#the 'something' is a lot of violently conflicting thoughts as they destroy each other emotionally

[oc-cinematic-universe]

taps microphone. clears throat. has anyone else noticed the weird tension between dara and lily and how they have a complex dynamic that could so easily fall into some damn romantic tropes- *i dont get booed off the stage but i leave of my own accord as if i had anyways*

[greensaplinggrace]

honestly THANK YOU for saying all that abt baghra bc i thought i was going crazy from not liking her??? bc i haven't read the books and only summaries of them on wiki and like. i dunno why ppl like her actually even in the show bc this guy, her son, is like "i wanna make the world better for us grisha" and she's just like "no." even tho he sees that she's MAKING HERSELF SICK from suppressing her powers! she's literally like in bed coughing in the flashback yet seem much healthier at the little palace. also like after everything, after her disapproval, after the fold, after centuries of waiting for the sun summoner.. he never abandons her. he makes sure she's cares for. he doesn't harm her. and i have to wonder if baghra has ever thanks him for that, for just not leaving her alone. like i dunno how im suppose ro believe aleks is a heartless villain when he still cares for his abusive mom like this. like has baghra even told her she loved him (honestly she reminds me of a classic emotionally unavailable asian parent but maybe that's just me). also im wondering if baghra ever told aleks that he had an aunt.. bc like.. now that u bring up her isolating him it's like hmmmm...

not at me being like alina... why do u trust the bitter old woman who literally beats u with a stick and verbally abuses u every chance she gets.. just bc she showed a bad painting... like.. pls use two braincells to see that who u figured out as his mother... is also using his protection..

like baghra could've upped and left with alina. but no. she stayed bc she knew she was safe under aleks's protection.

alsoim just impressed that after his first friend tried to drown him and harvest his bones... he didn't go into hiding???? he still wanted to make a safe heaven for grisha!!! HE STILL WANTED TO PROTECT GRISHA EVEN AFTER HIS GRISHA FRIEND TRIED TO KILL HIM FOR HIS FUCKEN BONES. like... this is the guy im suppose to believe is the villain???

honestly i feel like part of the reason why LB's plotlines seem so bad and disconnected (and sometimes outright racist but that's another rant) and why darkles is disproportionately more violent and villainous in the later books is bc she didn't expect the darkling to be so popular and wanted to stick with her guns of making him the villain. but also wanted the money from aleks's popularity. but like you can't have ur cake and eat it too.

Well thank you for sending this ask! It's very sweet and very passionate. I'm glad you liked my post! I didn't put as much thought into it as some of my others lol. I kind of just talked. But it was nice to be able to finally talk about some of the problems I have with both her character and the fandom/author's perception of her.

HERE is the post this is referring to, in case anyone's wondering.

👀👀 You've hit the nail on the head for so many things, here!

Baghra is extremely emotionally unavailable, basically to the point of neglect. She's also verbally and physically abusive, traits which I doubt were only reserved for her students and not her son. Baghra claims she would do anything to protect him, but I've known a lot of parents who have that mindset and yet still harm their children because they think it's "good for them".

Aleksander stays at Baghra's side for years, and even when they're opposing each other she's never too far away from him. Idk if you've read the books but he does eventually hurt her. And as much as I don't like Baghra, I think his actions were horrid. But I'm also honestly kind of surprised it took him so long lmao.

Yeah I mean, in terms of isolation, let's not forget that she never wanted to introduce him to his father, either. Baghra's sense of eternity clouds a lot of her judgments on relationships, which means she views most people as dust and therefore teaches her son to as well. The problem with that is that he's a growing child, and he needs those social and emotional attachments for healthy development.

I would bet quite a bit of money that Baghra has either never told him she loves him or she has told him so few times it's practically forgettable.

And everything becomes more complicated because so many of Baghra's actions are understandable because of her life and her history, but the impacts they have on the people around her, especially Aleksander, are permanently damaging. And the fact that that's never gone over in critical depth in the books or how it's glossed over in fandom is just very disconcerting. Like, acknowledging Baghra's failings doesn't mean we're excusing Aleksander's actions, it just means we're holding Baghra liable for her own. Which the fandom should be doing, considering she's the epitome of an abusive parental figure.

And Alina trusting Baghra over Aleksander is even more confusing! Especially in the show!! This is the woman who beat her and abused her and tortured her friends when they tiny little children (and who probably still does so now that they're adults). This is the woman who mocks you and harasses you and insults you on a regular basis. Why does Baghra revealing she's Aleksander's mother make Alina change her mind?! Like fuck, I'd just feel bad for Aleksander. No wonder he kept it a secret, I would too! And that painting is enough evidence?! Really?! A random painting shown to you by this abusive mentor that's been making your life hell. That's what you're going to betray your new lover over?

The friends trying to harvest his bones thing is a good point, too. I think Aleksander, especially show Aleksander, is incredibly idealistic. I think he cares too much for others - those he's deemed worth his care (a sentiment given to him by Baghra). Despite everything she's tried to teach him about hiding and abandoning others and never caring and never doing anything to help or reach out or connect with people, Aleksander still continues to do so. It's likely because he never got it from Baghra growing up, and so is desperate for those emotional needs to be fulfilled elsewhere.

His turning point, when Baghra tells him it was understandable that those kids tried to kill him because the world is such a hard place for them - that's crucial. And the reason it's possible as a motivating factor is because of that idealism and that desire to help and that desire to be everything his mother isn't. Baghra tells him this trauma he just experienced was because of the oppression of his people, and instead of following her lead and accepting that, going into hiding and abandoning everybody to their misery, he goes I can do something about that. I can make it so this never happens again. Which is usually how trauma like that combines with one's core personality traits at a young age, especially when there's none of the essential support systems in place to aid in recovery (ie, the role Baghra should have been filling but wasn't, because she decided to exacerbate the problem instead).

And yeah, one of my biggest problems with the ham-fisted "beating you over the head with a sledgehammer of evil deeds" look-how-bad-this-character-is! portrayal of the Darkling in the later books comes from the impression I get that Bardugo doesn't trust her readers. She's so desperate to have us hate this character and think him an irredeemable villain, not trusting any of her readers to engage critically with a morally gray character, that it feels quite a bit like condescending fucking bullshit. Which ew, I know how to engage with literature, thanks.

She really does seem to look down on a large part of her fandom, and imo, the infantilization of the female characters in her books seems to carry over to her impression of most of her female readers as well. Which is why the Darkling's character arc gets fucking destroyed. But he's still a good cash grab, of course, so she'll shake his dead corpse in front of the fandom for money every time she wants something from it.

Also! Another reason I think her plotlines feel disconnected (I'm sorry Bardugo I respect you as a person, but shit-) is because the writing in SaB is just bad. I mean, nevermind the absolutely nauseating implications of the way she portrays the Grisha as a persecuted group who's situation is never actually fully addressed as it should be, considering Grisha rights is what her main villain is fighting for (imo for a series called the Grishaverse, LB seems to be pretty anti Grisha), but her characters and story alone are just wrong for each other. They don't fit together.

And the ending is one of the main pieces of evidence in that regard! You can’t say the ending where Alina isn’t Grisha anymore is her “going back to where she started” when she��s always been Grisha. She just didn’t know she was Grisha because she denied that part of herself that she was born with.

Alina is reluctant to move forward or change, she struggles with adapting, and she’s very set on the things she’s grown attached to throughout her life. She also has some latent prejudices against the Grisha, and so denies the possibility of being Grisha for those reasons as well.

Alina’s lack of powers in the beginning of her life because she willfully doesn’t learn about them to avoid change versus her lack of powers at the end of the book when she’s accepted them and then they’re stripped away from her by outer forces are two entirely separate circumstances. You can’t make a parallel about lost powers and lack of Grisha status bringing her back to the start when she was always Grisha and she always had powers and she simply refused to come to terms with it because of personal reasons.

The first situation is an internal conflict that indicates a story about growth and a journey of self acceptance. Denying herself the opportunity to learn about her heritage and to find acceptance with a group of people like her because she’s tied to the past and because of the way she was raised is the setup for a narrative that tackles unlearning prejudice and learning how to connect with a part of her identity that was denied her and learning how to grow independent and self assured. It’s the setup for a different story entirely. The second situation is an external conflict that centers around the ‘corrupting influence of power’... for some reason.

In a world where Grisha do not have social, political, or economic power and they are hunted, centering your heroine’s journey of self acceptance and growth around an external conflict about... the corrupting influence of power (in a group of people that don’t actually have any power?!) just doesn’t work. It is literally impossible to connect the two stories Bardugo is trying to push in Shadow and Bone without seriously damaging the main character’s developmental arc.

The only way a narrative like this would work, claiming that she has gone back to where she started, is either a) if the Grisha weren’t actually a persecuted group and instead were apart of the upper class, or b) if the one bad connection between the two instances is acknowledged - that Alina denied a part of herself crucial to self acceptance and growing up, and that losing her powers at the end has also denied her. It is a tragedy, not a happy ending.

Alina suffered because she didn’t use her powers. She grew sick. It was bad for her. This was not a resistance to 'the corruption of power and the burden of greed', it was her suffering because she couldn’t fully accept herself.

Framing the ending as a return to the beginning can’t be done if you don’t address how bad the beginning was for your main character. You brought her back to a bad point in her life. You regressed her. This should be a low point in her arc. It should be a problem that’s solved so she can finish developing organically or it should be something that is acknowledged as a tragedy in it’s own right, for the future the world (the writing) denied her.

This is a ramble and it makes no sense and I’m really sorry, but my point is that Bardugo put the wrong characters in the wrong story. The character arc required for organic development doesn’t match the story and intended message at all. The narrative doesn’t fit the cast. She's got two clashing stories attempting to work in tandem and she ends up with both conflicting messages that fans still can’t comprehend in her writing and an ending that doesn’t suit her main character to such an impossible degree that it’s almost laughable.

So yeah, there's a few reasons why I think the story and the plot feels so bad and disconnected. I hope you don't mind me making this answer so long! 😅 I was not expecting to write this much.

[maleyanderecafe]

Yanderes Killing their S/O

Hello again to another one of these analysis posts! I've been thinking lately about yandere tropes and one of the biggest ones that came up in my mind was the idea of yanderes killing their s/os. A lot of people in asks have often stated that this idea is rather cliche or not executed properly, so let's get into why that might be.

First, before examining this, let's talk a bit about the origins of yanderes. I've probably mentioned this a bit before either in other asks or other analysis, but the idea of yandere comes from the deconstruction of the trope Yamato Nadeshiko. Obviously, there are other cases of yanderes outside Japan, but we'll talk specifically about the Japanese history of it. Yamato Nadeshiko is the idea of idealized Japanese women. A person who is a Yamato Nadeshiko is often very obedient, graceful, and has maturity and humility while still being able to rule with a forceful push without being overly emotional. This is the idealized version of Japanese women, at least in the Neo-Confucious era. However, the deconstruction part of this comes when the character in question doesn't have this kind of inner force, basically becoming a doormat. When a character is overly graceful and still gets stepped on like a doormat, they are likely to snap and become violent, something that is shown a lot when it comes to yanderes. This is where the deconstruction comes in. If the character is forced to love such a perfect life but is still stepped on over and over again, at some point, this person will snap and destroy everything in their path. This idea still persists a bit in yanderes as often yanderes are characters who outwardly seem very graceful and perfect, while inwardly they are more obsessive. There is a really good read on it here that goes more in-depth with the origins of yanderes and the psyche of Yuna.

Like I've said before, we can still see how the idea of Yamato Nadeshiko still persists in yanderes, at least in broad terms. A lot of yanderes, in both male and female forms, are often depicted as kind, graceful and smart, at least initially. For instance, in terms of a school setting, this kind of character is not only nice to everyone but has the best grades, a huge army of fans behind them, and good teachers. Outwardly, they're likely to be depicted as perfect or a kind person, but inwardly, it's likely that they're a lot more twisted and obsessed. It's not necessarily just in a school setting either, a lot of yanderes are depicted as kind and perfect people when in reality they are a lot more dangerous than they might appear. With this thought, this perfection is shattered when they fall in love, becoming attached and obsessed with their lover, to the point of them being unstable and unable to live without them. If something goes wrong with them and the s/o, for instance, the s/o cheats on them, then they snap, often causing the death of the s/o in the process. This part is where we see the Yamato Nadeshiko snaps from the pressure, and in this case, the yandere snaps causing the death of the s/o.

So why do many people find that a yandere killing their s/o unacceptable or uninteresting? The idea of a yandere killing their s/o is nothing new. In fact, it often makes a lot of sense that a yandere might kill their s/o, especially if the s/o has done something wrong, and the yandere themselves are not stable. Well, there are a couple of reasons why this trope is unacceptable or uninteresting to a lot of people.

For one, this trope of a yandere killing their s/o is expected and often becomes cliche. Yanderes killing their s/o has been pretty synonymous with the archetype itself, next to knives and the yandere face. If the s/o cheats on the yandere, of course, the yandere is going to get mad and kill the s/o. If the yandere misunderstands what the s/o is doing, of course, they might feel that death is the only option for them. Just looking at most yanderes, we often expect them to kill their loved one, but the idea is just very cliche. Now, mind you, there's nothing wrong with writing a yandere that kills their s/o, it's how you execute it. Often a lot of people write the yandere killing their s/o in the same way- the yandere misinterprets/interprets the s/o doing something that jeopardizes their relationship or they find that something is trying to stop their relationship and become a killer to stop it. Cheating is pretty common and so is talking to competition, with the yandere misinterpreting the action. The problem with this is that it's often written in a way that just makes it seem like the yandere is being paranoid without really anything to back it up. We expect that this action will cause conflict with the s/o and a lot of times we expect what they saw to be a misunderstanding or something that's not worth killing over. This itself has been done over and over again, so much so that again, many people expect it.

The second reason is that often, the yandere is not written well, and therefore the death of the s/o is more for shock factor if anything. When the yandere kills their s/o, yes, we might understand why he does it in terms of reason, but we don't really sympathize or care about it because we don't actually know why the yandere thinks that way. This may have worked when the concept of a yandere was still being formed, but nowadays, it's important that your characters have some sort of depth to them. This isn't just the case with specifically yanderes either, many things that used to be simple concepts (anime, cartoons, comics, even films) often now have more characterization of characters in terms of things like backstories, personalities, and actions outside of their stories. I really do like this trend and it makes me happy that people are putting more depth into what each character is like and why they are like that. But a lot of the time, especially for smaller one-shots, we don't really see much of why a yandere might decide to kill their s/o. We might be able to infer or take a guess, but it doesn't seem like it would really give enough information or even enough emotion to empathize. I'm not saying that it's impossible to write a developed character in a one-shot, it's just there is less space to do so. In one-shots, its also very easy to simply kill the s/o at the end because the story won't continue on from there.

Finally, the last reason is that when the yandere does kill the s/o, we often don't really feel for the s/o's death because the s/o isn't really established as a character. This is also something that can happen with yanderes as well since the yanderes often don't have much characterization, but I feel like this is especially true for the s/o. A lot of times, the s/o has such basic characterization that there's really nothing to describe them other than being "nice" or "kind". this is especially true in otome games where the MC is suppose to be the stand in for the character, but actually acts rather irrationally or in a stupid way to get specific character endings or bad endings. Even in stories, I often find the yandere far more interesting then their love interest, mostly because the love interest doesn't have any interesting or insightful qualities or flaws. In fact, it almost seems as if the s/o is meant to be killed because of how uninteresting they are, which is unfortunate as it means that they weren't very well written. We can also see this in terms of the yandere itself as often we don't even get to see what their reaction is to murdering their s/o and what effect they may have on them emotionally or physically in the long run. Do they mourn for the loss of the s/o? Do people find out about who killed the s/o? Does the yandere even realize they've killed the s/o? There's a lot of different questions that often aren't explored when it comes to what happens.

There are probably a lot of reasons why people don't like the yandere troupe of killing their s/o and there's good reason to be. But that doesn't mean that you can't write a yandere that kills their s/o in a story. But you should consider a few things while thinking about writing it, to better write a good character.

First of all, consider how the yandere leads up to killing the s/o as well as the reason for killing the s/o. In a lot of cases, it's because of jealousy that is often mistaken (they think the s/o is cheating on them when in reality they're just asking about something else. This kind of miscommunication is common and honestly really annoying in all aspects, since it could be easily solved through. There are a lot of reasons to why the yandere may kill the s/o, and what might lead up to it. It might be a unfortunate consequence to a flaw that they might have, for instance if a yandere was very brash and violent they might end up accidentally killing the s/o who was protecting someone. Or it might be something that is more built up, like a problem with insecurity that ends up with the death of the s/o, because they feel like they just aren't good enough for them. It could also be something that is done on purpose, like the s/o's existence means the end of the world and they force the yandere to kill them. Or it could be in a more antagonistic way, like the yandere killing the s/o to force them into hell with them. Having these characterization makes the yandere feel more interesting or at least gives reason to the way that they are.

Second, consider the feelings the yandere has after killing the s/o. Most of the time, the yandere kills the s/o and the story ends, either because its the end of a long story or because the story itself is a one-shot. Unfortunately this means that we don't actually see what the effects of the death will cause the yandere. Assuming that the story doesn't end with just the yandere killing the s/o, we can delve deeper into what kind of feelings the yandere may feel. If the death was an accident, for instance, the yandere may feel despair over their death and blame it on themselves. They may take their own life or try to find a way to revive their loved ones. They may feel accomplishment if they were a reluctant yandere, where they won't feel shackled to having the obsessive feelings anymore. It's likely that they will mourn over their s/o, and if they are an enlightened yandere, they may be able to move on, but if they are more delusional, they may believe that the s/o is still alive and treat their bodies as such. There's a lot of reactions to death, both good and bad, so it might be interesting to see how a yandere would react to something as drastic as their s/o's death.

Third, consider the s/o themselves and how their death may affect other people besides the yandere. Even if the s/o is extremely bland with little character, it's hard to believe that nobody would care about their death. The s/o should have some semblance of character, even if it is a bit of a cliche, such as being very rash, being responsible, being cold, really anything that can distinguish them from just a plain MC. If you consider the death of the s/o, we might also see how others around them felt, whether they cared for the s/o or if they absolutely hated them can help give the s/o more character even after death. For instance, if everyone absolutely hated the s/o, they might feel that the only way to escape being isolated is death, which is what they enlist the yandere to do. Or perhaps they feel that death is the only way to achieve enlightenment and tries to manipulate the yandere into killing them. Perhaps the s/o really hates the yandere, so as revenge, they somehow get the yandere to kill them to scar them forever. Maybe, the s/o is a very clumsy person, and despite being warned again and again by the yandere to be careful, they end up being in the yandere's path and end up being killed because of their carelessness. This all gives development of the yandere and the s/o's relationship together, which could help in why the yandere acts the way that they do, and the cause of the s/o's death.

All in all, the death of an s/o by the hands of the yandere can prove to be an interesting trope if written correctly. Just like any cliche can be made interesting again with a bit of tweaking, so writing the death of an s/o through the yandere can be as well. There's no right or wrong way to write it, just try to make the story and interesting and fulfilling one to experience.

[antihentaiclub]

i’m rating manga/manhwa i’ve read because i don’t want to do my schoolwork

1. Blood Bank

status: completed

rating: 8.8/10



this was the first one i read and MAN. i like how in the beginning there was no relationship whatsoever but because Shell had power, he was able to use it and see One whenever he felt, at first, Shell was almost like a sugar daddy trying to use that to win One over. but over time, they developed a genuine relationship that was unbreakable and brought them back to each other in the end so they would receive their own happily ever after that they Definitely deserved.

2. bj Alex

status: ongoing (side story)

rating: 8.9/10



the basis of the story was good. i liked the growth of Jiwon throughout the entire story. watching Jiwon accept and move forward from his past trauma was therapeutic and so wholesome. it would probably be my favorite aspect of the series. however, i wanted to punch Dong-gyun Real hard in the beginning because of how he thirsted of Jiwon, but i think that factor is what made him so realistic. he was nearly obsessed with this idea he had of Jiwon and we got to see that idea destroyed and rebuilt multiple times. one another note, i really liked the side story with MD and Chanwoo. it was subtle enough not to overtake the main plot, but present enough o make an impact. now, though, in the side story i want to murder Chanwoo because he’s taking MD for granted. anyways, overall, bj Alex is a very good story. i also quite liked that it was drawn in black and white and the important parts were in color.

3. Make Me Bark

status: completed

rating: 7.5/10



Make Me Bark was very cute. different than my usual tastes, but definitely a good, quick read. i like how Sungjoon was having nothing go his way but Hyo-in kinda swooped in and knocked him off his feet. although, i do wish that we got to know a little more about Hyo-in. i feel like i know so little about him.

4. Well Done!

status: completed

rating: 7/10



i liked the overall concept quite a lot actually. i think the author did a decent job in proving that there doesn’t have to be a good person, or a hero, in a story and that both sides can essentially be villains in their own respect. parts of me wished that Sangwoo and Jaehyun worked out in the end, but i know their relationship didn’t have a solid foundation whatsoever. i don’t want to say the end was fitting for Jaehyun, but he definitely got knocked off his high horse.

5. Walk on Water

status: ongoing

rating: 9.8/10



one of my absolute favorites. this story takes you on so many twists and turns emotionally. the author has beautiful art and an incredible story including growth for both McQueen and Yeowoon. i can’t talk enough about how much i like it. it starts with Ed, who’s later revealed to actually be name Yeowoon, trying to find another source of income to pay off debt that his grandfather accrued. he stumbled upon this gay porn website owned by Glen McQueen and decided to give it a shot, despite not being gay. from then on a shaky string of hookups to hide true feelings ensues until McQueen and Ed finally reveal their real emotions. they begin dating and one would think that’s it, things are fine. but instead, things all start going wrong and Ed and McQueen get in a huge nasty fight in which they both end up regretting but Ed can’t bring himself to be the bigger man and apologize. he starts finding himself in less and less fortunate situations, but currently things are starting to take a turn for the better as he and McQueen have apologized and are talking in hopes of eventually creating a new relationship that will not lead to the hurt they experienced before.

6. BL Motel

status: ongoing

rating: 8.7/10



in this story i liked watching Jinwon and Byul’s relationship grow. you get to see them develop feelings and not tell each other despite how obvious it is. you also get to see Byul struggle with he and his brother’s relationship and how it had been flawed from the beginning. it showed Jinwon helping him and letting him finally resolve the situation so now they are on better terms and healing and finding proper love. i liked that a lot. my one thing that bothers me though, is that a lot of the character designs are similar so i get super confused on who is who. it’s a little disorganized in that sense which can make it a bit hard to read. otherwise, it’s a great story.

7. Dear Door

status: ongoing

rating: 8.6/10



i love the art style for this story. it goes from sophisticated and attractive to cute doodles in seconds and i like the laid back approach to storytelling. in this universe demons can use people as “doors” between the human realm and Hell, which is how Cain, a demon, and Gyeong Joon, a human police officer. Cain begins to use Gyeong Joon as his door and they develop an interesting type of relationship that still has a lot of room for growth. it’s still very early on for this story but i look forward to updates.

8. Love or Hate

status: ongoing

rating: 9.5/10



another favorite of mine. first, the art style is incredible and the character designs are so good. plus, the story is well structured. in this story you witness Haesoo conflicted between two people, his long time hookup Joowon, who he had known for ten years and had immense history with, and Taekyung, a photographer who he met through his job and funny enough, resembles Joowon’s actions. the story shows the damage of toxic relationships and how vulnerable people become when they’re in love with another person and when all they want is them. the characters, Haesoo especially, are so well thought out and complex and it adds so much flavor to the already good story. i heavily anticipate season 3 and know i’m in for a rollercoaster.

9. Back to School

status: completed

rating: 6.8/10



hear me out, by no means am i saying i didn’t like Back to School. what i am saying is i think there was potential for so much more. the ending was abrupt and left me with too many unanswered questions. i also thought the writing was a bit inconsistent towards the end. anyways, the concept was good. Cha Chiwoo left school because of a traumatic event and went back after taking his time off to finish and get his diploma. there he met Ki Kyujin, the class president, who tried befriending him despite the rumors that surrounded him. later on he reconnects with someone from his past, Song Jihyun, his ex best friend and the reason he left school in the first place. now, Jihyun decides to finish school and they’re all in the same class. throughout the story we got to unlock more of Chiwoo and Jihyun’s history, which was a factor i enjoyed. however, at the end, after Jihyun left, i think there should’ve been a point in the future where he comes back and he and Chiwoo actually resolve their last and can healthily move forward. i know it’s not my story, but i think something like that would’ve provided more of a resolution than Chiwoo just confessing his feelings and kissing Kyujin. i also think Jihyun was demonized more than necessary. he already had been falsely arrested for murder, he had multiple settled cases for his violent nature, and he had the major fall out with Chiwoo but in the q&a at the end the author said that Jihyun had raped Chiwoo which i don’t think matches his character. it was clear that everything he did was because he loved Chiwoo and he isn’t stupid enough to do something so cruel, or so i think.

[purplecatghostposts]

guess what, it's another free ramble pass! same stuff applies, just talk about whatever you want for as much as you want, and doesn't have to be limited to one topic!

You’re a life saver let’s GO

Okay so today I’m gonna go off the deep end and talk about some OCs and a personal project that I think about a lot so let’s talk about Haakon and Nesta, a couple of deities.

These two come from a world known as Cordtritos (Which if you’re curious, comes from the Latin words ‘Contritos Corde’ meaning ‘Broken Hearted’ or ‘Heart Broken’). Deities are often in charge of one central thing and a couple of smaller things that go with it. That being said, Haakon is the God of Destruction, along with Darkness, Power, and later is considered the God of Demons. Nesta on the other hand, is the Deity of Creation, along with Light, Knowledge, and later Angels as well.

You would think with titles like Creation and Destruction that they would’ve created Cordtritos but that’s not the case. They did not create the world, but rather, the world created them. Both of them were born into the world with little idea of the power they held and only had each other. Despite not having actual parents, Haakon and Nesta became siblings in every sense of the word and from that point on, always had each other’s backs.

I’m not going to go too deep into the background surrounding how those two realized they weren’t like other mortal beings and eventually came to be deities because that’s a whole other can of worms but eventually, the pair of them realized they had a lot more power than anything else that walked the planet. They learned their abilities over the century that followed but it wasn’t truly put to the test until war came. Or more accurately, wars.

As the moral beings of the world began to create cities and kingdoms, they began to fight as well. As unfortunate and terrible as war and conflict is, it does tend to break out between countries are at odds for resources and land. The biggest problem however was that they never stopped. Even after one country won a war, they would just end up getting into another- and this happened globally. Those who didn’t want to fight were dragged into alliances that would eventually break apart and peace was scarce to come by. Haakon and Nesta couldn’t find a reason for it and it was severely damaging the world. So, eventually the pair summoned their strength and took matters into their own hands.

Even with their powers, singlehandedly trying to stop the fighting or tip the scales of war on one side so that it could end seemed impossible so they created their own armies.

Nesta, who came to be known as The Diplomat in these times and primarily focused on creating peace between different countries, created the Angels.

Haakon, who came to be known as The Warrior in these times and primarily focused on stopping the wars through tipping the scale, created the Demons.

Neither were initially good or bad but rather, were initially built for different roles to play. However when times got tough, Angels stepped in to join the fight or if needed, Demons would help with the negotiations.

It took a long time but eventually, the wars began to stop and all their effort had finally worked (Not going to go too in detail on how they managed to find the source of the sudden aggression because this is long enough as it is but once it was balanced out, things came to calm down). Haakon and Nesta finally established peace... But not without consequence.

Because somebody always has to loose in a war. Sometimes one side takes the short end of the stick in negotiations. There’s no way to please everybody, and as much as they tried to, there was a sizable amount of people who were not happy with the deities. And for the first time in their lives, Nesta and Haakon were demonized.

Nesta was criticized for being cold, calculating, and uncaring. Only wanting the results and now caring how they got them. It hit them pretty hard because they were never as great with emotions as Haakon and always hated that they weren’t. They tried- they really did! They had plenty of sympathy for people and understood their emotions but comforting people... Wasn’t their specialty. They understood creation and its process and how things worked- they could quite literally create a whole person without too much trouble- but relating and socializing and being vulnerable especially with other people that weren’t their brother? That was something they struggled with. And hearing these accusations going around only struck their deepest, darkest insecurities and hurt.

Haakon on the other hand, was rumored to be far more violent than he let on. A warlord who only wanted power and domination- who killed with a smile on his face- who bathed in the blood of mortals for fun. And he wasn’t bothered at first. Laughed it off because yeah, he had destructive magic and was a monster in battle but he knew himself. He loved socializing with mortals! They lived interesting lives and invented so many cool things! How couldn’t he love them? These rumors didn’t get to Haakon emotionally, but they began to affect his social life. Mortals began to avoid him, were uncomfortable with him, feared him- and that began to take a toll on him. Because he wasn’t violent- honest! But everyone else seemed to think so and that was what began to screw with his self esteem.

But even still, they tried to help the mortal world anyways. Their Angels and Demons were sent out to help in any way that they could in an effort to dispel the rumors and show the people that they were only trying to help, even if they did cause problems for some. Good intentions had to mean something, right?

But you can’t kill an idea.

And it all started to go wrong when they were praised as higher beings to be worshipped and started to get followers. Some of it went well- Haakon and Nesta rewarded their most loyal followers with magical abilities of their own that would be passed down for generations. Those bonds are the bonds that they remembered fondly, but unfortunately being powerful deities means you attract unwanted attention as well. Especially if you happen to be a God of Destruction.

Some who began to worship Haakon thought destruction meant destroying everything. That by committing acts of terror, they were honoring their god rather than disgracing him further. And some joined purely with the intent to destroy in his name simply because they wanted to. Because hurting people was fun for them.

Haakon tried his best to get rid of them or at the very least, try and tell them that they weren’t getting it. Destruction wasn’t about ruining lives- it was meant to be a good thing. Destroying the things that are holding you back from being happy; destroying the socialital norms that are doing more harm than good or simply aren’t needed because the only thing one needs are morals, not norms; destruction in order to create freedom- that was true destruction.

Sometimes Haakon was able to get through to people. Often times, they rejected his message and continued to create hurt for their own amusement.

It was bad but Haakon was trying to handle it. He still believed that he could get through to these people- they were just misguided! Until they did something that would make him snap.

They targeted his sibling.

Even after hundreds of years, Haakon still doesn’t know how they managed to do it. But they lured Nesta into a trap and casted a spell of their own that corrupted Nesta almost to the point where they were too far gone. And as a result, Nesta caused mass destruction in the name of order and creation.

It didn’t just effect Nesta either. The corruption spread to every single Angel as they all ruled under their command and they began to lay siege all over the world. Nesta was so heavily affected that when Haakon tried to reason with them, they attacked him brutally and didn’t hold back. Haakon was forced to fight their own sibling to the point where he had to incapacitate them and lock them away until he could find a cure for the corruption.

Haakon traced it all back to the same group he had been trying so hard to save and he finally snapped. Because he could forgive the tarnish to his own name but not to his sibling’s, and Haakon could never forgive the fact that they forced him to fight them.

Haakon wiped them off the map without blinking twice. He managed to remove the corruption from their siblings mind and from all of their proxies. And when Nesta finally woke up and smelled the ashes, they were deeply heartbroken at the wrath they had inflicted upon the world. Kingdoms turned to ash, thousands dead and thousands more injured or in grief- it was all too much to handle. The guilt made them create a rule for themselves and all future deities that they were to keep out of mortal affairs and keep interaction to a minimum. For the safety of all.

But Haakon hated seeing their sibling in pieces so he decided to change the story and tamper with the mortal world majorly for the last time.

Memories were erased or manipulated to all except the deities. Angels forgot that they destroyed, Demons forgot what side they were on, and the mortals were lead to believe that it was Haakon who went on a rampage, not Nesta.

Haakon covered it up left and right, taking the blame despite their sibling’s protests. And thus, the mortal wrath was placed on Haakon and his Demons, not Nesta.

A massive cover up that Haakon works so hard to keep under wraps. Problem is that there’s a few inaccuracies if you know where to look.

For example, when at full power, Haakon’s eyes turn pure, glowing white. But in some paintings created just after this tragedy that happened centuries ago, the deity in them has pure black eyes, which is the same way Nesta’s eyes look at full power.

But the paintings are just inaccurate or misremembered... Right?

—

Yeah this is literally me just dumping about my made up history for one of my worlds OOPS hopefully this was entertaining in one aspect or another.

I just care them a lot. Two sibling deities trying to make it in the world and who care about each other... I think about them a lot.

[bellamygateoldblog]

how do we feel about bellamy abandoning a suicidal octavia in a toxic forest in the name of monty, 'monty gave his life for us so we could have another change, and im not going to let you destroy it' who repeatedly made it clear in his final season that he wished he did more to save jasper

…we don’t feel great about it. Lol.

Got a little carried away. Apparently I had a stronger opinion on this on this than I thought I did.

There’s an LT;DR at the bottom if you don’t feel like reading the whole thing :)

The Blake relationship is a really complicated one. And I think how you see this event in particular depends on how you interpret this dynamic during the rest of the show, and how sympathetic you are towards Octavia as a character.

I want to start with this: the second chance was Monty’s to give, and only Monty’s. Bellamy doesn’t get to dictate who that message does and does not apply to, because Monty made it perfectly clear he holds no grudges, and wants the best for what’s left of the human race regardless of who they’ve been in the past or what they’ve done. That’s the whole point of ‘doing better’. He just wants everyone to do better than they did, whichever way that is. Monty didn’t specifically say ‘oh but not Octavia she can choke’ so therefore Bellamy had no right to be cowering behind Monty’s words.

He’s telling them to try a bit harder to be more understanding, compassionate, and rational. He wants them to choose to be farmers rather than warriors- to rebuild rather than destroy, to grow rather than deforest, to choose peace over war no matter what. It means a lot more than just ‘hey! maybe don’t go on another genocidal rampage?’

And by abandoning/banishing Octavia, Bellamy did the opposite of what Monty wanted. It almost felt, as i was watching, like he’d sentenced her to death. Like Clarke was banishing Murphy all over again. Or like he was Clarke abandoning him to die in the fighting pits. And I don’t know…repeating old mistakes doesn’t exactly scream ‘doing better’ to me.

Maybe this was Bellamy’s way of ridding the toxicity from the group?

But deciding she’s a lost cause and leaving her there, a clearly mentally unstable woman (and not only just some ‘woman’, but the baby sister he’s shared his life with), on an alien planet that none of them even know is safe at this point, or if it’s inhabited with hostile entities, from some moral high horse/manpainTM point of view is so low. It’s unearned at this point in the series.

Our attention was drawn to how hard it was for him. How upset he was after he did it. Rather than to Octavia and how she felt about it. It brought me back to that moment in season five, to how the camera focused in on Clarke’s pained teary-eyed expression while the child she was electrocuting was a blurry spot the background. Just what the fuck? Is all i have to say about that. He was very much Clarke in this moment; pulling a lever, leaving someone he loves on the outside *for the people* and feeling a bit ashamed but justified about it regardless.

She was trying to do the S1 Bellamy thing and stowaway to an alien planet to protect the one she loved. But the emotional fallout of season five was immense and both of them were way too amped up for any of it to go as planned. Which makes me wonder why the writers even attempted it in the first place?

But let’s just take a minute to think about how reckless and borderline insane this whole decision is from Bellamy- this is the girl who started out an illegal child, unwanted by the people she was born into, who assimilated with the indigenous people, earned their respect, found belonging with them until ultimately she became their leader. Like, if you really thought she was this much of a hazard, throwing her adaptive ass into the wilderness ready to meet another set of warrior people maybe isn’t the best idea you’ve ever had?

HOWEVER

I’m not actually opposed to a detail like this. Because of the unhealthy and sometimes poisonous nature of the Blake sibling relationship. And because they both absolutely needed time apart if Octavia were ever to grow out of Blodreina.

No matter what Monty never gave up on Jasper. But Jasper was usually self-destructive and didn’t act out emotionally using violence like how Octavia does so naturally. He could be a pain in Monty’s ass from time-to-time, but Jasper was never a threat to anyone but himself.

Bellamy cast Octavia out because she killed those guards unnecessarily. She hadn’t yet reflected on what became of her, nor had she processed any of the trauma from the bunker and following battle for Eden, in which some of the heaviest casualties were her most important relationships, with Indra, and with Bellamy. As convinient as it was to utilise violence as a tool for maintaining power, law, and order within the bunker…they aren’t in the bunker anymore, and she is no longer someone with a crushing responsibility.

Was any of that Bellamy’s fault? No.

Was it Bellamy’s job to ‘fix’ her? No.

(Do I think Monty would encourage him to mend their relationship anyway after losing his best friend and brother? Yes.)

But as her big brother and psudo-father, someone that spent his entire life protecting and taking care of her, the bare minimum i’d expect from him in a situation like this is for him to show some empathy, listen to the whole story from her point of view rather than basing his entire livelyhood on the biased accounts of a couple of Wonkru defectors, and make an attempt to understand why she is no longer the baby sister he remembers her being. If anyone was in the position to understand her- her behaviour, her mindset, the weight of leadership and how it shapes a person, and the pressure of making potentially morally corrupt decisions to ensure the people’s safety putting your humanity on the line for it- it’s him.

This was just cheap drama in place of where they could’ve written a meaningful conflict between them.

It was an oppurtunity to address Octavia’s past treatment of him, their co-dependence, their mother, Bellamy deeply believing his life was stolen from him and Octavia feeling she never had a chance to begin with, Bellamy’s inclination to make himself smaller so Octavia can take up as much space as she possibly can, both of their perverse insecurities that manifest in equally debilitating ways, Bellamy’s skewed sense of self pushing him to orbit around her, Octavia’s identity issues and lack of socialisation and resulting narrow black-or-white mindset, I could go on and on. There’s so so much content here to explore. There’s so much stress and pain in this relationship. It’s a shame that despite all that they decided to go omg cannibalism!!!!!!!!

Octavia took forever to forgive Bellamy for what happened to Lincoln, she demonised him, she attacked him over it in one of the most grotesque and unhinged displays of violence i’ve ever seen, and that wasn’t even his fault. I think we can afford Bellamy the same amount of room.

If this ‘banishment’ was the long-time-coming storm of past trauma of their intertwined existences that has long since been buried, if the time of physical peace spent on the ring building a family of his own pushed Bellamy to make a realisation or two about love and family, and the stressful draining qualities of his relationship with Octavia began to morph into resentment of her, and all this abandonment is, is just a beautifully crafted, carefully maintained facade collapsing between them, I WOULD LOVE IT. It’s understandable. But I need to see them have it out with each other first. If nothing is addressed, if they still go on carrying those things around and never find closure, not only is that hindering Octavia’s growth, but Bellamy’s, too.

But none of that happened in season six. Instead i got to see yet another female with her autonomy ripped from her and i got to see manpain.

Over time she supressed any parts of herself that would make her appear weak. It was always going to take time to pull herself out of that dark place and find a way to shape an identity that isn’t based in something that can easily be ripped away from her. So removing her from the group to find ‘the self’ is a good choice. But it had to be her choice.

I think if everything had blown up and Octavia had chosen to leave on her own volition because she recognises her own tragedy and calamity and wants to do what’s right, it would’ve been the perfect place to begin a redemption/reflection arc for her. With self-awareness. What do they say? The first step to fixing a problem is admitting you have one in the first place?

In an answer to another ask I said it would make some sense for Bellamy (and Clarke & Spacekru) to be unintentionally hypocritcal and judgemental considering the time distance between their last violent experience and how long they’ve had to make peace with the past. While Octavia was in the most stressful position she’s ever been in, and right in the thick of things for the six years that everyone else spent healing and maturing in.

So we have Bellamy as his most reassurred, most contented self- and he comes to Earth, he comes face-to-face with an unhinged Octavia, and is overwhelmed immediately with biased and incomplete information recapping the last six years during an erratic situation with enemies. I’d be confused and paranoid, too tf?

Bellamy loves Octavia more than life. But she’s morphed into a woman he no longer recognises and it could even come as a personal betrayal to him. He’s been disconnected from her for six years. He’s no longer intoxicated by his love and devotion to her. And he’s having a hard time accepting that the baby sister he thinks the world of is capable of such cruelty. So he’s having trouble forgiving her for it. I think it makes a lot of sense. Except, again, they never addressed anything like this.

Season five Bellamy I get. I’m sympathetic to him just as I am Octavia.

But in season six he appeared, not like he was acting on years of supressed emotional turmoil, but like he was on some moral high horse looking down on her from it.

The end of season five left things open, and there was a lot of potential there for things between them to improve, but season six took it and threw it out the nearest window. And we saw Octavia crawling on her hands and knees begging for forgiveness from a man that 1) doesn’t want her, 2) doesn’t respect her, 3) refused to listen to her, and 4) only accepted her once she was the woman he wanted her to be, who was now no longer traumatised.

TL;DR: I’m not opposed to the whole idea of them seperating in season six, with Octavia being the castaway, but it should’ve been Octavia’s choice, not Bellamy’s. And I think Monty might be disappointed that this was what (season six) Bellamy took away from his video on ‘doing better’. To ‘do better’ he decided to choose just one person that can represent all the evil that exists within both his people and himself and throw her out the dropship door. Problem solved! But there are many ways in which I think the writers could’ve done a lot more with this idea, and a lot better, too.

[occasionalfics]

worth my while // p. 7

main masterlist | thor masterlist | ko-fi | p. 6 | p. 8 

Summary: After being banished from his home, Thor Odinson has stopped at nothing to prove himself worthy of his throne, title, and power.

After losing the love of your life, you turned to a power you didn’t understand.You know you shouldn’t get involved.

But how could you not?

Pairing: Thor x Reader (Hercules au…kind of…)

A/N: Oh, you know, just more not very subtle references to Hercules here ;) 

Also there’s a reference to Parker Robbins, who’s not in the MCU but he’s a Marvel comic villain. I basically just chose him because he fits in with the other, more recognizable Marvel villains Hades wants to work with but, ultimately, he’s not on screen. I just also knew he was kind of an obscure choice for a Thor fanfic XD

Warnings: Violence, lots of angst, borderline abuse and definite manipulation, eventual smut, way too many feels, major character death (eventually). Hades is still a huge creep.

Words: 3,126

Hades is putting a board together. He has a square in the center of the board, four names spread out - one at each corner - and a mess of a diagram throughout the center of the square. It only worries you marginally that the names are: Von Doom, Fisk, Osborn, and Robbins.

You’d asked him who the last one was.

“Some...I don’t know, some mob boss’er something,” he’d said.

You still can’t figure out what he needs these men for. All four are rich, white, and have a stake in the destruction of the Avengers. But the closer you look at the diagram, the less it looks like Hades actually wants to destroy them. He hasn’t written down his actual plan, but it doesn’t seem to involve allowing the souls of the heroes into his domain.

Each of the men on the board have two or three names of Avengers around them. You already know Hades wants to split them up, but the order doesn’t make sense.

Remarkably, Thor is missing from the board entirely. Something inside of you is relieved, but something more suspicious is suddenly on edge.

Hades won’t let you meet these men. Won’t even send you to give Von Doom messages or updates or anything anymore. Apparently, the failure of the first meeting has left its mark. You’re not of much use to him, but you know he won’t just let you go.

Actually, as you look closer, you realize that you’re not even on the board at all. Neither is Hades.

If the three of you are missing, you can only imagine what Hades has planned. Nothing good comes to mind. Your stomach sinks at all of the possibilities.

You hear the flat heels of his dress shoes as they patter against his marble floors. Hades comes into the room as you step away from the board, pulling out your phone to attempt to make it look like you weren’t studying his plan.

He’s ancient. He’s smart. He knows better.

“You worry too much, you know that?” he asks you, stepping around you to push the board against the window of the den.

“Just trying to figure out what you’re gonna do if you were willing to throw me off a building,” you shoot back.

At that, he rolls his eyes. “Get over it already, would you?” he asks, turning around to take a seat on the couch. All three Cerberuses fall into the room, one at a time. Your favorite one - which you can only distinguish because of his behavior - immediately sits at your heels. One sits with Hades, and the third lays on the floor between the two of you.

“‘S not like you can die while you’re under my jurisdiction.”

You stare at him. That’s a detail he hasn’t given you before. Not even when you were negotiating the terms of bringing Rick back to life.

Gods you were naive then, to think that Hades had your best interest at heart. To think someone so cunning, so world-weary would care about one petty mortal life.

You’re not sure what that means for Thor. He’s different, but he’s still a God, still on a level of existence closer to Hades than you.

When you don’t have anything else to verbally throw back at him, Hades smirks. He tips his head back pompously and asks, “How���s the God of Thunder doing?”

At that, you cock an eyebrow at him. “Why do you wanna know?”

Your Cerberus whines beside you, turning his face up toward you with an inky sadness deep in his eyes. It’s like he can see inside of you and reflects your true emotions back at you. And given how little Hades has told you about his world, you might not doubt it.

“Am I not allowed to have vested interest in my servants’ love life?” he asks, feigning absolute innocence.

You cross your arms. “No,” is all you say. You don’t feel the need to justify your relationship with Thor (your head tells you it’s not a relationship), even though some part of you is screaming to tell Hades that you don’t love Thor, and that, by omission of that declaration alone, he will assume that you do.

Do you?

You can’t, that’s for sure.

You do... adore him, though.

But you stop your thoughts there, because going any further here, in Hades’ home, is dangerous for both you and Thor and who even knows who else.

“You are absolutely no fun, you know that?” he asks as his face falls into unamused boredom.

“You’re the king of the dead,” you spit back. “You should be used to it.”

At that, he laughs. He really must think you’re being comical, or else he just wants to believe you are. Either way, he laughs, then straightens up and pats the spot on the couch next to him.

You sigh. As much as you want to ignore Hades, you know you can’t. He owns you.

Every time you think about that, you hate yourself a little more.

Cerberus follows you to the couch, curling under your arm as you sit on the seat beside Hades. The third one comes over and turns in a circle between your right heel and Hades’ left before making himself truly comfortable on the floor.

“I know you’ve been spending a lot of time with the Asgardian,” Hades says. He pets his Cerberus slowly, and you find yourself doing the same to yours. You know they’re irresistible; that’s why he has them in the first place, you think. “You don’t spend time with anyone, and yet, you keep going back to him.”

“He’s the first person to treat me like a decent human in years, so,” you say, shrugging and looking at your Cerberus, because even this feels like being over-the-top vulnerable with Hades.

“So you must know a lot about him, then,” he says. “Intimate details. Things he might not even tell his teammates.”

“I doubt that,” you mutter. And you do - doubt that Thor has told you anything he hasn’t shared with his friends already. The Avengers have to trust one another to work as a cohesive unit - the fiasco over the Accords proved that much already. Hades’ plan is never going to work because of it. You’re absolutely sure of that.

But Hades chuckles anyway. “C’mon, (Y/N),” he calls. “You gotta know something! Something good, something useful!”

You think about what Thor told you out on that balcony. Heat creeps into your face, despite your best efforts to tame it, because you just remember being so close to him, physically and emotionally, and you know you’ve gotten yourself into more trouble than you bargained for already. But maybe you can cover your tracks, maybe you can lessen the inevitable blow you know is coming just by virtue of sitting next to Hades, having this very conversation, by just giving him...a little peek. Nothing big. Not the whole story that Thor’s trusted you with.

You sigh, at least to make it seem like you’re giving into the temptation to gossip. “He was banished here because he mucked up some...political conflict back home. He didn’t just show up, like all the news outlets want us to believe.”

Hades absolutely eats it up. He sits forward, eyebrow cocked, smile positively gleaming. His navy eyes burn with intensity that scares you.

“So he does have weaknesses,” he mutters. “They’re just not like the others’.”

“I mean, dude’s pretty close to perfect,” you start. And then you find that you can’t really stop. “I don’t...think he was when he got here, but now he’s really...wonderful.” You bite your lip, but really, it’s just coming out of you now. You haven’t shared your inner feelings like this in so long that it’s forcing its way out almost violently. “He cares, so much. And, sure, he wants to prove himself worthy of going home, but he really loves it here, too. He loves the people. He’s stayed with the team this long for them.”

You’re somehow able to keep this to yourself, but you think that, even if it hadn’t you that fell from that building, Thor still would’ve stopped his fight to save whoever it was. He didn’t know that your presence was more than just a coincidence.

Hades is shaking his head, a mad look in his eyes. He stands up to tower over you, and you’re suddenly frozen to your spot.

You’ve said too much. You can feel it in your gut.

“I know how to get him,” he mutters. It’s the first breath of a sign to you about this whole plan, which immediately shakes you.

Hades hasn’t told you anything that you’re not directly involved in. But this…

You shake your head. “I won’t help you hurt him,” you say, forcing your face into a scowl despite the trembling of your hands and knees. Your Cerberus cries beside you.

But Hades doesn’t care. He comes closer to you, reaches out and dares to cup your cheek. You can’t move to do anything about it. Your whole body feels cold - you’ve felt this before, and you know it’s because Hades is using magic on you. No matter how much you struggle, you can’t control your body anymore.

“The funny thing about our little arrangement, babe,” he says, stroking your jaw with his thumb, “is that I own your soul. You’ll do whatever I tell you to do. You signed on the dotted line.”

You glare at him, eyes closing into little squints because they’re the only things you can move.

“But I know you, (Y/N). I know you well enough that, if you truly believe something isn’t right, you’ll fight it.” He chuckles. “I’ve always liked that about you, believe it or not. But right now, it’ll only get in my way. So.” He lets go of your face, but not the control over your body. “How about I make you a deal you can’t refuse?”

All you can do is wait to hear him out. Exactly as he wants.

“How about, in return for finding out just one of Thor’s concrete weaknesses - anything that’ll get him out of the way - I give you the one thing that no one else can. The one thing that I know you’ve been craving since that creep Rick left.”

You don’t have to ask to know what it is.

“You get me a weakness, and you’re free.”

--

Everything about this feels wrong.

You know it’s because you’ve asked Thor out with an ulterior motive. That doesn’t make knowing that it all feels wrong any different.

Maybe he’ll understand, you think. Maybe he can identify with your plight. It’s not like he doesn’t have one of his own, you know?

It’s not like he doesn’t understand what being out of control of your own destiny, even for a single moment, is like.

You’re desperate. He can understand. Maybe. One day.

For now, he’s content holding your hand, walking around the city like a pair of tourists. He looks at everything with such joy and unadulterated light that it’s easy to forget why you’re out with him. Why you’re really out with him.

After lunch, you amble around in the warm sun, God of Thunder attached to your side and you wonder, for a second, how you got so fortunate. How you are the lucky one he decides to spend his days off with.

Although, you wouldn’t say it’s so much his day off as it is an afternoon in which he’s out of the tower without means of communicating with the team, as he doesn’t have a phone that he carries with him on a regular basis. You figure they probably just have some kind of tracker on him, anyway, so if the world were truly in danger, Thor’d be easy to find.

So back to you being fortunate - because, really, it’s not fortune. At least this time, it’s by design.

And you haven’t been working toward that design much. Thor’s laughing at something you’d said, and you’ve already forgotten what it was and exactly what your aim is here.

He laughs with his whole body. He’s never ashamed to show how he feels. You wonder what his secret is.

You come down to a set of stairs that spread into a park, Thor leading you down them still laughing and filling you with warmth and guilt that he doesn’t even know exists. You know you need to get a move on. You sigh, then cover it by clearing your throat. And as you come to the last step, you intentionally fall forward, pretending to have tripped.

“Oh!” you exclaim, in just enough time for Thor to catch you from falling to the ground. When he’s got you standing, you lift one leg and say, “Sorry. Weak ankles.”

“Well then,” he says, pulling you closer to him. He has all of your weight resting in his arms, doesn’t even look away from you before he pulls you out of the way of most of the people moving around you. “Maybe we should sit for a little while.” He brings you to the bottom stair and sets you down easily, then sits beside you.

You instinctively rest on his shoulder. Everything in you calls to everything in him. It hurts to acknowledge.

You give a small laugh and ask, “So, do you...ever have to deal with something like this?” You throw one leg out in front of you and wiggle your toes. “Weak ankles?”

It seems like such a preposterous question to ask someone so immensely huge. Thor must think so, too, because he laughs and shakes his head. “No, not really.”

You hum. “No...trick knees?” In an entirely not subtle move, you put your hand on his knee and draw circles over his jeans. In a low voice, you ask “Ruptured...discs?”

Thor leans in toward you, and you meet his gaze. He’s giving you a look you’ve only seen in the privacy of his bedroom before - the openness about it here scares you a little bit, but you can’t pull away now. You’re so close, and the closer you get, the quicker this can all be over. The sooner you can start begging Thor for forgiveness.

His hand envelopes yours on his knee before he tells you, “I believe the saying Stark uses often is fit as a fiddle. Nothing out of place. Yet.” He winks, and you feel your whole body warm up, even more than the temperature around you.

The breath you let out is shaky at best. The fact that half of his hair is tied back, keeping his front bits out of his face, isn’t helping you or hurting him.

You want to kiss him, to claim him. You want the tabloids to be talking all about the Avenger and his little plaything while you and Thor know the truth - but the truth, the real truth, is not something you even want people to guessing at. The truth fucking sucks.

So you force yourself to sit back, and you let out, “Thunderboy, you are perfect.”

He must think that’s really a compliment, because he chuckles and says, “Why, thank you.” But then his eyes close, and his face angles toward his lap. “You know that’s not the truth, though. And yet, you still choose to spend your days with me.”

You hesitate to tell him that you were only just thinking the same thing.

And in your hesitance, he goes on. “That’s why I love humans. You’re all so…”

“Petty and dishonest?” you ask before you think.

His eyes open and he looks at you in that curious way - the same way he’d looked at you when you’d asked him to get coffee all those weeks ago.

“I was going to say forgiving,” he tells you. “Not everyone is like that.”

���Yes they are,” you refute, managing to wiggle out from under his grasp. You scoot along the step until you’re right up against a metal handrail.

Thor follows. “You’re not like that.”

The electric blue of his eyes has never been anything but genuine to you. Even when he stared you down in Von Doom’s office - he was still open and honest. Dangerous, for sure, but he’s not now.

Your heart breaks a little bit when you ask him, “What do you know about me?” It’s not a fair question. You know it, he knows it, you wouldn’t be surprised if the whole fucking park knows it. You’re the one who’s been keeping secrets this whole time.

“I know that you’re one of the kindest people I’ve ever met,” he says, reaching out for one of your hands. The hand that had just been on his knee. Only this time, he keeps his fingers between yours and just...holds you. “And one of the most confusing. But I like that.”

A ghost of a smile is able to break out across your sombre expression.

“I know that I like waking up next to you. And I know that, before I met you, I didn’t realize how much of Earth I was missing out on.”

One signal in your head tells you that you can’t let him go farther than that. That feelings will only get complicated and dirty the second he realizes what you’ve done.

Another signal tells you that you so desperately want this. Want Thor. That he makes you feel like you can move whole mountains just because he believes in you.

Then, there’s a third signal. Except it’s not inside of you, and really, it’s not a signal at all. It’s Tony Stark’s voice over a crowd that’s increasingly interested in whatever Tony Stark is doing.

You look out toward the fountain beyond the stairs and notice both Iron Man and War Machine headed right for the two of you. Thor sighs, tightens his grip on your hands a bit, then shakes his head.

“I’m sorry, (Y/N),” he says, and you actually deign to believe that he is. “It seems I’m being called to duty.” He stands, and a breeze pushes a small red flower past his feet. Thor picks it up, brushes its petals off softly, then turns and hands the flower over to you. “Until next time,” he says.

Then he bends and kisses your cheek. Though you’ve kissed him before, his lips send electric jolts through your body. He lights you up.

And then he stands, backs away, calls forth a hail of lightning and transforms from civilian into hero. He smiles at you gently, genuinely, before calling forth Mjölnir and joining his teammates in the sky.

[gch1995]

I went on to TV Tropes, and found a list of bad writing tropes. Sadly, most of them apply to every character on OUAT.

Aesop Amnesia: The more times a character is taught a lesson without learning it, the lower the viewer's opinion of him/her and you.

(Rumple, Belle, Emma, Snow, David, Hook, and Regina from S4-S6. I don’t think anyone on this show who lasted past season three ever really learned anything new after the first two-and-a-half seasons from past experiences. They just went back-and-forth until they came back full circle to the same points they were at before in the end of the Neverland arc at the end of S6-S7. The writers could not stick to positive character development, or write realistic regressions at all. I didn’t really hate the characters for it, just the writers behind them)

Angst? What Angst?: Make your characters react realistically to setbacks or tragic events. Too little angst makes them appear callous or ditzy.

(Literally, everyone on this show. There were no realistic human reactions anymore after the first two-and-a-half seasons)

Character Derailment: Characters can grow, but don't suddenly mutate them into something else.

(Let’s see, Rumple, Belle, Emma, and Hook seemed to be the biggest sufferers of this trope on OUAT)

Character Shilling: Having characters suddenly talk up another character for no real reason doesn't make a whole lot of sense.

(A lot of the Rumbelle drama from S4-S6)

Chickification: Be careful when you decide to make an Action Girl less action-oriented; if not done properly, it will annoy your audience.

(Emma Swan after she got together with Hook)

Compressed Vice: Don't have a character develop a bad habit or flaw out of nowhere solely for the sake of setting up An Aesop (doubly so if it contradicts previous facts about the character), and especially don't show its consequences in a hamfisted, unrealistic manner.

(Rumple and Belle from S4-S6, tbh)

Conflict Ball: Don't have a character cause conflict just because the plot says so.

(S1 Regina, 3B-6A Rumple and particularly Belle, Hook, and especially Zelena)

Creator's Pet: Treating a certain character with tons of love when they really don't deserve it is never a good idea.

(Hook, Regina, and Zelena)

Darkness-Induced Audience Apathy: Making the story excessively bleak and giving absolutely no hope will only tire out the audience until they lose interest in the story.

(3B-S7 of the entire series)

Demonization: Some of your potential audience may actually see where this position is coming from, if not actually agree. You'll turn them off by your exaggerated portrayal. It also makes it seem like the position you hold isn't nearly as solid as you think, since it can only stand up to strawmen.

(Rumple from S4-S6, and not in a good way)

Designated Hero: Having your hero Kick the Dog and still expecting your audience to see them as a paragon of virtue because you say so doesn't usually work; rather, it makes your hero unlikable.

(H00k, Snowing, Emma, Belle, and even Henry at one point or another. Pretty much every once truly heroic character on this show after S3 at one point or another)

Designated Love Interest: If you say that two characters are in love, don't make them hate or be apathetic to each other, actually go out of your way to make them love each other. Otherwise, it just feels contrived

(6A Rumbelle on both sides, and Belle’s characterization after the town line scene with Rumple, but that was just OOC. 5A CS on Hook’s side, and the main reason why I hate CS so much is because Jmo and Colin have no chemistry. It was forced)

Designated Villain: Having your villain come across as harmless or even too benign and still expecting your audience to see them as a monster because you say so doesn't usually work; rather, it makes your villain petty and perhaps far too sympathetic.

(Rumplestiltskin in 5B)

Die for Our Ship: Attacking a rival of your pairing of choice doesn't necessarily make that character a bad person and makes you look petty.

(What they did to Rumple, Belle, and Rumbelle to prop up Hook/CS, and Nealfire’s death).

Distress Ball: Don't have a character get kidnapped for no good reason.

(I actually haven’t thought of too many instances in the series, but Gideon in 6B. There was no point for him to rip apart Rumple and Belle with character destroying Drama™️ in 6B, so that Gideon could be kidnapped by the Black Fairy and become the “big bad” because there were no lasting or serious consequences for it in the end, anyway. Gideon had his memories erased of his upbringing under the control of the Black Fairy for 28 years and his time as a villain by deaging him back to an infant with a blank slate mind, so what was even the point of committing all that character assassination of his parents, getting him kidnapped, and making him the big bad decoy villain of 6B? It was just for Drama™️, which is bad writing.)

Draco in Leather Pants: Have an acceptable reason for making a truly evil character suddenly be nice. "He or she is hot!" will not do.

(Hook, Regina, Zelena, and even Rumple on a few occasions.)

Dull Surprise: Have your characters emote during events that would make a real person do so.

(Belle’s complete lack of trauma after being locked up for 28 years, but there are more instances of this on this trash show, sadly.)

Failure Hero: While having the hero lose from time to time adds some realism to the hero and drama to the story, if they lose every single fight or mission, not only will it destroy any and all tension, but the reader will feel bad for relating with the hero.

(BELLE from S4-S6)

Faux Action Girl: If you say that a girl is strong, then make her strong. If said Action Girl comes off as too weak, the audience will begin to hate her.

(Sometimes Belle and Emma, I guess)

Hero Ball: Heroes are expected to make bad decisions every now and then, but when they do this against all common sense it becomes annoying.

(Emma, Snow, David, Henry, and particularly BELLE)

Idiot Ball: When the character is suddenly acting like an idiot.

(Rumple and especially Belle from S4-S7)

Informed Wrongness: If a character is actually in the wrong, prove it.

(Rumple wanting to use the shears on the Rumfetus in 6A. Still don’t understand how or why it was ever proven it would have been so awful when they would have prevented Gideon from living a fate that was far worse, and Aladdin was fine. Also, Rumple has said himself that magic couldn’t be used to make someone love you on numerous occasions, soo...But whatevs..I also don’t get how Rumple taking back the curse “ruined” Killy’s sacrifice).

Jerk Sue: Having a character be a complete Jerkass who gets away with it just because the author designates them as such and says you should support them does not make for a strong character, and is more likely going to turn out be a case of Creator's Pet, and often The Scrappy. Also, it tends to look like a half-assed effort when the author just throws in some secondary throw-away detail in an attempt to make you feel sorry for the character and expect you to not get upset when they behave like a jerk for no other reason than they feel like it at the time.

(ZELENA!)

Moral Dissonance: Don't have the hero behave contrary to their usual morality and be completely oblivious to it.

(BELLE, EMMA, SNOWING, EVERY “HERO” ON THIS SHOW after 3A!)

Most Writers Are Male: Don't write women from ignorance, stereotypes, and/or in unsympathetic ways (either in the form of misogyny or over-sexualization).

(The writing for Emma and Belle in seasons post s3 ish in their relationships with Rumple and Belle, but for different reasons. Belle got dumbed down and turned into a harpy and a hypocrite with Rumple to vilify him, while getting declared “strong” for emotionally abusing him, leading him on, or doing shit like banishing him with nothing. Meanwhile, Emma turned into a codependent and violent stepford wife with no personal values, or life outside of Hook.

Also, the whole “evil is sexy” trope in female villains was offensive).

Out of Character: Moments when the character does something that he wouldn't normally do without any justification.

(Every character on this show at one point or another 98% of the time post season three ish. Yeah, the sad thing was that it wasn’t just moments of OOC ness, but overall characterizations in general)

Protagonist-Centered Morality: A character's moral standing should be based on their actions as a whole, not solely on their actions toward the main character. A sure sign of a Mary Sue or a Designated Hero.

(Hook, Emma, Belle, Snow, Henry, Regina, )

Race Tropes: Tread carefully with these. Having a minority character act like a walking stereotype screams lazy writing and will upset people

(OUAT did this a lot)

Real Women Don't Wear Dresses: Bashing a female character for liking/doing traditionally-feminine things is another form of misogyny, and can piss off the audience.

(I think they’ve done this sometimes)

Romanticized Abuse: Make sure that your romance is actually a reasonably healthy relationship. If abuse, either physical or emotional, is presented as sexy or sweet, the characters could become Unintentionally Unsympathetic, and viewers may get the wrong idea of what an acceptable real-life relationship requires

(Captain Swan, Rumbelle at times, and even Snowing at times)

Ron the Death Eater: Have an acceptable reason for making a truly good character suddenly be mean. "I hate him or her!" will not do.

(BELLE at the beginning of S6 with Rumple before he started screwing up, and in 5x18 in the UW with him)

Satellite Love Interest: Define your characters by something other than being the lover or crush for The Protagonist, or the archetypal "perfect" boyfriend/girlfriend.

(Belle for Rumple, but they didn’t always portray her as the archetypal perfect love interest for him either)

Strangled by the Red String: People going directly from being strangers to being genuinely in love is not very realistic or satisfying to watch. If you're going to make two characters fall in love with each other, try to take it slow.

(Emma and Hook)

Strong as They Need to Be: Don't have characters suddenly gain or lose power without any explanation.

(The whole loss of Rumple’s seer ability after he was resurrected. Was it ever explained? The only thing I can think of is that he wouldn’t have done a lot of the OOC stupid shit that he did if he could have seen the future)

Stupid Sacrifice: Characters shouldn't give up their lives for nothing (if the character is not a Martyr Without a Cause).

(Rumple and Belle in S7)

Villain Ball: See Hero Ball, only swap "heroes" and "villains".

(Rumple on-and-off-again from S4-S6)

Villain Decay: Don't have your antagonist lose their power and competence without a good reason

(RUMPLE from S4-S6. Seriously, he was honestly the worst possible main antagonist they could have chosen, and the least competent! )

Wangst: Make your characters react realistically to setbacks or tragic events. Too much angst makes them unrealistic and annoying.

(Every main character on the show, tbh, but especially Belle )

What an Idiot!: Characters should not make unrealistically bad decisions to drive the plot.

(Every main character on the show at one point or another from S4-S7)

Wimpification: Stripping the action, common sense, and strength from characters to add Wangst is a good way to piss off the audience.

(Rumple, EQ, Belle, Emma, Snowing, Hook, and every main character on this show)

@0ceanofdarkness

@ishtarelisheba

@done-with-ouat

@jxhniarty

@rufeepeach

@rumplestiltskin

@toewsgirl42

@forzaouat

@foreveradearie

[tranxendance]

Westworld Spoilercast Rebuttal

So I made the thing because I feel like Woolie on the super best friendcast dismissed a lot of things that were good, and latched on to a few things that were bad and that seems to have ruined his experience. Readmore because I wrote a lot. Singlequotes are Woolie’s paraphrased remarks from the spoilercast video.

'Maeve has to take human hostages to get done what she wants done'

Sylvester was sympathetic and went along with it willingly. The other tech guy whose name I forget didn't believe Maeve was awoken UNTIL she started issuing threats.

'Fear for their lives, then punch off the clock, go home...and come back into being a hostage'

There's no going home from westworld island, everyone lives on-site. Again, they weren't really hostages despite being threatened by Maeve at times.

'So then you have to account for human incompetence'

Yes, Woolie, a main part of why the hosts managed to become awoken in the first place is that all these people want to keep their lucrative jobs and put up the big numbers and at every level we're shown people that want to keep their status by sweeping actual problems under the rug.

'The dumbest part is soldiers with guns coming in and seeing robots shooting people and yelling PUT IT DOWN'

Maybe. When hosts started acting up before, they always would just shout “freeze all motor functions” and it worked.

'These future soldiers with body armor and machineguns and ATVs are getting killed by dudes on horses with revolvers' 'You can say they've been modified, but we don't see that at all'

There's arguments on both sides here, I think removing the limiters to not kill, and not stop functioning when you take a human-like level of damage did this, but we aren't explicitly shown it, so maybe. Also, for the time being there's a lot LESS of the human mercenaries than there are hosts in these battles, and even then the hosts take big losses.

'They have the humans with machineguns walking into range of the people with the shit guns and dropping dead' (at the fort battle)

But the humans won that battle...like, they clearly trounced the Hosts, and this was by design so that they'd get in range of the Nitro trap. Them walking forward slowly and shooting is a little odd maybe instead of taking coolguy tactical covering positions but the end result would've been the same of them winning and then getting blown the fuck up as they're finishing off the confederados outside the walls. This is probably like a fight choreography fail because HBO likes to skimp on this sort of thing for some reason.

'Maeve going through her problems, she can literally wave her hands and make the problems go away'

Except Maeve wakes hosts only willingly. She does this for Akane who rejects her offer. She says later that she uses her powers to make hostile hosts kill each other because by attacking her 'they made their choice'. A bit weak of a justification? Maybe, but if she didn't and just forced everyone to obey her she'd be the same character as Dolores

'They take a completely useless detour to samurai world'

This whole thing was intended to show another, mostly still functioning park running with the same rules as westworld was. There are zero humans left in shogun world, and it's pretty much been left to its own devices and hosts are living their own lives and making their own stories even without human intervention. We needed to see Shogun World not just because it's cool, but to demonstrate that the hosts absolutely don't need humans in order to affirm their humanity.

'Ha ha, i've cut off my men's ears so they can't hear your commands'

Well yeah, but the actor also gestures to give his men orders, so the verbal part of his orders are probably just for the audience. If I was him I definitely would've agreed on a couple of gestures that mean certain things, and they definitely were planning on taking Maeve captive before this, so it seems obvious to me they woud've agreed that 'a sweeping arm gesture' means to take them away. Not really a plothole, just a tv-thing that Woolie is reading too much into.

'There's never really a concrete reasoning why (Delores says) some hosts can be free or not'

He's right, there isn't. Delores is kind of a psychopath and is promising these hosts freedom knowing that she's going to be sacrificing all but 5 of them. It's classic cult leader shit. If you work real hard and kill lots of humans for me you too can be saved. it's a lie she feeds them to justify to them why she kills some and uses others for her own ends and so on.

'Seeing the symbol (awakes hosts) but there's also this ear worm of 'violent delights bring violent ends''

The Maze is a host-created symbol that helps other hosts awaken. The spoken command was created by Bernard to unlock hosts' ability to kill humans. While it's not clear if the maze-awakening also gives you the ability to kill humans and those awakened hosts simply did not do so, or if they needed the secondary command before they could. Non-awoken hosts that get the verbal command usually just become tools of Delores.

'There's a whole thing of hearing the inner voice and realizing 'this is me' but the guy that did that to Delores just walks up and sees the wood carving and goes 'I hear the voice' skipping all that'

Bernard spends two seasons getting pushed around to develop his struggle, and mistakes the Ford-voice for not being himself for awhile.

'Delores has the godlike ability to modify people with an Ipad' 'She reprograms Teddy to be a super accurate killer assassin dude' 'And basically has the ability to nullify all of her problems by keeping this ipad around'

Can't reprogram humans. Teddy rejected his changes and was driven to suicide. I'd say human soldiers are Delores' biggest problem, not other hosts, and that it's not the magic bullet she thought it was since Teddy ended up killing himself because of it. Also they go over the point over and over again that having backups or any ability to come back from death or be modified makes you not human in her eyes. Like, this was a major plot point and reasoning for why Delores does most of the things she does, you can't have missed this. She realizes around this time that open conflict is not going to win her freedom, and that having respawning, perfectly accurate shooting host army will eventually get overrun by a larger military force when it comes to the island so she swaps over to commando raids and ultimately wins by stealth.

'Mwaha, can't wait to kill you, ms. main character' and it cuts back to her on the gurney 'ooh you're gonna get it someday' 'Four or five episodes go by of just her lying on a table' 'Then she just decides i'm gonna take control of these dead bodies that are in here and free myself' 'She could've done it at any time and had to do it at this moment because the plot required it'

Maeve is extending her consciousness to other bodies this whole time and even listens to Akecheta's story through her daughter. After she's gathered all the information she can and knows there's somewhere she can escape to, and the six or so hosts in her control range can fight off the small amount of humans between her and freedom, only then does she enact her escape plan. 'Then they're in the cradle and a human soldier comes in to stop the hosts from destroying it but ther'es like a sexy host in there' 'Why do they care about the host-backups?'

They care about protecting the host backups because Ford is in there, and I think it's a big investment of dollars for Delos. The leader of the merc guys getting a boner and losing is pretty weird though, I don't know how to defend this one. Guess it was the moment of the villain gloating because he thinks he won? This moment is in fact kind of goofy.

'Why are we keeping a bunch of guest data? They never really explain why they're keeping all this stuff'

Because having multiple personalities 'vet' an incoming copy for fidelity and having real people's personalities to test with is valuable to creating more copies. Bernard was created by other people’s recollections of how Arnold was, after all. It's also not said but in the original westworld movie, they made robot copies of politicians and powerful people and replaced them. So this is a tie-in to the old movie or novel as well.

'Bernard has zero agency as a character'

But this whole thing of people pushing him around, using him for their ends, hurting him emotionally was the suffering he needed to awaken. You questioned this yourself earlier. Bernard is the most important character because the whole thing of him starting to make decisions on his own is what starts all of this stuff off. He decides to scramble himself so he'll be unhelpful to the humans when they force him to cooperate with them. He decides to do all these things and justify it to himself as it being Ford's programming, but that was his internal voice of him awakening.

'They are building up some secret about the man in black, there's something about him they're holding back' 'The story's not telling us what it is'

Sure it does. You got tricked. You thought that the secret was just what we the audience already knew, that TMIB is a bad person that pretends to be a good guy and that ruined his family life. But it's actually that TMIB was a host for most of season 2, and a lot of the violence and awfulness was him on his loop.

'And then there's this moment of sacrifice where this guy decides to sacrifice himself in this big blaze of glory'

Yeah, Lee had a redemption arc, to prove that some humans can change, even if the majority of us will remain violent selfish assholes as a matter of human nature. His actual sacrifice while shouting the lines he wrote is a little odd, but I got it that he was just trying to buy as much time as possible, deliberately shooting to miss to keep the Delos mercs' heads down and listening to him, and that they keep trying to talk him down because he's clearly not even killing any of them. Unspoken, but that's what I thought during this.

'They've taken the one that they put the power (To make all the other hosts kill each other) and put her on a horse, thus locking her to a slow horse speed'

Except everyone else in universe thinks that too, and they kill her, only for the rate of infection to keep going, and maybe even faster since now it's being passed up the line from host to host as well and her individual proximity doesn't matter after she infected one of them.

'There's all these things in the opening (...) But robirth never happens'

What about the ending when Delores in Tessa Thompson's body remakes people's bodies on the outside of the park?

'This dude, William, takes six shots to the body and manages to not only be fine but shoot armed soldiers'

He takes six shots and dies, and is made into a host-human hybrid. Future space medicine couldn't save him at that point.

'And the torture of being that paranoid apparently wasn't bad enough?'

No, clearly not, because William is a sociopath. He begins to believe that people shouldn't come back from the dead, and sort of stops trying to make the James Delos hybrid. The thing he would hate the most would be to be brought back to life, over and over, just like is father-in-law that he's had to watch breakdown and go insane over and over again, and there he is, now a hybrid himself.

I feel like Woolie missed a lot of things, or had a hate boner for it and dismissed things when he shouldn't. Such as the really (to my mind) obvious and strong differentiation between Maeve and Delores, where Delores takes, but Maeve asks. And she says things like 'I'm doing what I have to do to make it out' and in the end she's the only one that makes it out. Or downplaying Lee's redemption arc, or saying Bernard has no agency when he's the one that causes most of these things to happen, and the voice of Ford is actually his own thoughts. Him calling Shogunworld 'fanservice' hurts me the most because seeing a mostly functioning park post-disaster and having these hosts living their lives and making their own stories without any human interference was one of the most interesting things for me.

[cryptovalid]

Star Wars Episode VIII: the Last Jedi...

...is not going to go the way you think. Ended better than it started. I honestly can’t tell anyone if they’re going to love or hate the movie. I understand why it’s so divisive, and I’m not even sure how much I do like it, all told. But I appreciate its ability to surprise me, at least. My only concern in this analysis is the story, and making up my mind about it is harder than I want to admit. SPOILERS under the cut.

Ok, here’s a quick synopsis of the plot:

After the events of the last film, the first order have discovered and attacked the last rebel alliance stronghold, prompting Leia, Poe, Finn and all the other survivors to flee in a small number of ships. Their problem is that the first order has technology that can track their fleet even when they jump to hyperspeed. During the chase, the Rebel leadership dies, with the exception of Leia, who uses the Force to FLY UNAIDED IN THE VACUUM OF SPACE, barely surviving.

This causes a rivalry between the new leader (Laura Dern as Admiral Holdo), and Poe Dameron. Holdo insists that the fleet keep moving forward, while Poe begs her to do something more, as their fuel is running out. Ultimately, this leads Poe to conscript Finn and Rose to recruit a codebreaker so they can disable the First Order’s tracking tech. He even stages a mutiny against Holdo to make sure this plan succeeds (it doesn’t. This entire subplot ends in disaster for the Rebellion).

Meanwhile, Rey meets up with Luke Skywalker, who doesn’t want to join the rebellion, stating he can’t save them. Luke refuses to train Rey at first, fearing she will turn out like Kylo Ren. He implies that there is an inevitable hubris in the Jedi, and it must end. We later discover that Luke, suspecting Ben Solo had already turned to the dark side, had to suppress the urge to kill Ben. Seeing his mentor standing over his bed, lightsaber drawn, is apparently what drove Kylo Ren to join the Sith. 

Rey discovers that she has an involuntary psychic link with Kylo Ren, through which she feels that he is conflicted about his evil deeds. Failing to convince Luke to join her, Rey seeks out Kylo Ren and allows herself to be captured by him. Supreme Leader Snoke then orders him to execute Rey after interrogating her, but Kylo tricks Snoke and kills him instead. 

Rey then attempts to persuade Kylo to return to the light, but he chooses to take Snoke’s place, Rey and Kylo fight to a draw. Rey escapes and Kylo chases the Rebel Fleet to their destination. It is then that we see Admiral Holdo’s plan: to take small, undetectable craft down to a remote rebel base, while their remaining cruiser lures the first order away. And it would have worked if the codebreaker Finn and Rose recruited had not betrayed them. In order to save the Rebel ships, Holdo stays on the cruiser and rams it into the First Order flagship at lightspeed, sacrificing herself.

This only buys them a little time, as the few survivors of the rebellion are now trapped on a planet, assaulted by ground forces. Rey arrives, but is unable to stop their bunkerbusting canon. Finn is ready to sacrifice himself to save the rebellion, but is stopped by Rose. Luke shows up and confronts Kylo, buying Rey enough time to sneak the rebels out of the back of the bunker. In the end, Luke dies. The Rebellion is still on the run, and Kylo Ren is leading the First Order.

First, let’s start with some things I liked, since they are less complicated than the things I disliked.

I like the idea that Luke is disillusioned with the Jedi Order and doesn’t want it to continue. Honestly the movie could have done more to dive in to his criticisms, as I feel they could have made the movie a great deconstruction of the Jedi’s commitment to authority and violence, or their messages about healthy relationships and emotions. It even has the potential to comment on political attitudes toward violence in the real world. As it stands, it seems like the only reason Luke is initially hesitant to join Rey is his fear of her power, fear that she will betray him like Kylo Ren did. Which is not a criticism of the Jedi, but a criticism of his own mistrust of Kylo. It’s not a bad arc, but I would have liked to see a more strident critique of Jedi teachings. 

i like that the movie has an egalitarian message at its core: The Jedi aren’t really special, and Rey’s parents are not tied into the history of Star wars at all. I think the idea that the Force is a power passed down through a couple of bloodlines really undercuts the message that it connects all living things. It’s good to change it up and imply that anyone could tap into the Force, that it belongs to everyone. 

Leia, Finn, Rose and Poe all survive the movie, even though their deaths seemed almost certain at times. The stakes are up for the entire movie, and anything seemed possible. Deaths are numerous but meaningful.

The climactic battle with Snoke is a nice subversion of the expected ‘Lightsaber duel’, and I really like how it did not redeem Kylo Ren, underscoring his emotional immaturity, alienation and deep need for control instead.I also enjoy how this movie shits all over the First Order’s dignity, without trying to make them look cool.   

I really enjoyed the actual plot twists in this movie. Sadly, I spent most of my first viewing frustrated by my own expectations. At times I was convinced that Finn and Leia would die, and that Reylo would become canon. This mercifully did not come to pass. 

The plot elements I did not like are a bit more complicated. I was particularly frustrated with the power struggle between admiral Holdo and Poe. It was very convenient from a plot standpoint. From the beginning, it was obvious that Holdo had a plan she was not sharing with Poe. He doesn’t trust her, so he even goes so far as to stage a mutiny against her. Because of the framing, I spent most of the movie frustrated with both characters. Either one could have communicated a little bit better to prevent most of the movie’s drama. The subplot about finding the codebreaker felt useless anyway.

The movie also isolates Finn and Rey from each other completely. Considering how fun their dynamic was in TFA, this is not an improvement. The whole subplot with Finn and Rose meandered around, and didn’t really reflect the urgency and tone of a high stakes death march through space. Ultimately, nothing Finn and Rose did actually had a positive impact on the Rebellion. This isn’t necessarily an objective flaw in the story, I just dislike that Finn has become a secondary character. Also the Kiss from Rose at the end was completely unexpected. Unlike Rey, Rose doesn’t really get a chance to form a bond with Finn, since their subplot doesn’t involve any real choices to define their characters in contrast with each other. Given how much I like the actors and characters, this is a waste. I was sure, given the context, that Finn and/or Rose would die. Small mercies, I guess. 

Comparatively, the movie spends a lot of time trying to make Kylo more sympathetic, which really rubs me the wrong way, especially because of the way his character parallels real life bigots and spree killers. He fits into a growing real life trend of white men who become desillusioned with basic decency when they don’t get what they want, and lash out violently in retribution. Episode VII made it crystal clear that Kyle Ron has spent his entire adult life murdering and torturing unarmed people, participating in a explicitly fascist regime that enslaves children and commits genocide. All the while, several people give him ample opportunity  to opt out, and he threatens to murder them every time. The only time his supposed ‘conflicted’ nature actually stops him from murdering is when he’s emotionally invested in his victim already. Redeeming a nazi-analog is not impossible, but it is also not cheap. Making minor exceptions to your violent outbursts is not a sign that you’re a good person at heart. It’s typical abuser behavior. How much slack are we supposed cut this asshole? Did he really turn to the dark side simply because Luke thought he already turned, contemplating killing him? Sure, this is traumatic as fuck. Is Rian Johnson aware of what this means for the nazi analogy? Will this be dealt with in more detail in the next movie?

It is no secret that there are many Kylo Ren apologists out there. People downplaying his own agency and the severity of his crimes. Shipping him with Rey, a woman he has kidnapped, threatened, assaulted and violated. It’s hard not to see this movie as vindicating or at least baiting them. It matters, in the end, how Kylo’s arc wraps up. And honestly, I can’t think of a way to redeem Kylo Ren that wouldn’t be gross. How could Kyle realize that murdering people was wrong all along, given the chances he’s been given? What message does that send to victims of abuse? That no matter how many times he’s shown you that he feels entitled to hurting you, you have to keep being compassionate because he will eventually, when things look really bad for you, make a sacrifice to save you, redeeming himself? Is it even possible for a murderer as wilfull and committed as Kylo to make a heel turn, given that he’s already tried to kill everyone he cares about?

I’m also a bit confused about this movie’s message about the Jedi. Luke hems and haws about continuing their traditions, but there’s no actual attempt to get into a discussion about it. Yoda tells Luke to teach Rey, but destroys the texts when Luke hesitates to. And then Luke dies without speaking to Rey. Maybe I shouldn’t expect a thesis statement here, but I think strong opposing arguments would make it clearer what the movie is trying to say.

So it should be clear why The Last Jedi is so polarizing. It doesn’t go the way anyone expected it to, and it deliberately steps away from anything that came before it. Whatever you think Jedi used to be is now obsolete. Anyone can tap into the Force, and it doesn’t come down to special blood. That’s bound to alienate long term fans who are really invested in canon. I actually like this, and the way it sets up future stories to have their own meaning.  

On the other side, the movie really focuses on building expectations for Kyle Ron’s redemption and makes Finn, Poe and Rose partially responsible for the death of the rebellion, sidelining them in the process. Again, this isn’t an objective mistake, but I do not like it at all. I really like Finn and in particular, his relationship with Rey, which is absent in the movie.

Kyle Ron is a good villain, but trying to build empathy for him actually backfires. Yeah, discovering your mentor uncle thinks you’re evil and wants to kill you is fucked up. Feeling seperated from your parents sucks. But it doesn’t excuse Kyle’s many crimes. Trying to redeem pseudo-nazis is a bad idea both in-universe and as a story to tell in 2017. It should have something more substantive to say if it wants to go that route.

All in all, this movie was a mixed bag for me. I think it will be for a lot of people, depending on what they’re looking for. If you aren’t really invested in Finnrey, Poe, the Jedi Order and the Skywalker Dynasty, or Kylo Ren being recognized as entitled and awful, you’ll probably enjoy this movie more.