#those two characters who have a deeply abusive relationship have an actual romantic relationship its weird

[stefisdoingthings]

i can genuinely read the worst, most toxic, fucked up stuff about a godawful deeply problematic ship on ao3 and not bat an eye but if i see some of that shit in a YA romance book im burning down the whole entire building

[hoidn]

anon frēond asked for Sergio/Raquel and it took too long because i always overthink things sorry.

1. What made you ship it?

the tipping point at which i went from “ah, yes, the narrative is leading me to believe these people will be romantically involved” to “Help, I Am Emotionally Compromised By These People Being In The Same Scene And/Or Talking To Each Other” was when raquel tells sergio about her husband’s abuse in 1x04. raquel is just so vulnerable and real and brave and earnest, and then so utterly surprised by this complete stranger not only believing her but also offering to help her. and obviously the dramatic irony is that we know it’s part of the con, except double dramatic irony because it’s also very much not part of the con. while the professor might have come up with the idea of approaching the inspector as salva to get close to her, sergio is the one who’s beginning to realise just how much he’s underestimated this woman. she’s not just a chess piece to him anymore, not just inspector murillo, but a whole person who’s suffered and continues to suffer under the same system he’s trying to fight.

his face when she puts her hand over his just does something to me. he reminds me of a domesticated animal that’s not feral but also isn’t used to human contact. when someone touches an animal like that, its reaction is exactly like sergio’s: freezing, surprise, confusion. usually the animal will very slowly start to relax when it realises there’s no ill intent in the touch. sergio doesn’t get to that stage because ángel interrupts them, alas. but the way sergio then yanks his hand back as if he’s done something wrong is a very interesting reaction in and of itself. and we know raquel is also feeling some things because when he pulls away, she looks confused and hurt until she notices ángel. (does it seem like i’ve watched the scene many times? because i’ve watched the scene many times.)

2. What are your favorite things about the ship?

as i wrote recently: if you'd told me back in november that i'd become deeply emotionally invested in a relationship that starts off with subterfuge and deceit, then progresses into them chaining each other to pipes and holding one another at gunpoint, finally culminating in the promise of happily ever after, i would've rolled my eyes hard enough to sprain them. on paper the premise is so far away from what i value in relationships (equality, trust, a complete lack of stalking), that if i'd known about it i probably would've never watched the show. 

and i’m so glad i did watch it because it’s one of those rare examples of how good writing makes the unexpected compelling. the very relationship dynamics i ordinarily don’t like are exactly what i love about this ship entirely because of the complexity and nuance of their treatment. trust is my #1 favourite thing and the story of sergio and raquel’s relationship is nothing less than a tour de force exploration of trust in all its permutations. they’re two damaged people who are caught unawares by a bond that grabs them and won’t let go. they have this instinctive level of trust in each other right from the start, and even in their worst moments together, even when they don’t believe they can trust each other, they want to, and even when the trust seems broken, on some deep unconscious level it remains intact. i have a lot of feelings about this!

(like, okay, it’s entirely deliberate that their first conversation in 1x02 and their final conversation in 2x08 both include the question “can i trust you?” and are essentially the complete opposite of each other in every single aspect. just those two exchanges in and of themselves represent an entire essay about the characters and the journey of their relationship mediated through the concept of trust, and i’m such a nerd that i could actually write that essay because i live for this stuff.)

my #2 favourite thing is a woman arriving in a guy’s life and tearing it wide open then mending it just by existing. that pretty much describes every f/m ship i’ve ever had and these two are a particularly concentrated and superb example of the genre. also lbr they are Very Pretty together.

3. Is there an unpopular opinion you have on your ship?

honestly, i don’t feel that i know enough about the popular opinions in LCDP fandom to know what’s unpopular. one thing that i’ve noticed, though, at least in a lot of fic i’ve encountered, is the idea that sergio should have punished alberto in some way in order to avenge raquel. for me that’s a hard no. whether or not sergio has thought the situation through, or just instinctively understands it, the fact that he doesn’t take it upon himself to take any action against alberto post-heist is absolutely the best thing he could do for raquel. an abusive relationship strips you of your self-worth, your autonomy, your confidence in your ability to make good decisions. so as difficult and painful as it is for raquel to have to handle all the alberto-related shit herself, someone else just sweeping in and “fixing” it for her (without her knowledge or consent) would simply be another instance in which she’s deprived of control of her own life. now, if at some point sergio asked her if she wanted him to do something about alberto and she said yes, that would be absolutely fine because she’s in charge of making the decision herself. but taking that opportunity away from her is exactly what alberto did and, no matter how well-intentioned sergio’s actions would be, ultimately it’s the same thing.

[batsarebetterthanpeople]

Ok I'm gonna fight with you here, I haven't seen the original post but I think that maybe all of us are just talking out our ass on codependency. I think, and I know you guys are gonna accuse me of being an apologist here again, that Ed's mom, Jack, and Stede are actually the healthy relationships here. I do think Ed is co-dependant, just not on those people. I'm just gonna pop these definitions in here real quick, not because I think your don't know just because I think it's useful to all be on the same page. I understand its more complicated than this but for the purposes of Blorbo dissection:

Now Ed's mom: we don't see a lot of what Ed and his mom's relationship was like, but I think loving your mother even if she gave you some harmful lessons is pretty normal for a teenager especially a teenager in Ed's situation. Parents can become good cop and bad cop really easily even if one of them isn't physically abusive. I think we can assume that killing his dad is something Ed Had To Do to protect himself and her, because who the fuck is going to care about them. We can make all kinds of guesses about why we never see her again and all of them are really tragic but I don't think any of them are examples of codependency on Ed's behalf. It's normal for a child to be a bit dependent on their mother.

As for Jack, I have a PhD in their relationship, again I dont think Ed enables Jack's bullshit outside of what's normal for what their relationship is. They're not willing to label it as friends because pirates have hang ups but I think it's fair to say knowing what we do about their sexual relationship and the way they behave around each other that Jack was one of the least shitty people to Ed in a bad situation. A bitchy buddy who sometimes crosses a line as opposed to actively hostile. Ed doesn't enable him or lie down and take his bullshit more than is normal for conflict mediation between two friends who are fighting. Think about how you act when you have two friends who don't communicate the same way who you want to get along. We know Jack was being mean on purpose, but Ed doesn't, Ed does know that Jack is often mean as a joke. Why wouldn't he diffuse the tension and try to laugh things off? Pretty much everything else, the rowdy fun Jack proposes, is stuff Ed also used to do for fun and that he more or less likes. The one moment I can possibly think where Ed does anything to enable Jack (with the exception of leaving with him which was WAYYYY more about Stede saying he doesn't like who Ed was and Ed looking for any opportunity to break it off because he knows he's down bad and thinks that Stede is too good for him and will figure that out eventually than it is anything to do with Jack) is maybe the "audience with the Pope" moment. Which seems like a pretty small thing to enable in the context of OFMD. Ed ends the episode by setting a pretty firm boundary with him. Don't fuck with Stede in a way that could actually hurt him.

I'm not gonna do a breakdown of Ed and Stede's relationship because if I went on for that long about Ed's relationship with a cameo character you'd better believe that I can fill a book about them, but you get the picture. David Jenkins said that they're like teenagers in their relationship. I think that they are somewhat tied at the hip in a way that's deeply abnormal and they can't live without each other, if you want to describe it as codependent you can I think it's a label that would be as applicable to Stede as it is to Ed in that context.

Now all of that being said: Ed is co-dependant, with Izzy. And probably Hornigold. And was trying to project that shit onto Poppop for a second but thankfully that man doesn't take bullshit.

Now I don't mean this in the way that canyon people mean it. Ed's not in a romantic doom spiral with Izzy. Ed can live without Izzy and Izzy being gone didn't really fuck him up. BUT you can't say he's not kind of addicted to that sort of relationship, the approval seaking, the enabling of Izzy lording power over Ed's crew, allowing Izzy to continue treating him the way he does and keeping him close when he at least from a theoretical stand point has the option not to, it's all there, and then when Izzy decided to get less shitty (but no less creepy) and told Ed to be himself, Ed went out of his way to try to procure a new Izzy. There's no reason for it other than Ed being a mean daddy addict. Definitely Ed is a person with low self esteem and desire for approval who at least subconsciously intentionally attaches himself to controlling and manipulative men. Text book.

The thing is. Not gonna put this on fox’s post bc it’s a tangent. Anyway the thing is Ed and Stede are kinda codependent? What they are, though, is a) two animals who have pair bonded and b) ed seems to have more of an actual clinical depiction of codependency.

The big thing about codependency is that it’s not actually “one partner keeps the other partner good and pure and keeps them from being Mean and Bad.🥺” Codependency’s whole thing is control. It’s a saviour complex. And THE THING IS? It doesn’t work. You cannot “save” a person from being themself, from engaging in their addiction, from hurting themself. They need to make the executive decision to change, the codependent person cannot do that for them. Thus it becomes a cycle. Try to save -> see that they’re not doing what you want -> get angry/upset/punish yourself for not succeeding/sink with them -> rinse and repeat.

Izzy? Now HE is codependent on Ed. You can be codependent on someone who is perfectly fine. He tries to control Ed’s every move, doesn’t succeed, and inevitably gets angry. If you pick up an on god actual textbook, or like any Melody Beattie book, you will see that he is the very definition of codependency.

Cycling back to Ed, though. I do think he’s codependent. You don’t kill your alcoholic father to protect your mother. We don’t mysteriously never see his mother again and know that he went to sea at a young age for no reason. He tried to save her, it backfired. A woman telling her child that they’ll never have better because god decided they’d be miserable is not ready to be saved, is not ready to get out of an abusive situation.

Then, of course, there’s Jack. Jack is eternally getting Ed to do shit for him. To help him because he’s so helpless uwu or whatever. A douchebag who can’t seem to take care of himself and is on the hunt for someone to cater to him??? Mmm yummy! A codependent’s dream! In the episode, he caters to Jack’s every whim, makes excuses for him, and finally does the “sinking with him” thing when he inevitably pushes too far. This is partly because of Jack’s manipulation, partly because that’s what Ed’s family situation had been.

Now that we’ve established all of that, back to my original point: you don’t stop being codependent just because you get into a healthy relationship. I’m certain that a small part of the breakup era sads was that yet again he’d done something huge, sacrificed something big, and his efforts had gone wholly unwanted, just like what he’d done for his mom. And then there’s that fear. Ed knows the power that people he loves have over him. He knows how he acts in love! He knows how much it hurt when Stede left him! It makes sense, then, that he would run away when he sees Stede doing something he’s not too keen on (going full pirate party animal when Ed doesn’t want to be a pirate anymore). It’s fantastic that he’s running away though! He’s not doing shit he doesn’t want to do to humor Stede like he did with Jack. He’s not trying to force Stede to change directions. He’s not trying to control the situation! He’s seeing that he’s freaking out and he’s removing himself. Albeit poorly, but this is a step closer to being able to actually communicate things. He realizes he’s the variable he can change in dynamics.

So to close up, yeah the relationship is maybe a little codependent but not in the way people seem like to say? It’s codependent in that Ed has codependency issues and those will inevitably crop up in any deeply intimate relationship you’re in. It doesn’t mean you shouldn’t be in a relationship. It doesn’t mean that the relationship is bad or unhealthy. It just means you’re a human person with shit to work on.

[zuko-always-lies]

Unpopular Opinion: Zuko’s treatment of Mai is deeply toxic.

Mai is a character who is often maligned in the fandom, with it even occasionally being claimed that she was “abusive” toward Zuko. Any objective analysis of Mai’s behavior in her relationship with Zuko will instead find that she was, in fact, a shockingly good romantic partner, generally treating Zuko very well and being loyal to him far beyond reasonable expectation.  Claims that Mai behaved toxically toward Zuko seem to be instead founded in misogynistic expectations that women be perfect caretakers for the men in their lives.

That is not to say that the Zuko-Mai relationship isn’t still deeply toxic. However, its toxicity stems from the manner which Zuko badly mistreats Mai, often in ways which devalue her. Much more under the cut.

Our story begins in the first half of Book 3.  The vast majority of episodes there don’t show anything particularly toxic going on in the relationship. The most you can say is that they suggest that Zuko tends to dump his problems on others and doesn’t have best understanding of his girlfriend.

However, inevitably we must turn to “The Beach,” the episode which, by far, gets the most into the Zuko-Mai relationship. To say that Zuko doesn’t behave well toward Mai in this episode would be an understatement. I don’t speak here of Zuko’s unsuccessful attempts to please Mai early in the episode, but instead how badly he starts treating her beginning at the party:

Ruon Jian: Hey, first ones here, huh? Zuko: (cut to shot of Zuko and Mai walking side by side) Pft. He thinks he's so great. (to Mai) Well, what do you think of him? (they stop walking) Mai: I don't have any opinion about him. I hardly know him. Zuko: You like him, don't you? (Mai sighs and walks away, as Zuko looks angrily in the direction of Ruon Jian. The camera zooms in on Ruon Jian)

And

(Cut to shot of Ruon Jian leaning over Mai. Zuko rushes toward them angrily and pushes Ruon Jian away from her. Cut to shot of Ruon Jian straightening his hair.) Ruon Jian: Whoa. What are you doing? Zuko: (close-up shot of Zuko, angry) Stop talking to my girlfriend! Ruon Jian: (Ruon Jian approaches Zuko) Relax, it's just a party. (Zuko pushes Ruon Jian hard, sending him flying across the room, breaking a giant vase.) Mai: (Mai stands up and grabs Zuko's shoulder. He turns towards her.) Zuko, what is wrong with you?! Zuko: What's wrong with me?! Mai: (angrily) Your temper's out of control. You blow up over every little thing. You're so impatient and hot-headed and angry. Zuko: Well, at least I feel something...as opposed to you. You have no passion for anything. (raising his arms is the air) You're just a big "blah". Mai: (turning away from him) It's over, Zuko. We're done.

 And:

(Zuko follows her and the camera pans down to the handprint, left alone on the porch. Cut to wide view of the camera panning down Ember Island Beach. Zuko and Azula are walking side by side toward Mai and Ty Lee. Close shot of Zuko looking toward Mai and then looking away. Close shot of Mai looking angry and a bit sad.) Mai: Hey... (Interrupted) Zuko: (close shot of Zuko) Where's your new boyfriend? (Mai turns away angrily. Zuko comes and sits next to her) Are you cold? (he puts his arm around her, but she slaps it away)

Zuko is acting in a massively controlling fashion toward Mai, motivated by his violent and rage-filled jealously.  She literally can’t talk to a boy without Zuko flying into a jealous rage, trying to separate her from the person she’s talking to, and accusing her of emotional infidelity. In real life, this is considered a warning sign for an abusive relationship(although I don’t think Zuko has crossed the line into abusive yet).

“The Beach” also gives us this:

Mai: Oh, well, I'm sorry I can't be as high-strung and crazy as the rest of you. (Cut to over-head shot of the four teens. Zuko walks closer to the fire and Mai.) Zuko: I'm sorry, too. I wish you would be high-strung and crazy for once, (Close shot of Mai looking away and Zuko standing over her) instead of keeping all your feelings bottled up inside. She just called your aura dingy. Are you gonna take that?

Zuko tries to provoke Mai into having a fight with her best friend Ty Lee just so he can watch her express strong emotions.  Zuko very much wants to Mai to be and act like someone she’s not, which has its own issues.

Overall, Zuko treats Mai quite poorly in “The Beach.” The episode ends with this:

Mai: I know one thing I care about... (Cut to shot of Mai smiling at Zuko) I care about you. (Mai and Zuko kiss. Azula claps, causing them to separate and turn toward Azula. The camera pans left to include her.)

Mai forgives Zuko and accepts him back without him acknowledging his behavior was wrong, apologizing for it, or giving her any guarantee that he will treat her better in the future. That’s unfortunate, as Zuko soon ends up treating her far, far worse than he ever did in this episode.

Zuko’s disregard for Mai cumulates with the manner he commits treason on the Day of Black Sun. Let us start our understanding of what he did wrong from the beginning. Breaking up with Mai via a letter which didn’t give her a real explanation was a real asshole move, but it’s not at the core of what he did wrong.  For that, we need to turn to this conversation from “The Headband”:

Zuko: Can't you see we're busy? (He and Mai resume their "business".) Azula: (not to be put off) Oh, Mai... Ty Lee needs your help untangling her braid. Mai: (complaisantly) Sounds pretty serious. (She gets up and leaves. Walking past Azula, towards the camera, she shoots the princess a quick, poisonous glance behind her back.) Azula: So...I hear you've been to visit your Uncle Fatso in the prison tower. Zuko: (standing, incensed) That guard told you. Azula: (smugly) No, you did. Just now. Zuko: (sitting back down) Okay, you caught me. What is it that you want, Azula? Azula: (solicitiously) Actually, nothing. Believe it or not, I'm looking out for you. If people find out you've been to see Uncle, they'll think you're plotting with him. Just be careful, dum-dum.

Zuko has proven his loyalty to the Fire Nation beyond doubt, yet Azula is still very worried that him spending time with Iroh will get him accused of treason, because having a close association with traitors puts oneself under almost automatic suspicion of treason.

“Day of Black Sun, Part II”:

Zuko: First of all, in Ba Sing Se, it was Azula who took down the Avatar, not me. Fire Lord Ozai: Why would she lie to me about that? Zuko: Because the Avatar is not dead. He survived. Fire Lord Ozai: (alarmed) What?!

Zuko deliberately throws Azula under the bus, hurting her and reducing her status with Ozai as much possible while effectively accusing her of deliberately committing treason. He also deliberately pisses off Ozai as much as possible.

So where does this leave us? Mai is Zuko’s known girlfriend and extremely close associate. Automatically, the suspicion of knowing of Zuko’s treason ahead of time or being involved falls upon her. She’s in grave risk of being imprisoned, tortured, or executed, especially since Ozai seems not the type to be strictly concerned with ensuring those he punishes are guilty beyond reasonable doubt. The Fire Nation seems like a society which might have collective punishment(as historical East Asian societies, Nazi Germany, and the Stalinist Soviet Union did), and Mai might be under risk from that direction.  Finally, Ozai might hurt her simply as way of retaliating against Zuko.

Normally Azula would almost certainly be able to protect her friend, even under these trying circumstances, given Azula’s prestige and accomplishments.  However, Zuko has deliberately undermined Azula as much as possible and effectively accused her of committing treason herself, dramatically reducing the probability that she will be able to protect Mai.  In fact, Mai stands risk of being accused of being involved in Azula’s effort to “conceal the fact that the Avatar survived,” given Mai’s close association with Azula and her close involvement in the events where the Avatar “died.” She’s thus under danger from two different directions.

“But Zuko had to betray his father and become good through aiding Team Avatar.” Yes, it’s a good thing he did so. But Zuko had other options than the course he adopted. He could have avoided confronting Ozai at all and instead focused on rescuing Iroh(interesting AU idea right here).  He could have confronted Ozai but not thrown Azula under the bus, and that alone would have vastly reduced the risk to Mai(and also made Zuko out to be a better person, because deliberately throwing your younger sister under the bus and then abandoning her to the mercy of your abusive father is not a good look).  Zuko could have killed Ozai right then and there during the eclipse.  He even could have tried to lead Team Avatar to the bunker and tried to end the war right then and there.

“Zuko didn’t understand that he was placing Mai in danger.” Quite possible, but Zuko being so self-centered that he is unable of understanding that his actions can have negative effects on other people is a mark against him, not for him.

Now we turn to the Zuko’s behavior toward Mai in the rest of the third season.  Let us start with “The Boiling Rock, Part 1”:

Sokka: (emphatically) I think your Uncle would be proud of you. Leaving your home to come help us, that's hard. Zuko: It wasn't that hard. Sokka: (Cut to a side view of the basket) Really? You didn't leave behind anyone you cared about? Zuko: Well I did have a girlfriend. Mai. Sokka: (He goes closer to Zuko with a surprised look on his face) That gloomy girl who sighs a lot? Zuko: (Cut back to show Zuko grinning goofily) Yeah. (his face turns serious) Everyone in the Fire Nation thinks I'm a traitor. I couldn't drag her into it. Sokka: (Cut back to Sokka who leans back on the basket) My first girlfriend turned into the Moon. Zuko: (looks up) That's rough buddy

There are two things to unpack here. First, Zuko claims he “couldn’t drag her into it,” yet he already did, as I’ve illustrated above. Second, Zuko seems to expect that Mai would have followed him into treason if he asked her, that she would be willing to betray her nation, ideology, family, and friends just for the sake of her love for him. That’s an insane and pretty toxic expectation for Zuko to have for her relationship with him, especially since he wouldn’t do the same for her.

We also get more confirmation that Zuko doesn’t care at all about Ty Lee or Azula.

I don’t have a lot to say about the Zuko-Mai conversation during Boiling Rock, Part 2. The only things I would like to note are that Zuko is not very sorry for what he did, not very empathetic toward Mai’s pain, and doesn’t give Mai a real apology for his actions.

Of course, Mai proceeds to save Zuko’s life through committing treason in front of dozens of witnesses at Boiling Rock, something which places her own life in serous jeopardy. How does Zuko react to this?

Zuko: (Cut to a shocked Zuko) It's Mai. Azula: (Cut to a furious Azula) What is she doing?! (Cut to the backs of Azula and Ty Lee as Ty Lee shrugs and makes a "I don't know" noise. Cut to the gondola as it reaches the outer part of the crater. Cut to the inside of the entrance tower as the door opens and Suki rushes out followed by Sokka, Zuko, Hakoda and Chit Sang. Hakoda turns towards Chit Sang and points to the inside of the gondola. Chit Sang proceeds to throw the warden back in.) Hakoda: (Cut to the back of Hakoda's head looking at the warden lying on the floor) Sorry Warden, your record is officially broken. (Hakoda walks off screen while the warden continues to struggle on the floor. Cut to a front shot of the group as they run up a rocky incline.) Suki: Well, we made it out. Now what? Sokka: (Sokka stops and looks back at Zuko who pauses in his tracks, thinking) Zuko, what are you doing? Zuko: My sister was on that island. Sokka: Yeah and she's probably right behind us. So let's not stop. Zuko: What I mean is she must have come here somehow. (He runs to the edge of the rocks and looks down) There. (Cut to an area looking up at the edge of the cliff) That's our way out of here. (Camera pans down to reveal a Fire Nation zeppelin docked at the shore.

Zuko says Mai’s name once and then abandons her (to die?) with zero hesitation.  This is probably objectively the correct decision. It would probably be extremely difficult and dangerous if not outright impossible to save Mai.  The prison-break crew do have access to an airship, but it’s difficult to fly an airship over the lake’s thermals.

Yet that’s not my point. Zuko abandons Mai with zero hesitation, with zero anguish, with zero angst. He doesn’t even to seem consider the possibility that he should save her.  Something tells me if Iroh had just saved Zuko’s life under identical circumstances and then was in imminent risk of harm, Zuko would act very differently, that Sokka, Suki, and Hakoda would have to drag him off that island.

Zuko’s complete disregard for Mai continues for the rest the series. Remember this exchange from “The Cave of Two Lovers”?

Zuko: (losing his patience) We're not taking any more chances with these plants! We need to get help. Iroh: But where are we going to go? We're enemies of the Earth Kingdom, and fugitives from the Fire Nation. Zuko: (musingly) If the Earth Kingdom, discovers us, they'll have us killed. Iroh: But if the Fire Nation discovers us, we'll be turned over to Azula.

Zuko considers being captured by Azula a worse fate than death!

But do we see Zuko worry once about Mai’s fate? Do we see angst about what might have happened to her? Do we see him make any effort to even discover her fate, much less rescue her?

No. In fact, Zuko launches a sophisticated operation to infiltrate a Fire Nation information center so that he can gain intelligence in order to help Katara murder someone so that she’ll like him, but he doesn’t even consider doing the same to find out about Mai’s fate so that he could potentially rescue her. Zuko doesn’t even mention Mai once after Boiling Rock until the very end of the series finale, even though she sacrificed herself to save him. Remember this exchange(“Sozin’s Comet, Part 3”):

Zuko: Sorry, but you're not going to become Fire Lord today. (jumps off Appa) I am. Azula: (laughs) You're hilarious. Katara: (standing beside Zuko) And you're going down. (The fire sage motions to crown Azula, but she raises her hand, signalling him to stop.) Azula: Wait. You want to be Fire Lord Fine. Let's settle this. Just you and me, brother. The showdown that was always meant to be. Agni Kai! Zuko: You're on. (Katara turns to Zuko, surprised. Cut to a close up of Azula's lips as the curls into a smile. Cut back to Katara and Zuko.) Katara: What are you doing? She's playing you. She knows she can't take us both so she is trying to separate us. Zuko: I know. But I can take her this time. Katara: But even you admitted to your Uncle that you would need help facing Azula. Zuko: There's something off about her, I can't explain it but she's slipping. And this way, no one else has to get hurt. (Fade to a shot of the courtyard from the side. The camera pans from Zuko kneeling on the right end to Azula kneeling on the left end. Cut to a shot of Zuko rising and turning around, then cut to a shot of Azula rising. Each can be seen behind the other. Cut to a shot of Azula from the front turning and removing the Fire Lord robes.) Azula: I'm sorry it has to end this way, brother. Zuko: (in his stance) No, you're not.

Notice something? Zuko doesn’t demand to know what happened to Mai! It’s almost like he forgot she existed!

Now we turn to the final infamous exchange(“Sozin’s Comet, Part 4”):

Mai:(off screen) You need some help with that? (He looks up surprised and moves aside to reveal Mai leaning against the doorway. Cut to a close up of Mai as she walks towards Zuko.) Zuko: (Cut to a delighted Zuko) Mai! (Walks off screen) You're ok. (Cut to an area behind Mai's back as Zuko opens his arms out in a hug) They let you out of prison? (Mai walks behind Zuko and lifts up his empty robe sleeve.) Mai: My uncle (Zuko puts his arms through the sleeve) pulled some strings, (she proceeds to fasten his robe) and it doesn't hurt when the new Fire Lord is your boyfriend. (She walks in front of Zuko and places a hand on his chest) Zuko: So does this mean you don't hate me anymore? Mai: (she blushes) I think it means... (Cut to a close up of the couple) I actually (places a hand on Zuko's cheek) kind of like you. (They lean in for a kiss and part a fewseconds later, looking into each other's eyes happily) But don't ever (She jabs a finger into Zuko's shoulder and Zuko's eye traces the movement of her finger) break up (She lifts her finger into the air and Zuko's eyes still follows it) with me again. (She jabs her finger into Zuko's shoulder one last time and Zuko smiles goofily. They embrace and the camera zooms out slowly.

Zuko seems surprised to learn that Mai is OK, almost like he made no effort to find out her fate once he took charge of the Fire Nation. And indeed, his first acts as leader of the Fire Nation were not to find out what happened to her or, if he actually knew, to get her released from prison.  Mai only got released from prison when her uncle and his connections got sufficiently confident that Zuko had been completely accepted as the new leader to release a massive traitor completely on their own initiative.  This was quite possibly weeks after Azula-Zuko Agni Kai, yet he made no apparent effort to get her released. It’s almost like Zuko completely forgot about Mai, even though she sacrificed herself to save him.

And, of course, Zuko doesn’t accept responsibility for any of the awful ways he treated Mai, much less apologize to her or offer any guarantee he will behave better in the future. Mai still forgives him anyways, just like she did in “The Beach,” only for Zuko to continue to screw her over. There is something deeply depressing here, as there’s every reason to believe that Zuko will screw over Mai over, devalue her, and disregard her well-being, desires, and interests again the moment it’s convenient for him to do so. He certainly has not recognized that his toxic behavior here is something he needs to stop doing. Ironically, the comics get this right by having Zuko try to use his power as Firelord to order Mai to stay his girlfriend.

Ultimately, Zuko loves Mai and cares about her deeply, yet he still treats her as a tool and acts like she exists to serve him. It reminds me how show! canon Ozai genuinely loved show! canon Ursa, but still used her as a tool and threw her away.  Honestly, I doubt 16-year-old Zuko is really ready for any romantic relationship at all, given his often toxic behavior, his trauma, and the incredibly stressful position he’s placed in at the end of the series.

[land-of-brains-and-chocolate]

Rec list for Eddie and Symby being vaguely to very gay?

I'm sorry for coming to you with my monsterfucker agenda 😔👊 (no I'm not)

i mean, i probably could’ve seen this coming.

venom is dominated by two opposing narratives. let’s call this the “relationship narrative” and the “control narrative”. they’re not perfectly separated, like, you’ll definitely get elements of one in the other, but generally one of them describes what the story, at its core, is using the symbiote for.

now comics are an endless tug-of-war at the best of times, much less the gayest and slimiest of times. there’s a neverending backlash and backbacklash going on between these two takes. what you want is the relationship narrative.

everything very much started out with that take. eddie and the symbiote are two characters who forge an evil alliance because it lets them do what they wanna do (kill spider-man, more or less) and they have the same kinds of neuroses and complexes and syndromes. lots of early comics are also very fun about the merged consciousness, merged identity deal. that’s kind of the textbook relationship stuff.

personally i absolutely think the original stories (venom was created by david michelinie) have romantic undertones, even starting in the villainy days. eddie describes their first meeting as “a shadow moved, caressed me.” he takes the rejection of the symbiote still being “in love with” spider-man really hard. he sobs his eyes out when he thinks it’s dead and promises to avenge it bare-handed. they totally expect to live happily ever after on a deserted island together.

then there’s venom: lethal protector, which is cute on its own, but if you’re reading for slime romance, i very specifically recommend the novelisation. i won’t even spoil it. and then, planet of the symbiotes is the first comic that i would say has outright queer themes, intentional or not.

so all those recs until now are collected in this post.

we're trucking along through the 90s, we explore elements of one take and then the other and sometimes we ignore the symbiote completely, but not too much changes, overall. the next BIG stop in Gay Venom is, of course, the hunger.

miniseries by len kaminski, just venom: the hunger. plenty of people have written their essays on it, but what’s always important to me is that it DID NOT come out of nowhere. as said above, it expanded on themes that were there, it references michelinie venom very explicitly, like you get your SECOND “tenderly touching the green glass tube” scene.

but yes this one is specifically about, like, stigmatisation, otherness, mental illness, meeting all those things with care and empathy and optimism, tentacle sex. again, many essays. a venom comic that can go “look at the twisted deviance of this relationship” and then turn it around into “but how are you looking at it” is good. god how good would it be if they also did that to eddie more. anyway.

a few years later you get the first MAJOR fucking backlash, culminating in the SECOND story titled the hunger. spectacular spider-man: the hunger, from 2003. completely reboots venom and retcons their motivations and backstories, makes very spiteful references to planet of the symbiotes and the hunger, like it is not also called that by sheer coincidence. literally starts out, in a comic that wants to tackle and redefine venom, with the line “the PROBLEM is that you guys are like an old married couple”. so the new status quo is that the symbiote only ever used eddie to be with spider-man, and eddie only ever used the symbiote to not die of cancer.

the “control narrative” that really kicks in here uses the symbiote as, you know, a thing to control, eddie’s demons personified or even a completely foreign force to torment him. if eddie is evil, it’s not because of what he thinks and believes and wants, it’s because he couldn’t control the symbiote and gave in to its inexplicable bloodlust.

this is an unambiguous downgrade in terms of complexity, in my humble opinion, completely fucks up eddie’s responsibility themes, and is also a pretty clearly petty reaction to venom’s absolute oversaturation in the nineties. the bitch was everywhere and most of it wasn’t good. so there was LOTS of “look at this creepy loser” content by writers cringing themselves into self-awareness at the time. the 00s were going to be GRITTY and MATURE.

this of course means that we get to see eddie slit his wrists and bleed to death on panel after selling the symbiote to supervillains as an attempted act of redemption???

wild fucking times! it’s not exactly worth recommending as ~shippy~, but the first real backbacklash to this first round of retcons comes from dan slott, who just kind of ignores it all in new ways to die. drags eddie back to the land of the living and relevant, makes the symbiote refuse to let its new host kill him, telling that host, and reestablishing, that it loves eddie. and then, to keep him living and relevant, slott makes eddie anti-venom.

don’t even worry about it. anti-venom is essentially eddie seeking redemption with symbiote powers, but without the symbiote, except he pretty much acts no fucking different at all, just keeps on being a murderous vigilante with cracked ideas about innocence and guilt. people still act like he’s better now because, in its metatextual ways, the hunger was right.

then fucking uuuuuuhhhhhhh. agent venom. symbiote goes to flash thompson and the us military, and the writer, rick remender, goes really, really, really hard on the control narrative. the symbiote becomes a substance flash is addicted to, gives a voice to his past abuse, it’s dark times all the times.

people very much do like that narrative for flash, like at least from that perspective it was worth it. i don’t like it much for the symbiote. for the symbiote, representing everything fucked up with flash and forcing him to murder kill bite all the time is resolved via the good guy avengers literally lobotomising it so flash can wear it without further resistance or input. imagine doing that to a human person. you’re uncooperative so we’re gonna turn off your higher cognitive functions and wear you like a meat suit. happy ending for everybody! truly we’ve conquered our demons this day.

then! at the same time, there’s a cartoon coming out, it’s called ultimate spider-man. THAT one does the control narrative take with harry osborn, but then does the relationship take with flash, making it the only cartoon to outright redeem the symbiote and let it find friendship and be valued as a person.

and people loved it! so brian michael bendis gets it in his head that he’s going to redeem the symbiote and make it partner up with flash. and he does redeem it by the highly fucking questionable means of having it be “cleansed”, aka brainwashed and relieved of its memories and personality. not that it matters for long. nothing fucking matters in comics. take this with you if it’s the only thing.

so then for fun friendship times you get venom: space knight, flash and the symbiote’s adventures in space! and then that gets cancelled. eddie is off somewhere being toxin and hunting carnage (2016). many good comics but you did not ask for them.

and THEN.

it is time for the next MOTHER of backlashes.

flash gets literally discarded at fucking roadside to put the symbiote back on eddie and turn back time on their relationship to RIGHT before the FIRST backlash happened. you know, all those 2003 retcons. gone. ignored. no more. venom’s themes are now those circa 1996 again. full fucking on relationship narrative. ROMANTIC relationship narrative, and that after the symbiote was turned into eddie’s evil shadow, after he hated it and spent a LONG time seeking to eradicate all symbiotes (and not even for the first time).

the COSTA run. venom (2016). reviled and beloved.

like this comic is fucking ANGRY about symbiote treatment. i HAD to tell you all of that so you’d understand ANYTHING it’s doing. the first thing it does is flip it completely around, puts the symbiote on a military guy who’s making IT do bad things, makes his ability to control it horrifying and abusive instead of heroic and admirable. one of the later things it does (in the follow-up venom: first host) is outright feature a villain who lobotomises symbiotes, ending on a symbiote serving him swift and sweet payback by doing the same thing TO HIM. it’s exactly as unsubtle as the hunger (2003) was about its hang-ups.

comics... are a conversation.

flash remains a symbiote friend but still got fucked over big time by it all, symbiote-focused writers slott and costa also kind of use him to literally, in case anybody hadn’t caught on, literally spell out the REAL story that’s been going on in the writer's room for the past THIRTY YEARS:

you’ll notice i didn’t actually list any of the Gay Shit for you, you’ve probably already seen it or you’ll get to see it for yourself. yes, they are deeply in love, yes, it’s fucked up and flawed, yes, it is real and taken seriously and has ultimately redeeming potential. yes the concept of that nearly knocked me off my feet and in front of the subway at one point. yes there’s mpreg

it’s also fucking riddled with events, which spin off into other comics, so either ignore those and rely on the recaps OR click yourself forward through the “next issue (story)” button on marvel wikia to know what to read.

and after that must of course come the backbackbacklash, as certain as death or taxes. in the next run, we retcon everything once more, eddie just needs to control his darkness, the symbiote was an evil abuser all along, nothing on earth is ever new.

i’m not gonna go through it, i’m just gonna point you to the backbackbackbacklash issue that came out during this time: venom annual volume 2 number 1 - it’s confusingly named, it’s the one that has a blue-skinned space lady on it. this one ignores the backbackbacklash going on very pointedly and goes “it’s not ABOUT control” again, it’s pretty explicitly romantic.

and then there’s also marvel comics presents (2019) #5, which, oddly enough, does not particularly feature the characterisation you’d typically see in the relationship narrative? but it does feature eddie and the symbiote literally fucking, so you’d want to know about it.

that’s the overall, like, frame of eddie and the symbiote being in a relationship (nuh uh) (yeah they are) (NUH UH) (YEAH THEY ARE)

some stuff that’s smaller but still notable, uh.

nova (1999) 6 - 7, that’s the “we’re space married”

venom: dark origin, that’s an ALTERNATE (!!!) take on the character, don’t expect a likeable eddie but it’s very darkly funny and gay so what can i say.

venom: the end, which i would absolutely fucking hate to be canon, i think its characterisation is quite regressive, but the symbiote sure is in love, i guess.

venom: separation anxiety, the dawn of the control narrative but eddie’s characterisation did not have to go so wrong from here, like if they’d just figured out AT THIS STAGE that he's STILL acting like venom without it... i digress. it has the symbiote going eddie eddie eddieee

venom: sinner takes all, this is the first she-venom comic so that’s. hm. interesting. healing symbiote blanket

don’t read venom: license to kill just look at this panel with me

if i think of more comics worth adding i’ll add them.

the subtext slash text is heavy enough to be present to some degree in literally every cartoon adaptation of eddie brock. spider-man: the animated series goes FULL control narrative, in fact it started the “the symbiote corrupted peter” take that we to this day cannot escape, but the first few venom episodes are VERY playful about their relationship.

in spectacular spider-man it’s canon, but horrible. eddie’s in love with it, but eddie's a good boy and the symbiote is played very, very, very abusively. i think this is an evil symbiote adaptation that works well enough, at least it’s an actual meaningful character instead of just a malevolent force to resist.

in marvel’s spider-man, the only venom episode worth watching is venom returns.

i’ve actually got every symbiote-relevant episode listed right here from when we did our communal watch-through.

also watch truth in journalism. idk if it’s exactly shippy just do it

[sapphicyanli]

some of the loud thoughts that i have after finally watching the devil judge is about how they handle and write soohyun's character, especially in relation to gaon and yohan's relationship. trigger warning for the conversation about her death in the latest part of this post.

i think it has been agreed upon collectively that basically TDJ's love triangle is between yohan and soohyun competing for gaon's heart and we were supposed to root for gaon and yohan to end up together, that's obvious imo. thus, the way they portrayed soohyun was, uhm, a choice.

they wrote her that she joined the police academy to basically so she can protect gaon more because god forbid women can have a genuine, personal ambition without it being about a man(side not, its rare to see the main male character framed as someone who needs protection that much. further proof that gaon is literally the "female" character that soohyun & yohan fighting over), always worrying over gaon, willing to put up with more works as long as its for gaon, willing to always be there for gaon when he's overwhelmed with the kind of sorrow that he's only comfortable to show to soohyun, his best friend that has seen him broke down so many times.

even when after those times, gaon choose yohan over her again and again.

in a mainstream het drama context, she's usually the "side, nice guy who actually treat the main girl better but the main girl is somehow fall for the abusive & annoying male lead"(except yohan is not abusive ofc).

basically a lot of her actions, always have something to do with gaon and its makes me raise my eyebrow. there shouldn't even be a "romance" between gaon & soohyun in the first place imo, if that's how they did ber character. her and gaon's friendship could be a powerful representation that platonic relationship is just as precious as the romantic one. gaon too didn't need to always choose between two of the most important people in his life which is cruel btw, yohan and soohyun could get to know each other and be friends, elijah also could get a sister if yohan and soohyun get along, its a win-win for everybody. the amount of traumas that gaon already have and troubles coming his way is enough to supply that boy for a lifetime already, and gaon's love for soohyun and yohan run deeply, albeit in a different way for each of them. if he can have his best friend soohyun and his lover yohan by his side without tearing himself apart into two, why not?

yohan and gaon get pulled to each other like they have their own gravitation even since their first encounter, and i think soohyun knew that. she's gaon's best friend after all, she knew how gaon is when he's in love with someone else and she can tell it is different than how gaon's feelings towards her. all this time it has always been her and gaon only, and now suddenly there's this charming guy who's winning gaon's heart in a short amount of time, soohyun didn't stand a chance to be gaon's lover.

thus, the portrayal of her devensife and suspicios behavior towards yohan could also be linked/&translated to jealousy. to see her best friend that she loved for years being swept away off of his feet by this new, cooler, richer, older guy... well what a way to then made her character seemed desperate to prove to gaon that "no yohan is a bad guy he just manipulate you gaon you cant trust him ever i'm the only one you have and can lean on to gaon-ah" and even made us the audience can't help but wonder too; is kang yohan really a monster? is he capable to love gaon like that?

not to mention throughout the drama her one sided romantic feeling towards gaon is often being brought upon which made me like,,, what was the point?? once or twice is enough. like tell me about her favorite movies, her favorite season, her memorable stories as a police, tell me about HER that isn't about gaon like damn even her affectionate actions towards gaon all this time was also used to paralleled a lot of yohan's caring and loving behaviour towards gaon to literally show that yohan is gaon's "new" love

her death is so dissapointing too in my opinion. she died protecting gaon, she died for him. at the end, she lived and existed FOR gaon, that's it and that's not fair. she should and could be so much more than that. she didn't even have a little background story of her own life being shown, all we knew that she was a gaon's best friend since they were kids and a cop, that's it.

what a waste for a potentional absolute girlboss character in this drama tbh.

[baya-ni]

The Queer Appeal of Sk8

Recently @mulberrymelancholy reblogged a post of mine with a truly galaxy brain take about how Sk8 “is a show made for queer fans” and generally how sports anime often depicts love and relationships in a way that’s more accessible and relatable to ace/arospec people than other mainstream media does.

Just, *chef’s kiss* fucking brilliant. I urge you to read their post here (note I’m referring to the reblog not the actual post).

And basically, it got me thinking about this concept of Sk8 as a Queer Show, and the kinds of stories and dynamics that tend to attract queer audiences in droves, regardless of whether its queerness is made explicit or hell, whether that queerness was intended.

And that’s what I’ve been pondering: What are the cues, markers, or coding, in Sk8 that set off the community’s collective gaydar?

I obviously can’t speak for the community. So here’s what aspects of the show intrigued me and what, for me, marks Sk8 as a Queer Show beyond the subtextual queer romances: a punk/alternative aesthetic, Found Family, Shadow as a drag persona, and The Hands.

1.) The Punk Aesthetic

All three of the above screenshots are taken from Ep 1, and every single one of them depicts background characters. They’re nameless and ultimately unimportant characters, yet each of them designed so distinctly and so unique from one another, one could mistake each of them for the main character(s) of another story.

Of what little I know about Punk subculture, I do know this: that the ethos of Punk is heavily built around a celebration of individuality and non-conformity. Sk8 seems to have incorporated this ethos into the very fabric its worldbuilding, and the aesthetics and culture upon which it takes inspiration appeals specifically to a queer audience.

I don’t really need to explain why Punk has such deep ties with the queer community. For decades, queer people have found community and acceptance within punk spaces, and punk ideology is something that I think is just ingrained in the queer consciousness as both lived experience and a survival tactic.

Therefore, a show that adopts punk aesthetics is, by association, already paying homage to Queer culture, intentional or not.

Queer fans notice this- like recognizes like.

2.) Found Family

This also needs little explanation.

Too often, queer individuals cannot rely on their “born into” families for support and acceptance. Too often, we are abused, neglected, and abandoned by those who we were taught would “always be there for us.”

And so, a universal experience for queer people has been redefining the meaning of Family, having to build our families from scratch, finding brothers, sisters, mothers, and fathers in people with whom we have no blood relation, and forming communities tied together by shared lived experience rather than shared genetics.

And this idea of Found Family is also built into Sk8′s narrative.

Like, for example, the way that Reki promises MIYA that he and Langa will “never disappear from [his] sight,” filling the void that MIYA felt after his friends abandoned him.

And in the way that JOE becomes a paternal figure for Reki, teaching him ways to improve in skateboarding, and ensuring that Reki doesn’t self isolate when he’s feeling insecure.

And in the whole Ep 6 business with Hiromi acting as babysitter to the Gang.

Hell, even ADAM (derogatory) is associated with this trope. Abused as a child, he finds solace in an underground skateboarding community and culture he helped create- his own found family (or some powertrippy version of it anyway).

Again, queer fans see themselves depicted in the show, but this time in the way that the show gives importance to Found Family relationships between its characters.

3.) Shadow and Drag

This is one that’s more of an association that I personally made. But I was intrigued by the way that Hiromi adopts his SHADOW persona. He wears SHADOW like a mask, and adopts a personality seemingly so opposite to his day-to-day behavior.

Further, the theatricality and general “gender fuckery” of his SHADOW persona, to me, just seemed so similar to a the characteristics of a drag persona (I don’t know a whole lot about drag but enough that I’m drawing superficial similarities).

There’s also this aspect of a “double life” that he, and actually all the other adult characters of the show, have to adopt, which is a way of living that I’m sure a lot of queer viewers see themselves reflected in.

4.) The Hands

Ohhhh the Hands.

One of the things I noticed very early on is the way the show constantly draws our attention to Reki’s hands, which I thought was a little strange for an anime about skating. After all, skating doesn’t really involve the hands, or at least the show doesn’t really draw attention to hands within the context of skating.

I count 3 times so far between Eps 1-9 in which hands are the focus of the frame.

First, when Reki teaches Langa how to fist pump after Langa lands his first ollie, second, when Reki and Langa make their Promise, and finally, when Langa saves Reki from falling off his board.

And you know what they say, twice is a coincidence but thrice is a motif (no one else actually says this I think I’m the only one who says this lol).

I’m not really certain why hands seem to be such a shared fixation among queer people (at least among those I interact with). All I know is that gay people are just fucking obsessed with them.

I have a Theory as to why, and at this point I’d love for other people to chime in and “compare notes” if you will, but I think it basically has to do with repression. And in the same way that queer people have had to redefine the meaning of family, we’ve also had to redefine intimacy.

Being overtly physically affectionate with someone of the same sex, even if they’re your significant other, or often specifically BECAUSE they’re your significant other, can still be dangerous, even now despite the “progression” of society. Queer people know this, this vigilant surveillance of our environment and ourselves, always asking ourselves, “Am I safe enough to be myself?”

Already, Western culture is pretty touch-averse. That is, it’s considered taboo to touch someone unless they’re a family member or a romantic partner. And to touch a person of the same sex in any way that could be misconstrued as romantic (which is most things tbh) is a big no no.

There’s just A Lot to unpack there.

But basically I think that queer people, by necessity, have had to learn to romanticize mundane or unconventional ways of being physically intimate so that we can continue to be romantic with one another without “being caught” so to speak.

Kissing and hugging is too obvious. But a handshake that lingers for just a second too long is much more likely to go unnoticed, braiding someone’s hair can easily be explained away as just lending a helping hand, touching palms to “compare hand sizes” is just good fun.

But for queer people, these brief and seemingly insignificant touches hold greater meaning, because it’s all we are allowed, and all we allow ourselves, to exchange with others.

God, I’ve gone off and rambled again. What’s my point? Basically that the way the show draws attention to Reki’s hands, and specifically how they’re so often framed with Langa’s hands, is one of the major reasons why I clocked Sk8 as a Queer. It’s just something that resonated with me and my own experience of queerness, and I know that I’m not the only one who noticed either.

~

So in conclusion, uhhhh yeah Sk8 the Infinity is just a super gay show, and it’s not even because of the homo-romantic subtext (that at this point is really just Text).

Because what’s important to understand is that Queerness isn’t just about same-sex romance.

Queer Love isn’t just shared between wives/girlfriends, husbands/boyfriends, and all their in-betweens. Queer Love can be two best friends who come out together, queer siblings who rely and support one another, a gay teacher who helps guide one of their questioning students, a queer community pitching in to help a struggling member.

And that all ties with another important thing to consider, that what we refer to as the “queer experience” or “queer culture” isn’t universal. In fact, it wrongly lumps together the unique experiences and struggles of queer BIPOC all under one umbrella that’s primary White and middle class.

So I think what drives a lot of my frustration about labeling a show like Sk8 as Queerbait is this very issue of considering queerness and queer representation within such narrow standards, and mandating that a show must pass a certain threshold of explicit queerness to be considered good representation.

I get that someone might only feel represented by an indisputable canonization of a same-sex couple. That’s fine. But labeling Sk8 as Queerbait for that reason alone ignores the vast array of other queer experiences.

The aspects of Sk8 that resonate most deeply with my own experiences of queerness is in the way that Reki and Langa share intimacy through skating (intricate rituals heyo). For me, them officially getting together ultimately doesn’t matter- I’ll consider Sk8 a Queer show regardless.

Similarly, @mulberrymelancholy​ finds ace/arospec representation in that very absence of an on-screen kiss. A bisexual man might find representation in Reki, not because he enters a canon relationship, but in the depiction of Reki’s coming of age, growing up and navigating adolescent relationships. A non-binary person might feel represented through CHERRY’s androgyny.

That’s the thing, I don’t know how this show will resonate with other members of the queer community, and it’d be wrong to make a judgement on Sk8′s queer representation based on my experiences alone.

That being said, Straight people definitely don’t get to judge Sk8 as Queerbait. Y’all can watch and enjoy the show, we WANT you to enjoy these kinds of shows, and we want you to share these shows and contribute to the normalization and celebration of these kinds of narratives.

But understand that you don’t have a right to tell us whether or not Sk8 has good or bad queer representation.

And even members of the queer community are on thin ice. Your experience of queerness is not universal. Listen to the other members of your community, and respect that what you might find lacking in this show may be the exact representation that someone else needs.

[firelxdykatara]

I’m just really confused as to where this idea that Zuko is gaycoded came from. Like people are allowed to have that headcanon but I don’t understand where people are coming from when they try and claim that he was undisputedly gaycoded and trying to deny it is homophobic when he’s only ever shown romantic interest in women.

I made a pretty long post on the topic a while back, but the ultimate gist of it is this: there are a lot of elements of Zuko's status as an abuse victim and trauma survivor that resonate with queer folks. This is understandable and completely fine! However, there are some parts of the fandom who have taken that to the other extreme and will now insist that those elements are uniquely queer, and that they can only be read as some sort of veiled gay/coming out narrative, even though that doesn't make much sense since there is no part of Zuko's narrative which is unique to any sort of queer experience.

I think the problem really does stem from two things being conflated--Zuko's history of abuse and trauma, and trauma&abuse being something a lot of queer people have experienced. I suspect it goes something like 'I see a lot of myself in Zuko, and I was abused for being gay, therefore Zuko must be gay too in order to have had similar experiences.' This can then lead to feeling dismissed or invalidated when other people point out that those experiences are not unique to being queer--but on the flip side, abuse victims and trauma survivors whose abuse&trauma do not stem from queerness (even if they are queer themselves) can feel invalidated and dismissed by the implication that their trauma must be connected to their queerness or it isn't valid.

This is also where the 'people don't actually know what gay coded means' part comes in, and I realize now that I didn't actually get into what gay coding (and queer coding in general) actually means, since I was so hung up on pointing out how Zuko doesn't really fit the mold. (And the few elements that exist which could be said to count are because of the 'villains historically get queer coded bc Hays Code era' thing and mostly occur in Book 1, not because of how he acts as an abuse&trauma survivor.)

Under a cut because I kind of go on a tangent about gay/queer coding, but I swear I get back to the point eventually.

Queer coding (and it is notable that, with respect to Zuko, it is almost always framed as 'he couldn't possibly be attracted to girls', rather than 'he could be attracted to boys as well as girls' in these discussions, for... no real discernible reason, but I'll get into that in a bit) is the practice of giving characters 'stereotypically queer' traits and characteristics to 'slide them under the radar' in an era where having explicitly queer characters on screen was not allowed, unless they were evil or otherwise narratively punished for their queerness. (See: the extant history of villains being queer-coded, because if they were Evil then it was ok to make them 'look gay', since the story wasn't going to be rewarding their queerness and making audiences think it was in any way OK.) This is thanks to the Motion Picture Production Code (colloquially and more popularly known as the Hays Code), which was a set of guidelines which movies coming out of any major studio had to adhere to in order to be slated for public release and lasted from the early 1930s until it was finally abandoned in the late 60s.

The Hays Code essentially existed to ensure that the content of major motion pictures would not 'lower the moral standards' of the viewing public. It didn't just have to do with queerness--cursing was heavily monitored, sex outside of marriage was not allowed to be seen as desirable or tittilating, miscegenation was not allowed (most specifically interracial relationships between black and white people), criminals had to be punished lest the audience think that it was ok to be gay and do crime, etc. Since same-sex relations fell under 'sexual perversion', they could not be shown unless the 'perversion' were punished in some way. (This is also the origin of the Bury Your Gays trope, another term that is widely misunderstood and misapplied today.) To get around this, queer coding became the practice by which movies and television could depict queer people but not really, and it also became customary to give villains this coding even more overtly, since they would get punished by the end of the film or series anyway and there was nothing to lose by making them flamboyant and racy/overly sexual/promiscuous.

Over time, this practice of making villains flamboyant, sexually aggressive, &etc became somewhat separated from its origins in queer coding, by which I mean that these traits and tropes became the go-to for villains even when the creator had no real intention of making them seem queer. This is how you generally get unintentional queer-coding--because these traits that have been given to villains for decades have roots in coding, but people tend to go right to them when it comes to creating their villains without considering where they came from.

Even after the Hays Code was abandoned, the sentiments and practices remained. Having queer characters who weren't punished by the narrative for being queer was exceptionally rare, and it really isn't until the last fifteen or so years that we've seen any pushback against that. Buffy the Vampire Slayer is famous for being one of the first shows on primetime television to feature an explicitly gay relationship on-screen, and that relationship ended in one of the most painful instances of Bury Your Gays that I have ever personally witnessed. (Something that, fourteen years later, The 100 would visually and textually reference with Lexa's death. Getting hit by a bullet intended for someone else after a night of finally getting to be happy and have sex with her s/o? It wasn't remotely subtle. I don't even like Clexa, but that was incredibly rough to witness.)

However, bringing this back to Zuko, he really doesn't fit the criteria for queer coding for a number of reasons. First of all, no one behind the scenes (mostly a bunch of cishet men) was at all intending to include queer rep in the show. This wasn't a case where they were like 'well, we really wanted to make Zuko gay, but we couldn't get that past the censors, so here are a few winks and a nudge', because it just wasn't on their radar at all. Which makes sense--it wasn't on most radars in that era of children's programming. This isn't really an indictment, it's just a fact of the time--in the mid/late 00s, no one was really thinking about putting queer characters in children's cartoons. People were barely beginning to include them in more teen- and adult-oriented television and movies. It just wasn't something that a couple of straight men, who were creating a fantasy series aimed at young kids, were going to think about.

What few instances you can point to from the series where Zuko might be considered to exhibit coding largely happen in Book 1, when he was a villain, because the writers were drawing from typically villainous traits that had historically come from queer coding villains and had since passed into common usage as villainous traits. But they weren't done with any intention of making it seem like Zuko might be attracted to boys.

And, again, what people actually point to as 'evidence' of Zuko being queer-coded--his awkwardness on his date with Jin and his confrontation with Ozai being the big ones I can think of off the top of my head--are actually just... traits that come from his history of trauma and abuse.

As I said in that old post:

making [zuko’s confrontation of ozai] about zuko being gay and rejecting ozai’s homophobia, rather than zuko learning fundamental truths about the world and about his home and about how there was something deeply wrong with his nation that needed to be fixed in order for the world to heal (and, no, ‘homophobia’ is not the answer to ‘what is wrong with the fire nation’, i’m still fucking pissed at bryke about that), misses the entire point of his character arc. this is the culmination of zuko realizing that he should never have had to earn his father’s love, because that should have been unconditional from the start. this is zuko realizing that he was not at fault for his father’s abuse--that speaking out of turn in a war meeting in no way justified fighting a duel with a child.

is that first realization (that a parent’s love should be unconditional, and if it isn’t, then that is the parent’s fault and not the child’s) something that queer kids in homophobic households/families can relate to? of course it is. but it’s also something that every other abused kid, straight kids and even queer kids who were abused for other reasons before they even knew they were anything other than cishet, can relate to as well. in that respect, it is not a uniquely queer experience, nor is it a uniquely queer story, and zuko not being attracted to girls (which is what a lot of it seems to boil down to, at the end of the day--cutting down zuko’s potential ships so that only zukka and a few far more niche ships are left standing) is not necessary to his character arc. nor does it particularly make sense.

And, regarding his date with Jin:

(and before anyone brings up his date with jin--a) he enjoyed it when she kissed him, and b) he was a traumatized, abused child going out on a first date. of course he was fucking awkward. have you ever met a teenage boy????)

Zuko is socially awkward and maladjusted because he was abused by his father as a child and has trouble relating to people as a result. He was heavily traumatized and brutally physically injured as a teenager, and it took him years to begin to truly recover from the scars that left on his psyche (and it's highly likely, despite the strides he made in canon, that he has a long way to go, post series; it's such a pity that we never got any continuation comics >.>). He was not abused for being gay or queer--he was abused because his father believed he was weak, and part of Zuko's journey was realizing that his father's perception of strength was flawed at its core. That his entire nation had rotted from the inside out, and the regime needed to be changed in order for the world--including his people--to begin to heal.

That could be commingled with a coming out narrative, which is completely fine for headcanons (although I personally prefer not to, because, again, we have more than enough queer trauma already), but it simply doesn't exist in canon. Zuko was not abused or traumatized for being queer, and his confrontation with Ozai was not about him coming out or realizing any fundamental truth about himself--it was about realizing something fundamental about his father and his nation, and making the choice to leave them behind so that he could help the Avatar grow stronger and force things to change when he got back.

TL;DR: at the end of the day, none of the traits, scenes, or behavior Zuko exhibits which shippers tend to use to claim he was gay-coded are actually evidence of coding--they aren't uniquely queer experiences, as they stem from abuse that was not related in any way to his sexuality, and they are experiences that any kid who suffered similar abuse or trauma could recognize and resonate with. (Including straight kids, and queer kids who were abused for any reason other than their identity.) And, finally, Zuko can be queer without erasing or invalidating his canon attraction to girls, and it's endlessly frustrating that the 'Zuko is gay-coded' crowd refuses to acknowledge that.

[phoenixtakaramono]

So I'm here to say that I really love your Bingyuan fic! The research you do for it and share with us is just amazing! I also have a q regarding LBG. From SV we know that he felt admiration for his Shizun so do you think that if SJ wasn't cruel to him LBG's admiration would've grown into love and attraction like it did in LBH's case for SY? Which then also raises a question: would LBH/LBG fall in love with any Shizun who was kind to him? Or was he just drawn to SJ's type of personality. WDYT?

Hi there, Anon! I’m glad you’re liking the Untold Tale! Thanks for reading! I think it lowkey helps when the story I’m writing (in general) is from a culture I’m familiar with and that I know some of its language nuances (just general Mainland dialect; I’m unfamiliar with Shanghainese, the Beijing dialect, etc etc). So fortunately for me, as someone who is Chinese but was born in the Western side of the world speaking Mandarin to family and friends, emulating the Chinese aesthetic and atmosphere in TUT comes a little bit easier to me than someone who did not grow up with this culture. I bet if I had been raised in China, I would be able to write something even more multilayered and deep but, alas, the youthful rebellious me of the past hadn’t taken my pinyin and Chinese character writing lessons seriously so I can only communicate verbally and understand audibly 😫. It’s very special for us writers in fandoms to be able to write a story of a culture that we actually know and can identify with. But high key it’s been immensely fun injecting some references of things I’ve come to notice from watching period C-dramas and the C-novels I’ve read, and I’ve come to learn interesting things about Chinese history and mythology even I didn’t know! So the story really writes itself.

Shen Jiu (OG!Shen Qingqiu)

To answer your question 🤔, to be honest this is why the SVSSS fandom is great—because there’s so many interpretations of the original source material. That’s why we have our headcanons and fanfictions to explore these many different possibilities. So for me personally, I can see it happening both ways: *1) LBG does develop a crush/falls in love with SJ, or 2) no matter how SJ treats him LBG regards him respectfully or coldly. I think Possibility 1 is more likely, since SY transmigrated into SQQ and we saw what happened with “Bunhe.”

Now, mind, for Possibility 1 to be more likely to happen, the SJ in PIDW will have to undergo a massive personality change/ a change of heart/ develop a good conscience and will need to clean up his image aka clear up the massive misunderstandings from PIDW canon (like him being mistaken as a pervert for Ning Yingying, visiting whorehouses, killing LQG, etc). It’ll be difficult though considering who Airplane has changed SJ into for his stallion harem novel (reading through SVSSS, my impression of PIDW besides it being the harem stallion novel is that it sounds similar to a “dog blood plot,” where audiences tune in to see how the villains are brought to justice). I literally have a line from TUT in a future chapter where SY says this about SJ since I will resurrect SJ and bring him into the story for closure:

People like Shen Qingqiu naturally had a set of deeply-rooted values. If one wanted to change them, it’d be easier to just have them reincarnate. (—TUT, ch???)

At his core, he’s a flawed man (which makes sense with the underlying cycle of abuse theory, considering his upbringing and backstory). He’s jealous and petty and prickly. His image is that of a proud and cold immortal. In Chinese terms, he’s the type of character archtype who I can see being àojiāo (definitely not canon characterization; this is just a stray thought that amuses me) in a romantic relationship.

LBH will have to recognize that^, or be in a position where he finds SJ’s caustic side endearing instead. He will also have to be extremely patient with him (although, since the joke in SVSSS is that LBH is an incurable M, it shouldn’t be that hard).

A fun thing about OG!SQQ is that he’s the cannon fodder scumbag villain of PIDW. He’s the reason LBG blackened from a white lotus. And, as you know, villains aka antagonists aka bad boys resonate strongly with people for a reason. That’s why we see a lot of Enemies to Lovers tropes, etc. It squicks me to use this phrase but “the allure of dating a ‘bad boy’ is strong.” SJ is that type of bad boy we could identify as a “fixer-upper project” (ugh, that phrase)—even with the red flags and warning signs—especially for those said to have a troubled past with rejecting neglectful parental figures/ family members/ friends and have have not outgrown their wish to convert that sort of person into a loving, accepting person. When we want something we can’t or shouldn’t have, our desire for it grows exponentially. In fanfiction this is a concept writers and readers can explore safely in a world of the imaginary.

From a Meta Perspective

Although, if we look at it meta-ly, the cold and proud and/or knowledgeable Shizun (teacher/ master) character who comes to know love and “is redeemed” by whomever is the love interest (typically a cute and quirky girl who may or may not have started off as naive to the innerworkings of the Cultivation World and therefore needs an established and mature mentor to guide them) is a very well-known archetype for a reason in Chinese fan culture.

Seeing a terrible person change their ways and try to become a better person because of the influence of the one they love is also a popular depiction for a reason.

It’s almost like gap moe. The crueler and aloof one starts out as (arrogance is a staple), the more impactful the shift is when we see such characters soften their edges.

The draw of the sacred master/disciple relationship is that it’s taboo, so I think it’s fair to say that such a relationship in fiction is a popular trope precisely because of this aspect. From a writer’s perspective, the main appeal is to show that there is someone out there who can cause this respectful figure to lose control (undergo emotional change) and go to great lengths to protect his/her precious person. That precious person also has to fall into the “not like other girls” trope (so they can show the ML a different world he would not have seen the beauty of before). On the other side, we look forward to the point of the story where the love interest has their “Oh” moment and realizes their admiration has somehow shifted into love and attraction over the course of events.

Other Romantic Possibilities

It’s very likely. I personally like the fanon headcanon where anyone with Heavenly Demon blood running through their veins feels a compulsion to “obsessively fixate on one person” (TLJ —> SXY, LBH —> SQQ). Personally I don’t recall if this was canon or fanon, but someone had written something about LBH imprinting on one person in his lifetime on the account of his demon nature. And I like that theory (I think it’s likely more fanon than anything but it’s an intriguing idea full of possibilities!).

For him to fixate romantically on one person, I personally don’t think the prerequisite is just by being kind to LBH (but it probably adds to the person’s appeal). There’s probably other factors that go into this to capture the male protagonist’s eye, such as him finding someone attractive (or passes his own personal standards) and/or having good chemistry with that person. So I could see him being into other Shizuns and whomever else. Personally I also think there is appeal in the unobtainable. It’s one thing to have someone’s affection (see LBG and his harem of 600 wives who definitely aren’t shy about giving him affection), but it’s another to know you’ve earned the affections of someone you really like and respect (especially if it’s someone thought to be unobtainable).

As long as the writer can provide a plausible justification for me to suspend disbelief and they set up events to justify it, I can swallow just about any ship possibility. It doesn’t necessarily have to be SJ’s type of personality. (For example, I read a very good fanfiction before where the writer paired Luo Binghe with Ming Fan. Ming Fan, people!!! And they actually pulled it off! What a madlad! Mind, it’s Shen Yuan who had transmigrated into MF in that premise, but the writer set up events that showed how these two characters came to bond and develop a deep friendship which inevitably had LBH developing a crush on his shixiong. I use this as an example because this is the type of unexpected (crack)ship, but because the writer did their work trying to make it seem plausible, we can only admire their hard work and effort at pulling it off.)

As the saying goes, there are plenty of fishes in the sea! As the protagonist, LBH/LBG can have many OTP possibilities with just about anyone as long as the writer can make it plausible. It’s all about the character development and the story/ central themes they wish to tell with the ship!

(Note, these really aren’t hot takes, lol. I’m just having fun answering to this casually from the perspective of a writer. Thank you for your Ask, anon!)

[holden-norgorov]

I gotta say it. For all the issues there are in the show, my biggest disappointment is with the absence of Per Haskell, and Inej's freedom being directly dependent on Kaz. This altered the entire foundation of the Kanej dynamic that was present in the books and, as far as I can tell, there's no way it's not going to end up portraying either Kaz or Inej as incredibly OOC at some point. Another huge let-down is also Kaz's main drive and motivator being his love for Inej rather than personal revenge (which is something Freddy himself also confirmed in an interview, other than being contextually evident during the whole season). These two elements combined will lead to unescapable narrative or logical contradictions in the long term.

I was really hoping, until the last minute, that the show would come up with a clever justification as to why Per Haskell was kept out of the picture, without ending up sacrificing the core of Kaz and Inej's relationship. But it doesn't. And Kaz being directly responsible for granting Inej's freedom is a new, giant ethical dilemma that was never present in the books, and whose absence there gave moral context and permission to a lot of what happened in their shared backgrounds.

Inej's freedom being independent from Kaz was PIVOTAL in the books. The nuance and beauty of their relationship vastly came from the fact that Kaz had no actual means for estinguishing Inej's debt, and that her work for the Dregs was not something he could absolve her from performing in any way. At least, not until the giant, life-changing offer of 30 million kruge they got at the beginning of SoC, which was kind of the whole point. Until then, the narrative had made abundantly clear that Inej's agency was entirely dependent on Per Haskell holding her contract, and that despite having played a pivotal role in liberating her from the Menagerie, Kaz really couldn't do anything to absolve her from the criminal life she had decided to dive into in exchange of escaping Tante Heleen's whip. This is what absolved Kaz from any moral judgment, on the part of the reader, when it came to forging the myth of the Wraith and teaching Inej how to fight, kill, pick locks and steal. By having no leverage on her freedom, turning her into a weapon meant helping her staying alive and providing her with a better chance at solving her debts. It was not something he could spare her, only something he could help her master.

But in the show, with Kaz becoming the one and only obstacle standing between Inej and her freedom, the ethical dimension of their dynamic entirely shifted, loosing breadth, depth and complexity. They couldn't afford to make this shift and still keep Dirtyhands' main decision/action motivator being his own revenge against Pekka Rollins without turning Kanej into an abusive relationship. This is why Kaz was softened and why his own motivator became his love for Inej. They just couldn't portray Inej being in love with the one person who was directly holding her back from her freedom and whose character was also mainly fueled by personal revenge, completely utilitarian and without conscience, and perfectly willing to strip agency from his investments as soon as they proved to be useful to his cause, without for the relationship to become morally corrupt and abusive (and kind of Stockholm Syndrome-y). Pre-SoC Kaz not being burdened by the responsibility of Inej's agency and freedom in the books absolved him from moral condemnations on our part when it came to viewing Inej as a mere investment, or naively wishing for her to be tied to him and become Kings and Queens together, because he could not liberate her in any way. Inej was the only one responsible for paying her own debt, and none of the things she had to do to achieve that end were ever optional. This gave Kaz plenty of ethical turf to navigate that enriched their dynamic a lot without stripping Inej of her own agency (whose beholder was Per Haskell), and without having to compromise his own vengeful objectives.

So, what are we left with here? We are left with Kaz inevitably having as a character-defining motivator his love for Inej in order to avoid the glamorization of abuse (which is what this version of Kanej would be otherwise), which is not something workable for the integrity of the characters in the long run.

One of the things I loved the most about Kanej in the books was that the narrative established that they would do anything for each other, without for them to even need to (or arguably, be able to) talk out loud about it. That their bond was almost entirely fueled by introspection and internal monologues, and most importantly, that what they felt for each other never defined them as individuals. Inej's main decision drive was never her love for Kaz, but her own freedom and the newborn purpose of hunting slavers (which is, in its own way, a form of revenge for what was done to her). Kaz's main decision drive was never his love for Inej, but his own vendetta against Pekka Rollins that could silence Jordie's voice inside him and strip him of that feeling of shame that had been slowly eating him whole for years (which is, in its own way, a form of revenge for what was done to him). And they help each other out in achieving those ends by the end of CK (Kaz by bying her a ship, Inej by threatening Pekka's life), but their individual backgrounds still bear too much trauma to lead either of them to be comfortable enough in defining themselves according to what they feel for each other. Still, at the same time, it's established by the end of the duology that both of them are willing to try again, and that gives a hopeful note to their ending.

In the show, instead, Kaz ends up doing everything having Inej's freedom as a main motivator, because it's entirely dependent on him, and the romantic tension between the two would be toxic if this was not the case. But pre-SoC Kaz, Dirtyhands in the making, would spend 0.2 seconds in indulging Inej's complaints, would find himself another spider, kidnap Alina with no remorse or second thought and cash in the million kruge prize to build up his name and reputation, with the downfall of Pekka Rollins in mind.

In S01E02, when Inej is about to kill Arken to be freed from the Menagerie, she turns to Kaz and asks "so you choose him over my freedom?" and he replies "you assume it's one or the other". But this narrative doesn't add up. If Kaz is truly in need of Inej's skills but at the same time is motivated by his feelings for her and is willing to bet the entire Crow Club on her liberation from Tante Heleen, while Inej's main desire is to be reunited with her own family, find her brother (whose addition was completely pointless) and gain her old life back... how can the show make Inej stay with the Crows to, you know, carry out the plot of SoC and CK, in any convincing way? Why would we believe that she would give up her independence and newly-gained freedom to remain a criminal out of personal will?

As far as I can tell, the ending of season 1 left us with two alternatives. Either Kaz keeps his promise to her, gives her her own freedom back, and Inej decides to keep working for him instead of looking out for her family, or Kaz betrays her trust and keeps her under his own authority as the ultimate beholder of her contract, thereby making her own involvement in the Ice Court heist mandatory.

And I'm sorry, but both of these alternatives are deeply OOC and absurd for both characters, whose relationship has been taken into an entirely new direction thanks to the absence of Per Haskell and its narrative implications.

I just can't see how the writers can find their way out of this conundrum without utterly cheapening or entirely deforming the core of what Kanej is in the books.

[purplepenntapus]

Rating Versions of Harry Osborn: Updated

Wanted to redo this post with a more comprehensive and inclusive list of Harrys

616 Comics: 

Just such a good and complex character. The OG Harry. His relationship with Peter just adds so much depth to every Green Goblin arc because of the inherent conflict of Peter knowing he needs to take down Norman Osborn, but not wanting to hurt or lose his best friend. (If you’ve read Kindred no you haven’t.) He’s still... ugly... I’m sorry 616 Harry... I love you so much but they did you dirty... Some artists do their best with what they have but... I’m not a big fan of western comic style in general so that doesn’t help. Has three failed marriages by the time he’s 30 because he’s gay and deeply closeted.  8/10

Spider-Man the Animated Series (1994):

The Harry plotline in this show reeeeally doesn’t feel earned, because the first time we see Harry having an active role in the show, he asks Peter to move in with him because Norman wants him to have a responsible studious roommate  (a detail from the comics I was EXTREMELY excited to see play out), and Peter comments that they barely know each other. Ultimately they live together for all of one day before Peter decides to move back in with Aunt May. The next time we see Harry, MJ calls him Peter’s best friend, despite the fact that we haven’t seen Peter hanging out with—or even MENTIONING—Harry since the last episode when they were basically strangers. Really it feels like he’s just there to cause romantic drama as the guy MJ graciously settles for when she gives up on Peter. I found the whole goblin plotline kind of boring and lacking in depth.  3/10

Raimi Trilogy:

I was never interested in Raimi Harry until after I started liking and exploring other versions of Harry, because I just thought he was kinda a shit friend. He’s a pretty strong character overall, but his motivations aren’t as obvious. He’s torn between his love of Peter as his best friend, and his bitterness towards Peter for being the man his father wished he was. I don’t think Raimi Harry really wanted MJ, he just wanted to get back at Peter in a way by taking someone that HE loved. However I feel like his characterization kind of sways back and forth between sympathetic and not depending on how he’s written in the scene, and it disappoints me that the thing that gets him to stop tormenting Peter is the butler telling him out of nowhere that Norman died from his own blade, rather than any real character development on his part. 6/10

Spectacular Spider-Man:

I still haven’t watched all of this show because I... can’t STAND this version of Peter... but I’ve watched many clips with this boy and he’s just... so sweet... He only wants to be loved and keeps getting his heart broken. Deserves better. On everything. He deserves a better father, a better best friend, better love interests, everything. I do really enjoy the way they incorporated 616 Harry’s drug abuse into this show with the Globulin Green, it was a very clever way to incorporate that aspect of his character, but tone it down for younger viewers. I’ve watched the scene of him getting “unmasked” as the Green Goblin about a million times it’s very good. 8/10 

Ultimate Spider-Man:

I love him. Most people fear drifting apart from those close to us, so watching Harry struggle with the new and increasing distance between him and Peter as Peter seemingly makes new, “better” friends is downright heartbreaking. Especially when he overhears Sam implying that Peter only hangs out with him for his money which is something he’s clearly experienced a lot. (Seriously Sam what the fuck.) I also love his struggle with Venom throughout the series as a metaphor for his anger and bitterness, it’s never truly gone even when they work hard to remove it. It’s always there to bubble back up under extreme amounts of stress, especially when Norman is involved. (Also this isn’t a Norman review, but USM Norman is the only version of Norman Osborn that has rights and he works hard to be the father Harry deserves.) Had an honest to God meet-cute with Peter like come on???? Its unfortunate how much they cut back Harry’s role in the third and fourth season, I really would have loved to see more of him. Threw a party specifically so he could ignore Peter to his face because he was jealous and I respect that level of pettiness. 9/10

Spider-Man: The New Animated Series

I didn’t think it was possible to create an uglier Harry than 90s Harry but this blonde, fuck-boy lookin creepass came and proved me wrong. Who the FUCK is this?? Doesn’t have any recognizable characteristics of Harry Osborn besides being rich and hating Spider-Man. Also just... look at him. I wouldn’t trust this man anywhere NEAR my drink at a party. #NotMySon -3/10

The Amazing Spider-Man:

He’s okay. I think he has some very emotional scenes and good chemistry with Peter, but it’s dampened by the fact that he wasn’t present in the first film and had to share the second with like two other main plot lines. Ultimately ends up being the least sympathetic version of Harry Osborn because he became the original Green Goblin and killed Gwen, rather than following in his father’s footsteps. That’s not to say he’s a completely unsympathetic character. He has a strong motivator in his fear of death, and I do think the choice they made for his character were interesting and could have developed really well, but they didn’t get the chance since the franchise was dropped. 5/10

PS4 Spider-Man:

ABSOLUTELY ADORE HIM. WISH WE GOT MORE OF HIM. HAVING YOUR EXPECTATIONS OF HARRY OSBORN BROKEN AS YOU SNEAK AROUND NORMAN’S PENTHOUSE AND LEARN THAT HE’S BEEN SECRETLY STRUGGLING WITH A GENETIC DISEASE HE’S BEEN HIDING FROM HIS BEST FRIENDS FOR YEARS WAS -chef’s kiss- GENIUS. PLEASE GIVE US A SECOND GAME WITH VENOM HARRY. 10/10

Marvel’s Spider-Man (2017):

Still easily my favorite version of Harry Osborn. When I first began watching the show I was startled by their decision to make Harry a science genius like Peter because it was so different from their usual dynamic, and many people who aren’t fans of the show point to this as something they dislike. But I actually ended up really loving the decision. It gives a different flavor to Harry in how he reacts to the events of the show and how we interpret his character traits, while still being very inherently Harry Osborn. Harry is jealous of Peter, he loves him dearly, but there’s always this ember of bitter envy ready to burst into anger whenever the plot creates friction between them. This is one of the defining traits of their relationship and in most versions it’s not hard to understand why. Peter has what Harry wants. He’s intelligent, he has potential, and most importantly he’s loved. Peter is the son Harry knows Norman wishes he had, and that creates a wedge between them. Marvel’s Spider-Man changes this dynamic. Harry can easily stand toe-to-toe with Peter in terms of intelligence, and in fact they often work together to create things or solutions Peter couldn’t have come up with on his own. That initial wedge between them isn’t there, creating a very endearing and loving friendship that we know is doomed to sour because it isn’t enough. MSM Harry could be the person Norman wants him to be, and that places the full weight of his father’s impossibly high expectations on his shoulders, always within reach but never quite achievable. So it makes a lot more sense why Peter initially has a low guard towards Norman (as opposed to some other series where Peter seems oddly dismissive of Harry’s justified complaints) and Harry’s own steadfast loyalty to his father. On the surface Norman seems like a perfectly loving parent, he encourages his son, he created an entire school for him when he was wrongfully accused of sabotage, it’s only when you start to dig deeper into their relationship that you see the subtle manipulations and the issues Harry has from constantly chasing his father’s approval. This creates a Harry who is desperate for validation and extremely sensitive to rejection, which colors his relationship with Peter throughout the show. I’m still mad he got nerfed in the second and third seasons because Disney is homophobic. TLDR: I may be biased ... Infinity/10

MCU:

Where is he? Who knows? Man missing in action.  ?????/10

[kinsey3furry300]

5 ships I hate, why I hate them, how to (kinda) fix them, the better ships you should be doing in that universe, and why you should ignore me and keep writing them if it makes you happy.

Note: this is done for amusement, please don’t be offended; I’m not attacking your ship, I’m just listing some ships I do not always care for, and how I think they could be improved, and maybe made brilliant, by clever writing.

In no particular order, and focusing on ships that often annoy me, with no attempt by me to say anything meaningful or popular about the current state of any particular fandom. I’m also a firm believer in the idea that there’s no such thing as a bad ship, only a badly executed ship, so my objections to these is less a dislike of shipping, or the paring, and more that they raise writing issues that I think are difficult to fix in a satisfying way. That’s why in a lot of the examples below I prefer AU ships to ones that try to messily work it into the cannon. Anyway, enjoy... I guess?

 Marco x / anyone (Animorphs)

Why I hate it: Animrophs is an intensely character-driven story, where the tension of each book comes from the conflicts, external and internal, that the five Animrophs (and Ax) face during a long, hard, traumatic war.  And while several of the character are paired off romantically, it’s always to emphasise character conflict over their different points of view. Jake and Cassie are a pair because Jake’s struggle with having to make hard, grey, morally ambiguous choices as leader is highlighted by Cassie’s burning need to make the right choice, the lesser evil, the choice that leaves some small shred of humanity and dignity and kindness left in this bleak world. Tobias and Rachel are a pair as their arcs deal with literal and figurative loss of humanity, as the slow accumulation of trauma over time turns these happy(ish), normal kids into psychologically ruined husks of their former selves and destroys them slowly, one fight at a time.

Marco’s arc, isn’t about either of these things: Marco’s arc, is about the bright, clear line between A and B, between problem and solution. Marco is a utilitarian, a pragmatist: his concern isn’t the burden of leadership, or the cost of the decision, but about how to put that all aside and make hard decisions that actually work regardless of cost. It’s not about what to do, the path is obvious: the bright, clear line of ruthless logic, but how to do it. His match, his counterpoint, the other character who’s all about the logic of taking awful decision in a way that actually works for the team, and his foil, his female counterpart in this, is not a romantic partner, but his mother: Visser one, making the exact same hard, difficulty ruthless decisions using logic and maths, but for the other side of this war. A romantic paring gets in the way of this arc because a partner doesn’t help him with that bright, clear line, and worse, any attempt to pair him of with either Rachel or Cassie breaks up not only a cannon paring, but their respective character arc.

How to (kinda) fix this: Marco’s arc is, at the end of the day, a trolly problem. So make sure whoever you ship him with is one of the people tied to the tracks. Introduce a character he crushes on, and then in the second act reveal that they are either a Controller, or in the family of a Controller or the proximity of the target of their next mission in a way that will make them collateral damage ,and let Marco struggle with what happens when that bright, clear logical line from A to B cuts through someone he actually loves; you know, like it did with his mother. See, even trying to fix this ship is weirdly Freudian.

The far better ship you should be doing: Ax x / EVERYONE. Ax in human form is described as a worryingly pretty, worryingly androgynous male of indeterminate race. He is a literally Bishonen alien hedonist with no familiarity with human senses, poor impulse control in human form, and no knowledge or understanding of human courtship rituals, and he can shape-shift, including into other members of the core team if needed to compel a mission, he calls Jake his prince,  and he is incredibly close to Tobias, the lonely outcast woobie that the LGBT fans adopted as their poster boy. Come on, the potential for shipping, both with wacky hijinks and sad, tragic star-crossed lovers’ trope is endless. Every line dedicated to Marco shipping is a line of text that could be dedicated to Ax trying to eat a Cinnabon erotically on his first date as a human and hulking out mid way because he forgot just how good they are. What could be better than him leaning into to erotically kiss a team-mate, and then fucking up due to his failure to understand human mouths, making weird mouth sounds, and then licking crumbs of the table in the middle of the mall, in front of the entire school, while his crush awkwardly tried to pretend this is normal? What’s wrong with you Marco-shipper people, do you hate fun?

 Riz/Tem (beastars) Why I hate this ship: Okay, just to quickly ask a question, to people who un-ironically like this as a serious ship and not a dark joke, just one little question: What’s wrong with you? I mean,are you okay? Keep taking the meds: the show is VERY clear on that point.

It’s like those people who say Joker X Harley Quinn is their ideal dark, edgy relationship: no it’s not, it’s abusive! Morticia x Gomez is dark and cool but CONSENTUAL and HEALTHY. This… this is a deeply imbalanced person murdering someone and telling themselves after that fact it was special and rare and magical. ITS HOMICIDE! And even if you write that out (and you shouldn’t, because that changes the character arc of every other major character) it’s still got more red flags that a soviet military parade. This is the botulinum of a toxic, one-sided teenage infatuation. Riz’s entire arc is about how he projects his thoughts and feelings about himself onto this idealised, made-up version of his and Tem’s relationship which, from Tem’s point of view, never existed. Riz never loved Tem: he loved the idea of Tem, the idea that someone would see the real him, see his inner pain and accept him anyway, but he never once told Tem this. He didn’t warn him “Hey, because of you I don’t feel I need my meds any more, do you mind if I try not taking them and we can meet and talk about this in a safe, well-lit pace?” He’s not honest with Tem, and on top of that It doesn’t make sense from the point of view of either of the characters for them to be actually, romantically in love (although  they were clearly close friends), because it undermines and cheepens Riz desire to just be seen and accepted for his real self, and the cannon Tem X Els ship. It also doesn’t make sense from a story point of view: Riz is a shadow archetype for Legosi. He’s what Legosi would have become if someone hadn’t interrupted his attack on Haru. That’s why Legosi needs to beat Riz with his own hands: because then he’s beating the darker version of himself he’s been carrying with him, and he can finally move on with Haru guilt-free. Having Riz and Tem’s relationship actually be what Riz imagined it to be undoes that. It undoes Riz’s interesting, dark inner struggle between truth and fantasy, it turns Tem’s tragic, unsolved murder that sets the entire story in motion into a just sort of weird Romeo-and Juliet suicide. It’s ruins the character arc not only for Riz, but for Legosi, and also, by extension, Louis and Haru, because Legosi’s internal angst over whether or not herbivores and carnivores can have a relationship as true friends needs this example of a tragic, flawed, toxic, failed friendship to bounce off of.

How it could (sort of) work: an AU where Riz’s attack on Tem is interrupted and Tem lives with a slight arm injury, and doesn’t tell anyone out of his complex feelings for Riz. Meanwhile, that bunny girl from the gardening club had been brutally devoured and Rz and/or Tem are so horrified with how close this was to their own near-miss, they start to investigate the murder, and in doing so get caught up in Louis’ inner struggle. Because that’s how the story needs to work, it’s about duality and struggle: and if Riz takes Legosi’s role, and by dating a herbivore he de facto takes the role, so Legosi must take Riz’s. This could be a great AU!

The better ship you should be doing: Pina/Riz (with a dash of Pina x Els), no, seriously, I’m not shitposting. You want to give Riz a redemption arc with a cute woolly boy? How about a story where Pina, out of a need for closure about at happened to him, starts to visit Riz in jail and they talk, mockingly at first, confrontational at first, but later Pina slowly becoming more fascinated in Riz and Tem’s life and asking Riz for more and more detail until they both bond over their shared traumatic experiences and their sense of loss for Tem’s senseless death, Tem’s unfished life casting a shadow over both off them. Eventually, the two of them find, from Legosi who still has the diary, that Tem had planned out an elaborate and beautiful first date with Els that he never got to take her on, and Riz, guilt ridden and sad than Tem never got this beautiful moment, decides to ask Pina take her on that date for Tem, with Riz coaching him by phone cyano-de-Bergerac style, Riz finally getting some closure that he helped one of Tem’s wishes come true and finally acknowledging to himself that Tem had a life and loves outside of him that were cut of short by his actions, and just crying over his lost friend, as Pina and Els slow-dance in Tem memory. Or if you just want to see Tem awkwardly date a carnivore boy from school, why not something less creepy and more wholesome and ship him with Jack? That would be cute AF, and more importantly, not romanticize brutal murder. Or an AU where everything is happy and nice, I’d argue at that it’s no longer Beastars at that point, but if it makes you happy, go for it. Let’s not shame anyone here.

 Snape X Lilly (Harry Potter)

Why I hate this ship: honestly, it’s not for the reason you think; I just like Snape too much as a tragic character, and making him in any way happy destroys his arc in my opinion.  The objection’s others have raised: that Snape acts in a worryingly possessive stalker-ish way towards Lilly, and that if Voldemort had gone for Nevil rather than Harry as a child Snape would have remained a loyal death eater, are true and I acknowledge them as having some validity, but that’s not why I can’t stand this ship. Snape is supposed to be a morally and emotionally complex, tragic figure. That “After all this time?” line was the best line in the Deathly Hallows.  Snape is supposed to show the equality destructive and redemptive power of  love. It’s sort of trinity: Lilly shows the pure power of true, unconditional love in her sacrifice to save Harry, Voldy shows what self-destruction and cruelty a life without understanding love leads to, and Snape sits somewhere in the middle: his one-sided  un-requited love being both the cause of his darkest, and his greatest actions. His curse, and his redemption, fall and rise. Making him happy messes that up.

How to (kinda) fix this ship: make them miserable. Make them fall for each-other only to be pulled apart by circumstance (you know, like they were in the darn original source material). You’re serious about making this a tragic, dark romance? Don’t ship them when they’re at school: Ship them during Voldemort’s rise to power, in the 80’s, after Lilly is married. Have the original Order of the Phoenix send her to meet with Snape and use their previous relation to try to milk some information out of him. Have her feel conflicted about it, have James furious about it, but have her do it anyway for the greater good. Have her meet up secretly with Snape who is angry and distrustful, knowing his must be a trap, and talk. Have the relationship slowly build over time against the backdrop of a cold-war spy thriller, as Lilly slowly realizes that she has some lingering feelings for Snape, but can’t reconcile them her loyalty to the order and her family. Make this a love story of conflicted feelings, divided loyalties, and spy-work against the background of drawing war-clouds. Have Snape offer to leave Voldemort, if she’ll leave the Order, and run away with him, but by that point she knows she’s pregnant and chooses to stay, out of loyalty even though she’s crushing on Snape. Have him show up at the rendezvous expecting for her to be there only for James to lead an Order Ambush, and a fight to ensure, on top of Tower Bridge in the howling wind and rain, Snape surviving but having his spirit crushed and fleeing before Lilly can tell him her true feelings. Make it big, and melodramatic, but above all, make it tragic.  Because that’s the only way Snape works as a character. Always.

The better ship you should be doing: Ginny X Nevil or Luna x Nevil: You want tragic lovers, at school, with divided loyalties, who never get together in the main cannon because a Potter ruins it and gets the girl? Ginny X Nevil. Write what was happening that final year Harry wasn’t at school when they took Dumbledore’s Army and make it work in earnest. Heck, you could even have Snape, as headmaster, hated by them but secretly trying to protect them as a secondary character to their secret, forbidden love. You don’t want to break up Harry X Ginny? Luna X Nevil is sweet and wholesome, but also tragic as they never get a chance, having their school life taken over by the horror of that final year and the need to fight for their very souls in a school run by Death Eaters and the trauma of the Battle of Hogwarts meaning that in order to put away the past and move on, they need to leave each other behind. Hell, do an AU where they canonically end up together, why not? They deserve happiness.

 Dean / Sam AKA Wincest (Supernatural)

Why I hate this ship: They’re brothers. The show even makes a joke about how squick this is. Several times.

How you could (sort of) fix this ship: You can’t: They’re brothers. The show even makes a joke about how squick this is. I guess a body-swap arc could fix this, as it’s less squicky if its just their bodies with someone else’s minds,  but seriously, the reasons why this shouldn’t exist are extensively covered in the show, and it was hilarious.  To be honest, I don’t hate this ship done as a joke, but I have seen some dark spots on the internet, and I can say with all honesty it’s not always treated as a joke. Some folks are really invested in this, and all I can ask is, is your home life okay?

Now, done as a joke, I’m 110% behind this. This is exactly the sort of insane wacky bullshit that makes for a good crack-fic. For example imagine that the supernatural threat of the week was book that made anything written in it come true, and the brothers are trying to find and destroy it, but they keep getting distracted by their burgeoning romantic feelings for each-other, and suddenly realise that the owner of the book is a fan on the in-universe novels, and writing slash-fic in the book. They need to find the writer before they make them do something they’ll both regret, but it’s just so distracting when Sam’s beautiful eyes are right there and- dammit, Sam, it’s happening again! Make Sam less concerned and even a little amused, with it, but make Dean hate what’s going on. Especially when the writer’s description suddenly makes Sam noticeably better hung that him. Make the villain turn out to be Becky from “Sympathy for the devil” and end with them trying to take the book away as she writes frantically to force them to do her bidding, and you’ve got yourself a good fic.

The better ship you should be doing: Cas/Sam or Cas/Dean or Cas/Sam AND Dean fic. Duh. Once again the show-runners beat the fans to the mark and pointed out that this is the best ship, and then they took it away just to fuck with us.

 Any Katniss ship that ignores her obsession with Emotional Security Logic. (The Hunger Games)

Why I hate these ships: Katniss is, briefly put, a mess before the books ever start, her father’s death and harsh upbringing have arguably given her PTSD before she ever volunteers for the reaping, and it doesn’t get better from there.  In psychology, Emotional Security Theory (EST) is a hypothesis that the heightened emotions surrounding repeated violent exposures leaves children vulnerable to dysregulated distress responses and eventual psychopathology, aka, why Kat be so messed up.  Her internal monologue makes the books completely clear that her choice in partners is not motivated by normal affections, but by deep, deep fear. A fear of loss, abandonment and death that leads her to make every decision about what minimises her, and her sister’s, exposure to potential physical and emotional harm. It’s frantic, fraught, cold survivalist thinking. And the other characters in the book notice and acknowledge it! “Which of us will she pick?” “She’ll pick whoever she can’t survive without.” Kat doesn’t like herself for it, but she does eventually admit to herself that she makes her decisions like this.

How do we fix this ship: Ship Kat with whoever you like, but give her a good reason to pick them: and in Kat’s mind “A good reason” is based on Emotional Security Logic, she needs to have a pressing reason why this ship makes her and her sister safer. Do that, and you’ve got yourself a good Katniss story. Don’t do that, and while you may or may not have a good story, the person staring in it isn’t Katniss Everdeen anymore.

The better ship you should be writing: Finick X Annie. Or, Haymitch prequel ships

FinAnn. This, this ship has some real potential to it, and is criminally underutilized. Finick and Annie’s relationship is one of the most tragic and romantic in the story, and has so much to offer. Or, if you want to have a hard-bitten character from district 12 struggling with trying to find love in the hellish combat of the games, do a prequel in which Haymitch finds love in the capitol during training, but loses then in the area and turns to drink as a result. Heck, you could even have some fun with this and turn it into a dark comedy, or a great tragic love story, whatever you like. It’s got potential, and his backstory is vague enough you could do a lot with it.

So, tell me below why I’m wrong, and have fun with your writing: just because I hate that ship doesn’t mean you should. Enjoy yourselves.

I’m off to write awful Ax/Pina/Luna Polyjuice’d into Nevil/Cas/Finick fiction set at an anime high-school that fights a magical war against other fictional schools, and there’s nothing you can do to stop me. BWHAHAHAHAHAHAHA!

[jubberry]

oohkay let's go tua with those ship asks: fiveya, horrance and alluther.

thanks el i love you

Send me a ship and I'll answer three questions based on if I ship it or not.

fiveya obvs i ship this since this is 90% of my tua drawings lol

1. ill wait ill wait (to be the one) by georgiestauffenberg made me ship it cause holy fuck dude. I dont know if i ship them romantically when i saw them onscreen cause first of all, age difference is kinda weird lmao. Second, they dont rlly interact much outside literally the first couple of eps. But he was so soft for her, and i felt like they had so much unexplored history.

so i looked at fanfics cause i was wondering if ppl still ship it, then i liked the description of this one so i gave it a go.

Basically the premise is that vanya dates a much older man who seems to know a lot about her. And it was amazingly in character and just provided their characters some depth that u wouldnt find outside of a romantic relationship between them. (The implication of five pining while she doesnt know who he is, their missed chances when he time travelled, fives missed chances of living and having a 'normal' life bec of his own hubris, vanyas insecurity and being able to open up bec shes with someone whos known her since childhood). Its so sweet and thats how i was like, oh yep i can do so much more with these two, and what has kept me interested in drawing them etc.

2. My favourite things are the shippers cause i made some friends in the fandom who are super cool and supportive! I dont get super involved in fandoms and usually just watch from afar so finding people to talk to and muck around with in this tiny fandom is super cool 😭

Though thats not to say I havent come across some bad apples in this fandom and things that I dont like. I think thats the importance of carving out a place for yourself and ur friends in fandom tho.

Another thing I like about the ship itself, i just like the grumpy person whos soft for one person trope. Its so cute. I like all the little clues in canon on how their relationship as kids is quite warm, which is interesting cause five is basically the star student and he can be quite cold vs vanya who is the black sheep of the family.

I also like how five likes her powers even when she caused the apocalypse he spent the majority of his life in lol. Like its a popular hc that five is just a wife guy and i love that.

I see vanya as the type who has a lot of love to give, and she sometimes has unrealistic expectations of what her partner can give. Betrayal and lies really angers her, but also when her partner cannot meet her expectations of love she gets very upset bec its also an indication of how shes not good enough, or not loveable enough to be able to have this in the relationship (her insecurity means every failing always comes back to her, even if its out of her control).

I feel like five would be a level-headed person enough in the relationship to not be afraid to say 'vanya ur being stupid' (ie. the s2 confrontation lmao). Also, five's personality means she will never have to doubt his actions bec she knows hes the type who will not give u the moment of the day if hes not interested.

Not to mention they also have the whole apocalypse vs. saviour, hero/villain thing. Theres just a lot to explore!

3. I probably have several. But mostly I dont mind five being a dick to vanya bec first, even if the appeal is hes soft to her hes already kind of a dick in canon lmao. Also, vanya isnt a child. Shes grown and she can handle petty af things like five telling her shes not good at cooking lol. I also dont mind it cause I feel like people are getting too afraid to write... conflict for fear or portraying an abusive relationship or smth. Like, chill. Conflict is fine, resolving it is how u get a story. However in saying that, nobody should be obligated to write any way unless you want to! Fanfic is for comfort so if what your doing is making u happy then its good enough!

horrance which i also ship but i love the platonic and romantic relationship equally:

1. I came in tua in general not shipping anything so Im honestly not sure. I do remember someone doing a meta before s2 came out that was basically how ben acted weird when klaus summoned dave in s1 that made me go 👀 Otherwise, tua s2 rlly made me like them cause tua FED horrance shippers. Like..... the fact that klaus didnt want ben to leave him, and ben knows thats why he stayed 😢 or the fact that klaus was all over him for some reason???? Somebody also mentioned gay ben once and I resonate with that deeply. Like i get that jill exists but i resonate with gay ben deeply.

2. I love their bickering, theyre so cute together. I just like ben being angry bec hes self aware that hes got both shit and amazing taste. Shit bec he cant believes he likes Klaus (and also amazing also bec Klaus). I think the idea of them being kind of underdogs, theyre not rlly leader types and dont want to be, helps them bond together even in platonic horrance. They're both down to earth, and even tho they can annoy each other, they also know if they want a space to feel comfortable its with each other. Theyre not pressured by rivalry over leadership, or any sort of competition.

I love the idea that even tho ben is like klaus's ''conscience'', hes also down for chaos and bitchy. I feel like klaus rlly enabled that side of him, its not exactly a good thing but its p funny lol

3. I know some people think their dynamic is unhealthy but i dont care lol

alluther. So id say i dont ship this, mostly due to the fact that im not invested? Just like all tua ships so far I rlly came out not wanting anything but platonic relationships cause I feel tua doesnt do romance very well. With alluther, theyre so cute but im not super invested in either of their chars so they havent stuck for me. I appreciate seeing them and talking about them tho, and I'm def open to exploring them further.

1. I think tua canon romances are just so lackluster 😔 Idk who writes the romances but I was just like 'nice' but afterwards I dont really think about them. I love their dance scene and the message behind it! Otherwise, theyre sweet like most of the tua romances but im not super invested, same with all the non canon ships.

2. I really feel like tua needs to decide on what their relationship is. Like, just say its incest or not and stick with it 👀 Or if you wanna support it or not, just make up ur mind. I think I would've liked it better if I found the characters more interesting. Allison especially I feel like suffers from the fact that tua just doesn't want to make her ''mean''. They want to make her supportive and are less interested in making her flawed (ie. she should've had a conflict with Vanya in s2, but the writers didnt want to write the girls fighting which is stupid imo and not what that conflict is about).

In regards to Alluther, the scene where Allison gets annoyed at Luther for sleeping with someone else felt out of line. Like, how are you marrying other people and moving on but Luther isn't allowed to? But honestly, I don't mind if they actually just acknowledge it and make it a deliberate part of Allison's trait that Allison can expect a certain loyalty automatically from other people (which can tie in to her childhood being a star, and the rumour).

Luther is a big simp for Allison, which is sweet, but at the same time it would be nice to have him explore himself for a bit, and who he is outside of the academy. Then maybe they can rekindle their relationship again as new people and see where they go from there.

3. I don't hate them, but they're ok. I'm not super invested in them, just like all the tua canon romance. But I wouldn't mind making content for them if I were a bit more invested in their characters. I love their dance scene in s1 and I feel like its super a underrated portrayal of what their relationship is meant to be. I know no one talks about it but it's just such a great scene, and I'm pretty sure the choreographer was into interpretive dance? The scene had a lot of meaning that I don't see people dig around with.

Essentially I'm pretty sure the fairy lights are obviously a throwback to their childhood together, spending time outside of Reggie. So the dance scene kind of symbolized that pocket of space they made for each other in their life (even if theyre far away, or with other people, they will always have that space for each other).

The way they danced was more like playfighting than dancing, which means their relationship isn't sensual. It's more ''pure'', and romantic. Its basically two kids rekindling their love as adults. I also think this is a response to the incest, cause in s1 tua klaus literally said that 'thank god Regg is not their real father' right before Allison and Luther meet lmao. So its kinda like saying Allison x Luther isnt supposed to be 'ohh step sibling hot' but two people who experienced the same trauma as kids and finding comfort with each other (and rekindling that love after many years).

[hellacioushag]

mindpalace0 said: @hellacioushag the reason why many elriels are against the mating bond for lucien and elain is because elain does not want it. It was something she did not choose for herself but instead it got forced upon her. Feysands and nessian knew each other before the mating bond reveal. That's not the case for elucien. On the worst taumatic day of elains life some random male claims her. Then she finds out she is shackled and is forced to have a bond with someone she doesn't know

mindpalace0 said: @hellacioushag yh it would be different if elain CHOSE to get to know lucien etc but of right now it's Canon that she gets really uncomfortable around him loses her boldness. Lucien is also shacked to her. He wouldn't have chosen her he says himself she was thrown at him. I can't say for all elriels but the ones I do k ow just want aleain to be able to choose to stray from what is expected of her. Right now everyone expects her to simply accept the bond and become a mate mindpalace0 said:  @hellacioushag I'm deeply sorry if u have ever received comments from idiotic elriels calling u antifeminist. Ignore them and know its not true. At the end of the day sjm can go anywhere with these books. Many elriels simply don't want to ship two people who are genuinely so uncomfortable and awkward around each other. That however can change as the books progress 

mindpalace0 said: Also it's CANON they r uncomfortable and awkward with eath other. Will that change later on in the book? maybe. But right now almost every scene of theirs is cringe to read. You can't be serious when u say that they r not uncomfortable around each other cause they r. Elain owes him NOTHING. Why should she. Why should she stop herself from being happy because of a bond she does not want. Feysand and nessian differ cause in the end they still got to know each other

mindpalace0 said: Before the bond revealed itself. Elain did not have that.

ok i think i got everything that was either directed at me or was just sent in the general post unspecified. i’m not gonna sit and talk about elriel cause i really don’t care about that ship or anyone’s reasons for shipping it. you do you. have fun. i will however address some of the critique you mentioned regarding my thoughts on elucien and the bond. 

1. we do not know how elain feels. we don’t have her pov so anything the other characters are inferring about her regarding her body language is only speculation, not fact. if cassian or nesta notes how elain’s boldness disappears in lucien’s presence we do not know why that is. we can only project our own assumptions as to the motive. you are assuming it’s because she’s uncomfortable around lucien and doesn’t want him. i could assume that she may have been overwhelmed by lucien’s presence because when he’s gone she isn’t faced with the bond, but in his presence she not only feels it there, but may also glean his feelings for her through the bond. neither one of us can claim our assumption is fact because we weren’t in elain’s pov in that scene. other characters interpretations are not always reliable. feyre assumed mor was hiding her love for azriel until mor flat out told her she had no romantic interest in him. until we have elain’s pov we cannot claim our assumption of the scenes are textual evidence. 

2. lucien didn’t say he was shackled to elain. the quote is this:

“I would agree with you on that,” I admitted. “But remember that they were engaged. Give her time to accept it.” “To accept a life shackled to me?” My nostrils flared. “That’s not what I meant.”

he is not oblivious to elain as some would like to claim. he and feyre were discussing graysen and how elain was still mourning the end of their relationship during acofas. feyre was trying to tell lucien to give elain time to accept it was truly over between her and graysen and lucien, having just been brushed off by elain, pushed his own insecurities onto feyre. i assume he thinks because elain won’t speak with him, won’t even try to get to know him, that she think he’s beneath her. that a life with him is surmountable to being shackled. again, this is his own fear and insecurities about her and the bond. we actually don’t know how elain feels about lucien. only the bond. only that she hates the idea of being bonded to anyone. 

3. eluciens, as far as i am aware, do not want elain to be forced into the bond. we want her to be able to get to know lucien the way feyre and nesta got to know rhys and cassian. we want them to have a chance. the only reason there’s a different dynamic with elucien vs feysand/nessian is because elain is aware of the bond and the idea of it has added fear and pressure to her. however, lucien has been kind and patient and understanding. when feyre asked him to move to velaris in acofas to get to know elain he declined. not because he doesn’t want to know her, not because he doesn’t want to be mates, but because he is allowing her to set the pace. he’s being respectful, but also wants her to know he’s thinking about her and he’s there whenever she may want to talk. he is putting himself in the uncomfortable situation of going to feyre’s holiday events and putting himself out there with gifts for his mate because he wants to get to know her. if elain asked him to stay away he would based on his history of respecting her need for space. so any pressure elain is feeling is not based on lucien’s actions, but the idea of the bond itself.

4. if you don’t like elucien that’s fine. my post wasn’t about trying to convince you otherwise. it was in relation to seeing a lot of anti-elucien posts implying shippers are anti-feminist and don’t respect elain and her choices. it was to uplift the elucien community cause i know seeing those same tired arguments gets annoying for me. i think it’s perfectly fine to talk about a ship, to dissect why you don’t like them, but i don’t think it’s acceptable to tear down the shippers who support the ship. to imply horrible things about the shippers and then claim it was just a personal opinion. nah. you want to make jokes, and memes, and shitposts about the fandom and shippers i think that’s fair game. you want to write a meta implying anyone supporting a certain ship are supporting child abuse or they’re misogynistic or they're racist is disgusting and it needs to stop (not you specifically, but the fandom as a whole).

[dazais-guardian-angel]

Hot take: Bakugou's character wouldn't survive if not for the one he kept abusing all his life. 90% of his character revolves around his victim and yet the fandom paints him as this super developed, fleshed out character when in reality he'd never be anything bigger than a side character if not for Deku.

Also the concequences he supposedly received are just him being teased or not getting the win he wanted, no being kidnapped doesn't count, he literally got away with his shit while even been treated like a victim and the privilege to know something about Deku that isn't any of his business. And now because he sacrificed himself that one time the fandom acts like Izuku owes his ass anything. It's disgusting.

I have given up on him actually being half the decent character ppl make him out to be and the fandom reaction to him makes me hate him even more.

He's not complex, he's just a pretty boy, asshole archetype who gets nicer and has some more cooperative and ppl love to eat that shit up while making up stuff for him. He changes but he's doesn't change for what matters and definitely pales in comparison to other characters who are better written than him.

(holy shit, did they remove the character limit on asks?? omg a GODSEND)

Well yeah, if it weren’t for Izuku and how he treats Izuku he wouldn’t have anything to improve from; people only think he’s developed because he no longer outright bullies him and “””worries””” (I say in heavy quotes) about him, and “reflects” on how he treated him even though he.......... comes to the absolute wrongest, most idiotic conclusions imaginable, that put the brunt of the excuses on Izuku instead of himself, but Toshinori validates him because Horikoshi has made Toshi into Bakugou’s uwu stan and stan of the two boys’ “friendship” (completely ignoring the fact that THIS KID FOR TEN YEARS BULLIED HIS SON). He’s basically already been devolved to acting like a side character for a long time now, with his funny anger quirk pun partly intended that’s just treated like a joke at this point, just like everyone else’s character quirks, even though it would be far more interesting for him to, you know. actually get some therapy and learn to calm himself and become an actual pleasant person to be around. But that’s not what makes him “funny”, that’s not him, according to most people, so he’s always going to stay like this, a boring angry pomeranian who flies off the handle at everything for no reason, who has done the absolute bare minimum of “changing”, which makes him a perfect character in everyone’s eyes.

“He changes but doesn’t change for what matters” pretty much sums up the problem with him in a nutshell, and is the exact reason he frustrates me so much, that I’ve ranted about plenty before. Bakugou has never been viewed through the lens of a bully, an abuser, he was never set up to be that, at least not realistically, and so his development hasn’t happened in accordance with that setup either, and people don’t have a problem with it and actively praise it because the manga actively downplay(ed)s the severity of that origin story. People can ignore the reality of how seriously traumatic being bullied for ten years of your childhood, verbally and physically would be, and how seriously and with such sensitivity such a relationship and character arc must be handled, because aside from the very first chapter when Izuku and Bakugou are still in middle school, really, with the “take a swan dive off the roof” comment and others, it’s never focused on in that way ever again; ever since, it’s just been treated as a typical anime “rivalry”, that both of them need to better themselves to overcome. The story and teachers say “the two of them are so alike but they just keep missing each other; if they just made up for each others’ weaknesses and understood that they both want the same thing, they’d be stronger together!”, and Izuku HIMSELF tries so hard to reach through to Bakugou, always still considering him his friend, always feeling like he’s the one equally at fault for their relationship being as rocky as it is, when BAKUGOU!!! FUCKING!!! BULLIED HIM!!! FOR TEN YEARS. bullied a DISABLED CHILD, which again, as a disabled person who relates to Izuku and how he felt about his quirklessness, feelings that continue to affect him even long after he gets a quirk because of how he was treated when he was younger, is DEEPLY unsettling to me. You CANNOT read/watch MHA without the metaphor of quirklessness = disabled being very apparent, and so that makes Bakugou’s bullying and how it is so utterly glossed over and purposefully forgotten a hundred times more disturbing and aggravating than it already is! If this were any other shounen rivalry then yes, it could be resolved with effort from both parties, because both parties have their own personal reasons for why they have trouble getting along with the other, and the fun is watching to see how they will overcome those, but Izuku and Bakugou were never on an equal playing field to begin with; this is a bullying story, with its victim trying desperately to win over and befriend his abuser, when he owes him absolutely NOTHING and has a BOATLOAD of unresolved issues thanks to said bullying, with no outside help from adults for either of them because none of them are acknowledging it as fucking bullying. I guarantee you that if the manga went into much more painful, bleak detail and showed many more flashbacks of how Izuku was treated by Bakugou in the past, and then still continued with the “development” he’s had since, people would be unable to ignore it like they can now, and it would make all of them extremely uncomfortable like it does those of us now who already dislike him. Hori himself has said he doesn’t understand why Bakugou is so popular, but he’s able to just continue as he does with him because no one is complaining, and because he said he regrets making him so awful in the beginning, as if that magically makes it disappear as much as it already has in 90% of the fandom’s collective mind. You wanna know an actual good manga that also deals with a bully of a disabled child growing and improving himself and forming a close relationship with his former victim? A Silent Voice. Such a journey is long, and hard, and it is painful, with many ups and downs and many nasty, hateful, guilt-filled, depression-filled feelings from both sides, along with from other characters who either also partook in the bullying, were bystanders to it who did nothing, or were indirect victims as well. The bully is bullied himself after what he does, and then grows up nearly suicidal, closing himself off and struggling to be social and make new friends because he doesn’t know how and doesn’t entirely feel like he deserves it (and the story notably doesn’t go the route of “he was abused too at home and so that’s why he bullied”), and tries and fails many times to make amends with the person he hurt before he finally is at peace with himself and everyone; the victim, meanwhile, drowns in continued guilt and suicidal feelings over feeling like she’s a burden to others, both from her disability and from watching all the infighting and victim blaming and finger pointing that ensues between her old classmates when all of the nasty emotions are brought back to the surface, along with dealing with budding romantic feelings for her past bully when he genuinely starts being kind towards her and making an effort to connect with her. ASV is entirely about this complex narrative, it’s able to dedicate everything it has to telling this story tactfully and with all the time and attention it needs. MHA, meanwhile, is a shounen battle manga, and so it was never going to do this narrative and Bakugou’s arc justice, even though I honestly think it could have if Hori really wanted to, because Izuku and Toshinori’s relationship has such masterfully subtle and touching emotions and care, at least early on; Horikoshi knows how to write good, subtle character arcs. I’m not asking for something ASV level, of course not, when the series has so many other things it has to juggle. I just wanted Bakugou to be treated as exactly what he is: a former bully, who can be taught, and learn, and reflect, and change, and become a better, more humble, more interesting person, and actually become someone worthy of all the praise and love he gets, not only for Izuku’s sake, but for his own, as well. They don’t excuse his actions in the slightest, but it’s still undeniable that Bakugou himself is a victim of how the adults in his life have treated him and raised his own expectations of himself, giving him the crippling insecurity issues he has, and that they continue to harm him (and Izuku) by simply letting him continue to go on angrily the way he does, instead of getting him help and some therapy in order for him to change and heal from things like being kidnapped by villains (which is no small thing to go through!! on top of his guilt over Toshinori’s final battle!) and becoming a better person to the one he hurt in the past, and it all just makes me so sad, not because I’m all “uwu poor Bakugou”, but just cause his character deserves better, as a person he deserves better, just like Izuku deserves better than everything he’s gone through because of him. This is all just a very long-winded way of agreeing with you OP that yes, none of Bakugou’s “punishments” for his behavior mean anything because he’s punished as a rival student who needs to humble himself in order to get along with his friend he doesn’t like, not as a former(??) bully who needs to be separated from his victim. The bar is set so low, was never set where it should be, and so absolutely no progress to “better himself” Bakugou makes either will mean anything, as long as it’s never acknowledged that he needs to make amends as a bully and abuser.

[katierosefun]

well, here we are! june basically flew by and it was a little rough, but we’re back with some long recs on cool things i’ve read/listened to/watched, and i’m about to force everyone to sit down and listen to my sleepover-esque ted talk in which i give unwarranted and unasked for rec lists. so here we go!

kdrama:

while you were sleeping

okay, so i tried to watch this kdrama when it came out in like...2017, i think? but for some reason, i wasn’t able to get past the first episode. i don’t really know why? because it’s so beautifully shot, and i super love the premise, which is basically this girl and this guy are somehow able to see things that are going to happen in the future...but only in their dreams. this whole kdrama really handled the plot super well--each episode honestly felt like a movie in itself, and the filming was just stunning, and i think this has to be one of the most visual kdramas i’ve ever seen. each character is also super interesting and complex on their own, and i really loved seeing such a strong cast of characters interact with each other in this world. 

i think the only slight downside of this kdrama was that i couldn’t really get invested in the romance? i’m not quite sure why--i found both lead actors’ performances wonderful, and don’t get me wrong, i did think they were cute together as the drama went on, but i still couldn’t find myself buying into the romance until maybe relatively late in the drama (like...ep 11 or so? ep 16 was honestly when i realized that awww, wait, they’re actually super cute). but then again, i feel like the writers weren’t really prioritizing the romance either--i think they really wanted us to think about the beauty of dreams and redemption and how everyone can touch another person’s life in some significant way, so i can’t really be mad about it!

but anyways, overall i really enjoyed this kdrama and watched it all a lot faster than i thought i would! SOLID music, beautiful cinematography, good acting, mostly good writing, and some really memorable characters! def. a must-watch if you love suspense, aesthetics, and some wonderful characters.

the ghost detective

i’m someone who doesn’t like horror or scary things at all, but i was so intrigued by the plot and whatever material i saw on tumblr, and...of course, choi daniel, lee joo young, lee ji ah, and park eun bin. honestly, this is just a really wonderful and really underrated cast, and they really all brought out their a-game for this 32-episode supernatural / thriller / horror drama. basically, this kdrama follows the story of a young woman who’s trying to figure out who murdered her younger sister...and of course, there’s something supernatural going on. 

honestly, this kdrama was such a ride. i loved the crime-solving aspect of it, and i was really in love with the interactions between all the characters, esp. that of eun bin and daniel’s characters. (guys...they’re so ride and die for each other. there’s also so much yearning. so much yearning in this kdrama, it just about killed me--) 

the villain was absolutely, appropriately, elegantly creepy, and like...scary beyond belief. basically, the villain (lee ji ah’s character) feeds her victims these harmful thoughts and ultimately get them to kill themselves. it’s sad and haunting, especially when you see that the victims tell their victims “don’t listen to the bad things. try only to listen to the good things”. and...yeah. themes of how to handle all of these bad feelings inside of you really came through in this kdrama, and there were a lot of themes of suicide and the kind of rage and sadness that comes with that. (also! if you’re a fan of lots of angsty/whumpy situations....this kdrama definitely does not hold back with all of your fave whump/angst tropes! literally! every! episode! i! had! to! lie! down! because! too! powerful!)

school 2013 

(aww, look at this precious cast…as though they didn’t all make me ugly cry at least five times—)

yeah, yeah, yeah, i’ve talked about this kdrama ad nauseum, and i know i watched it last month, but as i was studying for the lsat, i really, really, really needed some comfort. most notably comfort re: studying life, academics, how difficult it is to study but also be uncertain of your dreams…and if you are certain of your dreams, how that sometimes requires studying but that just makes life all the more overwhelming…can you tell i’ve been thinking about this a lot

i’m not going to ramble more about this kdrama considering i already have done so multiple times, but i enjoyed this rewatch and honestly,,,my love for this show has just grown even more. there’s a good reason why people consider this a comfort kdrama, because. i consider myself deeply comforted. also, i’ve been listening to the ost for the whole month. it’s become a problem. but sometimes. sometimes you need to listen to songs that feel like someone’s patting you on the head and telling you don’t give up, set down your burdens, don’t think you’re alone and dream whatever you want to dream, go wherever you want to go. i’ll stop talking now, but god. when i say that i think everyone who has ever felt incredibly tired by work or school and just wished for someone to give them a big hug either then or now...god. this is just one of those kdramas that i think honestly touched so many people’s lives, and i’m very grateful for the cast and crew and writers for ever bringing this story to life. :’) (god, okay, now i’ll stop talking before i make myself cry i’m fine this is fine)

your honor

so, i watched this kdrama thinking that it would be light and funny given that yoon shi yoon is the main male lead, but boy was i wrong--don’t be fooled by these happy little faces, this kdrama is heavy. this kdrama is about a young man (with a criminal record) who winds up impersonating his twin brother, who happens to be a judge. we also have a trainee who, after seeing the legal system fail her older sister, is on the rise to dispense justice through the courts the best she can.

honestly, the first few episodes were rough, mostly because of the content. big trigger warning for rape, violence, and sexual harassment at work. this kdrama really didn’t hold back when it came to addressing how the very people who use the law can also be the very same people who manipulate and abuse it. because of that, i found this kdrama incredibly powerful. that said, it certainly had its lighthearted moments too. 

overall though, i liked this kdrama. the main characters were incredibly complex and genuinely the type to make me believe that for all the injustices in the world, there are still and always will be people fighting for the right thing. as someone who wants to enter the legal field, this kdrama was just uplifting. i was so blown away by the absolute rawness of the main two leads, esp. yoon shi yoon, who i’ve only ever seen in super lighthearted kdramas. so this was a really interesting change of pace, and i genuinely enjoyed watching this!

waiting for love

so this kdrama is just two episodes, and what’s better is that it’s available on youtube! it’s about two college students--a young woman who’s been hurt by falling in love with jerks now just wants to date, not really fall in love...and a young man who’s excellent at giving dating advice except he’s afraid that he’s never going to actually fall in love, so he just dates a girl for the sake of dating.

now, i kinda thought that this show was going to be kinda lighthearted, a little shallow--but it was weirdly...comforting? idk, i found myself liking it a lot more than i thought it would be. this is far from the perfect kdrama, and i kinda wished that we got more than 2 episodes because i think some of the plot points could have been better expanded, but...there were genuinely a lot of scenes that made me think a bit more about what it actually means to be in a loving relationship--like how it’s not enough to just put on a happy smile and eat meals together, but like...you know. there has to be trust and actual liking and also, yeah, maybe a bit of frustration in order to actually know whether a relationship is real or not. and given that the characters were all discussing the pressure on getting married and romance esp. when you’re in your twenties...idk. makes you think about are you dating someone for the sake of appearances? or do you genuinely...like them?

there was also quite a few tropes that i personally adore in this kdrama, which helped balance out the stuff i found more tiring. there was a lot of the “right person, wrong time” stuff going on (you really want the two main leads to get together after a certain point, and you just keep holding your breath whenever they walk past each other and beg please please please let it be this time...), and also that good old “two strangers fall in love with each other purely over writing to each other” (god. first the half of it, then me & au, then greenhouse podcast...something about this trope huh). that said, there were def. some parts that made me “:////” because some of the characters were kind of frustrating, but i’m gonna chalk that up to good writing since i think i was mostly mad about how i knew people like some of the characters lol. overall, i think this might be at least semi-enjoyable--it’s probably not something i’ll watch again, but it def. made me mull over what it means to actually be in a loving relationship, esp. if you’re in your twenties and everyone around you seems to be in happy romantic relationships/getting engaged and whatnot. 

movie: 

columbus 

i’m a firm believer that there are some movies that are meant to cheer you up, some movies meant to make you cry, and then there’s some movies that are just meant to...sit with you. and this movie is definitely one of them. this story follows casey, a high school graduate, and jin, the son of a famous architect. the two of them are both so incredibly exhausted with their lives (casey with her constant worry about her mother, who’s a recovering drug addict; jin with his surface-level lack of concern for his comatose father). in their small town of columbus, indiana, the two of them bond over architecture and just. being quietly there for each other.

this movie’s been compared a few times to lost in translation in the sense that there’s this not quite romance between the two leads, who have a bit of an age gap (john cho and haley lu richardson have about 20 between them!). to be honest, i didn’t really get the sense that there was supposed to be a romance. if anything, it just felt like...two really lonely people finding each other. definitely not a simple friendship--definitely not a familial kind of relationship, definitely intimate. 

idk. i think this movie might not be for everyone--i definitely agree with a lot of past reviewers that this movie is on the slower side. there’s some stuff here about complicated relationships with parents, a lot of cool architecture, really beautiful shots...and overall, it’s just...quiet. it’s lovely, and i can’t really stop thinking about it. it’s subtle, bittersweet, and oddly compelling. might not be the kind of thing you’d want to watch in the middle of the day, but if you’re a little sad and in the mood for something not to necessarily lift your spirits but...at least acknowledge them and sit with you, then...this is the movie to watch. idk. i felt kind of crummy the day i watched this movie, and i felt as though someone just sat next to me on a park bench until the sun went down. (mayhaps specific but hush, i’m writing this right after finishing this movie, so i’m...feeling a certain way.)

wish dragon 

i watched this movie right after watching columbus because a) decided i was in the mood for something lighter, and b) i learned that john cho?? voiced?? the dragon?? (caroline your crush on john cho’s jumping out this month...) 

but anyways! i loved this movie a lot. it was so satisfying? like, just narratively speaking? and the animation was wonderful and also weirdly smooth and satisfying, and there were a lot of funny and touching moments. this movie’s about this young man named din who stumbles upon a magical teapot that holds the wish dragon long--long has to grant din three wishes, and yes, i know, very aladdin, but that said, this movie has so many original twists that it feels weird to call it an aladdin retelling. it really did feel like a movie completely on its own, which i applaud the writer and director for! 

i don’t want to spoil too much of this movie, but something i really enjoyed was that din’s main wish is just to see his old childhood friend again. idk, i think we all have that one friend from when we were really little that we miss--and this movie really dug into that, as well as themes about parents wanting to do the best they can to provide for their kids, and!!! and long the dragon gets his own storyline and amazing character development too!!! i was honestly just amazed at how this movie fleshed out the characters so well and had so many wonderful themes that just made me tear up. guys. this movie’s great. highly recommend for its wonderful characters and the power of friendship. just a grand old time in general. :’))

searching 

yeah...yeah, i wasn’t kidding about my crush on john cho this month. yes, i watched three of his movies within 24 hours. this movie is about david kim who’s looking for his missing 16 year old daughter, margot. this film is honestly noteworthy for many reasons, one of them being that the entire movie is told through like...a laptop screen, as in we kind of follow david’s frantic search through facetime, facebook, tumblr...which i honestly didn’t think i’d be into, but whoo boy, i was wrong. it just added to the whole addictive quality of this movie, as it usually does when it comes to anything from the thriller genre. 

but besides this just being a straight up addictive thriller with absolutely mouth-dropping twists (but like...good twists, and smart twists, good god--), this movie was just...touching? there’s so many themes related to what grief does to a family (because we learn within the first 10 minutes that the mom died due to cancer), and there’s just...something really fragile about relationships between surviving family members. i was absolutely blown away by john cho’s performance as a tentative and grieving widower whose world just absolutely falls apart in his search for his daughter. this movie was just so...real because of that. like, yes, this movie has all of the suspense that you would expect this kind of movie to have, but there was also just...so many beautiful themes about grief and how far parents would go for their kids and godddd yeah no i started sobbing when the movie ended. god. 

also, my bias towards john cho aside, i...really loved his character. david kim is absolutely believable, and like? he’s not just the guy putting the pieces together--he’s also the guy who misses his wife and also the guy who wishes that he was there for his daughter. he’s also the guy who pauses and re-writes all his text messages because he’s trying to be a good dad. i feel like with a lot of these suspense / missing person movies, it’s really easy to have characters who are just the stoic alpha male types--and david kim definitely had his badass moments in this movie, but like...something i just loved was seeing the vulnerability that comes with...having a missing child. being a parent. god. this movie messed me up but in a good way. i can honestly say that this movie is now probably going to be one of my fave movies of all time. highly recommend, am literally obsessed with it.

book:

the seven husbands of evelyn hugo by taylor jenkins reid

ohohoho………where to begin with this book. this was one of those books where i was like “huh i kinda don’t understand why people are so obsessed with this book”, but then i hit like...page 20 or 30 and was like “oh god i Literally Cannot Put This Book Down Oh No” and wound up finishing it in like three days (mind you, i only read at like...midnight these days. i don’t understand why either). 

i finished this book at like 2 am and promptly burst into tears because this was just one of those books. it follows the story of evelyn hugo, a famous hollywood actress from the 60s or so and onwards. known for her intense beauty and her seven husbands, she’s now giving an exclusive interview to the young reporter monique grant, where she’s about to tell all about her life. this book had me dropping my mouth multiple times, and i think tjr can spin one hell of a story, with so many good twists and turns and intensely memorable characters. by the end of the book, i was actually mad that evelyn hugo wasn’t a real person, because i, too, fell a little in love with her and thought, i want to actually watch her movies. i want to learn even more about this remarkable woman. 

but alas! she’s not real, so i don’t get to see her accept an oscar or look up all the tabloids about her and her seven husbands or her speculated (and very, very, very real) relationship with celia st. john. basically...i just loved this book. the last line made me smile and laugh and cry a little bit (actually...cry a lot), and y’know...i’ll admit it’s not totally perfect, but i’m glad this book exists, and i’m glad that even though tjr isn’t bi herself, was very adamant in this book about bisexuality being real. just. like. god. once again. mad that evelyn hugo isn’t real. it’s fine, she’s real in my heart.