#the next analysis post of mine will just have to do with the relationship dynamic [fantastical powers beyond the convo]

[dawnbreakerluna]

I really like this theory! Because I was thinking the same during the last few chapters when we finally get a glimpse of Sylus and MCs memories. This is the link - https://x.com/millecreupe/status/1813809147508613476?t=2YsqG032kliHKY18Z4QKZg&s=19

The way I'm so dedicated to this cause that I ended up making a Twitter account just to view this.

Let me preface that I am a bit freaked out right now because everything OP wrote about in this thread is pretty much accurately aligned with every specific detail I've predicted/theorized about Sylus and his purpose of changing fate/breaking cycles/etc. I've delayed making any posts about lore because I genuinely don't want to go back into the story chapters to take screenshots and shit, it's very tedious to me LOL 😭😭😭😭😭 I promise I remember what I can, even if it's not miniscule details, I just take away the important things!

(Side note: I've previously predicted/prophesized things before that have come true & I'm a little spooked by it. I don't like to put things out there unless I'm super passionate about a subject LMFAO)

[Warning: VERY LONG info dump/theory post ahead!]

Often when it comes to unveiling or creating monsters, there is always a price to pay. That's the common formula for any story involving someone who has an alternate form or is on the verge of becoming something non-human. It takes a special kind of trigger - often, it's intense emotional states - to unleash a creature or be granted a uniquely regal power. (ex. Eren from AoT, Nero in DMC5, Ignis in Final Fantasy 15)

I'm going to follow the evidence listed in OP's thread for my references + additional responses to the thread that are relevant, which I will link here for easy clickback! (Thank you so much again anon!)

I want to dive into one of the examples I listed first before I proceed. (Light spoilers ahead, and iffy details since it's been so long since I played the game.) While Ignis doesn't have an alternate form whatsoever, there's a DLC in FF15 where you have the opportunity to play as him during the climatic event of main story. Essentially, this would involve Ignis changing the planned fate of the protagonist where he would end up sacrificing himself in the very end to save his world and his people. Ignis pretty much defies that fate, going against godly forces and sacrificing a part of himself that ends up changing the canon ending. In short: Ignis saves the protagonist, everybody else, and everything's great. Yay!

I'm a broken record at this point by saying Sylus' involvement is going to defy fate and interrupt the timelines. TLDR; He's going to ultimately save MC from her curse and break the cycles, no matter the cost.

First, let's discuss Sylus' Evol (power). Energy manipulation can mean a lot of things, though as far as the story has shown us, this means he can bend anything/anyone at will through energetic binds. Also, he can know someone's deepest desires, which is activated when his right eye glows.

At a certain point in Chapter 9 (or 2.1), Sylus mentions something about the MC's Evol being weaker/not as strong as before. While we know Energy Resonance is the MC's power, there seems to be something more at play when it comes to it. It's a likely possibility that the MC herself is more powerful beyond resonating with others, perhaps to the point of causing re/destruction.

I like what OP says in part 3 of the thread: "I assumed MC didn't kill him but instead resonated with Sylus, making his self healing ability double in power, AND at the same time directly **pouring the energy of her aether core into the core the he would be implanted, forcibly reshaping a "heart" in his body."

[Previous quote was in alignment to: "Sylus turned into a wanderer. And if mc died and didn't kill him there, he might completely turn into a wanderer..."]

It's hard to deter me from the belief that in the flashback we saw towards the end of 9.2 that Sylus was literally in a Wanderer form. The arm that moves and reaches out to MC is a lot bigger than her own and when looked at closer, you can make out a textured hand with claws. You can see his palm held out faced upwards, and a weapon floating(?) just atop the center of it.

[10/25 UPDATE: The last time I touched this post was back in July, LMAO. This has been sitting in my drafts for months, but now with the Sylus Translation Project, I'm happy to add it to this mini dissertation.]

Here are some points from the Reddit post that struck my interest the most:

[Changed Facts] Changes how Sylus's powers work: specifically, there are invisible shackles inside of his body that prevent him from absorbing even more power. There is not a tether that prevents him from "tapping into" more power. This is a fundamental power difference and has created a complete misunderstanding about how his powers truly work amongst English-only speakers in the global community.

[Missing Fact] Sylus's Aether Core works by him invading and taking over consciousness; he does not merely perform basic mind control, it's actually far more insidious and terrifying.

[Power Nerf] Sylus's powers are actually described as "all-powerful and all-encompassing" but this was somehow reduced into merely blocking exits.

I encourage you to read the entire post in full, for it shifts so much about Sylus' character. Though for me personally, it only justifies all my speculations and conclusions about his character even beyond mistranslation. I will repeat myself over and over and OVER again: Sylus is beyond powerful, way more than we even know and I'm honestly just waiting for Infold to do something to show this grand transformation or show of power.

With these fixed translation points, it makes sense why he's so desperate to resonate with MC. A few comments on the Reddit post have the same speculation I did that it's possible him and MC have the same Aether Cores in their bodies. [OP responded to a comment with: "MC hears things like "Devour," "He's yours," "It belongs to you," I almost wonder if it's actually because they share two halves of a single Aether Core…"] [[THIS I AGREE WITH HEAVILY.]] If this is the case, I don't doubt that Sylus knows this, but he would rather MC find this out on her own due to some morale of integrity, building her inner strength, etc.

TLDR; Her resonating with him would unleash those shackles. I also don't think it's amiss that MC also has some kind of shackles, but that's just me thinking of other possible scenarios. Everything is so vague with this story because we've only been fed so much tidbits.

But one thing's for sure... I really, really think these two are the true fated pair, to a certain degree. And why it's difficult for them to resonate is due to the fact that they both wield a power that can shift the world, the universe... everything altogether.

[rainbluealoekitten]

hey so i don't know you at all, but i saw on an old post that you did an IB eng lang+lit extended essay,,, and if you have ANY tips on choosing a topic for that i would literally appreciate it so much,, i have to choose my topic in the next 24 hours (procrastination </3) and i have vague ideas but no clue how i could structure them or what kinds of topics the IB prefers :/ literally any help, via dm or answering the ask, would be so so helpful ((( but no pressure ofc :] )))

omg hi babes, i'd be super happy to give my advice and i hope i'm not too late?

ok so you know the 3 categories i'm assuming? idk what your school is like but if you need more guidance on the ee in general, go to philpot's step by step guide

when you're told to pick something that interests you, DO THAT. you will spend MONTHS on this topic, researching and writing for hours upon hours, so you HAVE to be invested. even if you love love a topic, you might still struggle for a variety of reasons (my tips on this later on). regardless, you are on tumblr engaging in fandom and media for a reason. WHAT is that reason? what compels you? what themes, character dynamics, settings, motifs compel you? what shows, what books, what films? what about in lang and lit class? do you like ad analysis and the societal implications? do you prefer minute details that make a movie just so so good (e.g. lighting)? did you watch the dead poets society and you've been reading poetry aloud ever since?

the ib requires you to write about an "acclaimed" literary or non literary work, which gives you a LOT of choice. you could write about doctor who, for example.

i'll explain my process when i was picking my topic.

i have always liked greek mythology (like a LOT) and my favourite figure is akhilles. i decided i wanted to do something exploring his relationship with patroklos, but alas! i could not look at the iliad as it was not written in english originally, which didn't fit into either cat 1 or cat 2. so... why not the song of achilles? it's well known and acclaimed, plus would be more fitting for a dp level of literary analysis. but how to explore the characters? well... what else was i interested in?

what makes a character a hero?

this was the central question. i ended up changing the specifics of my question a million times which... don't do that. eventually, my question was (more or less), "how does miller conform to and subvert the characteristics of a hero through characterisation?" (that was not the question. i promise that the actual question was a million times better).

NOW. my extra note.

before you start researching and outlining, here is something i recommend you do before starting, based on my own issues. now, i did get a predicted (knock on wood) A, but after way too much deliberation.

make a list of your strengths and of your weaknesses. consider literary analysis vs diegetic and non diegetic sound analysis (idk if that's even what it's called but yk). consider time management skills. consider outlining skills. consider research skills. what do *you* need in terms of help and support from your supervisor? what do you need to do to help yourself? for example, i should have forced myself to pick a question from the start, before even starting research. this is an issue i have in other subjects too, and caused me a lot of grief for my history ia. i also asked my ee supervisor to help me come up with a realistic, step-by-step schedule bc i struggle assigning myself deadlines.

for the second part of your ask, structure is going to be super dependent based on your topic and category. i recommend reading examples similar to your topic (don't waste time reading ad analysis if you're doing poetry aha). i did mine with bg info on the classical view of heroes, then each bp was a different aspect (first conformity, then subversion). i have a friend who wrote hers on a feminist film and her bg was about feminist theory, with mentions of that time period, which then informed her fairly standard-structure analysis.

let me know if this helps in any way at all, and don't hesitate to reach out again if needed! i wish you the absolute best with the ee and dp more broadly :)

[retrieve-the-kraken]

Heartstopper season 2 play-by-play analysis

It can’t be over! It can’t be! How long will it be before my next dose of serotonin? Although rewatching helps, absolutely, but my god, that cliffhanger! Those last moments of the episode just leave you yearning for more. More Paris Squad, more in-depth looks into their individual stories, more Nick & Charlie, more more MORE!

I’m glad that Alice Oseman is already hard at work on the season 3 script. I hope they’re as inspired as ever.

EPISODE 8 - PERFECT

- Baby Queen’s “Colours of you” makes an appearance/comeback. I don’t know, but I feel like a lot of people said that it was about how Nick makes Charlie feel, how his world is black and white until Nick comes into his life (I don’t know if maybe Baby Queen said that), but to me it was always more the other way around: that Nick’s life was very black and white until he met Charlie, because not only did he realize he liked Charlie, but he also realized this whole other part of himself, in the form of the colors of the rainbow (queer pride).

- Comments to Nick’s post coming out as bi are a a mix of joyful and shocked but a few awful people just taking up space too.

- Charlie saying that his life is perfect right now and that everything’s perfect, whilst Nick knows it’s not, because Charlie still has an eating disorder, and he doesn’t know what to do about it.

- “Do you want to be my girlfriend?” “Is that a serious question?” Love them.

- Tara and Sahar, I hope you’ve learned your lesson: never ever take part in an organization committee.

- I was weirded out by the fact that they included prom in the show, since I thought there was no high school prom in the UK. It just seems like such an American/gringo thing (we have prom in my country, but it’s nothing like the gringo prom… mine was so weird and lame). But it turns out that they do have it in the UK now, likely made popular by all the classic teen dramas and rom coms that take place in high schools from the United States. But since it wasn’t in the comic either, I still thought it was a strange addition at first. However, the whole group dynamic made it work.

- Coach Singh coaxing Mr Ajayi to text Mr Farouk… that whole interaction was so precious…

- People just openly coming up to Nick and Charlie to ask if it’s true that they’re dating. Children, it’s none of your business, you don’t even know them…

- The conversation between Tao and Nick, Tao’s face as Nick mentions that Charlie is still affected by the bullying… poor Tao, he really didn’t mean for that to happen, that’s why he’s so protective of Charlie. And Nick’s face when Tao mentions his dad dying, like he’s really surprised that Tao is opening up to him. “Didn’t know about your dad…” “Don’t be weird about it.” “I’ll try.” “Good.”

- And their faces when they both realize that neither knows how bad the bullying was, because Charlie hasn’t opened up to either of them completely about it.

- And Nick and Charlie both looking so handsome in their suits, and being so gaga for each other. “I can’t believe you’re my boyfriend…” “You look… sooo… goooood! YOU LOOK SOOOO GOOD!” My favorite thing about this new season is that I’ve lost count of how many times Nick can’t resist the urge to pick up Charlie. I’m making a montage.

- “And a big public appearance as a couple… that’s definitely what we want?” Nick knows how much the attention might overwhelm Charlie. But Charlie’s not thinking about that, he’s trying to focus on the good part, the fact that he has an amazing boyfriend, that they can be together without hiding now.

- Darcy watching sourly as a mother picks up and comforts her small child, indicating that her bad relationship with her mother is not a new thing, her mother has never been nurturing or comforting or loving. And of course, how is Darcy supposed to know how to love someone if she has never been shown love in her entire life?

- Best scene ever: Elle’s dad being a ten feet tall burly man, pretending to be intimidating but then laughing it off. Will Gao’s awkward nervous laugh sends me.

- His reaction to Elle’s whole look. “You look… you… you’re so… Hello…” He’s so smitten.

- Seriously, Tao and Elle being the hottest, most stylish couple at the prom. Tara’s dress, though, is my absolute favorite.

- Tao and Elle being silly and cute for photos, and the four original friends taking a cheesy studio photo together. Love them.

- “I can’t believe Nick’s showing off his boyfriend, but none of you managed to bring a girl!” How does Harry manage to say something ‘nice’ and still make it sound like bullying? AAAND you didn’t bring a girl either, Harry, so what’s your deal??? He’s just loudly seeking attention. Where’s Tao when you need him to shut Harry down with a snarky comeback??

- The boys teasing Nick about being the first one in a relationship, like it’s no big deal. But my favorite was Christian going “I could get a girlfriend, how about Tara Jones?” Awww, has he genuinely liked Tara this whole time, or was she the first one that came to his mind? (I think he genuinely didn’t remember she’s a lesbian).

- Tara’s “How do you talk to someone about something they don’t want to talk about?” And Nick realizing that that’s what’s happening with Charlie. “Maybe you just have to try, even if it doesn’t work”. They both have to go for it. I love their friendship.

- Baby Queen‼!

- The dance routine, Elle and Tao living their best movie sequence.

- The little neon butterflies as Elle tells Tao she wants to go to Lambert, and he tells her that he knows. Yes he knows, and he knows that it will make him happy to see Elle happy, even if that means letting her go. He has to overcome his fear of abandonment. He’s not being abandoned, they’re just growing up.

- THE ACE BOOK. Give it to mee‼! Isaac is looking for an identity. And I love that it cuts to James enjoying himself too, and Tori being content by herself at a table. I hope we get more of Tori’s story in future Heartstopper seasons (and the comic too).

- And the teachers are going on an actual date!

- I don’t know what that meant, Imogen getting sort of misty-eyed looking up at Sahar playing. Maybe she’s realizing that she might have feelings for her, but my interpretation is that, since Imogen claimed that she needed to focus on herself, and since the whole season she has seemed pretty lonely, and we find out that she and Sahar used to be friends until Imogen got a boyfriend and they stopped talking to each other (regardless of who stopped first), and because Sahar revealed that she was bi and Imogen got caught unawares and thought maybe she should have known that, that Imogen’s reaction was more of a wanting to rekindle that friendship. As we saw with Tao and Charlie, and maybe now even Nick and Tao, friendships and platonic relationships are given the same importance in Heartstopper as romantic ones. Not all stares mean romance. And Imogen is looking for friends right now. (Although if it does lead to romance, I wouldn’t be mad about it… and who can deny the Lesbian Lighting??? Maybe Imogen IS into girls after all…) “Youuu, soft and lonely…”

- Isaac getting his heartstopper moment when he holds the book to his chest. YES ISAAC!

- Charlie asserting himself and asking Nick if they can leave, because he’s tired and uncomfortable of people staring and pointing. Everyone’s been so nice to their face about them coming out as a couple, but that doesn’t mean that Charlie’s not going to be worried about someone saying something nasty to either him or Nick, and it doesn’t mean that he’s not possibly going to have horrible flashbacks to being bullied. And Nick once again realizing that he doesn’t care about parties, he just wants to be with Charlie.

- Seriously, Sarah needs to adopt Darcy, replace David.

- Why would Darcy’s mum see Tara in her dress and think “oh no, a door-to-door salesperson?” She clearly doesn’t want to deal with anyone, but maybe even worse, she just wants to quickly get rid of a black girl standing at her doorstep.

- “She had another one of her tantrums last night.” Like this is typical and so it’s not a big deal that she has no idea where her daughter is…

- Group hug to heal my soul.

- “I wanted to be that person for you…” My heart. Tara and Darcy finally talking. “You’ve only seen half of my life.” “And now i’ve seen the other half, and I still love you.” “Are you sure? Because I’m a literal disaster.” “Oh I know.” That is so sweet. And Darcy practicing saying I love you until it feels normal and natural. So joyful.

- By the way, only Heartstopper can get me to listen to Taylor Swift. No offense to all the Swifties (including Patrick Watson), I love your love for Taylor, but I really don’t get it, her music just doesn’t get to me. Admittedly that song was nice for this moment. But that’s about it. But anyway… don’t come at me. I just prefer Baby Queen and Orla Gartland and beabadobee and Carly Rae Jepsen and Gabrielle Aplin and Wolf Alice and Carmody and girl in red much more in this soundtrack. AND THAT WASIA PROJECT SONG‼ Weeping‼

- I love how warm and sweet everyone in the group is to each other. Look at Tao and Nick hugging! Look at how Nick and Tara and Darcy are as much a part of the group as if they had been there for as long as the other four have been tight. Everyone deserves a friend group like that.

- I love that they included that bit from the little comic answering fan questions, where Nick realizes that maybe he’s had a crush on a boy before.

- “Now your turn”. Nick really wants Charlie to be able to open up to him, about anything. Charlie deflects, as always, and says that they don’t need to talk about it because everything’s fine, but the truth is he doesn’t want to talk about it, he doesn’t want to deal with those feelings. But if he never does, he’s just never going to move past that. And Nick wants to help him, even if it’s hard, even if it’s painful, he wants to understand. “You don’t have to be perfect with me.” Charlie just shrinking into himself…

- That whole conversation, it was an impeccable performance from Joe and Kit, and I’m crying again… Nick can’t even fathom that anyone would call this beautiful boy disgusting, and he can’t even fathom the pain that would cause Charlie to hurt himself, he doesn’t even know what to do… but he’s there, he’ll be there, and he wants Charlie to know how much he cares about him. It’s so soft, the hugs, the soft voices, the kiss on the forehead, the tearful kiss, and telling him how much he loves everything about him…

- Serial hoodie thief.

- That deep sigh… that terrified look…

- Spoiler alert: Charlie doesn’t send the text… of course not… he quickly realizes that he wouldn’t just say that for the first time over text… he wants to really mean it.

This episode is brought to you by TIPTOE KISSES™.

Looking forward to next season:

- Sara and Nick’s talk at the beach in Menorca. It will destroy me, but it will be worth it.

- The ‘I love you’ shower scene, and subsequent street chase.

- The beach, and Nick and Charlie both blushing when Charlie’s putting sunscreen on Nick’s back.

- More from The Teachers™ ‼

- I’m not ready for Charlie writing the note to read to his parents… I’ll never be ready… I’ll weep until I’m out of tears…

- Charlie possibly speaking Spanish… listen Joe, Kit had to learn French, Spanish is NOTHING compared to that, you’ll be fine.

- In the comic, after Charlie faints, there’s that funny moment when Nick says “Charlie, I’m not gonna start acting like I’m your doctor and you’re my patient… *seductive smirk* *eyebrow wiggle* unless you’re into that…” “SHUT UP!” I need this moment, I need it so bad…

- More about Elle’s family, please. I already love her parents. More about all the families, really.

- More Tori, hopefully.

MORE HEARTSTOPPER, PLEASE!

[btsandvmin]

Answering asks in regards to my recent post about shipping

Ok, so I got a few asks which I think are all responses to my recent post How much do we really know?

I got a few others but these are the ones I am choosing to reply to.

If you follow me and have done so for a while you probably understood my post already, and thus most of these replies might not be that interesting to my general readers. This for the most part just a reply to explain the points I felt got completely misunderstood by these particular anons. But I also go through some others that asks as well. Those will be at the bottom of the post if you want to skip the explenations.

Here goes. So the first ask I got was this:

Anonymous asked:

You mentioned in a post that during the billboard Vlive V suggested that him and Jimin “sleep together casually.” But the very next day Jimin said in a press conference that he was with JK all night and cried with him over the #1 spot. Do you think you ignore things JM says or does to fit your Vmin narrative? There just seems to be a big confirmation bias. A lot of your evidence seems to come from V’s songs but that’s entirely your analysis based off your perception of their relationship. (Not that I don’t agree with you on some of it.) How do you step back and look at things unbiasedly or rationally?

First of all, yes I did mention this but I didn't say that Jimin and Taehyung slept together that particular time/day. I am not 100% sure the post you read was the "How much do we really know?" but if it was, I said this:

"....or that Vmin seem to casually sleep together in private (if we take Tae’s words for it in the Billboard vlive)..."

Meanwhile in that vlive this is what Taehyung said.

"I told him to sleep next to me" followed by "...as he's too lazy to come to my place" it makes it sound like they normally would have gone to either place to sleep together, but both were too lazy to do so this time. Thus they didn't sleep together this instance, but the way Tae talks makes it sound like they casually ask each other to sleep together at times and like it almost was a given that one of them go to the other.

Worth noting is also that the way Taehyung says it (though there is always room for error since I don't speak Korean) it seems he was asking Jimin to come over first, and he wasn't even aware of the Billboard result. He also asked Jimin to do this on JK's birthday, so clrealy it didn't seem like a big deal at least from Tae's side to ask Jimin to come over to him on this particular day.

What I said in my post applies even if they didn't do it that day. Because it doesn't matter if Jimin went in the end or not, Tae still "casually" asked Jimin to come to his place to sleep.

You can look at the whole vlive (1st in BILLBOARD! Gather ARMY!) from September 1st 2020 and get your own understanding, it's not that long and it's full of cute moments.

But if we get into Ji/kook a little bit, the way I understood the situation from what they said is that of course yes, Jimin did tell JK about it. He said as much and of course I will believe him when he says it.

I never said that Jimin didn't say this, so I don't understand how my post would in any way imply that I ignore what Jimin says or does to fit a Vmin narrative. I didn't even mention Jimin, because it wasn't what I was talking about. Jimin's situation didn't matter in that context, just that Tae asked Jimin to come sleep with him.

Sadly I can't include all pictures because there is a photo limit, but Jimin also says he wasn't prepared for the news, and he was talking with Taehyung, and then he started to cry as he got the news. To me it seems he might have told Tae first (and that they already were on the phone when Jimin got the news?), and that JK likely wasn’t with Jimin when he got the news himself, but that he told JK at a later point.

But aren't you ignoring how they told the story a bit as well if you see this as a pure ji/kook moment?

The thing is that to me, no matter what ji/kook did that night doesn't even matter for what Tae said. It still indicates Vmin sleep together casually in their private time even if they didn't end up doing it that particular day. And if Tae could say that and ask that on the night leading into JK's birthday then how does that make Ji/kook seem like likely lovers even if they were together? Of course it doesn't mean that Vmin automatically becomes real, but I never said that either. Maybe the two ships cancel each other out, but in the end the fact that Taehyung said this, said it like it was normal, and suggested it the night before JK's birthday says something to me.

It's fine if Ji/kookers love the fact that JM told JK, I don't blame them, but they in turn need to take Tae's words into account as well. The whole point of my original post was to say I don't understand how shippers can feel confident in their ship being real, and this is a perfect example of why focusing in on one thing and ignoring or not noticing another makes these beliefs based on too little information.

You also seemed to ignore the rest of the post (if that was indeed what you were reading) where I state that I do have a bias and where ALL shippers use narratives that fit their ship to tell a certain story.

You also mention me ignoring moments and having confirmation bias, and sure I can't truly get rid of that, but again... I didn't ignore Ji/kook. I never said those things didn't happen. If anything I keep saying all ships have moments and shippers focus on them so much they don't see others have similar moments. Likewise I won't deny ji/kook moments when they clearly exist, that was a big part of the post, if you actually read it and didn't just get stuck on the small details. But it's good you are curious about and know confirmation bias. I have brought it up as a problem many times as well, and I will surely talk about it more in the future too.

Then, moving on to your point about "evidence" I would once again like to say (like in the post) that there is no such thing as proof or evidence for ANY ship. Just moments that shippers put together with their interpretations into a narrative. So you saying "A lot of your evidence seems to come from V’s songs but that’s entirely your analysis based off your perception of their relationship. (Not that I don’t agree with you on some of it.)" is why I felt you somehow misunderstood my whole post.

Of course it’s all my analysis based on my perception of their relationship. That’s the WHOLE POINT about how all shipping analyses work. Not just mine, but all.

Also, yes Taehyung's songs is a big part of why Vmin is suspicious, but it's far from the only reasons I have to question them. I simply used Tae's actions as an example in my post because they are quite many and out there. Many facts tied together, but of course what they mean is always a guess. Which I also stated clearly. I literally brought up a lot of examples of Vmin and said they make a lot of sense, but that doesn't mean we can be sure or "know" Vmin is real.

So, yes, I do feel you misunderstood me on several points, and it seemed you didn't read properly at all but rather got stuck on the details and then used Ji/kook moments to "refute" me even though it in my opinion wasn't relevant to the post at all. Which is why I in turn posted this reply:

It didn’t take long for someone to misunderstand my posts and get caught up on the details and examples instead of the general message. While they were at it they decide to throw in a good “accusation” of something I legit have said I am many times and no one can avoid. Good to know some people just don’t want to understand. 😗👍

Not only you but less interesting/good asks as well might have made me feel a bit annoyed, so I replied like this, I suppose I misunderstood your intentions too.

You also asked "How do you step back and look at things unbiasedly or rationally?" and my personal belief is that I can't. I am biased towards Vmin, and I do try to see things from many ways and to get content in its full context. But simply by consuming and remembering more about Vmin than other dynamics I will still remain biased. I don't think any shipper can truly remain neutral.

Then I got a a second ask (Edit; I now know this is by another person than the first ask).

This isn’t me trying to misunderstand you, I’m just genuinely curious how you ship vmin while also questioning Tae’s honesty (your BB night comment) and thus also Jimin’s, and also hand over the best tools to anti-vminnie who can use your words as proof that “well even vminnie don’t believe vmin so why should we?” And if all ships are basically equal, why ship at all, or why ship vmin? They have the most conclusive things and yet the more we get the more you question and doubt them.Why?

And suddenly there came a whole new additional set of problems.

I suggest reading my post Shipping vs Believing because if you knew my stance you would understand that I think there is a huge difference between shipping and believing and that you can ship whatever you like and it doesn't have to be tied to reality at all.

In general this ask makes you sound like a delusional and defensive believer, so I perhaps suggest reading my post Can shipping turn into conspiracy theories? as well. This additional ask is why I replied with this second short post:

You say I question the honesty of Tae or Jimin's words, but hopefully you understand this is not at all true since I explained what I actually meant in my original post. Tae asking Jimin to sleep with him is just as true as Jimin telling JK about the win. These two things don't contradict each other and I trust both of the statments to be real.

Also, how am I "handing over tools" to anti-vminies? These things are all out there, and I wasn't even talking about anything negative? Just because I have a more healthy approach than "Vmin is obviously real" that doesn't mean my words should be interpreted as "shipping Vmiin is pointless". However, you did get it right that I don't believe in Vmin, but you seem to have the wrong idea of why I have that stance to begin with. Which again, was part of the message in the original post which you here continue to not understand in other ways.

Me not talking as if Vmin is 100% real doesn't mean I hand out tools to antis. Personally I think that's a weird interpretation of my text, but I can't do anything but try to explain my view on shipping, which I feel that I have many times.

I also don't personally think all ships are equal, but I do think many ships have similar moments and that those moments either get ignored or hyper focused on in a way that makes shipping analysis less trustworhty and always biased and not based purely on facts and the full context. Basically yes, a lot of ships seem to cancel each other out, but that shouldn't stop anyone from shipping. BUT it should make people careful about calling moments "proof" and be sure their narrative is the only possible truth.

I also don't think it's fair to say "They have the most conclusive things and yet the more we get the more you question and doubt them.Why?". I've always tried to keep a distance between shipping and analysis and while we do get more and more for Vmin it's not that I start doubting them more... It's just that I remain open to other things despite more things happening that fits in a Vmin narrative.

I honestly can't tell if you have read a lot of my posts before or not, but it doesn't seem like it, and thus it feels even more unfair for you to lay this judgement on me as well.

Then I got a third ask (edit: which was a second one from the first anon):

Anonymous asked:

I think I’m the anon you responded to. I did read more of your posts where you question things a bit. It’s nice to see you still have a healthy view point on things. I wasn’t really disagreeing with your posts, just wondering if you felt everything was being considered when coming to conclusions. Have a good one !

All this drama, and for what? :P But have a good one too I guess. Thanks for taking the time to read more and trying to understand my point of view.

I also got this ask from another person, and I hope you might understand what I meant after reading my reply to the first anon.

Hi I am sorry I am confused. Can you tell me why specifically you think Vmin alluded to sleeping together during the Billboard Vlive? Didn't Tae say he was talking to Jimin on the phone and told him to come over? Then at the press conference Jimin said "I was with Jungkook" and they were sitting stroking their phones. I am not a shipper or an anti shipper or anything like that. I just would love to see the receipts on this if you have them?

Again, I didn't mean Vmin slept together that day. But the fact that he asked and it seemed like a very normal (even perhaps expected) thing that one of them would go to the other, I can still express it as Tae alluding to Vmin sleeping together at least sometimes during their private time.

Now onto another anon, with a very different take. :)

Anonymous asked:

Spot on. Shipping is one thing but how can some people "believe" in a ship, I'll never understand. People need to realize that even with all the content we get (from concerts to DVDs to Run to BV to interviews), we only see them for maybe like 2-3 days (total) out of 365 days. Like? They visit a country for 7 days and we only get 10 hours of content from it. Do we have any idea what any of them is doing right at this moment? "Supporting" a ship is stupid even if you're right at the end.

Thank you anon. I don't fully agree that we get as little as 2-3 days total out of a year, but we definitely don't see the majority of their lives. And while you are a bit crude, I agree... Even if a ship is real, supporting and believing and being convinced of only one ship is at least in my opinion not the right way to go about it. Which is why I say let's speculate but also support them all whatever the truth might turn out to be.

There we go... It ended up being a lot of drama made out of nothing else than a small misunderstanding. Anyways, I hope I made myself clear. Thanks for the asks, sorry for the somewhat annoyed attitude and I hope you understood what I tried to say.

Thanks for reading. If any of you had the patience to do so all the way through I salute you. <3

[hadesisqueer]

How do you feel about Yang and how she’s summarized in Vol. 8 as suspicious and emotional?

Late, but better late than ever. I've been waiting for this one. It's probably the longest because as I said, I make either two lines or just an entire character analysis lol. And I'm going to do it properly this time.

Okay, I straight (gay) up don't know where to start. I love Yang. I truly love Yang. She's not perfect, she has many flaws, but that's what I like the most about her. I can't help but laugh when some people say she's a Mary Sue.

Childhood, first volumes.

Yang starts the series as the funny blonde hot girl that goes around punching people. And I liked that, but I also like how she wasn't just that, as I said with Nora being the comic relief. Like, there's so much more in Yang than that, just like Weiss turned up to be much more than just the bratty tsundere.

Yang's mother abandoned her. Her other mother disappeared. Her sister was a toddler that didn't really get what was going on except her mother being gone, and her father was so depressed that for a good while, he wasn't even able to raise her daughters. Can you imagine being in that situation? I imagine she was, at most, six when that happened. She was forced to become Ruby's mother figure at six. She was forced to become the fucking adult in the house at six.

Damn, you can even see the difference between how Qrow talks to Ruby and how he talks to Yang, at least at the begining. He talks to Ruby as her uncle, as her mentor. He may tease Yang a little because she's still his niece, but when he talks to her, he always talks like she's an equal. Like, Tai still considered Yang a kid, but Qrow treats her like an adult, and knows and expects her to be the mature one. Because he saw her all those years, being forced grow up so fast. He trusts her to protect and take care of Ruby, and she trust him to protect her as well.

And damn, all of this really explains her behaviour when the series began. As Ruby got older and started to be able to take care of herself, and Tai eventually started to be functional again, Yang had more freedom. Her personality and eagerness for adventure and parties and all of that - is just her trying to make up for her sacrificed childhood. But even then she still was, out of all the girls, the most mature and nurturing of team RWBY. She is the party girl, yes. The hot headed one that will break legs. But she's still the adult of the group.

And then volume 3 happens. She gets framed in front of the entire world, two of her friends die, Beacon falls, she loses her arm in the most traumatic way possible; Weiss, her friend, is basically taken away from her and Blake -her partner, the girl she probably already had feelings for at that point- left, triggering her abandonment issues. And of course, PTSD, because she isn't fucked up enough already. She's so fucking destroyed that she can't even talk about Weiss, about Blake, about what happened. She doesn't even want talk to Ruby, because she can't stand the thought of her little sister seeing her at that state. She is not used to be the one people have to take care of, and it becomes more and more obvious in the next volumes.

Disability, recovery, abandonment issues

I like how volume 4 treats her recovery. I mean, I wish her storyline was longer, but I also like the DC comics. Now, the thing is, she isn't really recovered. In vol 4, she learns to live with her disability, she learns how to use her new arm, she learns how to fight better than she ever did before. It's about physical recovery. But is she okay? No. She hates being taken care of. She forced herself to be okay, or at least pretend she was, so Tai would let her go with Ruby. And in vol 5, she's anything but alright. She is pretending to be for Ruby's sake, because she is her mother figure and Ruby can't see her like that. She has to face her abandonment issues, she still has PTSD, and she is just not okay. Weiss notices right away, and tells her that it's okay if she is not okay. She noticed how hurt she was about Blake leaving. She just could see through the façade because if Weiss knows about anything, is about loneliness and pretending.

Her conversation with Raven at the end of the volume is just one of the best scenes, because you can just see how much Yang has grown. That scene deserves a post of its own because it's just amazing. But she finally faces one of her fears -her own abandonment issues, though they probably will always be there- and sees right through Raven. Because just like her, Raven just puts a façade to hide her own fears and insecurities, and the moment her own daughter isn't just taking any of that shit, she just starts crying. Because Yang is right. And deep down, she doesn't want to let Yang take the lamp, but she isn't just strong enough. Deep down, she wants to be in Yang's life, wants to protect her, and I think Yang knew that. But it was just too late.

More abandonment issues and relationship with Blake.

Now, to Yang, Blake coming back was huge. Not only in the terms of shipping, but as a whole. In her mind, Blake left her, just like Raven, just like Summer (though Summer didn't do it in purpose), and technically, just like Ruby, though she knew why Ruby did it and understood. But she's probably wondering “what is wrong with me that everyone always leaves me”. And she always has to be the one looking for the person who left her.

Not with Blake. After that talk with Weiss (bless the wingwoman), Yang was able to understand Blake's perspective better. But she didn't think Blake would actually ever come back, because no one ever does. But she did. Not only did she come back; literally, all Blake cared about once she entered the room and saw Yang was her (for once, someone is prioritizing her). And later, she was the one to walk and talk to the team, and tell them she didn't plan to leave again if they accepted her back. She didn't have to look for Blake because she was already looking for Yang. She was the one who made the effort, not the other way around. And to Yang, even though they still had issues to work through, even though she was still afraid at that moment that Blake would leave and break her heart again (All That Matters), that was enough to forgive her. Or at least give her another chance.

Now in volume 6 they clearly have issues. Like, Blake is very nurturing to the entire team because she feels like she has to make up. But mostly, she is trying to make up to Yang. She still feels guilty because of Adam, and she knew that Yang had already abandonment issues before she left and she probably made them worse. She was just trying so hard to be there for Yang so she could understand that she would never leave her again that she made things awkward. Yang is used to be the one who takes care of people, not the other way around. She thought that Blake “protecting her” was her seeing her a weak when actually, it was just Blake just genuinely caring about her but with the wrong words. Blake understood after that, and she changed the phrasing in the fight against Adam. Protecting each other. Equals. It really applies to the Bees relationship as a whole. “You're taking care of me, yeah, but I'm going to take care of you as well, no matter what”. For once, Yang is allowing someone to take care of her (well, except Tai, but again, she wasn't completely sincere with him, so technically she wasn't really allowing him to fully help her). And that's what I love the most about their dynamic, and why I ship it.

PTSD

Now (I'm sorry I'm taking so long), I've seen many, many people saying that Yang's PTSD is poorly written, or that the writers messed it up in the fight against Adam. Now, I have to ask those people: what the fuck do you think PTSD is?

If a Great WriterTM reads this and tries to tell me I'm wrong, or that I don't know what I'm talking about and I don't know anything about good writing and blah blah blah: I have PTSD myself. Diagnosed. So yes, I acknowledge there are many things I'm ignorant about, but I'm quite familiar about this topic. Yang's PTSD is, at least by my point of view, very well-written. It isn't perfect, but it's still far so much better than most PTSD portrayals I've seen in TV, along with Korra's. And I've seen people saying that Korra's portrayal was so much better. Well, let me tell you, it isn't, or at least I don't think it is. It's just different, because the worst thing about PTSD (and what makes it harder to treat) is that it's different for every person; sometimes it can be really severe and obvious, sometimes it seems “light”. Damn, sometimes it doesn't appear until years after the event; mine didn't trigger til I was like sixteen, and the event took place when I was around five or six. And yes, sometimes I have nightmares or flashbacks about it if something triggers me, but it isn't the whole time like some of you apparently think it is. I'm not scared 100% of the time, what the fuck.

When it comes to the fight with Adam, saying it didn't affect her: did you watch the fight? First of all, at that precise moment, Yang was so full of adredaline and too busy keeping Adam from killing Blake that I don't think her brain even realised he was the cause of her PTSD. Second of all, when he triggers it, it does affect her; she starts shaking, he's able to land hits on her that he couldn't before. But PTSD is different in every person, and is a defense mechanism, not a freezing mechanism as some people think. If I see the cause of my PTSD in front of me trying to hurt me again, I'm not gonna freeze; I'm gonna do whatever it takes so they don't ever hurt me again. Same goes with Yang: some people think she should have completely freezed during the fight, like “oh my god this guy fucked me up really bad and now he's gonna do it again and there's nothing I can do oh my god”. No. As I said, PTSD doesn't work like that, at least not always. She's not thinking that, she's thinking “alright this guy really fucked me up once but there's no way I'm letting him do that again”. Again, PTSD is a defense mechanism. A fucked up one, but it's what it is. And the writers handled very well.

Yang being suspicious and not completely trusting someone.

Now, I'm not lying when I tell you that I have no idea about what this could mean. Well, it could be her disagreeing with Ruby and having a bad argument, and that would really break my heart because I just love those two sisters so much. It could also be about Ozpin; she's teaming up with Oscar and hearing Ozpin is back could bring some problems. Or maybe Raven just appears there and she's like Hell Naw. I have no idea.

Conclussion.

I love Yang. She's not perfect at all. She's a bit of a hypocrite with the whole Ozpin thing because she's keeping Raven's identity as the Spring Maiden a secret as well (or maybe she did tell them off-screen? Honestly clear that up already). But she's over all a really good friend and person, an amazing older sister and just one of the most inspiring characters in the show. I see part of myself in her, and I don't see that often in a character. I just love her.

Damn, sorry I wrote the Bible but my girl deserved that.

[mostly-mundane-atla]

Well I got at least two people interested (@esmeralda-anistasia and @deathsmallcaps) so why not.

Quick disclaimer: I understand that some fans can be very sensitive to this topic and take general criticisms as personal attacks and jump to the defensive. Please don't justify your ships to me if you have that reaction to anything said in this post. It's not my business and if I'm honest I really don't care. Your experiences are not mine and will not change mine and nothing I'm about to say is meant to be read as an insult.

Okay onto the rarepairs in question!

I was ten years old when the episode Zuko Alone first aired and Ursa fascinated me. She was so elegant and sweet, and yet the implication was that she was also capable of assassination. Her disappearence and the fact everyone involved kept pretty hush-hush about her gave her character an air of mystery and Zuko's memories involving her made him a great deal more interesting and sympathetic (i still rolled my eyes every time he showed up and thought he didn't deserve all the cute moments with Mai until The Day of Black Sun, and even then still thought Jet was cooler in every way, but you can't please them all). She had quickly become a favorite character and I've held onto that adoration for about 15 years now.

I also really wanted her to kiss Hakoda.

They had compatible personalities and deserved some luck in love after all the heartbreak and trials, and they both loved their children despite having to leave. Ursa was never treated as dead, just gone. She could have been anywhere and there was nothing to say she couldn't have crossed paths with Hakoda and his men.

There was also something about it I didn't quite have the words or media exposure to explain. Often, in fandom or canon, if a relationship is biracial, the partner who is fairer-skinned and/or of the dominant or invading culture, who the audience sees themselves in, is the man and the one who is darker-skinned and/or marginalized or colonized is the woman (heteronormativity got a head start on this one). There's a lot of ugly "taming the savage" rhetoric in this, usually paired with blatant misogyny that's supposed to be in the woman's favor (like suggesting that a woman could only be complicit in this culture because it was what she was told and didn't know any better). The woman's family and friends who oppose this are depicted as unfairly prejudiced against this strange man as if their distaste for people who can be or have been responsible for things like genocide or subjugation is the same as the other side seeing these people as deserving of genocide or subjugation for the crime of not being like them. Sometimes it's the other way around, where the partner seen as "more civilized" is the woman and the one seen as "less civilized" is the man, in which case the woman is often abducted or otherwise the man's defining feature is his brutishness. This supposed brutishness is both intimidating and attractive to the oh so delicate if a bit repressed captive/wife (as well as the audience) and can manifest as being fiercely protective of her, which is how he shows his affection if there is a language barrier between them. And if you grow up Native, this is easy to pick up on and often in the back of your mind, because at least 90% of your media representation likely has some aspect mentioned above.

(Man that was a lot of academic style analysis)

But the dynamic between Hakoda and Ursa wouldn't leave room for any of that. Hakoda, as an absent parent backstory, is defined by having to leave despite how much he loved and would miss his children. Ursa, as an absent parent backstory, is defined by the crime she was willing to commit for her children (for Zuko specifically, but how long would it actually take for Azula to shoot her mouth off at the wrong place and time and also be targeted by Azulon?). Ursa was the one whose willingness to kill sent her fleeing into the night. The culture of her nation betrayed her and made her choose between her own safety and that of at least one of her children. Hakoda is charismatic and a good leader, but he is also soft spoken and understanding, and above all else, gentle. He isn't here to hurt innocents. He's here to see to it that the next generation of his people will not fear invaders or raids or even know that snow can be black from soot. And he's someone Ursa can finally feel safe around and confide in, and she could be the same for him. Someone he doesn't have to be the leader for, to whom he can admit that he just wants to be home and let the tears fall.

I'm honest enough to admit that one of the reasons I liked The Search was that Ikem wore his hair a lot like Hakoda did and that was close enough to it being canon for me.

Another one is Jin/Smellerbee. Something about their personalities strikes me as being so wonderfully harmonious and I like to imagine Jin, smooth-talking and streetwise but still the most genuine person, being the one to sit Smellerbee, who never really got a chance to think about these things, down and explain that anything she might be is okay. That it's okay to not be in love with a guy friend who gave her a purpose and loyal companionship. That it's okay to like girls. That she can have more than one partner. That it's okay to be different from what's considered normal and proper and not have an easy word to describe it. And eventually she'd realize it's true. And eventually she'd realize that she wasn't teasing when she called her beautiful in a wild sort of way.

I also like to think that Smellerbee clearly has more specialized fighting skills and is very good at what she does but Jin is strong enough to bench press her no problem. And Smellerbee acts all tough (because she is) but blushes whenever Jin calls her cute or pretty because she's not used to it.

Sometimes Longshot is involved too. Not as a third wheel or the exact same kind of partner, more like a ghibli style relationship with Smellerbee. Like is it a gentle romance? Is it an intimate friendship? It's love and they know that and don't have to define it by others' perception. And Jin gives Longshot kisses so he doesn't feel left out, which gets him a bit bashful because she really could have anyone, she already has Smellerbee of all people, and she still finds him deserving of a peck on the cheek. They probably all bunk together.

This actually started from a fic I wrote but don't intend on posting more than snippets of. Basically, i was tired of a lot of fanfic tropes, especially those having to do with friends to lovers and soulmates (this world is not kind to aromantics and the last thing I wanted in my escapism was romance being established as a level up for relationships), so I wrote something to actively subvert all of them. Jet and Smellerbee were each convinced they owed the other a romantic relationship after all they'd been through together, even though neither actually wanted it, because that's how all the stories go. So after he dies, she remembers all those times that would have been romantic if either was actually interested, but were instead just uncomfortable because it was entirely social convention and no feeling. But then she comes across Jin, who she's never met before, but who takes her in her arms and reassures her and sympathizes with her, and in this tiny apartment in this seedy side of town, she feels safe. She seeks permission for every touch and kiss and tells her this encounter doesn't have to be anything she isn't comfortable with. And when Smellerbee has to leave, Jin insists she take a candle to light her way, and winks when she says she can return it the day after. She gives her an excuse to visit again. And Smellerbee blushes and accepts it.

And then there's Teo/Haru and Teo/Ty Lee. No special reason I just think both would make a cute couple and want Teo to be happy. He's a good boy, more people should love him. Let him impress people with wheelchair tricks and get smooched.

[my-bated-breath]

On an Immensely Popular Post

Disclaimer: What I’m writing here may not be completely accurate -- like most works of art, literature, and even STEM tend to be -- and as a new fan of ATLA, a few of the metas I publish may be obsolete or unintentionally insensitive. That being said, I like to believe that I can contribute something valuable to this fandom. In all my (real) metas, I wish to be as objective as possible and not rely on my biases, fanon, or common “knowledge” that may just be misconceptions. If anyone reading this finds something to be false or contrived, I am always welcome to constructive criticism. What I am not welcome to is senseless hate or bashing.

My first experiences with the ATLA fandom begun a long, long time ago, but the most recent and powerful revival of my love for ATLA started with me actually watching the show and soon after, with me falling into the endless abyss of ATLA metas on Tumblr. Sifting through the well-written analyses and the emotion-based rants had taught me a lot about critical thinking and the power of influence, so now I’d like to present a meta that critiques an extremely popular post with over 60,000 notes. And since it’s so popular, this is the part where I must make yet another disclaimer.

Disclaimer: I hold nothing against lesbians4sokka (whose name has now been changed to comradekatara). They have the right to share what they want, but since this particular post has become so influential that it’s still being reblogged regularly to this day, I believe it is within my right to criticize it - emphasis on “criticize,” which is different from “hate.”

Now that that’s out of the way, let us begin:

Lesbians4sokka/comradekatara covers 3 main subjects in their post, which I will quote/summarize below:

(1) Ma/iko: “...the entire foundation of mai and zuko’s relationship was built on how miserable they were together, and how they would just sit there and hate the world together— letting their misery fester as they enabled each other’s depression— and I think that’s really unfortunate because they would work so well as friends if they weren’t trying to make their dumpster fire of a relationship work.”

(2) Zutara: “similarly, what makes zuko and katara’s dynamic so compelling is that they share the same flaws, only as opposed to mai’s apathy and misery, it’s katara’s rage and guilt that zuko identifies with. they both share trauma over having lost their mothers, and both in a similar way (sacrificing themselves for them) and they both cope with their grief through rage, often misplaced… katara and zuko have a deep & profound friendship, but if they were to be in a relationship, they would only bring out the absolute worst in each other thru enabling each other’s rage and emotion-driven decision making.”

(3) Z/uk/ka: this pairing makes for a healthy and wholesome relationship because throughout the boiling rock, we see that “sokka and zuko make an excellent team, as they balance each other perfectly. sokka thinks big picture, and plans ahead, but zuko will charge into situations.” They inspire each other, they trust each other unconditionally, they become more open and supportive of each other, they share a lot of common interests and narrative parallels, and in general, just make each other happy (which could work both platonically and romantically).

As for my response: I’m sure many of you are expecting me to start to save the “best for last.” That assumption would be incorrect because I actually have the least to say about point 3.

I agree that Z/uk/ka can be a good relationship. Their dynamic is funny, playful, supportive, etc. etc. (there are so many positive adjectives I could use to describe their dynamic, the list could go on forever). And they could make a great couple.

…

What, did you expect more from me? That’s it, I’m done.

I’m not here to attack Z/uk/ka as a ship, because while I can never actively ship it (I’m a sad, narrow-minded exclusive shipper, always had been and always will be) I can objectively appreciate them as one. It’s points 1 and 2 I’m more concerned about.

Now, since we’ve already begun working backward, I’ll begin my critiques on point 2: I could write extensively about the parallels between Zuko and Katara, including but not limited to shared pain and a few shared flaws - and just a few, because their weaknesses diverge in many important places. However, since I’m trying to write as objectively as possible and since Zuko-Katara parallels have already been discussed to death, my analysis will focus elsewhere.

However, something from comradekatara’s post that I would first like to address is this-

[Zuko and Katara] both cope with their grief through rage, often misplaced. in the southern raiders, they both act deeply insensitively towards sokka by acting as if his grief over his mother’s death is somehow less valid simply because he is a lot quieter in his coping mechanisms and doesn’t project his rage & guilt onto everyone else.

- or rather, the idea that Zuko and Katara’s shared pain causes them to act insensitively towards Sokka (and though the post does not mention it, Aang as well).

(Note: these points have already been covered by countless metas before mine, so you can skip/skim this section to read a newer argument in the next section.)

Even ignoring the fact that the Southern Raiders had many out of character moments, Katara’s insensitivity towards Sokka is first and foremost a reaction against his insensitivity towards her.

_____

Dialogue from Season 3, Episode 16 “The Southern Raiders”:

Aang: Um ... and what exactly do you think this will accomplish?

Katara: [Shakes her head in dismay.] Ugh, I knew you wouldn't understand. [Begins to walk away.]

Aang: Wait! Stop! I do understand. You're feeling unbelievable pain and rage. How do you think I felt about the sandbenders when they stole Appa? How do you think I felt about the Fire Nation when I found out what happened to my people?

Zuko: She needs this, Aang. This is about getting closure and justice.

Aang: I don't think so. I think it's about getting revenge.

Katara: [Angrily.] Fine, maybe it is! Maybe that's what I need! Maybe that's what he deserves!

Aang: Katara, you sound like Jet.

Katara: It's not the same! Jet attacked the innocent. This man, he's a monster.

Sokka: Katara, she was my mother, too, but I think Aang might be right.

Katara: Then you didn't love her the way I did!

Sokka: [Hurt] Katara!

_____

While I believe that Aang’s principles of forgiveness are morally sound, the way he pushes his beliefs onto Katara undermines much of her grief. At first, Aang tries to relate to Katara’s experiences by comparing them to his own, but there is a forceful connotation to his dialogue that suggests that Aang considers himself to be the moral authority compared to Katara. Hence, Aang judges Katara (“I think it’s about getting revenge”) without trying to reach out and understand her, forgoing the empathetic common ground in favor of taking on the moral high ground.

Thus, when Sokka tells Katara, “she was my mother, too, but I think Aang might be right,” Sokka is not only saying that Katara should choose forgiveness, he is implying that Aang is the ultimate moral authority on this matter and that Katara should accept that. Moreover, similarly to Aang, Sokka’s opening line, “she was my mother, too,” had the potential to establish common ground between himself and Katara, but the added “but…” places Sokka on the moral high ground against her instead. Of course, when we remember that just two lines ago Aang equates Katara to Jet, Sokka agreeing with Aang seems even more thoughtless and unsympathetic.

So when Katara lashes out against Sokka, ostensibly “acting as if his grief over his mother’s death is somehow less valid simply because he is a lot quieter in his coping mechanisms and doesn’t project his rage & guilt onto everyone else,” it is important to note that Sokka undermines Katara’s louder, more visible way of grieving as well (though that discounts that for most of the show, Katara only uses her grief over her mother’s death to sympathize with others).

Moreover, Katara’s line, “then you didn't love her the way I did!” is hurtful, yes, but it is not necessarily equivalent to “you didn’t love her as much as I did.” Katara’s love for her mother is different from Sokka’s because her pain over her death is different -- after Kya’s passing, Katara had to carry the emotional burden of becoming a pseudo-mother to Sokka (see Sokka and Toph’s conversation in “The Runaway”), a burden that did not cease after she joined the GAang (see the entirety of “The Desert”). To Katara, Kya was not only her mother, but the representation of the childhood she lost and the sacrifice made to protect her life. Sokka simply does not have that same relationship with Kya.

I do not mean to say that Sokka and Aang unfairly taking on the moral authority in this situation means that this authority instead belongs to Katara (and Zuko) - “The Southern Raiders” is filled with questionable moments from all parties involved. However, TSR is an episode that delves into Katara (and Zuko)’s relationship with a mother’s sacrifice, so how Zuko and Katara respond to this specific trauma from their past does not dictate how they respond to painful circumstances in the present/future. Let’s see how this is true.

Sozin’s Comet, Part 1: The Phoenix King

No doubt Zuko and Katara felt some form of frustration upon Aang’s disappearance, so let’s see how they “[enabled] each other’s rage and emotion-driven decision making”:

Here, Katara and Zuko make a decision together that turns out to be calm, rational, and not at all emotionally-driven despite their mutual frustration and worry towards Aang.

Sozin’s Comet, Part 2: The Old Masters

Zuko holds immense pain and self-loathing over betraying Iroh, yet Zuko and Katara’s conversation does not enable/exacerbate negativity from any party involved (since Zuko often translates his grief into anger, and Katara was evidently angry at Zuko’s betrayal). Instead, their conversation is open, encouraging, and constructive.

(Note: this is where the review of points made by previous metas ends.)

Hence, to say that “[Zuko and Katara] would only bring out the absolute worst in each other [through] enabling each other’s rage and emotion-driven decision making” -  when we are given in-canon examples of the opposite being true - would be a sweeping and inaccurate generalization.

But for the sake of argument let’s say that, hypothetically, Zuko and Katara’s relationship would fail because they only bring out the worst in each other. And here’s where the argument falls apart for me - Is the argument here that Zuko and Katara have an incredibly meaningful friendship yet somehow this “friendship” causes them to enable each other, thus encouraging each other’s worst flaws and regressing each other’s growth? Is a healthy friendship - much less a “deep and profound” one - not one where two individuals can learn from each other in positive ways and balance each other’s shortcomings?

Or is it something different we’re saying here? Are we saying that two individuals can have a “deep and profound” friendship and yet the moment their relationship shifts from platonic to romantic, they are terrible for each other?

While many significant platonic bonds are stunted when they become romantic, I still believe it to be common sense that some of the best romantic relationships stem from a platonic foundation. But since much of “common sense” on the internet sees that “sense” is nonsensical and “common” is a nicer way to refer to mob mentality, I have done my research to show how Zuko and Katara could have been an excellent case of a friends-to-lovers relationship.

An excerpt from my meta, “Research Shows that Zutara Would Have Been the Ideal Friends to Lovers Dynamic.” (give it a read if you want to see references to relationship-research and an overanalysis on diction/tone)

The reason why Zutara is framed as a “toxic and unhealthy” relationship is that their romance would be a classic example of the enemies-to-lovers trope, a trope which modern media has not been particularly kind to. However, when executed correctly, enemies-to-lovers can produce a healthy and loving relationship, frequently relying on friendship as an intermediate between the “enemy” and “lover” stages in the most well-executed versions of this trope. Meanwhile, the trope of friends-to-lovers is just as popular as enemies-to-lovers, though the specific dynamic required between two individuals to achieve this transition is not well-known. Recognizing this, Laura K. Guerrero and Paul A. Mongeau, both of whom are involved in relationship-related research as professors at Arizona State University, wrote a research paper on how friendships may transition into romantic relationships…

According to Guerrero and Mongeau, “...scholars have argued that intimacy is located in different types of interactions, ranging from sexual activity and physical contact to warm, cozy interactions that can occur between friends, family members, and lovers…” Guerrero and Mongeau then reference a relationship model where the initial stages (i.e. perceiving similarities, achieving rapport, and inducing self-disclosure) reflect platonic/romantic intimacy through communication while the latter stages (i.e. role-taking, achieving interpersonal role fit, and achieving dyadic crystallization) often see both individuals as achieving a higher level of intimacy that involves more self-awareness.

In the rest of my research-based meta I demonstrate how Zuko and Katara’s platonic interactions in the show fit into the stages of communicative intimacy (i.e. perceiving similarities, achieving rapport, and inducing self-disclosure) that Guerrero and Mongeau describe as being mutual between friendships and romances. As such, crossing the line between friends and more-than-friends most likely would not cause a dramatic shift in the Zutara dynamic since much of Zuko and Katara’s platonic intimacy easily translates into romantic intimacy. I’ll end off with another excerpt from my meta.

Excerpt from “Research Shows that Zutara Would Have Been the Ideal Friends to Lovers Dynamic.”

“...it would be remiss to simply dismiss the Zutara dynamic as one that would instantly become toxic should they pursue a romantic relationship.”

With that little thought in mind, let’s move onto point 3: an exploration of friendship, romance, and why toxicity is not exclusive to the latter.

Let’s start with what I agree with:

“The entire foundation of mai and zuko’s relationship was built on how miserable they were together, and how they would just sit there and hate the world together— letting their misery fester as they enabled each other’s depression...”

I’m not sure how necessary it is for me to elaborate on this point given that it’s already been accepted by comradekatara and perhaps 60,000+ other users on Tumblr (a gross exaggeration but this remains unimportant), but in her essay, “Zuko, Mai, and the Nature of True Intimacy,” Araeph contributes more nuance to the concept of Ma/iko and mutual misery, stating that,

Unfortunately for [Zuko and Mai’s] relationship, Mai is and will always be a pessimist—a character trait, not a character flaw, in her. The key difference lies in how Mai and Zuko use their negative feelings. When Zuko sinks into negativity, he gives up on any actions that will materially change his world for the better; Mai, on the other hand, can remain negative even at the height of her character development, and it does not impede her ability to act.

So while Mai enables Zuko’s depression, Zuko does not necessarily do the same for Mai. Nonetheless, throughout their relationship for the first half of season 3, neither of them communicate constructively or push each other to grow as people.

This may be the third disclaimer I’m making, but I first want to say I have nothing against Mai. However, I do have something against the idea that “[Mai and Zuko] would work so well as friends if they weren’t trying to make their dumpster fire of a relationship work.”

Their relationship is a dumpster fire, yes, but will the flames cease simply if the amount of intimacy in the relationship changes?

comradekatara state themselves that their entire romantic relationship is quite depressing - they are only able to connect through empty physical intimacy and mutual hatred of the world. Without that, there is little left for them to bond over. Once Zuko overcomes his conflicting morality and inaction from the first half of season 3, he becomes someone who is strongly guided by his principles and beliefs. However, for the entirety of the series, Mai is characterized by her moral apathy. To cite from Araeph again,

It is moral intimacy that is the last and worst omission for Mai and Zuko… Zuko’s struggle to find and follow his principles is the most central aspect of his character, yet it is a struggle Mai neither understands nor respects…

Lack of moral intimacy (not sharing the same core beliefs) is something that applies to both platonic and romantic bonds. Thus, just as transitioning from a meaningful friendship to a romance does not inherently create toxicity in a relationship, switching from a romance that exacerbates one (or both, depending on how you interpret it) party’s misery does not necessarily erase the preexisting negativity in a relationship - perhaps some of it may subside, sure, but as long both parties continue to fail at communicating and understanding each other, even their friendship seems bleak at best. In this case, Mai and Zuko may work well as conditional friends, or in other words, friends who are only friends when they have something to mutually be miserable over. And this tiptoes the line of speculation, but they could be a formidable political team. But unless the Ma/iko dynamic shifts drastically in the lovers-to-friends transition, I’m not sure if there’s much potential in a friendship between them.

In conclusion, there is a lot I don’t agree with from comradekatara’s post, but if there’s one takeaway I want to impart onto everyone who’s read this far, it’s this: crossing and uncrossing the line between platonic and romantic bonds is not always a transformative experience for the relationship, and the nature of human relationships is a complex spectrum -- not a light switch that can only be set between healthy and unhealthy.

Thank you all for reading!

[cynical-cemeteries]

i wanted to do A Little Analysis on bianca and ricardo's general dynamic & relationship because 1) i love them Very Much and 2) it's fun to take a closer look at how certain characters are connected to one another!!

this will be a long post,, just a heads up!!

minor spoilers for isola (extreme)

first things first: let's start with bianca's backstory. i remember when i saw her backstory info for the first time and it was mentioned in the very last sentence that she’s able to maintain her composure until "...she sees a certain someone from her military academy class." i've been wondering for so long who that person could've been,, and i believe a few people on here gave their ideas,, but i think it's 100% possible that ricardo is this Certain Someone from her academy class!!

here's a screenshot of bianca's backstory that can be found from the official blog:

the last line is super interesting because losing your composure around someone,, To Me at least,, could either mean something Romantic OR this person in question behaves in a way that makes you lose your rational behavior. i think in the case of bianca & ricardo: it's Both (but maybe this is the ricardo x bianca brainrot of mine getting in the way--). judging by their interactions in extreme mode,, it's very obvious that when bianca is around ricardo,, she Very Easily loses her composure due to their opposite personalities & behavior.

on that same note,, this part genuinely surprised me,, but rosanna actually states that ricardo & bianca "complement each other well." she even suggests that ricardo can talk to her when they need to sort something out,, further saying that there will be a time where her,, helga,, & walther won't be around anymore,, and him & bianca will have to lead isola together.

moving on,, the next & last thing i wanted to talk about (in terms of content directly from the game) is this dialogue is from another conversation ricardo and rosanna were having together:

before the conversation started,, she asked him how the pirate life was treating him,, and this how the rest of it played out. she basically says how she was surprised to find out that someone who was at the top of their class in the military academy got kicked out for bad behavior,, and later mentions after this screenshot that ricardo doesn’t seem like the kind of person made for this type of lifestyle anyway.

here’s what i think could've happened: bianca & ricardo went to the same military academy together and even shared the same class. ricardo managed to get to the top of the class faster than bianca,, but due to his personality + the way he usually behaves,, it wasn’t fitting for the academy,, so he ended up getting kicked out. in recent days,, he now lives the life of a pirate and is the captain of the lodoss pirates in isola,, even being considered a famous pirate in caleccia. bianca more than likely graduated from the academy and became an isolan fleet commander,, more specifically,, the third fleet commander.

one thing i've been wondering though is if bianca ever experienced feelings of jealousy and/or insecurity knowing that ricardo got to the top of their class (presumably faster than her). i think it's possible that she genuinely felt happy for him,, but deep down inside,, she had those feelings i mentioned earlier due to feeling pressured to live up to rosanna's high expectations. i don't believe she would have any ill-intended feelings toward ricardo knowing how close they are. i also believe it's likely that bianca still feels pressures from rosanna because she wants to be a great successor to her.

that pretty much finishes my post on ricardo & bianca's dynamic with one another!! i wanna see what you guys think,, especially on my last two paragraphs on their lives back at the academy. if anyone as any extra info on these two and their relationship with one another (whether it hints at something romantic or not),, please share!! i managed to get to dakkeon earlier today,, so there's probably gonna be some info that i missed / haven't learned yet

[nightswithkookmin]

JIKOOK MMA 2020- COMMENTARY

Disclaimer: This is a commentary, not an expert analysis. I am not a ballerina. LTRS.

Let's all agree right here, right now, that if ever a moment deserve to be immortalized for all eternity, that it is this moment right here: the moment Jungkook lifts Jimin off the ground- it is the most super iconic IT moment of the year as far as shipping goes. Damn, was it beautiful. Goddamn!

Personally, I had so many flashbacks of unchartered fantasies, hopes and dreams- the least delusional of which is JK saying with a deep voice, after lifting JM off the ground, 'would you marry me please' and Jimin, shook out of his wits would respond in Satoori, 'we are already married, you idiot. Now put me down!' Lol.

What? A girl can dream... Leave me alone. Lol

A lot has been said of this dance and so I won't rumble on for long. I'm just gonna focus on the moments that stood out for me:

The first of which would be the build up to that performance- BigHit, you sneaky conglomerate bastard! Lol.

Y'all saw what they did there right? For weeks I have been bombarded with questions about the seemingly 'tensions' between Jikook- everyone was slipping me the 'something is up with Jikook' pill but chilee, I look at them and all I could see was Jikook up in their shenanigans. Lol

I think I mentioned this in a previous post? Anywho. I think the thing that most of us was experiencing with Jikook was the unnecessary 'limited' interactions between them in the recent content we had been getting post Jimin's birthday but regardless, there were still moments of them 'giving themselves away' like in the Grammy reaction video when Jimin instinctively turned to JK in his moment of excitement.

His hesitation was worrying though, because normally he wouldn't- they wouldn't, hesitate to hug the person that they want to hug in their moments of emotional outbursts unless something was hindering them.

Ergo, I felt, if he was hesitating, then clearly it meant there was something holding him back or stressing their dynamic- I think I've definitely talked about this right? Instinctual reactions and all that jazz?

It didn't feel like he was having problems with Kook though, honestly. Because, in spite of all these little inconsistent moments of 'tensions' between them, Jimin for the most part has been giving me the vibe he is falling in love all over again with Kook- Dont ask me why. Lol. This is just gonna be one of those statements I make in passing. Take note of it though, I'll talk about it again soon.

But from the little I've seen post Jimin's birthday, that's the vibe I'm getting. If you believe Jimin is in love with Kook and you have an idea of when he started falling in love with Kook in their love Journey, then I think you'd catch the signs too? If not, never mind. Lol.

Every now and then, I see him go through this phase- in my opinion. I can't wait to talk about it. And yes, it is what I meant when I said Jikook's dynamics seem to have flipped again lately. Time to turn on the crazy. Lol.

These minimum interactions between Jikook however, to me, felt more as if they were being 'monitored' or asked to 'tone things down' by the company or something rather than that they were having actual issues in their relationship- know what I mean?

For the love of me, I couldn't figure out why the company would ask them to tone things down... Until the blackswan performance.

I feel somehow that the lack of content and moments between Jikook in recent times, coupled with the seemingly faux tensions between them prior to their performance at the MMAs, without question, contributed to the wow factor of their performance. In my opinion- but stay with me.

BigHit ain't slick. Lol.

It's so on brand for them though, isn't it? Demand and supply and all that jazz. Chilee. Scarcity inflates the value of a product. I mean we've seen JK lift and carry Jimin in their dance performances several times now yet we can't deny this came as a shock and surprise for us all because we had zero idea what was 'going on between Jikook' behind the cameras- straight up Jedi mind trick. Lol.

Not to say the performance itself wasn't spectacular in of its own. I'd be mad damn liar and a fool if I peddled that nonsense anywhere. Lol.

I just want to point out how BigHit utilizes and taps Jikook's brand and magic in their business model, as this provides a stark contrast against BTS's marketing strategy for their self produced Album Be.

I tried explaining in my LGO analysis, how that project was a personal project of BTS' as a group and how as a group they had their own perception of brand and what sells- or who sells amongst them, as such they weren't going to and didn't star Jikook in that project as front and center.

Contrasting that project to this project, which is more of a BigHit piloted project rather than a personal project of the group's, you can see how Jikook's brand stands out and how it is being highlighted or even exploited for maximum return.

This is what I mean when I say Jikook is a brand. A powerful brand at that and that BigHit has a stake in their brand.

Jikook once again, overshadowed and dare I say, over powered BTS's own brand in that Blackswan performance- chileee, that performance was so Jikookcentric I forgot the others were even there. Lol.

I mean I saw NamJin jump in the foreground somewhere... I'm gonna get canceled am I not? Lmho.

VHope were powerful too. But I couldn't help but notice how neither of those individuals could have sold it the way JK did, had they been in his shoes. V and Hobi both have stamina and presence, yet for some reason I just can't picture either of them lifting Jimin up and spinning him the way JK did and does- not that they can't...

It's just, they take the spotlight too. Jimin is captivating when he dances- or does anything quiet frankly. And usually, he shines under the spotlight when there is undivided attention on him.

When he is paired with Hobi, V or even Suga, very often they act as distractions as they tend to compete with him for the viewer's attention and as such they don't necessarily compliment him. In my opinion.

Often too, when he is paired with RM or Jin, he tends to outshine them and make them look like rookies- Namjin... bless their hearts. Lol.

Kookie is the only member in the group that I feel compliments Jimin- well. Not that he isn't a great dancer too like Hobi or V, it's just whenever he is paired with Jimin in a performance he has the tendency to waive his spotlight and cede it to Jimin by letting go off his own shine and spotlight as well as his competitive spirit so Jimin can be highlighted.

It's why he is the perfect partner for Jimin and the perfect choice for this role in their duet. I think. He pulled it off guys. He PULLED IT OFF-chef's kiss JK. Chef's fucking kiss! Lol.

JK often talks about how he prefers to 'be behind the cameras,' how he often films the members but doesn't like being filmed or being in the spotlight and you see this in his GCFs where he takes the back bench and allows Jimin or even the others to dally in front of the camera.

I don't know if he is aware he does this in his dance too- because for the longest time critics often commented on his stage presence or lack of it there off- their words not mine...

Frankly, I never saw it that way. Because, paired with any other member, he squares up. Chilee. Lmho.

It's one thing to look great next to your partner, it's another to look great together next to eachother and Jikook looked great together in that moment- just exquisite and outstandingly beautiful.

The point of the black swan dance as RM had said in their blackswan Film reaction video, is not to highlight all seven but one- Jimin and that is exactly what JK did on that stage.

Jimin I felt wasn't as intense as he often is in his solo performances. He is brutal in the way he captures attention when he performs alone on a stage. His aura is demanding and alluring and if you can tear your eyes away from him when he is in the height of his performances then- share your magic formula you lucky bastard. Free us all from Jimin's hold. HELP! Lol.

But for some reason, in this performance, he wasn't lost in himself in the moment. It took me a while to understand what was happening-he was equally relinquishing his shine so Kook could share the spotlight with him- please, leave me here to die.

They each compete against the members when they perform with them on a stage, but they never seem to compete against eachother. They move in awareness of eachother and lift eachother up. They enhance eachother's presence and when they collide it's harmonious. This is what we mean when we say Jikook compliment eachother- nobody is doing it like them.

They were both powerful in their strides, graceful in their descent. They did it. They killed it.

Signed,

GOLDY

[raisindeatre]

Hi 💙 I was wondering if you might share your thoughts on Zoya as a character in general? I've read the Grisha trilogy and Six of Crows duology, and I'd like to read King of Scars/Rule of Wolves to complete the series, but while I found Zoya to be quite interesting she's never been a favourite of mine or a character I found myself connecting to, so I've been worried I might not enjoy the next two books as much because of that, so I wondered if some insight from someone who seems to like her and her relationship with Nikolai might help me understand her character a little more, or do you think reading those next two books is what really connects you to her character? Thank you! 💙

Thank you so much for this question, anon! I think it's completely understandable that you don't connect much to Zoya in the original trilogy because in those books Bardugo doesn't really give us much to connect with, imo. I've said before that her prose has improved by staggering leaps and bounds since TGT, but her characterization has too - she sketches the characters in the SoC duology, especially, in ways that are so much richer and compelling than in the first trilogy. Combined with the fact that TGT is told through Alina's perspective, and we get a Zoya who's not just thinly sketched but is also pretty unlikeable for a good part of the series (I suspect that Bardugo meant to do an inversion of the Bitchy Girl™ trope, but it didn't quite land for me). I truly believe that a lot of my fondness for Zoya stems from the fact that I read a lot of fantastic fic back when the original trilogy had just wrapped up, and I think reading so much of other people's thoughts and analysis on Zoya made her a deeper and more interesting character to me, because the Zoya in canon is not all that compelling imo. So, like, I get it.

All that said though!! I was always fond of Zoya, even in canon, and I think I was pretty predisposed to love her even before KoS/RoW primarily because the idea of Zoya has always been such a fascinating one to me. (I just needed that idea to be filled out a little more, and the duology definitely did that for me, so I really do think I love her more for that). The original trilogy tends to centre the notion that Alina and the Darkling are each other's counterparts, each other's parallels, and that's where a lot of fan analysis stops as well. Light and Dark! Sun and Shadow! It's not subtle.

But the thing is - Zoya is the real mirror to the Darkling. They share so many similarities - they're both powerful, ambitious, proud, with the potential to be absolutely ruthless. They share the same common goal - the protection of all Grisha. Alina wants to be powerful, but she doesn't really have the appetite to really rule, to sit on a throne and govern. Zoya and the Darkling do. Alina doesn't want anyone to get hurt, but I think it's fair to say she doesn't feel the same intense self-preservation and loyalty to the Grisha that Zoya and the Darkling do. Much of their experiences are the same: while Alina came into her power at a pretty advanced age, Zoya and the Darkling know what it's like to be powerful even as children, and to be feared and hated for it. And much of what I think are Zoya's best qualities (her fierce protectiveness of her people, her courage, her determination, her sense of self-preservation) are all qualities the Darkling shares. It's why when people fall over themselves for the Darkling, but profess to hating Zoya in the same breath, it does tend to make me raise an eyebrow.

And I just think theirs is such a fascinating dynamic, much more so than Alina and the Darkling. Because the moment the Darkling loses sight of his original goal and goes too far - when the man who professes to want to safeguard the Grisha murders dozens of them - that's when Zoya turns against him and goes to stand with Alina. Alina is understandably horrified by the massacre, but I've always thought that the depth of Zoya's rage and grief and betrayal must have been much more intense. Unlike Alina, these Grisha were her family. Unlike Alina, she has admired the Darkling her whole life. Alina has moments of fearing that she will turn out to be like the Darkling, but I never really understood that - I think that Zoya's fear of the same, given the history and similarities she shares with the Darkling, is much more realistically grounded.

And I think at the end of the trilogy, when the dust has settled and Alina has settled into obscurity, when Zoya and Nikolai are faced with the almost unthinkable notion of rebuilding Ravka, it's very present on Zoya's mind that the ruthlessness required to defend Ravka and protect the Grisha might be what led the Darkling down that road in the first place. She needs to reckon with what is required of her and how far she can go, without becoming him. Gaze long into the abyss, but take care it does not gaze back. So in that sense, the idea of Zoya has always been something I've loved.

I also really loved the idea of her as a general, as someone so intrinsically involved in the rebuilding of Ravka. I was an IR major in uni - I adore anything to do with political machinations, the intricacies and brutality of peace treaties and trade negotiations, the ever-shifting dynamics between countries. I was super excited to see so much of that in KoS/RoW, and I think it's immensely rewarding to see Zoya grappling with so many of the issues that the original trilogy (with its very YA-ish focus on A Great Battle for the Fate of the World) doesn't consider: will there ever be a future where Grisha aren't forced to be soldiers? What would that even look like? How would we get there? What will I have to do to secure it? How far will I go?

Finally, all ideas of Zoya aside and looking at her actual characterization: my wife is a bitch and I like her so much! Your mileage may vary, but I really do find the fact that Zoya is written to be so unlikeable extremely refreshing. Bardugo doesn't really have any off-putting characters, especially female - Alina is pretty likeable, Nina is bold and endearing, Genya is clever and a character to root for, Inej quietly stakes her place in people's affections - and I think it's so great to have a woman who's so prickly and unfriendly and easily annoyed. In KoS/RoW we do learn more about Zoya and her backstory, and I guess it does go some way to explaining why she is the way she is, but I am also a fan of just letting female characters being bitchy sometimes!!! Her abrasiveness doesn't mean that she doesn't have so much love and courage and selflessness in her - almost more than she can bear, and watching her journey to realizing that love is not something to run from but to embrace is so good - and I just. I just think she's neat!

I won't go too much into her relationship with Nikolai because this is already horrendously long, and I will probably talk about them in another post, because they drive me crazy, but I just think they spark off each other in ways they don't with other people. Nikolai needs someone who loves Ravka as much as he does, someone who is really willing to march into war or sit in meeting rooms for hours and just give everything, everything she has to this greedy, broken country which will give her nothing back. Alina is not that person. Very few people are that person. But Zoya is. It's probably also that by the time KoS/RoW rolls around, they have been working together for a few years, while the original trilogy is much shorter in time, but Zoya and Nikolai in this duology really give off a sense of familiarity and trust in each other that is just SO!!! She always calls him out on his shit. They butt heads. They push each other to be better.

I will close by saying: in RoW there's a part where Nikolai thinks of Zoya, "There she was. Bitter and bracing as strong drink", and I just love this observation an outsize amount. I love that Zoya is not for everyone, that she has a real kick to her. I love the implication that she braces Nikolai; that she keeps him awake and on his toes. It's all very Ingmar Bergman's "We make each other alive. Does it matter if it hurts?" I think they are just more alive around each other than around anyone else, that they are better together than apart. They keep each other going.

[chooseyouovereveryone]

Brittana Analysis Part 1: Musical Choices (Main Songs)

So anyone who knows me will know I love Brittana a crazy amount, and I spend way too much time breaking down every tiny detail about them. I’ve written a fair few analyses about them on Reddit which people seem to enjoy, and the lovely @hopefulobjectmiracle suggested I posted them on here for people to read. I’ll no doubt add more as time goes on, but going to post up what I have for now. If anyone has any requests for analysis, my ask box is always open because I love doing these :) Happy reading! & congrats for making it through my essays.

Part 1 covers a music analysis of all their main songs and the meaning behind them. Part 2 will cover their smaller parts in group songs etc.

Me Against The Music

This one is less a lyrical analysis, because I don't think the song explicitly relates so much, more a contextual one. The Me Against The Music scene is a shared fantasy that Brittany and Santana have while under anaesthesia. What's telling is that the fantasy they have is an exact replica of the original music video between Madonna and Britney Spears, which is well known for it's heavy undertones of a same-sex relationship. The plot shows Britney chasing Madonna, with Madonna becoming increasingly more susceptible as the video goes on, until right at the end when Britney catches her and goes to kiss Madonna, who then disappears. It's a cat and mouse chase, a fight for power. With Brittany playing Britney, and Santana Madonna, this fantasy represents to me the way that Brittany is chasing Santana trying to break down her walls, and she gets close but just as she does so, Santana pulls back. In the original video Madonna disappears into thin air when Britney tries to kiss her, in the Glee version Santana is switched out for Britney, but the symbolism is the same and foreshadows the Brittana arc that we get in S2. Brittany always gets close to having Santana, but then Santana pulls away and at times she loses her. So for me, the significance in this is 1) the fact they both have a same-sex fantasy about each other and 2) how Brittany's subconscious is filled with the idea of feeling like she is chasing Santana but that every time she gets close, Santana is ripped away.

Landslide

This was a song chosen by Santana to tell Brittany how she feels about her. It may not be the most "obvious love song" choice to everyone but that works for two reasons. The first being that Santana was scared. This was a big move for her, so she certainly wasn't going to go all out and sing an obvious love song. She wanted something with subtlety, something with meaning for her and Brittany rather than for the whole Glee Club to pick up on. The second being that Santana "has the perfect song" instantaneously. From the way she doesn't need to think about it, it's clear that Landslide is already a song she associates with Brittany, and it's probably something she laid alone in her room listening to. Now she's ready to share that. It was a song that had meaning for them, but I do think lyrically it makes sense also. For me it's about Santana realising life is passing her by and that she needs to just be herself. Time makes you bolder is one of the most poignant statements in the song. The whole bit about "building my life around you" could be a double meaning. The first being she's built her life around this friendship she has with Brittany and she's afraid to tap into the relationship dynamic because doing so would inevitably alter the platonic side of things. The second being that she's built her life around this idea that she's straight and she's "normal" but she's now realising as time goes by she needs to be true to herself. I tend to think it's the latter, and that the meaning is around Santana realising she needs to let go now and just be true to herself and to Brittany before she wastes any more time. It's ironic that the next scene shows Brittany choosing Artie, which shows that Santana was already too late and the time had already passed her by. (thankfully that all worked out tho)

Songbird

In contrast to Landslide, Songbird is a very obvious love song. The song explicitly says "I love you" and you can tell by Santana's delivery how much she genuinely means that. Since this is a private performance for only Brittany, Santana is able to choose a song that overtly expresses her feelings. She doesn't have to mask it with subtlety because of the Glee Club, like she did with Landslide. While Landslide was about Santana to giving into her feelings and accepting a change within her, Songbird was the next step from that in freely expressing her love to Brittany. Santana says this in her own words before singing it. Some key lyrics beside the obvious "I love you's" that stick out are "for you, there'll be no more crying" which could relate to all the backwards and forwards Santana has done over the years (telling Britt she loves her, taking it back etc.) and times she possibly made Brittany cry, as well as the fact she has probably spent many years crying over this herself and wishing these feelings could go away, but now she's putting a stop to all of that. Following on from that "I feel that when I'm with you, it's alright, I know it's right" relates to Santana giving into all of those feelings that she's spent years pushing down about the love she has for Brittany being wrong, and really taking hold of her own self acceptance. "To you, I'll give the world. To you, I'll never be cold" is also very fitting for Brittana because it's well noted in the fandom how soft Santana is for Brittany, and how she's the one person she's not cold around. Lastly "I wish you all the love in the world, but most of all I wish it from myself" could relate to Artie in that she wants Brittany to be happy but mostly, she wants to be the one that gets to love her. I think we can all agree the lyrics, the meaning, the performance itself, the delivery from Naya were all *chefs kiss* in this song.

Cherish/Cherish

The song that Santana pays the God Squad to sing for Brittany. We don't actually see Santana choosing the song, but I think it's more likely that Santana picked it since she was paying for it, rather than the God Squad randomly picking one. If it was that kind of scenario where they picked for her, I feel Quinn would have picked the song, on the basis that it was meaningful for Brittany and Santana's relationship. I also imagine this is a song that Santana listened to back in the dark days when she was too afraid to be with Brittany in the way she desired. The lyrics talk a lot about wishing in the past tense. "you don't know how many times I've wished that I had told you, you don't know how many times I've wished that I could hold you" etc. These are likely all the kind of thoughts that Santana had back in the past, and there are also a lot of references to hidden love and hidden feelings within the song. 

If I Can't Have You

Okay so Santana might say that this song was about her love for fame, but I'm sorry, I don't believe her. I'm not discounting her wanting fame, but there's no way at least some of that song wasn't aimed at Brittany, just by the way she kept turning to her and gesturing at her. She was pretty much transfixed on her throughout the majority of the performance. But Brittana (Santana in particular) are generally very private with their relationship and in their declarations, so my theory? It was predominantly for Brittany but Santana got embarrassed around all the focus on them, so she gave the excuse about fame and told Brittany later who it was really for. No deeper analysis needed. If that song was Brittany, the lyrics apply to them easily, as they could with most relationships.

I Wanna Dance With Somebody

This one is simple. It's all in the lyrics. Mr Schue sets the assignment not only as a tribute to Whitney, but for the New Directions to express and explore what's going on with them. For Brittany, she just wants to dance with somebody who loves her, that person obviously being Santana. It's highlighted in the performance and how she pulls everyone up before Santana, and finally gets to Santana for the "with somebody who loves me" line, then at the end where she says Santana is her favourite to dance with. It could be that dancing and being happy with Santana is really her only concern at the moment, or it could be deeper than that. It could be that she is deflecting her deeper issues (the fact she is failing which she'd surely know by now) and as a result only wants to focus on dancing with Santana. The two loves in her life (the third being LT) meshed together and combined.

Mine

I did a whole deep analysis on the meaning behind this, because unlike the other songs this really doesn't fit contextually at all. It's a love song based around staying and holding on, and Santana chooses to sing this right before breaking up with Brittany. I never really understood that song choice, until I looked deeper into it. You can read that here if anyone wants to read it in more detail. If you don't want to read that though, in short, I think that Santana chose that song because when she made that choice to break up with Brittany, I think she can almost picture the future ahead of them and how eventually they are going to make it, they are going to be together, but right now she needs to break up with Brittany so that they actually get that happy ending that she can see. And that fits the whole last verse of the song where she's like "we're gonna make it now, I can see it now" etc, which otherwise doesn't make sense contextually when you're about to break up with someone. It's similar to what happens in the original video for Mine, where Taylor meets the love of her life in a cafe and she "sees" the whole future ahead of them (arguments included) as soon as they meet.

Make No Mistake (She's Mine)

Pretty self explanatory with this one because it's all in the lyrics (and the amazing delivery from Naya). She still loves Brittany and in her eyes Brittany belongs with her. It kind of links back to what I just said about Mine, in that I don't think Santana truly expected Brittany to move on. She told her she could because essentially she had to say that, but did she actually think Brittany would move on? I don't think so. I think she always thought breaking up with Brittany was needed to cement their future and that they'd end up better because of it, but then Sam put a spanner in the works which sent her straight back to Lima to fight for Brittany and stake her claim. Of course saying someone can move on and seeing it are two very different things. I really wish they would have kept the parallel version of that with Brittany/Santana/Elaine and that they kept Dancing On My Own in.

Valerie

This one is definitely more contextual than lyrical. Santana picked this number because it was meaningful to Brittany. It was the first number she choreographed, and so Santana learning Brittany's part of that routine and dancing it with Mike, was a way for her to spark something in Brittany that she was currently lacking and reignite her love for dance to remind her of herself. Clearly she chose to do a dance duet because it's Brittany, but it's poignant that she picked the first song that Brittany choreographed, and it was obviously meaningful to Santana too as her first solo. Although more contextual, the lyrics do carry meaning too. "Stop making a fool out of me, why don't you come on over Valerie" could refer to Santana wanting Brittany to get up and dance with her, while "I miss your ginger hair, and the way you like to dress" could relate to A) Santana missing Brittany in general and B) Santana missing the old care-free Brittany who loved to dance and wasn't consumed by MIT and math equations.

Hand In My Pocket/I Feel The Earth Move

Obviously this song was chosen for mash up purposes in line with artists they had to stick to, but I do think the song choice (chosen by Santana) were relevant to her proposal. The lyric "one hand in my pocket" is indicative of her hiding a ring. I really liked how Santana kept getting down on one knee mid performance (I feel like she was doing this teasingly to foreshadow what was to come rather than she was gonna propose mid song since clearly she had a big speech planned- but I love how every time she did it Brittany would get down as well ) and then all the further foreshadowing with the dragging of the chair that she wanted Brittany to sit in. It's not the most "romantic" of duets, but Brittany and Santana are very private so I feel like it made more sense for them to do a fun duet when it was in front of everyone. I do adore the bit where they're singing the "ooh baby when I see your face" etc. and they only have eyes for each other and look so utterly and adorably in love and happy. That bit really has my heart.

Wishin' and Hoping'

A song about Santana from Brittany's perspective which makes a welcome change. The performance itself is obviously a dream sequence when Brittany is thinking about heaven (because being with Santana makes her feel like she's in heaven and angel wings remind her of her ), but I think the lyrics fit well with the whole narrative we see in S6 of Brittany doing a heavy bulk of the wedding planning and trying to make sure everything is perfect for Santana. This is something we later see as causing her stress in the wedding episode, when she is so nervous and obsessed with it being perfect that she becomes a bit of a bridezilla obsessed with superstition. There were also cut lines from Brittany about everything having to be perfect, and though they weren't canon in the end, it's clearly the angle they were going with. This song links to that because it's all about how ultimately just being yourself and showing the person you love that you care is enough, and it almost foreshadows the conversation that Santana later has with Brittany where she says they don't need any of the traditions or the perfect planning because they create their own luck. They love each other, and that's enough. The performance has Brittany singing about wishing and hoping and planning, but it's Blaine, Artie and Sam who sing "all you gotta do is hold her and kiss her and love her and show her that you care", so it's almost as if they are assuring Brittany. Also pointing out the part of the performance where they sing about planning, and Brittany points at her stomach, one of many S6 clues put in there to hint that Brittana will have a family together in the future ❤️

Our Day Will Come

It's another straight forward one that doesn't really take much analysis. It symbolises how the day has finally come for them to get married and start the rest of their lives together, after such a long, hard journey getting there. One of the key lyrics is "no one can tell me that I'm too young to know", which indicates that someone has tried to tell them they're too young to get married. We know that Kurt said this to them, but since Kurt is singing in this duet with them and he apologised, it may be someone else. Santana's dad maybe? Either way, whoever said it to them, they show in this duet that they are certain about their commitment and the future ahead of them. The song also has the lyrics "I love you so, and you love me" which is repetitive of what Santana said to Brittany earlier in the day before they got married when she saw Brittany in her wedding dress. It symbolises what the ending of their whole arc is about. That after a whole lot of doubt, pain and a long road to get there, they are both finally happy together and content in the love they have in each other, and very proud of that love. Santana in particular I feel always doubted Brittany's love for her. Even when Brittany said yes to marrying her, Santana couldn't believe it. On their wedding day, all those doubts are finally gone, and it's actually Brittany who's doing the worrying. The worrying that Brittany does takes us right back to the beginning of Brittana, when Brittany had her own doubts and fears in the relationship because Santana just seemed like something out of reach for her, that she'd never fully get to have. It's like she has a moment of panic, that something could mess this up the way it used to get messed up all those years ago. Our Day Will Come symbolises the end of all of those doubts, and the start of their new lives together.

[fandomfan2000]

Song Analysis #2 Kill the director

The link to the song is at the bottom of this post, all Characters belong to @brightgoat​.

 In part of this analysis I’ll talk about Fern and Almaz having repressed feelings for each other, which Brightgoat mentioned they may make canon in this post. however that has not been confirmed yet so keep that in mind. 

alright onto the analysis!

I've met someone that makes me feel seasick Oh, what a skill to have, oh, what a skill To have so many skills that make her distinctive But they're not mine to have, no, they're not mine 

These lyrics highlight how Fern and Almaz have a hard time recognizing and coming to term with their feelings. I think they both recognize each other as talented and are probably closer to each other then with Brighttail because of their shared distrust of Brighttail and similar experiences with having painful things added to their body (fern, Buttercup vine\Almaz back crystals). This probably helps them respect each other and appreciate each others ‘distinctive’ qualities. However I think they both realize they cant “have” each other so to speak, their from to separate worlds, ultimately they just want to go home, what's the point of getting attached? besides they kind of need to figure out what's going on. these factors most likely add to them repressing their emotions for each other.

more under cut

Whenever she looks, I read the nearest paper Though I don't care about the soaps; No, I don't care about the soaps... Though I'm acting like I'm in an EastEnders episode!

These lyrics tell us about how Fern and Almaz don't really care for the situation their in. How their expected to play the part of a protagonist and cater to what this...creature wants. It highlights their situation and how their being monitored by the creature, trapped in these made up worlds on a tv screen. Their lives are being played out like a soap opera and they have no way to stop it.  

Carrots help us see much better in the dark Don't talk to girls; they'll break your heart

Personally I think that “Carrots help us see much better in the dark” line is from Almaz’s perspective, like her hidden thoughts that even she isn't aware of. That Fern is kind of like a light in her life keeping her stable and from completely giving up. Also the whole ‘eye occult’ and worlds they visit revolves around sight and eyes so I figured this line was relevant. The “Don't talk to girls; they'll break your heart” refers to Almaz and Carnivals relation ship, the bottom line being that its toxic. Almaz always gets hurt in the end but cant seem to get over her obsession towards her. (to be clear I'm not saying these 2 were ever in a relationship I'm just saying that their dynamic shown so far is not healthy). This line is also a call back to this post that brightgoat did.  

And this is my head and this is my spout But they work together; they can't figure anything out

This refers to Fern being the level headed one, keeping everyone on task and safe, while Almaz is the wildcard, always spouting things out at the wrong time and being a little to trigger happy (this is just my speculation I'm not sure what Almaz’s character really is like). It also ties into how despite them working together on the same team they still can figure out what's going on and what to do, at least not for a good while.

So with the angst of a teenage band Here's another song about a gender I'll never understand

This song talks about how Brightail, Fern and Almaz are stuck together in a ‘band’ because of their similar situations and how they have to deal with a lot of dark things and trauma, Not to mention the whole trippy situation involving their existences and roles in the story. also I assume all of them are relatively young, or at least are written with the mindsets of late teens\early 20′s, making this sentence slightly more relevant. 

[Chorus] (Ooh, ooh, ooh, ooh) If this is a rom-com, kill the director! (Ooh, ooh, ooh, ooh) If this is a rom-com, kill the director!

the chorus is just referring to the portages desire to kill the creature to end it’s tyrannical reign and control over their lives.

[Outro] This is no Bridget Jones This is no Bridget, Bridget (Kill the director!) This is no Bridget Jones This is no Bridget, Bridget (Kill the director!)

the outro essentially helps explain more why Almaz and Fern are repressing their feelings, their lives aren't a movie, things don't always work out happy in the end. They have too much already to deal with already and cant pretend that anything good could come from giving themselves wholly to each other. its to risky.

the song: Kill the director

and that concludes my analysis! hope you enjoyed, stay tuned for the next one I do~

Previous song analysis: Cult of Dionysus 

[youngbugandtonystank]

genuine request, can you please stop putting your "harley isn't tony’s kid" asks/posts in harley's tag? it really kills the mood seeing negative/patronizing posts like that 🤧 you're entitled to your own opinion as to how you interpret tony and harley's dynamic in im3, but some of your posts are kind of needlessly rude and might suit an anti tag better? just a thought/request, do with it what you will 🤧

lmao

What are you on about? 

I have a total of 12 posts about Harley in my blog, and none of them are negative or patronizing at all. Analyzing a character and giving an honest opinion is patronizing for yall now? And I don’t post about him on a daily basis so I don’t get how it kills the mood if the majority of the posts in the tag aren’t mine.

As a matter of fact, messages like this one are the reason I keep track of what I write and do in the blog. 

Me defending Harley and Peter’s age for dating.

Some of you sending me Peter hate to put Harley up. (and trust me, this is not the first ask someone sends me an ask where they crap on Peter to lift Harley up, the fact that I block and delete a lot should give you a clue; something that it’s TIRING too)

This is literally my post in case someone forgot.

My post as well. 

Two of those posts are from 3 years ago. 

Every time someone asks about him, I always make sure to add this; ‘they could’ve been a father-son duo with Tony but Marvel didn’t develop that relationship’ making sure everyone understands that I’m talking about the franchise/writing choices in general, not crapping on the character and then I proceed to explain that not everything is a competition. Every. single. time.

The posts I can think of are two. TWO. LMAO the first one because an anon said it was offensive to them (I don’t know why because it’s only a meme, not something serious) 

Meme.

And this one. Where someone is asking me to explain the difference in the relationships between Tony and the kids, I didn’t do it with the intention of crapping on Harley, I was explaining what really was happening in the movies and doing an analysis/meta of it. I wasn’t going to lie and pull something out of my ass, I was honest with it. It was a movie meta, not a personal attack. I always say the same thing about Nebula (some people consider her as Tony’s daughter) and the other science kids (people see them as Tony’s kids as well in a headcanon way). And I posted that almost TWO years ago. Is the Harley tag that empty that only my posts are showing up? I highly doubt it, I know you guys love this kid, it must be filled with content about him. Good content about him. 

I don’t want to be mean, everyone who knows this blog knows that I always try to be polite but some of you need to grow up. That post was a meme. And as I already explained before, that same meme has a lot of variations, where neither Peter nor Harley are considered Tony’s kids, only Morgan. This is something fun to do, something to laugh at. Not a competition. You guys feel like it’s a competition and that comes from you, not me. I’m always honest with my opinions and I always make sure to give credit when it’s due. Like saying that Harley forms part of Tony’s legacy just like Morgan and Peter. 

All of this is from me:

‘I firmly believe that if Disney and Sony didn’t reach a deal back then, Harley would’ve been Tony’s protege instead of Peter.’

‘Harley was very important to Tony’s character development. He helped Tony during a very difficult time of his life and got him back on his feet when he was having a panic attack. He really helped Tony a lot and Tony is always going to appreciate that and who knows, maybe we get to see if Tony left something for Harley in the next phase.’

‘The MCU never used Ty Simpkins (Harley Keener) again after 2013, he has never been mentioned once since that movie, they could’ve at least mentioned him or imply that Tony kept contact with him.’

‘Like I’ve said before, I don’t ship them, I see them more like brothers’

‘Now, even if this is the case, that doesn’t mean that the relationship couldn’t have progressed to something more have they given them more time but unfortunately, they decided to kill Tony.’

So no. I’m tired of this. It’s impossible that only my posts are showing up in the Harley tag. Wanna know what I think it’s happening? Someone is reblogging my content and it’s showing up in YOUR dashboard (And I can’t control whatever shows up in your dashboard, I’m not part of the staff team) Are you really going to tell me the Harley Keener tag is so empty that my posts are the only ones there? You guys are going to have to let me have opinions and suck it up. It’s not ‘anti’ anything because I’m not against Harley at all. 

Block me. Just a thought/request, do with it what you will. 

[siren-theories]

The question of children

Note: ICYMI here is an updated post with all my analysis/thoughts so far.  DIsclaimer: The following includes spoilers of up to and Including Episode 309 “A voice in the dark”. This post was prompted by the following question:

Thank you very much for sending that one in.  I have to admit that this is a question I have asked myself many times, mainly driven by the parallels of Ben, Ryn and the story of the Pownall massacre. And Episode 308 has given those thoughts new form as they exchanged vows at the end of Episode 308. After all, children quite often follow such vows in human relationships. But children are quite a hassle for a TV show. Child actors are problematic to work with and once they exist, they often only waste screentime while bringing very little to the plot. And as they grow up, there is the question of time - having child actors more or less forces the show to use time in a linear manner as the child actors grow up. Though Siren already left itself a loophole with Hope and her growth spurts, this is still problematic for a show that has covered a period as short as a few months in three seasons. (I really need to update the timeline post soonish). 

  A). Can they actually have a child together?

We know that Sirens and humans can have children together as evidenced by the whole existence of Helen and the hybrid cult. 

However, we do know that Ryn has struggled with fertility issues before, which was a major plot point of the later half of Season 2. I do believe however that the fertility problems were mostly related to the males of her species. As the tests showed in Episode 213 “The Outpost” there was nothing wrong with Ryn herself 

(Leave it to the always body-positive Ryn to be proud of such a fact). 

And as soon as they could isolate viable sperm from the male, fertilization of her eggs was no issue at all in Episode 215. Biologically, there should be nothing preventing her and Ben having a Baby.

B). Will they have a child together?

With Ryn was not being in her mating drive during the recent episodes, we probably can rule out any pregnancy as a result of those scenes OP mentioned (unless her change into a human has progressed much further in those episodes, which is possible but IMO very unlikely). However, what happens when her next mating drive occurs? I think this can be safely answered within the context of the previous scenes in the show. There were multiple scenes in Episode 213 where both Ben and Ryn clearly exhibited signs of wanting to have children with each other and one scene in particular where they both had to force themselves not to do so within that episode.

And in 308 Ryn clearly states her wish for having a family with him, during the kitchen table discussion.

Ryn: “I will live on Land. With you.” Ben: “On land. You mean, stay human?” Ryn: “Yes. Here. Together. Human.” Ben: “What about Hope?” Ryn: “She can be with us. As a family.” Ben: “I can’t ask you to do that.” Ryn: “It is my choice. When it is time, I will be human with you.”

After figuring IVF works there is also no reason for Ryn to have more pureblood children just for the sake of her species considering there are plenty of willing alternative candidates (this would also be much better for the future genepool of her tribe).

So therefore, I do believe there is a high chance of them having more children, possibly as soon as Ryns mating drive kicks in again. By now you probably already figured out what the persistent qualifier “more” is referring to. I believe that for all intents and purposes they already have a child together - Hope.

C) Hope as their first child

While Ben is not the biological father, this is no hindrance to Hope being their first child. After all, under the law of many first-world nations Ryn would also not be considered the biological mother since she did not conceive Hope, nor did she carry or give birth to Hope.

Siren is no stranger to these constellations - after all, the best father figure in the whole series, Dale Bishop, is Maddie’s stepfather.

(Sidenote: Contrast how awesome Dale is as a father with Ben’s parents and Maddie’s mother. The show makes the point very early and very often that biological relations are not what determines who your “real” parents are,)

And for all intents and story-telling purposes, Ryn intends for Ben to be Hope’s father. This was signalled multiple times this season, even as early as Episode 305 and seems to be a role Ben wants to take up as well. 

In Episode 305, Ryn returns with Hope to land after her first transformation. And the very first thing she does onscreen is to hand Hope over to Ben in a manner very reminiscient of a mother handing over her child to its father.

(They look very much like a family in that scene, don’t they?) Then, we had Ben saying that he already views her like his own daughter in the same Episode. (Sidenote: rushing into things is a steeple of their whole relationship so this was in character for them).  

Ben: “It’s weird man. Feels like she’s mine. I*m going to help raise her.” Ryn of course also expressed the wish for Hope, Ben and herself to be a family in Episode 308:

Ben: “What about Hope?” Ryn: “She can be with us. As a family.”

And with Hope’s reintroduction in Episode 9, this dynamic was reinforced multiple times - especially and crucially from Hope’s side. And even more important was that Hope’s actions were completely unprompted by Ryn. 

1. Despite Ryn saying in Episode 305 that Hope will not remember her time as a baby, it is shown in Episode 309 that she does remember Ben, signifying the close bond the two already have

Episode 305:

Ryn: “When we meet again, you will be grown. You will not remember this time with me. So I will remember for us both.”

309: 

Hope keeps glancing at Ryn and Ben Ryn: “She remembers you. From when she was a baby.” 

2. And of course, later in the same episode Hope seeks physical contact with Ben - the image projected here is one of Family again.

And Ryn is again very happy about her daughter doing this. For whatever reason there seems to exist a strong, reciprocal bond between Hope and Ben already. 

So as it stands right now, Hope already is their (first) child in my opinion. The writers IMO could not have made that any more clear, especially not with those scenes in 309. 

Assuming she survives the finale (which I very much wish for), I would argue that any other children during the run of the show will be unlikely from a storytelling and logistics perspective. Even should Hope not survive (or have another prolonged period of absence for whatever reason) I do not think there will be another child shown onscreen. In addition to the usual problem with children in tv there is another one in play here: As strapped for screentime as Siren is, I would assume the writers do not intend to introduce further children unless they serve a dramatic purpose. 

D) Children and the Pownall family arc

One such arc where a Baby might prove beneficial for dramatic reasons however is the Pownall family arc.

As I have written at length before, there are parallels between Ryn/Ben and Charles Pownall/his unnamed siren. And the Pownall massacre happened in part because Ben’s ancestor and his siren failed to raise their child together.

("Seperated from her child, his mermaid lost her mind and went back to the water, never to return. Infected by the song and her abscence, Charles lost his senses. He gathered his crew, trapped the mermaids in a cove and slaughtered them.”)

As such, from a storytelling perspective, It would be very dramatic and enjoyable for Ben to have a child with a Siren and hopefully not mess up raising her. Therefore, should Hope not survive the season the odds of them having (another) child onscreen would increase dramatically in my opinion.

If Hope should indeed die, maybe it will not only be Ben repudiating the mistakes of his ancestor, but maybe also Ryn showing that she is stronger than the unnamed Siren. Maybe she would survive and heal after the loss of a child precisely because she has humans standing by to help her?

(And yes, I would think that would include Maddie). However, I do think Hope will survive. Anything else would be just too cruel to Ryn and also a bit odd considering how much screentime was invested in Hope’s “creation” in Season 2.

Either way, while a child would add drama, it is also not necessarily a conditio sine qua non for the story of the Pownall family. And IMO Ben’s attachment to Ryn is already strong enough (cf their "wedding vows” in 308). Therefore, a child would not be needed to prompt him to chose Ryn over his family (a choice he also already made in Episode 215 and which you can read more in detail about in the previously linked post).

Conclusion:

Do I expect them to have more children onscreen, over the course of the series? Probably not, given the above arguments. 

Do I expect them to have more children in the future (including a hypothetical time period after the series finale)?

After the series ends (and assuming some kind of happy end for them) they would probably increase their family as early (or as often) as Ryn’s mating drive and other factors permit. At this point in the story, they clearly want to have a family together and there would be nothing to stop them from enlargening their already existing family should they so choose. 

So I would tentatively argue that yes, they eventually will have more children.

[cassatine]

Nine films into its now 21 entries, the Marvel Cinematic Universe found its groove — albeit with caveats. The series’ long-running imbalance is owed to both occasionally muddled character arcs and often-incoherent worldviews. For the most part, the MCU captures the texture of America’s post-9/11 military politics, though it rarely has anything of significance to say about it. This superficiality has been a sticking point on the Road to Endgame, even for some of the series’ very best entries.

Marvel’s backdrops are politically charged, if not outright political, but the way they’re framed tends to act in contention with the stories being told. Captain America: The Winter Soldier falls unequivocally on the “incoherent worldview” side of things, however it succeeds more than its predecessors thanks to its clarity of character. It’s arguably the best Marvel movie till date, combining slick action, taut structure and sincere performances, though it’s hardly immune to the series’ political pitfalls. After all, it was the third Marvel film to be partially funded by the Pentagon.

A Shield From Criticism

Marvel’s incongruous political outlook is owed, in major part, to the series starting out as government propaganda. Like hundreds of Hollywood films, early Marvel movies like Iron Man and Iron Man 2 were produced with U.S. military assistance, which means they were also locked-in to scripts approved by the Department of Defense.

The Avengers was eventually turned down for this assistance, though it certainly attempted to appease the Pentagon at some point during its production (U.S. military equipment ended up in the film regardless). And while Iron Man 3 seemingly alluded to Marvel’s disagreement with the D.O.D — “There’s no politics here… There’s no Pentagon. It’s just you and me.” — the studio resumed its relationship with the U.S. government for its Captain America sequel, a partnership that continued until as recently as this year’s Captain Marvel.

Several scenes in Captain America: The Winter Soldier were filmed at an Army base near Cleveland, Ohio according to the Pentagon’s Hollywood database (obtained via SpyCulture). In return, the Army received “a significant portrayal in the film” at “no cost to the government.” A likely condition of this partnership, as with the Pentagon’s production agreements on Iron Man and Iron Man 2, was Marvel ensuring none of this portrayal was negative.

The result of this dynamic is a film, and a series, that only pays lip-service to questioning authority. The stories take aim at fictionalized structures, while real wings of U.S. government and their military policies remain unchallenged, despite them forming a major part of the fictional backdrop.

The real-world military presence in these films is treated as a desirable norm, while the real-world problems they cause or exacerbate are passed off to fictional villains. In the process, the heroes ultimately fight to maintain the status quo, wherein U.S. militarism is framed as the more peaceful alternative. The Avengers never truly rattle the cage, not in any way that would create long-lasting change.

The Winter Soldier’s critique of drone warfare and data mining is the closest Marvel has come to speaking truth to American power, though it stops short at every turn. In prior entries like the Iron Man films (not to mention Captain America’s own debut), the villains usually mirror some element of real-world authority, but they’re made palatable to all audiences once they’re stripped of real-world ideologies.

The film attempts to use specific U.S. military methods (and their justifications) to grounds its character-centric story. However, it also continues the series’ wishy-washy approach to power by letting real-world structures off the hook, shifting the blame for those methods to fictional entities (One has to imagine the film’s D.O.D. overseers preferred the responsibility for overtly American problems be directed elsewhere).

The result, while most certainly an exciting action-adventure, is a movie whose own story is frequently undercut. It teeters on the edge of substance, yet it feels constantly hesitant.

The Big Reveal

Understanding The Winter Soldier requires talking about its midpoint, a reveal that brings its themes into focus. Captain America/Steve Rogers (Chris Evans) and Black Widow/Natasha Romanoff (Scarlett Johansson) are fugitives from S.H.I.E.L.D., which has been recently compromised. This military outfit had a nebulous international allegiance in The Avengers, though its visual coding (and its Washington DC headquarters) make it closer to a defense branch of the U.S. government.

After tracking down a mysterious data point, Rogers and Romanoff discover, embedded within S.H.I.E.L.D.’s very origins, the digitized consciousness of Arnim Zola (Toby Jones), one of Rogers’ World War II adversaries. The real-life Operation Paperclip, which folded former Nazi scientists into American intelligence, resulted in Nazi science division H.Y.D.R.A spreading fascist ideology within American ranks. As it stands, H.Y.D.R.A. and S.H.I.E.L.D. are effectively one. They plan to kill anyone who might oppose them, though their impetus for doing so is un-specific; their ideology, once again, is “power” in the abstract.

In previous Marvel efforts, the villains’ plans often had a political façade, with something cartoonishly sinister beneath the surface. Obadiah Stane sought power in the form of Iron Men, the Abomination sought it in the form of big, green muscles, and Red Skull wanted power in the form of, well, magical powers. The Winter Soldier however, flips the script in that regard, retrofitting ridiculous-sounding comic elements like secret super-Nazis, a man in a computer, and even Batroc The Leaper in order to make them part of a larger political fabric. Here, the villains are driven by both in-universe history as well as political ideology, or at least something resembling the latter.

Rather than infiltrating America from the outside, H.Y.D.R.A. has grown to become part of American governance over the decades. It is made up of American Senators and military personnel, from fighter pilots all the way to a member of the World Council. The Winter Soldier comic’s Aleksander Lukin, a former K.G.B.-operative and modern-day avatar for the Red Skull’s consciousness, shows up here as Alexander Pierce (Robert Redford), a stripped-down American vessel for H.Y.D.R.A.’s ideas. In the film, Pierce has always been an American, and his methods are drawn from America’s real-world foreign and domestic policies. “Zola’s Algorithm,” the computer program that tells Pierce whom to target, is threat analysis through data-mining, not unlike the N.S.A. secrets exposed by Edward Snowden.

“Project Insight,” the algorithm’s next phase, involves drone ships picking off targets who pose a threat to H.Y.D.R.A.’s global security — or as Steve Rogers describes it, “Holding a gun at everyone on Earth and calling it protection.” Functionally, these crimes are a carried out by members of the American military, working in the shadows, killing and spying with impunity, causing Rogers and Romanoff to realize they might not work for the good guys after all.

On the other hand, revealing that covert Nazi infiltrators have been pulling the strings all along also waters down the narrative. The dilemma our heroes face is one of misguided allegiance, but this reveal makes it far too easy for them to come to terms with their mistakes. Rather than having to confront their place in a corrupt power structure, that structure is revealed to have secretly been another organization altogether, one that Rogers and Romanoff have never perceived as being the good guys. In effect, there’s little need for them to introspect since it turns out they were duped. The film thus avoids all questions of America’s role in these distinctly American methodologies.

H.Y.D.R.A., while descended from Nazis, have little connection to Nazi ideology. Instead, the organization seeks to bring the world under singular rule, without any further framing as to what they stand for — or against. For a second time in the series, a Captain America film responds to the question of who would be most vulnerable to the villains’ ideology with the same disappointing answer: America, and America only.

In Captain America: The First Avenger, H.Y.D.R.A.’s immediate target was America, the military superpower, rather than any specific group persecuted by the Nazis. In The Winter Soldier, the result is similar; the immediate targets of “Project Insight” are mostly Americans on domestic soil. It’s a horrifying image from an American standpoint, though as a metaphor, it’s largely disconnected from its real-world equivalent. In either case, scrubbing the villains of specific outlooks means the characters opposing them needn’t have specific allegiances. This Captain America neither fought for persecuted peoples during World War II, nor does he fight for victims of America’s preemptive drone strikes in the Middle East. He only seems to fight for Americans.

While Rogers battles a military apparatus meant to mirror that of America, the fight ultimately comes down to a simplistically framed binary (despite the film’s musings about the world being more complicated than it once was). Captain America, draped once more in his red, white and blue, attempts to stop the Nazis — one of the unambiguous villains of World War II — from carrying out mass murder. It doesn’t hold much weight as a metaphor, even in the context of post-2016 America, whose own Nazi resurgence is tied to unconfronted elements of white supremacy in American life and government.

In The Winter Soldier, American governance is implicitly framed as the peaceful aspiration. Its disruptors — both now and throughout history — are fictitious foreign infiltrators, who secretly perpetrate America’s real-world crimes. “Coups, assassinations and proxy wars? Couldn’t be me.”

What else is one to expect from a film, even a great one, made in part to promote the U.S. military machine?

[thecoleopterawithana]

Don’t Let Me Down

AKA Trust Issues

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I am fascinated by Lennon/McCartney. I am fascinated by John, I am fascinated by Paul, and I am fascinated by them together. And my fascination leads me to try and better understand the complex emotional dynamics that played between them. And I must admit, the more I unravel, the greater my fascination becomes. More than that, increased awareness only increases my love for these human beings.

Getting to know them – and, inadvertently, getting to better know myself – has truly been the most wonderful experience.  

This series will both function as a personal attempt to understand them, their actions and motivations – which I find is facilitated by me having to expose it to a third party – and as an ode to their beautiful humanity; a public declaration of how much I appreciate and respect them, and an attempt at expanding, even more, your love for them too.

So please know that this is a labour of love. And that I’m working on a very simple principle:

Understanding leads to Love and Love leads to Understanding.

But let’s get to the specifics about this particular series of posts and the issue that it will explore.

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The Hypothesis

It was never a lack of love, but a lack of trust.

Specifically, a lack of trust in the other’s love.

With this, I mean to say that, if there was anything that compromised the Lennon/McCartney relationship, it was never a diminishing of the love they had for each other, but rather an exacerbation of the fear.

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But how are we going about exploring this issue? Through a lot of observation. Primarily, of their behaviours and their statements about them, which offers us different kinds of information.

When I try to make sense of something as complex and multifaceted as, say, interpersonal dynamics, some strategies become very helpful:

For one, I try to identify underlying patterns and deconstruct them to their barest, simplest forms.

Secondly, I remember that these mechanisms are present for an evolutionary, biological reason.

Let me tell you, bringing biology into it really helps to clear out the seemingly nebulous nature of human emotion.

But you might be (rightly) dubious about trying to understand the whole by simply breaking it down into parts. After all, we all know that “the whole is greater than the sum of its parts”. But for me, I find that in order to really get the full picture, I have to ally both the simplistic and holistic. And in the end, like in a symphony, the true beauty arises from seeing the kaleidoscope of possible interactions between these different components.

But let’s start with the second strategy and built up from that to the first. 

Animals have evolved a great motivator: the Reward System. 

It’s a neat little mechanism that leads us to increase contact with beneficial stimuli and avoid potentially harmful stimuli, in the interest of our own well-being or the continuation of the species. 

So Pleasure is just a signal that says, “this stimulus is good, let’s try it again!”

And Pain is the alarm that alerts us that something is wrong, “this thing is probably bad for us, let’s try to seek relief from it (and consequently, get pleasure) and learn to avoid it next time.” 

So we have “positive” emotions and feelings, those that are attractive or “good”, and “negative” emotions or feelings, those that we are generally averse to and try to escape.

Because the subject we’ll be exploring is the Trust Issues, there will be a greater focus on these “negative” emotions as motivators. 

It doesn’t mean that they weren’t equally motivated by pleasure; as we’ve seen, even seeking relief from pain is chasing pleasure in itself. But because I’m specifically trying to figure out what went wrong, I’m afraid we’re going to have to dwell in these more adverse waters.

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The choice in title is no coincidence. In fact, this specific expression – don’t let me down – is a plea they repeated throughout a lot of their songs:

‘You Can’t Do That’ (1964): So please listen to me, if you wanna stay mine, I can’t help my feelings, I’ll go out of my mind, I’m gonna let you down and leave you flat

‘Hey Jude’ (1968): Hey Jude, don’t let me down

‘Don’t Let Me Down’ (1969):  And if somebody loved me like she do me, Oh, she do me, yes, she does. Don’t let me down!

‘Oh! Darling’ (1969): Oh! Darling, please believe me, I’ll never let you down!

‘3 Legs’ (1970): When I thought you was my friend but you let me down, put my heart around the bend

‘Tomorrow’ (1970): Oh baby, don’t let me down tomorrow, holding hands we both abandon sorrow.

‘The Other Me’ (1982): I want to be the kind of me that doesn’t let you down as a rule

So glaring was the pattern, even Paul remarked on it:

PAUL: There’s a story. There’s another one – ‘Don’t Let Me Down’. “Oh darling, I’ll never let you down.” Like we’re doing—

JOHN: Yeah. It’s like you and me are lovers.

PAUL: [reserved] Yeah.

— Get Back Sessions (24 January 1969).

But what does it mean? What were they begging for or promising?

By definition, to let someone down is to disappoint, to fail to be there for someone as they had hoped, to fall short of expectations.

And it’s this fear of being let down that is at the core of a lot of their problems. 

They didn’t trust the other to be there for them because they were terrified of the pain they would feel if/when he wasn’t.

Because what is fear if not the memory of pain?

We seem to have evolved fear as a defence mechanism against suffering, a pre-emptive signal against that which would harm us. 

But pain itself is nothing more than the signalling of a stimulus, an alarm alerting us to a certain situation so that we can best choose how to deal with it. The way people handle the existence of that alarm, however, is interesting.

John just lets the alarm ring. He lets himself be overwhelmed by it and all the frustration that it brings, alternatively getting down and depressed or resentful and furious. All this, I suspect, because he is convinced that he himself can’t turn it off, but someone or something out there probably can. John has a recurring problem with acknowledging his own agency. After all, it’s arduous to have to make conscious decisions and take responsibility for their consequences. It’s easier to try a find an entity that we can give the reigns to; someone who’ll take care of us, but that we can also blame when things go wrong. So John’s strategy to dealing with the alarm of pain is to look for something/someone that can shut it down for him.

Paul simply ignores that the alarm is ringing (while it remains ringing all the same). He feels it’s his responsibility alone to move past the ringing and carry on. But, truthfully, he doesn’t like the feeling of those “negative” emotions. He’d much rather stay on “pleasure mode” all the time! So rather than acknowledge his unpleasant feelings and having to go through the nasty business of facing them, he’d much rather deny their existence in the first place (and, hopefully, exorcise them through more unconscious and productive means, such as creating music). Also, much in the same way he doesn’t want to hear it himself, Paul doesn’t want others to know that there is an alarm ringing inside him. And he will take protective measures not to have anything set it off again.

As we’ve seen, these protective measures often translate into fear, and specific to this series, lack of trust.

It is my opinion that their basic fear is the same, but that they reacted to it completely differently. And the way they responded to it was so opposite, that it caused a complete breakdown in communication. 

I’ll be attempting to examine this issue further in a series of posts, focusing on either specific stages in their lives or on certain facets of their relationship. To that end, I’ll be updating the section under the cut with links to the various analysis.

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John | If I trust in you, oh please, don’t run and hide

I Just Believe In Me | Disillusionment

As we share in each other’s minds | Climbing the Mountain 

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Paul | Did I ever open up my heart and let you look inside?

When you were young and your heart was an open book | Paul’s Upbringing

I’m scared to say I love you | Verbal Expression of Affection

Paul is a concept by which we measure our pain | Tag explanation

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We’re A Family | The Beatles and Dysfunctional Family Roles