#the fact that they aren’t even in character

[secretmellowblog]

Les Mis Hidden Name Meanings: Jean Valjean

Every Les Mis character’s name is either a pun or has some deep symbolic meaning– or both at once! Jean Valjean’s name has a ton of layers so let’s dive in.

When we’re first introduced to him, Hugo tells us that his name is quote “a contraction of voilà Jean, or “here is Jean.”” We’re told that he was named after his father, and that his family name probably began as a nickname.

The word “Jean” in french sounds like the word “gens,” which means “people.” So his last name is a pun meant to make you think “viola les gens”/ “here are people.”

The most obvious layer to his name is that Jean Valjean is basically John Doe. He is the anonymous Everyman. His sister’s name is Jeanne, so she’s basically Jane Doe. They aren’t special or exceptional or unusual; they’re just behold! The regular people.

In fact his name is so common-sounding that it's a plot point. Champmathieu, the man who is mistaken for Jean Valjean, has a name that the police connect with his. Javert theorizes that "Champ" is a version of "Jean" in a specific accent, while Mathieu was actually Jean Valjean's sister's maiden name. ("Champ" is also the French word for "field.") The fact that Jean Valjean is a peasant everyman makes it easy for others in his position to be conflated with him.

But the other layer is that this is all an elaborate pun biblical reference!

When Pontius Pilate presents a bound Jesus Christ to the crowd before his crucifixion, he says the words “ecce homo” or “Here is the man!”/”behold the man!”

“Voila Jean” or “here is Jean!”/”behold Jean!” is meant to be a reference to that.

During his death scene Jean Voila-Jean even references the “Ecce homo” line explicitly, gesturing at a crucifix and saying:

“Voilà le grand martyr.”

Which Isabel Hapgood translates as “behold the great martyr.”

At another point in the same scene Marius says to Cosette:

“He has sacrificed himself. Viola l’Homme. Behold the man.”

But more references to that biblical moment appear throughout the novel; Jean Valjean is associated with it constantly, all the time. It’s one of his defining biblical allusions. He’ll be trying to live anonymously, or under an alias– and then suddenly his true name and criminal past will be revealed, he’ll be revealed to be ‘the man,’ and some great horrible act of martyrdom will follow.

Sometimes Jean Valjean is the one revealing his own identity, but sometimes Inspector Javert is put into the role of Pontius Pilate. Javert himself explicitly makes that comparison– Jean Valjean as Jesus, Javert as Pontius Pilate– when he’s contemplating suicide.

And this ties into one of the largest differences between the book and the stage musical.

In the musical, “prisoner 24601” is the name that represents Jean Valjean’s dehumanization–while “Jean Valjean” is the name he uses while standing up for his own humanity. He will be called 24601, and proudly declare that “my name is Jean Valjean” to assert he’s still a person.

And while this is a great storytelling choice, it’s almost the opposite of how the name “Jean Valjean” is handled in the book.

Because in the book…. Jean Valjean IS the name that dehumanizes him. Jean Valjean is the name that he’s running from. The name that Javert uses when he’s insulting him, the name that bigots use when they’re threatening him, the name that ignorant people use when they’re mocking him – it’s not 24601, it’s Jean Valjean.

And there’s a special kind of agony to that.

The name that is being used to torture, humiliate, and dehumanize him isn’t 24601– it’s his name.

He thinks of it as a “fatal name,” as a punishment. Living under that name is living in hell. When Jean Valjean is living under one of his aliases, concealing his identity, he thinks:

That which he had always feared most of all in his hours of self-communion, during his sleepless nights, was to ever hear that name {jean Valjean] pronounced; he had said to himself, that that would be the end of all things for him; that on the day when that name made its reappearance it would cause his new life to vanish from about him, and—who knows?—perhaps even his new soul from within him.

It’s no wonder that he ends up internalizing the way society views him, and developing so much fear and hatred of himself. He’s grown to see his name as just….well, ecce homo, behold the man. His name is just the two words people say before they violently punish him.

Names and namelessness are a major theme in Les Mis, and he’s the character who has the most complex relationship with his own names. He has a legal name, but it’s used to torture him, and he has a series of false names he uses to escape torture.

If I were to describe Jean Valjean– one of the most complex characters in all of literature, in one word, that word would be “grief.”

The criminal justice system takes everything from him, including things he wasn’t aware he was able to lose. His name, the last connection he had to his family and his old identity, gets warped into this thing needs to view with fear and horror. The thing society despises isn’t 24601, isn’t a number they’ve placed on him – the thing they despise is Jean Valjean, some intrinsic inherent part of himself. He isn’t hated for what he did, he’s hated for what he is, and that is something he can never escape.

{But speaking of complexity we’ve actually barely scratched the surface of how Jean Valjean reacts to names, because he spends most of the novel living under a series of nicknames aliases. And guess what! Each of these names also has some elaborate symbolic meaning! If you’re interested in more posts covering his different aliases, feel free to leave a comment in the replies!}

[thanks for reading! For more in-depth analysis, check out the @lesmisletters readalong or join our discord server!]

[actuallyjustabiscuit]

Jax’s behavior is legit pretty fascinating

Yes it’s time I ramble about the purple twink.

Fast Food Masquerade did something crazy in that it actually got me to start empathizing with the asshole because Jax’s visible frustration throughout this adventure was too real.

And in fact, it’s why I think Jax was acting so “different” towards the latter half of the episode.

This adventure was Too. Damn. Real.

Now, Jax’s character is actually really simple. He even sums up his whole schtick in the pilot.

“I’m fine with doing whatever, as long as I get to see funny things happen to people.”

Then in a hilarious bit of instant karma, promptly gets hit in the face with a gloink

The “-who aren’t me” part of that self description pretty much goes without saying.

Immediately after this happens, Jax’s little laidback exterior gets so rattled that he suddenly feels the need to take control and starts assigning tasks to everyone. And his casual attitude only returns once he feels like he’s not in any position for ridicule, by redirecting the potential for ridicule onto others. This is his defense mechanism.

Jax needs to feel in control, so he deliberately controls whatever situation he’s in to get the results he wants.

Something that I’ve always appreciated about Jax from a meta perspective is that he’s a character who actively moves the story forward, usually because he wants to satisfy his urge to create chaos.

And that’s the main thing about Jax, he’s really destructive.

Like…almost pointlessly destructive.

But, y’know what? It makes sense. Because he’s in a video game.

Where else can you be as needlessly and excessively chaotic than in a game where you can do pretty much anything because nothing is real?

Jax can hurt whoever and wreck whatever because if he’s living by video game logic, then there are no lasting consequences to his actions.

Jax even goes so far as to refer to Pomni, and by extension the other trapped humans, as a “character” in the pilot. Which goes to show how little he wants to consider them as people.

You can’t really hurt a character. And if used correctly, a character can be entertaining.

And that’s all Jax really wants out of his new life in the Circus, entertainment. Because the worst thing you can be while stuck in a game is be bored.

But of course, even in games, your actions have certain consequences that are just unavoidable.

And Episode 4 really beat Jax’s yellow teeth in with that not-so-fun little reminder. Because this bit right here

Pretty much was the precedent for how bad Jax was gonna get it this time.

And it all starts with Gangle absolutely refusing to let his usual bullshit slide by personally making sure that there will be consequences.

This is the first crack in Jax’s mask, he’s visibly concerned and annoyed that he no longer is allowed to be himself lest he risks getting punished. And even more baffling is that for the first time, Gangle asserts her power over him. She actually does something about his behavior, ripping the wind right out of his sails. Not only that but she continually enforces her authority, making it harder on him to get the upper hand again.

Now his interaction with Zooble is really interesting, because it’s the first time we see him at his most normal.

I don’t think he’s trying to tease them here, I feel like he’s genuinely curious about Zooble’s way of “playing” the game, because remember, it’s been a long time since they’ve been on an adventure together, if at all. Zooble’s excuse of wanting to avoid punishment makes sense because they witnessed first hand that Caine’s unstable personality is capable of some legitimate danger.

Of course, Jax believes that there isn’t any real risk involved. The only immediate menace to him and his current desire to just get through the day, is Gangle and her new mask.

At this point he’s not trying to be destructive or disruptive. He’s fully apathetic, because being forced to act like a minimum wage salary employee is not fun in the slightest. He can’t make things fun for himself, so he refuses to participate entirely.

As the clock mocks him with every slow tick, his mask chips more and more.

Jax isn’t saying this to be calculatingly rude or hurtful, he’s not doing this to upset Gangle. He’s being sincere, which is why he’s not smiling.

Because Gangle is much easier to push around and go along with whatever he wants her to do when she’s in Tragedy mode. She’s more “fun” that way.

In other words, he really hates this new dynamic they’ve got going on.

But this little comment, just makes things even worse for him because now Gangle goes from enforcing her authority to straight up abusing it by letting herself abuse him for a change.

It’s crazy how Jax’s main concern here is making sure this torture scene is just between them. He really hates being humiliated, more so than getting physically hurt.

The man has some serious issues, but c’mon we already knew that.

So Jax is finally getting a taste of his own medicine and it completely emasculates him. To the point where he just defaults to doing whatever Gangle tells him to do just to avoid feeling like that again. Now the mask is fully stripped off, he’s openly exasperated and powerless. On top of that he has no real impulse to ridicule or ruffle anyone’s feathers anymore, because for the first time in probably a long while, he’s even more miserable than everyone else.

And what does misery love?

Company

As someone who’s worked in retail for a while, nothing helps keep you sane more than having a little of bit of camaraderie when struggling to survive in corporate hell.

Something that really stood out to me in this episode is the limited use in background music, especially when in Spudsy’s, where you either get muzak to sell the ambiance of a public eatery or silence with the occasional machinery noise.

And yeah, that’d be enough to make shit as immersive as possible. It’s not a coincidence that the restaurant looks like a McDonald’s when Gooseworx even said it was directly modeled after it. It’s uncanny, how real this setup feels.

Uncomfortably uncanny.Jax seething at the clock is a relatable struggle.

The mask immediately comes back on once Jax no longer has any obligation to stick around.

But Jax can’t even enjoy his freedom. His day is officially over, but the sting of the experience still lingers. The adventure wasn’t just boring or frustrating, it was humbling, in every terrible way. This wasn’t a game, it was real life.

And I think the last kick in the teeth was this license plate waiting for him in the parking lot (Why did Caine make them drive “home”? That’s just extra)

One is the loneliest number

Jax doesn’t hide the fact that he’s an asshole, he’s almost proud of it. He practically relishes getting a rise out of everyone. He is well aware that nobody likes him, but I think this where he starts realizing that it actually bothers him.

Everyone has talked about that very brief moment where Jax’s expression changed towards the end of Candy Carrier Chaos, when Ragatha was talking about Kaufmo’s funeral and we get to see him actually get sad for a change, before immediately shaking it off and stomping away in irritation.

Jax showed no concern over Kaufmo’s abstraction in the pilot, so why would he feel sad about it in that moment? Does he secretly care about his fellow humans and just doesn’t want to admit it?

Maybe. But personally, I think the others choosing to morn those who’ve abstracted like they’re dead makes him seriously uncomfortable. Because it serves as a reminder that even in this world, there are still major consequences when some things aren’t taken seriously.

Jax doesn’t want to consider real life consequences. None of them even look like real people, so why should he bother treating everyone like real people?

So when he sees everyone else getting closer and being good to each other, it’s annoying and weird. The idea that they need to look out for one another feels pathetic. Treating abstraction seriously means it’s a real danger, and that would mean that he’s also susceptible to experiencing it one day.

And when you’ve built up a reputation over making everyone miserable, who’s gonna wanna remember you?

In a show that’s clearly all about building relationships, Jax’s destructive behavior is really gonna cost him.

[elainsgirl]

I knew I wanted elain and azriel the moment he gave her truthteller. so despite all the theories and stuff, im sticking with this ship until the next book. people can call me delusional but im just going off on what I read and feel.

Hey anon 🫶

That scene was quite monumental, wasn’t it?

Azriel giving Elain his TT, a dagger he has lent to no one else. Elain choosing to accept it and its with this dagger that always strikes true, Elain stepped out of the shadows and stabbed the king ultimately saving her sister, her sisters mate and turning the tide of the war in their favour. Sweet little Elain, who would have thought?

It was one of the scenes where everything stops and you’re just focused on whats happening, really locked in. This scene made me see where Elriel was going and exactly what Mass was imagining. Especially when you now think about Hofas and the prison plot -> the TT scene is symbolic of the future Elain and Azriel will accomplish together. And I’m not even sorry to break it to the antis but no author would ever put in such a huge significant, may I add Romantically inclined scene, between two characters who aren’t endgame. By this point - she had an idea for the spin-offs AND the fact Az giving TT to Elain specifically was brought up in acofas - the bridge between the og series and new books as well as THE book that sets up the main foreshadowing for the future novelS, says a lot.

That scene should’ve been written for Az and his final Li to make it so impactful, if his Li was Gwyn - Mass would have written the scene between them. But she didn’t. Why?

🗣️ ELRIEL IS ENDGAME 🗣️

I cannot believe this fandom has gotten so misguided that people call others delusional for literally reading the books instead of jumping onto whatever is the most popular ship. You are no where near delusional for picking up the clues the author intentionally wrote. Its there for a reason and its not to fill up a word count.

[glitter-stained]

I'm writing a Jason Vs Dick fic for a secret santa exchange...

The prompt has the fic set during the Battle for the cowl arc - Jason is the villain. He's delusional (the dyeing his hair thing never really happened - he dyed his black hair red) and seriously messed up. It is a pretty dark fic.

Basically Jason knows on some level how badly messed up he is. He wants Dick to be his Robin, because he believes that it was Robin Dick who saved Bruce from darkness. He wants Dick (who is already juggling too much responsibility) to do the same for him... Be the light to his darkness...

Saw your posts about the BTFC arc in particular and mentally ill villains in general.

Any suggestions on how to handle the BtFC Jason?

...don’t ?

No, wait, listen. I know I said “write what you want as long as it’s self-aware”, it’s just you’ve chosen to write an absolute nightmare of a minefield to be self-aware about. I believe it’s possible to write Btfc fanfics that aren’t psychophobic, I just think it must be incredibly hard; Btfc is my second least favourite comic because all of it is soaked and drenched in psychophobia and I wish with all of my heart for dc to continue ignoring it and hopefully bury it under layers and layers of retcon until it’s less significant to Jason’s modern characterization than Waldo the clown (no hate on Waldo, he was much better than anything about Btfc though). So, I can give you advice for sure, I’m just concerned it will not be enough, because I wouldn’t trust myself to write a non-psychophobic Btfc fic, but you sure can try!

The core issue about Btfc (and any villainous characterization of Jason) is that, at the difference of other characters like the Joker, there’s a strange kind of coherence to it. For all we talk about Jason sometimes acting OOC, he’s reliably showing symptoms of BPD, like, to me, it’s pretty blatant. The difference between UTH and BiB or Btfc isn’t that he has BPD in one and not the other, it’s that BiB and Btfc are much more brutally psychophobic renditions of BPD than UTH (though UTH isn’t fully clean either). In other words, Btfc is a violent caricature of Borderline Personality Disorder. I’m not sure if this is on purpose, because on the one hand, it’s so consistent I feel like someone at dc told the writers “Jason has bpd” and they all ran with their caricatural representation of the disorder, or (because I don’t wanna underestimate dc’s ignorance regarding mental disorders) if they just read about him, thought “hey, he kinda fits into that subtype of stereotypical mental illness I have in mind” and projected their stereotypes about BPD about him without even knowing those are BPD stereotypes. The end result is the same: bpd on a spectrum from “almost well written” to “nastiest rep I’ve ever read”.

Now in Btfc (just as in UTH or BiB tbh) I’d say Jason is splitting, having an episode in which his BPD symptoms are flaring up completely. This can absolutely include brief psychotic episodes, and tbh the part you mentioned about dyeing his hair I can totally get behind. And because you’re writing Jason in the middle of a particularly intense episode, you can’t make the economy of considering the question of moral responsibility. If Jason is committing morally reprehensible actions as a consequence of the disordered patterns in the context of the episode, whether we’re talking about splitting or delusion or disordered thought patterns, you have to consider the question of responsibility, and on a spectrum. You also have to identify who is deciding those actions are morally reprehensible (is it Dick? The law? You, the author? The anticipated reader? All of them?) and whether you expect this judge is passed on the action, the person, or, who knows, even the disorder itself. And of course consider the implications of that fact. (For example, it’s completely possible for Dick, in the context he’s grown and developed in, and considering the insane stress he’s under, to be psychophobic as fuck; and obviously, writing a character doing something doesn’t mean that you support it, but if Jason is the villain and Dick is a hero and Dick is being psychophobic you should pay attention to whether the narrative is implying that Dick is right to be psychophobic about it.)

[girl4music]

YES! Finally! Catra’s redemption! I’ve been waiting for this moment for the whole fucking show. I knew it had to take a long time but I didn’t expect 4 full seasons.

So they’ve got 1 season (technically 10 episodes) to really make something out of this redemption arc for Catra. We all knew she cared. That she was only so awful to people because she didn’t want to feel weakened and without purpose. But taking her out of her familiar and comfortable environment and completely stripping her of her friends (or those that tried to be her friends) would have an immense effect on her. Would make her go the opposite way because she’s got nothing left to prove except the fact that she could do one good thing. Unlike Hordak or Shadow Weaver, Horde Prime has no use or value for Catra unless she’s of the Horde hive mind. Unless she’s completely erased of all autonomy…. Just like Hordak. She knows she doesn’t want that. No autonomous being in their right conscious mind would want that.

So they did all that well. I don’t think it needed to take 4 full seasons but… the point is that she’s turned the corner now and she’s ready to help the Rebellion even at the cost of her own safety and well-being. So heroic.

And her heroic efforts won’t be in vain because now they have to return the favour. They have to save her.

I’m assuming (I don’t know for sure) that from this, this is when Catra and Adora reconcile their differences, become friends again and hopefully… fall in love. I mean strong and deep feelings for each other were always there no matter which side of the spectrum they fell on. Hate or love. In fact I would say that’s the only reason why the hatred was that intense between these lead characters. Because it was formed from and by such an intense love for each other ever since they were kids. So it has to come to the forefront at some point otherwise there wouldn’t be any reason to make it so intense. It’s a culmination of so much left unsaid, unheard, undone and I know you can’t just do it without all the build-up.

After all, that’s exactly how you do enemies-to-lovers.

Or… friends-to-enemies-to-lovers. It’s complicated. But the aim of the game is to show the intensity of feelings there no matter which is on the side of “good” or “evil”.

They’ve done that well and then some. Now they have to show what all of that intensity was cultivated from.

And the answer always is love. Deep romantic true love.

I could make a million predictions on this because there’s so many ways you can do this. But the best way - in my opinion - is to put them both in dire straights and then have them prove to each other what’s more important to each other. The mission or each other.

Now the mission as it stands now - from this episode and onwards - would be to escape Horde Prime’s clutches and return to Etheria to the other Princesses and leave Catra to deal with her betrayal on her own.

But they won’t do that because that undermines the lesson of the mission as a whole. To protect their own.

Catra is one of their own now that she saved them. This is what makes the difference between good and evil. The good guys don’t ever leave one of their own behind.

The arguments of the greater good always falls to love and when you’re put in those dire straights - one thing has to be accomplished from the narrative undertaking.

That is that the greater good and love aren’t conciliable. Even in a kids TV show the honesty of that is important.

In all respects leaving Catra behind would be the greater good thing to do for the betterment of Etheria.

But it wouldn’t be the right thing to do between them. Between the love that’s there and always has been there between them. It would still feel very wrong.

So the prediction is that they’ll save her because how could they not after she’s risked herself to save them?

And even if she didn’t - how could Adora not want to? Strong, deep and intense feelings determine the plan whether it be for the mission or against the mission.

That’s the way I’ve always known it anyway but then I’ve always had the best example of what true love really is and all my mindset, personality and worldview is informed by that representation of what true love is.

It goes beyond the greater good. It goes beyond destiny. It goes beyond life itself. It’s that profound.

If I didn’t have that lesson ingrained into me from when I was a child, then I would say leave the cat behind and get on with your lives in the way you deserve to live them. But that’s not who I am and it never has been.

[walkawaytall]

Okay, I’m about to be real blunt: They literally are not carbon copies of one another, and it is so odd to me that this is commonly held fanon???

You know how I know they aren’t carbon copies of one another? Because Leia lost way more than Anakin did but doesn’t appear to have even been tempted by the Dark Side. She never knew her birth parents (which, okay, this appears to not have affected her much, at least consciously, but it’s still a really early, major loss); she didn’t even know she had a brother until they were adults, so I imagine there is a certain level of grief surrounding what their relationship could have been had they known each other their entire lives; she lost her entire planet — which includes the family that raised her, by the way, as well as every friend, pet, home, store, tree, and mountain she ever loved, not to mention all the people who she grew up knowing she would be responsible for one day; she had the man she loved ripped away from her and sold off to the space mob to be murdered for like a year; and she watched her newly revealed brother/close friend walk to what she clearly believes is going to be his death at the hands of Vader, who tortured both her and the man she’s in love with and cut off her brother’s hand. And that’s not even getting into all the misery that was heaped on her in the sequel trilogy or any non-movie material.

All of that happened to her, and she proceeds with hope and action. She doesn’t go searching for ways to make sure she’s never hurt again or go to extremes in order to keep those she cares about within her grasp. I’m sure one could argue that Leia has no way of seeking out the Dark Side for help because she doesn’t know she’s Force-sensitive. But she has ample opportunity to do what normal, everyday humans do when they’re afraid of feeling the pain of loss, which is isolate themselves or try to control the movements of those they’re afraid to lose, and she doesn’t.

Like, there are three years between A New Hope and The Empire Strikes Back, and everything about the way she interacts with Luke and Han in ESB implies that she has maintained some level of affection and friendship with both of them that is different from her professional relationships. A deleted scene has her responding to the news that Luke is going to be leaving as well as Han by bemoaning the fact that she needs to learn to only rely on herself — meaning that is not something she’s currently doing.

And, while she is clearly affected by the threat of Han and Luke taking off, she also doesn’t appear willing to do anything extraordinary to stop them. She tries to talk Han out leaving, which is a pretty normal response for the insane situation they’re in, and she begs Luke in Return of the Jedi to not face Vader, but she doesn’t go to extreme lengths to keep either of them around even though their leaving clearly hurts her.

It seems like people see that Leia can react intensely/angrily, and because Padme doesn’t do really that, they default to her being just like Anakin. This is bonkers for a couple of reasons:

People are not required to be exactly like one of their bio parents. Like, I know George Lucas is a fan of mirroring certain characters, situations, etc., but there is not really any evidence that I’ve seen that the intent with Leia was to be analogous to Anakin (plus, he already did that with Luke! Or does Luke’s outburst during his face-off with Vader and Palpatine followed by his recognition of their similarities upon seeing Vader’s mechanical hand followed by “I am a Jedi, like my father before me” mean nothing to people???).

If you actually examine the situations in which Leia reacts with anger, they are pretty specific to life-threatening situations in which everyone is yelling at everyone, or a couple of times when Han is actively trying to antagonize her (which I feel says more about their ability to get under one another’s skin than it does Leia’s general state of being). Luke and Han are just as quippy and sarcastic and eye-rolly and impatient as Leia is a lot of the time, but her anger is often focused on, and I honestly think it’s because her character is being contrasted with an expected princess archetype. And that’s fine; Leia is a fun subversion of a well-worn character type. But Leia also chills out a lot when she’s feeling more secure/less threatened, and I would argue that’s probably closer to her “normal” than how she acts when she’s just spent a few days being tortured for information followed by being forced to watch the destruction of everything she loves. (She remains very capable, proactive, impulsive, and clever even when she’s less of a ball of anger, too, so it’s not like the tempering of that anger results in her being any less Leia-like on the whole.)

I just don’t see how Leia is considered “exactly like Anakin” when she generally makes good, non-possessive decisions while maintaining hope in the face of great tragedy, while Anakin has a history of doing the opposite.

In summary: a woman being a little shouty and sarcastic ≠ a man murdering innocent civilians and turning almost completely evil.

mourning leia and anakins potential father-daughter relationship because of how vader destroyed her is another level of tragedy

they will never know they are a carbon copy of the other

she will always (rightfully) hate him

[k1ranishf4]

I found this on Pinterest and I can’t stop laughing

[cowboysmp3]

there’s something sooo sickening about how dunmeshis whole energy is like sometimes something terrible and awful happens to you and it changes you forever and nothing can make you the person you were before but there’s still love and there’s still sharing a meal together and there’s still living

[dykedvonte]

Honestly a sorry from Curly would mean nothing to Anya.

I’m not saying she wouldn’t want to hear it, it’s a hollow vindication. She told him and he couldn’t hear her. He saw it and he couldn’t understand it. They both experienced it and he should apologize that it took that for him to get it. She already knows he’s sorry but what’s the point if neither of them can do anything about it? It’s earnest but at the same time what she wants an apology for is what Curlu can’t apologize for.

He can’t be sorry for what happened to her even if he is. Even if he carries that guilt with him until the day he dies it’s not all his to bare. The most heinous parts aren’t his weight even if he tries to balance it. A part of her bitterness is the fact he can’t be sorry for it all. She can’t just direct it all towards him even if she wants to. She was failed in so many ways by all of them. It hurts with him the most cause he had the power but they all did nothing in the grand scheme of things.

The one person who should apologize would never and could never, it’s not something you can be sorry for. She wants an apology, she needs one but what would it fix?

[mothandpidgeon]

Too many thoughts on Gladiator 2

Ok, fuck it. I was having yet another sleepless night and decided to just dump all of my feelings here. I’ve only seen it once and I haven’t read any reviews so I won’t say my takes are perfect but also it was a mess so if anything is inaccurate here, I blame Ridley Scott. Spoilers below the cut.

First off, I don’t want to do a cinemasins on this movie. I’m not going to bash the clunky garbage dialogue that could’ve been written by an AI (the way I laughed when Pedro yelled “KILL HER!”) or the contrivances like Lucilla recognizing her long lost son from the way he was stimming in the sand. I’m not even going to harp on the fact that it’s wild a movie in 2024 features a white man transported on a slave ship. The absurdity isn’t the problem for me. 

So let’s start with the filmmaking:

Now I know that much of this movie was left on the cutting room floor. Entire characters were dumped in the edit. But I find that an unacceptable excuse for the mess that is G2. In fact, it’s absurd that that would be the case when Ridley Scott has famously cut and re-cut Blade Runner. He’s a legendary filmmaker and knows how tricky it can be to get the intended vision out. Yet the film is held together with scotch tape and paperclips. It felt like I was watching a movie made with the scraps where the actual shots had already been thrown away. Honestly, I’m not even interested in a director’s cut because that would mean MORE of this film where there already is too much.

The pacing is somehow a slog and yet rushed. I watched Paul Mescal fight sooo many people and animals and ships. IT’S ENOUGH SLICES! Central characters die HORRIFIC deaths but the film has no time to even register their passing let alone mourn them. More monkey battles! Are you not entertained?

It’s not just the editing that is a problem but the direction. None of the characters seem to be in the same film with one another. All of the performances are fine. Some of them are pretty great. But truly nothing matches even within the same scene. (And that goes for the cinematography as well. I won’t get into it without proper screenshots but it’s maddeningly inconsistent.) The characters aren’t even coherent to themselves. Lucius is a brooding loner whose entire personality is hating Rome yet he’s also (somehow) the leader of the nameless gladiators and future emperor? That’s largely fine, though, because I couldn’t give less of a fuck about any of the characters. Without taking into account anything we learned in the press tour, we aren’t really given any reason to sympathize with them.

Because the writing is garbage. The movie TELLS us that Lucilla is good but what's she doing for the common people? It TELLS us that Acacius is a good general but he got caught marching a bunch of guys through the streets. It TELLS us that Rome is ruled by the corrupt and people are starving but all I'm seeing is the spectacle of the colosseum. It even tells us that Lucius is sad his warrior wife (did she have a name???) got fridged but is their love story really just respectfully lacing one another's armor and giving a chaste kiss while having a snack?

The film even tells us that Marcus Aurelius had a vision of Rome that the audience should root for. And yet…

That brings me to Macrinus and the movie’s central message. Macrinus is presented as some master manipulator, 3D chess playing Littlefinger but at the end of the day, sure I guess he threw the empire into chaos for his own gains (to say he was pulling the strings feels generous) but he also killed both emperors with his own hands. So not sure what all of the scheming was even for. (I also have no clue why he felt the need to offer Lucius a shot at Acacius but I guess we needed to get them in the ring together somehow?) 

The reveal of his brand is actually one of the only powerful moments in the film, forcing Lucilla to confront reality as opposed to idealism. But the movie doesn’t care to engage with that. The audience isn’t asked to question the Aurelian vision of Rome and its hypocrisy. In the end, we are told that we should put aside our political differences and embrace some vague platitudes that make up the American self-identity. The people can rise up so long as they rally behind the nepo baby of Rome. A dude who hasn’t even lived there for a majority of his life, who decided, like, 15 minutes ago that he should get involved in the political process.

Anyway, I liked the monkey. 

I finally got to see G2 this week and I cannot stop thinking about how terrible it was. Not a single normal choice made. I’m considering putting my thoughts together into a review mainly so I can get them out of my brain and move on with my life. So idk let me know if you want to hear my Ted talk I guess.

[boysborntodie]

I fucking love Dally and Ponyboy’s friendship when you don’t have a bitch in your ear saying that it’s the exact same as Dally and Johnny’s

[steamedlotusroot]

as a native chinese, i feel like some of yall are taking the gods in lego monkie kid a bit too seriously. i understand why it feels iffy to ship / make silly content of deities that people worship irl (eg. nezha, sun wukong) but it’s a phenomenon on chinese social media too. c-netizens ship the fictionalized versions of these gods, which the gods of lego monkie kid are. they aren’t the actual gods people worship; they’re slightly tweaked versions of the book characters, just like any other chinese adaptation or retelling of jttw (and such stories like fsyy) also, no, nezha isn’t a child, in lmk or jttw or sometimes irl. just because he’s often depicted in child form doesn’t make him an immortal child. eros / cupid is often depicted as a winged baby, and he has a wife and kids. it’s basically the same thing here. nothing in lmk suggests that nezha is a child (his voice, his appearance, his personality etc. all imply he is an adult), and while he’s described as youthful in jttw, he’s already 1700+ years old by then and gods can shapeshift. people only think he’s an immortal baby because that’s a popular depiction of him, since one of his prominent myths is set during his childhood. but as long as you’re talking about the god nezha (fictionalized or the religious figure) and not the human child nezha, then that’s an adult [edit: the last sentence couldve been worded better. i would summarize it as “immortal youth nezha is a valid depiction and is popularized by mythology, but adult god nezha exists too and they are NOT mutually exclusive”]

[skywalkr-nberrie]

One of the biggest arguments I’ve seen used by the Ob*d*l*s against Anidala, is that scene in the ROTS novel where Padmé says she could trust OW with the secret of the rebellion and was hesitant to tell Anakin and I just wanna say:

Padmé wasn't an idiot. She was an extremely intelligent and competent woman, perfectly able to understand that loving Anakin and thinking that he could be trusted with a certain politic-related matter were two very different things and reducing her choice regarding who to trust with an important political matter only on the basis of her feelings of romantic love diminishes her professionalism, and this is why I say y'all could never understand her.

Padmé didn’t have to "love" OW or even like him at all to know he was the perfect Jedi to ask for help in a secret political matter.

That's the point being made in the novel, she’s hit with the realization that Anakin in this particular moment could not be told this piece of info because of his relationship with Palpatine, and Padmé specifically mentions in the Junior ROTS novel that she didn't want to make Anakin “keep a secret” if he didn’t agree with their stance because it’d be “unfair.” So this also played a part in why Padmé didn’t think it best to inform Anakin about the Rebellion. It honestly had little to do with her actually lacking trust in him, and more to do with the circumstances she was in not allowing her to be open with her husband and her not wanting to make him choose between his wife and his “father figure.”

However, Padmé knows OW’s political ideas aren't tied to ONE particular person but to a philosophy, one which is closer to her own, at that point. None of this was ever meant to be hinted as “romantic” or even remotely insinuated as romantic. It’s strictly professional and even the tone of the scene makes that so abundantly clear.

All I’m saying is that, some of these proshippers are doing the most out here to try and prove their ship, like my loves? You forgot a very important thing called ✨ context ✨ and regardless of her rational thinking, Padmé still went out of her way to try and talk out all of this Rebellion secrecy stuff with Anakin when she confronted him in the scene where she asks if he ever thought they were “fighting on the wrong side.” Padmé didn’t trust OW in the same way she trusted Anakin (with her entire self and being) she had the level of trust and love for Anakin that was only meant for him.

Mixing up her unwavering faith in Anakin as her husband with her trust in OW’s devotion to duty as her comrade/ally is purposely deluding yourself, because the two aren’t the same and therefore can’t be compared. An example of this is: Padmé constantly putting more value to Anakin’s words over OW’s in the end of ROTS when he came to tell her of Anakin’s “crimes”. She completely disregarded what OW had claimed about her husband and instead made her way to where Anakin was herself, to ask him directly. Despite what the truth was, this is proof of her trusting Anakin unconditionally, and I didn’t even think I had to spell that out because it’s as clear as day.

In conclusion, Padmé didn’t trust OW more than Anakin, she just knew the circumstances she was in didn’t exactly make it easy for her to openly talk with her husband about these matters and that’s part of what played into the issues they had in ROTS, it’s exactly what Sidious wanted. This scene in the novel doesn’t exist to imply some hidden romantic undertone that George was intending all along. No, far from that. George was always an “open, , clear and easy to understand” type of storyteller, so if the former was the case, this scene wouldn’t be any different if there was some hidden message or subtext the reader should be made aware of, George would make it obvious. Fact of the matter is, the one and only reason for this scene in the novel to exist is only to show to us as the “reader” that the narrative is tearing apart the Star-Crossed-lovers (Anakin and Padmé.) and visibly putting the two of them on different sides in the story because the consequences of this narrative choice is what will foreshadow and play into the inevitable and great fall of the couple and character in the future. Even the novel makes a very purposeful and clear distinction between “love and trust” in this chapter where all this occurs. Padmé loves Anakin, but knew she had to trust OW with the situation at hand. And if you want to talk “narratively” Padmé needed a reason to keep the Rebellion a secret from Anakin, thus leading to Palpatine to sense “betrayal” in Padmé later on, and using that to his advantage to manipulate Anakin even more into getting him to “suspect” her. It’s all spelt out for us and it’s not hard to miss. All it takes is a little media literacy and understanding context.

(Mind you, hypothetically, if this scene existed for literally any other reason, it would’ve been brought up again, but it wasn’t. It’s only mentioned once and exists for only one moment which was meant to serve a certain narrative and then it was done. There’s not much to make of it since the context of the scene is so clear.)

[junkosblunt]

you’re right—junko would never murder anyone if it didn’t bring her the pleasure of despair. that’s the point. she cares more about alleviating her chronic boredom than she does about human life, something no one capable of affective empathy or remorse could ever do. she isn’t a stereotypical case of antisocial personality disorder like mukuro, which is why i mentioned at the beginning of my response that i prefer the term psychopath for junko—she has a constellation of traits from narcissistic, borderline, and antisocial personality disorder.

if junko were capable of experiencing authentic remorse and empathy, she wouldn’t be able to carry out the senseless atrocities she does. she prioritizes her emotional hedonism over the literal lives of other human beings. like i said, junko absolutely has favorite objects. she loves certain objects, holds them dear, but at the end of the day, she’s able to torture and murder them at the drop of a hat because it brings her a sick sense of sadomasochistic pleasure. regret isn’t remorse. mourning a loss isn’t empathy. no one capable of experiencing affective empathy or remorse would be able to do what she does. no one.

her own despair matters more than human life. people with borderline personality disorder don’t value their emotions or their pleasure over human life. they experience (honestly heightened) affective empathy and remorse. junko lives for junko, taking lives as she pleases like some sort of god. everyone exists for her to derive pleasure out of torturing. they live so she can harvest their despair, even her own boyfriend.

as for her narcissistic traits… she lacks empathy, has a grandiose sense of self, is preoccupied with herself, exploits and hurts others for her own gain, and (sometimes on more of a subconscious level) believes that she’s special and doesn’t have to abide by the rules. (i’m assuming that you’ll probably want to bring up her viewing herself as an average girl at the end of dr0 but i implore you to look at her actions and dialogue in the sixth trial in thh. also her different personas.)

it isn’t that she’s “crazier” because she has antisocial personality disorder. it’s just a much more accurate label when it comes to how her mind works. if she only had borderline or histrionic personality disorder, she wouldn’t be capable of her despair endeavors because empathy and remorse would hold her back. (in fact, it’s high cognitive empathy and staggeringly low affective empathy that allows her to enjoy the spoils of her depravity.) she’d recognize the humanity of others outside of how they serve her. no one capable of feeling true affective empathy or remorse would murder other human beings for pleasure. she displays traits of borderline personality disorder, but her antisocial and narcissistic traits hold significantly more weight.

i think sometimes we as human beings tend to want to project ourselves onto our favorite characters regardless of their canon characterization. this is especially true for characters like junko who really aren’t relatable, who don’t experience remorse or empathy, and who are objectively wicked from all angles. in an attempt to relate to the unrelatable, we can assign them traits, beliefs, and morality that isn’t actually there in canon. it’s important to keep biases like that in mind when we analyze characters. we need to be looking at the whole picture regardless of whether we like what’s there or not.

Tbh it drives me crazy when people call Junko antisocial (describing antisocial personality disorder) and don't focus on Mukuro who is 100% more antisocial than Junko.

Apart from the fact that Junko doesn't show almost any of ASPD symptomps. Ig chronic boredom and reckless/impulsive behaviours is the only symptomps she showed (but these also can be BPD/HPD symptomps which definetely fit her more)

That's all for first

For second, I hate when people are making Junko a freaking devil (I mean, they're right but it's not about this right now) and show Mukuro as a "little baby girl who didn't do anything wrong, she was so sweet and manipulated🥺" WTF DO YALL EVEN TRY TO WATCH THE SHOW AND THE OTHER DANGANRONPA STUFF.

Don't misunderstood me. I love Mukuro with all my heart but she absolutely wasn't an angel. Of coure, Junko was the mastermind but Mukuro was the same terrorist and helped her with pleasure and any guilt or empathy to others (if we talk about antisocial traits??). She was the same aggressive and verbally/physically abusive as Junko. If she wasn't worse.

No, just because she was dependent on Junko and developed weird Stockholm Syndrome doesn't make her poor and innocent baby, please don't make her this way.

I'm not trying to defend or make one of the sisters more or less bad, but between these two Junko was the one who felt real empathy, guilt and remorse. Mukuro absolutely didn't. So why Junko is the one who was "sociopath"?? No, not everyone who is a murderer has antisocial personality disorder.

[l1ght-n1ghts]

HAPPY WADDLE DEE WEDNESDAY. HAVE AN AU DESIGN. BANDANA DEE I LOVE YOU FOREVER AND EVER

+Design notes/headcanons under cut

Lots of inspiration from animals I'd call "orbs with legs". For example: Jerboas, European Robins, etc etc. Keeps the round silhouette while also giving me reference to use!

Also inspiration from owls. Barn Owls in particular. Wanted to keep the face relatively bare with a very small mouth since in canon Dees don't have visible mouths at ALL. So I used the owl beak structure.

Ears are a remnant of when I originally wanted to make the Dees canine-esque to make a reference to their Forgotten Land counterparts (Awoofies). Now they're there to give the head the silhouette of a Waddle Dee with their arms up :)

Also kept King Dedede's design while making this (I wanted a young Dedede to look like a Waddle Dee), so overall Dees look like little theropod dinosaurs!

Dees are communal creatures that also raise their young in a group. So while it is possible for a Dee to have actual parents, the connection typically isn't one of a nuclear family structure. Dees place a lot of emphasis on chosen family, strong platonic bonds, and friendships! Bandee's friends are a mixture of all three to him :)

While Kirby has star-like markings, I wanted to give Bandee hearts! Because he is soooooo full of love

The bandana was a gift from the King. This is what sparked Bandee's fierce loyalty to the King. He makes sure to treat it very gently so it lasts as long as possible

Bandee uses his tail to give him the lift needed to fly and keep up with his friends! He trained very hard to be able to use it properly and not fall out of the sky. He is very proud of this feat and is willing to teach it to other Waddle Dees who ask!

[pwurrz]

being obsessed with yakumo is a job and baby i’ve never called in a sick day!!!!!