#the dream sequences in the show are written with so much symbolism that you can find something new every time!

[celestialowlryx]

THE DRAGON PRINCE ↳ 3.07 "Hearts of Cinder" | 5.03 "Nightmares & Revelations"

[sirellas]

Left Hand of Destiny (1&2) stream of consciousness review

Overall thoughts: I really liked this book! Or technically 2 books but the second is just the continuation of the first so in my head it was just one long book (~500 pages all in all). This is only the second trek book I've read and also the second written by the actor who played the character in ds9 (shoutout to ASIT, though this one has a non-actor co-writer as well), but even beyond the star trekking of TLHOD, this was a really good read in terms of writing style, pace, emotion. It was very action and character focused which I enjoyed, and especially the characterization of Martok was so great and obviously JG Hertzler had a lot of thoughts about the character he played that translated really well on page.

The memory alpha article on TLHOD says this but I didn't really start to see it until the last half of book 2, but this is very much a King Arthur story (btw don't look at that memory alpha page unless you don't care about major spoilers lol). Down to a lady in the lake handing out mythical swords. That instance was a little heavy handed in my opinion, but I did like all of the prophetic dreams and talk of glorious purpose.

That's something to note though: if you don't like dream sequences, this is not the book for you. There are A LOT of dreams. In fact the opening scene is a dream, but it's now my new favorite opening line in a book because it jumps right in by telling you who this guy is and what his deal is:

I personally am a big fan of overt symbolism like this (even a well done cliché or two), myths and repeating cycles of heroism etc etc. And I think this book melded Arthurian drama with Klingon drama well. The Klingon-ness of this book was great. What better way to get to the heart of Klingon culture in a story but by focusing on the guy chosen to lead his people and getting it ripped out from beneath his feet and having to decide that he actually wants to be chancellor. In a lot of ways this is a story of outcasts finding their way back to where they belong, which isn't always what they expect or want in the beginning. Which leads me to...

The supporting characters really made this book. Without Pharh the Ferengi who got bullied for being as ugly as a Klingon as a child and now runs a landfill on Qo'noS, there would be no book. He's my favorite (little buddy coded to the extreme) but most of the major side characters are really well explored in terms of motivation and actions. Worf, Sirella, Ezri, Darok, Kahless, Alexander, to name a few. Alexander and Kahless were two of my other surprise standouts. And because no one who hasn't read this book knows about my new favorite guy Pharh, I will now include a couple passages I highlighted to spread the word about how great he is:

Wide array of well developed side characters aside, this book is awful for women. Yes the main antagonist is Martok's insane ex, but her character is kind of too outlandish to really have much depth. Ezri shows up at the end of book 1 and plays a big part in book 2 but honestly I'm not sure why she was even there (apart from loyalty etc, but I mean story-wise she didn't add all that much to keep the action moving ((anyone else could have been subbed in for her 9 out of 10 times and it would've made more sense tbh)) except to be another explainer of Klingon things to the reader). Sirella has a few great scenes, but not nearly enough and she wasn't allowed to do much either in terms of agency and impact on plot. Martok's two daughters are barely afterthoughts.

The main plot is that a usurper attacks Qo'noS (and specifically goes after Martok), swaying the Klingon people to their side through a combo of bioengineered charisma and the people's growing resentment toward progressive ideas that Martok (and Worf) represents. That's really only the problem in book 1, while book 2 deals more with Martok accepting the hand fate has dealt and deciding to win so they can save the decaying Klingon heart and so on. But even with the kind of cheesy setup, it rarely felt overwrought or unearned with the emotional beats. The antagonist lady is, yeah, she's a bit over the top. And before 2016 I would've said the quick flip to xenophobia and Make Klingons Great Again (I'm pretty sure they use that phrase almost exactly) in the general public was unrealistic but hey, cycles of destiny and evil constantly shifting and repeating, am I right??

There were... quite a few deaths. I guess I should've expected that, being a Klingon setting and all, but some of them hit me hard. And a few I don't think really needed to happen and kind of weakened the narrative.... maybe I'll put a spoiler section below a cut at the bottom of this to discuss those 🤪

This paragraph will haunt me for a while I think... 😀 sorry for inflicting it on others now but hey that's show business

Even with some hiccups (see spoiler section below), I loved the book pretty much. Shocker: tumblr user girlmartok loves the Martok book, but it was better than I had hoped even. The Martok focus was so good and the side characters just made it even better. Much more of a heroic fantasy than most star trek settings, which fit really well and also was refreshing. It's long! But I would recommend it if you have any interest in Klingons and/or fun little guys who go on adventures and think a lot about death.

SPOILERS ⬇️

Okay ripping the bandaid off. The way Sirella died was not chill. I mean even having her die was not something I would have included, because the story really didn't dive all that deep into her and Martok's relationship. But ramming an enemy ship so Martok could flee near the beginning of book 2... and she doesn't even kill any major bad guys doing it?? It just served no point narratively (the bad guys still outnumbered them, still caught up to them not long after) and it didn't even really affect Martok all that much beyond like one paragraph where he wants to turn around and go on a murder spree in her name... He doesn't even get to go on a murder spree in her name!!!

Bandaid rip #2: PHARH MY LITTLE BABY BOY DIES???? I was glad I had forewarning about this one because I would've been mad otherwise. I am not exaggerating saying he was my second favorite character in this book after Martok. The humor he added, yes, but also just his role as an outsider who's seen as weak by both Ferengi and Klingon, and he befriends the chancellor of the Klingon Empire, HOLDS ONTO THE CHANCELLOR'S RING FOR MOST OF THE BOOK AND BECOMES HIS SQUIRE BASICALLY 🫠💔 I don't know how anyone wouldn't fall in love with him. At least his death was done well, even though I don't think it should have happened. He at least got a murderous rampage in his name 😤 and Martok basically adopted him so he could get into Sto'vo'kor 🥺

Those were my main two criticisms of the book, and really ties into why this wasn't as great a story as ASIT, for example. A lot of things happen to Martok, but some things don't get the resolution they would need to influence him on this character journey he's going on. One of Martok's defining characteristics in ds9 is that he's a wife guy and his wife doesn't take bullshit. But then his wife dies suddenly and he's upset but he's not Upset upset, if you know what I mean. It didn't feel earned and it didn't feel necessary. Literally the first and only time it did feel like a reasonable plot device was at the very end when Worf tells him that people love a tragic victor even more than a victory. The problem is just that Martok doesn't ever explore what that tragedy really means to him.

Justice for Shen and Lazhna, Martok's daughters, who in addition to dying off screen are only brought up to highlight how shitty of a dad Martok has been. He just thinks of them (and his son Drex too but he gets more characterization solely by virtue of appearing in the narrative) in terms of himself and his love for them is more on the side of pity rather than real emotional attachment. Sirella should've been way meaner to him about that tbh.

Non character death related but a big focus of the first book was Martok losing public opinion pretty much immediately. Old friends turn against him and that really shakes him. But then in the second book... that's not really brought up again? The whole second book takes place away from Qo'noS, and yeah they mention that people will probably become less affected by the dumb bioengineered charisma after time, but I cannot stress enough how much the entire planet hated him. So he won the big battle against his foes etc etc, came back to Qo'noS and... just told everyone all that?? That goes along with the lack of fully exploring the consequences of some of these bad things that happen to Martok. It felt like a little too much piled on him and not enough resolution.

[scarlettatg]

The Handmaid’s Tale

Thoughts on 505 and 506

Even before Gilead June had doubts and insecurities about her relationship with Luke which I think is completely normal, but what has always been interesting to me is that the flashbacks that weren’t her idealized memories of her family, were about the red flags of her relationship with Luke. How they met, June’s guilt over the infidelity, Moira and Holly’s warnings and his reactions to when Gilead started taking over. Season 4 was even more brutal in terms of showing how out of touch he unfortunately was and even with these “changes” in Season 5 I still see the same issues being portrayed.

When I watched episode 505 this particular scene came to mind. In the bowling alley when Luke starts singing there’s a look of doubt and sadness that reminded me of the look she had in episode 207 after she walks in on Luke screaming into Annie’s voicemail. June looks back at Jayden and that’s when we see her expression. It’s kind of hard not to associate Jayden to Nick. I would love to think she’s probably thinking about the fact that she’s in love with Nick and maybe she was, but the show loves to make it seem like June doesn’t think about him (which I believe it’s impossible) but in this particular case I think it has more to do with Hannah. June has always felt that Luke’s love is conditioned to her ability to be a mother and we have seen that portrayed in the show. The fact that she couldn’t save Hannah and bring her back to Luke weighs heavily on her. The whole dancing sequence and the way it was shot seemed idealized like the flashbacks she used to have of Luke and Hannah. It felt like a dream or like the title of the episode, a fairytale. Even though by the end of the scene there is a connection between Luke and June I keep feeling that connection is in a way centered on guilt than in the love she had before. Ironically by the end of the episode they end up once again separated in the woods.

Then in the next episode, we see these 2 characters physically together (like the title of the episode) but it felt like they were more apart than ever. I think the cages symbolize the striking contrast of having them together but separated by those huge cages. There’s just so much space around them yet they’re trapped with each other - by who they are now and how much they’ve changed. Luke is now seeing and feeling a small part of what June went through and June is in complete control, disassociating to her survival self. She’s not worried about herself, she’s worried about him.

I'm sorry. Sorry. I just... it's just when I... When I think of you in places like this, by yourself, I just wish... I wish I could've been the kinda guy that could've come and got ya. And I know how that sounds, I just... I just wish I could've been with you through that.

You were with me. You were.

In this interaction Luke is clearly and obviously panicking. He’s frustrated because he knows once again there’s nothing he can do. His inability to save and protect June is once again out in the open. So he gets mad. He says I’m sorry I’m being such a man about it. This comment made me think that I’ve always seen Luke as written to be a subtle misogynistic character product of being raised in a patriarchal society. And just like in our society some people see it some people don’t. We expect Luke to be prepared (at least somewhat) but he clearly isn’t. Then we see June and everything she’s gone through and it’s painful and frustrating to watch her babysitting someone who doesn’t seem to at least acknowledge that this has to be triggering for her. I’m not saying he isn’t worried about her, he obviously is but it’s more about how he feels in that moment. Obviously June doesn’t show it and that makes him feel even more inadequate.

The second thing he says is how he wished he could be that guy. It’s a constant guilt Luke has had to live with and 2 episodes ago Serena pointed it out bluntly. This is what gets him mad at Serena not the things Serena’s done to June but the things he couldn’t/didn’t do. There’s no way that in between the lines who both of them are thinking about is Nick. June knows the risks and the things he did for her and Luke recently got more confirmation that Nick took care of her in ways he couldn’t. I don’t want to be unfair so I will point out that there were times Nick had to literally stand by knowing June was being abused and he couldn’t do anything; but he did sacrifice himself for her safety and paid for it as well. She also did say on the tape that Nick helped her to survive. June’s expression when she tells him that he was with her is interesting. It gave me the impression she really didn’t mean what she was saying and he didn’t believe her either.

You listen to me, okay? Okay. Okay. Last time when we were apart... No matter what happened, I never gave up hope. And you never gave up hope, because we knew... we just knew... that we would find each other again. So, we're just gonna do that again. Right? I love you. I love you. And we are gonna do that again. Do you understand? Yeah, we're... we're gonna stay alive. That's right.

This is one of my least favorite lines of the whole series. (Both dislikes in the whole series for me are in this season and it’s simply because it seems like a change of narrative and storyline). I had issues with it because it makes no sense with what I have been shown in terms of June and her longing for Luke, which is basically non existent. Every scene of her thinking back to him was always conditioned to Hannah.

In Episode 105 she says why does it feel like I’m cheating on Luke? This was the first time she went to Nick’s apartment ordered by Serena. It was something she had no choice in the matter like all the other ceremonies before and she didn’t think of those as cheating on Luke. She also still believed he was dead. I took it as she wanted and was attracted to Nick which we saw since their first interaction. The flashback to Luke in this episode shows the first time they were together and the awkwardness between them since they were being unfaithful and it contrasts to the second time June goes to Nick willingly. She says she felt invincible the same way Luke had described the way she looked in her in the picture when he met her at the food truck. Luke told her he looked invincible, Nick made her feel it.

In Episode 307 she sees Luke with Nicole at the protest on the TV. She longs for him in a way and says she wishes she could be held and told her name, things we know Nick who just had left for the front did for her many times before and she kept doing even after she knew Luke was alive. But let’s take Nick out of the equation. She saw him, she longs for him; yet that flashback is to the night they made Hannah. This is also when she sends him the tape where she says she’s embarrassed, because she knows she’s being unfaithful just like Luke had done with Annie; and where she says Nicole was made out of love and that it was Nick who helped her to survive.

In Episode 405 she reminisced about their first time again while Janine and Steven are having sex. It isn’t an intimate setting, they’re in the middle of a war front. She believes that what Janine is doing is wrong so I have no idea why she thought back to that.

In Episode 406 which is called Vows interestingly enough, we get the flashback where Moira says that Luke left Annie because she couldn’t conceive. We then see June talking to Luke about their and his vows with Annie asking what if she can’t give him kids, if she disappoints him or isn’t who he thought she’d be. Which is interesting given the context that she comes back a completely different person and without Hannah. She even says it to Moira on the boat. She didn’t want to come back to him without Hannah and you can see how worthless she feels when she tells him I’m sorry it’s just me.

She also says she never gave up hope and well she did many times and after season 3 she was suicidal, and in season 4 she tells Aunt Lydia to kill her.

After her first escape, what happened with Omar, her pregnancy and Nick’s marriage she was extremely hopeless. June has always had the will to fight and has drawn strength not only from Nick but from her friends. After planning Angel’s Flight she had nothing left to lose and her plan wasn’t to escape. Luke even questioned her decision to stay making it about him not realizing June stayed behind for Hannah. In season 4 she runs back to Nick while she was scared of going back to Luke. Nick didn’t save June, she saved herself but he tried to help and his love helped her survive. That has been a constant for 4 seasons. We see her struggling to connect and it’s not until 409 that we see a semblance of peace and safety when she sees Nick. I know it was also a struggle for Luke to connect with her but I think it’s because unfortunately he expected her to simply go back to who she was and she doesn’t feel safe enough to open herself to him. He expects her to be someone she isn’t.

I can understand the moment they’re in, about to die but the lines could’ve been entirely different and still been accurate to the storyline. I don’t doubt June loves Luke, but she’s not in love with him and we can see it clearly even in this intent to reconnect. Even Luke doesn’t seem to buy it. That conversation made me think of the way she spoke to Hannah in 210 when she’s giving her hope so that she can go back to her other parents. As much as they seem to be trying to change the direction of the storyline it makes no sense and in between those lines I can still see the remnants of the same issues I saw in past seasons.

[cupids-cringe]

OK SO BEFORE I SHOW THE ALTERNATE DESIGNS FOR THE HLVRV HEADCANONS I WANNA SHOW OFF THIS IDEA I DEFINITELY STOLE FROM MERKLINS AND THAT WAS THAT SINCE OUT OF THE GAME PLAYER HAS NO INVENTORY ON HIM AND WOULD LIKELY HAVE A BAG TO STORE HIS TRINKETS

AND

YES!!!

YES HE WOULD!

i gave him a satchel with little wing decals that he stores all his cool trinkets and the occasional bird that sneaks in to hide all cozy and his crowbar- before he eventually gets told he can't take a WEAPON everywhere with him in the real world- thankfully theres no xen aliens here so not much reason for one anyway

AND WITH THAT OUT THE WAY, ONTO THE WAVE 1.5 OF MY HLVRV HEADCANONS

to start i have alternate designs for Player, Kittle Freeman and Loverboy which are edits of their drawings in the previous post and then i have Neo and Spork

i'm currently working on something else but i would LOVE to do characters like Darnold, Benry, Sleepless,,etc because accidental multiverse hoppers have a lot of family and of course the episode 2 Gordons

(notes and Neo & Sporks below)

Player

- literally just the HEV suit, used this as a base for Kittles design

Kittle

- made his hair a bit messier and more spiked in comparison to Players original hair

- a bit of blood and stuff splattered on him from how Kittle is definitely one of those players who would go killing random things hes spawned in after hes done and/or ‘got home from work and is going to take his frustrations out killing random ai and blowing stuff up’ without consequences (until yknow  the ais sentient   and theres consequences)

and also due to godmode would just go through the maps not taking any damage when he was shot at or activated a planned sequence but still getting splattered with blood

- the circuits on his eyes are also further down his body and suit and would spread faster and cover more when he gets angry or overwhelmed (for a while now i’ve liked to think the circuits can react to his emotions so something really strong like anger would make the circuits freak out and branch out more) 

Freeman

- based on his suit in In Your Dreams!! he matches with his family now!!

- the spiralling pattern on his cane is squid tentacle inspired and the paint glows in the dark cos i thought that was neat

- grey hairs,, unlike Doc its, unfortunately, stressed induced rather than a side effect of green goop

Loverboy

- so. many. PINS. this is still just a HANDFUL of his collection!

- his hairs filled with a lot more heart shaped curls and he often ties it in a lower ponytail or wears down, sometimes he puts hairclips and little decorations in it to match his pins!

- i think the several hundred hearts do a good job explaining themselves-

-and of course like B he has his name written on his earrings

NEW ADDITIONS: NEO AND SPORK!!!

Neo

- sort of mashed together 2 different refs i had of them and took the bone pattern from the trousers of the 2nd and instead turned it into a patch he stitched on, along with a clown patterned patch (this is specifically the clowngender xenogender flag)

- decided to make their hair a bit less spikey and more flowy ?

- pronoun badge!

- the shoes are based on his 1st design, the trousers are a little more blue just to try and break up all the dark greys and make the nails and shirt seem less out of place, kept the classic playstation hoodie

- his nails actually match with Swaps!

Spork

- i gave them earrings now- The one shown on the right (left??) ear is a pin and i did draw the other but it didn't look right as Sporks hair actually covers their ears so i drew over it

(and it was a lightbulb like on their hlvrv sprites)

- added a few more buttons to the cuffs of their shirt also

- i gave them a pocket with a notebook that they use for random notices, ideas and as a schedule diary

- (usually) safety pins worn are a way for the wearer to let people know they're a safe person for people who are often discriminated against or afraid, its a way to show you are safe, a symbol of solidarity and thats why i gave Spork one

[emmym1]

My thoughts on... X-23 2010A (#1)

As I continue my read through of the X-23/Laura Kinney comics i've arrived at her 2010 run! It's split it up in 2010A and 2010B, with 2010A being a one shot. And I have to say I was really caught off guard by this issue. It's such a deep and complex read with some very unique art that compliments the story it's trying to tell very well. I did have to read it twice to fully grasp everything. The writing in this issue so special and poignant. It's super interesting how they really explore X-23 to the deepest as she confronts her demons. Her feelings of being eternally trapped in a cage even if she's a free person now was super interesting. And her feelings of constantly being used and the loneliness that comes from that hit soooo hard and was so well explored. I really liked how they showed that even when she's surrounded with other people who care for her, she still feels lonely whether it be because the people around her have a connection with each other that they don't have with her or just because she feels so isolated from the world around her. It's incredibly well done and that part in particular was such a hardhitting part of this comic for so many reasons. The way she tries to cope with everything by harming herself because pain is the only thing she knows is just so tragic and it just really shows in how much of a dark place she is and how everything she has been through has affected her. It's also really interesting how this comic explores the mental state she was in during her time at the facility and how she percieved the scientists responsible for her. I also absolutely love the character arc she goes through in this. Believing she can only exist for others, feeling like she doesn't have a choice in anything and that her worth only comes from being a weapon to slowly realizing that she has to start living for herself, that she does have a choice and that even if she hasn't known anything but a cage in her life, she will learn to live outside it and become her own person that has worth beyond being a weapon. It's so good. Another thing I loved is how they touched upon the symbolism of her mother reading pinnochio to her in the facility and Laura now making the connection that she has to become a "real person". I believed Sarah read that book to her in hopes that Laura would realize that she has to become her own person. So it's cool that she's finally realizing that. I also think that in some ways some of the stuff this comic touches upon is oddly relatable to a lot of people in a certain way. You know, feeling as if you only live for others but not yourself, feeling lonely even when there are so many people around, not seeing your self worth, the list goes and it would be another big wall of text if i had to sum all of it up. But I thinkt this comic really explores those feelings in a very well written way with amazing visuals. Especialy the "dream" sequences were really interesting and the way Laura litterally tries to escape and overcome her demons is super well done. The art for those sequences were very unique and really elevated the comic. I absolutely can't wait to read the rest of her 2010 run because if it hits the same quality of this comic then it's definitely going to be an amazing ride and I am really looking forward to reading them!

[mejomonster]

Silent Reading, chapter 39. Just know I loved every second of the prior chapters too much go quote ToT. So this bit is interesting. It was also used in Justice in the Dark but slightly differently. It's Fei Du's dream of when his mom died. In the dream, darkness swallows up his mom as he grabs her hand, her repeating "Why didn't you save me" and then someone warm covers his eyes, smelling like familiar cigarette smoke with familiar Calloused hands, and light comes through the fingers. Luo Wenzhou saves him in his dream of it.

In the novel Silent Reading, Luo Wenzhou first meets Fei Du outside the house on the steps and sees his determined face (we see that scene in the Justice in the Dark show). But Luo Wenzhou doesn't actually run in bringing the light with him, cover Fei Dus eyes and take him away from his moms body. In the novel apparently this only happens in Fei Du's dreams as an adult. Symbolically, emotionally, Luo Wenzhou was always the light that helped drag him from that dark abyss. But literally, it did not happen that way the day his mom died. In the show, it Does happen literally that way the day his mom died. An interesting choice. A choice visually I prefer for the sake of its emotional impact on me with the lighting and execution of the scene and message. But it's interesting nonetheless that the iconic scene of WHAT Luo Wenzhou means to Fei Du, actually happens in Fei Du's dreams as an adult.

Also an aside: I love priests descriptions of settings, and I loved this passage starting without naming Fei Du so you feel almost like you are him or you're with Unknown Character giving off a good unsteady feeling since it's a dream sequence so like Fei Du you shouldn't be sure of whats going on.

Quote:

The house was too big. The limited human energy couldn’t soak through, and it sent out a smell of deep lifelessness.

It was a lifelessness that sunlight, fresh flowers, and lamps were all powerless to dispel.

He stood in the vestibule, hesitating.

Reasonably speaking, this ought to have been his home. But every time he set foot in the spotless vestibule and faced the room filled with sunlight coming in through the floor-to-ceiling windows, there was dread in his heart.

Faint music came from upstairs, a melodious female voice repeatedly reciting the refrain. He stood for a moment in a trance, as if he dimly knew that something was about to happen. He slowly began to walk, heading inside.

The sensation of the sunlight falling on him became strange, clammy and chill, not like sunlight, but like the wind during a rainstorm. It blew over his forearms, left bare by his summer uniform, raising a layer of fine gooseflesh.

He went up to the second floor. The music became louder and louder, the familiar melody sticking in his chest like a fishbone caught in the throat. His breathing became labored, and he halted, wanting to run away.

But when he looked back, he discovered that everything behind him had dissolved into darkness; everything seemed to be fixed, written and rehearsed. Before him there was only one road, one direction.

The all-encompassing darkness enveloped him from all sides, compelling him to go up the narrow stairs, compelling him to push open that door—

A loud roar. He thought that something had exploded beside his ear. Then he looked down and saw the woman fallen onto the ground.

Her neck was twisted at an unnatural angle, and her body was suffused with a rigid pallor. But her eyes were open—it seemed that while her body was dead, her spirit still lived.

The woman stared straight at him, two trails of bloody tears flowing from her eyes. She coldly asked, “Why didn’t you save me?”

His breath tightened, and he backed away.

The woman staggered to her feet and reached out a death-mottled hand. “You can feel everything. Why were you avoiding me? Why didn’t you save me?”

The hand was surrounded by the consuming darkness. The dark seemed to be alive, heartlessly swallowing her up. She let out ceaseless screams and questions, struggling with all her might to reach out her hand to grab him, but she was ceaselessly pulled into the darkness.

He instinctively took that icy and livid hand, heard the screams, felt that he was falling unstoppably. Suddenly, something pulled him from behind. His back pressed against a warm and solid body, and a pair of hands came around him, traveled up, and covered his eyes.

He smelled the faint scent of cigarettes on those clear-knuckled hands. Then, in the cracks between the fingers, there was a burst of light—

Fei Du started awake.

He was sitting in his own study. Going through a dull project plan, he’d read halfway through and fallen asleep.

It was afternoon. A cool wind full of humidity was pouring in from outside the window. At some point the wind and clouds had risen outside, and a storm was brewing. The roaring sounds and flashing lights in his dream had been thunder and lightning. His phone was ringing interminably, displaying three missed calls—no wonder he had heard that music in his dream.

[llycaons]

more commentary and excerpts from the spy AU!

first of all this is so much better and more interesting and funnier and more coherent and classier and more erotic and better written than the other historical spy fic set in a country where being gay was illegal and they went to the secret clubs. that gomens fic sucked so bad I thought I hated the entire setting and genre. but this rules. I'm on a rollercoaster of emotion. there's intrigue, drama, angst, secrets. and the characterizations are impeccable.

and this setting provides an opportunity for relationship dynamics that mirror canon in effective and believable ways. wwx getting the siblings out after they lose their home echoes their flight after the LP massacre - they ARE old money so fleeing to hk makes sense, and does myu dying in defiance. jyl being terrified of losing wwx, and wwx being ready to cut ties with the jiangs and go his own way is similarly painful to canon, though in this case it's because of the social and legal ramifications of homophobia rather than wwx's involvement in DC the dream sequence was really good! actually felt like a dream, was symbolic but not obnoxiously so, gave the reader new information, and tied back to canon themes and events

jyl and lwj's genuine budding friendship is so special :3 and I think the writer encapsulates how lwj is such an ethical and good person in ways that many other fics struggle to. jc is a doctor though which kind of shocks me I also find it kind of baffling that jc says some really cruel and hurtful things to wwx when they talk about him being gay like wwx is like 'this is none of your business' and jc is like 'you deserve to get caught' and in the end jyl calms him down and then considers it a good thing?? man I don't agree that wwx would have just forgiven that easily, that's a really horrible thing to say to someone

Tired down to his atoms, Wei Ying wonders if life had been easier back in the age of Mencius or some other ancient time. If the moral battles had been simpler, if conclusions on right and wrong were easier to reach. The times they’re living in now feel too complex. Anything he can think to say to Lan Zhan is insultingly insufficient.

the irony of an alternate universe version of wwx wondering if things had been easier when his canon storyline set in the ancient past was so painful and difficult and full of thorny moral considerations, his debt forever pulling him in different directions...

“What is?” They turn as one to see Jiang Cheng, beach bag in hand. “Uhhh…” Huaisang, whose lying ability hasn’t improved one iota in his years away, flails spectacularly.

SITS BOLT UPRIGHT. NHS A SPY??!!!! I guess he can secretly be just a good liar but any fic faithful to canon should have him unveil a few tricks up his sleeve...his true character is hidden the entire story, and it's fun when fic authors show him as he really is too instead of just the facade

It wouldn’t take much to get Yanli to agree to let them live in one of the rooms, and Wei Ying already has it picked out: the eastern-facing one, so Lan Zhan can spend his mornings in the sun... He even adds Zixuan to the fantasy for jiejie’s sake; he can be reading quietly in a corner, looking adoringly at Yanli while staying absolutely silent.

help

[afannishknitter]

Let’s misbehave...

I’m sure back when 15x10 aired, I was not alone in this, but readers, when I saw this scene, I screamed. Like, alarm the neighbors kind of screaming. This is - and it’s 100% subtextual but there is no earthly way this could be overinterpreted - a clear statement that the writers want to give us “canon Destiel”. (If anything it was underinterpreted by the audience - on Twitter, you could tell who was not used to examining subtext because they were very confused about why it was there.)

We’re seeing, essentially, a drug trip - Garth has just given Dean a good dose of laughing gas, and sends him on his way. “Let the gas do its thing... everything’s fine...” So (in the way film handles these things) we are accessing Dean’s subconscious, perhaps things he hides from himself - but Garth is reassuring us, we’re gonna like this.

The scene is shot in black and white, to old-timey music, in old-fashioned costumes. It evokes the Motion Picture Production Code (or the “Hays Code”), a semi-voluntary (in that you could ignore it but no reputable theater would show your film if you did) system of censorship designed to impose moral standards on film. Among the things forbidden? “Excessively lustful” sexual content - which means filmmakers got really good at finding ways to express sexual content via visual euphemism. Ways like watching fireworks together. Ways like... dancing. Hold that thought.

Dean is venturing into some territory that’s uncomfortable for him. He’s not sure what he’s doing. But Garth appears and offers to demonstrate. Narratively, Garth has been used to show us what Dean could be if he would get out of his own way: he’s well-adjusted, content, confident without being overconfident, unafraid of showing the world his internal softness, unashamed of what and who he loves. Garth is telling Dean: Drop the front, let the real you shine - and then he vanishes, and Dean tosses the prop away; he can trust himself, he’s got this.

He dances around the room by himself for a bit, but he’s looking for something -  a partner. (Dean has been dissatisfied with the ‘unattached drifter’ lifestyle for quite a while - he maybe first expressed this in “Rock and a Hard Place”, but there was a moment in “Baby” that made the point outright, if indirectly.) When he finds someone to dance with... it’s a lamp. There was a time when I could have quoted you chapter and verse on “lamps, the sun, and other light sources as a stand-in for Cas” in the show’s language of symbolism; my helpful friends came up with this, in which light was used to hold space for Cas and highlight his absence from a scene. Trust me that the lamp is a stand-in for Cas, and at a minimum the audience is being invited to imagine who that lamp might represent...

Then there’s the song: “Let’s Misbehave”, originally written by Cole Porter - we can’t know how he would label himself if he were alive today, but it’s known that he was married to a woman while also having male lovers so “bisexual” is at least in the neighborhood of right. As he closes out the dance with the lamp by blowing it a kiss, we hear...

They say the Spring Means just one thing to little lovebirds We're not above birds Let's misbehave

and then Dean dances his way up the stairs to the top of the map table where he stands, rapturous, in a beam of light: his highest bliss, his happiness, his heaven, and if the light was holding space for Cas in the past, that space is now right where Dean is.

...so the tl; dr on the whole scene: they have used tap dancing (symbolic of sex) with a lamp (symbolic of Cas) to “Let’s Misbehave” (not symbolic so much as just straight up about sex) to tell us that among Dean’s deepest desires is a relationship with Cas - or turn the decoder ring one click to the left and they’re simultaneously tapdancing around (i.e. addressing indirectly) and hanging a lampshade on Dean’s desire for a life partner. They bring this up again at the end of the episode: Garth and Bess are dancing together while Sam and Dean look on wistfully, and Dean comments, “You know, I always thought I could be a good dancer if I wanted to be.” - a reference both to the dream sequence and to the domestic contentment they’re watching.

(The caveat I want to hang on all this is that if you turn the decoder ring one more click and then look at the Hays Code again, they may be telling us about Network Meddling: we would like to give you an explicit Dean/Cas romance but someone higher up the food chain has shut us down. The caveat to that caveat is that they’re willing to misbehave. ;)  )

[lovequinn]

Lmao you're so right on the lexa character death numbing you front

yeah no nothing can touch me after that lol that was a masterclass in coping

but honestly! if we wanna talk character death comparison! jackie's death in yj was:

- necessary to move the narrative forward, both literally and symbolically. it wasn't a throwaway death. her whole character arc was always going to lead to her dying to serve the story being told.

- remarkably well written (i maintain that the fight between jackie and shauna interspersed with the reunion and then jackie's dream sequence/subsequent death reveal are some of the best television scenes/payoffs i've ever seen, and i'll be talking about it for ages. not to mention sophie acting the absolute hell out of shauna's devastation)

- forewarned, without any illusion that she would make it out alive. like, we knew she died. instead of making the gut punch be "look we killed off this character, doesn't that suck" the gut punch was HOW they killed her off, how simple and preventable yet absolutely brutal it was, and for me that evoked a much longer lasting and thoughtful emotional response than just an immediate shock or anger that my favorite character is gone.

- not a bury your gays moment. WE all know that jackie was gay (because duh) but technically, textually, and definitely according to shackie denier ella purnell, she wasn't an established queer character. and even if she were, see points one and three.

i just have so much fun talking about this because this show fully killed off my fave character and i'm not even MAD about it (def sad though) because it was that well done, and i feel like that's such a rarity nowadays in shows where there's an inherent risk of peril. so it isn't easily comparable to other ships/shows of mine where a character has died.

[girl4music]

BUFFY REWATCH - S04E22 - Restless

Tara: “I think it’s strange. I mean, I think I should worry that we haven’t found her name.”

Willow: “Who, Miss Kitty?”

*shot of their kitten, playing with a ball of red yarn in slow-motion*

Tara: “You’d think she’d let us know her name by now.”

Willow: “She will.

*looking down at Tara*

She’s not all grown yet.”

Tara: “You’re not worried?”

Willow: “I never worry here. I’m safe here.”

Tara: “You don’t know everything about me.”

Willow: “Have you told me your real name?”

Tara: “Oh, you know that.

*Willow smiles, reaches for something. Shot of a paintbrush dipping into ink jars*

They will find out, you know. About you.”

Willow: “Don’t have time to think about that. You know I have all this homework to finish.”

*the camera pulls back so we can see Tara is lying face-down on her bed, naked, and Willow is painting on her back*

Tara: “Are you gonna finish in time for class?”

Willow: “I can be late.”

Tara: “But you’ve never taken drama before.

*shot of Willow dipping the paintbrush again, moving it across to Tara’s back, which is covered with Greek symbols*

Might miss something important.”

Willow: “I don’t wanna leave here.”

*Tara twists back to look at her*

Tara: “Why not?”

*Willow stands up, looking down at Tara. She turns away toward a dark red curtain. Walks over to it*

Willow: “It’s so bright.

*pulls back the curtain to reveal a brightly sunlit desert. The light falls on Tara, who looks over. Looking back at Tara, still holding the curtain open*

And there’s something out there.”

*shot of the desert, straggly plants, rocks. We briefly see something (someone?) moving, then it’s gone. Shot of the kitten stalking forward toward the camera, in slow-motion*

I have been so anxious to get to this episode and write my meta. For all the time I’ve brought up Willow’s insecurities, this is the one and only episode that lays them all bare for everybody to see, if - and this is important -, you are clever enough to decipher the code of visual symbolism and possess the ability of interpretation. Pretty much all of the episode ‘Restless’ requires you to interpret what you see. You’re not told straight-forwardly what the dreams, each of the core 4 Scooby members have, are about and that’s precisely what I love about it and why it is probably my most favourite episode of the whole show.

Now, obviously, I’m only going to be talking about Willow’s dream in the episode because if I were to do an analysis of every character’s dream, I’d be here all day and this recap would be incredibly long. I would suggest watching YouTuber Passion Of The Nerd’s analysis for it to get the whole picture. Much of what I will write here will draw from that as I agree with quite a lot of it and think it makes a lot of sense in understanding each character. Every character has fears, worries and insecurities, and that’s what these dreams are specifically about, but Willow’s go much deeper than can be witnessed in all of the show due to her “hiding” them under a “thinly-veiled” persona of who she wants to be. For the most part, you only get to see who she wants you to see. It is not until this episode that all of Willow’s real thoughts and feelings take center-stage - quite literally. There’s a reason why both her dreams in ‘Nightmares’ and ‘Restless’ have her performing on stage. The former, being more about stage fright and about wanting to go unnoticed. The latter, about acting like something she’s not and “putting on a show” of confidence and security to the other characters, who she fears knows about “the real her”, and the audience watching her. Now, “the real her” is as ambiguous as this entire dream sequence is - meaning: it depends on your point of view who Willow is. And this is why I clash with @confusedguytoo about Willow often regarding my views and opinions on Willow. They see something different to me. However, I’ll let them better explain that if they so wish to. I’ll only explain what I see - in Willow - and in this episode.

I relate Willow’s insecurities to her accumulation of power and need for control. For me, much of what I interpret in ‘Restless’ ties in and very much foreshadows Willow’s magic addiction and ‘Dark Willow’ storyline in Season 6 because, to me, Dark Willow is less about the Magicks and more about power and rage, (Anya interjects here: “and vengeance, don’t forget vengeance”). So I will go through the meaning of Willow’s dream in ‘Restless’ from the way I interpret it and in my own words:

Starting off, we have Willow sat on Tara’s bed with Tara (well, actually Tara is laying down on it and Willow is sat on it.) Tara is turned away from Willow as Willow paints some writing on her bare back (see Passion Of The Nerd’s analysis to know what is being written because it’s very significant to the scene.) This part of Willow’s dream has more to do with Tara than Willow, but it’s important to remember that it’s all from Willow’s perspective. Willow worries that there’s something about Tara that Tara isn’t telling her. Something she’s not “facing her” with and letting her know bothers her. But other than that - she has no worries. She feels safest with Tara and, as I’ve previously mentioned in another recap, is much more invested in the relationship they share than Tara is at this point in it. And the scales don’t actually equal in that because Willow becomes uncomfortably and unhealthily invested in that she starts to abuse Tara in such a way where she wants to make sure Tara pays the most attention to her. And magic has always been the best way for Willow to have “her will be done” well before Tara entered the picture of her life. And so, she knows it’s her bread and butter to getting her way.

Moving on, we now see Willow walking the halls of Sunnydale high school and Xander and Oz are in the dream. No Tara. Meaning this part of the dream is something passed in her life but still very present in her mind. Although this is of the past, the dialogue between all 3 characters is about Willow’s then-future. There is mention of Tara and of the drama class they will take in college. I interpret this to mean that Willow can’t entirely let go of what was to focus on what is or what will be. Hence why Oz is in the scene and why he says “Oh, I’ve been here forever” when Willow asks him if he’s ever took the drama course - at which point we see Willow trying to take something out of her locker but can’t seem to get it open. I interpret this to mean she’s locked out and cannot access that part of her life anymore despite still thinking about it, and specifically Oz, in it. You see, Oz may have followed Willow to college, but he never stayed. Their relationship was only one that existed in high school and Willow has regretfully moved on from Oz and entered a new relationship that exists in college and will last beyond that. She cannot access her high school life anymore. She cannot access Oz anymore. Thus, their love affair was tied to their high school life and Willow no longer goes there.

At this point we see Willow walk out of the frame, leaving Xander and Oz behind, to stand backstage of a production in their drama class - of which Willow has never even rehearsed for and hasn’t even had her first drama class yet. And the characters of Harmony, Riley and Buffy are dressed up in costume ready to perform the play and tell Willow that she’s late but she’s “already” dressed in “costume” and “already” in “character”. Giles then enters the scene as the stage director and his dialogue in rallying his actors to get ready to perform reveals that this play is all about Willow. In fact - she’s the main character in it (go figure) and everybody in the audience, including the cast, is there to watch her perform.

“Acting is not about behaving, it’s about hiding. The audience wants to find you, strip you naked, and eat you alive, so hide.” - Giles.

Next Willow goes behind the stage curtains (which are red to represent a vagina, apparently, according to Whedon in the commentary track for ‘Restless’) and finds Tara among them with her who tells her that things aren’t going very well. Willow says that drama class is not being done in the “proper” way, she doesn’t know what to do, and the play’s starting soon. Tara then tells her that the play’s already started and that’s not the point anyway. Willow doesn’t understand. As the play happens without Willow, Tara disappears, and what was following Willow attacks her.

Buffy saves her and we go back to Sunnydale high school. This time we’re in a classroom. It isn’t clear which class but it’s presumably English as Willow reads out a book report on ‘The Lion, the Witch and the Wardrobe’. Before she does that though, Buffy tells Willow that the play is long over and asks her why she’s still in “costume”. Willow responds that it’s not a costume, she’s just in her outfit of the day. Buffy tells her that everybody already knows about her and to take her “costume” off, to which Willow panics and refuses. Buffy rips her “costume” off of her to reveal her wearing the clothes she was wearing on the very first episode of the show. Now, Willow stands in front of a full classroom of her peers (both from high school, college, and the Scooby Gang) mocking her for her appearance and her reaction to being totally exposed to what she believes everybody perceives of her as the truth of who she really is. Still a shy loser. The dream sequence ends with what was following Willow and attacked her throughout; the first Slayer sucking out her soul and leaving the real Willow paralyzed in her sleeping state. Unable to escape from her personal Hell.

So what does it all mean? Well, it really all depends on the way you interpret her dream. Some things about Willow and what she thinks and feels are clear, some are not. But how I’ve interpreted her dream in ‘Restless’ is that Willow, despite appearing a much more confident, secure and assertive person, doesn’t have any belief in herself when it comes to her value and requirement of her from her peers, friends and lovers… Or everyone that’s not her. Her need for validation in who she is and what she can do from everyone. Her worthiness in her work. Her ability and capacity to love. Her appearance to whoever perceives her. Especially the ones she loves. And her insecurities run so deep in this that even she doesn’t recognize them. She’s not aware to how much she’s acting like someone she’s not in order to please, in order to have attention, in order to feel of use to people. Now, it is not that she is still the loser. She’s definetly evolved into a much more worldly and well-rounded person since her high school days. Stronger, smarter, wiser, and more confident. It’s just she doesn’t believe in it and she absolutely fears no one else does either. In her mind she’s still the lonely nerd and she’s doing the most to make sure people don’t see that. Even though she has the belief that they do and always will. So her need for power and control all stems from these deep unconscious insecurities. Magic just happens to be the most effective tool for her to accumulate this. And she only becomes addicted to it in Season 6 because she relies on it to make her special. Even though she’s special as she is - with or without magic - to which Tara does her damnedest to make her aware of and believe. And she’s about the only person in the show that achieves it - until, of course, her death… Which, of course, triggers Dark Willow.

Willow's need for power and control as Dark Willow is channelled through rage and pain and so no amount of it is enough. Willow isn’t enough without Tara. None of these fears, worries and insecurities are the truth of Willow. But getting her to believe in and trust in that is next to impossible. Tara is only capable of it because she’s the one thing in the show that Willow truly loves. Is truly committed to. Is truly invested in. And she feels like she means and is nothing without her, without her love, without her attention, without her validation, without her light. She abuses her the most because she’s the one person in all of the show that she covets the most. That she doesn’t want to be without, that she feels the safest and is the happiest with. That she won’t let leave her life. Yes, it’s unhealthy. But true love can be when there’s so much inner turmoil. When there’s such a storm inside threatening to be unleashed with every bad day. Every screw up. Every "spaz" feeling. That's what it stems from. A loser mentality.

That is Willow’s entire predicament throughout the whole show and why her character representation, development and evolution is the greatest, the most profound, the most detailed, the most poignant. This is a character that you absolutely fall in love with very early on. To see them go from that gentle-natured, quirky, inspiring and endearing person to one of the most abusive, frustrating, corruptive and destructive people is hard. Fortunately, they’re given the endgame they deserve and become the hero. They learn to balance both sides to who they are - the dark and the light - and they become exactly who they want to be. Someone of great power and control. Someone that is valued and loved. Someone that matters. Whether she believes it or not is up to you. 😉

[sepedarodatiga]

The Snow Queen fairytale as a motif used in GoT/ASOIAF

First of all, how many fairytales and myths can GRRM fit into this story, seriously?? I know many have written well thought and well informed meta of various fairytale motives fit with ASOIAF/GoT, and I am just here adding into an already huge pile, but it bothers me, okay. I have to get it out there into the tumblr void. And this is not really a well thought and well informed meta (I’m not a folklore/literature expert, not to mention European folklore/literature), I’m just pointing my fingers into the patterns I saw fit. Also, I can’t count myself as ASOIAF book reader, I just watch the show. What I know about the books, I read it here in tumblr. 

But anyway, you might be surprised as to which character I saw fit as The Snow Queen in GoT

It’s Daenerys Targaryen.

I know I know... whaat? The Mother of Dragons, Bride of Fire as The Snow Queen? Get out of here, right...

But it’s a pun. It’s not The Snow Queen, it’s Jon Snow’s Queen, get it? Remember how Jon repeatedly saying “you’re my queen” to Dany during season 8? Yeah. Oh and Jon is Kay, while Sansa is Gerda. 

What made me realize that Dany is The Snow Queen is when I was reading my son the fairytale. In the version retold by Kate Friend, it describes The Snow Queen as beautiful and terrible. And I was like, huh, just like Dany, especially with the white hair and the all white costume in season 8. 

Daenerys Targaryen, beautiful and terrible.

And then of course the story went on describing how Kay becomes her prisoner and then I was like, well that’s like Jon Snow during season 8 too.... And then in Disney’s adaptation Frozen, Elsa has white hair with purple eyeshadow, while Anna (Gerda) has....red hair....which is like... Sansa Stark. Then I also remember the illustration on my son’s book which is by John Patience, that reminded me of the Iron Throne.

The Snow Queen illustration by John Patience. See how much alike this setting is with the Red Keep? Especially in Dany’s vision in HoTU when snow was falling.

So I went investigating, and shit... I mean obviously the sequencing was moved around, GRRM likes to subvert things, but my God!

Before we get into Jon Snow and his queen, I have to start with the other characters first. And I will be taking excerpt of the story from The Hans Christian Andersen Center website which I assume would be the most original one.

Gerda = Sansa Stark

Here is a description of Gerda’s power:  “No power that I could give could be as great as that which she already has. Don't you see how men and beasts are compelled to serve her, and how far she has come in the wide world since she started out in her naked feet? We mustn't tell her about this power. Strength lies in her heart, because she is such a sweet, innocent child.”

Furthermore, her connection with Kay are through roses (they have a window box full of roses) and a song that goes like this:  "Where roses bloom so sweetly in the vale, There shall you find the Christ Child, without fail." Another variation of the song is: “The rose in the valley has flowers so sweet, and angels come down there the children to greet.” She saved Kay with her prayers, hugs, kisses, tears and her song and their reunion literally ended winter and brings spring. If that’s not Sansa Stark (and the jonsa reunion), then I don’t know what is.

Gerda made a journey to the North to find Kay and bring him back together with her to their home. Sansa did not meant to make a journey North to find Jon and bring him back home, but this is what happened anyway. The story even stressed on the fact that when they came back to their homes, they were no longer children but grown ups. On her quest Gerda offered her red shoes to the river to get information about Kay’s whereabouts but the red shoes were given back to her the first time. But she did it once again and the river set her on the path to find Kay. I’m not really sure but for Sansa it could be her betrothal to Joffrey that was then canceled but then she got married to Tyrion Lannister. Her red shoes is her name and her claim to the North.

Gerda then met an old woman who wanted to keep her and made her forget about Kay by keeping all the roses underground. The old woman’s place was beautiful. Here is an excerpt:  “Then Gerda was led into the flower garden. How fragrant and lovely it was! Every known flower of every season was there in full bloom. No picture book was ever so pretty and gay. Gerda jumped for joy, and played in the garden until the sun went down behind the tall cherry trees. Then she was tucked into a beautiful bed, under a red silk coverlet quilted with blue violets. There she slept, and there she dreamed as gloriously as any queen on her wedding day.” But then she saw a rose on the old woman’s hat and finally remembers her purpose of finding Kay. I would say that the old woman is Cersei Lannister who tried to make Sansa forget about her home and her innocence. Sansa was also saved from her clutch by roses (The Tyrells).

Then Gerda with information from a crow, met a Princess and Prince. She thought that the Prince might be Kay, but it turns out he was not. This might be Sansa’s vale arc and the Prince is either Petyr Baelish or Harry Hardyng. The Prince and Princess also gave provisions for Gerda’s journey to the North, so this may be that the KoTV helps Sansa getting Winterfell back. The crow, has a ladylove, another crow and they finally get married and live in the Princess’s castle though unfortunately the crow then died. The crow was a wild forest crow while his ladylove is a tame crow. These two crows could be genderbent into Sam Tarly and Gilly. Remember that Sam is mock as Jon’s ladylove by Alliser Thorne?

Next Gerda met a robber girl who sleeps with a knife and have plenty of pigeons. Yep, of course that is very much like Arya Stark (who sometimes is being referred to as “a girl”)

The pigeons told Gerda about Kay and The Snow Queen. The robber girl finally gave Gerda her reindeer called Bae for her journey to the North. The girl likes to tickle the reindeer’s neck with her knife. At the end of the story it is told that the robber girl then decided to leave her place and find adventure in the world. Very much like Arya’s ending.

Now about that reindeer Bae who helped Gerda to reach to Kay in The Snow Queen’s palace in the far North. In ASOIAF/GoT, we can connect Bae to Baelish. Make sense. Petyr Baelish helps Sansa get to North and Arya’s knife did end up in his neck. But also we can connect it to two foreshadowing of Sansa bearing Jon’s child. The first is more well-known: Bael the Bard. The second one I think is more hidden and I made a post about it quite long ago: Baelor. Is this far fetched? Maybe, but I’ll take it.

Kay = Jon (+ The Night King)

Kay and Gerda are neighbours and they share a garden (particularly a flower box full of roses). Their relationship, in the words of Hans Christian Andersen himself are: “These children were not brother and sister, but they loved each other just as much as if they had been.” So they are NOT brother and sister but love each other as such. While Jon and Sansa are also NOT brother and sister but was raised as such.

Then Kay got splinters of magic mirror stuck to his eyes and his heart. The mirror “made everything great and good that was reflected in it appear small and ugly, but which magnified all evil things until each blemish loomed large”. It made Kay hated all the roses, they look ugly now to his eyes and also made Kay loved the snow and the cold. Jon Snow at the beginning of the story was a cynical little boy because he was raised as a bastard. He wanted to leave Winterfell and sneered at the idea of having a family of his own because he felt that he can’t have them. So he went to the coldest place there is.

In the story, Kay plays with his sled, and then The Snow Queen came with her sled and Kay hooked his sled to hers. The Snow Queen first, covers Kay in a bearskin rug and gave Kay kisses. The first kiss “was colder than ice. He felt it right down to his heart, half of which was already an icy lump. He felt as if he were dying, but only for a moment. Then he felt quite comfortable, and no longer noticed the cold”. The second kiss makes Kay forgets about Gerda and their homes. The third kiss, The Snow Queen does not give him because it would be the kiss of death.

I argue that GRRM subvert this story. I think Jon Snow was already saved by Sansa before he met Dany. The splinters in his eyes and heart was already gone when he faced The Snow Queen. The reunion happened before he met Dany. The first two kisses also already happened: Jon Snow had died and came alive again, and he also forced to forget about his home and family while he was at the Night’s Watch. The bearskin rug which The Snow Queen used to cover Kay can allude to Jeor Mormont and/or Longclaw. 

Then Jon Snow met his queen finally, but instead of a hooking sleds.... it’s dragons. Jon Snow’s sled was his dragon Rhaegal which are hooked to Dany’s sled Drogon. But his eyes wasn’t blinded by the splinter and his heart were already warm. He knowingly and willingly follow the dragon to save his family.

And the third kiss of death that wasn’t given by The Snow Queen? Jon Snow will give it to his queen instead.

Now let’s go back a little bit. Kay was also given a puzzle from ice by The Snow Queen, and if he can solve it then he is free. He was supposed to spell the word “eternity” but he couldn’t figure it out with the shard in his eyes and heart. In GoT we know exactly who has got an shard in his heart.

The Night King. And so that is why he plays with puzzle in ice. He is struggling to form the one symbol that would set him free.

Bonuses

Other than those patterns, there are several interesting tidbits from the story that fits with ASOIAF. There is this one blog said that The Snow Queen story was inspired by another story called “East of the Sun and West of the Moon” which if you read it, it is essentially “The Bear and the Maiden Fair” (the bear is a white bear, by the way)

More bonuses here. When Gerda finally remembers to find Kay during her time in the old woman’s home because of the rose, different flowers gave her different stories even though none tells her about Kay.

This is the story from tiger lily:

"Do you hear the drum? Boom, boom! It was only two notes, always boom, boom! Hear the women wail. Hear the priests chant. The Hindoo woman in her long red robe stands on the funeral pyre. The flames rise around her and her dead husband, but the Hindoo woman is thinking of that living man in the crowd around them. She is thinking of him whose eyes are burning hotter than the flames-of him whose fiery glances have pierced her heart more deeply than these flames that soon will burn her body to ashes. Can the flame of the heart die in the flame of the funeral pyre?"

So GRRM didn’t take the sati ritual for Dany’s rites of passage as mother of dragons from just anywhere, but it is from this story.

Also, hear this story from hyacinth

"There were three sisters, quite transparent and very fair. One wore a red dress, the second wore a blue one, and the third went all in white. Hand in hand they danced in the clear moonlight, beside a calm lake. They were not elfin folk. They were human beings. The air was sweet, and the sisters disappeared into the forest. The fragrance of the air grew sweeter. Three coffins, in which lie the three sisters, glide out of the forest and across the lake. The fireflies hover about them like little flickering lights. Are the dancing sisters sleeping or are they dead? The fragrance of the flowers says they are dead, and the evening bell tolls for their funeral."

Of course this immediately bring to memory the quote of Jon Snow with Val: “The light of the half-moon turned Val’s honey-blond hair a pale silver and left her cheeks as white as snow. She took a deep breath. “The air tastes sweet.”” Well then, according to Hans Christian Andersen, that means death. There are three sisters here which could allude to the three queens at the almost end of GoT: Cersei Lannister (red), Sansa Stark (blue) and Daenerys Targaryen (white).

So those are my stab at it. I would be interested to hear if anyone’s take on it.

[lunarfly]

Hermione as Harry's Light (by Evaluna)

Hello! This is an essay written many years ago, before the release of HBP&DH. It doesn't belong to me so credits to the original writers(Evaluna, Turambar & Mad-I Moody)! It was written on the CoS forum, I'm not sure if it's still saved there but I have a word document with all of the essays. Anyways, this essay has no ship/character bashing. Again, this essay isn't written by me, but it's one of my favorites. Enjoy!

Quote by Mad-I Moody:

"1."Ron's mum's lit a fire in there [Harry's bedroom] and she's sent up sandwiches." -Hermione couldn't know that if she had immediately dashed up to Harry.

2. "Ron and Ginny say that you've been hiding from everyone since you got back from St. Mungo's." - She's obviously talked to them about this at some point between their arrival back from the hospital and her arrival at 12GP.

3. "The others have told me what you overheard last night on the Extendable Ears."

-Does this indicate that she's had time to talk to the other members of the Weasley clan? Sources point to yes!

Now, isn't it sensible to assume that, in the instances wherein Hermione talked to the Weasley family, she was, at least, thoughtful enough to ask about Mr. Weasley?

Saying Hermione came only to be with Harry cannot be true therefore, because:

1. She doesn't go to see him the MOMENT she comes through the door

2. She gets Harry right out of the sulking room and takes him into a room with Ron and Ginny, with whom she has quite obviously been talking.

3. There is no indication that she wants to be alone with Harry"

Mad-I: Disagree. Not just from a textual analysis standpoint; there we have each our own interpretation. My strongest disagreement comes from what I see as a critical ‘septology’ issue [overarching theme of all 7 books]: Harry overcoming his own internal darkness [despair, hopelessness, isolation] before able to wage and win [or overcome] the external darkness [Voldy, evil, fear, hatred and division]. See below post. IMO the Hermione as Lifeline or Light for Harry scene is representative of what Harry must confront and for what he must stand and fight:

--darkness and the battle of good over evil,

--despair [depression] and the battle of love over [here, self-] hatred,

--isolation and limitation [e.g., Harry imposes on himself a prison for his mind], and the battle of love as emanation over barriers, constraints, and perceptions

It begins with himself. And IMO it doesn’t end. But anyway, it progresses from there to encompass the world. On his own, this scene shows that Harry is vulnerable in that he needs a source of love [for himself] to sustain him; only then can Harry be a source of love [for the world] in his [upcoming and perhaps ongoing] battle with darkness. Harry needs love in this regard perhaps more than anyone else in the world, and yet he’s had very little of it, with Sirius mostly kept apart from Harry. Except for Hermione, who has always been there for Harry? With Hermione’s return, once more for Harry there is connection and hope, and the belief in unlimited horizons and potential - some would call it faith -- when with Hermione. For ship and for series, IMO, I believe that Harry’s ability to acknowledge his need for love [for me, this means for Hermione] is the first step on his path to the light.

What the scene does imply is that Hermione’s conversation with Ron and Ginny and the others’ [may include Fred and George as well] was extremely brief and in the majority focused firmly on Harry. So brief in span that the snow had not yet melted even after climbing the stairs and so focused on Harry and his situation that Hermione had the grasp on all the main details already when she first pounded on the door. This is a young woman on a *mission*. A mission to save Harry. Hermione reaches Harry and saves him from himself, from his dark side, from his own personal hell. I personally think this is one of the most critical scenes in the book for Harry and his battle for good over evil, probably the most important one. The battle is within as well as without, and Hermione is the bringer of light to balance his darkness, to bring balance to his soul AK and Earendil:[thanks for SF ref!] a soul is a universe in and of itself <kabbalah, so one could say Hermione is bringing balance to the universe, in this sense]. Some may say it is not romantic..er…well…to each. But it can certainly be argued that the light and dark imagery, in bringing light from darkness, in the balance they provide one another, in the give and take [in interactions, in providing insight [in this scene=hers/giving love to him through her actions when she comes] or providing courage [in this scene=his/accepting her love through his actions when he follows] between them are the yin and yang that represent in both religious and esoteric texts the love on many levels required for spiritual completion of the marriage of two [bodies and souls] as one, separate but together [again, see the smoky caduceus-like vision that Dumbledore views after Harry’s vision prior to their arrival at number 12, which is followed shortly thereafter by the arrival of Hermione.

With this, one can make a case for striking symbolic romantic and platonic love imagery simultaneously, as well, in terms of a soulmate love that is “complete” on an esoteric level, a bonding of body and soul, the material and spiritual. I see no inherent contradiction, probably because I’m not an ancient Greek philosopher named Aristotle. [‘What is a friend? A single soul dwelling in two bodies’. --Aristotle] The difference being that we in our day can allow for this kind of soulmate love

between a man and a woman, as well, and that we can allow love to exist on many different levels between a man and a woman, not just Eros or what the Greeks narrowly defined as romantic love. The esoteric concepts of a true bonding of souls between a man and woman did of course contain all of these forms of love, sealed with emotional, physical, and contractual public commitments intended to represent the bonding of two souls as one before God and heaven. IMO how can this scene not be important for Harry, particularly as we all know that love is critical to overcoming all that Voldy is and represents? And whatever type you feel exists them between them, IMO there is deep love. So in fact I think this can be argued strongly as a H/Hr scene. For those who disagree, nonetheless it’s all-good since a deep soul love exists regardless if it is ‘very’ platonic. This is, after all, just a hair’s breadth from ‘total consciousness’.

One more point I mentioned before that I want to bring up in context of reinforcing Hermione’s critical position as Harry’s Light, Lifeline, or Savior. Arguably, since Hermione is key to bringing Harry back from the edge [regardless of what comes later], IMO the larger symbolism is that Hermione is “the one” who will always save Harry from his greatest enemy - himself, his dark side. After that, and only after that, can Harry save the world. She will help him choose light [represented by…Hermione] over darkness [his own despair and hopelessness, his feelings of being unclean and unworthy]. Even I can see some traditional religious symbolism here, but there’s much esoteric symbolism as well. Nonetheless, Ron’s gift of…what, frankincense and myth? Is that why the perfume smelled unusual?... Ron’s gift only seemed to highlight his deeper, intuitive understanding [at some level] of Hermione’s fundamental importance to Harry. Yin and Yang. Inexorably intertwined - just thought I’d throw that in here as well! And for what purpose would Ron is shown as gifting her with such symbolic honor if not to perhaps choose to give his life for hers, thereby saving Harry’s light and thus saving them all. Particularly, if Ron betrays or obstructs Harry and Hermione [this may happen if Ron is rejected by Hermione or “loses” her to Harry, per 6th step scene, falling away from the path to Hermione's door], then Ron may sacrifice himself [from betrayal guilt] to save Harry and/or Hermione [same scene, where Ron falls at Harry's feet] thus restoring his character and his legacy in addition to doing his critical bit to save Hermione &/or Harry [=the world].

(Turambar) I agree that the Christmas scene is one of the most significant in the book.

Just on what you said about the light/dark: it's interesting that JKR accentuates the extremities in various ways to bring out that contrast.

She uses biblical language - appropriate considering the timing - such as "unclean" and "possession" to describe Harry's self-disgust. His feelings of being unfit to be in the company of others brings another biblical image of the leper.

He completely isolates himself for a period rather than just behaves in a moody/angry fashion in company. He's "starving", cold.

Hermione is not mentioned at all from the time of the dream to her knocking on his door - an obvious device to enhance the surprise and impact of her arrival.

There's the imagery of evil (snake) and love (hippogriff) and as I've said before that suspicious dream occurs just when Harry is at his lowest ebb.

I agree with what FP said: the sequence shows the limitations of his relationship with the Weasleys and Sirius and conversely the growing significance to him of Hermione.

Both times he's considered running away when in a depressed state - here and before the First Task - the option has been to run to the barren, loveless Dursleys. To the house that's not a home and the family that isn't a family (to him). Both times he's got through the bad patch with a bit of help from Hermione.

[jett-dawson]

BELLA ARC

The Rule

the rule states that any student who takes pictures of student work at rainbow high well experience an immediate expulsion. why does this only apply to bella? why not violet or karma, or anyone else who has pulled out their phones to take photos of things on campus? sounds like double standards to me.

the rule is dumb. especially since the students LIVE and WOR at rainbow high 24/7. they have a right to their work. the rule is dumb and is definitely a form of symbolism. i have seen this theory go around the fandom before & i have even addressed this theory before. i will address it again. stay tuned in the next slides for more on that.

The Timeline

we all knew bella was gonna get kicked out. whether or not we wanted it to happen, it was heavily implied in episode one that someone in the runway group was going to get kicked out. bella was the odd one out. she’s not in the wave one lineup, she’s not a part of the actual rainbow, and she was (more or less) a surprise to us when first seeing teasers for episode one. after that, the series of events through the first episodes had absolutely nothing to do with bella’s expulsion. there was no lead up! it was very sudden and the rule was very new to us. never was this rule stated before.

while i hate that it was written like this, i think i may know a meaning. this is a kids show. we are consuming children’s media. there is absolutely nothing wrong with that & anyone of any age is free and welcome to enjoy kids cartoons. what we have to understand is that this media isn’t exactly targeted towards us. i’m sure MGA, the company, is aware of us older fans. they use social media for that matter. that is where you find older fans. so that is where they get direct feedback from us. anyway... this show is obviously targeted towards a younger audience. if they were to extend the plot line, younger kids may not catch onto a lot of stuff that us older fans would. that’s not necessarily bad, but it doesn’t seem to be what the writers want. they write with simplicity, while still keeping in mind of laying out specific things in the show for specific reasons. so this sequence of events was written for younger kids to understand. bella was written & planned to be kicked out from the very beginning. kids may not have known this. so they introduced a rule that was unheard of so they have a reason to kick out bella. do i agree with this method? no. absolutely not. do i think they could’ve done better in finding a way to kick bella out? yes. absolutely. but younger kids will look at this and see that Bella broke a rule. Bella got kicked out. simple as that.

Symbolism

there have been theories that have gone around the fandom on the symbolism behind bella’s arc. her character, removal, and replacement all seem to line up with a real life sequence of events. allow me to explain.

bella is definitely a reference to barbie. her shirt is a direct take on a barbie shirt we have seen before. her character/personality is almost a lot like barbie if you think of it. if you’re into dolls and you’re into the community, you will know that Barbie/Mattel is MGA’s main rival. they have been going at it for years. constantly trying to dominate each other. MGA has made it very clear that they do not like Mattel. the creator of rainbow high himself stated that he “respects” barbie but believes it is time for her to leave the shelves and retire. it’s time for something new, something fresh, something modern.

think of it in the rainbow high timeline. bella(barbie/mattel) is living in this world of rainbow high(mga). the creator of bratz created the bratz concept while technically working for mattel. it just so happened that he was on leave. he took the idea over to mga and they went with it. mattel got mad, claiming the work as their own.

the rule of rainbow high can be related to this. whatever work is made at rainbow high stays at rainbow high. if any third party gets involved then you are due to immediate expulsion. this just so happened to bella.

bella/barbie was working on something she wanted to take to an outside source. rainbow high said no. this is our work. bella/barbie took it outside anyway resulting in an expulsion. bella is pink. pink is not part of the initial lineup. she reached the end of her rainbow.

amaya comes in. amaya resembling all things rainbow high. amaya the main character. she is the embodiment of rainbow. her character revolves around everhthing this company has preached for rainbow high. she is new. she is fresh. she is modern. she replaced bella. (no, i do not blame amaya for any of this. amaya is a whole other story)

barbie is flopping. barbie is not doing well. mga wants to take barbie down. mga is dominating the toy isle. they have created many successful lines and will probably continue to do so for awhile. bella is barbie. amaya is mga. amaya took over. mga took over.

Bella Herself

now i do not blame bella one bit for going and doing what she did. yes, she broke a rule. whether or not the rule is stupid, she did it. and she got what she asked for.

but you have to keep in mind who she is. bella is a young girl, age 14/15. at that age... i, too, would’ve done just about anything to work with my idol. someone i admired so much has practically thrown out an opportunity that i’m positive i could win. i would most definitely go for it. and bella did. but the problem was taking a picture. bella is known to be impulsive. we can see this in several different episodes where she wanted to complete the tasks given to her and to help her friends complete theirs. even though jade did her very best to persuade bella not to do it, bella chose to. she consciously chose to. now what i think a lot of people haven’t realized is that bella literally pulled nearly 2 all nighters contemplating on what to do. the first night she stayed up thinking about the internship and making the set. the other night she spent running around the school with jade and taking the photo of the art. this poor girl must’ve been tired. she was conflicted. do you risk your dream school and everything that comes along with it for a summer internship? or do you wait for another opportunity that could possibly never come again? if bella were older and more matured, i’m sure she wouldn’t have done it. but she is young. and she has learned from this experience.

unfortunately... she was expelled on the spot without any warning. we still haven’t gotten any closure on who saw her sneak the picture. that’s very suspicious but then again... it’s probably just poor writing. but with what we can assume, they probably involved bella’s space & privacy to get that information. anyway. bella had no bad behaviour whatsoever prior to this situation. rainbow high is a hard school. they are very tough on their students. they gave bella no chances. she didn’t even have much time to process it, pack her things and properly say goodbye to her friends. it all happened so fast. she said it herself... “i cant believe this is happening” yeah me either

as for the teachers... yes. they are doing their jobs. i have seen this point being made several times and i agree! technically they are! but RH is lowkey a messed up school system. they pressure their students day in and day out to be the very best and do the very best. i get why, but it’s to the point these students are sleep deprived. staying up all night to do assignments and have escape rooms. having to start class five minutes after completing night assignments. so much to the point that jade’s response to the question “what will u so if u pass the runway project?” in Violet’s AMA was “SLEEP!” this school is messed up. working like a big company and claiming these poor students hard work as their own is mean. and these teachers support it by working at this school. they may be doing their job, but they’re allowing this poor situation by being a part of it. this can be related to REAL life in places like media and the music industry. i have little knowledge on it, but you can compare it to the situation with Taylor Swift and how she technically doesn’t own a bunch of the music that she made. i believe it has to do with legal matters, and if i remember correctly something she got involved with when she was only young. yeah. theres that thing again. getting involved when you are only young. same with bella. there’s a direct correlation and that’s where i believe that type of symbolism could potentially come in to play.

this opportunity that was given to bella was life changing. and it was a SUMMER internship. SUMMER. if RH operates anything like schools IRL, they’d have to give their students a summer break. why was it so major to them when bella could still work for.. i mean attend to rainbow high all year then take the summer of for the internship. something that rainbow high could’ve looked good for having!

again, if RH operates anything like an IRL school, schools often pay attention to their students and outside opportunities. opportunities that boost the students status. the better the students, the better the school. with this high-end, once in a lifetime opportunity, bella could’ve gotten it and not only done better for herself but better for rainbow high itself.

bella knows what she did. and i know she realizes the consequences, especially now. but this poor girl has suffered through so much. all for this drama to her exploited on a very popular & very exclusive drama channel.. the vi life. but no way in heck was any of that fair.

Amaya Raine

i don’t wanna dwell too much on this one since i haven’t really seen much drama about it lately and i’ve already said enough before. but amaya is definitely not to blame. she had absolutely nothing to do with bella’s expulsion as far as we know. i remember there being fan theories that she would be the one who had found a way to tattle on bella, securing her own spot at rainbow high. as far as we know, this is not true.

amaya had been wait listed for her dream school. it’s lucky but kind of underwhelming. so the moment she got the call that she finally had a spot in RH, she was beyond excited, not knowing what was ahead of her. oh, yeah, btw, not gonna ignore the fact that they secure a spot for amaya THE SAME NIGHT bella took a photo of the artwork, not knowing she was gonna be caught and then expelled. in her mind, she was positive she wasn’t caught and wasn’t gonna get in trouble. it’s the fact the staff was very prepared for this all under 24hrs.

anyway. amaya was already hella nervous. she seems to be an anxious person and was definitely wanting to make the best first impression. heck, she even made her own outfit so she could stand out! but unfortunately to her surprise, she was greeted with a bunch of frowns and a few dirty looks. she was forced into this situation with absolutely no warning and had to put up with everyone disliking her at first (except our favourite ray of sunshine, our mutual blue bby & our drama chasing diva)

so it’s unfair for amaya to be blamed for all of this when she didn’t even know. yeah, i am sad that jade was viewing her so wrongly. but i cannot blame jade. jade is sorta stubborn and obviously struggles with major change. she lost the one she was closest to and suddenly was forced to adjust to this new girl who took bella’s place. if i were as cold of a person as jade, i’d have that exact same reaction. she didn’t wanna believe bella was gone. she didn’t want to experience this change. she didn’t bully amaya, thank goodness. she just paid little to no mind to her. of course she threw her a couple angry looks and was very brief with her whenever she spoke. but eventually they made up. no one was bullied, no one is mad.

FINAL COMMENT THEN I AM DONE

yea ok if you bully me or anyone else for simply digging into RH lore then you can leave. or i’ll just block of that’s easier for you. some of u only watch at surface level and that is okay! if that’s what you enjoy, k. cool. you do you.

some of us dont watch at surface level and that is also very very okay. some of us want to get as much as possible out of rainbow high, given the circumstances. so we dig into it more than others might. some of us try to find the symbolism or pick up on tiny details that had gone by unnoticed. some of us go as far as redesigning the characters and reimagining their personalities and life at rainbow high. creating fun headcanons and making cool associations. just don’t bully people who do that. don’t get mad at us and tell us “getting too deep into this is worthless” “you’re not gonna get a job in life if you sit and defend a character all day”

news flash, it is some people’s literal jobs to read pieces of art and media and analyze it. english majors literally do this exact thing. heck, it may be more complex than this. but anyway. stop telling people that. can we normalize enjoying this without being insulted for it??? if you don’t wanna enjoy the episodes then okay. cool. you do that. i’ll go analyze my favourite characters and enjoy as much of the show as i can because i find enjoyment in this <33

[linkspooky]

Toga Himiko’s Normal Life

Himiko looks like the most straight forward case of what pop culutre considers to be a classical sociopath / psychopath in My Hero Acadmia. Shigaraki, Dabi, Hawks were all groomed to become the way they were, but Himiko possessed a natural inclination towards blood and violence from the start. She seesm to be a natural born cold blooded killer, however in this meta I’ll argue that while Toga seems like the flip-side of a normal, good person like Uraraka, she’s actually just a normal girl herself. 

1. Character Origins

Volume sixteen of My Hero Academia had an official illustration included as an extra that shows the characters Twice and Himiko drawn together in an illusion to a famous Joker and Harley Quinn illustration. 

Now, I’m not going so far as to claim Himiko was based off of Harley Quinn, but one the league of villains and characters like Twice (and ReDestro) have made similiar references to the Joker before that especially with the quote “All it takes is one bad day”. There’s also enough similarities betweeen the two characters, they’re both the only female members of a crime syndicate that is mostly men, and dominated by men. Their backstories mirror each other, they were both relatively sane, normal, girls, until suddenly they cracked one day and became a total inversion of their previous presonality. There are enough similarities that I could use Harley as an example to explain a few of the important ideas present in Toga’s character. 

They are also both female characters who are written with love as the central concept of their characters. Harley’s origin as originally depicted in the comic and episode for the Batman the Animated Series “Mad Love” goes as follows: Harleen Quinzell was a psychiatrist working at Arkham. Eventualy she came to sympathize with one of her patients which triggered a transformation in her from well meaning doctor, to love-sick sycophant of the joker who broke him out of prison. 

A lot of Batman Villains have origins like this. The most comparable one is Harvey Dent. Proescutors, Doctors, we are told the people who hold these jobs are good and righteous people. Even Harley herself started out as someone who just sympathized with a patient too much. However, somehow they become flipped into the exact opposite versions of themselves. They go mad for lack of a better words. Harvey Dent who was once a symbol of justice, becomes nothing more than a murderer, and Harley Quinn goes from healer to the sidekick of a mad clown willing to destroy everything in the name of love. 

The question, asked in both Himiko and Harley’s stories is how can good people flip like this? 

Most people have a black and white view of these issues: good people are only capable of good actions, and bad people are capable of bad actions. It’s hard to swallow the fact that any normal person has the capacity to cause so much harm inside of them. 

We see similiar remarks in the background of Himiko’s story. Himiko comes from a good upper class family, she went to what was most likely a good school, she was always smiling and surrounded by friends. Everyone who comments on her sudden transformation reacts in a similiar way. “She was aways so cheerful and well-behaved, I still find it hard to believe.” She was always such a good girl, and good people don’t do those things. 

Normal people, good people, don’t have the capacity to do bad. That’s what makes the transformations so shocking. Therapists/Doctors are supposed to heal, Prosecutors are supposed to be just. And now we return to our old friend Jung. 

The story of Harleen Quinzell and Harley Quinn. The story of Himiko Toga the happy middle school girl and Himiko Toga the serial killer is a tale told over and over again, it’s just usually told with male protagonists instead of female ones. It’s Dr. Jekyll and Mr. Hyde. 

Robert Louis Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde (1886) is a late-Victorian variation on ideas first raised in Mary Shelley’s Frankenstein (1818). Stevenson’s monster, however, is not artificially created from stitched-together body parts, but rather emerges fully formed from the dark side of the human personality. In the story Dr Jekyll, an admired member of the professional Victorian middle-classes, conducts a series of scientific experiments which unleash from his own psyche the ‘bestial’ and ‘ape-like’ Mr Hyde (ch. 10). Gothic fiction had examined the idea of the sinister alter ego or double before on many occasions but Stevenson’s genius with Jekyll and Hyde was to show the dual nature not only of one man but also of society in general.

“Man is not one, but truly two.”

Robert Louis Stevenson

Both cases are tales are transformation, of the monster coming from within. Himiko transforms from middle school girl into serial killer. Harleen Quinzell transforms into Harley Quinn. Dr. Jekyll becomes Mr. Hyde. We witness a transformation into a monster that seems the antithesis of everything that person was boefre, but was inside of them all along this works because of the jungian idea of the shadow. 

The shadow is the unconscious side of personality. The shadow is what exists but what we do not acknowledge. If our behavior during everyday life, choosing to smile, choosing to talk to people, choosing to use our manners is a mask then the shadow is the face beyond the mask. The conscious personality conceals, the shadow reveals. It’s the difference betewen who we are and who we choose to be. The shadow isn’t necessarily negative however. The shadow is just the repressed side of our personalities, it’s what we try to hide. 

The shadow plays a role in Harleen’s transformation. While it’s present in Mad Love as well, a recent miniseries ‘Harleen’ really dives into the Jungian symbolism. There’s even several similarities in common with Himiko’s story, for example there’s a scene where Harleen is shown watching the bat man beat up joker and notice how everyone is cheering despite the fact that it’s violent. 

Himiko’s interest in a boy is sparked by watching him get into a fight while everybody else is cheering for him. 

The cover page depicts the change between Quinn and Quinnzel as a crumbling mask, which is the exact same imagery used for Himiko. 

When she enters Arkham she chooses to depict Harley Quinn’s silhouette in Harleen’s shadow. Once again implying that the transformation is not so sudden and jarring as it seems, that Harley Quinn has always been there and is a part of her psychology the same way Mr. Hyde is inside Dr. Jekyll. 

The comic even points it out. Harleen, and also by extension Harvey Dent are people who claim to be “good, righteous people’ and yet both of them end up transforming into murderers. Two-face’s name is literally two-face.

There’s also one particularly Jungian sequence in the middle of the conflict. She dreams (dreams are unconscious and therefore the realm of the shadow in Jung’s theories) about the city of gotham as a place inhabited with citizens who are monsters wearing the faces of human beings. 

The idea is consistent throughout that Harleen is not really a ‘good person’ she’s merely repressed. She has had this capacity to be violent inside of her, this selfishness, all of these dark desires carried with her all along but rather than deal with them in any healthy way she repressed them until repressing them is no longer an option. Harvey Dent’s face gets half burned off, Harley’s skinn gets bleached by chemicals, the monsterous features inside of them are now worn on their faces and they have to wear their ugliness on the outside rather than the inside. They are now expressing every single thing they have repressed. However, the suggestion in both stories is that these are not special cases, that Gotham is such a repressed society that everyone is repressing the things they don’t like about themselves in that way. Harley fell in mad love sure, but love was just the reason, just the trigger, the truth is those feelings always lurked inside of her and she had no healthy way of dealing with them before that point. 

That is the shadow, it’s everything you repress but it never disappears. If you ignore it, it takes on a life of its own. In some cases, like Harley’s you basically become your own shadow. Harley is the flipped upside down version of Harleen Quinzel, now her inner demons are what are expressed on the surface (desperation to be loved, violence, etc.) while her ‘normal’ self is hidden under a mask of insanity. That’s in fact how she ends the comic, Harley qalking around while Harley is trapped on the other side of the mirror because they have basically traded places. Now Mr. Hyde is walking around, while Dr. Jekyll is hidden personality. But it’s important to remember it’s not something like a split personality, Harleen Quinzell and Harley Quinn were always two sides of the same person. Even when she starts expressing her ‘bad’ traits, the good traits don’t go away. They’re just hidden underneath the surface the way the repressed bad traits used to be. Because you’re not good or bad, you’re not one side or the other. You’re both at the same time. Man is not one, but truly two. 

So the complexity in Himiko comes from understanding that she’s BOTH a normal girl, and also a blood crazy yandere psycho. 

2. A Normal Girl - Uraraka Ochaco

Uraraka is a pretty standard shonen heroine. She’s a cheerful girl. She’s a supportive friend. She’s the embodiment of what you’d call a good, kind, person and doesn’t seem to be any more complex than that. She lacks say the drive to be a hero that Midoriya does, the superiority complex that Bakugo has, the emotional issues that Todoroki has. She seems to always be agreeable and in a cheerful mood. 

If you look just a little bit closer though she always seems to be walking on eggshells when she’s around others. She doesn’t want to join Deku and the others to try to save Bakugo from the heroes because, it might hurt Bakugo’s feelings. 

When she loses in the hero tournament, she apologizes to her parents crying not because she feels bad that she lost, but she feels like she failed them. Like it was her job to win and bring money home. However, when Deku comes to check on her in the room she’s already completely hidden her tears. 

Going into her backstory we learn that Uraraka is walking on eggshells around everybody due to her own parents, that she’s spent her life trying to be as small of a burden on them as possible because she could see the tired looks on their faces. She’s a child who felt guilty that her parents had to take care of her. 

So, for Uraraka her entire life is devoted to making herself seem as small and inconsequential as possible. Other people’s needs will always trump hers. Other people will always have more noble motivations for becoming a hero than she has. Other people’s emotions will always be louder and take priority over hers. Uraraka sees her own emotions and needs as mere trifles that get in the way, and so she always shuts them down. We see Uraraka as a version of Himiko, a high school girl who always appears to be cheerful and well-behaved but is merely repressed. 

Uraraka repeats the same unhealthy behavior as Himiko once did. Which is why Uraraka’s first meeting with Himiko goes with Himiko getting such a cold read on her. 

It’s helpful to view Himiko as the flipped version of Uraraka. Uraraka hides everything that’s pleasant about her on the inside, and on the outside appears like a perfectly selfless girl. Himiko is someone who hides her good qualities and instead wears the mask of a bloodthirsty psycho on the outside. While Uraraka lives by denying her selfish desires, Himiko always chases after them and is true to them. 

Traits that are repressed in Uraraka, are expressed in Himiko. Especially traits that society sees as bad in girls, like selfishness, being emotional, etc..

The way Himiko acts is especially jarring because she seems convinced she’s a normal person. She’s in her own little world, making friends, getting along with other people, it’s just her friendship just happens to involve stabbing. 

Himiko appears to be a girl psychotically obsessed with blood and nothing else. A girl who only cares about killing other people and chopping them up to bits. When she expresses the feelings deep inside of herself, literally no one can make heads or tails of what she’s saying, she doesn’t sound like a girl just a bloodthirsty monster. 

While Uraraka seems like she has nothing in common with what is essentially a weird serial killer, we learn that the exact behavior that Uraraka’s creation is what led to Himiko’s current state of mind. 

The difference between them is not that Uraraka is a person of higher moral character, or a better person, but rather of circumstances between the two of them. It’s not the choices they made but rather things they were born into and couldn’t control. Uraraka has parents that accept her even when she fails and encourage her. 

Toga had parents that  abused their daughter, and then abandoned her. 

Uraraka chose to repress herself, while Toga was forced to become repressed by her parents. While we don’t know for sure if it was physical abuse it’s at least emotional abuse, and it had to be to an extreme extent to make Himiko snap that hard. The same unhealthy behavior but push to extremes gets extreme results. 

3. Normal Girl - Himiko Toga

Himiko did not become the way she is because she was lacking empathy or born with uncontrollable urges for bloodlust, but because of the environment around her that always forced her to repress herself. From the knowledge that her parents would never love her for who she really was. Himiko wasn’t born that way she was a response of what was done to her. 

People who don’t really know Himiko always judge her this way, that she’s incapable of understanding other people, that she has no empathy for others. She’s almost literally labelled and dismissed as a one dimmensional yandere trope by the people surrounding her. 

However, Himiko is in fact always doing the opposite. She’s constantly trying to empathize with others. Her maddened way of talking to both Tsuyu and Uraraka in her character introduction is exactly that, her trying to feel that kind of connection. 

Himiko’s fascination for Uraraka is a desire for empathy and understanding. One that you could say even surpasses some characters on the hero’s side, because she’s willing to try to understand the world’s of people who are nothing like her. Himiko’s next most significant action in the manga is to take Camie’s place and go after the kids. While she does fight against them she’s not overly violent, just curious. Deku even reaffirms some of Himiko’s primary traits. 

Himiko is always talking a lot and trying to explain her way of thinking to other people, because she wants them to understand her. However, because she’s bad at communicating this tends to come off as babble and a lot of people completely dismiss what she says and don’t attempt to listen. 

She expresses two things one a desire to know Deku on a deeper level, immediately asking him very personal, and sometimes very downright invasive question and two she also notices the closeness that Deku and Uraraka have for one another. 

Once again this is a repeating theme for the league. Himiko repeats the same desire that Twice has, to become a person who is trusted in the same way. 

Once again it’s important to remember that Himiko is just the flipped version of a normal girl. If most people hide their bloodlust and show their good sides, Himiko hides her desire to be trusted and to empathize with other people underneath her bloodthirsty urges she shows on the surface. She positions herself as a femme fatalle, but she’s actually just a girl who’s trying to understand why other people are different then her, and why Deku and Uraraka can have a relationship mutually founded on trust when she can’t. 

Himiko’s past was so repressed she never formed real relationships with people. Not only that she assumes that nobody will want the real her, because the moment she flipped and the real her was exposed everybody in her life abandoned her and she had to run away. 

After her brush with Deku and Uraraka we see Himiko start to be trusted by her comrades and a marked transformation takes place in her. 

We see shades of the old Himiko. A selfish girl who only exists to fulfill her whims. However, we’re shown Himiko is capable of empathizing because not only do Shigaraki’s words get through to her. 

Himiko is also for the first time able to reach the emotions of another person. Remember when Himiko tries to explain how she’s feeling, she babbles, and babbles and nobody listens. However that changes and for the first time, not only does Himiko pick up exactly on what’s troubling Twice, she also comforts him the way he needs to be comforted. She tells him that yes it might be his fault that Magne died, but she sees that he’s doing his best to make up for it and she gently encourages him. 

Remember how important this is for Twice. The world has never forgiven Jin for his mistakes. He hit the wrong guy on accident, while obeying the law, and lost both his job and his home. He started stealing to make ends meet, and as a result he lost his mind. When he makes a mistake it always blows up in his face but this time, Himiko notices that she’s panicking and comforts him telling him it’s okay he’s made this mistake and he can still work hard to fix it. 

Not only that but she notices what the problem was with Jin, she was able to notice the symptoms of his psychotic breakdown and rather than dismiss it as just Twice being crazy was able to help him in real tangible ways by wrapping her hanky around him and covering him up like he asked. Uraraka has a very surface level kindness, she’s kind but only by walking around on eggshells with everyone. Himiko is able to see through people, but uses that to comfort people on a deeper level. 

The “Himiko just can’t control herself because of her quirk” narrative is something that Himiko rejects herself. Because that’s not what Himiko wants. Himiko doesn’t want to be special or different from other people. 

Himiko sees herself as normal, and what she desires to be understand and be understood by other people. She doesn’t like Curious’ narrative for her because it made her out to be a freak or someone special when Himiko is trying her best to get others to understand her as a normal girl. Himiko can’t repress herself anymore, she can’t become normal the way her parents taught her too so not permanently broken, and forced to always express herself she’s trying some other way. 

What she wants isn’t to hurt other people, not really though. Those thoughts just turn violence, because Himiko is herself a person who’s endured a lot of violence. Himiko is basically a child that’s been on her own living on the streets and surviving for years, with all the dangers that entails, and also people who can shoot lasers and punch things really hard chasing after her. 

The more she’s isolated and on the run, the more violence she endures, the more violent and unhinged her thoughts become. The more she’s exposed to people who accept her for who she is, the more she’s trusted by those people, the more empathic and sensitive Himiko becomes instead. Himiko’s desire isn’t violence, when she’s pushed to her utter limit she says what she wants is to become a girl like Uraraka who is just loved and trusted by others for who she is. 

And I genuinely believe at the core of Himiko’s character this empathic girl exists. Himiko becoming violent and unrepressed doesn’t mean her empathy disappears. The complexity from Himiko is that she’s both the knife wielding psycho and the normal girl who just wants to have friends at the same time. If behind every normal person there’s a monster lurking is true then the opposite is true as well, behind every monster there’s a normal person. 

This is an idea expressed by Twice again. One of the villains that Hawks dismissed as a bad person, was capable of showing him compassion and gentleness even when he screwed up. Toga was capable of empathy for Twice besides the use he had for others. Toga herself is shown to be capable of more empathy than Hawks, who is one of the most selfless characters in the series, and who is convinced his actions are always done in order to save others.

However we see their treatment of Twice is so drastically different. Hawks treats Twice in a selfish way refusing to listen to what Twice wants, and only ever used Twice as a tool to exploit. Twice himself thinks that now that he’s no longer useful, Himiko won’t be kind to him anymore however we see the opposite. 

Twice admits to Toga that he’s the reason that everyone is in danger right now and he completely failed, and he’s not going to come save them. He admits that he’s useless and Twice himself said Toga wouldn’t be kind to him anymore. However in that moment, Himiko ignores the fact that her life is literally in danger and everything is going to hell around her to comfort Twice one final time and tell him the words he needs to hear.

It’s literally the single most empathic moment of the manga, and it’s in direct contrast to Hawks’ behavior. A hero as devoted to saving other people as Hawks, who genuinely likes Twice as a friend doesn’t show him any empathy at all and even stabs him as the back. A psycho like Toga puts her own feelings aside and notices Twice’s feelings, and gives him comfort and thanks him in his final moment because to her Twice has value as a person beyond what his use is. That Himiko is capable of this kindness, but equally capable of her monstrous actions earlier in the series  is what makes her human. Her kindness doesn’t make her any less mosntrous, and her monstrous qualities don’t make her kindness go away she’s both at once, rather than either or. That’s where the complexity comes in. 

Toga is a very human character precisely because we see her at her most monstrous, and we see that girl slowly relearn how to express the kindness that’s always been inside of her in healthier non-stabby way. A normal girl who learned how to be a monster to protect herself. A monster who is slowly relearning to be a normal girl.

[twdmusicboxmystery]

Beth’s Template in S11

Okay Bethyl Enthusiasts! Here goes!

I’ve been promising to talk to you about exactly what I think will happen in S11 with Beth’s arc, and that’s what I’m going to do today. I’ve had a basic idea of things for a while, now, but these bonus episodes and their epic symbolism have really kicked things into high gear. They’ve helped me see things more clearly and even helped give me a more definitely (disclaimer: though still somewhat fluid) timeline for how/when it will all happen.

So, of course we all hoped to see her in ep 22. But if he we had, it would have had to have been in a coda. Like a preview of some kind. Because they didn’t quite get to the part of the story where I’m expecting to see her. But I’ll get into that in more detail.

So, we’ve been saying for a while that we think she’ll come through Eugene’s storyline, so that’s what I’ll be focusing on here. Because that’s specifically what I think we’ll see in S11. @wdway has found a TON of Beth symbolism around Eugene. She did most of her investigating and reporting over the long, CoVid hiatus, but I haven’t gotten around to posting much of it. Maybe I still will. We’ll see. There’s been so much to talk about lately.

Let me also state that, while I firmly believe we’ll see Beth in S11, I don’t think we’ll get to the point where Daryl will see her. And yes, that kinda sucks. But they probably won’t have their reunion until the spinoff. I know the Bethyl reunion is what we’re all waiting for, but hey, at least once we see her, we’ll know it’s coming, right?

So let’s start by going through the relevant template.

I’ve mentioned parts of this before, so I apologize if any part of it is repetitive. But it will help you if  you understand not just what I believe we’ll see, but why.

So, let’s return to 6x08/09. At the end of 6x07,  the church fell and all the walkers got into Alexandria. Eugene ends up in a garage with Tara and Rosita. They can’t get into the house connected to the garage because the dividing door is locked. After a discussion between the two ladies about whether they’re going to give up hope or else “do something,” Eugene offers to pick the lock and they get inside.

Inside, Morgan was keeping Creepy Wolf Dude (who I’ll abbreviate CWD) in the basement. He brought Denise (Beth proxy) in to patch up his injury, which she does. Carol wants to kill CWD and tries, but Morgan stops her. He’s on his “all life is precious” kick and ends up body slamming Carol, so she passes out. But when his back is turned, CWD also hits him over the head, so Carol and Morgan are both down for the count.

Just then, Eugene, Rosita and Tara enter, but CWD takes Denise hostage and leaves.

Everyone with me?

Okay, let’s start with Denise. Because of the way she died, Daryl’s reaction to her death, and AALLLLLL the Beth symbolism around her, she’s clearly a proxy for Beth. So what I’m going to argue is that this little sequence is a foreshadow and template for how she’ll be reintroduced into the show. Notice how Daryl isn’t present in any of these scenes. So again, this is how we, the audience will see her. Not how Daryl will first see her. Kapish? Okay.

So, I think Eugene unlocking the door to a new place represents him finding or “unlocking” a new community. Kinda like the one he, Yumiko, Zeke, and Princess are now in the process of discovering.

How did we come up with that? I honestly don’t remember in detail. Like I said, it’s something we’ve discussed for a long time. I think we started with Denise=Beth and worked backward from there. It kind of feels like out of all the members of TF, Eugene will see her first, but then she’ll be taken away from him right away.

Now, he’s in the midst of discovering new people/a new community. A few other pieces of evidence for this:

1)      Before they run into the garage, right after the church falls, Eugene gets on the radio and calls for help. Remember, Daryl hears him? So that parallels to Eugene talking with Stephanie via the radio.

2)      If you go through the dialogue of Rosita and Tara in this scene and compare it to dialogue in the scene in 10x16 between Yumiko and Ezekiel (the scene where his horse dies) the parallels are ridiculous. They aren’t the exact same lines of dialogue, but the meanings and chronology of it is almost exact.

3)      In terms of Denise = Beth, before she patches up Creepy Wolf Dude, she says to him, “show me the wound.” In Rick’s dream in 9x05, we heard Beth’s voice say, “What’s your wound?” It’s almost like they were trying to show us that Denise = Beth and that this template would play out with her return.

Okay, I hope that’s all clear. Shit’s about to get really interesting.

Before we continue, I want to remind you of THIS POST I did about 5x09. If you haven’t read it, I suggest doing so. I talk about the radio voice in 5x09 and how it talks about “attacks against the republic.” We couldn’t have known what that meant before, but now it’s clear that it’s a foreshadow of the CRM and the CRM war, which won’t happen until the spinoff.

It’s super interesting because Andrew Lincoln was the radio voice (he’s currently with the CRM) but he has his English accent. (I’ll tell you why that’s important in a minute. It wasn’t a casual or irrelevant choice on the writers’ parts.) So if that suggests Rick being with the CRM, which he is, it’s kind of interesting that Beth’s voice, singing “Struggling Man” also comes out of the radio at first, before we see her sitting there singing it. That suggests that she, too, will be with the CRM and part of the CRM war. None of Ty’s other death hallucinations spoke from the radio. I’m just saying.

The voice there even mentioned brutal attacks against the republic, including setting people on fire and hacking them with machetes. And that’s important because that’s just what the wolves did at Alexandria, and in the above template, we have CWD taking Denise (Beth). So it’s all interconnected.

But even so, I’ve had a hard time nailing down what it means and what the story line will actually be when Beth return.

Enter episode 10x21 and @bluesandbeth​’s inspired research.

In ep 21, Carol snoops around in Daryl’s room and finds the book “The Golden Age of Piracy.” Now, I’ll admit I didn’t look into this reference very extensively because I THOUGHT I knew what it meant. We had a “pirates” reference between Daryl and Carol in 10x01, when they first discussed leaving together on his bike. Since we already know they’ll be leaving together for the spinoff, that conversation was a foreshadow of what will happen in the spinoff. And if you’ve been following my posts,  you know that I see their whole arc in the bonus episodes (6x18 and 6x21) as a foreshadow of that same story line. So to me it was just another confirmation of the spinoff arc.

Then @bluesandbeth contacted me because she’d been looking into the Golden Age of Piracy book. She looked up the author and found out some interesting things. This author is real and basically wrote two kinds of historical books. (X) Books about piracy, and books about the American Revolutionary War. The author wrote a book called Greene and Cornwallis. (X)

Yikes! Yes, Greene is a real person and a patriot who stood against Cornwallis in the Revolutionary War. But what are the chances the writers use an author who just happens to have written a book with Beth’s last name in the title?

Historically, Nathaneal Greene was George Washington’s top general and right hand man during the war. I’ll come back to him. For now, it’s enough that he shares Beth’s last name.

I immediately hopped online to see what @bluesandbeth​ was seeing and look for more. And boy did I stumble upon a treasure trove!

I noticed a second book by this author called Swamp Fox. (Full title is Francis Marion: Swamp Fox.)

Now, you may wonder why that caught my attention. It’s not anything I ever posted about. It has to do with Leah. While me and my fellow theorists were discussing her and episode 10x18 endlessly, we noticed that Leah often wore a fox-fur scarf:

We conjectured back and forth about what it meant. Foxes, just like most animals, can have many different symbolic meanings depending on what culture you’re looking at. They’re often seen as sneaky and wily and deceptive, so we wondered if it was a reference to the writers “deceiving” us because Leah is a hallucination. But that was about the best we could come up with.

Well, when I saw the title of Swamp Fox, I immediately thought of Leah. And of course symbolically, Leah = Beth. So I decided to investigate.

And guess what? When I started reading about the Swamp Fox book, all the stuff from the S6 template above and the 5x09 stuff about Beth being part of the CRM war started clicking into place so fast, it made my head spin.

The Swamp Fox is about Francis Marion, a real man and patriot who also fought against the British during the American Revolutionary war. He’s the guy Mel Gibson’s character in The Patriot is based on. He faced down Cornwallis (one of the main British generals during the American Revolution) and was awesome at guerilla tactics and staying hidden. You know, in the swamp. Hence, they called him Swamp Fox.

Does that sound familiar to you? Think about what Andy Lincoln/Radio Voice said in 5x09 about Guerilla warfare and attacks against the Republic. You could describe Francis Marion’s military career any better if you tried.

And then I went to Wikipedia to look up general information on Marion and pictures of the British flag are all over the place.

Okay, this is another thing that won’t be very familiar to you because I haven’t focused on it much. In one of the episodes of TWB, Julia Ormond’s character is at home and we see a huge British flag hanging on her wall. Not surprising, given that she’s British. But it was such a huge, blatant symbol, and the camera focused on it for so long, that we figured it had to mean something. We just didn’t know what. The best we could figure is the colors (blue and red) and the fact that there’s both a huge X and a T/cross on the British flag.

Well, I now know what that symbol represents in TWD world. Reading about Marion and seeing the British flag on his Wikipedia page made it all make sense to me.

In short, Francis Marion, a.k.a. The Swamp Fox = Beth. She’s going to be the second-in-command general/guerilla warfare expert against the CRM. That’s why they had all that stuff in 5x09 when we saw her and heard her sing. The reason for the British flag is that Julia Ormond’s character = Cornwallis.

Read up on Francis Marion HERE.

(This is also why I said it’s important that in 5x09, they had Andrew Lincoln use is British accent for the radio broadcast. It’s meant to be from the point of view of the CRM, which symbolically represent the British in the template.)

So they’re using the American Revolution as a loose template for how the CRM war will go.

Back to Nathaneal Greene of Greene and Cornwallis? Yeah, same thing. Greene was George Washington’s direct under-general and right-hand man. Kind of like a…second or new sheriff? In the CRM war, George Washington = Rick and Nathaneal Greene = um, Greene (Beth).

More on Nathaneal Greene HERE.

But here’s the thing. None of that is going to happen until the spinoff. So why am I talking about it for S11? Well, it has to do with Charleston.

You can look this up on Wikipedia for more details, but Charleston was an event that was huge for Francis Marion. It was Charleston, South Carolina in that case. And it was a stronghold that the colonists were holding against the British. Then one day, the British attacked and took everyone there as prisoners of war. Marion WAS stationed there at the time, but he wasn’t there when the attack happened because he’d BROKEN HIS ANKLE in an accident and left the city to recuperate.

Okay. Anyone recognize Charleston in terms of Eugene or TWD world?

When talking to Stephanie over the radio, he got her to finally tell him where her settlement was. Any guesses? Charleston.

Now, in this case, it’s Charleston, West Virginia, but I don’t think it’s any coincidence that the writers went with the same name, even if it’s a different state.

So, here’s how I think it will play out.

I don’t think Stephanie’s group is actually the Commonwealth, or at least not the major, Commonwealth city everyone knows from the comic books. They DO have the white storm trooper guys, so I think they’re linked to the CW somehow. Like maybe they’re a branch of the CW in the same way Grady might have been an outlying branch—or at least in communication with—the CRM.

So again, maybe they’re PART of the CW, but they’re not living with the main group.

So, I think Eugene’s group will be taken to Charleston in S11 (that should happen next) and they will see Beth there. I have no idea if Eugene will recognize her or not. Given that we still don’t know what went down during the missing 17 days after Coda, and Eugene was hurt, we don’t know if he actually saw Beth at all or if he was out during that time. I’ve agonized over this a lot, but understanding this new template, I’ve come to realize that it doesn’t really matter. Maybe he’ll recognize her. Maybe he won’t. But either way, he’s not going to be in the same place with her for long.

I think soon after Charleston will be attacked. Now, historically, it was by the British, right? And because Julia Ormond’s character = Cornwallis, it’s got to be the CRM who attack Charleston. And we’ve seen them do this with other communities in TWB, so it makes sense.

But here’s where I had the S6 template wrong for a long time. Because CWD takes Denise, I thought a group would attack Stephanie’s community and take prisoners, and Beth would be taken with them, while Eugene and the others were left behind. 

But because of the Marion/Swamp Fox/Charleston thing, I think the opposite is true. Sounds like Eugene and co will be taken as prisoners by the CRM. Why did they do it the opposite way in S6? Because they couldn’t have had all the Alexandrians taken and Denise left behind. It just wouldn’t have worked for that S6 storyline. The point is mostly the separation. Eugene gets into a new place, briefly sees her, and then they’re separated.

So Charleston will be attacked and all the people (probably including Eugene, Yumiko, and Zeke) get captured by the CRM. If Beth is Marion, then she won’t be there when it happens.

I’m wondering if she’ll be out in the woods, hunting or getting supplies or something, and this is where she’ll step in the bear trap, injuring her ankle. That would fulfill all the bear trap symbolism around her, including Alone when she stepped in the small game trap. Just a guess on my part, but I think it’s highly likely.

Even if I’m wrong about that detail, I think she’ll be away from the Charleston community, just as Marion was, when the CRM captures the people there.

This is why it doesn’t really matter whether Eugene recognizes her or not. If he doesn’t, and they don’t realize they know the same people, she won’t know that Maggie and Daryl are (relatively) nearby. I think at this point she’ll go to try and rescue the people from the community who were captured (if she’s been with them for awhile, there are probably people there she cares about) and that’s how she’ll run into Rick and first cross paths with the CRM.

She and Daryl will meet down the road at a later date.

Even if Eugene DOES recognize her and she knows about TF, I still think she’s going to go try and rescue her friends before attempting to go to D.C. because they’re in more immediate danger and she’ll have some loyalty to them.

So, this is what I think we’ll see in S11. And I have no idea where it will cut off. Maybe the last thing we’ll see with Eugene in S11 is the fall of Charleston. Or maybe that will happen in episode 2. I really have no idea.

But I’m going to mention one other thing before I stop for today. I know this is getting wrong.

Who is Creepy Wolf Dude in this template? I mean, the wolves attacked Alexandria, so we could assume it’s just the CRM, and maybe a particular person in the CRM. Might be.

But rewatching 6x08, something caught my ear.

Morgan and Carol were arguing about whether or not to kill Creepy Wolf Dude, right? She keeps saying he needs to die. Morgan keeps saying no. And then we have a really interesting conversation.

Carol (talking about wolves): They made us kill. We had to stop it. I had to stop it.

Morgan: Where there’s life, there’s possibility. Even if we never let him out—

CWD: I’d get out.

Morgan (talking over him): Even if we never let him out, he could know what he’s done.

Who else killed and made TF kill? And rather than killing this person, they put him into a cell, vowing never to let him out. But he got out?

Negan! They’re basically talking about Negan’s fate after AOW here.

And guys, that’s CRAZY. I think CWD = Negan.

And I have more evidence for this.

In the TTD after 5x09, I remember that Nicotero was on it. And they were talking about how intrigued CWD was by Denise. I think it was Chris who said something like (and I paraphrase), “I guess it wouldn’t be right to say he fell in love with her or anything…”

And Nicotero corrected him and said CWD kinda did fall in love with Denise. Maybe not in a lifelong, deep, abiding love like we see with Bethyl/Glaggie/Richonne/Etc., but he’d never met anyone like her and he was intrigued by her. He fell in love with her as much as a killer like him could fall in love with someone.

Then, in 7x16, we had Sasha’s death. We went on and on about all the Beth symbolism around Sasha in that episode. It was ridiculous! Kind of like these bonus episodes had been. And Negan…kinda liked Sasha. I mean, I don’t think anyone would have described it as falling in love, but he liked and respected her. Said she had beach-ball-sized lady nuts and he truly respected her and was sad to see her die.

So I think these are both templates that point to what will happen next.

(BTW, Eugene was present for a LOT of Sasha’s final episodes.)

The main reason we always thought Beth would show up with the Saviors is because of the Negan (bat, actually) symbolism around her. But if she and Negan have a major arc together or interaction later on, all of that will suddenly make sense.

So again, I’m not sure if we’ll see this in S11 or if it will come later, but I think after Charleston falls, Negan and Beth will somehow meet (maybe he leaves the communities at some point) and have a lot of scenes and episodes together.

All right. I’ll stop there. Do I know any of this for certain? Of course not. As always, it’s subject to change. Especially the details. And the instant I see anything that changes my thinking or makes me realize I interpreted something wrong, I’ll let you know.

But my biggest point is that this really SHOULD be the next thing we see with Eugene’s group. Of course, this is TWD and it might still take us 8 or 10 or more episodes to get there as they have a lot of things to focus on S11. But it’s coming. And soon.

Remember that S11 is scheduled to start in June. So we don’t have long to wait. (Yay!)

Thoughts?

[hongism]

Hyello, okay so. I don't have the emotional energy to take in and discuss everything in that chapter so imma just gush over the info cause I am a ✨whore✨ for world building.

So obviously MOC SPOILER

hi bestie HELLO guess WHO!!! finally ANSWering!!! altho im gonna answer separately and space everything out all Neatly bc im all over the place so strap IN we’re going on an moc RIDE!

THERE'S A WHOLE SIREN COMMUNITY?! AND YN AND IT MUST BE WOOYOUNG WERE FRIENDS? SIRENS HAVE A FULLY FLEDGE COMMUNITY WITH PRIESTS AND SCHOOLS AND MULTUOLE CITIES TO SOME EXTEND??? MAYBE EVEN AN ENTIRE PLANET WITH SIRENS MAYBE THEIR ORIGIN PLANET? HOW MANY TYPES OF SIRENS ARE THERE AND IN THE COMMUNITY HOW DTRICT ARE THE DIFFERENT ROLES?!?! ALSO DOES THE SIREN COMMUNITY ALLOW FOR DIFFERENT TYPES OF SIRENS TO BE TOGETHER? OBVIOUSLY THEY SHOULD BUT ARE THE CHILDREN THEN HYBRID TYPES, LIKE WHEN WE GET BLUED DARK SKIND BABIES OR CAN A SKREN ONLY BE ONE TYPE. WHAT POWERS DO SIRENS HAVE AND DOES THE POWERS REFLECT THEIR PERSONALITY AND DO THE DIFFERENT TYOES LEAN TOWARDS CERTAIN JOBS. LIKE WE JUST LESRNED THE OCEAN GOTTA BE PRIESTS BUT MOON ISNT STRICT WHAT ABOUT FIRE. AND IS YN INSTIC TO PULL OUT A HEART CAUDE HER PERSONALITT, TRSUMA OR IS IT RELATED TO THE MOON. ALSO CAUSE ITS A RED MOON WHICH IS COMMONLY A BLOOD MOON, IS YN THEN A SPECIAL MOON SIREN AND THATS WHY HER POWERS ARE STEONGER OR HER INSTICTS TO USE THEM ARE STORNGER BUT THEN THE MILITARY FUCKED HER UP. AHHHHHHHHHHHHHHHHHHHHHHH

now this is the thing im biting my tongue on SO HARD bc it’s my favorite aspect of the world building and the universe and everything involved in it bUTIHDFKJG THERS SO MUCH I WANNA SAYYYYYYYYYY in short that one dream sequence holds more hints and information than ANYTHING from previous chapters, i think that it’s probably the MOST IMPORTANT dream to date. while we’ve seen some crazy ones in the past, this one is both the biggest hint and the biggest window into y/n’s past by FARRRR. even tho that whole scene was dialogue i think there’s so much to pick up on from it and so much to see and learn from it and it’s one of my faves bc there’s so much to unpack from it !!

Like yes the story and the development is freaking ✨yes✨ I love it. Genuinely think moc should be released as books. But I just cannot deal with the emotions rn.

But also now all I'm going to be thinking about how many sirens are actually out there. And if yn knew her parents and wasn't just an orphan the military found in the streets... How the fuck did she end up in the military grasps. What happened to her parents what happened to the community, is it still out there? Guess I gotta go back and reread the galaxies and the backstories, obviously I must have missed or have forgotten something. Ugh how the puzzle pieces are puzzling (or something). Moc is a drug and I'm not going sober anytime soon

(obviously you don't have to respond to my questions, this is more just an insight into the spiralling of theories going on in my mind)

releasing moc as books? a dream and a half, i can say that much slkjdlgkjlkf but back to the sirens... how many are out there? we heard early on that hongjoong was looking for ‘the last five’ but then seonghwa debunked that and said that was a mistranslation over time that was passed down and such, but beyond that, we don’t really know much about sirens as a whole? there are some hints in the galaxies and planet descriptions but if that dream sequence is a puzzle, i would say we have a handful of pieces that can be put into place based on what we’ve learned so far!!!!

Okay I lied, I am ready to unpack a little of the ✨emotions✨

When hongjoong explained that hwa tried to stop San only for San to detain him and in a sense make him watch the scene unfold. And then realising hwa had to go through that again, only being even more helpless. I don't doubt hwa loves San, but to see the events happening again, with someone he clearly loves as much as he does yn even if he also loves joong, and to see the desperation and determination must have been just. Horrible. Just absolutely soul breaking horrible. I can imagine him vowing to himself after San that he would never let something like that happen again. That of any of the crew got out of control like that, that he would fight harder to stop them. That he would would do absolutely everything in his power to stop it. And then being helpless as he watched yn do it. Just pure heart wrenching pain. And it must have been beyond terrifying to see someone you love ready and determined to kill themselves partly from rage and partly from desperation. With the backstory, that scene becomes almost as cruel as the warehouse scene with San. The only redeeming quality is no one needing life saving surgery in a time crunch, otherwise they would be the same level of ✨never again✨

honestly i think the two crew members i torture the most are san and hwa bc i just keep putting them thru all this shit and hurting them so much but really this was the defining point of why seonghwa was so afraid. before we kinda just knew he was afraid of yn and hongjoong was mad about it. in this revelation we get to see the source of the trauma and how it was amplified by it being someone he loves as dearly as he loves yn. and for sure when first reading that scene of yn and jisung in the brig, it’s meant to evoke a sense of anger and rage like yn is so angry to a point where she would do this sort of thing, but my hope with that scene was also to show that desperation. that when looking back at it after having already seen the rage and the aftermath, that reading it again shows how desperate and hopeless she was in that moment. which is exactly the same emotion that was evoked back in that warehouse scene with san, except it was relayed differently because the warehouse was a more immediate sense of desperation. this brig scene was meant to emulate that but in a slow burn kinda way where the veil of realization is pulled off after the fact and not in the moment!!!

Just to make sure you don't misunderstand. Those asks were compliments. You are an absolutely incredible writer. And the fact that you aren’t afraid of hurting your characters *cough cough* SHOOTING SAN?!?!?!?!?!?!?!?!?!??!?!?!!!?!?!?!?!??!?!?!?!?!?!?!?!? *CLEARS THROAT AGRESSIVELY* just makes the story much better. No one gets plot armour, making it more realistic (?) and really draws in the writer and sorta imitates the fear and desperation the characters feel

PLS don’t worry, i live for every moment and i live for these open and raw and genuine conversations i didn’t take any as an insult i PROMISE!! i think part of the nature of this whole trope of space pirates and criminals is that hter is no guarantee of safety! i don’t wanna have to cut corners to make sure everyone stays unharmed and undamaged throughout the story when the nature of the world i’ve built thus far is a wildly dangerous one!!! i always say that i try to be as realistic as i can, all things considered, and i think that’s the biggest thing that adds to the ‘realism’ in my mind so im so happy to hear that you see it and appreciate it and enjoy it!!!

OHOHOHOHOHOH ALSO

YN GRIPPING SOMEONES HEART??? YOU WRITE THAT SO FUCKING WELL. LIKE ENIGUH DETAILS THAT WE KNOW WHATS GOING ON, BUT ALSO NOT SO MANY DETAILS SO IT GETS DETACHWD FROM THE STORY. LIKE THE LACK OF CLEAR SUPER MANY DETAILS REALLY MADE IT THAT *YOU ARE EXPERIENCING THIS, NOT JUST READING IT* LIKE IT MADE IT WAY MORE EMOTIONAL AND OERSONAL AND THE READER REALLY GOT IMMERSED IN THE MOST HORRIBLE WAY THAT KUST MADE IT ALL RHE MORE BETTER. ALSO JOONG AFRAID????? JOONG REALISING HE GOT A FULLY FLEDGED HEART RIPPER SIREN WHO CANT CONTROL HER BODY TO MOVE THROUGH A HARMLESS DOOR BUT CAN DEFINITELY KILL IN A HEARTBEAT (OR TWO 👀) ALSO THE CONTRAST OF REMOVING RHE BLOOD COLOURED WHITE OLASTIC AND HAVING A CLEAN HAND UNDERNWATH. THE SYMBOL OF IT ALSO BEKNG A TRASH CLEANERS SUIT. LIKE SHE WASN'T SUPPOSED TO ACTUALLY USE THE TRASH PROTECTION DUIT FOR ITS INTENDED PURPOSE. ALSO THE OART WHERE SHE SAYS SHES FINE EVEN TJO SHE ISNT. AT FIRST I READ IT AS HER TELLING HERSELF TO LIE BUT THEN I REALISED ITS HER ADMITTING SHE VERY MUCH ISNT. AND SAN NOT KNOWING???? AND KISSING HER HAND AND UGH AND SEONGHWA KNOWING. I BET HE'S LOWKEY GETTING MORE AND MORE AFRAID OF HER. LIKE YN IS READY TO KILL HERSELF AND ANYONE AROUND HER TO KEEP SAN SAFE. AND SHE INSTICTUALLY GOES FOR THE MODT AGRESSIVE METHOD POSSIBLE. IHHHHHHHHHHHHH I FUCKING LOVE YOU AND YOUR WONDERFUL WTITING AND YOUR TWISTED MIND THAT CAN CREATE ALL THESE FUCKING SCENES THAT GOT ME THUNKING AND FEELING ✨EMOTIONS✨

truly one of the HIGHLIGHTS of the chapter simply bc of how shocking and sudden it is!! for me, that was one of the easiest scenes to write in the chapter, oddly enough? it was something that when it came time to write it, i knew how i wanted it to be and was able to just sit down and write it out the way its written in the final draft of the chapter. i really love playing with those aspects of fiction and storytelling. tangible to a point, without spelling it out. i think it’s obvious that i really love delayed realization in writing, but i really like playing with how the brain processes information and for me personally, i don’t pick up on things right away! i can realize them in a snap or it can take me a bit to go ‘oh god that’s what happened’, and i like playing with that in y/n’s character a LOT.

and in that same vein of thought, there are some layers to that scene as well when compared to the door scene. in the door scene we saw hongjoong clearly tell y/n ‘you need to do this to save san’ yet she wasn’t able to do it despite trying and believing hongjoong. then in the heart scene we saw y/n clearly tell herself ‘you need to do this to save san’ and she did it then. so there’s a lot at play in that parallel alone too. and with that internal monologue she has of im fine vs not fine, then san kissing the hand that touched a literal real actual beating heart for me that was a sort of self indulgent scene and i was really worried about it coming across as too cheesy or something like that, but that is something that’s gonna impact y/n as a character and her relationship with san when they have the conversation of ‘oh hey i put my hand through a man’s chest for you’

i think part of why this chapter was so difficult to construct and write as a whole definitely is because of all the undertones and nuances throughout, and in a lot of ways it’s so so much to even think about that it’s almost too much packed into one chapter alone, but even if you don’t pick up on all the nuances throughout, i’m hoping to revisit them and bring them back around in that delayed realization style again bc that’s one of my favorite things to do ofc :3