#these are all biased because they're books that i like

[thessaralka]

DAI, DA2, DAO are flawed masterpieces but they all thematically feel deeply similar.

veilguard dookied all over the dark spiritual/ moral/ religious themes of DA by erasing slavery, the bigotry of and towards the elves (dalish in particular), sidelining andrastianism, ignoring the dwarves apart from harding's questline, and HR-ifying the writing.

where was slavery in tevinter, the literal slave capital of thedas, apart from the existence off the shadow dragons (who must be doing a really good job btw bc slavery and the impact of it is basically not a thing), and in scenes w venatori where they're using slaves as benches in this weirdly-comical-dismissive way?

where was the nuance and moral greyness in how some people sell themselves into slavery or join the qun to escape poverty and lives that would otherwise be a lot less structured and even comfortable, and the cognitive dissonance that fact gives us? where was the "slaves are illiterate so they communicate with symbols" underground slave rebellion?

the most we get of solas and his thousands-of-years-long slave-freeing mission is a comment from neve about the chains in his hideout, we see nothing about how fen'harel freed slaves as basically a lifelong purpose of his, and how many of those freed-people dedicated their lives to that mission, joining him in his cause. solas would have had other people helping him out with this, he would have had a structured slave-freeing organization, he probably would still be using the lighthouse for this, but the most we get is "crusty wifeless bachelor pad" solas all alone. did he tell everyone to fuck off, like what happened there? why was solas soooooo alone, when he literally had cultists in trespasser and logically would have EVEN MORE cultists now? i understand he's mentally and emotionally alone, but an ancient elven god who has built a slave-freeing operation he would not be so physically alone, he'd have tons of people obsessed w his mission.

making the only dalish we encounter these veil jumpers that we have no connection or care for unless we read some books is lazy, and these dalish don't seem to care that their thousands-of-years-old faith that their entire culture is founded on is being demolished before their eyes, the DREAD FUCKING WOLF is back (one of their literal gods, and he's been back for like 12 years and many of them have joined him - where are thooooose dalish?), the dalish in VG are perfectly fine working with humans (the very ones who exalted-marched all over them, humans that rape and pillage them, humans that oppress and subjugate them, humans the dalish have canonically hunted down and killed - just for being human - in past games). the dalish are canonically shitty people who are also massively subjugated, are victims of their own hubris, victims of a war they started and lost and never got over, victims of their own bigotry, victims of their own misinterpreted and forgotten lore. while they have a right to be victims, it's never talked about how fucking revolutionary it is if any dalish/ elven hero of the past games (warden or inquisitor) was able to overcome the biases of their culture and heal, and work together with humans (inquisition did this really well for Dalish Inquisitors btw). the dalish being as forgiving and open as the veil jumpers are should be a bigger deal and have a major story reason behind it because healing thousands of years of trauma in a decade is impressive (fake).

[whinlatter]

sorry if you've discussed this before, but do you think ginny's quidditch talent came out of nowhere? it's a common criticism I see about her but I feel like that kind of overstates how much of a quidditch "star" she was at the beginning, like she was consistently described as good but not great until partway into hbp and I also think it makes sense she'd keep it a secret from her teasing brothers. but maybe they're right and I'm just biased towards defending ginny

thank you for the question, anon!

the short answer is - no, i think it's (just about) plausibly rendered in the books. i think the series gets away with it because:

the story is told from the perspective of a teenage boy aka peak obliviousness in corporeal form, so we see what harry sees (and harry notices big fat nothing)

there is an entirely adequate narrative explanation for ginny's sporting skills that most readers not operating in bad faith* can put together, as you suggest: ginny comes from a sporty family who are all good at quidditch; she is of middling-to-good seeking ability when she first joins the team in ootp; she then has a good few months flying several times a week where she would necessarily grow in confidence and experience, leaving her perfectly able to blossom in hbp in a high school sport where she is competing against other children. fine and dandy in my book.

also quidditch is a broadly dumb and pointless plot so ginny being good at it is just a fun extra that we don't need to deep too much because - let's be real - quidditch is a waste of page space.

*i say this because, most of the time, these takes come from those who don't like hinny as a pairing. which is entirely their right and prerogative! it personally doesn't float my boat to spend my days doing worst faith readings of the text in order to make the case against canon ships i don't like, but as this is a race to the bottom - we are all adults dissecting children's books written by a nasty spiteful woman rotting in her mouldy castle spouting slurs, after all - who am i to judge.

(i also suspect the 'ginny is good at quidditch out of nowhere' takes have enjoyed such a long shelf-life on eg. reddit because the films are still most people's primary reference for HP takes so complaints about them then get cast back on the books - and, in the films, ginny does in fact rock up in film 6 like she's mbappé, if mbappé had the charisma of an extraordinarily soggy bath mat.)

with that said... could it have done with a bit more foreshadowing? yes, probably. people who don't like hinny as a pairing and prefer another are never going to be convinced - that's fine! but here i am, a paid-up hinny supporter, and even i think ginny's character development is sometimes wanting, to a frustrating and problematic extent. good writing (usually) means showing not telling, and it's weird and lazy of jkr to be so slapdash about revealing this and other character details about ginny and other (often female) characters. i think it's particularly striking that jkr underserves characters (again, usually women) who exist to serve the emotional development of characters (usually men), rather than the mystery plot(s) that drive hp as a series. (wanted! tonks' personality! last seen making fake pig noses and being the only auror mad eye moody mentored as his successor, for no plot reason!)

while i'm not a die-hard adherent to the chekhov's gun principle, i think one of the strengths of many novels du jour - especially the nothing really happens postmodern novel that crowds the bookshop shelves these days - is that their conventions allow authors to add colour to characters without each tiny detail being pregnant with meaning and in service of a driving plot that must be marched forward at all times. that can be really nice! as readers, we like to get a sense of characters as well-rounded living breathing people who go for a wee and take the bins out and stick on an album because it slaps every now and then; in these novels, we're also happier with the idea that things can happen to characters beyond the protagonist that don't directly impact the plot or demand the protagonist knows more than their own very limited vantage point. you have more room to play with character as a result.

jkr, ofc, isn't that kind of author. jkr is in fact an author for whom everything about her characters serves the plot. this, after all, is the brain that brought you 'remus lupin' the werewolf, and named the bad-guy-turned-good-guy in a book using a big black dog as a red herring omen of death 'sirius black'. jkr wants her audience to notice clues and remember little details about characters because they might be significant later on. this is entirely her wont and - lupin and sirius aside - she's often very good at it. the hp books are all standalone mysteries, and, when they land, those mysteries slap. ginny being the culprit in CoS is a genuinely satisfying resolution to the whodunit plot: this was reflected in critical reception at the time and was part of the reason why hp was able to be marketed as a children's book adults would also enjoy thereafter. there are also very satisfying foreshadowing and mystery plots that straddle the entire series and that reward the reader with reasonably good pay-off at the series end. (my favourite is the foreshadow within the foreshadow - e.g. regulus black barrelling back from ootp in DH, but then regulus' plot turning out to ultimately exist to foreshadow snape's own double agent status... delicious).

for my part, it's also what i want out of the fiction i read and the stories i try to write. i want everything to mean something. i want the weather, clothing, setting, body language etc to all do heavy lifting. i want character work to do work. it makes it fun for me to write and (i hope) it can it a bit more fun for the reader.

the problem is that while jkr is good setting up some mysteries, she is bad at others, and the romantic plot is one she falls down (a bit) on. she sets herself up for this: she wants to be a plot-centred mystery writer, so she does have an obligation to do better in how she deploys character details. jkr does to try to write the harry/ginny romance like a mystery, with little hints throughout the series up to the reveal of harry's feelings for ginny in HBP. (even ginny's full name is nominative determinism, finally revealed in DH once the reader has been told her place in the plot - ginevra, so guinnevre, the hero's queen). and while i will never not tire of pointing out to all of reddit that harry/ginny didn't come out of nowhere, and there is some satisfying foreshadowing knocking about here and there, i think it's fair to say that the harry/ginny build-up is not as satisfying as it could have been because jkr is basically lazier about the clues that ginny is the character harry will ultimately fall for, while she is much better at dropping clues for the series' central plot. that ginny ends the series with no real resolution of the primary tensions that motivate her other than her love of harry is probably the most acute example of this. but there's lots about her character where jkr phones it in a bit in fleshing her out or taking it to any logical conclusions or interesting plot directions. a smattering of examples:

ginny is the character who spends the entire series demanding to be included and not underestimated ends the series... with no real major role in the battle other than causing harry panic, while all other central characters receive a satisfying narrative arc that speaks to their central motivators across the series as a whole. (for an interesting discussion of what should have happened with ginny and the horcruxes, see here. i didn't even pay @saintsenara to write this!)

there are lots of shades of colour to ginny's character that are introduced pointlessly. i have previously talked about my beef with arnold the pygmy puff. we know ginny is popular but we know nothing of her friends who are all faceless plotless nobodies. we know ginny supports the all-womens quidditch team in a way that implies a nascent feminist politics after a childhood being excluded from playing a sport she loves by her brothers - yet we know nothing of it. we know ginny loves the one wizarding band that seems to exist because she has a poster of them on her wall and it just.... is something we just get told about her. now, all of these suggest ginny is a good time gal and a right laugh at the pub. and that's nice! i too am fun at the pub! but why does it matter? it wouldn't, in another series. but in a series where Everything Matters, it really stands out.

now..... i don't think all of this is an unsolveable problem for those of us writing fanfiction about ginny or harry and ginny as a couple. i don't think this makes ginny an inherently bad character. i hope the amount of life i have wasted thinking about this character is testament to this (...) and i personally find trying to cook up some fleshed-out characterisation and a satisfying arc for ginny, and for female characters more generally, from the crumbs of the original source material to be a very rewarding way to pass the time and a fuck you to a woman who thinks she can gatekeep womanhood while writing some astonishingly antifeminist fiction. i think harry and ginny are a deeply compelling and eminently plausible couple, and i think i return to writing about them as much as i do because i think they have a ton of potential as narrative mirrors and as characters with a rich well of tension but also devotion between them. as i say a lot, i think one of the things the harry/ginny pairing does refreshingly well compared to other romantic lead couples in YA fiction is show a couple that, at heart, genuinely get on very well, have a laugh together and enjoy each other's company in completely mundane lovely day-to-day ways (laundry and taxes u know). i think that's a striking and refreshing dynamic that i like to spend time fleshing out and playing with and writing about. but i can also see that there is an inconsistency in jkr's character work here, particularly her character work writing female characters, of which ginny is among the most acute examples.

[inkpot-winters]

marauders as muggle books on my bookshelf, part 1

james potter: the toymakers by robert dinsdale in 1917, young cathy wray escapes to london to save her unborn child, finding a home within a peculiar toy emporium; patchwork dogs and bears that seem alive, toy boxes bigger on the inside than out, tin soldiers that can fight battles on their own. an underrated debut, one that i firmly believe james would enjoy. this story weaves in and out of the fantastical magical elements of the toy store with the grounded realism of corresponding historical events like the second world war. the characters almost parallel the marauders this way; young people surrounded by magic, fighting a war they shouldn't have to.

remus lupin: the goldfinch by donna tartt theo decker loses his mother in a terrorist attack when he is thirteen years old. in the haunting aftermath, he clings to every trace of her he has, including a certain painting salvaged from the incident. i think remus would connect instantly with theo, seeing himself within the love theo held for his mother. he'd be gripped by the story of this young man navigating love and loss and living regardless. perhaps the boris elements reminds me of wolfstar the goldfinch is a master study in grief. remus would be found only in the corner of the common room for days until he completes the novel.

sirius black: the picture of do- the ocean at the end of the lane by neil gaiman a man returns home to attend a funeral, and as he sits by the pond behind the old farmhouse, lost memories resurface of a girl named lettie hempstock, who had claimed this pond to be an ocean. it was highly tempting to assign sirius a fast-paced action filled novel, but i believe he'd enjoy neil gaiman the most out of any marauder. the ocean at the end of the lane is a whimsical yet severely introspective story, with horror elements that would have him on the edge of his seat. he'd read this in one sitting.

peter pettigrew: crime and punishment by fyodor dostoevsky raskolnikov, an impoverished former student, commits an impersonal murder. he finds himself entangled in a game of cat and mouse with a suspicious police investigator, as well as his growing conscience. i admit, this is extremely on the nose. however, i can vividly picture peter, on the verge of his betrayal, devouring this book in the hopes that it will lead in the direction of the best decision for him. or reassure him of whether he'll ever have a chance of redemption if he goes ahead with the dark lord's orders.

regulus black: the starless sea by erin morgenstern zachary ezra rawlins discovers a mysterious book, one with tales of lovelorn prisoners, key collectors, and nameless acolytes. however, his life spirals when he reads something strange; a story from his own childhood. honorary mentions to the secret history (regulus black is made for dark academia), and hamlet (he's a sad poetry boy, he'd adore hamlet's monologues). the starless sea wins out due to its theme; a deep love of stories and storytelling. i believe regulus does little but read in grimmauld place, as his only form of escapism. he'd be fascinated by each story-within-the-story, the peculiar rituals, and lose himself for hours to the wonder of it all.

[coquelicoq]

you reread raksura after reading murderbot and you realize that the kethel in the last book is murderbot from an outside POV. like they don't have the same personality obviously, but if the murderbot books were told from the perspective of, say, eletra from the corporation rim, she'd be talking about secunits the way that all the protagonists of the raksura books talk about the fell. which i feel really conflicted about. you write a five-book series (plus two books of short stories) with a biologically evil race and in the later books start deconstructing it and being like "hey maybe our narrators aren't exactly reliable on this point" but by then it's kind of too late imo. idk. she's doing something interesting here but i don't know if it works.

[snixx]

got queerbaited into reading a book by chatgpt. is this rock bottom

[the-busy-ghost]

No need to worry, the screams of fury emanating from her room are just because she made the terrible decision to read someone else’s list of the ‘100 Best Classic Fiction Works in English’

[bonefall]

Profoundly disappointed in so many of these comments downplaying Bumble as "just a cat," as though it makes the choice of the human writers to gruesomely torment a domestic abuse survivor for the sake of male arcs less misogynistic. I expected better of people who care about media analysis and harmful tropes.

So I won't do that to Alex. She's a worthy opponent and the originator of the term "fridging." She existed only to serve Green Lantern's arc and has sparked a wide discussion on misogyny in media. That's meaningful and important. Do not take a single word of my argument as dismissing how badly Alex was treated.

Everything that happens to Bumble is in a popular series for young readers.

Warrior Cats is aimed at a tween audience; Yet, the downplaying or dismissal of domestic abuse, mockery of weight and "usefulness", and constant, graphic torment and slaughter of female characters is notorious in these books... and Bumble is one of the GREATEST examples of it.

She seeks asylum with her only friend, Turtle Tail, after fleeing physical assault from Tom, a man who had beaten them both. Turtle's new husband Gray Wing immediately seethes at seeing this battered woman because she's a fat foreigner who "stole his wife away" last winter (after treating her like shit), even balking at Bumble's request for safety because "her abuse has drained her confidence which would make her useless"

This is treated as a WISE thing, Gray Wing's defining character trait. Being "wise."

She is then publicly mocked by a crowd of cats, where she's interrogated with questions like, "What did you do to make him so mad?" and "Can't you just purr at your humans?" and "Why are you so fat?" before two cats interject, tell Bumble how disgusting and useless she is, and then push her away as she screams that she'll never forgive Turtle Tail for letting her be dragged back to Tom the Wifebeater.

This is treated as an unreasonable thing for Bumble to be mad at. That her only friend happily watched her be sent back to a man who is beating her bloody.

Bumble then spends weeks starving to death in the woods, alone, because she won't return to Tom. Clear Sky, a murderous tyrant who had already slaughtered a random native woman (Misty) to steal her territory, finds Bumble on his territory and...

Well.

Gray Wing and his cats learn of the murder of Misty because he left her brutalized corpse unburied, and come to look for her orphaned children. They find Bumble, slowly bleeding to death through many "slits down her belly and sides." A death of a thousand cuts. .

Clear Sky then appears, and Gray Wing begs him to explain what happened because this story is about Clear Sky actually being a good person all along. He then makes up a FANTASTIC lie on the spot that he just "cuffed her ear" and she passed out, so he left, and then a fox mauled her, so he came back, and then he left again just before they showed up, and now he's back for the third time. Gray Wing buys it immediately, praising how cool and amazing his brother is. You are meant to take this seriously.

Meanwhile, Bumble dies, and her death is treated as inevitable because she was too fat and useless to live. Gray Wing even gets another little dig in about how much he doesn't like the domestic abuse victim.

What matters about Bumble isn't that she spent the last days of her life in terrified agony. She "never could have lived out here" and her "tragic but unavoidable" death CHANGES THE WAY THAT GRAY WING'S CATS FEEL ABOUT HIS BROTHER, unfairly blamed for this SECOND murder of a woman he absolutely did. Because killing one woman for her land would have been fine!

(I have an in-depth post about these scenes if you'd like more context)

Later in the book Gray Wing even comforts Turtle Tail, assuring her that there's nothing they could have done and also his brother totally isn't responsible for killing TWO women.

(Clear Sky's woman-related body count ends in the main series with 2 fridged wives, 1 fridged platonic female ally, and 3 women killed in cold blood. He also regularly hits women who talk back to him, but not men. Turtle Tail also dies to make Gray Wing sad.)

Every single male character who had a hand in Bumble's mistreatment, from Tom the Wifebeater who tortured her and Turtle, to Clear Sky who beats her to death and blames her for being too weak to stay conscious through his physical assault, and beloved fandom favorite Gray Wing who allows her to get dragged back to her abuser out of jealousy that she was friends with his wife... is venerated and celebrated by these books.

Clear Sky in particular is said to have "not changed that much" after his sudden "redemption" in the next book because it turns out he only killed women because "he was scared." He continues to be violent, abusive, and manipulative, and he kills 3 more women and his first and only male victim (because by killing a husband it would indirectly hurt a woman). This blatant misogyny is never addressed.

Gray Wing's actions aren't seen as a problem at all, in fact he's allegedly "wise." All the characters in canon fall over themselves to note how wise and good he is.

ALL of them go to cat heaven. Even Tom the Wifebeater who according to authorial statements, now has a fleet of angel kitties "teaching him how to be nice" because he has a redemption death.

Did Bumble go to heaven? Who knows. The writers don't give a shit. Her last "appearance" is Tom the Wifebeater finding and disrespecting her grave, a fight breaking out where he "smothers Turtle Tail with his fat body" so Gray Wing can jump in and save her.

Not only is Bumble's life treated as lesser because she is a fat woman, but ALL female characters in Dawn of the Clans are treated as unreasonable, expendable objects. A combined SEVEN women are killed just to advance the stories of Clear Sky and Gray Wing-- SO MANY die that the writers are suddenly introduce random women from nowhere to breed with the male characters, to "reward" them with biological children.

So, PLEASE, VOTE BUMBLE, the worst victim of her canon's misogyny in the book series notorious for radioactive levels of it.

PROPAGANDA

BUMBLE (WARRIOR CATS) (CW: Domestic Abuse)

1.) Back with another Warriors submission, I bet you’ll be getting a lot from other people too LMAO. Bumble is a kittypet (housecat) who befriends the male protagonist Gray Wing’s girlfriend, Turtle Tail, and lets her stay in her house. This gets Gray Wing all pissy because he’s controlling of Turtle Tail and shares most of the wild/clan cat’s proclivity for looking down upon kittypets. Turtle Tail gets pregnant by another kittypet, Tom, who tries to control her by hiding the fact that humans take away kittens after they’re born. Eventually Bumble comes clean about it so Turtle Tail returns to the forest. Some time later, Bumble is found in the forest seeking refuge because Tom has been physically abusing her, scratching her where the humans can’t see. So, she’s CANONICALLY ACKNOWLEDGED as a domestic abuse victim (unlike Squirrelflight who meets all the textbook signs but the narrative and authors deny it). How do you think our good guy protagonists, i.e. Gray Wing “The Wise” and Turtle Tail, respond to an abuse victim seeking refuge? They tell Bumble to go home, thinking to themselves that she’s fat and soft and therefore would be useless in their group. Bumble stands up for herself and asks to speak with the leaders of the group. One of them asks if Bumble could just get along with Tom better (bro???) and when Bumble says it’s not within her control, the leader suggests being nicer to the humans instead. Another rival leader butts in and verbally abuses Bumble again by ripping into how fat and lazy and useless she would be. Despite Turtle Tail having been friends with Bumble and Bumble had helped her through her own hard times, to Gray Wing’s approval Turtle Tail chooses not to intervene as Bumble is forcibly escorted back to her abuser. But that’s not all. Later Bumble is found in the forest maimed and dying, and it seems likely that Gray Wing’s brother Clear Sky, a male with a long history of violence, is the culprit. Rather than mourn the dying innocent cat, Gray Wing’s primary concern is how other cats might be mean to Clear Sky if they think he’s a murderer, and reassures himself that refusing to help Bumble in her time of need was still the right decision.

2.) I have no idea how she managed to be written so horrifically from an abuse victim and woman (/she-cat I guess) standpoint but here we are. Okay so my memory is a bit fuzzy but basically Bumble was a character in Dawn of the Clans and a close friend to Turtle Tail, a major character, as well as a character who lived close to Tom, an abusive dickhead of a cat. Bumble was largely depicted as just a really sweet cat. Turtle Tail was very briefly the mate of Turtle Tail, but once she got pregnant, he became super violent towards both her and our gal Bumble. Tom actively hid the fact that, once her kits were old enough, Turtle Tail’s kits would probably be taken from her, and made Bumble keep quiet about this too, but Bumble eventually told Turtle Tail the truth, Turtle Tail left and Tom became extremely violent towards Bumble because of this, and was extremely abusive towards her. Eventually, Bumble ran away from him to where Turtle Tail and co were and begged to stay, since the wilderness as a whole was genuinely more safe than being around Tom was. Naturally, this meant kitty xenophobia from cats who had only arrived in that area recently, because everybody was insistent than, since she was a kittypet/house cat, things wouldn’t work out, and even her friend Turtle Tail denied her on this, insisted she was too soft to live in the wild and only sent her towards a cat Bumble wanted to convince because she was absolutely certain she’d be denied. Also our good old protagonist Gray Wing got to spend this scene being all upset about this soft cat wanting to join them to escape an abuser and was all bitter about the fact that Turtle Tail lived with her for a short period of time, and he also got to have a sweet romantic moment with Turtle Tail after denying an abuse victim an escape from her abuser. Also as much as I like Tall Shadow usually she sucked ass in the following scene because she was essentially telling Bumble to go find a way to make peace with Tom as if she was not the one being abused (Bumble pointed out that Tom was the one who would need to make peace for it to happen, not her) and that she should just make life better by going back to being a housecat and being spoiled despite the fact that she was actively at risk with her owners because of Tom. Then she leaves after being threatened by several cats there and is called soft on the way out. The next time she appears she is literally dying, and her death is just a plot device to create a stupid little mystery which is solved in a very stupid way. Also her abuser does continue to be a shithead and for some reason is fully permitted to kidnap his own children but he also gets a heroic death and the only reason I will not rant more about him is because this is too long already. Long story short Bumble deserves the world and everybody who decided not to let her escape her abuser just because they thought she was soft sucks

3.) Is nice to the group of starving, feral wild cats that left the mountains so their friends and family could have more food to eat and befriends one of them to the point of opening her home to her after she leaves the group because the guy she likes is too dumb to notice she likes him and keeps falling for his brother’s love interests.

Unfortunately, because Bumble is a house cat who lives in a house with people and not a Wild and Free cat, this is a grave and horrible crime (luring a wild cat into the safety and comforts of domesticity) and is villainized for the rest of the arc, including for things wildly out of her control

I.E.

Her owners taking in an aggressive male cat that bullies and abuses the two female cats already living there

When Bumble’s friend leaves and goes back to the wild cats, Bumble leaves her home (as the abuse as has gotten worse) to see if she could either get help or have her friend return so the abuse isn’t as bad again)

Bumble eventually dies in the wild because the feral cats all hate her for ‘stealing’ their friend and tricking her into becoming a kittypet for awhile and refuse to help Bumble adjust to wild life or even teaching her how to hunt.

They are littl e to no hard feelings at her death beyond ‘good riddance’ but the aggressive tomcat that chased her out of her home is later regarded with good feelings and regret at such a ‘good, heroic cat’ passing when he dies despite him literally never doing a good or kind thing in his life and actually causing trouble for the wild cats right before dying

ALEX DEWITT (DC COMICS)

1.) The term “fridging” is literally based on Alex and what happened to her. She was killed off violently by a bad guy trying to get at her boyfriend only a couple issues after she was introduced (making it obvious they only brought her in to kill her off for shock value). Her death did very little to the narrative other than hurt her boyfriend Kyle and was done in an exceedingly horrifying and violent way. (Bad guy came to the door with flowers and threatening note, broke in and attacked her, choking her to death, before [off panel] chopping her body up and sticking it in the refrigerator as a “surprise” for her boyfriend. This obviously is really fucked up and she deserves better and should win this actually (a vote for Alex is a vote for all fridging victims [in spirit])

2.) It doesn’t get much worse than being the character whose death originated the “fridging” trope. In Green Lantern Vol. 3 #54, Kyle Rayner comes home to find that Alexandra, his girlfriend, has been killed by the villain Major Force and stuffed into the refrigerator.

Alexandra DeWitt is the character whose misogynistic treatment coined the term where a character, usually female, is killed off purely to make the main character, usually male, feel bad. Even if there are other characters who have been subjected to similar levels of misogyny, Alexandra DeWitt’s treatment has been essentially immortalized.

3.) I know she’s not going to win but shout out to my home girl, literally the trope namer for women shoved in fridges. All anyone ever knows about her is that she was Kyle’s girlfriend and got murdered for his character development, even though she had plenty of potential to be her own character.

[hilacopter]

leftists about other minorities: "just because you don't actively hate a minority doesn't mean you're immune to being bigoted, there's always internal biases to unpack."

leftists about jews: "whaaat?! how could I possibly be antisemitc??? I don't hate jews! I'm anti-bigotry! I'm a Good Person!"

leftists about other minorities: "always listen to minorities when they say something is bigoted."

leftists about jews: "don't listen to anyone telling you you're being antisemitc, israel and (((the zionists))) are weaponizing antisemitism to shut down criticism!"

leftist about other minorities: "of course bigotry against a minority should be defined by the people of said minority and it's important not to talk over them."

leftists about jews: "actually it's not antisemitic to say (conspiracy theory)/(blatant dogwhistle)/(repackaged blood libel)!! don't let any Bad Jews™ tell you otherwise!!"

leftists about other minorities: "no, having friends or family from a minority doesn't make you not bigoted. that's literally the oldest excuse in the book."

leftists about jews: "and before anyone starts throwing accusations no I'm not antisemitc, I know many (like 3) jewish people and they're some of my closest friends (I see them at the grocery store sometimes)."

leftists about other minorities: "obviously no people are a monolith, and a person from a minority can still be bigoted or have internal biases towards said minority. it's important to consider who you're speaking with."

leftists about jews: "so obviously since all jews are born with every single piece of jewish knowledge ever I can totally use this very convenient culturally christian ethnic jew as a token for my argument against a person who was raised culturally jewish and knows extensive jewish history."

leftists about other minorities: "we shouldn't center ourselves in historical events of other minorities."

leftists about jews: "I would've been a brave hero who hid jews during the holocaust, which was actually about queer and disabled people because why do the jews get to hog it all to themselves?!"

leftists about other minorities: "it's cultural appropriation to use this word belonging to a minority, you're robbing it of it's history and meaning."

leftists about jews: "(uses zionism incorrectly) (uses zionism incorrectly) (uses zionism incorrec"

leftist about other minorities: "skin color doesn't define ethnicity! there are plenty of white-passing black people, brown people and more!"

leftists about jews: "jews are literally just white people. all the jews I know irl are ashkenazi and light-skinned, what other proof do I need?"

and these are just a few of the double standards I've noticed. feel free to add.

[skyenish]

Rook is so full of love, I think we should all strive to be a little more like Rook honestly | book 5 animatic 👸🏹❤️🍎🐍☀️|

(This animatic doesn't have a very amazing structure, so just enjoy the pretty pictures and the RookVil teasing/ book 5 content!)

I think we can all learn something from Rook, because I think no one truly understands just how much he loves almost everything- especially Vil. He saw the beauty in Vil's overblot while also acknowledging that it wasn't Vil at his most beautiful. He loves him so much and genuinely wants the best for him; he sees Vil’s beauty! Remember, even when Vil was at his ugliest, he still saw beauty.

He sees the beauty in pimples, in fat, in tears, in color, in wrinkles, in smile lines, in every single "flaw" a human body can have. He sees beauty in something as simple as a flower or a well-crafted chair, and also in something as complex or horrible as trauma or anger and hatred. He sees beauty in everything that today's beauty standard would call "not beautiful", but Rook knows better. He knows that beauty standards are doodoo! He believes that the most beautiful person is a person that loves themself. Ironically a stark contrast to how Vil sees it, since he relies more on external ways validation to measure beauty. Rook truly believes that a person is only ugly if they're very ugly on the inside.

Rook is optimistic, curious, kind and positive. Yeah the guy may be a little very weird, but at the end of the day he's definitely not a bad dude! He wants to seek and protect beauty and spread it to the world :)

I know we're all mad that he voted for Neige, but it was the right thing to do. If he voted for NRC, he wouldn't have been honest, the main trait vil likes in Rook. He wasn't biased, he simply knew that their performance wasn't as beautiful as it could've been. This doesn't mean that their performance wasn't beautiful of course!

Also the fact that what Rook tells Vil after the competition is so important to his character development! Vil shouldn't need an audience to tell him that he's amazing and beautiful, that’s what Rook means.

If NRC had won it would've ruined the entire point of Vil's character arc in my opinion (though of course I would've loved for us to win). In conclusion, Rook is a neat dude who we should learn from (minus the stalking part cough cough)

Remember, this is just my interpretation of Rook! *drops mic, all your ears explode*

[deramin2]

A Quick Guide To Getting Caught Up On Critical Role Fast

This guide is for people who want the fastest way official to get caught up on all 3 Critical Role campaigns without seeing the full actual play episodes. They're all made so that the AP will still be enjoyable later even if you know what happens. There's no "right" way to get into the series, and already having an idea of what happens can even help make the APs more enjoyable and easier to understand.

Summary:

The Legend of Vox Machina

Crit Recap Animated

Exandria: An Intimate History

Critical Role Abridged

Guide:

Campaign 1:

The Legend of Vox Machina on Amazon Prime is the animated adaptation of C1 by the same creators. Sam Riegel said the creative approach is this was the version in av later play. All the important bits are there, but they get to those moments differently.

The Legend of Vox Machina has 3 seasons out now that cover events up through at least episode 85. A 4th season is in the works and will probably cover the final arc.

Campaign 2:

An animated adaptation for Amazon Prime called "Mighty Nein" is in the works, but not out yet.

Crit Role Animated is an older comedic summary series presented by their Lore Keeper that covers the whole campaign in 10 videos. Great if you want the gist.

It's like a history crash course history video meant to get you curious to learn the full story later. Great way to get a sense of who people are and what they've done. Available on YouTube and their streaming platform Beacon.

Exandrian History Review:

Exandria: An Intimate History is a timeline review of key events in world history, starting from the creation.

It was released before Campaign 3 as bonus content. It represents what the average person in Exandria knows about world history up to that point.

Campaign 3:

Critical Role Abridged is the Campaign 3 AP condensed down into 1 to 1.5 hours. It mostly cuts down combat to the narrated results and reduces table chatter and indecisiveness. It's a great way to experience the full campaign.

Critical Role Abridged is coming out 1 a week at a time on YouTube and 2 a week on Beacon. YouTube is currently up to episode 25. Beacon is up to episode 47. The AP is at episode 109. At some point you'll have to switch to full episodes to catch up.

Wiki:

There's also 2 world-class wikis where's you can look up extensive and meticulously cited information about anything you need. I prefer The Encyclopedia Exandria.

Viewing Notes:

An important thing to know about "continuity" in Critical Role is that it takes a more realistic view of how history is passed down through the ages and even dedicated academics will never know the full story or be fully correct. They know versions colored by in-world biases and lost knowledge.

Which is great for you the viewer because any campaign you comes into, the characters don't know most of what happened in past games. What they actually know will come up in game. The players have above table reactions and some subtle in jokes, but try not to act on meta knowledge.

It's structured a lot like reading one history book and then wanting to go back and read more about past events that set the stage for all those things to happen. They've tried to make it easier to come into the story happening now.

I certainly enjoyed watching the full APs from the beginning, and I think you can get a deeper understanding of the story from them, but it takes thousands of hours to catch up on the story that way and it isn't realistic for everyone. Each series builds on the consequences of past events more than they rely on unexpected twists, so already knowing what happens just helps you notice all the little things that led to them. Similar to how Shakespeare's plays are often more enjoyable to watch unfold if you already know the basic plot points going into them.

Happy viewing, and I hope this helps you or someone you know get into this very rich and interesting story!

[thethiefandtheairbender]

as a lifelong ATLA fan who narrowly had ATLA dethroned as my top show by The Dragon Prince steadily over the past 5 years, the similarities between the two have very little to do with the surface level parallels that get regularly drawn between them.

Like ATLA, TDP has Books for seasons and chapters for episodes, but unlike ATLA, which only touched on storytelling sparingly as a theme, TDP is obsessed with interrogating storytelling and history and the presence of unreliable, biased narrators throughout many of its episodes (most notably 2x05, 2x06, 3x06, 4x04, and 4x07 among them). Half of what you learn in the 1x01 intro ends up being a lie once you reach S3, with more being steadily deciphered.

Yes, TDP has different magics with people living under those umbrella terms... for the elves. Humans are coming culturally at things from a completely different angle, and the elves' connection to their primal sources are discussed philosophically in detail, informing their practices and their culture first hand, including the way they chafe against humans, who are arcanum-less. Many animals in the world are also connected to magic, which influences both their design and which ones get hunted for humans' more 'clever' solution in dark magic, including each other.

The core issue of the Puppetmaster, down to being a coercive magic formed by someone deeply resentful of their imprisonment? Said puppetmaster is the main endgame antagonist of the entire show with all of S4 onwards being exploring the ethics of controlling people against their will in various methods, and the entire show itself being a thematic battleground of fate (imprisonment) vs free will for virtually every single character.

Where ATLA mostly concerns itself timeline wise with ending the war, very little thought is shown by any of the characters as to what they'll do after the war. This isn't a problem (as it reflects the sheer domineering scope of the conflict) but even Zuko being firelord is only ever really addressed with 2.5 episodes left till the finale. TDP, meanwhile, ends its 'war' in s3 and s4 opens up with dealing with the old wounds festering between people with centuries of history, the struggles that come when people aren't able to let go and believe they're safe or mourn in a healthy manner, and the religious/cultural clashes that may occur when trying to integrate different groups of people.

TDP also has an evil father with a devoted daughter and a brother who eventually defects, but it explores the reality of an abusive parent who loves/will sacrifice for you and your right to leave regardless, even if that means leaving the sibling you truly deeply love and who loves you in turn. Which means that when you and your sibling are on opposite sides of a deep ideological conflict, it actually really fucking hurts bc we've seen first hand just how much they love each other and also how and why everything fell apart not in spite of that love necessarily, but also because of it.

Is this to say that TDP is a 1:1 with ATLA or that it's better? No, not at all, and the latter is subjective. I prefer TDP, but I think they're about on equal ground when you look at each show currently as a whole (although TDP has two seasons left to go).

But TDP takes a lot of what ATLA was doing thematically with some of its most interesting beats and then builds or expands upon them further. It talks further and more consistently about the cycles of violence; in many ways, Jack De Sena's character, Callum, begins the series largely where Sokka had ended (and he's not the most like Sokka anyway; very much his own thing); we get Faustian bargains and centuries' long grief and fucked up people who are trying both succeeding and failing at not doing fucked up things. There are antagonists, but it is very hard to actually label anyone at this point a straight up villain. Moral greyness is where the show starts, and it just continues from there.

That's not to say the show is nothing but dark and depressing - like ATLA, there's a steady thread of hope and humour even as the show gets steadily closer and closer to its 11th hour point - but the show is usually emotionally heavier. There's more blood and potentially disturbing imagery with body horror and on screen death. There's so much foreshadowing you basically can't go more than 5 minutes into any episode without having something that's going to come back around or be referenced again like 3-5 seasons later.

Just to be clear - TDP is like ATLA, but it's like ATLA in interesting ways beyond the more shallow surface level that usually gets attributed to it, while still very much being its own show and its own thing. And that is why I tend to recommend it to people who like ATLA.

Thank you and goodnight

(Also, the fandom doesn't have any ship wars, and the show is queer as fuck)

[missrosiesworld]

A Thoughtful Heart

Headcanons for when Wise is in a relationship

Thoughtful Gestures: Wise is attentive to his partner's likes and dislikes. He often surprises them with small, thoughtful gifts or gestures, like bringing their favorite snacks or planning a special date around their interests.

Aware of his partner's love for classic films, Wise plans a special movie night in his bedroom, creating a cozy atmosphere with extra pillows, blankets, and their favorite snacks. When his partner enters the room, they’re pleasantly surprised by the thoughtful setup. "Wow, this is amazing! You remembered my favorite movies and snacks!" they exclaim, eyes lighting up with excitement. Smiling warmly, Wise hands them a bowl of popcorn. "Of course I did," he replies affectionately. "I wanted us to have a special night together." As they settle in beside him, Wise wraps an arm around them, and they lean their head on his shoulder with a grateful smile. "You're always so thoughtful," they say softly. Wise responds with a gentle kiss on their forehead, whispering, "I just want to make you happy."

Deep Conversations: Being a thoughtful and philosophical person, Wise loves engaging in deep, meaningful conversations with his partner. Whether discussing life, dreams, or their favorite books and movies, he enjoys connecting on an intellectual and emotional level.

Wise and his partner are sitting on his bed, discussing a thought-provoking documentary they recently watched. Thoughtfully rubbing his chin, Wise leans back against the headboard, his gaze focused and intense. "It's fascinating how different perspectives can reshape our understanding of history. It makes you think about the narratives we accept as truth, doesn't it?" he says.   His partner nods, their expression equally thoughtful. "Absolutely. It challenges what we consider to be the truth and makes us question our own beliefs and biases." Wise gently takes their hand, his eyes warm and sincere. "I love these moments with you," he says softly. "It feels like we're exploring the world together, discovering new ways of seeing things."

Protective Nature: Wise has a strong protective instinct. He's always looking out for his partner's well-being, whether it's making sure they're safe or supporting them during difficult times. He's not overbearing but offers a comforting presence.

The couple walk home along a dimly lit street after a late-night outing. Noticing his partner shivering slightly, Wise quietly slips off his jacket and drapes it over their shoulders, gently pulling them closer. "I can't have you catching a cold," he says softly, his voice filled with concern. His partner smiles appreciatively, snuggling into the warmth of his jacket. "Thank you for always looking out for me," they say, their eyes meeting his with warmth and affection. Wise's gaze softens as he leans down to press a gentle kiss to their forehead. "It's because I care about you," he promises, his voice a comforting murmur. "I'll always look out for you."

Acts of Service: Wise expresses his love through acts of service. He enjoys doing little things to make his partner's life easier, like cooking a meal, helping with errands, or just being there to listen after a long day.

The kitchen is filled with the comforting aroma of a homemade meal, and the table is carefully set. Wise finishes the final touches, smiling as his partner enters. "I made your favorite dish," he says warmly, "thought it might be a nice surprise after your long day." Moved, they wrap their arms around him, resting their head against his back. "You're amazing. Thank you," they murmur gratefully. Turning to face them, Wise gently cups their face, planting a soft kiss on their temple. "Anything for you," he whispers, leading them to the table with a smile. "Let's enjoy this together—I want to hear all about your day."

Gentle and Supportive: Wise is incredibly gentle and supportive, always ready to lend a listening ear or a shoulder to lean on. He's the type to offer words of encouragement and reassurance, making his partner feel cherished and valued.

After a tough day, Wise notices his partner sitting on the couch, visibly tired and down. He gently sits beside them, taking their hand and softly stroking the back of it with his thumb. "Hey," he begins soothingly, "I know today was hard. Do you want to talk about it?" Grateful for his presence, they admit, "It's just been a long day. Everything seemed to go wrong." Wise listens intently, wrapping an arm around their shoulders for support. "It's okay," he reassures them gently, pressing a tender kiss to their temple. "I'm here for you, no matter what."

Shared Interests: He loves sharing his interests with his partner, whether it's watching documentaries, reading books, or ideas. He also enjoys learning about their interests, making an effort to engage in activities they love.

On a cozy afternoon, Wise and his partner sat comfortably on his bed, watching a documentary on the TV, surrounded by open books and a laptop that reflected their shared interests. With bright eyes, Wise gestured toward the screen, saying, "This part is fascinating! It's incredible how they captured such detailed footage of the underwater ecosystem." His partner smiled and nodded, clearly enjoying the experience. Reaching for a marine life book, Wise added, "Maybe we can dive into these topics later, and I'd love to hear more about that art exhibit you mentioned." Grinning, his partner leaned closer. "I'd love that. Maybe we can try painting afterward?" Wise laughed softly, wrapping an arm around them and pulling them closer as he placed a gentle kiss on their forehead. "Absolutely. It's great exploring new things with you."

Affectionate: While he may start off reserved, Wise becomes more openly affectionate as the relationship deepens. He enjoys holding hands, hugging, and cuddling, finding comfort in physical closeness.

One evening, after a long day, Wise and his partner settled onto his bed, the weight of the day easing away in each other’s presence. Without a word, Wise gently pulled them closer, wrapping his arms around them in a warm embrace. They rested their head on his chest as he softly ran his fingers through their hair, a contented smile on his lips. "I’ve been looking forward to this all day," Wise whispered, his voice filled with quiet affection. His partner snuggled closer, holding him gently. "Me too," they murmured. Wise leaned down slightly, brushing his nose tenderly against theirs. "You’re my favorite part of the day," he admitted quietly, his words carrying the weight of his emotions.

Romantic Surprises: Wise likes planning romantic surprises, whether it's a spontaneous date night, a homemade dinner, or leaving sweet notes for his partner to find. He enjoys making his partner feel special and loved.

Throughout the day, Wise carefully planned a series of romantic surprises, leaving sweet notes for his partner to find. Each note expressed his love and appreciation, with messages like, “Just a quick reminder of how much you mean to me. Your smile lights up my day, and your laughter is the sweetest sound. Love, Wise.” When his partner found a note tucked inside their bag, they couldn’t help but smile. "You always know how to make me smile," they said warmly. Wise grinned, pleased by their reaction. "I love surprising you. It's my way of reminding you how much I care," he said, his voice filled with affection. His partner wrapped their arms around him, giving him a warm hug. "Thank you for always thinking of me," they murmured. As Wise gazed into their eyes, he held them close, their foreheads touching for a moment. He leaned in, and his lips met theirs, soft and tender at first, then deepening with warmth, savoring the closeness. When he finally pulled back, his eyes were soft and sincere. "I'll always find ways to show you how much you mean to me.”

Loyal and Committed: Wise is deeply loyal and committed. Once he's in a relationship, he is fully devoted to his partner, valuing trust and honesty above all. He's not afraid of commitment and looks forward to building a future together.

As they sat together, Wise and his partner began discussing future plans with a sense of excitement and anticipation. His partner hesitantly glanced down at their intertwined hands and asked, "Do you ever think about... us, in the future?" Wise met their gaze, his eyes steady and filled with love. Reaching up, he gently tucked a strand of hair behind their ear. "All the time," he replied, his voice soft yet firm. "I'm here for the long haul." His partner smiled, their eyes shining with emotion as they squeezed his hand gently. "I am too," they said, their voice filled with conviction and warmth. Wise leaned in, his hands moving to cradle their face tenderly. He paused for a moment, their breaths mingling, before pressing a tender kiss to their lips. Pulling back slightly, he murmured, "Then we're in this together," his words a vow as much as a promise.

Encourages Growth: Wise is deeply invested in his partner’s personal growth and well-being. He encourages them to pursue their passions, supports their goals, and provides constructive feedback when needed.

One evening, Wise and his partner were sitting together, discussing a dream project his partner had been hesitant to start. Sensing their uncertainty, Wise gently took their hand, his gaze warm and reassuring. "You know, I’ve seen how passionate you are about this. I think you should go for it," he said with quiet conviction. His partner looked at him, doubts still lingering. "But what if I fail?" they asked softly. Wise smiled, squeezing their hand. "Even if things don’t go exactly as planned, you’ll learn and grow from it. And I’ll be right here, supporting you every step of the way," he assured them. Feeling a surge of confidence, his partner nodded, a small smile tugging at their lips. "Thank you for always believing in me," they whispered. Leaning in, Wise pressed a gentle kiss to their forehead. "We’re in this together. Let’s make those dreams a reality," he murmured, lovingly encouraging them.

Playful Side: Despite his serious nature, Wise has a playful side that comes out more in a relationship. He enjoys teasing his partner lightly and sharing moments of laughter and joy.

During a cozy evening in the living room, Wise and his partner sat on the couch. While his partner was engrossed in a book, Wise glanced over with a mischievous glint in his eyes and gently nudged them with his elbow. "Hey, what’s so interesting in there that you're ignoring me?" he teased. His partner looked up with a smile, clearly amused. "Just a really good part. Why, are you feeling neglected?" Wise feigned a dramatic sigh, placing a hand over his heart. "Terribly so. I might just wither away from lack of attention." His partner laughed softly, setting the book aside and poking him lightly. "Alright, you have my attention now. What are you going to do with it?" Grinning, Wise swiftly scooped them up, pulling them into his lap. "I think I'll keep it right here," he said, planting a playful kiss on their nose, his eyes sparkling with affection.

Communication: Wise places a high value on communication. He's always willing to talk through any issues or misunderstandings, ensuring that both he and his partner are on the same page and feel understood.

Late at night, after a minor disagreement, Wise and his partner found themselves in the bedroom. Sensing the lingering tension, Wise sat on the edge of the bed, facing his partner with earnest concern. He gently took their hand, his voice calm but firm. "I never want us to go to bed upset. Let's talk about this and make sure we both feel understood." His partner sighed softly, their expression softening. "You're right," they agreed, sitting beside him. "I don't like going to bed with things unresolved either." With a small, encouraging smile, Wise squeezed their hand reassuringly, cupping their cheek gently with his other hand. "I care about how you feel and what you think," he said warmly. "Let's figure this out together." As the tension eased, his partner nodded, their voice filled with appreciation. "Thank you for always being willing to talk things through." Wise leaned in, pressing a gentle kiss to their forehead, his thumb softly brushing their cheek. "It's important to me," he murmured. "I love you, and I want us to always be on the same page."

[alicentral]

This is a response to a hotd critical post about the "favouritism towards Greens in screen time ratio", and I think it's so interesting how team black also feel like they're being fucked over by the showrunners when, to me, it's blindingly obvious that it's the other way round.

Not only are the show runners villainising the greens, not the blacks, they've also gone out of their way to make the blacks seem like the badass heroes who can do no wrong, and this is the root of the problem for both team black and team green. It oversimplifies the dance and goes against the themes and message of the whole book, rendering the characters either inconsistent, one-dimensional, and worst of all, flat and boring.

Lets start off with the greens. The argument that the showrunners are "gagging on the greens" doesn't hold up when we actually think about it for more than 2 seconds.

With the source material of hotd being a fictional history book with different biases and perspectives (emphasis on different perspectives), the showrunners have cherry picked what to adapt, and have chosen to take the worst of the greens as the objective truth and erase their good moments as "green propaganda". The main example that comes to mind is aegon. Plenty of other people have talked about this in depth before, but in f&b, aegon raping a girl was a rumour spread by mushroom, a narrator with a clear black bias who wasn't even in kings landing at the time. There was no reason in adapting this rumour other than to demonise aegon, and by extension, team green. The way the scene is framed, it is clear that it was never about dyana, how the rape affected her mentally, emotionally, socially, physically. For a supposedly feminist show, dyana's rape was a throwaway scene, it never had any impact on the story further. So what was the point of the scene other than to tell the audience "look at what a monster aegon is. How can you support someone like that?" And it works.

You can see on social media, any time there's something vaguely positive about the greens, you have hoards of people comment "yeah but he's a rapist" "how can you support a rapist?", etc. It forces you to side with team black. Later in the show, the audience gets to know that aegon's dick burst "like a sausage". Why would the audience need to know this? Aegon's mutilated dick is presented as "karma" for dyana and is only meant to humiliate him. And again, after this revelation, so many people on social media were making fun of his "burnt sausage". They've made a laughingstock of aegon, and as the figurehead of team green, it's clear that we're not meant to side with team green.

Furthermore, in bastardising, and sometimes, even completely erasing the relationships between team green, the showrunners have dehumanised them and made them irredeemable villains, because, again, we were never meant to side with those who "usurped the rightful queen".

The loyalty and commitment the greens had to one another made them such compelling characters and heavily shaped their central motivations and actions. Aegon only took the crown to protect his family. Aemond, after rooks rest, never called himself a king, only lord protecter even though he knows he would've made a better king than aegon. Daeron torched the riverlands to get to his mother and sister and sacked bitterbridge as revenge for his nephew. Helaena offered up her life for her son, and chose to sacrifice maelor because she knew he wouldn't understand what was happening. Their actions may not be necessarily good (and in daeron's case, actually happen to be war crimes), and their motivations may be morally grey, but they're understandable, they're sympathetic, seeing as it was out of love and loyalty, something that 21st century society can relate to. Without these complex and compelling ties, the audience is left asking why would the greens stick together if they all seemingly can't stand each other? Why fight for aegon if he doesn't even seem to care for them? What was the point in having the crown then? As a result, the characterisations feel one-dimensional (helaena being reduced to being just an "innocent" amidst her bloodthirsty family) or inconsistent (alicent. just her entire story arc. it could've been interesting if done right, but alas, no such luck), or rushed (suddenly aemond wants to be king in his own right after defending his brother's claim at storms end).

This isn't to say that team green are perfect, far from it, but the close emotional ties and relationships could've been used to elevate the internal conflicts in the show. We could've had complex characters who aren't necessarily good, but they're family and they stick together despite their personal grievances.

And this isn't even mentioning their bonds with their dragons. Where was vhagar roaring when aemond's eye was cut out? Aegon and sunfyre had the closest bond between dragon and human and that was given to rhaenyra in the show and where is dreamfyre?

One last thing on the greens, they are presented as incompetent and not equipped to rule, which is meant to show how it would be oh so much better if rhaenyra was on the throne. Criston parading meleys' head is framed as stupid as meleys was "a beloved dragon", ignoring the fact that she murdered hundreds of smallfolk at the coronation. Alicent is presented as stupid for thinking that after rooks rest, the small council would appoint her the queen, aegon in the small council was meant to be laughed at. Of course, this begs the question, if the greens were meant to be a mess of a faction with only 3 functioning dragons and now 2 effective dragon riders, how did they hold out against the blacks for so long? It's clear that the showrunners haven't thought this through.

So yeah, i don't really understand what this person was trying to say when they say that the showrunners are "gagging on the greens" when they are demonised, humiliated and stripped of compassion. I would like to say here, nothing i've said about the greens here is new to team green fans, and so many more people have gone into more depth about this.

Lets move onto the blacks. In a conflict where no side was meant to be in the right (who has the right to rule is a beast for another day), where there were no winners, only losers, where a dynastic dispute almost tore down the entire aforementioned dynasty, the blacks are framed as the heroes, the side the audience should root for. If they come off as villainised to the audience, i don't think it was done on purpose.

Opposite to the greens, they're mistakes and flaws are glossed over. I think this is the main reason why team black falls flat as opposed to lack of screen time, which i don't really want to count.

An important example of this is blood and cheese. In f&b, blood and cheese was a horrific event which drove queen helaena mad and, importantly, was meant to murder one of aegon and helaena's sons in revenge for lucerys. A son for a son. It was always meant to be jaehaerys. By making blood and cheese all one big mistake in the show, with aemond as the real target and oops, we can't find him so jaehaerys will do, team black and rhaenyra can't be held accountable for the murder of an innocent 6 year old boy. Moreover, the fact that rhaenyra never knew or sanctioned the murder, and it was all daemon going rogue, rhaenyra is even further removed from the horrific murder of a child, because, of course, our heroine can't be responsible for anything bad, she's meant to be the one in the right!

Furthermore, condal and hess try to force the smallfolk's love of rhaenyra during the dance, contrary to the book, which serves to uphold rhaenyra's right to the throne and show how team black are the right side. During the blockade on kings landing, the smallfolk conveniently forget that she's the one causing the blockade when she sends food through (showing that she could've done that at any time). The cheering for rhaenyra and the riot makes no sense, as again, she was the one who caused the blockade in the first place.

The introduction of the prophecy also is only meant to justify any "wrong" rhaenyra and team black do. The death of the dragonseeds and the smallfolk were all in the name of a prophecy so it's ok. And this is the thing which infuriates me the most, because the prophecy could've been a fascinating aspect of team black's motivations if framed right. The idea of committing atrocities in the name of a believed divine, higher purpose could've been used to expand upon team black's character growth and internal conflict vis a vis the knights templar and the crusades. How do they feel about this? Are they even aware of what they're doing? Alas, the show itself buys into the prophecy, buys into the divine purpose and suddenly, the atrocities aren't presented as "that bad" anyways. All of that to say, the show has never intentionally villainised team black.

So we've established that as the heroes, team black can't do anything wrong, and if they do, it's for a higher purpose, so it's alright. Team black's "emotions and conflicts are made secondary" not to "disposable filler scenes of Greens", but to themselves, or rather, to rhaenyra and her right to rule. So many team black scenes were used to uplift rhaenyra to show how she is the rightful queen. The main two examples of this that stick out to me is baela rebuking jace when he rightfully questions rhaenyra's decisions and daemon's whole harrenhal arc, which serves as his redemption and so he can reaffirm his commitment to rhaenyra's right to rule. Of course it's going to be "a bore" if the main characters, the ones we're meant to be cheering haven't got anything going for them except for cheering on rhaenyra.

There's no character interaction, no character growth, no real internal conflict because from the beginning, team black has been presented as in the right and can do no wrong, so there's no room to grow, no room to develop, not because of lack of screen time. When character development almost breaks through (see: jace questioning rhaenyra), it's quickly quashed, because the audience needs to be reminded that rhaenyra is always right. There's a clear good and bad side that the show is trying to force, which doesn't work in this setting because it reinforces the idea of the divine right of kings, the idea that one person, one family is superior to all others, and that person is rhaenyra here. It undermines the idea that no one was in the right for the atrocities they committed. No one can be justified and that fundamentally, these are not good people, they're interesting characters (or could've been interesting characters), but they're not good people.

So why? Why are the blacks presented as the good side and the greens presented as evil? It all comes down to the fact that the showrunners have propagated the idea that the dance is about a woman's struggle to rule in the face of misogyny, rather than the decline of house targaryen due to their belief in targaryen exceptionalism or the consequences of the pursuit of power. Sure, feminism and misogyny is one aspect of the dance, but it's not a major driving factor. The showrunners have backed themselves into a corner here, because they trying to portray the dance through a modern feminist lens, and so they believe that they can't write women being flawed or evil, and so we get the free, liberated good side and the "misogynistic", conservative bad side.

So in conclusion, it is clear that the showrunners aren't villainising the blacks as this person believes, but the greens. In doing this, they've made a clear cut good and bad side which works to the detriment of both team black and team green. It leads team green's characterisation to be inconsistent and one-dimensional and it chokes team black from having character growth.

Listen, i don't know if team black truly have less screen time than team green, but if they do, it's not the reason why team black falls flat.

[mossyvil]

Bestie you are SO right about vil and him being a caring bf. And I'm not being biased as a vil yume or anything, even when I first got introduced to him and his character during book 5, I saw literally nothing wrong with the advice Nad critique he gave to epel and everyone else— he's always very reasonable and makes a point, blunt and without sugarcoating sure, but sometimes people need to have that sort of bluntness to realize that something is lacking or that they have potential that they're wasting!!

Vil is attentive but he's also able to be understanding! He never imposed a lifestyle on anyone unless they truly needed it or unless it would help with something that requires it (eg: during the VDC when he made a more healthy diet plan when they camped in Ramshackle. Petty teenage resistance aside, they did need less sugar and such so that they wouldn't be lethargic or even exhausted because of too much blood sugar!!)

And goodness dare I say he would be very delighted and amused if his lover returns the favor? Doting on him as well, making his favorite meals, memorizing what he likes and doesn't like when it came to food or skincare or media or anything, having the same attention being directed at him, basically. I just think that it would be very reassuring for him to know that his partner appreciated his doting as much as he cared about giving it. Vil my beloved......

i absolutely agree with u bestie!! vil is blunt but i think he just doesn’t know how else to phrase what he’s thinking tbh. like i doubt anyone in the film or beauty industry was being very conscious of his feelings growing up so it’s all he knows but it really does come from a place of genuine care!! and he never says anything he knows can’t be changed easily, he never wants to hurt anyone he just wants to help them better themselves.

he isn’t too worried about accidentally upsetting his partner with his words, he really does think through what he says before he says it and he also expects you to be comfortable telling him if it bothers you (whether you actually are comfortable doing that is another thing), but he does feel reassured when you do the same for him. he’s had managers and people to look out for him before, but it’s not out of actual care for him like it is with you. it warms his heart knowing that you show your care for him in a way he really understands. soft vil is everything to me

[aroaceleovaldez]

i'm so happy you brought back up the topic of rick's shitty writing of anyone even remotely non white / "white passing"

with that being said, do you think the shitty script he gave to annabeth in the show has to do with him just being deeply uninterested in adapting his story to include characters of color? bc it seems like once rick encounters a character that cannot be easily erased all ethnic or racial identity of to fit them into an usamerican specifically white ass narrative, he gets lost.

i just keep thinking how the only thing that "changed" about annabeth as presented in the show was her race but her plot relevance and her characterization got downgraded severely. meanwhile percy, whiter than before (wheres the mediterranean god look......................................), got half her functions. like i just look at rick in context and i wonder if he just gives so little fuck about characters of color he cant even write a decent character arc for an adaptation of a very established persona

thoughts? thank u!

I wouldn't be surprised if it's Rick (and the writer's room, since it actually seems Rick isn't all that heavily involved if much at all with the script itself based on some interviews) just has internal biases that he refuses to reflect on. It would be a consistent trend with the uptick in offensive writing in the books themselves (see: the troglodytes in general, all the Jewish kids in CHB being in Hermes cabin, etc etc). Rick seems to want to engage with these topics but refuses to actually assess how he's approaching it and his own biases while also overemphasizing his engagement with the topics. It's a kind of big talk/words vs actions type thing to me.

[this got a wee bit long so throwing it under a cut]

I was having a couple of conversations about this topic recently - one being group reading/discussion of WottG and how, allegedly, the slightly different characterizations in that book are inspired by the actors in the show. Annabeth is repeatedly and frequently described as motherly and maternal in the book, plus some other misc characterizations that make you tilt your head and go "Wait, what about Leah made you want to write Annabeth this way?" and concerns about it leaning into stereotypes. (It's also strange, because in the show Sally is MUCH more aggressive and less maternal, and this is painted like it's supposed to be a girlboss thing cause her being too soft and motherly was too weak or something? But now book Annabeth is now being described as all soft and maternal??? What. What is happening.)

Another conversation that i had with my therapist (cause we talk about pjo a lot lol) and later repeated and discussed more with other folks on discord more specifically regarding the show was a lot of discussion about the casting. Particularly casting choices and how the writing either is refusing to take casting into consideration to respectfully approach how things would be changed to avoid problems or are actively changing the script for characters in a way that is potentially if not downright offensive. Clarisse is the number one example i bring up because a lot of people say that the reason a plus sized actress wasn't cast for her was to avoid the "fat bully" trope. The thing is, there is ALSO a POC bully trope that is just as bad if not worse, so if they were actually taking offensive tropes into consideration one would expect them to avoid that too (especially since Percy was cast as a pasty white boy - which just makes it all look worse)? (Also other plus-sized characters like Dionysus and Gabe were also cast as skinny, same with Tyson. So it just seems like they don't want to cast plus-sized actors either.)

But also they're rewriting stuff that actively puts the casting decisions into worse tropes. Like hey, why is Percy (a white guy) the one who knows the "real" versions of all these myths and is expositioning them to Annabeth (a black girl), who in the books is supposed to know more than him? Why does he know better than her for some reason and have to guide her? Why is Percy teaching Annabeth about pop culture and how to be a kid? Not to mention stuff like the show constantly encouraging the viewer to doubt or distrust characters like Grover and Clarisse and Annabeth as red herrings as to who the traitor is. Plus there's no adjustments to stuff from the books like Annabeth initially being somewhat aggressive/antagonistic towards Percy, or Clarisse's aggression and bullying towards Percy to try and circumvent those being bad tropes in the contexts of the casting.

And there's an ongoing trend of characters who are antagonistic towards Percy in the books being divided into two groups: those who continue to be antagonistic towards Percy in the show, or those who are tweaked to suddenly become kinda silly-goofy and significantly less threatening. Gabe, Dionysus, Ares, and Hades are all examples of characters that should be antagonistic towards Percy but are softened SIGNIFICANTLY and played for laughs in the show. Echidna is played as a twist antagonist because she initially because she approaches the kids as very sweet and helpful. And they're all cast as white! Meanwhile other characters like Clarisse, Luke, Zeus, etc, are still antagonistic towards Percy (plus also like Annabeth initially and again, Grover being painted as a major red herring). Plus some new additions like Hermes, Mr. Lin Manuel Miranda himself, being wholly introduced into the plot when he's not supposed to appear until book 2, and all he does is sabotage the quest. Like, it's weird! That's a weird writing decision!!!! I get wanting to get that sweet sweet LMM cameo money, but, why is Hermes an antagonist here???????? he's not even supposed to be here yet!.

We also have stuff like Poseidon (who, like many of the god/major kid pairings so far seems to have been cast to match each other appearance-wise) saving the day for Percy and being this weirdly good dad, versus the books where we get the iconic "I am sorry you were born" line and Percy and Poseidon's tension is part of their arcs. Notably, Poseidon does this by ceding to Zeus, who is actively about to start a war. While Gabe is rewritten to be a total loser, Sally is MUCH more aggressive and her yelling and screaming at young Percy is supposed to be sympathetic for some reason? If Gabe were acting like Sally does in the show, he would actually be significantly more like his book counterpart! The show is making active decisions to paint these characters the way they do!

Admittedly, part of it may just be they got overzealous with their casting (not inherently a bad thing! diverse casting is good!) and then proceeded to not consider how that casting affects the way the characters are perceived. It also doesn't bode well for certain guesses we can make going further into the show - Thalia is very at odds with Percy initially. She's a very aggressive character. They fight a lot! Also Annabeth's description already implies that they're tweaking Thalia's character to be more "tough love" versus the books where she's significantly more of a bleeding heart when she first meets Annabeth. Like, I'm very happy about Thalia's casting, her actress seems amazing, but also I'm VERY concerned with how they're going to approach her character to make sure it doesn't end up wildly offensive. Athena is similar - we can guess based on casting decisions so far that they're going to try and cast Athena as similar in appearance to Annabeth/Leah. The show has already painted Athena has antagonistic and uncaring towards her daughter. If projected trends continue, these things are not gonna be great.

And the show does seem to rarely want to engage with these topics - like the scene with the cop in the train. You can tell what they wanted to address by having Annabeth be the one to confront him. The thing is they were too cowardly to actually have that conversation! They paint the kids as being unreasonable and getting unnecessarily upset when they aren't directly being accused of destroying a room, therein painting the cop as the one in the right in that situation. The implication seems to be a little bit they were going for "Oh, this is Annabeth's hubris getting them into trouble" but. that's such a bad way to do it! That's like the worst way you could have done it! (This is also a trend in books from HoO onwards, more or less - Rick tries to engage with certain topics, often using characters of specific demographics, and then proceeds to do a really bad job of it.)

There are also some aspects that are just like - in the books, Luke being a middle-class blond-haired blue-eyed pretty white boy is relevant! Because the fact that he has privilege from that particularly in how he's perceived is part of how he came to where he is and why he acts the way he does. Percy not having those same privileges, and having aspects like constantly inherently being labeled as a trouble-maker just based on his atypical (neurodivergent) behavior and coming from a lower socioeconomical background play heavily into his character!!! Percy being both a poor and disabled kid (and implied potentially POC) plays DIRECTLY into why he feels so strongly about standing up for other disenfranchised kids (in SoM, explicitly including other disabled kids and kids of color). It directly relates to his experiences and standing up for kids who are like him because he didn't have that, versus Luke whose perceptions and goals are very self-oriented. Now, in the show, we've essentially swapped Percy and Luke's appearances, and that paints a very different narrative. And that's important to acknowledge!

[the-busy-ghost]

There are some books that are just BETTER if you go through them with a pencil and underline the shit out of tiny details, and honestly if anyone found Hogg's 'Private Memoirs and Confessions of a Justified Sinner' difficult to get into, I highly encourage you to give it another go and give yourself a license to extensively research & annotate every little bit