whether or not he emulates or subverts his father's behavior, Toshitsugu is often the starting point for Toshiro's treatment of others, particularly marginalized people.

The Nakamoto clan exists under a patriarchal hierarchy with Toshitsugu at the top. As noted by @fumifooms in their Nakamoto household post, his wife has more authority than Maizuru. She's able to ban Maizuru from parts of their residence, but despite disliking his infidelity, she can't divorce him or stop him from cheating on her. Their marriage is not an equal partnership.

On an interpersonal level, Toshitsugu and Maizuru also have a fraught relationship. While she does seem to care for him, she's often frustrated by his thoughtless behavior.

For example, he drunkenly buys Izutsumi for her — without considering how she'll have to raise this child — and invades her room in the middle of the night. When he cryptically says, "It's all my fault," she replies, "I can think of a lot of things that are your fault." She calls him an "idiot" and "believes that [Toshiro] will grow up to be a better clan leader than his father," implying that she takes issue with Toshitsugu's leadership.

Because Maizuru and Toshitsugu are described as being "in an intimate relationship" and "seem[ing] to be lovers," Maizuru appears to be a consensual participant. Still, this doesn't negate the large power imbalance between them as a male noble clan leader and his female retainer. This imbalance introduces an insidious undertone to Maizuru's frustration with Toshitsugu. Like Toshiro's mother, Maizuru doesn't have the agency to do as she pleases in their relationship; he has the ultimate authority. For instance, she doesn't seem to want to raise Izutsumi, but she has to anyway.

While Maizuru's role as Toshitsugu's mistress is significant, she's also the Nakamoto clan's teacher and Toshiro's primary maternal figure. She cares deeply for Toshiro: tailing him, feeding him, and taking responsibility even for his actions as an adult. While it might seem sweet that she cares for him like a son at first, Maizuru was notably fifteen years old at the time of his birth. In the extra comic below, he's six years old and has already been in her care for some time. Even if we're being generous and assuming that she didn't start raising him until he was six, she was still only twenty-one at the time she was parenting her boss/lover's child with another woman.

Maizuru's roles as mistress and maternal figure, in addition to her role as retainer, demonstrate the intersection between gendered and class oppression in the Nakamoto household. Despite her original role being a retainer trained in espionage, Toshitsugu presses her into performing gendered labor for him and eventually, Toshiro. She's expected to be Toshitsugu's lover, perform emotional labor for him as his confidant, care for his child, and carry out domestic tasks like cooking. She says, "Even during missions, I was often dragged into the kitchen." If she was a male servant, I doubt she would have been expected to perform these additional tasks. She can't avoid these tasks either, stating that her "own feelings don't factor into it."

Toshitsugu disregards his wife's and Maizuru's desires and emotions to serve his own interests. Because he has societal power over them as a nobleman and in Maizuru's case, her master, neither woman can escape their position in the household hierarchy.

As a result, Toshiro grew up within a structure where men and male nobility, in particular, wield the most societal power. The hierarchical nature of his household and society discourages everyone, including him as a clan leader's eldest son, from questioning and disrupting the existing hierarchy.

The other Nakamoto household members also internalize its sexist, classist power dynamics.

For example, Hien expects that she and Toshiro will replicate the uneven dynamics of the previous generation, regardless of her personal feelings. She sees her and Toshiro's relationship as paralleling Maizuru and Toshitsugu's relationship; she is the closest woman to Toshiro and his retainer, so she's shocked when Toshiro doesn't attempt to begin an intimate relationship with her. Notably, she doesn't have actual feelings for him. Her expectations are centered around the household's precedent of placing emotional, sexual, domestic, and child-rearing labor onto the female servants without any regard for their personal desires.

Hien also probably knows that her position in the household will improve if she is Toshiro's lover because she's seen it improve Maizuru's position. However, the fact that being the future clan leader's lover is the closest proximity she, as a female servant, has to power further reveals the gendered, class-based oppression she and the other women live under.

It's important to note that the Nakamoto clan bought Benichidori, Izutsumi, and Inutade as slaves, so they have less power and agency than Maizuru and Hien. The clan further dehumanizes Izutsumi and Inutade as demi-humans; their enslavement contains an additional layer of racialization.

Toshiro isn't oblivious to the gendered, class, and racial power dynamics of his household. He tries to distance himself from participating in its exploitative power structure. He walls himself off from Hien, who he's known since childhood, to avoid replicating his father's behavior and making his servant into his lover. He disapproves of his father's enslavement of Izutsumi and Inutade, and he lets Izutsumi go when she runs away in the Dungeon.

But does any of this absolve him of his complicity in his household's sexist, classist power dynamics and racialized slavery?

The short answer is absolutely not.

Despite his distaste for his father's exploitation of his servants and slaves, Toshiro still uses them. He refers to his party as "his retainers," and he has them fight and perform domestic tasks for him. You could argue that Toshiro doesn't like to and thus, doesn't regularly use his servants and slaves. In the context of him asking his retainers to help him rescue Falin, Maizuru says, "The only time he ever made any sort of personal request was for this task." But it shouldn't matter whether exploitation is a regular occurrence or not for it to be considered harmful. Toshiro asking Maizuru to cook him a meal still constitutes asking his female servant to perform gendered labor for him. He's also very accustomed to her grooming and dressing him.

Maizuru sees feeding, washing, and even advising Toshiro romantically as fulfilling Toshitsugu's orders to care for his son. They aren't fulfilling a "personal request." But just because her labor has been deemed expected and thereby devalued doesn't mean that it isn't labor or that she isn't performing it.

Maizuru's dynamic with Toshiro is also complicated by her role as his maternal figure. She loves him and wants to take care of him, and she doesn't have a choice in the matter. During Toshiro's childhood, the onus was on Toshitsugu to cease exploiting his lover and release her from servitude, but Toshiro is now an adult man. Seeing as how Maizuru defers to his wishes and calls him "Young Master," they still have a power imbalance that he's passively maintaining. Ideally, he would not ask anything of her until he has the authority to release her from servitude.

Throughout the story, Toshiro acts as if he has no agency and quietly disapproving of his father's actions absolves him of his participation in maintaining oppressive dynamics. While his father still ranks higher than him, he's essentially his father's heir. He has much more power than Maizuru, the highest-ranked servant. At the very least, he could leave his slave-owning household.

Unfortunately, his refusal to confront injustice is consistent with his character's major flaw: he does not express his opinions, desires, or needs. While this character trait obviously hurts his friendships, it also furthers his complicity in the injustices his household runs on.

Toshiro's relationship with eating food — the prevailing metaphor of the series — also parallels his relationship with confronting injustice. Maizuru mentions that he was a sickly child, so the act of eating may have been physically uncomfortable for him. As an adult, his refusal to eat crops up during his rescue attempt of Falin. Denying himself food might have been punishment for not accomplishing important tasks like rescuing Falin and/or a way to maintain control over something in his life when he felt like he'd lost control over the rest of it, again in the context of losing Falin. (Note: I suggest reading this post on Toshiro's disordered eating by @malaierba.)

But he cannot and does not avoid consuming food forever.

Similarly, Toshiro keeps his distance from his retainers and tries not to use them until the Falin situation occurs. His efforts to avoid exploiting his retainers amount to inaction — things he doesn't ask of them or do to them. But his inaction does nothing to dismantle the existing hierarchy that places his retainers under his authority, denies them agency, and often marginalizes them as not only servants or slaves but as women, and he ends up using them as servants and slaves anyways.

Returning to the narrative's themes of consumption, Toshiro cannot avoid eating just as he cannot avoid perpetuating the exploitative system of his household. The Nakamoto clan consumes the labor and personhood of those lower in the hierarchy. The retainers' labor as spies and domestic servants is the foundation of the clan's existence. Thus, the clan consumes their labor to sustain itself.

Within this hierarchy, the retainers' personhood is also consumed and erased. As Izutsumi describes, they are given different names and stripped of their agency to reject orders or leave. Maizuru and Hien also say their feelings are irrelevant in the context of Toshitsugu's and Toshiro's wants and needs. Both women are expected to comply with whatever is most beneficial and comfortable for the noblemen. Clearly, despite Toshiro's detachment from his household's functions, these social structures remain in place and harm the women under him.

Although we know the Nakamoto clan has male retainers, the choice to highlight the female retainers seems intentional. We're asked to interrogate how not only being a servant or a slave in a noble household impacts a person's life and agency, but how being a woman intersects with being a member of some of the lowest social classes.

Toshiro only distances himself from his father's behaviors of infidelity and exploitation so long as it doesn't take Toshiro out of his comfort zone. He doesn't free his slaves. He's far too comfortable with his female retainers performing domestic labor for him, and he barely acknowledges their efforts; they're shocked when he thanks them for helping him save Falin. He hasn't unpacked his sexist (or classist or racist) biases because he perpetuates his household's oppressive hierarchy throughout the narrative. Considering all of this, he inevitably brings this baggage to his interactions with Falin.

Falin is presumably one of the first women he's had extended contact with that isn't his relative or his family's servant. Because of his trauma surrounding his father and Maizuru sleeping together, he understandably falls for a woman as disconnected as possible from his father and his clan. He seems to genuinely like Falin, respects her boundaries, and graciously accepts her rejection. His behavior towards her is overall kind and unproblematic.

But if Falin had gone with him, she would've likely been devalued and sidelined like the other women of the Nakamoto household. No matter how much he loves Falin, simply loving her cannot replace the difficult work of unlearning his sexism. Love, of course, can and should be accompanied by that work, but by the close of the narrative, we gain little indication that Toshiro acknowledges or seeks to end his part in exploiting and devaluing women and other marginalized people.

A spark of hope does exist. Toshiro expressing his feelings to Laios and Falin suggests that his time away from home has encouraged him to speak up more. Breaking his habit of avoidance may be the first step towards acknowledging his complicity in systems of injustice and moving towards dismantling them.

Special thanks to my very smart friend @atialeague for bringing up Toshitsugu's relationship with Maizuru and the replication of dynamics of consumption and class! <3

[pinkcrayon]

from last year - i rewatched voltron with my girlfriend

[bookshelf-in-progress]

The Turning of the Year: A Cinderella Retelling

In a long-ago year, in a faraway land, there lived a girl named Alena. She lived in the house of a cruel stepmother, who hated her because she was so much prettier than her own daughter, and who made Alena do all the work of the house. Though the stepmother let her eat only scraps and wear only rags, Alena grew only more kind and beautiful as the year's went by, while her own daughter, Vanda, grew ever more coarse and cruel.

Now one December, it became known that the king of the land would host a grand ball in the city upon the eve of the New Year. Alena, like all other girls, wished to attend, and asked her stepmother if she could go. Her stepmother promised that she could, in order to convince Alena to work even harder in the weeks before.

But when New Year's Eve arrived, and Alena asked if she could dress for the ball, her stepmother cried, "A ball? When there is so much work to do? We must cast out the old year! You shall attend no ball before the house is cleaned. If there is even a speck of dust left in this house at midnight, you shall bring bad luck upon us all--and it shall be very bad luck for you.”

With that, her stepmother left the house, along with her own daughter, Vanda, to purchase trimmings for their dresses at the ball.

Scarcely had Alena begun to clean the kitchen when she heard footsteps near the back garden gate. When Alena peered outside, she found an old woman walking alone, her back so bent she could not stand without her staff, and her hair so white the snowflakes seemed dark upon it.

“Good mother!” Alena cried, rushing to the woman’s aid. “Come inside to warm yourself! It is no weather for traveling.”

The old woman took a seat by the fire with thanks, and gladly shared the crust of bread that was the only meal Alena’s stepmother had given her.

“You are good to an old woman,” the stranger said. “Yet that is no surprise, for you have been good the whole year through.”

“You do not know me,” Alena said in surprise.

“But I do,” the woman replied, “for I am the Old Year. You have shown me kindness near the end of my journey, so I will be glad to do what I can to help you in yours. What troubles you, child?”

Alena said with sorrow, “My stepmother will not let me attend the prince’s ball until I have cleaned every speck of dust from the house.”

“That is easily done,” the Old Year said, “for April shall reign in this house for the hour.”

With that, though the woman remained old and bent upon her stool, she also seemed somehow to be tall and straight, young and beautiful, with apple blossoms in her golden hair. In the garden outside, the snow clouds cleared away for springtime sun, and warm breezes blew through the house, gathering all the dirt and dust and soot and spreading it neatly in the gardens outside. While spring reigned, Alena gathered blossoming branches from the garden and placed them in jars around the house. Before the hour was over, the house shone. The old woman then lost her youthful aura, and winter returned to the gardens outside.

Alena thanked the Old Year from the bottom of her heart, but at that moment, her stepmother and stepsister returned. Alena, knowing that her stepmother would beat her for letting a ragged stranger into the house, hid the Old Year in the pantry just before her mother entered the kitchen.

“You lazy girl!” Stepmother shouted, when she saw Alena sitting on the stool near the fireplace. “Why are you sitting when the house must be cleaned?”

“It is clean, Stepmother,” Alena replied.

Her stepmother protested, but when she inspected the house, she found not a speck of dust.

She returned to the kitchen filled with rage, for she did not wish Alena to attend the ball and outshine her own daughter in the presence of the prince. When there, she saw the sacks of grain that Alena had moved out of the pantry to make room for the old woman.

“Aha!” her stepmother said. “You have forgotten the grain! We cannot enter the old year with bad grain. You must sift through every kernel so you can throw out the bad and keep the good. If this is not done before midnight, it will be a bad year for you.”

With that, her stepmother and Vanda returned to their rooms to prepare their dresses for the ball. Alena wept by the fireplace, and when she let the old year back into the kitchen, she told her the new task her stepmother had given her.

“That is no trouble,” the Old Year said. “Dry your eyes, child, for July shall reign in this house for the hour.”

Though the woman remained as old as ever, Alena thought she could also see her as a woman of middle age, with roses in hair just beginning to go gray. Through the windows flew every one of summer’s songbirds--warblers, robins, thrushes, vireos, orioles, flycatchers, tanagers, grosbeaks. At the Old Year’s commands, they opened the sacks, and threw the good grain into the barrels and the bad out the back door.

The gardens outside were lush and green, and Alena spent the hour in the sunshine, gathering strawberries, raspberries, and roses by the armful. The birds finished their work before the hour was over, and then flew out the doorway. The sunshine faded, the snow returned, and Alena thanked the Old Year with all her heart.

Just then, her stepmother emerged from her rooms, and Alena hid the Old Year in the pantry once more. Her stepmother and Vanda were fully dressed for the ball, but they had been so absorbed in their own looks that they had not seen even a moment of the summer that had filled the house.

"The grain is sorted, Stepmother," Alena said. "That means I can go to the ball."

With anger in her heart, her stepmother sorted through the grain, but she could not find one bad kernel to blame Alena for.

"You stupid girl!" she said at last. "Just because the grain is sorted, it doesn't mean your work is done. You have forgotten the mattresses! We cannot meet the new year in beds filled with last year's down! You must empty all the mattresses and stuff them all with fresh feathers before you can even think of attending the ball!"

She forced Alena to drag the mattresses to the kitchen, and then she and Vanda returned to their rooms to finish dressing their hair.

With that, Alena fell to weeping once again. The Old Year emerged and asked what troubled her.

"My stepmother demands I restuff the mattresses before I can attend the ball."

"That is no trouble," the Old Year said. "September shall reign in this house for the hour."

The next moment, though the woman remained old and bent, Alena also saw her as a woman not quite so old, with an elegant bearing and iron-gray hair that was woven with autumn leaves. The light outside became golden, while the plants in the garden grew brown and dry, and the trees bore apples among flaming leaves.

The sky grew dark as the air filled with the sound of beating wings, and in a moment, geese and ducks of every kind filled the gardens. The birds filed through the door, and at the Old Year's command, they pulled the old feathers from the mattresses and replaced them with a few feathers pulled from their own wings and tails and breasts. While the birds worked, Alena went to the gardens and gathered sweet apples from the groaning trees.

When the hour was over, the birds flew away, leaving behind mattresses plump with fresh new feathers. Alena thanked the Old Year with all her heart, then flew up the stairs to prepare for the ball.

Her stepmother met her in the hall outside her bedchamber, her hair dressed and ready for the ball.

"I have finished the work, Stepmother," Alena said, "so I will be able to go with you to the ball."

Her stepmother did not believe her, but when Alena brought the mattresses upstairs, she found them so plump and clean and fresh that she could find no fault to blame Alena for.

"You foolish child," her stepmother said at last, so angry she could barely speak. "You cannot possibly attend the ball, for you have nothing suitable to wear."

"I have one dress," Alena said. She flew into her dark, drafty little room and emerged with a gown that had once belonged to her mother. "This dress will fit me, and it is fit to be seen even by a king."

Her stepmother could see that in such a dress, even old as it was, Alena would still far outshine her own daughter in the prince's eyes. She tore the dress from Alena's hands, and with hands made strong by fury, she tore at the seams until the dress tore in two.

"This rag?" Her stepmother cried. "You cannot attend the ball in something so old. I would not have you come and give shame to us all. You must stay here and greet the new year alone."

With that, she and Vanda put on their cloaks, stepped in their carriage, and departed for the ball, leaving Alena weeping in the hallway.

While she wept, the Old Year came to her side and asked what troubled her.

"I am without hope," Alena said. "Though all the work is done, I cannot attend the ball, for I have nothing but rags to wear."

"Nonsense, child," the Old Year said. "You shall be the finest woman there, for you will be clothed in all the bounty of the year."

The Old Year helped Alena to her feet, and through tear-filled eyes, Alena saw the woman change, so she seemed old and young and middle-aged all at once. In the gardens outside, spring blossoms sprouted beside summer's roses, and autumn's leaves blazed over winter's snow. Sun and snow and wind and rain all seemed to fill the little hall where Alena stood. Her limp hair piled high atop her head and was crowned with the blossoms of spring. Her rags became a gown as soft as the petals of summer's roses, and bright with autumn's crimson and gold. A cloak of winter-white feathers stretched from her shoulders to the ground, and her feet were shod in shoes of winter's ice, which through some miracle neither froze her feet nor melted upon the floor.

"Old Mother!" Alena cried in gratitude, throwing her arms around the old woman. "I cannot thank you enough."

"You have earned it," the Old Year said, "but I warn you that I will fade away at midnight's chime, and when I go, my gifts will disappear. You must leave quickly, child, while time lasts."

With that, another wind, warm and icy all at once, wrapped itself around Alena and lifted her through the window. In moments, she found herself before the king's palace, which was all lit up for the festival.

At the ball, her beauty far outshone every woman there, and the dancers stopped dancing to whisper about this strange foreign princess who had arrived with no escort. The king, seeing her, was enchanted at once, and asked for her hand in the dance. For the rest of the night, Alena danced with no other, and found the king as kind and handsome as all the tales had claimed.

The hours flew by in what seemed like moments, until just as the king led her out toward a balcony, the palace clock began to chime the midnight hour.

"The new year has come!" the king declared, but Alena fled from him, out of the palace, down the stairs, and to the dark and snow-covered city streets. The Old Year's wind--what was left of it--found her and carried her through the midnight sky, but at the stroke of twelve, it faded away, dropping Alena into her house's back garden, clad once more in her rags. A single shoe of winter's ice clung to her left foot--though the Old Year's gifts had faded, winter still reigned, so only that season's gift remained.

The king, when she fled, ran after her, but he could find no trace of where his partner had gone, save one token, dropped in the place where the wind had picked her up--a single shoe made of winter's unmelting ice. The king declared that he would marry no woman save for the one who fit the miraculous shoe, and at the first light of dawn, he left the palace in search of her.

He had not gone far when he came across a girl child, barely old enough to walk, with hair as soft and golden as the sun's first rays.

"Where are you going?" the child asked him, in a voice too strong and clear for one so young. The king knew at once that he spoke to the newborn Year.

"I search for the woman I love," the king said, "though I have nothing to find her save the shoe she left behind."

"I know her well," the New Year said, "for she was a great friend of my mother's. You will find her in a house at the edge of the city, where spring's blossoms sit next to summer's roses and autumn's fresh apples."

With many thanks, the king swept the child onto his horse, wrapped her in his cloak, and sped off toward the far edge of the city. Before long, he came upon Alena's house, and knew it by the baskets of blossoms, roses and apples she had kept by the kitchen window.

When Alena's stepmother had come home from the ball, she had seen the signs of autumn, spring and summer in her kitchen, and knew that Alena had been the princess at the ball. She searched in Alena's room and found the partner to the shoe the prince held, then she seized Alena by the hair and locked her deep within the cellar. As she saw the prince approach, she fetched Vanda--her own ugly, cruel daughter--and perched her near the window with the blossoming roses, with the shoe of ice upon her foot.

The king rode to the house's entrance and presented himself by the main doors. Alena's stepmother greeted him with warm joy and welcomed him inside. While she took the king's cloak and tended to his boots, she did not see the small child toddle from the prince's side and make her way to the room where Vanda sat waiting.

Once there, the New Year reached her tiny hands toward the loaf of bread that Alena had baked only that morning. "Might I have something to eat?" she asked Vanda.

"Go away, little girl," Vanda said crossly. "Don't you know that the prince is here?"

The New Year asked for bread again, and once more, Vanda scolded her. At last, the child began to cry, and Vanda hit her on the ear and sent her tumbling to the floor.

Red-faced and crying, the New Year rose to her feet and told Vanya. "You are a cruel, selfish girl. Your heart is cold as ice, and so it is winter that will reign in this house today."

With her words, all the doors and windows of the room flew open, and a wind as cold as death blew in. Snow blew into the room and fell in drifts upon the floor. Before long, Vanda's lips and hands were blue, but her feet, encased in blocks of freezing ice, were black as coal.

Vanya's screams drew her mother to her side, and the king, alarmed, trailed in after her. He saw the girl with blackened feet, and though one foot wore the slipper of ice, he knew she was not the girl he sought. He feared that these cruel women had done her some great harm.

While Vanya's mother tended to her and sent for the doctor, the king saw the New Year standing in a drift of snow. He lifted her onto a stool, wrapped her in his cloak, and asked her, "Where is the woman I love? You promised she was here, yet I do not see her, and there are no other women in this house."

"You will find her in the one place where winter did not touch," the New Year said, "for her heart is too warm to be touched by ice."

The king waded through the kitchen's drifting snow and opened the door of the pantry. There, he saw all the house's food stores covered in snow and ice, but with not a flake covering the small door that led to the cellar. With a few blows, the door broke open, and the king pulled Alena out into the morning light.

"I have found you at last," the king cried in joy, and knelt before her with the slipper of ice. "You have my heart," the king replied, "and if you are willing, I would make you my bride."

With a smile, Alena said, "I will gladly be your wife."

With joy, the king took Alena to his home and introduced her to his court as his chosen bride. The people were charmed at once by her beauty and her kindness, and before the month was over, she was wed to the king and became queen over all the land. Her stepmother and stepsister, with Vanya maimed and their food frozen, became paupers, because they, in their pride, refused all of Alena's charity. Their cruelty gained them no friends, and before the winter's end, they were found, frozen to death, in winter's snow.

Alena, reigning as queen by her husband's side, became beloved by all the land. She and her husband remained pure of soul and warm of heart, and together they all lived happily for all the rest of their years.

[drkcatt]

repurposed an old oc into xiv... her name is Lovelace (surname) and she had a weird lowkey homoerotic academic rivalry with y'shtola when they were in school and it still keeps her up at night at 40 years old. also she's divorced.

[langernameohnebedeutung]

.

[gaywatercolors]

i hope someday i'll feel different

[stormyoceans]

THIS IS LIKE THE PRIDE AND PREJUDICE HAND FLEX TO ME

[incorrect-hs-quotes]

ERIDAN: i lovve you…

FEFERI: Swordfis)( slas)( to the c)(est. And you’re on fire.

[fishareglorious]

i'd like to think in this scene as kakania gets teary over isolde, hofmann is in her seat pointedly ignoring what's happening and there's this split-second moment between her and marcus meeting eyes and silently greta convinces her to comfort kakania.

hofmann's thoughts go something like "hm, letting marcus have hands-on experience on how to deal with emotions running high in a controlled environment is a good decision to make. also. this means i won't have to partake in any of this woman's complicated relationship drama with isolde dittasdorf.

god im not touching that with a ten foot pole as much as i can."

later does she know she gets roped into it in the worst way possible

[mychemicalbrromance]

SKETCHES manga spoilers under the thingywingy

[hollis-art]

I am in love with your 80s AU. Do you have anymore amazing information to share about the crew on their apartment? ❤️

i do! honestly not a lot, though. i didn't expect so many people to like the AU so much

there is a little story line of Lal and Molly being friends! it's almost all i've thought about for the AU actually... before the O'Brien family moved to ds9, i think Data and Keiko bonded over being one of the only few with little kids in the building, so they hung out a LOT. imagine Keiko and Data gossiping at the little tea party their daughters are throwing??? this still happens once the O'Briens move ofc but sadly not as much

then there's also the case of Picard and Q. Picard is the headmaster of the college that Data goes to (where he gets a really big deal off on his tuition because Dr. Soong was an alumnus at the school or something? i dunno), and he's this long-suffering guy who comes home after a long day at work, just wanting to watch some old horse film he has re-watched to the point the VHS has worn through, and then every so often Q is just there, lounging on the couch in his underwear and a frilly robe. like Q is not a good roommate (he's LOUD and ANNOYING and LOVES invading Picard's personal space), but that doesn't matter because he's hardly ever even there. I like to think that he's an actor in this AU, but specifically local community theater sort of actor and he will never just tell anyone he acts. he'll tell them that he's whatever his current character is. which is why Picard is under the assumption that Q is a lawyer (to be fair he did go to law school, but he dropped out to do his other passion instead). in turn, Q is under the impression that they are both deeply in love with each other (Picard cannot stand the man)

oh, and also!! in this AU, Riker and Worf are both personal trainers and that's how they met :) i just think them working together and helping various people out right beside each other is really cute. Riker would be the kind of guy to just be really enthusiastic and supportive to his clients while Worf would just yell with them as they are dying from exhaustion to hype them up so they can keep going

[blamemma]

someone fucking anyone red bull vcarb daniel blake fucking anyoneeeeee post a graphic on instagram so this can all be fucking over

[fromtheseventhhell]

"Sansa = Ned 2.0 and Arya = Catelyn 2.0" is one of those takes where you can just tell people are more attached to the aesthetic than anything. "The Stark girls are most like the parent they look least like" sounds good on paper and people run with the idea, regardless of how it actually fits into the story. A majority of the justification relies on misinterpreting all of their characters + a healthy dose of fanon. What gets me is that this is the same fandom that insists that Lyanna, only compared to Arya in the text, is equal parts Arya and Sansa but Ned and Catelyn, two fully fleshed-out and complex characters, have to be more like one girl or the other? There's just nothing in the story to justify being so adamant about these comparisons. Arya and Sansa have parallels with both of their parents but at the end of the day, they are unique characters with their own stories. I'll never understand why people want to flatten these complex characters down to their most basic tropes and fit them into restrictive boxes just for a "poetical~" comparison.

[prolibytherium]

I never touched it but I feel like i only ever hear positive things said about song of achilles.. in (rough strokes at least) what makes it dogshit to you?

Okay it's been a while since I actually read it so some of this might not be spot on accurate. Sorry if at any point I say 'the book never does xyz' and it actually does once or twice but I think my underlying criticisms are accurate

-Patroclus is made into like this soft gentle tender quivering little yaoi boy. In the source text, he's shown as compassionate and moved by the suffering of his own men (and apparently having some medical skill, tending to the wounded in the camp), but very much invested n combat and very, very good at it (pages worth of descriptions of the guys he's killing left and right). In this, the arguably more complex character from this 8th century BC text is flattened into Being A Healer, he doesn't want to go to war he just wants to help people, he only goes because Achilles has to but he doesn't want to fight he's a HEALER he's a gentle lover NOT A FIGHTER who just wants to help he just wants to help everyone around him he HEALS while Achilles is a doomed warrior who is so good at fighting and KILLING its a DICHOTOMY GUYS!!!LIKE THE BEAUTIFUL SUN AND MOON DOOMED LOVERS SO SAD patocluse HEALER . (I Think he's specifically characterized as being BAD at fighting but might be misremembering)

-I don't remember much about Achilles' characterization I think it just makes him less of a jackass while not adding anything of interest and levels out into being mad boring.

-Not getting into the literal millenias old debate whether the mythological characters Achilles and Patroclus were being characterized as some type of lover by the original oral sources of the Iliad or its Homeric writers. We will never know. We don't even know what (if any) culturally accepted conventions of male homosexuality existed in bronze age Greece (we know much more about their descendants). But there are some interesting elements of their characterization in this direction, with how unconventional their relationship is WITHIN the text itself- Patroclus is described as cooking for Achilles and his guests (very specifically a woman/wife's job), Achilles chides Patroclus like a father, but there's also scene where Achilles' mourning of him directly echoes a passage of Hector's wife mourning her husband, Patroclus is explicitly stated to Achilles' elder, and is overall treated as his equal or near-equal, closest confidant and most beloved friend (to the point that pederastic classical Greeks would debate over who was erastes (older authority figure lover) and who was eromenos (adolescent 'beloved')- many took it as a given that this text depicted their present-day cultural norms of homosexual behavior but it existed so Outside of these norms that it had to be debated who was who). Their relationship is non-standard both within the text and to the descendants of the civilization that wrote them.

Basically what I'm saying is this book had opportunities to like, explore the unconventionality of the relationship (being presented here as explicitly lovers), explore the dynamics of why Patroclus wants to do 'women's work' (besides being a tenderhearted softboy), the weird dynamics where they take on paternal roles to each other but also roles of wives, how they feel about being this way, and just kind of Doesn't. Which I guess isn't an intrinsic fault (because it omits much of what I just talked about to begin with). it's just like.... Lame. This book takes jsut abandons everything interesting about the source text in favor of flattening it into bland Doomed Yaoi.

-The conflict that sets off the core story of the Iliad is Achilles and Agamemnon fighting over Briseis, an enslaved Trojan woman taken by Achilles as a war-trophy, Achilles spends most of the story moping because he was dishonored by his 'trophy' being taken. Achilles and Patroclus and everyone else are raping their captives, all the women in the story are either captured Trojans (or in the case of the free women within the walls of Troy, soon to be enslaved, and are slave owners themselves). Slavery as an institution and extreme patriarchal conventions are innate to the text and reflective of the context in which it was developed. You cannot avoid it.

But obviously you can't have your soft yaoi boys doing this, so the author has them capturing women to Protect Them from the other men. Their slaves are UNDER THEIR PROTECTION and VERY SAFE (and they might even Like And Befriend Them but I might be misremembering that. Briseis does though). Our heroes have apparently absorbed none of the ideals of the culture they exist in and the author seems to think "they're gay and aren't sexually attracted to their captives" would translate to them being outright benevolent (also as if wartime sexual violence is just about attraction and not part of a wider spectrum of violent acts to dehumanize and brutalize an accepted 'enemy')

In the source text, Briseis mourns Patroclus as being the kindest to her of her captors, who tried to get her a slightly better outcome by getting her married to Achilles (which probably would be the Least Bad of all possible outcomes for a woman in that situation, becoming a legal wife instead of a slave), and wonders what will happen to her now that he's gone. This is a really really sad, horrible, and compelling dynamic which could be fleshed out in very interesting ways but is instead is tossed entirely aside in favor of them being Besties. Like brother and sister.

All of the above pisses me off so much. If you don't want to engage in the icky parts of ancient/bronze age Greece then don't write a retelling of a story taking place in bronze age Greece. I'm not gonna get mad at children's adaptations of Greek myths or silly fun stories loosely based on them for omitting the rape and slavery but it is SO fundamental to the Iliad. If you're not willing to handle it, either fully omit it or better yet set your Iliad inspired yaoi in an invented swords-and-sandals setting where you can have all your heartbreaking tragic doomed lovers plot beats and not have to clumsily write around the women they're brutalizing.

-The author didn't seem to know what to do with Thetis and she made her just like, Achilles bitch mother who spends most of the story trying to separate our Yaoi Boys (iirc her disguising Achilles as a girl and hiding him on Scyros is made to be more about getting him away from Patroclus than trying to save her son from his prophesied doom in the Trojan War) until she sees how much they loooove each other and I think helps Patroclus' spirit get to the afterlife or something in the end?

-This is more of a personal taste gripe but it has that writing style I loathe where the prose feels less like a story and more like an attempt to string together Deep Beautiful Hard Hitting Poetic Lines that will look great as excerpts on booktok (might predate booktok but same vibe). It's all very Pretty and Haunting and Deep but feels devoid of real substance.

I really like The Iliad and The Odyssey in of themselves. They're fascinating historical texts that give a window into how 8th century BC Greeks told their stories, saw their world, interpreted their ancestors, etc. And genuinely I think these texts have 'good' characters, there's a lot of complexity and humanity to it.

WRT the Iliad- all of the main Achaeans are pretty fascinating, the one singular part where Briseis Gets To Talk and laments her situation is great, Achilles fantasizing that all of the Trojans AND the Achaeans die so he and Patroclus alone can have the glory of conquering Troy (wild), Achilles asking to embrace Patroclus' shade and reaching out for him but it's immaterial (and the shade being sucked back underground with a 'squeak' (the squeak kinda gets me it's disturbing and sad)), Hecuba talking about wanting to tear out Achilles' liver and eat it in a (taboo, exceptioally pointed) expression of rage and grief for his mutilation of her son's corpse, just one tiny line where the enslaved women performing ritual wailing for their dead captors are described as using it as an outlet to 'grieve for their own troubles' is heartrending, etc. A lot of grappling with anger and grief and the inevitability of death, a lot of groundwork laid for characters that could be very interesting when expanded upon in the framework of a conventional novel.

And Song Of Achilles really doesn't do much with all that. I know a lot of my gripes here are kind of just "It's different from the Iliad", I would have thought of it as mostly mediocre and forgettable rather than infuriating if it wasn't a retelling (and I DEFINITELY have strong biases here). But I think the ways in which it is different are less just a product of a retelling (of course there's going to be omissions and differences) and more a complete and utter disinterest in vast majority of its own subject matter, to the book's detriment. I think a retelling has a point when it EXPANDS on the source, or provides a NEW ANGLE to the source. This book doesn't Really do either, it just shaves off the complexity of its source material, renders the characters into a really boring archetype of a gay relationship, and gives very little else. Its content boils down to a middling tragic romance that has been inserted into the hollowed out defleshed skeleton of the Iliad.

Bottom line: I definitely would not be as mad about it if I wasn't familiar with the source material but I think it's fair to expect a retelling to Engage with/expand on its source, and I also think it's weak purely on its own merits. This book was set up to disappoint Me specifically.

[vamptastic]

dgaf about egg jokes they're harmless and at worst mildly stereotypical do your thing im sure ive made one before. however. i do feel like the whole discourse was kicked off by that "egg behavior to wear women's deodorant as a man" tweet and we all collectively need to agree that that tweet was dumb & stupid and women's deodorant is objectively superior to men's. actually men's hygiene products in general just suck more except razors. apparently its manly to smell like shit and have dry skin. if i had my druthers id force every cis man to use dove deodorant. id mean id still do it if it made them transgender but i see it as more of a public service in terms of smell than in that regard.